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'I'm Andrew Graham Dickson and I'm an art historian. | 0:00:02 | 0:00:05 | |
'I'm Giorgio Locatelli and I'm a chef. | 0:00:05 | 0:00:07 | |
'We are both passionate about my homeland, Italy.' | 0:00:08 | 0:00:12 | |
The smells, the colour, this is what food is all about for me. | 0:00:12 | 0:00:17 | |
'The rich flavours and classic dishes of this land are in my culinary DNA. | 0:00:17 | 0:00:22 | |
'And this country's rich layers of art | 0:00:22 | 0:00:24 | |
'and history have captivated me since childhood.' | 0:00:24 | 0:00:28 | |
It's meant to make you feel as if you are being whirled up to heaven. | 0:00:28 | 0:00:32 | |
'We're stepping off the tourist track and exploring Italy's | 0:00:32 | 0:00:36 | |
'Northern regions of Emilia-Romagna, Lombardy and Piedmont.' | 0:00:36 | 0:00:40 | |
'It's part of Italy that's often overlooked, but it drives | 0:00:40 | 0:00:44 | |
'the whole country, and I want to show off its classic dishes. | 0:00:44 | 0:00:47 | |
'Not to mention its hidden legacy | 0:00:47 | 0:00:49 | |
'of artists, designers, intellectuals.' | 0:00:49 | 0:00:52 | |
One of the world's great builders. | 0:00:52 | 0:00:54 | |
Bellissima. | 0:00:54 | 0:00:56 | |
'This week we are in Emilia-Romagna, | 0:00:56 | 0:00:58 | |
'the birthplace of modern Italian cuisine. | 0:00:58 | 0:01:02 | |
'And home to some of Italy's most fascinating artists | 0:01:02 | 0:01:05 | |
'and powerful dynasties.' | 0:01:05 | 0:01:07 | |
We are beginning our journey to this wonderful region | 0:01:16 | 0:01:19 | |
in Bologna, its capital. | 0:01:19 | 0:01:21 | |
I first came here with my parents when I was about ten years old | 0:01:23 | 0:01:26 | |
and we must have visited just about every church in the city | 0:01:26 | 0:01:30 | |
and everywhere we went, we bought postcards of the altar pieces, | 0:01:30 | 0:01:33 | |
the sculptures, the paintings, and I always remember going home | 0:01:33 | 0:01:36 | |
and sitting at the kitchen table with my mum for about a week, | 0:01:36 | 0:01:39 | |
off and on, we made this scrap book. | 0:01:39 | 0:01:41 | |
Maybe it was my very first lesson in art history. | 0:01:41 | 0:01:44 | |
I'm looking forward to see all these producers, | 0:01:49 | 0:01:51 | |
to put some faces on these people that | 0:01:51 | 0:01:54 | |
I talk to through the telephone, you know, ordering stuff. | 0:01:54 | 0:01:57 | |
Cos, you know, our menu always has something | 0:01:57 | 0:02:00 | |
that comes from this place. | 0:02:00 | 0:02:02 | |
Since the Middle Ages, Bologna has been known by three nicknames, | 0:02:06 | 0:02:10 | |
la dotta, la grassa e la rossa - the learned, the fat and the red. | 0:02:10 | 0:02:15 | |
'Renowned for its striking red building, militant politics and rich | 0:02:17 | 0:02:22 | |
'cuisine, Bologna represents quality and taste, not to mention power.' | 0:02:22 | 0:02:26 | |
I love the statue. | 0:02:30 | 0:02:32 | |
And you know, for me, this is really Bologna, | 0:02:32 | 0:02:34 | |
these big breasts she's holding there. Neptune, the abundance. | 0:02:34 | 0:02:38 | |
-The abundance. -Oh. -It's a symbol of the fact that Bologna has always | 0:02:38 | 0:02:42 | |
thought of itself as a rich city, a powerful city. | 0:02:42 | 0:02:45 | |
You know, we can get Giambologna, the greatest sculptor of his age | 0:02:45 | 0:02:49 | |
to come here and create our Neptune Fountain. | 0:02:49 | 0:02:52 | |
You can feel Bologna's sense of its own power | 0:02:53 | 0:02:55 | |
as the capital of Emilia-Romagna here. | 0:02:55 | 0:02:58 | |
It's the architecture of power, the scale is enormous. | 0:02:58 | 0:03:01 | |
And it's not only that, it's also that you know the culture, | 0:03:01 | 0:03:04 | |
I mean, the culture of food is incredible. | 0:03:04 | 0:03:06 | |
You know Parma ham is | 0:03:06 | 0:03:08 | |
more recognisable than the Italian flag, isn't it? | 0:03:08 | 0:03:11 | |
It's more representative of Italy than... | 0:03:11 | 0:03:13 | |
Parma ham and Parmesan cheese. | 0:03:13 | 0:03:15 | |
Parmesan cheese, | 0:03:15 | 0:03:16 | |
you know, all produced in a very traditional, artisan way. | 0:03:16 | 0:03:20 | |
Tradition is important in Bologna, | 0:03:28 | 0:03:31 | |
a city which likes to remember its past. | 0:03:31 | 0:03:34 | |
At its heart is the oldest university in the world, | 0:03:34 | 0:03:37 | |
established in 1088. | 0:03:37 | 0:03:40 | |
"The home of la dotta, the learned." | 0:03:40 | 0:03:42 | |
'Enrico Brizzi, one of my favourite Italian authors, studied here | 0:03:45 | 0:03:49 | |
'and he's agreed to show us round.' | 0:03:49 | 0:03:51 | |
This is where you belong, Andrew. | 0:03:51 | 0:03:52 | |
Wow. | 0:03:52 | 0:03:53 | |
-It's fantastic. You just come in off the street like that. -Yeah. | 0:03:58 | 0:04:02 | |
The most influential families, the most wealthy family all | 0:04:12 | 0:04:17 | |
around Europe send their children for a tour of the main universities | 0:04:17 | 0:04:22 | |
and it was almost compulsory to pass from here. | 0:04:22 | 0:04:26 | |
Have some time in Bologna. Are these their graduation plaques? | 0:04:26 | 0:04:31 | |
Yeah. The graduated students left here | 0:04:31 | 0:04:34 | |
the coat of arms of their families. | 0:04:34 | 0:04:37 | |
'In 1562, Bologna began a massive remodelling of the city centre, | 0:04:38 | 0:04:43 | |
'including an expansion of the Cathedral of San Pietro. | 0:04:43 | 0:04:47 | |
'When the Pope realised, with some alarm, that the cathedral was | 0:04:47 | 0:04:50 | |
