0:00:03 > 0:00:05Hi, I'm Andrew Graham Dixon
0:00:05 > 0:00:07and I'm an art historian.
0:00:07 > 0:00:09These ancient roads are slightly bumpy.
0:00:11 > 0:00:14And I'm Giorgio Locatelli and I'm a cook.
0:00:15 > 0:00:17We've been all over Italy,
0:00:17 > 0:00:21revealing her gastronomic and artistic treasures,
0:00:21 > 0:00:25but now we've come to the beating heart of the country, Rome.
0:00:29 > 0:00:34It's a 2,000 year old metropolis where past and present collide.
0:00:34 > 0:00:37It's as unique for an art lover...
0:00:37 > 0:00:41In the same moment he's also Christ on the cross.
0:00:42 > 0:00:44..as it is for a food lover.
0:00:44 > 0:00:47Today I'm going to cook you a dish that is really steep in history.
0:00:49 > 0:00:53We will test traditional recipes beloved by the Romans.
0:00:53 > 0:00:55- I'm not leaving this here. - He's not going to let me have any.
0:00:55 > 0:00:59And we'll plunge our forks into the cultures that have shaped the city.
0:00:59 > 0:01:03The Trevi Fountain, famous as Italian ice cream.
0:01:03 > 0:01:06We'll explore Rome's greatest works of art and architecture.
0:01:06 > 0:01:10Uno. Due. Tre.
0:01:10 > 0:01:12- Full of light...- Incredible.
0:01:15 > 0:01:18..but also, sometimes, darkness.
0:01:18 > 0:01:20It's the voice of conscience.
0:01:20 > 0:01:22I think it's a truthful voice.
0:01:42 > 0:01:46I cannot imagine anything to do in life better than this.
0:01:47 > 0:01:49And with you in the back, as well.
0:01:51 > 0:01:53It's always been my belief that to understand Rome,
0:01:53 > 0:01:56you must first understand the Roman people.
0:01:58 > 0:02:01They've always been the driving force behind the city.
0:02:04 > 0:02:08From ancient times, the Romans have acclaimed each new Emperor...
0:02:11 > 0:02:15..roared their approval or disapproval of each new Pope
0:02:15 > 0:02:17and they show no sign of stopping that.
0:02:19 > 0:02:22They're always larger than life,
0:02:22 > 0:02:25divided, opinionated,
0:02:25 > 0:02:27passionate, unpredictable.
0:02:28 > 0:02:30Rome might be Italy's centre of government...
0:02:31 > 0:02:35..but no-one could be harder to govern than the Romans.
0:02:42 > 0:02:46Our journey begins in the historic centre of Rome,
0:02:46 > 0:02:49the politically charged Capitoline Hill.
0:02:49 > 0:02:51The smallest and most important of
0:02:51 > 0:02:53the seven hills of ancient Rome,
0:02:53 > 0:02:57it was originally the site of one of the city's most sacred temples
0:02:57 > 0:02:59and later became the seat of the Senate.
0:03:00 > 0:03:02- Look at this.- Amazing.
0:03:02 > 0:03:03Excuse me.
0:03:03 > 0:03:06Caput Mundi. Here we are.
0:03:06 > 0:03:09But it's empty. We have the whole square to ourselves.
0:03:09 > 0:03:11That is unbelievable.
0:03:11 > 0:03:13That's like having an opera performance just for you.
0:03:25 > 0:03:27But it is like a piece of theatre.
0:03:27 > 0:03:29- Yeah.- This is THE place.
0:03:29 > 0:03:31Yeah, yeah, you're right.
0:03:31 > 0:03:33So many things happened here.
0:03:33 > 0:03:35Friends, Romans, lend me your ears.
0:03:35 > 0:03:37After the death of Caesar,
0:03:37 > 0:03:42Petrarch, he comes here to receive his laurel crown
0:03:42 > 0:03:47and then Napoleon declares his short-lived rule over Italy.
0:03:47 > 0:03:49Not very important. Don't talk about him.
0:03:49 > 0:03:51But still, they always come here.
0:03:51 > 0:03:54- This is the place. - Even in the Second World War,
0:03:54 > 0:03:56General Clark really didn't feel like
0:03:56 > 0:03:59he'd achieved anything until he arrived here.
0:03:59 > 0:04:02Well, we talk about, often, Michelangelo the sculptor...
0:04:02 > 0:04:06- Yeah.- ..Michelangelo the painter, who created the Sistine Chapel...
0:04:06 > 0:04:09- Yeah.- ..but sometimes we forget, this is Michelangelo the architect,
0:04:09 > 0:04:13and he creates this beautiful star pavement,
0:04:13 > 0:04:15almost like this is the sun.
0:04:15 > 0:04:17And at the centre of it all,
0:04:17 > 0:04:20this great statue of Marcus Aurelius,
0:04:20 > 0:04:23one of the most famous statues in the world.
0:04:23 > 0:04:26This statue's stood here, really, for 2,000 years.
0:04:26 > 0:04:29The very first equestrian statue.
0:04:29 > 0:04:33And in Roman times this signified the status of the ruler,
0:04:33 > 0:04:35that the Emperor, he is astride the horse,
0:04:35 > 0:04:37just as he is, metaphorically,
0:04:37 > 0:04:39he's in charge of his people.
0:04:40 > 0:04:44There he is, the great philosopher emperor,
0:04:44 > 0:04:46founder of modern mindfulness,
0:04:46 > 0:04:48author of works on happiness.
0:04:48 > 0:04:50Extraordinary man.
0:04:50 > 0:04:54The only reason it survived was that Pope Paul III,
0:04:54 > 0:04:57for whom Michelangelo redesigned this square during the Renaissance,
0:04:57 > 0:05:01he actually believed that to be a representation of the very first
0:05:01 > 0:05:03Christian emperor, Constantine.
0:05:03 > 0:05:06- I see.- And that's why he allowed it to remain,
0:05:06 > 0:05:09because all the Roman pagan monuments...
0:05:09 > 0:05:12- All melted.- If they were made of bronze, they go.
0:05:12 > 0:05:14So this thing only survives because of a mistake.
0:05:14 > 0:05:16Fantastic. Thank God for that.
0:05:16 > 0:05:19- One of the most famous statues in the world.- It's beautiful.
0:05:19 > 0:05:21Look at the horse.
0:05:21 > 0:05:22There's two Romes, always.
0:05:22 > 0:05:24There's the Rome of the great and the powerful,
0:05:24 > 0:05:26and there's the Rome of the people, the Rome of the mob.
0:05:26 > 0:05:30And this place is where the two meet each other.
0:05:30 > 0:05:32Andrew, come, I want to ask you something.
0:05:32 > 0:05:34You know what that mean?
0:05:34 > 0:05:38Senatus Populusque Romanus.
0:05:38 > 0:05:41It's a central idea of Ancient Rome.
0:05:41 > 0:05:43Those who rule, only rule with the collaboration of the people.
0:05:43 > 0:05:46With the collaboration... of the people...
0:05:46 > 0:05:49of Rome. That means a representation
0:05:49 > 0:05:52of the mob, as we call it.
0:05:52 > 0:05:57The modern world is built on this value, on this idea,
0:05:57 > 0:06:00that the people are part of the government.
0:06:00 > 0:06:04And, you know, this is so everywhere in Rome.
0:06:04 > 0:06:09Look, the aqueduct, water, everybody, SPQR.
0:06:09 > 0:06:11- It really is everywhere.- That's it.
0:06:19 > 0:06:22It's pretty unique to see the power
0:06:22 > 0:06:25of the people declared in every corner of their own city.
0:06:25 > 0:06:27Thanks to that,
0:06:27 > 0:06:31the Roman always maintain a strong sense of ownership over Rome,
0:06:31 > 0:06:34throughout the Republic and Imperial eras.
0:06:37 > 0:06:41But the Empire ended in 476 AD.
0:06:44 > 0:06:47Over the following centuries it was replaced by rulers
0:06:47 > 0:06:50more interested in exerting power over the people.
0:06:52 > 0:06:53Fantastico.
0:06:57 > 0:07:01By the eighth century Rome was the capital of the Papal States,
0:07:01 > 0:07:03ruled by cardinals and popes.
0:07:06 > 0:07:08These ambitious men of God loved nothing more
0:07:08 > 0:07:13than to proclaim their own vast power with grandiose monuments.
0:07:13 > 0:07:17But even they knew that they also had to please the people.
0:07:17 > 0:07:19For me, the best,
0:07:19 > 0:07:23most extravagant example of this Papal showmanship in all of Rome...
0:07:25 > 0:07:26..is the Trevi Fountain.
0:07:33 > 0:07:37Commissioned by Pope Clement XII, in the 18th century.
0:07:37 > 0:07:41As famous as Italian ice cream, it looks like it's made of ice cream.
0:07:41 > 0:07:43The Trevi Fountain.
0:07:43 > 0:07:46It's so beautiful.
0:07:46 > 0:07:48In the Roman times it's bread and circuses.
0:07:48 > 0:07:50In the Papal times it's fountains.
0:07:50 > 0:07:53That's how you really impress your people.
0:07:53 > 0:07:58This is the culmination of a kind of centuries-long fountain competition.
