0:00:03 > 0:00:07I'm embarking on a new railway adventure that will take me
0:00:07 > 0:00:09across the heart of Europe.
0:00:11 > 0:00:15I'll be using this - my Bradshaw's Continental Railway Guide,
0:00:15 > 0:00:17dated 1913, which opened up
0:00:17 > 0:00:22an exotic world of foreign travel for the British tourist.
0:00:22 > 0:00:27It told travellers were to go, what to see and how to navigate
0:00:27 > 0:00:31the thousands of miles of tracks criss-crossing the Continent.
0:00:31 > 0:00:32Now, a century later,
0:00:32 > 0:00:37I'm using my copy to reveal an era of great optimism and energy
0:00:37 > 0:00:41where technology, industry, science and the arts were flourishing.
0:00:42 > 0:00:48I want to rediscover that lost Europe that, in 1913, couldn't know
0:00:48 > 0:00:52that its way of life would shortly be swept aside by the advent of war.
0:01:10 > 0:01:11On this journey,
0:01:11 > 0:01:13I'm heading to one of the most popular
0:01:13 > 0:01:17destinations on an Edwardian traveller's itinerary,
0:01:17 > 0:01:20to a country whose famous sights had, in 1913,
0:01:20 > 0:01:25already attracted British grand tourists for more than 200 years.
0:01:28 > 0:01:31A century ago, foreign tourists in Italy,
0:01:31 > 0:01:36armed with their Bradshaw's guide, regarded the country as a museum.
0:01:36 > 0:01:39They ambled through its glorious past
0:01:39 > 0:01:45and endured its present day of beggars and smells and bad hotels.
0:01:45 > 0:01:49Their attitude was unconsciously condescending
0:01:49 > 0:01:53but there was, apparently, amongst Italians a Futurist movement,
0:01:53 > 0:01:59proud of Italy's engineering prowess and obsessed with speeding cars
0:01:59 > 0:02:03and trains and aeroplanes. Whoa!
0:02:03 > 0:02:06The foreign tourist might need to fasten his seatbelt.
0:02:11 > 0:02:16In 1913, Italy had been a united kingdom for a little over half
0:02:16 > 0:02:17a century.
0:02:17 > 0:02:23Unification had involved a decade of war, which had taken its toll.
0:02:23 > 0:02:24While the British enjoyed
0:02:24 > 0:02:28nostalgia for the Italian Renaissance, Italians felt
0:02:28 > 0:02:32that their country had been reborn and many wanted to look forward.
0:02:36 > 0:02:40My journey begins in Tuscany at the coastal city of Pisa.
0:02:41 > 0:02:45From there, I'll travel inland to the ancient walled city of Lucca
0:02:45 > 0:02:51before continuing east to the cradle of the Renaissance - Florence.
0:02:51 > 0:02:55I'll then head north to Bologna before ending my journey
0:02:55 > 0:02:57at glorious Lake Garda.
0:03:02 > 0:03:04'Along the way, I'll find out
0:03:04 > 0:03:07'how one of Italy's best-loved tourist attractions
0:03:07 > 0:03:09'was saved from collapse.'
0:03:11 > 0:03:14They were very concerned that it was about to fall over.
0:03:14 > 0:03:16And it actually was.
0:03:16 > 0:03:21'I'll attempt to carve out my place in Italy's artistic history.'
0:03:21 > 0:03:23Michelangelo, eat your heart out!
0:03:23 > 0:03:27'And I'll catch a spot of impromptu opera.'
0:03:27 > 0:03:28THEY SING
0:03:28 > 0:03:31Bravo!
0:03:38 > 0:03:42In 1913, when Italy was a new nation forging its future,
0:03:42 > 0:03:47many thousands of British tourists flocked to marvel at its past.
0:03:51 > 0:03:53My first stop is Pisa.
0:03:53 > 0:03:56Bradshaw's reminds me it was "the Pisai of the Romans.
0:03:56 > 0:04:00"It's situated on both banks of the River Arno.
0:04:00 > 0:04:05"The campanile, generally known as the Leaning Tower, 179 feet high
0:04:05 > 0:04:10"and 13 foot out of the perpendicular, was finished in 1350."
0:04:10 > 0:04:15Since time immemorial, tourists have had a penchant for the tower
0:04:15 > 0:04:18and I believe that we retain that inclination today.