'destined to become bigger than St Peter's and the Vatican itself, | 0:04:50 | 0:04:54 | |
'the money was diverted to these magnificent university buildings | 0:04:54 | 0:04:58 | |
'and it gave birth to a new type of pilgrim to Bologna - students.' | 0:04:58 | 0:05:03 | |
You know, Andrew, what I think, as well, is that all the students come | 0:05:03 | 0:05:06 | |
here and this is not only important what they bring in and learn, | 0:05:06 | 0:05:10 | |
but also what they take away. Of the colour of the building but... | 0:05:10 | 0:05:14 | |
'These hallowed halls have seen the likes of Dante, Petrarch | 0:05:14 | 0:05:17 | |
'and Thomas a Beckett pass through them. | 0:05:17 | 0:05:20 | |
'And there's one room which I'm particularly excited about seeing. | 0:05:20 | 0:05:24 | |
'A true example of how art can inspire learning.' | 0:05:24 | 0:05:29 | |
Wow! | 0:05:33 | 0:05:35 | |
This is one of the great things, not just to Bologna, | 0:05:35 | 0:05:38 | |
this is one of the great things in the world. | 0:05:38 | 0:05:40 | |
It's the only really authentic surviving early, early, | 0:05:40 | 0:05:44 | |
anatomy theatre, and that is a Renaissance-coffered ceiling. | 0:05:44 | 0:05:48 | |
And in the middle we've got Apollo with his lyre, pointing down, | 0:05:48 | 0:05:51 | |
the God of Medicine pointing straight down, | 0:05:51 | 0:05:54 | |
probably to the hand of the anatomy teacher as he demonstrates | 0:05:54 | 0:05:58 | |
to his students how to cut up a body. | 0:05:58 | 0:06:00 | |
I feel a bit presumptuous doing this but I think it's the only | 0:06:08 | 0:06:11 | |
way to understand the space, which is a theatre of learning. | 0:06:11 | 0:06:15 | |
He loves it up there. | 0:06:15 | 0:06:17 | |
Yeah, because the Professor in ancient times was also an actor. | 0:06:17 | 0:06:21 | |
-Right. -Yeah, absolutely. -Who is performing lessons. | 0:06:21 | 0:06:24 | |
Absolutely, teaching was a form of rhetoric and you feel that up here. | 0:06:24 | 0:06:28 | |
-My job would have been... -Giorgio, come up here, Giorgio, come on. | 0:06:28 | 0:06:30 | |
-My job would have been to be down here, I'll tell you. -No. | 0:06:30 | 0:06:33 | |
Sweeping up the blood and the entrails left over. | 0:06:33 | 0:06:36 | |
And so now you're on the spot | 0:06:38 | 0:06:40 | |
and you've got all the figures of the past, Galen, Hippocrates, | 0:06:40 | 0:06:44 | |
they are all caught in a frozen moment of their teaching. | 0:06:44 | 0:06:48 | |
And this canopy on the top of us is an allegorical figure of anatomy | 0:06:48 | 0:06:53 | |
but it's supported by these grizzly figures of skinned men. | 0:06:53 | 0:06:58 | |
Yes. | 0:06:58 | 0:06:59 | |
So you can see the tendons. | 0:06:59 | 0:07:01 | |
Yes, and the muscle and everything. This is incredible. | 0:07:01 | 0:07:04 | |
He's even got a peeled penis. | 0:07:04 | 0:07:06 | |
You don't see many of those in world art. | 0:07:07 | 0:07:09 | |
-See that figure at the back? -Uh-huh. -Do you know what he's holding? -No. | 0:07:13 | 0:07:17 | |
He is holding a human nose because that is Tagliacozzi, | 0:07:17 | 0:07:24 | |
-the founding father of cosmetic surgery who apparently... -He didn't! | 0:07:24 | 0:07:27 | |
He did, he did the first nose job, so that's why he's holding a nose. | 0:07:27 | 0:07:31 | |
The nose. Oh, my God. How many years ago? | 0:07:31 | 0:07:34 | |
How many ears ago? How many noses ago? | 0:07:34 | 0:07:37 | |
-Madonna. -Enrico, I have to say thank you, it's just a masterpiece. | 0:07:39 | 0:07:43 | |
'It's not hard to see how Bologna earned its nickname | 0:07:45 | 0:07:48 | |
'la dotta, the learned. | 0:07:48 | 0:07:50 | |
'Walking through these stunning buildings, | 0:07:50 | 0:07:53 | |
'the sense of them as living places of learning really is striking. | 0:07:53 | 0:07:57 | |
'They give the whole city a sense of life and vivacity. | 0:07:57 | 0:08:01 | |
'But just like an army, students and their teachers march | 0:08:01 | 0:08:05 | |
'on their stomachs and it's time to discover a true Bolognese meal.' | 0:08:05 | 0:08:09 | |
You know what? With all this culture and everything, I think that, | 0:08:09 | 0:08:12 | |
you know, now we should just explore the second bit. | 0:08:12 | 0:08:17 | |
Enough dotta, enough intelligentsia, | 0:08:17 | 0:08:20 | |
let us work out something about the grassa. | 0:08:20 | 0:08:23 | |
'You can't come to Bologna without eating the king of Italian dishes - | 0:08:27 | 0:08:30 | |
'pasta ragu - a dish that's known worldwide by another name - | 0:08:30 | 0:08:36 | |
'spaghetti Bolognese. | 0:08:36 | 0:08:39 | |
'In Italy, we are famous for our pasta, | 0:08:39 | 0:08:41 | |
'and Bologna is the place to come from fresh egg pasta, | 0:08:41 | 0:08:44 | |
'which artisans here turn into a work of art. | 0:08:44 | 0:08:48 | |
'No wonder this city is known as la grassa, the fat one.' | 0:08:48 | 0:08:52 | |
So here, the same attention to detail that is paid to art | 0:08:52 | 0:08:57 | |
and to music, you know, is paid to food. | 0:08:57 | 0:09:00 | |
And so here you are, look, this is all made by hand. | 0:09:00 | 0:09:03 | |
Look at what it says there, | 0:09:03 | 0:09:04 | |
"Tagliatelle ve le tagliamo su misura." | 0:09:04 | 0:09:07 | |
They cut the tagliatelle how long you want it, | 0:09:07 | 0:09:09 | |
so if you want heavy sauce, short tagliatelle, | 0:09:09 | 0:09:12 | |
if you have a light sauce, like a pesto or tomato sauce then | 0:09:12 | 0:09:16 | |