0:07:58 > 0:08:01Every Pope wants to put a great fountain.
0:08:01 > 0:08:03It gets bigger and bigger and bigger and bigger
0:08:03 > 0:08:06and then, finally, this fountain goes up.
0:08:06 > 0:08:09And everybody just goes, "You know what..."
0:08:09 > 0:08:11- "Maybe we should stop it." - "Maybe we should stop now."
0:08:11 > 0:08:14It's the entire side of a palace.
0:08:14 > 0:08:18In the middle, the God of the seas, Neptune.
0:08:19 > 0:08:23On the left, you've got Abundance.
0:08:23 > 0:08:27She's emphasising that, "Oh, it's not just Papal extravagance.
0:08:27 > 0:08:28"Without this water..."
0:08:28 > 0:08:30- Nothing grow.- Nothing grows.
0:08:30 > 0:08:33And that's continued in this lovely detail of the plants...
0:08:33 > 0:08:36- Yes.- ..that's sort of growing up around the fountain.
0:08:37 > 0:08:39Love that one, look, growing on the rocks.
0:08:39 > 0:08:42- Looks like a lettuce or something. - Yeah.
0:08:43 > 0:08:45I think my favourite detail are
0:08:45 > 0:08:48these horses because they've got fish's tails,
0:08:48 > 0:08:51horse's bodies, and they've also got wings.
0:08:51 > 0:08:54Wings. Everything is there.
0:08:54 > 0:08:56And it's all invented in one go here.
0:08:56 > 0:08:58That is so brilliant.
0:08:58 > 0:09:00Even as it started to go up,
0:09:00 > 0:09:03people knew this was something pretty special,
0:09:03 > 0:09:05and that's why the inscriptions are so confusing
0:09:05 > 0:09:08because everyone wanted to have their name on it.
0:09:08 > 0:09:11So it was commissioned by Pope Clement XII,
0:09:11 > 0:09:16but in 1735, before the fountain is finished, he knows he's dying,
0:09:16 > 0:09:19so he quickly makes sure that his name was inscribed.
0:09:19 > 0:09:23Then, below, in the gold, we see Benedict XIV...
0:09:25 > 0:09:26..in his...
0:09:26 > 0:09:29Well, basically, in his time, it was actually finished
0:09:29 > 0:09:30and declared open.
0:09:31 > 0:09:35And then if you look below, another Pope, Clement XIII,
0:09:35 > 0:09:37I think he did some additions to the aqueduct work
0:09:37 > 0:09:40or something. And he said, "No, I want my name on it, too."
0:09:40 > 0:09:42Yeah, it's not three coins in the fountain,
0:09:42 > 0:09:44it's three Popes in a fountain.
0:09:45 > 0:09:48But in the end, the Italian who really put his name on it,
0:09:48 > 0:09:51although he didn't put his name on it...
0:09:51 > 0:09:53- Federico Fellini.- Yes.
0:09:55 > 0:09:57Marcello, where are you?
0:10:02 > 0:10:03My goodness.
0:10:08 > 0:10:10Fellini, more than anyone else,
0:10:10 > 0:10:11with the scene in La Dolce Vita
0:10:11 > 0:10:14where Anita Ekberg wades into the fountain,
0:10:14 > 0:10:17and her friend, Marcello, Marcello Mastroianni.
0:10:17 > 0:10:19They made the fountain, that was
0:10:19 > 0:10:20already the fountain of the people of Rome,
0:10:20 > 0:10:22became the fountain of the people of the world.
0:10:22 > 0:10:24Of the world, that's right.
0:10:24 > 0:10:25Absolutely.
0:10:33 > 0:10:36Oscar winner Federico Fellini was
0:10:36 > 0:10:39one of the most famous Italian film directors.
0:10:39 > 0:10:42Although from Rimini, Fellini found his real home in Rome.
0:10:44 > 0:10:47He responded above all to the people of the city.
0:10:48 > 0:10:50Their passion, their love of spectacle
0:10:50 > 0:10:53and he put them at the heart of much of his work.
0:10:55 > 0:10:58In his 1960s masterpiece La Dolce Vita,
0:10:58 > 0:11:01a satire on Roman high society,
0:11:01 > 0:11:05he transformed the city's classical sites into vibrant film sets.
0:11:07 > 0:11:10Hollywood and its starlets flooded in,
0:11:10 > 0:11:13making Rome the centre of the world once again.
0:11:16 > 0:11:20In the '50s here you had...
0:11:20 > 0:11:24..Gary Cooper, everybody, and there would be people there just watching.
0:11:24 > 0:11:26Just standing there on the street just watching.
0:11:26 > 0:11:28Look and see what's happening, who's having a coffee,
0:11:28 > 0:11:30who's drinking something.
0:11:30 > 0:11:32And Fellini was right at the base of this.
0:11:32 > 0:11:37He was kind of the spark and just illuminated the whole thing.
0:11:43 > 0:11:45Although Fellini could have worked
0:11:45 > 0:11:47with any of the big star of the time,
0:11:47 > 0:11:50he never turned his back on the Romans.
0:11:51 > 0:11:55And in any ordinary man and woman on the street he may find the potential
0:11:55 > 0:12:00extra to give him the raw quality he was always looking for in his film.
0:12:03 > 0:12:07- Buongiorno, Silvano.- Buongiorno. - Buongiorno.
0:12:07 > 0:12:10Silvano Spoletini was 21 years old
0:12:10 > 0:12:14and working as an encyclopaedia binder
0:12:14 > 0:12:18when Fellini picked him to be an extra in his film Roma.
0:12:18 > 0:12:22From that moment he went on to have a 60-year career,
0:12:22 > 0:12:27working on films such as Ocean's 12 and Gangs of New York.
0:12:29 > 0:12:33They called him The Lighthouse because he was the leading light
0:12:33 > 0:12:35and everybody follow him.
0:13:20 > 0:13:25The capacity of the Roman to, kind of, reinvent themselves
0:13:25 > 0:13:26or to push little bit.
0:13:26 > 0:13:29What are you doing this morning? I haven't got no job.
0:13:29 > 0:13:33I'm walking down Piazza del Popolo. Maybe Fellini's going to pick me up.
0:13:33 > 0:13:36Maybe he's going to put me in a film. There's always a chance.
0:13:36 > 0:13:38I like that about the Romans, no?
0:13:38 > 0:13:41I think it's... That's why it's eternal, the city,
0:13:41 > 0:13:44because of the people. We say that so many times
0:13:54 > 0:13:58It's now time to cook Andrew a classic Roman dish.
0:13:58 > 0:14:01Despite the opulent culinary tradition of the rich,
0:14:01 > 0:14:05the food that survive is the cuisine of the people.
0:14:05 > 0:14:06Buongiorno.
0:14:06 > 0:14:09Simple dishes that have stood the test of time
0:14:09 > 0:14:12and everything that I need can be found
0:14:12 > 0:14:15in one of the city's hidden gems.
0:14:15 > 0:14:18Situated on Monteverde hill in south-west Rome,
0:14:18 > 0:14:23San Giovanni di Dio is one of Rome's most vibrant markets.
0:14:23 > 0:14:26I love this great amount of greenery.
0:14:26 > 0:14:28Greenery everywhere. You see how much?
0:14:28 > 0:14:30It's like... This is bietina.
0:14:30 > 0:14:32It's like all this different type of spinach.
0:14:32 > 0:14:34Very much at the base of what they cook.
0:14:34 > 0:14:38I mean, you don't see anything that is not seasonal here, do you?
0:14:38 > 0:14:40No. It's all grown around the corner.
0:14:40 > 0:14:43That doesn't say, flown in from Israel.
0:14:43 > 0:14:46That's, like, driven in by Enzo this morning.
0:14:49 > 0:14:51Andrew.
0:14:52 > 0:14:55- That's what we want to buy. - Oh, the Romanesco!
0:14:55 > 0:14:57Buongiorno.
0:14:57 > 0:14:59Due Romanesco.
0:14:59 > 0:15:01One of the main ingredients of my dish
0:15:01 > 0:15:04are these beautiful Romanesco broccoli.
0:15:04 > 0:15:05Perfecto.
0:15:07 > 0:15:09Due carota.
0:15:10 > 0:15:12Quattordici quarantacinque.
0:15:12 > 0:15:13Grazie.
0:15:13 > 0:15:17Next, it's time to buy the main ingredient.
0:15:17 > 0:15:20- So, what are we going to buy? - We're going to buy a razza.
0:15:20 > 0:15:23It's called arzilla in Rome
0:15:23 > 0:15:25and it's called skate in England.
0:15:25 > 0:15:27All the fish have so many different names.
0:15:27 > 0:15:29In all, it has about, like,
0:15:29 > 0:15:3112 different names in Italy.
0:15:31 > 0:15:35Right, right. HE SPEAKS ITALIAN
0:15:35 > 0:15:38So, you better get your skates on.
0:15:38 > 0:15:41THEY SPEAK ITALIAN
0:15:47 > 0:15:49He already knows what I'm going to cook.
0:15:49 > 0:15:51Which is..?
0:15:51 > 0:15:53Pasta broccoli con arzilla.
0:15:53 > 0:15:55Pasta broccoli con arzilla.
