Amphora winemaking: a scientific and intuitive approach
Winemaking in amphorae offers a flexible and expressive approach, allowing producers to enhance varietal character and reveal the identity of a place; what matters is interpreting and adapting the process to the characteristics of the wine one wants to produce.
This is precisely the philosophy of Monica Rossetti, a consulting oenologist with experience in both hemispheres: “I work with parcel-based wines made from grapes grown in specific vineyards and native varieties, for which I define tailored vinification processes rather than follow pre-established protocols,” she explains. “The choice of container is a way to add value through a specific oenological path to what we are able to achieve in the vineyard.”
“I tested the use of amphorae at Fattoria di Petrognano in Tuscany. The estate is located in Montelupo Fiorentino, the city of ceramics, so it felt natural to highlight this connection through a traditional method of winemaking using terracotta amphorae produced by local artisans. There isn’t a vast amount of literature on this topic, so it’s essential to gather data. That’s what we’re doing, also in relation to the use of different-sized wooden barrels and other materials, in collaboration with the University of Florence. Encouraged by the first tasting results, we began experimenting with specific oenological goals, carrying out long macerations while managing astringency through micro-oxygenation and achieving tannin condensation without relying on a container that imparts aromas or flavors, like wood. We tested terracotta amphorae from various suppliers to evaluate their micro-oxygenation properties in relation to their production methods.
Terracotta is a natural, sustainable material, but has considerable variability. Each vessel reflects its clay origin and the artisan’s technique. This uniqueness must be understood to avoid preservation issues or oxidation. So, we compared terracotta with other materials, measuring dissolved oxygen and temperature fluctuation effects. Now, we’re monitoring Impruneta amphorae during aging, and testing different washing methods, to optimize its use in modern winemaking.
Even from the same quarry, clay varies. Reputable producers certify their materials for food use, but ot all clays are suitable, and poorly made amphorae have entered the market. Another key factor is the craftsmanship and expertise of the artisans, which ensures a certain consistency in production.
At Fattoria di Petrognano, I use terracotta containers of various volumes and porosity, with no internal coating: a very porous 200-liter vessel made in Montelupo for fermentation, where we manage to control temperature quite well and conduct skin macerations lasting 3–4 months. For aging, we use larger spherical containers from Impruneta, ranging from 450 to 600 liters, with lower porosity, where the wine matures for about a year.
The result is a wine that is quite open on the nose, with good tannin polymerization that enhances the fruit. Using containers with different porosity at different stages prevents over-oxidation. The skins act as a protective barrier against oxidation, and after racking, the wine is transferred to less porous amphorae.
“I wash the amphorae as soon as they’re emptied, using hot water, which is enough to effectively remove tartrates. To monitor for Brettanomyces, acetic bacteria, and so on, I’ve tested ozone and low-pressure steam treatments. I also carry out microbiological plate testing to ensure proper preservation of the amphorae. Starting with healthy grapes and maintaining good hygiene practices in the cellar, we haven’t encountered issues with this material.
“In my experience at Fattoria di Petrognano, in the Orci project, I found amphora winemaking particularly interesting for Trebbiano, a variety often underestimated but capable of superb results when worked with the skins to extract compounds that support better aging and longer shelf life. With controlled maceration and by avoiding excessive oxidation, I obtain a wine that enhances varietal notes without becoming an “orange wine,” which is not my aim. I tried macerating in stainless steel, but the wines came out edgy and less expressive. Terracotta, instead, helped me achieve good balance, increased polyphenol concentration, aromatic purity, complexity, and pleasantness. For Sangiovese, longer macerations are possible, stabilizing the color and enhancing concentration. Of course, everything must start from high-quality, healthy grapes. This entirely terracotta- based process—with 3–4 months of fermentation and maceration followed by over a year of aging in the same material—brings out the fruit-driven character of the wine, today highly appreciated. These wines have good body, a fine balance between polyphenol extraction and smoothness, and pronounced varietal expression, all without the influence of wood. The challenge is to work with an ancient winemaking technique using contemporary knowledge in both vineyard and cellar.
Our job is to respect tradition while understanding what can be improved. The combination of intuition and science is a fantastic tool to evolve oenology in the pursuit of identity-driven wines. These ancestral methods, updated, can yield original, high-quality wines.
Winemaking in terracotta amphorae, combining tradition and innovation, offers a wide range of possibilities to enhance varietal expression and create terroir-driven wines. What matters is adapting the process to the grapes, starting from fruit that’s healthy and suitably ripe. Containers made from consistent clay-ceramic matrices (like Tava and Clayver), thanks to their firing and composition, ensure more predictable performance. This consistency helps achieve precise oenological goals, with vessel form and volume also playing key roles.
“At a winery in Montalcino, I’m also experimenting with containers made of materials such as ceramic, concrete, and stoneware, in order to modulate oxidation through consistent and reproducible porosity. These are particularly interesting for aging more elegant wines or for completing the final stage of the refinement process.]
A final thought: the term amphora has been overly generalized in the industry. As we’ve discussed, there is significant variability that must be understood- just like we’ve done with the use of wood. Additionally, there are many other alternative containers that can be useful during different fermentation and aging stages. The only certainty is that to make great wines, you always need great grapes.