long tagliatelle, two fork or one fork they call it, you know. | 0:09:16 | 0:09:20 | |
So this is tailor-made pasta? | 0:09:20 | 0:09:21 | |
But not only. Look, it says here, "Tortellini per ingannare i mariti." | 0:09:21 | 0:09:26 | |
To fool your husband. | 0:09:26 | 0:09:27 | |
Cos you take them home and tell your husband that you made it yourself. | 0:09:27 | 0:09:30 | |
-Per ingannare i mariti. -Yeah. | 0:09:30 | 0:09:33 | |
Buona sera, signora Edda. | 0:09:33 | 0:09:35 | |
Buona sera. | 0:09:35 | 0:09:36 | |
Che piacere vedere la. TRANSLATION | 0:09:36 | 0:09:38 | |
Ma ciao, come stai? | 0:09:40 | 0:09:42 | |
You don't come in here just to buy stuff. | 0:09:44 | 0:09:47 | |
It's not like a fuel station that you come in | 0:09:47 | 0:09:50 | |
and you fill up the car and go. You talk to them, they talk to you. | 0:09:50 | 0:09:53 | |
Look, there's a chair, you can sit down if you're tired. | 0:09:53 | 0:09:57 | |
'Food here is a living tradition. | 0:09:58 | 0:10:00 | |
'This shop has been in the same family for 130 years.' | 0:10:00 | 0:10:03 | |
Andiamo far un po di pasta? | 0:10:07 | 0:10:09 | |
It's obviously very serious business, this pasta, Giorgio? | 0:10:09 | 0:10:11 | |
It is very serious. | 0:10:11 | 0:10:13 | |
'This is the perfect place to get the tagliatelle for dinner tonight.' | 0:10:13 | 0:10:16 | |
This is like a cathedral. You're entering now the inner chamber. | 0:10:16 | 0:10:20 | |
Prego, prego! | 0:10:20 | 0:10:21 | |
When you eat spaghetti or when you eat dried pasta, | 0:10:23 | 0:10:27 | |
the one that comes from the south, that's durum wheat. | 0:10:27 | 0:10:30 | |
-Mm-hm. -OK, so durum wheat contains a lot of protein. | 0:10:30 | 0:10:33 | |
This, because in the north, the type of soil, | 0:10:33 | 0:10:36 | |
they just only grow soft wheat. | 0:10:36 | 0:10:38 | |
So the soft wheat hasn't got any protein in it. | 0:10:38 | 0:10:42 | |
So the al dente won't be there, the pasta will be very mushy. | 0:10:42 | 0:10:45 | |
OK, so by putting in the eggs, which contains a lot of protein | 0:10:45 | 0:10:48 | |
in the eggs, you're going to achieve that al dente texture. | 0:10:48 | 0:10:52 | |
This is like a...an incredible expression of how, actually, | 0:10:52 | 0:10:57 | |
the land determine what you have on the plate. | 0:10:57 | 0:11:02 | |
You know, all the world eats this spaghetti Bolognese. | 0:11:02 | 0:11:05 | |
Here when they make the Bolognese in Bologna, they don't know | 0:11:05 | 0:11:08 | |
what spaghetti Bolognese is. Nobody eats spaghetti Bolognese. | 0:11:08 | 0:11:11 | |
No Bolognese. Noi solo facciamo. | 0:11:11 | 0:11:13 | |
So how come, the world over, people eat spaghetti Bolognese? | 0:11:15 | 0:11:17 | |
-Because the Americans, you know. -Oh, OK. | 0:11:17 | 0:11:21 | |
Have you seen this? | 0:11:30 | 0:11:32 | |
This is called mattarello. | 0:11:32 | 0:11:35 | |
Signora Edda, a cosa servi il mattarello? Per due cose no? | 0:11:35 | 0:11:38 | |
Per il marito. | 0:11:38 | 0:11:39 | |
Two things. | 0:11:39 | 0:11:40 | |
To make the pasta and when your husband come back drunk, | 0:11:40 | 0:11:43 | |
you wait behind the door | 0:11:43 | 0:11:45 | |
and ba-da-boom! | 0:11:45 | 0:11:47 | |
And apparently they say that if you don't know why you hit him, | 0:11:47 | 0:11:50 | |
he knows why you hit him. | 0:11:50 | 0:11:52 | |
Il marito lo conosce. | 0:11:52 | 0:11:53 | |
Yeah, it's the husband knows this one very well apparently. | 0:11:53 | 0:11:57 | |
-Is that the right length for your...? -That's perfect. | 0:11:58 | 0:12:01 | |
No pomodoro, eh. | 0:12:07 | 0:12:10 | |
-She said don't use tomatoes. -Don't use tomatoes! | 0:12:10 | 0:12:13 | |
Buonapetito. | 0:12:13 | 0:12:16 | |
Don't drop it. | 0:12:16 | 0:12:17 | |
'I'm leaving Andrew for a couple of hours to buy some other | 0:12:24 | 0:12:27 | |
'ingredients for dinner tonight.' | 0:12:27 | 0:12:29 | |
Oh, yes. | 0:12:35 | 0:12:36 | |
Tre o quarto carotti. | 0:12:36 | 0:12:37 | |
Grazie. | 0:12:43 | 0:12:45 | |
'My ragu is based on a classic recipe, | 0:12:47 | 0:12:49 | |
'written by Pellegrino Artusi in 1891.' | 0:12:49 | 0:12:53 | |
-Buongiorno. -Buongiorno. | 0:12:53 | 0:12:54 | |
'His book, Science In The Kitchen And The Art Of Eating Well | 0:12:54 | 0:12:58 | |
'is my Bible. In fact, here in Italy, it's everybody Bible.' | 0:12:58 | 0:13:02 | |
Questa e per la ragu antiqua? | 0:13:02 | 0:13:04 | |
A l'antiqua. Quello di Artusi. | 0:13:04 | 0:13:07 | |
Esatto. Fantastico. | 0:13:07 | 0:13:08 | |
Senza pomodoro e! | 0:13:08 | 0:13:11 | |
Un pocatino? | 0:13:11 | 0:13:13 | |
E ci vuole e. | 0:13:13 | 0:13:14 | |
Ci la mettiamo? | 0:13:14 | 0:13:15 | |
Ci la mettiamo un pocatino. Una punto cosi. | 0:13:15 | 0:13:18 | |
'While Giorgio focuses on the local cuisine, | 0:13:25 | 0:13:28 | |
'I want to find a delicacy of my own, of the artistic type. | 0:13:28 | 0:13:31 | |
'I'm on the hunt for one of Bologna's hidden gems. | 0:13:37 | 0:13:40 | |
'Every major Italian town has a Pinacoteca Nazionale - | 0:13:40 | 0:13:44 | |
'National Art Gallery - which houses the work of local artists. | 0:13:44 | 0:13:47 | |
'Thankfully, there's 25 miles of portico's covering Bologna's | 0:13:50 | 0:13:53 | |
'pavements to keep the sun off my head.' | 0:13:53 | 0:13:55 | |
'And with their frescoes, even these are artistic as well as functional.' | 0:13:57 | 0:14:01 | |
-Solo stanco? -I'm exhausted. -Are you OK? It's too hot. | 0:14:04 | 0:14:09 | |
Yeah, it's OK, but look at this. | 0:14:09 | 0:14:11 | |
-It's difficult to find this place, eh? -It's not easy to find | 0:14:11 | 0:14:13 | |