0:16:01 > 0:16:04THEY SPEAK ITALIAN
0:16:04 > 0:16:0762 years he's been in the market.
0:16:10 > 0:16:12- Tu sempre questa..?- Cento questa.
0:16:12 > 0:16:15It's 100 years that they've had this stall on this market.
0:16:15 > 0:16:16Wow.
0:16:21 > 0:16:23He says, "Do you want some parsley?"
0:16:23 > 0:16:24because when they serve the fish,
0:16:24 > 0:16:26they give you present, a little bit of parsley.
0:16:26 > 0:16:28What do you want more than that?
0:16:28 > 0:16:30- Grazie.- Grazie, buona giornata.
0:16:30 > 0:16:32So we have everything we need now.
0:16:32 > 0:16:34Now we have everything we need.
0:16:34 > 0:16:35So we can go and eat.
0:16:35 > 0:16:37Let's go and cook first.
0:16:37 > 0:16:39I forgot that bit.
0:16:39 > 0:16:41I forgot that bit...
0:16:42 > 0:16:44Una, una...
0:16:44 > 0:16:45What are you doing?!
0:16:50 > 0:16:53Andrew, today I'm going to cook you a dish that
0:16:53 > 0:16:55is really steeped in history.
0:16:55 > 0:16:58I'm going to cook a delicious centuries-old
0:16:58 > 0:17:00fish soup with vegetables.
0:17:01 > 0:17:03Let's start with the fish first.
0:17:03 > 0:17:06The skin of the skate is very spiky
0:17:06 > 0:17:08so it's important to scrape it
0:17:08 > 0:17:10properly under the tap.
0:17:10 > 0:17:12OK, look, Andrew, I mean,
0:17:12 > 0:17:15you can see the wings which are the eatable part.
0:17:15 > 0:17:19I'm going to go pretty straightforward in, like that.
0:17:19 > 0:17:20We're going to go round it.
0:17:22 > 0:17:24As you cut you can feel the blade
0:17:24 > 0:17:28hitting the bones, so just follow it the length of the fish.
0:17:28 > 0:17:29Eugh...
0:17:30 > 0:17:34You also have to remove the guts, head and tail,
0:17:34 > 0:17:38until you're left with just two beautiful wings.
0:17:38 > 0:17:40OK, so now...
0:17:40 > 0:17:43Now they really do look like angel wings, don't they?
0:17:43 > 0:17:45Now, this is the most important bit, OK.
0:17:45 > 0:17:50The trickiest job is to remove the skin from the wings of the skate.
0:17:50 > 0:17:55Of course, that's from the electricity department.
0:17:55 > 0:17:59Very good. You'd be a really good executioner or torturer, I think.
0:17:59 > 0:18:00You've got all the skills.
0:18:02 > 0:18:05If you carry on like that, chatting,
0:18:05 > 0:18:09I'll definitely execute you before the end.
0:18:09 > 0:18:11So here they are.
0:18:11 > 0:18:14Usually when you go to the market this is what you get.
0:18:14 > 0:18:16But you're going to use everything from that,
0:18:16 > 0:18:18you're not just going to use the wing,
0:18:18 > 0:18:21you're going to use all the bones and everything, to make a stock?
0:18:21 > 0:18:24- That's what I want to make, a beautiful stock, with that.- OK.
0:18:24 > 0:18:26So...I got my pan.
0:18:27 > 0:18:30I make the fish stock with carrot, celery,
0:18:30 > 0:18:32onions and a couple of bay leaves.
0:18:32 > 0:18:35That's what they used to put on Julius Caesar's head, isn't it?
0:18:35 > 0:18:37That's right.
0:18:37 > 0:18:39Bit of peppercorns.
0:18:39 > 0:18:42And finally, a couple of juniper cloves.
0:18:42 > 0:18:43- Interesting.- A couple of them,
0:18:43 > 0:18:46just to give them a little bit to sustain the flavour.
0:18:46 > 0:18:47- Interesting.- OK.
0:18:52 > 0:18:56Next, I put the fish bones in with the vegetables,
0:18:56 > 0:18:58as well as the two wings.
0:18:58 > 0:19:00So we put them in, both of them.
0:19:00 > 0:19:01Oh, you put the wings in too.
0:19:01 > 0:19:03That's right. Cold water.
0:19:04 > 0:19:08The last thing that goes in there is a little splash of wine.
0:19:09 > 0:19:11OK. The idea is this...
0:19:11 > 0:19:13I'm going to put that on a very tiny fire.
0:19:13 > 0:19:16Yeah. And I want it to go fast.
0:19:16 > 0:19:19You must remember one thing, that fish bones
0:19:19 > 0:19:22release all their flavours in about 20 minutes.
0:19:22 > 0:19:27So then, if you want to make it strong you have to reduce it.
0:19:27 > 0:19:29It's all about, like, very
0:19:29 > 0:19:33intelligently stealing the flavour out of these things, yeah.
0:19:33 > 0:19:35You quite often talk about persuading.
0:19:35 > 0:19:40Persuading the food to cooperate with you.
0:19:40 > 0:19:42You have to make it fall in love
0:19:42 > 0:19:44with you and you fall in love with it and
0:19:44 > 0:19:47then you make a beautiful thing now together.
0:19:50 > 0:19:52As the stock is heating up, it's
0:19:52 > 0:19:55important to skim off any floating froth,
0:19:55 > 0:19:57to make sure that it's clear when cooked.
0:19:59 > 0:20:04After 15 minutes, we can take the skate wings out and let them rest.
0:20:04 > 0:20:05Oh!
0:20:05 > 0:20:07I lost a little bit.
0:20:07 > 0:20:09So, I'm going to let that cook.
0:20:09 > 0:20:10And hold on...
0:20:10 > 0:20:12I'm going to show you now what I'm doing.
0:20:13 > 0:20:15OK.
0:20:15 > 0:20:18- We're going to prepare the broccoli. - Oh, I love these.- Yeah?
0:20:18 > 0:20:19Such a beautiful thing.
0:20:19 > 0:20:22Now, I'm going to cut them into really
0:20:22 > 0:20:24lovely sort of floret
0:20:24 > 0:20:26as they call it in English, no?
0:20:26 > 0:20:29And some of these will become a little bit more overcooked
0:20:29 > 0:20:31and melt away in the sauce.
0:20:31 > 0:20:33Some of this will be really nice and
0:20:33 > 0:20:35give you a little crunch, you know.
0:20:36 > 0:20:39Next, I start preparing the base for the soup.
0:20:39 > 0:20:40Bit of olive oil...
0:20:40 > 0:20:44Onions, celery, carrots, garlic, the Romanesco broccoli,
0:20:44 > 0:20:47- and the anchovies.- Oo-ooh!
0:20:47 > 0:20:48And I put it there.
0:20:49 > 0:20:51OK. I'm going to let
0:20:51 > 0:20:54those melt away...
0:20:55 > 0:20:57- ..with it, eh.- Mmm, good smell.
0:20:59 > 0:21:01Vino, in it.
0:21:01 > 0:21:03SIZZLING
0:21:03 > 0:21:05- You hear that..? - HE IMITATES SIZZLING
0:21:05 > 0:21:08That's what I want.
0:21:08 > 0:21:10A few pieces of tomato.
0:21:10 > 0:21:14And to give it an absolutely amazing colour, tomato paste.
0:21:23 > 0:21:25This is my stock.
0:21:26 > 0:21:30We're going to put some of the stock on that.
0:21:30 > 0:21:33I'm going to let it cook for at least...
0:21:35 > 0:21:36..ten minutes.
0:21:37 > 0:21:40Time to finish the dish by adding a short type of pasta
0:21:40 > 0:21:41that's perfect for soups.
0:21:43 > 0:21:44Don't forget to stir it.
0:21:44 > 0:21:46You don't want the pasta to stick at the bottom.
0:21:49 > 0:21:51Oh, so that's the finishing touch.
0:21:51 > 0:21:53Oo-oo-ooh!
0:21:55 > 0:21:57What a lovely idea for a dish.
0:21:59 > 0:22:01OK, you can prepare the table now.
0:22:01 > 0:22:02Because we're nearly there, eh.
0:22:05 > 0:22:07- Come, Andrew.- Woh-oh...
0:22:11 > 0:22:14Oh, the smell is fantastic.
0:22:19 > 0:22:23Giorgio, that is fantastic.
0:22:23 > 0:22:25This is Rome.
0:22:25 > 0:22:27Intenso, it's intense.
0:22:27 > 0:22:30Also, the broccolo adds this really nice flavour
0:22:30 > 0:22:32and it adds a little bit of
0:22:32 > 0:22:34- bitterness to that.- Yep.
0:22:34 > 0:22:38If you came to Rome and you were a pilgrim, not so much money,
0:22:38 > 0:22:40you might end up eating this.
0:22:40 > 0:22:43Definitely. That was the staple.
0:22:43 > 0:22:44- Really?- Absolutely.
0:22:44 > 0:22:45If you go back in time...
0:22:45 > 0:22:46That's it.
0:22:47 > 0:22:51The ideal dish for a tired pilgrim.
0:22:51 > 0:22:54Perfected, no wonder, here in Rome.