0:04:24 > 0:04:27Those tourists arriving here 100 years ago came to experience
0:04:27 > 0:04:29Italietta - a small,
0:04:29 > 0:04:33sleepy country packed with treasures to be picked over.
0:04:35 > 0:04:40That attitude endured despite Italy's tectonic political change and
0:04:40 > 0:04:45its impressive industrial revolution at the start of the 20th century.
0:04:58 > 0:05:02In Pisa, the sights that those tourists were coming to enjoy
0:05:02 > 0:05:03still draw the crowds today.
0:05:15 > 0:05:18What do you think of the Leaning Tower? Is it as good as you
0:05:18 > 0:05:23- hoped it would be?- It is a little smaller than we thought it would be.
0:05:23 > 0:05:27- Is it your first time in Pisa?- Yes. Very... It's beautiful.
0:05:27 > 0:05:31The Leaning Tower is very, very special. It looks very attractive.
0:05:31 > 0:05:32It just pulls your attention.
0:05:32 > 0:05:35Do you think the tower will fall down?
0:05:35 > 0:05:38- No, I didn't think so. - Never, never! It won't.
0:05:41 > 0:05:46The precarious-looking tower belongs to the 11th century cathedral.
0:05:46 > 0:05:49Tourists may, in fact, be confident of its safety now
0:05:49 > 0:05:53but not long ago, the monument teetered on the edge of collapse
0:05:53 > 0:05:56until a group of engineers was charged with saving it.
0:05:58 > 0:06:02I'm meeting emeritus professor John Burland from Imperial College
0:06:02 > 0:06:03in London.
0:06:03 > 0:06:07He was part of the rescue mission a quarter of a century ago.
0:06:09 > 0:06:13- John, why does it lean?- Ah!
0:06:13 > 0:06:21Now, every child has tried to build a model brick tower on a carpet,
0:06:21 > 0:06:24and what you all learn, all children, is you can get it
0:06:24 > 0:06:27so high and then it begins to lean...
0:06:28 > 0:06:30..and that's exactly the same with this tower.
0:06:30 > 0:06:34Instead of a carpet, it's on, really, marsh land,
0:06:34 > 0:06:37so the foundations are very soft
0:06:37 > 0:06:41and there's a certain height at which a tower of that weight
0:06:41 > 0:06:44and that height would start to lean,
0:06:44 > 0:06:48and the tower is exactly at that height and that's why it's leaning.
0:06:49 > 0:06:55Begun in the 12th century, the tower took nearly 200 years to construct.
0:06:55 > 0:06:58Although it leaned from the outset, it wasn't
0:06:58 > 0:07:01until the early 20th century that the danger became apparent.
0:07:03 > 0:07:05The tower has had a very long history.
0:07:05 > 0:07:08What was happening around the time of my Bradshaw's guide?
0:07:08 > 0:07:12In 1911, they started making very precise
0:07:12 > 0:07:15measurements on the inclination of the tower.
0:07:15 > 0:07:19They did it every Christmas Day, presumably before they had a drink!
0:07:19 > 0:07:21But they'd go out on Christmas morning
0:07:21 > 0:07:26and make a measurement on the tower. It was quite a ritual.
0:07:26 > 0:07:29Those measurements were very important to the commission
0:07:29 > 0:07:30that I was on.
0:07:30 > 0:07:34- 100 years of precise records? - Yes, that's right.
0:07:36 > 0:07:40By the late 20th century, the tower leaned by around 15 feet
0:07:40 > 0:07:43and was in danger of collapse.
0:07:43 > 0:07:47In 1990, it was closed to the public as the government realised
0:07:47 > 0:07:48that something had to be done.
0:07:50 > 0:07:53Now, what was it that you came to do?
0:07:53 > 0:07:57They were very concerned that it was about to fall over,
0:07:57 > 0:07:58and it actually was.
0:07:58 > 0:08:04And what we did was reduced its inclination, which took
0:08:04 > 0:08:09the load off the south side because it was about to explode.
0:08:09 > 0:08:13And the way we did it was instead of trying to push the leaning
0:08:13 > 0:08:16side up, we actually took some ground out.
0:08:16 > 0:08:18- So it leans less than it did?- Yes.
0:08:21 > 0:08:25John and his team attached 900 tonnes of lead weights to the tower's
0:08:25 > 0:08:27north side to stabilise it
0:08:27 > 0:08:31while earth underneath the higher side was removed.