but this is what I like, you know. | 0:14:13 | 0:14:15 | |
Here we are, it's an unassuming part of Bologna. | 0:14:15 | 0:14:17 | |
Really unassuming. | 0:14:17 | 0:14:19 | |
Really unassuming. You wouldn't even know that this art gallery | 0:14:19 | 0:14:22 | |
was here, it's just a little subtle sign, | 0:14:22 | 0:14:24 | |
"Ministero Per I Bene E Le Attivita Culturali", | 0:14:24 | 0:14:27 | |
-but I've found a real treat inside for you. -Yeah? | 0:14:27 | 0:14:30 | |
'This building may not be as impressive as the Uffizi | 0:14:30 | 0:14:34 | |
'in Florence, but inside there are real treasures to be found. | 0:14:34 | 0:14:37 | |
'The pinnacle of Italian art is not restricted to Tuscany and Rome. | 0:14:41 | 0:14:45 | |
'Bologna and Emilia-Romagna also produced some fantastically | 0:14:45 | 0:14:49 | |
'influential artists.' | 0:14:49 | 0:14:51 | |
The Bolognese do not like this idea that you simply paint what you see. | 0:14:51 | 0:14:57 | |
Realism is not their thing. | 0:14:57 | 0:15:00 | |
Art is about conveying an idea, | 0:15:00 | 0:15:03 | |
it's a much more intellectual approach to painting. | 0:15:03 | 0:15:06 | |
Guido Reni was born in Bologna in 1575 | 0:15:11 | 0:15:14 | |
and became celebrated throughout Italy. | 0:15:14 | 0:15:17 | |
But his fame dimmed as the Bolognese style of painting | 0:15:17 | 0:15:20 | |
fell out of fashion. | 0:15:20 | 0:15:21 | |
That I really like. | 0:15:22 | 0:15:24 | |
This great painting was commissioned for Bologna's San Domenico Church. | 0:15:24 | 0:15:29 | |
And you can just imagine the impact it would have had | 0:15:29 | 0:15:31 | |
as you stared at it over Mass. | 0:15:31 | 0:15:34 | |
It certainly draws your eye, it's a drama. | 0:15:34 | 0:15:35 | |
-Yeah, it's a drama. -It's the Massacre of the Innocents. | 0:15:35 | 0:15:38 | |
So that's what they are, the little kids? | 0:15:38 | 0:15:40 | |
This is one of the bloodiest scenes in all of the Bible - | 0:15:40 | 0:15:43 | |
a genocide enacted upon children. | 0:15:43 | 0:15:46 | |
Children, yeah. | 0:15:46 | 0:15:47 | |
And yet the idea here in Bologna was that | 0:15:47 | 0:15:50 | |
if you actually painted it as if it were real, it would just be | 0:15:50 | 0:15:54 | |
so sensational that people wouldn't think about what's really going on. | 0:15:54 | 0:15:58 | |
Whereas if you distance it all, people can bear to look at it | 0:15:58 | 0:16:02 | |
and therefore they can think about it in a different way | 0:16:02 | 0:16:05 | |
and be affected by it in a different way. | 0:16:05 | 0:16:07 | |
For dinner, Andrew and I | 0:16:18 | 0:16:20 | |
will enjoy a Bolognese masterpiece of a different sort. | 0:16:20 | 0:16:24 | |
Pasta ragu. | 0:16:24 | 0:16:25 | |
It's a dish that sits firmly on the local tradition | 0:16:25 | 0:16:28 | |
of rich Italian food. | 0:16:28 | 0:16:30 | |
It must be one of the reasons Bologna is also nicknamed la grassa, | 0:16:30 | 0:16:33 | |
the fat. | 0:16:33 | 0:16:34 | |
Bologna la Dotta would not exist without Bologna la grassa - | 0:16:35 | 0:16:41 | |
la grassa, the fat one. | 0:16:41 | 0:16:43 | |
'For my ragu sauce, I'm following Pellegrino Artusi's classic recipe. | 0:16:45 | 0:16:49 | |
'Artusi was obsessed by the idea of compiling comprehensive lists of recipes, | 0:16:49 | 0:16:53 | |
'from every Italian region.' | 0:16:53 | 0:16:56 | |
Artusi, he's one of your heroes, right? | 0:16:56 | 0:16:59 | |
He's definitely my hero. | 0:16:59 | 0:17:00 | |
He was the first writer that actually sort of put together in the book, | 0:17:00 | 0:17:06 | |
a concept of Italian cuisine. | 0:17:06 | 0:17:09 | |
You know, because we have so many different regions with so many | 0:17:09 | 0:17:12 | |
different microclimatic conditions and so many different ingredients. | 0:17:12 | 0:17:17 | |
So obviously the diet is a little bit different. | 0:17:17 | 0:17:20 | |
So it's believed it was not just to give you a recipe, he'd give you | 0:17:20 | 0:17:25 | |
the whole history of the recipe and the meaning of the recipe. | 0:17:25 | 0:17:28 | |
So it's kind of a culinary portrait of Italy? | 0:17:28 | 0:17:32 | |
Garibaldi unified Italy politically, | 0:17:32 | 0:17:34 | |
but he kind of unified Italy gastronomically. | 0:17:34 | 0:17:38 | |
Do you know what I mean? | 0:17:38 | 0:17:39 | |
I'm going to add a little nice slap of butter. | 0:17:44 | 0:17:46 | |
You said you were going to put some heart in it? | 0:17:46 | 0:17:50 | |
Was it a lamb's heart? | 0:17:50 | 0:17:51 | |
Yeah, the butcher that we went this morning to get the thing, | 0:17:51 | 0:17:53 | |
he says, "Oh, you want two hearts as well?" | 0:17:53 | 0:17:55 | |
I'm, like, "Yeah, I'll have the hearts as well." | 0:17:55 | 0:17:58 | |
I thought it was really good. | 0:17:58 | 0:17:59 | |
So you must have liked Othello, | 0:17:59 | 0:18:00 | |
if you've allowed Othello to alter the great Artusi's recipe, eh? | 0:18:00 | 0:18:04 | |
That's true, you're right. | 0:18:04 | 0:18:06 | |
If you get some good advice on the market or it just seems right, | 0:18:06 | 0:18:09 | |
you follow it, yeah. | 0:18:09 | 0:18:10 | |
So my meat is now kind of browning. | 0:18:14 | 0:18:16 | |
I'm going to put the vegetables in it that I already cooked. | 0:18:18 | 0:18:22 | |
Today when I went to the butcher, Othello he said, | 0:18:22 | 0:18:25 | |
"It's true that Artusi say not to put the tomato, | 0:18:25 | 0:18:30 | |
"but just a nice, little spoon of tomato, | 0:18:30 | 0:18:34 | |