0:23:00 > 0:23:03Following the counterreformation,
0:23:03 > 0:23:05the Catholic Church did its utmost
0:23:05 > 0:23:07to restore Rome's spiritual authority...
0:23:08 > 0:23:10..raising the great dome of St Peter's...
0:23:14 > 0:23:18..and building a multitude of other churches as beacons to the faithful.
0:23:19 > 0:23:22Thousands of ragged pilgrims in search of redemption
0:23:22 > 0:23:27flooded the city, making Rome a city of stark contrasts.
0:23:27 > 0:23:28Rich architecture...
0:23:30 > 0:23:33..alongside desperately poor people, living on the streets...
0:23:36 > 0:23:39..and nobody captured that better than the painter Caravaggio.
0:23:42 > 0:23:44I want to show Giorgio two of my favourite paintings...
0:23:46 > 0:23:52..breathtaking works that would give the travellers hope and consolation.
0:23:52 > 0:23:56So, Giorgio, this is the burial chapel of Tiberio Cerasi.
0:23:56 > 0:24:00He was the principal banker to the Pope, had a lot of money,
0:24:00 > 0:24:02but he knew he was dying,
0:24:02 > 0:24:05and so he commissioned the paintings in this chapel,
0:24:05 > 0:24:08two of them are by Caravaggio.
0:24:08 > 0:24:10This one...
0:24:10 > 0:24:13..shows St Peter.
0:24:13 > 0:24:15And immediately you are face-to-face
0:24:15 > 0:24:18with Caravaggio's great revolution,
0:24:18 > 0:24:23like Fellini so many years later, to cast the people from the street,
0:24:23 > 0:24:27from the streets of Rome, and to put them in his paintings.
0:24:27 > 0:24:29And he's doing that here, with this terrible scene,
0:24:29 > 0:24:31the crucifixion of St Peter.
0:24:31 > 0:24:35It's almost as if he might have used as his model that poor man,
0:24:35 > 0:24:38that beggar that we saw on the steps
0:24:38 > 0:24:40of the other church around the corner.
0:24:40 > 0:24:44And in his own time these paintings were really shocking.
0:24:44 > 0:24:46Oh, it's shocking now
0:24:46 > 0:24:48with the imagery that we are used to
0:24:48 > 0:24:50but it's still quite powerful, this one, you know.
0:24:50 > 0:24:54And that dirty feet it just says so much.
0:24:54 > 0:24:57Because Italian painting at that moment, before Caravaggio,
0:24:57 > 0:24:59was very artificial, very mannered,
0:24:59 > 0:25:00very contrived,
0:25:00 > 0:25:03very little smell of reality in it,
0:25:03 > 0:25:07and suddenly with Caravaggio you've got Peter's sunburnt face,
0:25:07 > 0:25:09his scrawny torso,
0:25:09 > 0:25:12his agonised expression,
0:25:12 > 0:25:14and Caravaggio's painting it almost
0:25:14 > 0:25:18as a grisly scene of hydraulic engineering.
0:25:18 > 0:25:19Man driven.
0:25:19 > 0:25:22You're going to lift him up, put him on the cross.
0:25:23 > 0:25:26But I think also Caravaggio's giving hope.
0:25:26 > 0:25:28Because this church is the first church
0:25:28 > 0:25:30that you'd come to when you enter Rome
0:25:30 > 0:25:33because that, outside, was once the gate to Rome.
0:25:33 > 0:25:36Now there's a road outside, but in the past it was fields.
0:25:37 > 0:25:40You had dirty feet, you identify yourself with them.
0:25:40 > 0:25:42Exactly. Yeah.
0:25:42 > 0:25:47Cerasi, whose mortuary chapel this is, he was clever.
0:25:47 > 0:25:51Not only did he commission Caravaggio to decorate the chapel,
0:25:51 > 0:25:56but he also got the leading other painter of Rome at the time,
0:25:56 > 0:25:58Annibale Carracci,
0:25:58 > 0:26:01to paint the main altarpiece.
0:26:01 > 0:26:03Below you've got the Apostles
0:26:03 > 0:26:07and it shows the moment when the Madonna's soul
0:26:07 > 0:26:08is assumed into heaven.
0:26:08 > 0:26:11Up she rises into the skies.
0:26:14 > 0:26:17This is really the dawn of the baroque style.
0:26:18 > 0:26:22And what the baroque style exists to do is to make us,
0:26:22 > 0:26:26the worshippers coming to church, feel a little bit smaller,
0:26:26 > 0:26:28a little bit on our knees,
0:26:28 > 0:26:31a little bit "Oh!", in awe.
0:26:31 > 0:26:33This is a painting that says, "Yes,
0:26:33 > 0:26:37"you can come here to worship but remember your place."
0:26:37 > 0:26:40And what's interesting is that the Carracci painting,
0:26:40 > 0:26:46that was installed before Caravaggio painted his second picture.
0:26:46 > 0:26:47And what did he do?
0:26:48 > 0:26:51It's this enormous horse.
0:26:51 > 0:26:54And he puts the horse's arse in the face...
0:26:56 > 0:26:58..of the Virgin of Carracci.
0:26:58 > 0:27:00As if to say,
0:27:00 > 0:27:02"This is what I think...
0:27:02 > 0:27:06"..of your elevated Christianity."
0:27:06 > 0:27:07I like this Caravaggio guy.
0:27:09 > 0:27:11- He's quite cool.- He really is.
0:27:11 > 0:27:12He's cool, man.
0:27:12 > 0:27:17This is St Paul or Saul as he was,
0:27:17 > 0:27:19at the moment of his conversion.
0:27:19 > 0:27:21That's the subject of the painting.
0:27:21 > 0:27:24This is the moment on the road to Damascus
0:27:24 > 0:27:26when he becomes a Christian.
0:27:27 > 0:27:29Boom, you can hear it.
0:27:29 > 0:27:30I never fell off the horse.
0:27:30 > 0:27:32I fell off a few motorbikes.
0:27:32 > 0:27:34I never fell off the horse.
0:27:34 > 0:27:36But I can, you know, kind of like,
0:27:36 > 0:27:39you can see he's been struck and he's almost underneath the horse.
0:27:39 > 0:27:43Caravaggio means the horse and the groom...
0:27:43 > 0:27:44..who looks a bit like Joseph,
0:27:44 > 0:27:47I think to evoke the idea of the Nativity.
0:27:47 > 0:27:48So you do a kind of double take
0:27:48 > 0:27:50cos you look down from them and you expect to see
0:27:50 > 0:27:52the baby Jesus by the manger.
0:27:52 > 0:27:54But, no, you see Paul.
0:27:54 > 0:27:56But then, after you've done the double take,
0:27:56 > 0:27:58I think that's when the meaning unfolds.
0:27:58 > 0:28:01Because, yes, at this moment of his conversion,
0:28:01 > 0:28:04Paul is like the little baby Jesus in the manger.
0:28:04 > 0:28:08He's lying helpless on the ground.
0:28:08 > 0:28:11And then Caravaggio, with a stroke of genius, I think,
0:28:11 > 0:28:14has Paul stretch out his arms,
0:28:14 > 0:28:19so in the same moment he's also Christ on the cross.
0:28:19 > 0:28:21So light floods him.
0:28:21 > 0:28:23He is spiritually enlightened.
0:28:23 > 0:28:27It's one of the most amazing pictures in the world.
0:28:27 > 0:28:32I think this is one of the best painting I ever seen in my life.
0:28:32 > 0:28:34He's a communicator...
0:28:35 > 0:28:37..to the people like me.
0:28:37 > 0:28:39And that is something that I would
0:28:39 > 0:28:42now come to the church to have a look at that.
0:28:43 > 0:28:46So, you vote for Caravaggio?
0:28:46 > 0:28:48Due a zero.
0:28:51 > 0:28:53For centuries after his death,
0:28:53 > 0:28:57Caravaggio was sneered at as a crude and vulgar artist.
0:29:01 > 0:29:03He was rediscovered partly by
0:29:03 > 0:29:06Italian film-makers, including Fellini,
0:29:06 > 0:29:09who loved his cinematic use of light
0:29:09 > 0:29:11as well as the way he used real people.
0:29:14 > 0:29:15And since the mid-20th century,
0:29:15 > 0:29:18Caravaggio's reputation has been on the rise.
0:29:18 > 0:29:22He's now one of the world's best-loved painters.
0:29:29 > 0:29:31- Oh!- Oh!
0:29:31 > 0:29:33Va bene...
0:29:34 > 0:29:36This is the old Roman Way.
0:29:36 > 0:29:39- Oh, man!- Julius Caesar used to come down this road, man.
0:29:39 > 0:29:41Got to be excited about it.
0:29:44 > 0:29:47Rome is the political centre of Italy.
0:29:47 > 0:29:51Nowhere else will you find so many politician and bureaucrats...
0:29:51 > 0:29:53..or so many limousines stuck in traffic.
0:29:55 > 0:29:59Ordinary Romans are used to rubbing shoulders with those in power
0:29:59 > 0:30:02and they are prepared to put up a fight.
0:30:02 > 0:30:04GIORGIO SCREAMS
0:30:06 > 0:30:08Let's go and have a coffee.