0:08:31 > 0:08:34Overall, it took more than a decade to secure the structure
0:08:34 > 0:08:38and to reduce the inclination by almost two feet.
0:08:38 > 0:08:43Finally, in 2001, the 800-year-old tower was reopened,
0:08:43 > 0:08:46deemed safe for the next three centuries.
0:08:47 > 0:08:50John, it's such a strange feeling as we ascend the tower.
0:08:50 > 0:08:54- First we're thrown to the right, then we're thrown to the left.- Yes.
0:08:54 > 0:08:58Michael, that's because we're going up an inclined helix.
0:08:58 > 0:08:59HE CHUCKLES
0:09:06 > 0:09:08How did it feel to work on this project?
0:09:10 > 0:09:14There were times when the stress was enormous
0:09:14 > 0:09:17and I wondered why I had ever taken it on or agreed to it
0:09:17 > 0:09:21but now that it's all done, you can look back on it and say, to have
0:09:21 > 0:09:27worked on a World Heritage monument like that is a huge privilege.
0:09:27 > 0:09:29You couldn't ask for any more, as an engineer.
0:09:35 > 0:09:39The glistening tower, like many of Italy's most famous statues
0:09:39 > 0:09:42and structures, was made of white marble,
0:09:42 > 0:09:45which could be found in abundance just along the coast.
0:09:54 > 0:09:58I'm leaving Pisa, taking the train 30 miles north.
0:10:03 > 0:10:05I'm on my way to Carrara.
0:10:05 > 0:10:07The guide calls it "an agreeable little town,
0:10:07 > 0:10:10"almost exclusively engaged in working
0:10:10 > 0:10:12"the world-known marble quarries.
0:10:12 > 0:10:14"Many sculptors have studios here."
0:10:26 > 0:10:30At the time of my guidebook, Italy had not long begun its industrial
0:10:30 > 0:10:34revolution, which was concentrated in the north of the country.
0:10:34 > 0:10:35In Carrara,
0:10:35 > 0:10:39the population swelled as workers sought employment in the quarries.
0:10:48 > 0:10:51The stone excavated here over millennia has been
0:10:51 > 0:10:54used in some of the world's most famous monuments,
0:10:54 > 0:10:58including the Pantheon in Rome and London's Marble Arch.
0:11:00 > 0:11:02Thanks to its grain and purity of colour,
0:11:02 > 0:11:06more marble has been mined here than anywhere else on Earth.
0:11:10 > 0:11:14By contrast with Pisa, Carrara has no tourists,
0:11:14 > 0:11:18and so one can appreciate its charming cathedral alone.
0:11:18 > 0:11:23It's decorated with lovely friezes of animals and a cartwheel symbolising
0:11:23 > 0:11:27the carts that used to bring the marble down from the mountain.
0:11:27 > 0:11:30And here is the marble, close up and personal.
0:11:30 > 0:11:36So many colours, so many variations of grain, so absolutely beautiful.
0:11:46 > 0:11:50I'm meeting tour guide Nicola Musetti just outside town.
0:11:55 > 0:11:57From these jagged hillsides,
0:11:57 > 0:12:01close to a million tonnes of marble is exported every year.
0:12:25 > 0:12:28It's a wonderful view of the mountains
0:12:28 > 0:12:30and an enormous industrial scale.
0:12:30 > 0:12:34Why is it that Carrara is so valued by sculptors?
0:12:34 > 0:12:35Because in Carrara,
0:12:35 > 0:12:41they can find the real, good marble to make sculptures, so that's
0:12:41 > 0:12:46why Michelangelo came over here many times, in order to look for blocks.
0:12:46 > 0:12:48So the Pieta, the Moses, the David,
0:12:48 > 0:12:53all the masterpieces by Michelangelo were carved in our marble.
0:12:53 > 0:12:56Only here they can find a huge quantity
0:12:56 > 0:13:01and the best quality in the world to make sculptures and statues.
0:13:01 > 0:13:03Until the 19th century,
0:13:03 > 0:13:07the marble was cut by hand or blasted out in chunks.
0:13:10 > 0:13:15In the late 1800s, the introduction of the helicoidal wire,
0:13:15 > 0:13:18a kind of lubricated, giant cheese cutter,
0:13:18 > 0:13:21allowed huge cubes to be precisely excavated.
0:13:25 > 0:13:30Other innovations made their mark at the time.
0:13:30 > 0:13:32When the railway age came,
0:13:32 > 0:13:36- did that make a difference to the way that they mined the marble?- Yeah.