"per il colore, for the colour." | 0:18:34 | 0:18:37 | |
-But you know what you're doing here? -I'm doing... | 0:18:37 | 0:18:39 | |
You know what you're doing. | 0:18:39 | 0:18:40 | |
You're going to get hit on the head with that rolling pin! | 0:18:40 | 0:18:43 | |
Cos she said whatever you do, | 0:18:43 | 0:18:44 | |
if you're making the ragu Bolognese, you don't put the tomato in. | 0:18:44 | 0:18:48 | |
But I really want to put a little bit of tomato in it. | 0:18:48 | 0:18:50 | |
A tiny little bit. | 0:18:50 | 0:18:52 | |
-You're a heretic! -Heretic. | 0:18:52 | 0:18:54 | |
You're a heretic. | 0:18:54 | 0:18:55 | |
I'll tell you what Artusi has to say to you. | 0:18:55 | 0:18:58 | |
-Artusi had a very nosy priest. -Right. | 0:18:58 | 0:19:00 | |
-Who lived near him. -Right. | 0:19:00 | 0:19:02 | |
And he called him Don Pomodoro. | 0:19:02 | 0:19:04 | |
Don Pomodoro. | 0:19:04 | 0:19:06 | |
Do you know why, | 0:19:06 | 0:19:07 | |
because this priest got his nose into everyone's business. | 0:19:07 | 0:19:10 | |
Everyone business, every sauce. | 0:19:10 | 0:19:11 | |
He's like the tomato, he gets in everywhere. | 0:19:11 | 0:19:13 | |
In everywhere, yeah. | 0:19:13 | 0:19:14 | |
Look, I just put in literally like, a spoonful. | 0:19:14 | 0:19:18 | |
Maybe two. | 0:19:19 | 0:19:21 | |
You should give some leftovers to her and see if she notices? | 0:19:21 | 0:19:24 | |
Senora Edda, you mean? | 0:19:24 | 0:19:25 | |
Perfect. | 0:19:25 | 0:19:27 | |
GLASSES CLINK | 0:19:27 | 0:19:29 | |
To the success of your heretical pasta sauce recipe. | 0:19:29 | 0:19:32 | |
'While my sauce is cooking, | 0:19:34 | 0:19:36 | |
'we've got time to take in the sunset over Bologna. | 0:19:36 | 0:19:39 | |
'That's if we can make it up all the 280 steps.' | 0:19:39 | 0:19:42 | |
I mean, what are you...? Working up an appetite! | 0:19:42 | 0:19:44 | |
That's what we're doing, working up an appetite for you. | 0:19:44 | 0:19:47 | |
HE PANTS | 0:19:47 | 0:19:48 | |
Ci siamo. We arrive. | 0:19:48 | 0:19:50 | |
Come. | 0:19:50 | 0:19:52 | |
Oh, look at the moon! | 0:19:52 | 0:19:54 | |
Andrew, look at the moon. | 0:19:55 | 0:19:57 | |
It's so beautiful. | 0:19:58 | 0:20:00 | |
Look, all the Centro Storico is just red, isn't it? | 0:20:02 | 0:20:05 | |
Now, we really like this in Bologna. | 0:20:13 | 0:20:15 | |
To me, you know the best dish is tagliatelle with ragu, | 0:20:15 | 0:20:20 | |
it's the best dish ever. | 0:20:20 | 0:20:22 | |
Can I take some cheese? | 0:20:22 | 0:20:23 | |
-Un po di parmigiano. -Cosi? How much? | 0:20:23 | 0:20:26 | |
-As much as you like. -I don't like too much. | 0:20:26 | 0:20:28 | |
As much as you can afford, usually they say. | 0:20:28 | 0:20:30 | |
CUTLERY CLINKS AGAINST THE BOWL | 0:20:38 | 0:20:40 | |
ANDREW LAUGHS | 0:20:41 | 0:20:42 | |
Thank you, Artusi. | 0:20:43 | 0:20:45 | |
Thank you, Edda. I think the pasta is delicious. | 0:20:45 | 0:20:47 | |
The pasta is delicious. | 0:20:47 | 0:20:49 | |
I mean, if that was spaghetti, Giorgio, look. | 0:20:49 | 0:20:53 | |
-All of that would fall off right. -That's exactly. | 0:20:53 | 0:20:55 | |
-But it's been caught in the knots. -That's exactly. | 0:20:55 | 0:20:58 | |
The spread of the idea of the spaghetti Bolognese | 0:20:58 | 0:21:01 | |
with the meat sauce, is very much attached to the immigrants. | 0:21:01 | 0:21:05 | |
The immigrants left Italy because there was not enough food. | 0:21:05 | 0:21:08 | |
And so when they went to America, you know, the only thing they, | 0:21:08 | 0:21:11 | |
-the only thing they says... -Oh. | 0:21:11 | 0:21:13 | |
..there was plentiful of meat there, | 0:21:13 | 0:21:15 | |
so they put as much meat as you can with every dish of pasta. | 0:21:15 | 0:21:19 | |
So what had been before been the dish you'd eat once in a while | 0:21:19 | 0:21:22 | |
when times are good and you've got some meat became... | 0:21:22 | 0:21:25 | |
Suddenly it was something that, you know. | 0:21:25 | 0:21:27 | |
Oh. | 0:21:27 | 0:21:28 | |
Buongiorno. | 0:21:39 | 0:21:40 | |
Buongiorno. | 0:21:40 | 0:21:41 | |
Buongiorno. | 0:21:41 | 0:21:43 | |
Buongiorno. | 0:21:43 | 0:21:44 | |
GIORGIO SPEAKS IN ITALIAN TO THE BARBER | 0:21:44 | 0:21:45 | |
'There is nothing like a good shave | 0:21:45 | 0:21:47 | |
'and to freshen up in the morning. | 0:21:47 | 0:21:49 | |
'And I know that Andrew will love this place.' | 0:21:49 | 0:21:52 | |
But, Giorgio, isn't this another example of how in Bologna, | 0:21:52 | 0:21:55 | |
people who do everyday occupations somehow manage to do them | 0:21:55 | 0:22:00 | |
in surroundings of such calm and dignity and beauty, | 0:22:00 | 0:22:03 | |
you know, like the lady making the pasta, | 0:22:03 | 0:22:05 | |
she's doing it in a shop that's like a palace. | 0:22:05 | 0:22:08 | |
'Beneath the calm and dignity is a volatile political history. | 0:22:10 | 0:22:15 | |
'It's not just the buildings that are red in Bologna, the politics is too. | 0:22:15 | 0:22:19 | |
'The centre of Bologna is full of small, independent business. | 0:22:20 | 0:22:24 | |
'They all thrive because of the socialist policies | 0:22:24 | 0:22:27 | |
'established by Bologna Communist Party in the post war years. | 0:22:27 | 0:22:31 | |
'Small traders pay much lower business rates than large corporations. | 0:22:31 | 0:22:36 | |
'And it's this link to the Communist Party that is in more recent times | 0:22:36 | 0:22:40 | |
'the reason for Bologna's third nickname, la Rossa, the Red.' | 0:22:40 | 0:22:45 | |