0:30:10 > 0:30:13Romans love nothing more than discussing politics
0:30:13 > 0:30:15from their first espresso of the day.
0:30:15 > 0:30:18To be the mayor of this town,
0:30:18 > 0:30:20I think is the hardest job.
0:30:20 > 0:30:24Whatever you do, you'll always have someone who says the contrary.
0:30:24 > 0:30:26How many bureaucrats are there in Rome?
0:30:26 > 0:30:27Well, that's the thing.
0:30:27 > 0:30:30Quanti burocrati a Roma?
0:30:30 > 0:30:31- Troppi.- Troppi!
0:30:32 > 0:30:34Too many, too many.
0:30:36 > 0:30:37But, at the end of the day,
0:30:37 > 0:30:40Rome would be always Rome because of the people of Rome.
0:30:40 > 0:30:42- Yeah.- You can put as many laws as they want,
0:30:42 > 0:30:44but they will do whatever they want,
0:30:44 > 0:30:47because they've been doing that for the eternal time.
0:30:47 > 0:30:49That's why they've been here for such a long time,
0:30:49 > 0:30:51because that's what they do.
0:30:51 > 0:30:52They do what they want.
0:30:52 > 0:30:54I read in the paper that the
0:30:54 > 0:30:57highest-paid head of traffic wardens in the world
0:30:57 > 0:31:00is the head of the traffic wardens of Rome.
0:31:00 > 0:31:02He gets paid more than the President of the United States!
0:31:02 > 0:31:05Yeah, exactly, he gets paid, like, half a million pounds.
0:31:05 > 0:31:07And, still, everybody parks where they like.
0:31:10 > 0:31:12Everybody do what they want.
0:31:12 > 0:31:14I want to take Giorgio to see a monument
0:31:14 > 0:31:17that hails the moment when Rome first became
0:31:17 > 0:31:19the centre of modern Italian politics.
0:31:23 > 0:31:25At the end of the 19th century Italy
0:31:25 > 0:31:27was still divided into many states,
0:31:27 > 0:31:28under different rulers.
0:31:29 > 0:31:35But in 1861 the Savoy family, under their king, Vittorio Emanuele,
0:31:35 > 0:31:40had placed their stamp on the unification of the country.
0:31:40 > 0:31:43And ten years later declared Rome its capital.
0:31:44 > 0:31:46For the Roman people, it also meant
0:31:46 > 0:31:49the end of over a thousand years of papal rule.
0:31:49 > 0:31:51So to celebrate this moment,
0:31:51 > 0:31:54and the crowning of Italy's first king...
0:31:57 > 0:31:59..the Vittoriano was erected,
0:31:59 > 0:32:01right in the centre of Rome,
0:32:01 > 0:32:03next to the Imperial Forum.
0:32:04 > 0:32:06What a great beauty.
0:32:06 > 0:32:08Which one? I like these bits.
0:32:08 > 0:32:09I'm not so sure about...
0:32:09 > 0:32:11That big one, over there.
0:32:12 > 0:32:15When you see it in the context of real Roman ruins,
0:32:15 > 0:32:17I think you get a sense of how...
0:32:17 > 0:32:20..just crazily enormous,
0:32:20 > 0:32:22how glaringly white,
0:32:22 > 0:32:25how astonishingly pompous,
0:32:25 > 0:32:28is the monument to Vittorio Emanuele.
0:32:28 > 0:32:31I mean, this is Vittorio Emanuele coming to Rome,
0:32:31 > 0:32:35saying, "Italy, one Italy, under me".
0:32:35 > 0:32:37And he's basically
0:32:37 > 0:32:42trying to replace Marco Aurelio, Marcus Aurelius, who's in the back,
0:32:42 > 0:32:44obscured almost, from the view of the Romans,
0:32:44 > 0:32:46by this great white elephant.
0:32:46 > 0:32:50With him on his horse, he's saying, "I'm the new emperor."
0:32:50 > 0:32:53- Yeah.- It's the size of a mountain.
0:32:53 > 0:32:58I mean, I think it's 70 metres high, more than 100 metres across.
0:32:58 > 0:33:01It was inaugurated, I think, in 1912
0:33:01 > 0:33:03and finished 13 years later,
0:33:03 > 0:33:08the greatest job creation scheme in the history of Italian sculpture.
0:33:08 > 0:33:10The Roman never liked...
0:33:10 > 0:33:12You know what they call this?
0:33:12 > 0:33:14- They call it the typewriter. - The typewriter?- Yes.
0:33:14 > 0:33:16It looks like a typewriter.
0:33:16 > 0:33:18You know, one of the old ones, that you just...
0:33:18 > 0:33:21- Swings along.- I think that's the whole problem, though,
0:33:21 > 0:33:23is that the language that's being typed out on the typewriter is not
0:33:23 > 0:33:26really Roman, not Italian.
0:33:26 > 0:33:29This is the classicism of Germany.
0:33:29 > 0:33:31I mean, it could almost be made of ice.
0:33:31 > 0:33:35It's glaring, its white, it's enormous, it's like the Valhalla.
0:33:35 > 0:33:36This is Wagner, not Verdi.
0:33:36 > 0:33:40Yeah. The whiteness really puts it at odds with everything else.
0:33:40 > 0:33:42Because, I don't know, like, look at those tree,
0:33:42 > 0:33:45looks in harmony with the church and things.
0:33:45 > 0:33:48You kind of like, the shapes, they're all working, these columns,
0:33:48 > 0:33:51and suddenly it's like an eyesore, isn't it?
0:33:51 > 0:33:55Think about the Capitoline Hill is just behind that.
0:33:55 > 0:33:59So in order to build this, what did they build it on top?
0:33:59 > 0:34:00Surely there must be something.
0:34:00 > 0:34:03Yeah. No, no, they did, they knocked down some temples,
0:34:03 > 0:34:05they covered up a piece of ancient Roman history
0:34:05 > 0:34:08to create the modern monument.
0:34:08 > 0:34:12I mean, this is absolutely in the centre of the city.
0:34:12 > 0:34:15And I think that's again part of the problem the people here
0:34:15 > 0:34:16have had accepting it -
0:34:16 > 0:34:20they know that this has abolished part of their own history.
0:34:20 > 0:34:22And so there he is on his horse,
0:34:22 > 0:34:24the new Marcus Aurelius,
0:34:24 > 0:34:25Vittorio Emanuele II,
0:34:25 > 0:34:26and he's saying,
0:34:26 > 0:34:29"Friends, Romans, countrymen,
0:34:29 > 0:34:31"lend me your ears", but I think
0:34:31 > 0:34:33they never really did lend them their ears.
0:34:34 > 0:34:37I really don't like the typewriter.
0:34:37 > 0:34:40But the Savoy family rule wasn't all bad news for Rome.
0:34:43 > 0:34:48In fact, one of my favourite districts was created under them.
0:34:48 > 0:34:50A place made for the people.
0:34:50 > 0:34:53And I really want to show it to Andrew.
0:34:54 > 0:34:56At the beginning of the 20th century,
0:34:56 > 0:34:58from being a sleepy village,
0:34:58 > 0:35:02Rome rapidly became a frenetic European capital.
0:35:03 > 0:35:05The Savoy family started building
0:35:05 > 0:35:08social housing for workers such as the Garbatella.
0:35:10 > 0:35:12Once at the very edges of the city,
0:35:12 > 0:35:14and now right in the centre,
0:35:14 > 0:35:16only ten minutes by scooter from the Coliseum.
0:35:19 > 0:35:21Here we are, in Garbatella, man.
0:35:23 > 0:35:24Where are we going, up the steps?
0:35:24 > 0:35:25Yeah, let's go up there.
0:35:27 > 0:35:28Come and have a look at this.
0:35:28 > 0:35:34Garbatella, garbato, means to be kind, you know.
0:35:34 > 0:35:36So this is a place where you're welcome.
0:35:36 > 0:35:39And look, we are in the centre of town.
0:35:39 > 0:35:41This is not the Rome that I know.
0:35:41 > 0:35:43I mean, this is so peaceful.
0:35:43 > 0:35:47Where are the guys on motor scooters, zipping past you?
0:35:48 > 0:35:51Absolutely. But look, the architecture is incredible.
0:35:51 > 0:35:54- Look at this place. - But this is the 1920s.
0:35:54 > 0:35:59When I see a house like that, I mean, my association is to think,
0:35:59 > 0:36:01"Suddenly I am actually in the countryside in Italy."
0:36:01 > 0:36:04Yeah, little patch where you can grow his little basil
0:36:04 > 0:36:07and his little potato or tomato.
0:36:07 > 0:36:09But what I love about it is that it is so Italian.
0:36:09 > 0:36:13It's a little bit chaotic, a little bit unkempt,
0:36:13 > 0:36:14but in a very beautiful way.
0:36:14 > 0:36:17Like, look where they've got the two pipes presumably were there one time
0:36:17 > 0:36:19but they haven't bothered to paint it back.
0:36:19 > 0:36:21There's the plaster round the window.
0:36:21 > 0:36:23- This is charm. - It's charming, it's lovely.
0:36:23 > 0:36:25It's really like a little paradise.