0:13:36 > 0:13:40It was a very big evolution and development
0:13:40 > 0:13:42for the industry of marble
0:13:42 > 0:13:47because they started to increase the quantity of marble to be
0:13:47 > 0:13:51transported downwards to the sea, to the harbour,
0:13:51 > 0:13:55so that was really a revolution for our marble industry.
0:13:58 > 0:14:00Carrara maintains its position
0:14:00 > 0:14:03as one of the world's leading marble producers.
0:14:14 > 0:14:18I'm now heading to one of its oldest marble workshops.
0:14:23 > 0:14:28I'm meeting Francesca Nicoli amongst an amazing library of plaster
0:14:28 > 0:14:32casts, which are the first stage in the creation of a marble statue.
0:14:39 > 0:14:41Francesca, what an extraordinary place.
0:14:41 > 0:14:45Here, I find a British Prime Minister, WE Gladstone,
0:14:45 > 0:14:49here, the very substantial figure of King Edward VII,
0:14:49 > 0:14:53and here, the disapproving form of his mother, Queen Victoria.
0:14:53 > 0:14:55Why are these plaster casts here?
0:14:56 > 0:15:00These plaster casts belong to an important
0:15:00 > 0:15:04tradition of portraits of eminent politicians.
0:15:04 > 0:15:08My ancestor, Carlo Nicoli, he made, himself,
0:15:08 > 0:15:1113 portraits of Queen Victoria.
0:15:11 > 0:15:15One very important one was made for Brighton,
0:15:15 > 0:15:19so it's been a very important production during the Victorian age.
0:15:22 > 0:15:24First, a plaster cast was made
0:15:24 > 0:15:28and approved before being passed on to the sculptor or to
0:15:28 > 0:15:33a series of skilled carvers to be meticulously crafted in marble.
0:15:33 > 0:15:39A custom-made statue was the ultimate display of 19th-century importance.
0:15:39 > 0:15:42And are you still making monuments like this?
0:15:42 > 0:15:47Little by little, this tradition, glorious tradition, of the portraits
0:15:47 > 0:15:54of eminent politicians like William Gladstone has come to an end,
0:15:54 > 0:15:58making space for modern artists.
0:15:58 > 0:16:02Politicians really don't have much hope now of getting a monument?
0:16:02 > 0:16:06No, but top models like Naomi Campbell, yes they do.
0:16:07 > 0:16:09How the world changes!
0:16:10 > 0:16:13The subjects of sculpture may be different today,
0:16:13 > 0:16:16but they are created in much the same way as 100 years ago.
0:16:19 > 0:16:21Ciao.
0:16:22 > 0:16:23Michele.
0:16:23 > 0:16:27- Diego.- Diego.
0:16:27 > 0:16:31It takes years to learn this art, but today I've been granted
0:16:31 > 0:16:35permission to lay my untrained hands on this precious stone.
0:16:35 > 0:16:37This is the most important implement
0:16:37 > 0:16:40and there is the second most important implement.
0:16:40 > 0:16:42Michelangelo, eat your heart out!
0:16:42 > 0:16:44HE SPEAKS ITALIAN
0:16:44 > 0:16:47I have to do it gently, he says.
0:16:48 > 0:16:53It would take Diego over two months to carve a statue out of this block.
0:16:53 > 0:16:55Let's hope I don't set him back too far.
0:16:57 > 0:17:02- Not ready to hire!- Not now! - Not at the moment. Not now!
0:17:04 > 0:17:05Oops!
0:17:09 > 0:17:11Very satisfying. Lovely work.
0:17:11 > 0:17:15Diego, I'm going to let you finish.
0:17:18 > 0:17:21After all that concentration, I'm ready for sleep.
0:17:22 > 0:17:25Tomorrow, I'll be bound for the heart of Tuscany.
0:17:41 > 0:17:44I'm up bright and early to catch a connection from Pisa
0:17:44 > 0:17:47headed 35 miles inland.
0:18:03 > 0:18:07My next stop is Lucca, which Bradshaw's tells me,
0:18:07 > 0:18:12"is a pleasant town, Roman again, situated in a fertile plain.
0:18:12 > 0:18:17"From the railway station the Duomo is seen towering above the ramparts."
0:18:17 > 0:18:20100 years ago, Bradshaw tourists came to see
0:18:20 > 0:18:24the heavily fortified city states that had warred against each other.