Your face will feel so good all day you know. | 0:22:45 | 0:22:48 | |
Grazie. | 0:22:48 | 0:22:49 | |
Grazie. Arrivederci. | 0:22:49 | 0:22:51 | |
Buona giornata. | 0:22:51 | 0:22:55 | |
'Bologna's reputation for political militancy is not limited | 0:22:55 | 0:22:59 | |
'to the post-war Communist years. | 0:22:59 | 0:23:02 | |
'As far back as 1506, Bologna saw popular uprising against the ruling classes, | 0:23:02 | 0:23:08 | |
'which led to the city being annexed by the Papal State. | 0:23:08 | 0:23:12 | |
'The Bolognese spirit of rebellion rose again | 0:23:13 | 0:23:16 | |
'during the Second World War. | 0:23:16 | 0:23:18 | |
'Bologna was a centre for the Resistance. | 0:23:18 | 0:23:21 | |
'Over 1,800 Resistance fighters were shot here by the Nazis. | 0:23:21 | 0:23:25 | |
'Bologna la Rossa has also left an artistic legacy. | 0:23:30 | 0:23:34 | |
'The 20th century Bolognese artist, Giorgio Morandi, | 0:23:34 | 0:23:36 | |
'spent his career paying homage to humble, everyday objects, | 0:23:36 | 0:23:40 | |
'right up until his death in 1964. | 0:23:40 | 0:23:43 | |
'Day after day, he sat in this studio rearranging and painting these pots. | 0:23:43 | 0:23:49 | |
'He's revered in Bologna, his studio's preserved as a shrine, | 0:23:49 | 0:23:53 | |
'and his life work is displayed in this new museum.' | 0:23:53 | 0:23:58 | |
It's a painting of apparently almost nothing. | 0:23:58 | 0:24:00 | |
There is this sort of a flavour of old Italy, | 0:24:00 | 0:24:04 | |
it reminds me of, like, grandparents keeping things | 0:24:04 | 0:24:07 | |
and never throwing away anything and giving a personality | 0:24:07 | 0:24:11 | |
to each of the objects that means something to them. | 0:24:11 | 0:24:15 | |
You hardly ever get in Morandi | 0:24:15 | 0:24:17 | |
anything that looks like...luxury colour, | 0:24:17 | 0:24:21 | |
this is not luxury, this is simplicity. | 0:24:21 | 0:24:23 | |
If you think about it, | 0:24:23 | 0:24:25 | |
you have all those colours in the front of you. | 0:24:25 | 0:24:27 | |
It's like the ingredients, you get a lot of ingredients, | 0:24:27 | 0:24:30 | |
and most chefs just put them all in the dish, like, you know, | 0:24:30 | 0:24:33 | |
it takes of strength and self-assertiveness to make sure | 0:24:33 | 0:24:40 | |
that you only pick the right one that will work for you. | 0:24:40 | 0:24:43 | |
I think that's part of his cleverness as an artist, | 0:24:43 | 0:24:45 | |
-he is very much painting during the rise of global capitalism. -Right. | 0:24:45 | 0:24:49 | |
And if you wanted to find his sort of opposite in world art, | 0:24:49 | 0:24:52 | |
-it would be Andy Warhol. -That's right. | 0:24:52 | 0:24:54 | |
Who's painting the ordinary objects of American life, | 0:24:54 | 0:24:57 | |
but it's Heinz tomatoes and it's... | 0:24:57 | 0:24:59 | |
-Brand names. -Brand names. Brillo boxes. | 0:24:59 | 0:25:02 | |
I mean, maybe that's Bologna la Rossa. | 0:25:02 | 0:25:05 | |
Maybe this is a kind of counterblast, | 0:25:05 | 0:25:08 | |
because he's painting these pictures up until, well, he dies in 1964. | 0:25:08 | 0:25:12 | |
So maybe he's the sort of counterblast to Warhol. | 0:25:12 | 0:25:15 | |
'For me, Bologna definitely lives up to its three nicknames, | 0:25:18 | 0:25:21 | |
'la dotta, la grassa and la rossa. | 0:25:21 | 0:25:25 | |
'And they're all intricately intertwined, | 0:25:25 | 0:25:27 | |
'a fascinating marriage of food, culture and politics.' | 0:25:27 | 0:25:31 | |
It's quite a comfortable, very bourgeois town | 0:25:33 | 0:25:37 | |
that you'd think maybe had forgotten its socialist past, | 0:25:37 | 0:25:40 | |
-but it's still there, don't you think? -I think so. | 0:25:40 | 0:25:43 | |
JAUNTY ACOUSTIC GUITAR MUSIC | 0:25:43 | 0:25:49 | |
'So it's goodbye to Bologna. | 0:25:49 | 0:25:51 | |
'Now we're off to explore the rest of Emilia-Romagna.' | 0:25:51 | 0:25:54 | |
CAR ENGINE ROARS | 0:25:54 | 0:25:56 | |
'This is the Po Valley. | 0:25:56 | 0:25:58 | |
'This fertile land has nourished the region's rich history | 0:25:58 | 0:26:02 | |
'and fed the local culture, | 0:26:02 | 0:26:03 | |
'both literally and metaphorically. | 0:26:03 | 0:26:06 | |
'The beautiful River Po is the artery of Emilia-Romagna. | 0:26:06 | 0:26:10 | |
'It has painted the region in a palette of swirling fog, | 0:26:10 | 0:26:14 | |
'deep, dark soil and lush, arable farmland. | 0:26:14 | 0:26:18 | |
'Many of the rich historical traditions of this region | 0:26:18 | 0:26:21 | |
'stems from these waters. | 0:26:21 | 0:26:23 | |
'This river is also the source of my best memory of Emilia-Romagna.' | 0:26:23 | 0:26:28 | |
They tamed the land to grow what they want, | 0:26:28 | 0:26:31 | |
and here they even tamed the sea. | 0:26:31 | 0:26:33 | |
This is, like, something very special about it. | 0:26:35 | 0:26:38 | |
'I wanted to show Andrew one of the great pastimes of the Po Valley, | 0:26:40 | 0:26:44 | |
'with the land and the river as a backdrop.' | 0:26:44 | 0:26:47 | |
Umberto! Oi? | 0:26:47 | 0:26:49 | |
'The padellone is a traditional way of fishing, | 0:26:50 | 0:26:53 | |
'where friends can get together to share in the peace | 0:26:53 | 0:26:56 | |
'and tranquillity of this land, and get a meal too.' | 0:26:56 | 0:27:00 | |
Buona sera! These are your soci? | 0:27:00 | 0:27:04 | |
What's soci mean? | 0:27:07 | 0:27:10 | |
Soci is because they all own this hut together. | 0:27:10 | 0:27:14 | |
It's like going to the bar, isn't it? | 0:27:14 | 0:27:16 | |
But it's a bit more secluded, it's more calm. | 0:27:16 | 0:27:18 | |