0:36:25 > 0:36:27From the people I've seen living here,
0:36:27 > 0:36:30quite a lot of them are getting on a bit now.
0:36:30 > 0:36:32It's as if they are part of the original community.
0:36:32 > 0:36:34People in their 60s, people in their 70s...
0:36:34 > 0:36:35You want to live with the people
0:36:35 > 0:36:38that you love and you want to die with the people that you love.
0:36:38 > 0:36:40Surrounded by it, the sense of community,
0:36:40 > 0:36:42makes you feel like a human.
0:36:52 > 0:36:55- Buongiorno.- Buongiorno.
0:36:55 > 0:36:58- Qual'e il nomo del tuo cane?- Pepe.
0:36:58 > 0:37:00- Pepe!- Buongiorno, Pepe. - Cacio e pepe.
0:37:00 > 0:37:02Perfect.
0:37:02 > 0:37:05Salve. Buongiorno.
0:37:08 > 0:37:10In designing the Garbatella,
0:37:10 > 0:37:14Rome's urban planners were greatly influenced by the English trend
0:37:14 > 0:37:18known as the garden city movement of the early 20th century.
0:37:18 > 0:37:20So in a way,
0:37:20 > 0:37:22this is a Roman version of
0:37:22 > 0:37:24Hampstead Garden Suburb in London.
0:37:27 > 0:37:30But the character of this village on the edge of the city
0:37:30 > 0:37:32will change in the 1920s...
0:37:33 > 0:37:35..when the fascists came to power.
0:37:39 > 0:37:42Fascism and its drive for modernisation
0:37:42 > 0:37:44took an iron grip of Italy,
0:37:44 > 0:37:45and most of all, Rome.
0:37:47 > 0:37:51Thousands more workers from the countryside flooded into the city.
0:37:54 > 0:37:57And to house them, a new generation of architects
0:37:57 > 0:38:01came up with grander designs and bigger buildings for Garbatella.
0:38:06 > 0:38:09You see, Andrew, just round the corner it changes completely.
0:38:09 > 0:38:12Wow. And they're just so grand.
0:38:12 > 0:38:14- They are.- They're like palaces.
0:38:14 > 0:38:17This style is called baroquetto.
0:38:17 > 0:38:19Baroquetto.
0:38:19 > 0:38:21- That's right. - Which means little Baroque.
0:38:21 > 0:38:23- Yeah, baby Baroque. - Baby Baroque.
0:38:23 > 0:38:26It's fantastic cos it is! That's like a Baroque palace.
0:38:26 > 0:38:30Except you see these heads normally on an aristocratic palace.
0:38:30 > 0:38:33- That's right.- But here, the heads
0:38:33 > 0:38:36are on the side of a council flat block,
0:38:36 > 0:38:40and they're the heads of people from the 1920s, or maybe the 1930s.
0:38:40 > 0:38:41Look at her little bob hairstyle.
0:38:41 > 0:38:44- Unbelievable, isn't it? - It's fantastic.
0:38:44 > 0:38:48Look, there's something like a gargoyle on the front of the house.
0:38:49 > 0:38:50It's not just building.
0:38:50 > 0:38:53I can imagine things happening behind those closed windows,
0:38:53 > 0:38:56all those little houses with all these little kitchens
0:38:56 > 0:38:59and a lot of this lovely food that comes from the countryside,
0:38:59 > 0:39:00from the connections.
0:39:00 > 0:39:02And they have... The market is very alive.
0:39:02 > 0:39:05This is the spirits of Rome,
0:39:05 > 0:39:07is within these people.
0:39:07 > 0:39:09- Yeah.- You know, everything comes and goes in this city,
0:39:09 > 0:39:10everything gets buried,
0:39:10 > 0:39:12it's just the people who stays on top.
0:39:16 > 0:39:18It's unusual, pretty amazing, really,
0:39:18 > 0:39:21to see a fully working community,
0:39:21 > 0:39:25almost like a village, right in the middle of the 21st-century city.
0:39:30 > 0:39:32Garbatella, bella, Andrew.
0:39:32 > 0:39:34If I had to live somewhere in Rome,
0:39:34 > 0:39:37I would love to live in Garbatella.
0:39:37 > 0:39:39I think it fits my style.
0:39:41 > 0:39:45Yeah, I can see you, just in your vest, like, cooking outside, maybe.
0:39:47 > 0:39:49Now we're going back onto the cobbles.
0:39:49 > 0:39:51Uh-uh-uh-uh-uh...
0:39:58 > 0:40:02You can feel the ancient power of the people all over Rome,
0:40:02 > 0:40:04even in some unlikely places...
0:40:05 > 0:40:08..such as the palaces of the richest noble families.
0:40:10 > 0:40:14Because they knew just how hard it was to rule in this fickle town,
0:40:14 > 0:40:19they built their palazzi-like fortresses to keep the mob at bay.
0:40:20 > 0:40:25And none was more fortress-like than the stunning Palazzo Farnese.
0:40:25 > 0:40:27- Palazzo Farnese.- What a palace, eh?
0:40:27 > 0:40:31It's got 40 windows just on the front. Amazing.
0:40:37 > 0:40:41The Farnese family was one of the great forces in Rome
0:40:41 > 0:40:43from the 15th to the 18th century.
0:40:44 > 0:40:47Many military commanders and cardinals,
0:40:47 > 0:40:49two popes and the Queen of Spain
0:40:49 > 0:40:51can be found in their family tree.
0:40:56 > 0:40:57And thanks to their huge riches,
0:40:57 > 0:41:00the family constructed the most magnificent
0:41:00 > 0:41:03high Renaissance dwelling in all of Rome,
0:41:03 > 0:41:06designed by Antonio da Sangallo the Younger,
0:41:06 > 0:41:08and a chap called Michelangelo.
0:41:12 > 0:41:15I'm taking Giorgio to see one particular room
0:41:15 > 0:41:19with a truly amazing series of frescoes by Annibale Carracci...
0:41:22 > 0:41:26..the same artist Caravaggio had mocked with the rear end of a horse.
0:41:26 > 0:41:29Here, Carracci was on top form.
0:41:30 > 0:41:33Look at this, the sun has come to greet us.
0:41:33 > 0:41:35Now, don't look up, that's the only rule.
0:41:35 > 0:41:37- OK.- You can look at the garden.
0:41:37 > 0:41:39Wow. And we're right in the middle of the row.
0:41:39 > 0:41:41In the middle of the row.
0:41:41 > 0:41:43OK, now we're going to do it.
0:41:43 > 0:41:45OK? OK.
0:41:45 > 0:41:48Uno, due...
0:41:48 > 0:41:50Three.
0:41:54 > 0:41:56Wow!
0:41:57 > 0:41:59Look at that! Look at that.
0:42:09 > 0:42:13Started 1597, finished 1608.
0:42:13 > 0:42:1611 years in the making.
0:42:18 > 0:42:21And the theme of the whole thing...
0:42:24 > 0:42:27# ..the power of love
0:42:27 > 0:42:30# A force from above. #
0:42:31 > 0:42:33Really! That is the subject!
0:42:42 > 0:42:45You've got Diana falling in love,
0:42:45 > 0:42:47despite her vows of chastity,
0:42:47 > 0:42:52falling in love with the shepherd Endymion, sleeping muscle man.
0:42:53 > 0:42:57You've got the abduction of Galatea,
0:42:57 > 0:43:01you've got Jupiter and Juno.
0:43:01 > 0:43:04We've got Bacchus and Ariadne.
0:43:04 > 0:43:10And here he is, in his golden carriage drawn by tigers...
0:43:10 > 0:43:13..with rams, symbols of sex and lust.
0:43:14 > 0:43:16It's almost too much, isn't it?
0:43:16 > 0:43:19It really, like, is incredible.
0:43:19 > 0:43:24The figure of the lady is so beautiful, rounded and beautiful.
0:43:24 > 0:43:27They're not the model of the modern supermodel, let's put it that way.
0:43:27 > 0:43:29- That's for sure. - They're not skin and bones.
0:43:29 > 0:43:31But they're much more beautiful.
0:43:31 > 0:43:32It's quite a thing.
0:43:32 > 0:43:36And it was all commissioned by a cardinal.
0:43:36 > 0:43:37Odoardo Farnese.
0:43:37 > 0:43:41Why would a cardinal have something like that in his house?
0:43:41 > 0:43:45Well, actually, in the Renaissance, they weren't prudish.
0:43:45 > 0:43:49There was a tradition of noble families commissioning,
0:43:49 > 0:43:52usually on the occasion of a marriage,
0:43:52 > 0:43:56quite sexy, secular images.
0:43:56 > 0:43:58Almost like encouragements to procreation.
0:43:58 > 0:44:01This is a message from the cardinal to all of his children.
0:44:01 > 0:44:03Right. "This is how you do it, just get on with it."
0:44:05 > 0:44:09Isn't it? It sounds a little bit like that, doesn't it?
0:44:09 > 0:44:13Yes, I don't know what that is in Latin, but...
0:44:13 > 0:44:18I think what the room as a whole is saying is, "That for us as a dynasty
0:44:18 > 0:44:21"to uphold our power, we must breed."
0:44:24 > 0:44:26And something really neat, look at this.