0:18:24 > 0:18:30But Italians were proud that for 50 years they had been a united kingdom.
0:18:30 > 0:18:33OPERA SINGING
0:18:48 > 0:18:50Lucca's defensive walls
0:18:50 > 0:18:53and the exquisite mediaeval streets within them
0:18:53 > 0:18:57are some of the best preserved in Italy, and a great draw for visitors.
0:19:00 > 0:19:04For early 20th century travellers, there was another attraction.
0:19:04 > 0:19:06As an opera lover,
0:19:06 > 0:19:11I'm excited to be in a city associated with a favourite composer.
0:19:13 > 0:19:16I'm meeting theatre and opera director Vivian Hewitt,
0:19:16 > 0:19:19who is based in Italy just behind the opera house.
0:19:21 > 0:19:23Vivian, why is Lucca Puccini's city?
0:19:23 > 0:19:26Not only was he born here but throughout his long,
0:19:26 > 0:19:29much travelled career in which he travelled all over the world,
0:19:29 > 0:19:32he kept coming back here.
0:19:32 > 0:19:36He has this very intense relationship with his home town.
0:19:36 > 0:19:39- Do we find any influences of Lucca in the music?- It's everywhere.
0:19:41 > 0:19:45He somehow or other draws on his own personal experience
0:19:45 > 0:19:49of where he lives and of what surrounds him
0:19:49 > 0:19:53to create extremely exotic places that are very far from him.
0:19:57 > 0:20:00Puccini's operas became familiar to British audiences
0:20:00 > 0:20:03in the years before my guidebook.
0:20:03 > 0:20:08Between 1897 and 1904, La boheme, Tosca and Madame Butterfly
0:20:08 > 0:20:12were performed in Britain shortly after their Italian premiers.
0:20:14 > 0:20:17The British were seduced by the Italian language
0:20:17 > 0:20:19and by Italian romanticism.
0:20:19 > 0:20:24But Puccini transported audiences far afield to Paris, China,
0:20:24 > 0:20:27Japan and the Wild West.
0:20:28 > 0:20:30The operas are full of passion,
0:20:30 > 0:20:33the most extraordinary elongated love duets.
0:20:33 > 0:20:36What was the inspiration for that?
0:20:36 > 0:20:40I think Puccini is a man who is almost permanently in love.
0:20:40 > 0:20:43He is not just a Don Giovanni,
0:20:43 > 0:20:45he just doesn't amuse himself seducing women.
0:20:45 > 0:20:48I think it's often women who seduce him.
0:20:48 > 0:20:51As a very young man, he falls in love with Elvira,
0:20:51 > 0:20:53who is a married woman and already has a family.
0:20:53 > 0:20:56She is the wife of a friend of his.
0:20:56 > 0:20:58She becomes pregnant and they run away together.
0:20:58 > 0:21:00She is his permanent life companion.
0:21:00 > 0:21:03In the meantime, of course, every time he writes an opera
0:21:03 > 0:21:06he has a muse and he falls madly in love with somebody.
0:21:07 > 0:21:11His passion-filled operas, inspired by real life,
0:21:11 > 0:21:13made Puccini a huge success.
0:21:16 > 0:21:20He rapidly became one of Italy's best-loved new composers.
0:21:23 > 0:21:28# O soave fanciulla
0:21:28 > 0:21:30# O dolce viso
0:21:30 > 0:21:36# Di mite circinfuso alba lunar
0:21:36 > 0:21:39# Fremon
0:21:39 > 0:21:44# Gi nell'anima
0:21:44 > 0:21:48# Le doclezze estreme
0:21:48 > 0:21:54# Tu sol comandi, amore
0:21:54 > 0:21:58# Nel bacio
0:21:58 > 0:22:07# Freme amor. #
0:22:07 > 0:22:09Bravo!
0:22:22 > 0:22:25With that duet ringing in my ears,
0:22:25 > 0:22:27I must leave Lucca to continue my journey.
0:22:30 > 0:22:32I'm bound for the Tuscan capital
0:22:32 > 0:22:36and one of the most celebrated stops on any tourist itinerary.
0:22:42 > 0:22:47Bradshaw struggles to sum up the beauty of Florence.
0:22:47 > 0:22:52"It's generally conceded pre-eminence as the centre of intellectual life.