It's like the golf club except with fish. | 0:27:18 | 0:27:21 | |
But what I really want to know, I want to know how it works. | 0:27:31 | 0:27:34 | |
How it works. If you push that one, the trick is done. | 0:27:34 | 0:27:37 | |
SPEAKS IN ITALIAN | 0:27:37 | 0:27:39 | |
Press? | 0:27:39 | 0:27:42 | |
Press, OK. | 0:27:42 | 0:27:45 | |
Oh, it's coming up. | 0:27:45 | 0:27:47 | |
Look at that! Look how big it is. | 0:27:47 | 0:27:50 | |
That is fabulous, look at that! | 0:27:50 | 0:27:52 | |
Oh, look at the crab, can you see the crab? | 0:27:53 | 0:27:56 | |
Ohhh, that's what we're going to eat. | 0:27:56 | 0:27:59 | |
These are delicious! | 0:28:01 | 0:28:03 | |
'The name "padellone" refers the shape of the nets, | 0:28:04 | 0:28:08 | |
'which resemble the giant pan the fishermen fry their catch in.' | 0:28:08 | 0:28:12 | |
This is baby red mullet. They're all different, you see. | 0:28:12 | 0:28:16 | |
So you deep-fry these little chaps? | 0:28:16 | 0:28:18 | |
That's it, you put a little bit of flour and you fry it, that's it. | 0:28:18 | 0:28:22 | |
It's not a very difficult kind of fishing, I have to say. | 0:28:22 | 0:28:25 | |
I think it's Italian people spending time together, | 0:28:25 | 0:28:30 | |
it's about the drink and the food. | 0:28:30 | 0:28:32 | |
The food always brings them together. | 0:28:32 | 0:28:35 | |
JAUNTY ACCORDION MUSIC PLAYS | 0:28:35 | 0:28:37 | |
'For honest working men, like Umberto and Banana, | 0:28:44 | 0:28:47 | |
'this pause from life is typical of Emilia-Romagna, rooted in the place.' | 0:28:47 | 0:28:53 | |
Semolino and a little bit of double zero flour, OK. | 0:28:53 | 0:28:56 | |
So one sticks to it, | 0:28:56 | 0:28:58 | |
the other one's going make it really, really crispy. | 0:28:58 | 0:29:01 | |
Now the only place they jump is in the pot. | 0:29:01 | 0:29:03 | |
How long do they take to cook, Giorgio? | 0:29:05 | 0:29:07 | |
Very, very fast, they're going to cook in about maybe one minute. | 0:29:07 | 0:29:11 | |
Very good. | 0:29:11 | 0:29:12 | |
ALL LAUGH | 0:29:14 | 0:29:15 | |
Attenzioni. | 0:29:15 | 0:29:17 | |
You see, Andrew, I really wanted you to come and see this, | 0:29:19 | 0:29:22 | |
because this is really, | 0:29:22 | 0:29:23 | |
when we're talking about richness of this land, culture. | 0:29:23 | 0:29:28 | |
And the real power of this land is really all these people | 0:29:28 | 0:29:33 | |
and on this river that has brought down for thousand and thousand of years, | 0:29:33 | 0:29:38 | |
this goodness from the Alps. | 0:29:38 | 0:29:40 | |
And it's brought it down to them, and they've been here every day | 0:29:40 | 0:29:43 | |
taking a little bit, with respect and with love. | 0:29:43 | 0:29:47 | |
And, you know, look at the variety, the colour, the beauty | 0:29:47 | 0:29:50 | |
and the abundance. | 0:29:50 | 0:29:51 | |
This is what it's all about, Emilia-Romagna. | 0:29:51 | 0:29:53 | |
MEN CHAT IN ITALIAN | 0:29:53 | 0:29:55 | |
Andrew, per noi queste sono como le patatine, | 0:29:55 | 0:29:58 | |
-chips! -This is like, like fried chips. Like fried chips! | 0:29:58 | 0:30:02 | |
THEY LAUGH | 0:30:02 | 0:30:05 | |
On the padellone, there's no stress, so... | 0:30:09 | 0:30:11 | |
It's the culture that, you know, this is just a little step towards freedom, isn't it? | 0:30:17 | 0:30:22 | |
THEY TOAST AND LAUGH | 0:30:25 | 0:30:28 | |
The brindisi are getting more chaotic! | 0:30:28 | 0:30:30 | |
'After a strong coffee, we're back on the road | 0:30:54 | 0:30:56 | |
'and heading to the historical city of Ferrara.' | 0:30:56 | 0:31:00 | |
I'm definitely slightly the worse for wear. | 0:31:00 | 0:31:03 | |
These brindisi. That's fantastic. | 0:31:03 | 0:31:06 | |
Brindisi! | 0:31:06 | 0:31:07 | |
"Facciamo un brindisi!" | 0:31:07 | 0:31:10 | |
'The city of Ferrara was built on the banks of the Po. | 0:31:16 | 0:31:19 | |
'It was the stronghold of the Este dynasty who ruled here | 0:31:19 | 0:31:22 | |
'for over 300 years until the end of the 16th century. | 0:31:22 | 0:31:27 | |
'Like many dynasties, the Este used arts and architecture | 0:31:27 | 0:31:31 | |
'to express their power and wealth.' | 0:31:31 | 0:31:34 | |
I wanted you to see this arch, Giorgio, that was designed by Alberti, | 0:31:35 | 0:31:39 | |
-the father of Renaissance architecture. -Yeah? | 0:31:39 | 0:31:43 | |
And on the top is a statue of Nicolo III d'Este. | 0:31:43 | 0:31:47 | |
GIORGIO SINGS | 0:31:47 | 0:31:50 | |
I feel like I'm taking a reluctant eight-year-old on a tour | 0:31:57 | 0:32:01 | |
-round the architectural delights of Ferrara. -Si, yes. | 0:32:01 | 0:32:03 | |
I'll have to find something better for you, eh? | 0:32:03 | 0:32:05 | |
It's all so nice and fresh. | 0:32:05 | 0:32:07 | |
'Today, Ferrara is a bustling university town, | 0:32:07 | 0:32:09 | |
'full of students and bicycles. | 0:32:09 | 0:32:12 | |
'The university was established by Alberto V of the Este in 1391. | 0:32:12 | 0:32:18 | |
'The Este invited artists, architects and scholars | 0:32:18 | 0:32:22 | |
'from all over Europe. | 0:32:22 | 0:32:23 | |
'Jewish bankers, persecuted elsewhere, were welcomed here - | 0:32:23 | 0:32:27 | |
'in fact, the doors were flung open to all who could contribute | 0:32:27 | 0:32:30 | |
'to making Ferrara powerful and successful.' | 0:32:30 | 0:32:33 | |
If you came from anywhere else in Italy and you arrived here, | 0:32:35 | 0:32:39 | |
you'd be like stumbling out of the Dark Ages | 0:32:39 | 0:32:41 | |