0:44:26 > 0:44:28This is thanks to the French, actually,
0:44:28 > 0:44:30who've had this as their embassy for so long,
0:44:30 > 0:44:32they cleaned this room,
0:44:32 > 0:44:33and look what they found.
0:44:33 > 0:44:36Carracci had actually left some of his sketches.
0:44:36 > 0:44:38So when he was making the ceiling,
0:44:38 > 0:44:41he was actually doing these little sketches.
0:44:41 > 0:44:44There's actually quite a sad postscript
0:44:44 > 0:44:47to the story of this amazing masterpiece.
0:44:47 > 0:44:49They cardinal, for whatever reason...
0:44:50 > 0:44:52..was a really mean guy,
0:44:52 > 0:44:55so when Carracci finished and finally asked for his payment...
0:44:57 > 0:45:00..the cardinal got his accountant to do all the sums,
0:45:00 > 0:45:04and he said, "Well, "you've been living in the Palace for 11 years,
0:45:04 > 0:45:07"so we're going to charge you for the board and lodging.
0:45:07 > 0:45:10"So, we're going to pay you £100,000 for doing the picture,
0:45:10 > 0:45:14"but we're going to deduct £99,500
0:45:14 > 0:45:16- "because you've been staying in the Palace."- No way.
0:45:16 > 0:45:21Really. They paid him 500 scudi for 11 years' work.
0:45:21 > 0:45:26Carracci was so upset, he just falls into this terrible depression,
0:45:26 > 0:45:28and then that's the end of him.
0:45:28 > 0:45:30He dies, basically, of a broken heart...
0:45:30 > 0:45:35..for not being paid. Maybe you should have been his agent, Giorgio.
0:45:35 > 0:45:37I could have definitely been his chef.
0:45:38 > 0:45:40The paintings would have been even better!
0:45:44 > 0:45:47Eventually, you could say, justice was served.
0:45:47 > 0:45:49The family extinguished in 1731
0:45:49 > 0:45:52when the last duke, Antonio Farnese,
0:45:52 > 0:45:55died without direct heirs.
0:45:55 > 0:45:58The Palace has been the French embassy for the last 81 years,
0:45:58 > 0:46:02keeping Carracci's masterpiece a bit of a secret.
0:46:02 > 0:46:04But now the doors are open once a week,
0:46:04 > 0:46:07and he is gradually being rediscovered.
0:46:07 > 0:46:12We really have to have some lunch now, so after the power of love,
0:46:12 > 0:46:15I want to remind Andrew of the power of pasta.
0:46:15 > 0:46:18This is one of the classics.
0:46:18 > 0:46:20You're going to learn how to make a carbonara.
0:46:20 > 0:46:22A real carbonara, Andrew.
0:46:23 > 0:46:24We are heading to Roscioli,
0:46:24 > 0:46:27a small restaurant that's been in the same family
0:46:27 > 0:46:29for four generations.
0:46:30 > 0:46:33Nabil, the cook, is waiting for us.
0:46:33 > 0:46:35- This is Nabil.- Salve, Nabil.
0:46:35 > 0:46:38Nabil cooks the best carbonara in the world,
0:46:38 > 0:46:40I'm telling you.
0:46:40 > 0:46:43So, what makes the Roman carbonara different
0:46:43 > 0:46:47from the one that we might eat in a restaurant in London?
0:46:48 > 0:46:50That.
0:46:50 > 0:46:53GIORGIO AND NABIL DISCUSS INGREDIENTS IN ITALIAN
0:46:53 > 0:46:55You don't use any belly,
0:46:55 > 0:46:56you use the cheek,
0:46:56 > 0:46:58the end of the cheek and the neck.
0:46:58 > 0:47:01And when you give a recipe with bacon, you make a big mistake,
0:47:01 > 0:47:02because the consistency of this
0:47:02 > 0:47:05when it's cooked is a completely different one
0:47:05 > 0:47:06than the bacon would be.
0:47:06 > 0:47:10So, rule number one, never cook a carbonara with bacon.
0:47:10 > 0:47:12I think a lot of people would be quite surprised by that.
0:47:12 > 0:47:15Rule number one. No bacon, no pancetta.
0:47:15 > 0:47:17The spaghetti are the main ingredient, obviously.
0:47:17 > 0:47:20They've been dried, you know, like that.
0:47:20 > 0:47:22So they are just going to cross.
0:47:22 > 0:47:24But touch the spaghetti.
0:47:24 > 0:47:26They're rough. Can you feel the roughness of that?
0:47:26 > 0:47:28Oh, yeah, yeah.
0:47:28 > 0:47:29Trafilatura al bronzo.
0:47:29 > 0:47:33That means the sauce, which is kind of, like the eggs,
0:47:33 > 0:47:36is cooked and kind of a bit creamy, it will stick to it.
0:47:39 > 0:47:41A really hot pan.
0:47:41 > 0:47:44No oil, nothing.
0:47:44 > 0:47:46Just the guanciale in it.
0:47:46 > 0:47:51- You see, it is screaming already. - Yeah.
0:47:51 > 0:47:55OK, very crispy on the outside and really tender inside,
0:47:55 > 0:47:58and when you bite into that, you have an explosion,
0:47:58 > 0:48:00an explosion of flavour in your mouth.
0:48:03 > 0:48:04Alora.
0:48:04 > 0:48:09Turning the spaghetti, very important, don't let them lie down.
0:48:09 > 0:48:12Yes. He is going to prepare the eggs now.
0:48:12 > 0:48:14OK, the base.
0:48:18 > 0:48:21One egg yolk, and then a little bit of egg white,
0:48:21 > 0:48:24because it becomes more foamy if he does that.
0:48:24 > 0:48:26Beautiful eggs as well.
0:48:28 > 0:48:30Parmesan and Pecorino mixed together.
0:48:31 > 0:48:34Two nice pinch, pepper.
0:48:35 > 0:48:36They love pepper in Rome.
0:48:36 > 0:48:38- Very important. - Toasted Sarawak pepper.
0:48:38 > 0:48:39That is so important.
0:48:41 > 0:48:42That is the base.
0:48:43 > 0:48:46- OK?- So no garlic, no bacon?
0:48:46 > 0:48:48No! Are you crazy?
0:48:48 > 0:48:50Don't start to do the American way.
0:48:50 > 0:48:52Do not think about putting too many things in it.
0:48:52 > 0:48:56It is very essential, it is very clean, it is very neat.
0:48:58 > 0:49:00He judges the pasta just with the eye?
0:49:00 > 0:49:01Just by looking at it.
0:49:01 > 0:49:02He just looks at the pasta,
0:49:02 > 0:49:05he doesn't need a timer or anything like that.
0:49:06 > 0:49:07Look what he's doing now.
0:49:07 > 0:49:09OK.
0:49:09 > 0:49:12A little bit of the guanciale in.
0:49:14 > 0:49:16A little bit of the fat.
0:49:16 > 0:49:17Yeah.
0:49:17 > 0:49:19A little bit of that.
0:49:22 > 0:49:25Water and the fat that is going to make it creamy.
0:49:25 > 0:49:27Rule three. No cream!
0:49:27 > 0:49:32No cream. And as the spaghetti goes in, a little bit wet, you see?
0:49:32 > 0:49:34He left them a little bit wet.
0:49:34 > 0:49:35Yeah.
0:49:38 > 0:49:39This is vital, you see?
0:49:39 > 0:49:42The cooking water, which already got salt.
0:49:42 > 0:49:44Do you notice we have not seasoned anything?
0:49:44 > 0:49:46Look, look what he's doing.
0:49:46 > 0:49:49So he knows now by touching the edge,
0:49:49 > 0:49:52he knows now the eggs is creamy and is cooked.
0:49:55 > 0:50:00- Beautiful.- A bit of cheese around and a little bit of pepper on top.
0:50:00 > 0:50:02Wow. Wow. That looks...
0:50:05 > 0:50:07- Carbonara di Roscioli.- Grazie.
0:50:15 > 0:50:18Wow, that looks...
0:50:25 > 0:50:26I am not leaving this here.
0:50:26 > 0:50:28He is not going to let me have any.
0:50:28 > 0:50:32You must try to convey to everybody the flavour here,
0:50:32 > 0:50:34that really hint of pepper,
0:50:34 > 0:50:37the cheese and the creaminess of the eggs,
0:50:37 > 0:50:41almost like a fluid mayonnaise or a Bearnaise or a Hollandaise...
0:50:41 > 0:50:44That's what you are trying to do.
0:50:44 > 0:50:47And then this absolute explosion of
0:50:47 > 0:50:49almost like a farmyard taste,
0:50:49 > 0:50:52that explosion of the guanciale.
0:50:52 > 0:50:53Unbelievable.
0:50:53 > 0:50:55Buonissimo.
0:50:55 > 0:50:58- Grazie.- Grazie.
0:50:59 > 0:51:01This was a masterclass on carbonara.
0:51:01 > 0:51:03It was just!
0:51:03 > 0:51:05Thank you.
0:51:15 > 0:51:16You know, Giorgio,
0:51:16 > 0:51:18if you give me one more plate of pasta,
0:51:18 > 0:51:20we are going to have to buy a bigger motorbike.