0:22:52 > 0:22:55"Literature and fine arts have attained a dignity
0:22:55 > 0:23:00"and grace that fittingly adorn a city set like a gem amidst beautiful,
0:23:00 > 0:23:03"natural surroundings."
0:23:03 > 0:23:05It tells me that Florence was formally the capital
0:23:05 > 0:23:08of the Grand Duchy of Tuscany, and sometime
0:23:08 > 0:23:14the capital of the Kingdom of Italy between 1865 and 1871.
0:23:14 > 0:23:19I'd like to find out how it was that this gem lost its crown.
0:23:45 > 0:23:49Since the Italian Renaissance began here in the 14th century,
0:23:49 > 0:23:53Florence has drawn people from around the globe to admire
0:23:53 > 0:23:58its intoxicating mix of art, architecture and literary history.
0:24:02 > 0:24:04Certainly no Edwardian tour of Italy
0:24:04 > 0:24:07could be complete without visiting the city.
0:24:27 > 0:24:32In 1913, the old town had recently undergone extensive transformation
0:24:32 > 0:24:37after the capital of Italy moved here from Turin in 1865.
0:24:40 > 0:24:43I've arranged to meet historian Silvia Cavicchioli.
0:24:46 > 0:24:50Silvia, what was the effect then on Florence physically
0:24:50 > 0:24:52on becoming the capital of Italy?
0:24:52 > 0:24:58Well, Florence at the time was still a medieval town
0:24:58 > 0:25:04with an ancient heart within the medieval walls.
0:25:04 > 0:25:09The problem was that many people who had arrived from Turin,
0:25:09 > 0:25:13we are talking about a flux
0:25:13 > 0:25:16of something like 30,000 people.
0:25:16 > 0:25:21It was hastily re-planned by an architect,
0:25:21 > 0:25:26Giuseppe Poggi, who intended to enlarge
0:25:26 > 0:25:31and to modernise the ancient town.
0:25:32 > 0:25:36The population of 118,000 swelled
0:25:36 > 0:25:40as politicians and citizens moved to the new capital.
0:25:40 > 0:25:43Poggi re-planned the city to accommodate them,
0:25:43 > 0:25:47replacing the medieval walls with a ring road around the ancient centre.
0:25:49 > 0:25:52As parts of Florentine history were torn down,
0:25:52 > 0:25:55Italy's united future was being built.
0:25:57 > 0:26:02The geographical achievement of unification had been very fast
0:26:02 > 0:26:06so the ruling class needed symbols
0:26:06 > 0:26:09to create a sense of national identity.
0:26:09 > 0:26:16And this is why they looked for symbols of unity in the past.
0:26:16 > 0:26:20And so the modernisation of Florence went hand in hand
0:26:20 > 0:26:24with the recovery of the glorious past of Italy.
0:26:26 > 0:26:28Along with rebuilding the city,
0:26:28 > 0:26:32the government commissioned celebrations and statues
0:26:32 > 0:26:37to glorify Italian heroes such as the 13th century poet, Dante.
0:26:40 > 0:26:44But Florence's role as Italian capital wasn't to last.
0:26:44 > 0:26:50In 1871 it was moved to its final location - Rome.
0:26:52 > 0:26:55Did Florence regret losing the status of capital city?
0:26:57 > 0:27:02Michael, I think that Florentines were, and are, very clever people.
0:27:02 > 0:27:06They were aware that Rome was destined to be the final step
0:27:06 > 0:27:09of the Italian Risorgimento.
0:27:13 > 0:27:18Florence may have been the country's capital just briefly,
0:27:18 > 0:27:22but the streets today were shaped by changes made during those six years.
0:27:24 > 0:27:26I'm ready for some rest
0:27:26 > 0:27:30before I continue my exploration in the morning.
0:27:36 > 0:27:40'Next time, I'll learn how violence erupted in this city
0:27:40 > 0:27:44'after the Futurists arrived by train.'
0:27:44 > 0:27:47There was no friendly discussion. They arrived here
0:27:47 > 0:27:49to defend Futurism with their fists.
0:27:52 > 0:27:55- A-ha!- Release the tagliatelle.
0:27:55 > 0:27:57'I'll tangle with a dish
0:27:57 > 0:28:01'that titillated the taste-buds of Edwardian tourists.
0:28:01 > 0:28:03'And I'll get to experience
0:28:03 > 0:28:07'the Italians' century-long need for speed.'
0:28:08 > 0:28:10HE CHUCKLES