0:51:27 > 0:51:30We are going to finish our journey in modern Rome,
0:51:30 > 0:51:32the Rome of the 20th century.
0:51:34 > 0:51:37The most famous Italian dictator in living memory
0:51:37 > 0:51:39was Benito Mussolini...
0:51:40 > 0:51:44..a man whose granite jaw and megaphone rhetoric
0:51:44 > 0:51:46was only matched by his severe architecture.
0:51:49 > 0:51:51You can still see his buildings all over Rome,
0:51:51 > 0:51:54buildings that shouted at the Italian people,
0:51:54 > 0:51:56telling them to work harder,
0:51:56 > 0:51:57to be on time,
0:51:57 > 0:52:00to leave the past behind and go to war.
0:52:05 > 0:52:09But in this great city of the people, Mussolini had his opponents,
0:52:09 > 0:52:11even if their voices weren't always heard.
0:52:13 > 0:52:15For proof of that, I am taking Giorgio to
0:52:15 > 0:52:17the Gallery of Modern Art where
0:52:17 > 0:52:21they have some of my favourite works of art from the dark, fascist years.
0:52:34 > 0:52:38Here, we can still see another side of Rome,
0:52:38 > 0:52:42the one that never submitted to fascism and Mussolini.
0:52:47 > 0:52:49Look at this figure -
0:52:49 > 0:52:53Attilio Torresini's sculpture called Riposo, At Rest,
0:52:53 > 0:52:57but she looks almost as if she might be eavesdropping on us.
0:52:57 > 0:52:59She looks so...
0:52:59 > 0:53:03..beautiful and so unsexualised, but beautiful.
0:53:04 > 0:53:06And something slightly sad about her, I think.
0:53:06 > 0:53:09I think there's an air of melancholy.
0:53:09 > 0:53:10You think it is melancholic?
0:53:10 > 0:53:12Maybe I am reading that in.
0:53:12 > 0:53:15I mean, I know that the sculpture was made in 1939.
0:53:15 > 0:53:17So I just have this feeling that
0:53:17 > 0:53:20maybe there's the intimations of war, there is some sense of...
0:53:20 > 0:53:22That is a beautiful Italian girl.
0:53:22 > 0:53:24..trouble ahead.
0:53:24 > 0:53:26Well, if we're talking melancholy,
0:53:26 > 0:53:29vieni con me cos one of
0:53:29 > 0:53:33the masterpieces of Italian melancholy is in the next room.
0:53:39 > 0:53:41This is what has been arranged for us,
0:53:41 > 0:53:47a private screening of the masterpiece of Massimo Campigli
0:53:47 > 0:53:48and it's just a wonderful...
0:53:48 > 0:53:50- So we can sit down?- We can sit down.
0:53:50 > 0:53:52The film has started already.
0:53:52 > 0:53:56It is called The Fishermen's Wives.
0:53:56 > 0:53:58It is an oil painting,
0:53:58 > 0:53:59but it is a bit like a fresco.
0:53:59 > 0:54:01The forms are very simple,
0:54:01 > 0:54:04they are very solemn, they are very monumental.
0:54:04 > 0:54:07There is something of the solemnity of a religious painting.
0:54:07 > 0:54:09These women are waiting.
0:54:09 > 0:54:11You see, there they are on the left,
0:54:11 > 0:54:13they are just holding each other.
0:54:17 > 0:54:19The picture was painted in 1935,
0:54:19 > 0:54:22so, again, fascism was at its height.
0:54:22 > 0:54:26What could be less fascist than this?
0:54:28 > 0:54:33- Beautiful picture.- So the sorrow of the person who loses their husband,
0:54:33 > 0:54:37it is almost like saying, "Don't allow your kids to go to war.
0:54:37 > 0:54:39"They never come back."
0:54:39 > 0:54:41I think this is why this is a painting
0:54:41 > 0:54:44that once you start looking at it, it does catch in your throat.
0:54:44 > 0:54:48And I think, I mean, are those the colours of Italy in the middle?
0:54:48 > 0:54:50- Are those the colours of...? - Well, there is a bit of green,
0:54:50 > 0:54:53there is some red, there is some white.
0:54:53 > 0:54:56He enlisted, in the First World War in 1916,
0:54:56 > 0:54:59but then during the war and immediately after the war,
0:54:59 > 0:55:01he was so horrified by all of that
0:55:01 > 0:55:04he said, "I am now forever going to be a pacifist."
0:55:04 > 0:55:07But I think it is important to look at these artists
0:55:07 > 0:55:09because, as so often in history,
0:55:09 > 0:55:11the people who make the most noise,
0:55:11 > 0:55:14and the future is with Marinetti as their spokesman banging his drum,
0:55:14 > 0:55:16and Mussolini with his megaphone,
0:55:16 > 0:55:18everybody knows about them,
0:55:18 > 0:55:21but nobody knows about these artists.
0:55:21 > 0:55:22It is a much quieter voice,
0:55:22 > 0:55:24but it is the voice of conscience.
0:55:24 > 0:55:26I think it is a truthful voice.
0:55:26 > 0:55:27You know, it makes me think,
0:55:27 > 0:55:30what could have been if there was more people like him?
0:55:30 > 0:55:33It would have never happened, that Second World War,
0:55:33 > 0:55:36they would have never did what they did to each other.
0:55:36 > 0:55:37It was just terrible.
0:55:37 > 0:55:39And these guys were absolutely right.
0:55:43 > 0:55:44Maybe in the end,
0:55:44 > 0:55:46that is what artists are for.
0:55:46 > 0:55:50- To make...- To see what we don't see.
0:55:50 > 0:55:51Si.
0:55:59 > 0:56:01We are at the end of our journey
0:56:01 > 0:56:04through a city that is defined by its people.
0:56:04 > 0:56:08So where better to finish than with a work of public art?
0:56:08 > 0:56:10Proclaiming the eternal might of Rome
0:56:10 > 0:56:13on the wall of a modern building.
0:56:13 > 0:56:17Look what they have put on the side of the apartment block,
0:56:17 > 0:56:22this huge, fantastic, I think, mural of a wolf, the symbol of Rome.
0:56:22 > 0:56:25It is unbelievable.
0:56:25 > 0:56:26It is so real, isn't it?
0:56:26 > 0:56:29You can almost hear it snarling.
0:56:29 > 0:56:33I love the hairs and I love it when the evening sun catches it,
0:56:33 > 0:56:38the wolf is there and this ordinary building suddenly becomes, wow!
0:56:38 > 0:56:43What things did you like the best of the things that we saw on this trip?
0:56:43 > 0:56:45The Caravaggio?
0:56:45 > 0:56:48Well, those ones were unforgettable, man.
0:56:48 > 0:56:52And that St Paul...
0:56:52 > 0:56:54..and the story of the asses,
0:56:54 > 0:56:58everybody showed their ass to each other, that was fantastic.
0:56:58 > 0:57:01Another popular thing that I really liked about was the Garbatella.
0:57:01 > 0:57:03- Oh!- That was so beautiful.
0:57:03 > 0:57:10I remember also, the crunch of the guanciale in the carbonara,
0:57:10 > 0:57:11the perfect carbonara.
0:57:11 > 0:57:14If you were going to feed that wolf anything,
0:57:14 > 0:57:17you would give him a really big piece of that guanciale.
0:57:18 > 0:57:20This is the wolf of the people,
0:57:20 > 0:57:24aggressive and opinionated
0:57:24 > 0:57:27and Roman to the core.
0:57:27 > 0:57:28I like that kind of Rome,
0:57:28 > 0:57:31I like Rome that stays alive through the people.
0:57:31 > 0:57:33And, you know, the Pope comes and change,
0:57:33 > 0:57:36and the President comes and change, the King comes and change,
0:57:36 > 0:57:38but the people of Rome, are still the people of Rome.
0:57:40 > 0:57:42They are the one who rules.
0:57:42 > 0:57:44- They really are. - You remember that one?
0:57:44 > 0:57:45SPQR.
0:57:45 > 0:57:49Senatus Populusque Romanus.
0:57:51 > 0:57:53I think it is dinner time.
0:57:53 > 0:57:56And you know, in Rome, dinner is always quite good, isn't it?
0:57:56 > 0:57:57Not bad. Not bad.
0:58:00 > 0:58:04Next time, we uncover more of the hidden Rome.
0:58:04 > 0:58:07If you look in the middle, staring out at us,
0:58:07 > 0:58:09a painting of the first century AD,
0:58:09 > 0:58:11and there are not many of those.
0:58:11 > 0:58:13So this is a kidney sandwich.
0:58:13 > 0:58:17We try centuries-old traditions.
0:58:17 > 0:58:20- Oh, mamma mia.- We tasted Roman-ity.
0:58:22 > 0:58:26And we pay a visit to one of Rome's greatest art collections.
0:58:26 > 0:58:30Not a bad room to have a party in.
0:58:30 > 0:58:34The Open University has produced a free guide to interesting places
0:58:34 > 0:58:35to visit while you are in Rome.
0:58:35 > 0:58:38To order your free copy, please call...
0:58:41 > 0:58:43Or go to the website...
0:58:47 > 0:58:50..and follow the link to the Open University.