into this new Renaissance idea of what is a city, | 0:32:41 | 0:32:45 | |
you know, these wide streets. | 0:32:45 | 0:32:47 | |
This was really the first emphatic expression of a very particular Renaissance idea | 0:32:47 | 0:32:52 | |
which was...a planned town. | 0:32:52 | 0:32:55 | |
You know, town planning. | 0:32:55 | 0:32:57 | |
The medieval town just grows like an organism, | 0:32:57 | 0:33:01 | |
and you end up with this labyrinth, where poor lives next to rich. | 0:33:01 | 0:33:04 | |
Everything's a kind of chaos. | 0:33:04 | 0:33:05 | |
Here in Ferrara, for the first time, | 0:33:05 | 0:33:07 | |
the Este said, "No! We're not going to have that kind of city any more. | 0:33:07 | 0:33:10 | |
"We're going to have a planned city - wide streets, but only for the rich." | 0:33:10 | 0:33:15 | |
It's just lined with palaces in all directions | 0:33:15 | 0:33:17 | |
and at the centre of it all, this thumping great expression of Este power, | 0:33:17 | 0:33:21 | |
the Palazzo dei Diamanti, | 0:33:21 | 0:33:23 | |
with these amazing kind of sharp diamonds of stone all over it, | 0:33:23 | 0:33:29 | |
studded like a kind of piece of chain mail. | 0:33:29 | 0:33:31 | |
I mean, there's nothing else like it in Renaissance architecture, | 0:33:31 | 0:33:34 | |
-not quite like this. -Right. It looks very modern, isn't it, somehow? | 0:33:34 | 0:33:38 | |
Yeah, I think it is - fascist architects looked at this building | 0:33:38 | 0:33:41 | |
when they were designing in the '30s and '40s. | 0:33:41 | 0:33:43 | |
They were looking at this kind of symmetry, this architecture of power. | 0:33:43 | 0:33:46 | |
I think it's very beautiful, | 0:33:46 | 0:33:48 | |
but I also think there's something slightly sinister about it. | 0:33:48 | 0:33:51 | |
It's telling you if you're one of the Ferrarese poor, | 0:33:51 | 0:33:54 | |
"Don't mess with us or we'll come down on you like a..." | 0:33:54 | 0:33:57 | |
-The fist will squash you? -Yeah, yeah, absolutely. | 0:33:57 | 0:33:59 | |
'In their heyday, the Este were as dominant as the Medici | 0:34:01 | 0:34:04 | |
'and even married into other powerful dynasties, | 0:34:04 | 0:34:07 | |
'including a notorious union with Lucrezia Borgia. | 0:34:07 | 0:34:10 | |
'But in 1598, with no heir to continue the line, | 0:34:10 | 0:34:15 | |
'Ferrara was claimed by the Papal States. | 0:34:15 | 0:34:18 | |
'Today the Este dynasty is largely forgotten.' | 0:34:18 | 0:34:21 | |
Because the Este lost the power battle, all of their buildings | 0:34:23 | 0:34:27 | |
got stripped of their possessions, got taken to other places, | 0:34:27 | 0:34:30 | |
so what we're left with is this beautiful, fantastic, | 0:34:30 | 0:34:33 | |
but rather melancholy stage set - it's like the set of a play | 0:34:33 | 0:34:37 | |
but all the actors have gone. | 0:34:37 | 0:34:38 | |
'We are driving further west along the Po Valley to Modena. | 0:34:50 | 0:34:53 | |
'This city is home to two of my favourite things, | 0:34:56 | 0:35:00 | |
'balsamic vinegar and fast cars. | 0:35:00 | 0:35:03 | |
'But it's also home to a truly heart-stopping work of art - | 0:35:05 | 0:35:09 | |
'one that's rooted in the soil and the blood of this region.' | 0:35:09 | 0:35:14 | |
I'm going to tell you a story. | 0:35:15 | 0:35:17 | |
I'm going to give you a role in the story as well, if you don't mind? | 0:35:17 | 0:35:20 | |
-I've got a role in the story? -Yeah. | 0:35:20 | 0:35:21 | |
So you have to imagine that it's 1480, | 0:35:21 | 0:35:25 | |
you've done something terrible, | 0:35:25 | 0:35:28 | |
maybe you've tried to poison the Duke of the Este Dynasty, | 0:35:28 | 0:35:31 | |
but you've been caught, and you've been sentenced to death. | 0:35:31 | 0:35:34 | |
Now they're taking you down this street. | 0:35:34 | 0:35:36 | |
-Right. -When you get to the end of the street, they're going to rip pieces | 0:35:36 | 0:35:39 | |
of your flesh off with red hot pincers, they're going to hang you | 0:35:39 | 0:35:42 | |
-by the neck until you're dead. -Right. | 0:35:42 | 0:35:44 | |
But you've got some friends with you | 0:35:44 | 0:35:46 | |
and they are the members of the local confraternity of the good death, | 0:35:46 | 0:35:50 | |
and it's their job to make sure that you repent before you die. | 0:35:50 | 0:35:53 | |
This is their church, they stop you here, | 0:35:53 | 0:35:55 | |
and they bring you in because they want you to see one last thing. | 0:35:55 | 0:35:59 | |
-Before I die? -Before you die. | 0:35:59 | 0:36:01 | |
I would like to have a risotto before I die. | 0:36:01 | 0:36:03 | |
Maybe you've had your last wish already, so assume you've had your risotto. | 0:36:03 | 0:36:07 | |
This object is going to be the last thing | 0:36:10 | 0:36:14 | |
that you should hold in your mind's eye if you want to save your soul. | 0:36:14 | 0:36:18 | |
It was created in 1477 by an artist called Guido Mazzoni. | 0:36:28 | 0:36:34 | |
What is it made of? | 0:36:34 | 0:36:35 | |
-It's made of terracotta. -No! | 0:36:35 | 0:36:38 | |
Yeah, it's made of the same earth of Emilia-Romagna | 0:36:38 | 0:36:42 | |
from which all the things that we've been eating grow. | 0:36:42 | 0:36:46 | |
So the idea behind the sculpture is that you are going to your death | 0:36:46 | 0:36:51 | |
and I, as a member of the company of the good death, | 0:36:51 | 0:36:54 | |
want you to have as good a death as possible. | 0:36:54 | 0:36:57 | |
And that if you look as Christ's dead figure | 0:36:57 | 0:37:02 | |
lying while Mary the Madonna grieves over him, | 0:37:02 | 0:37:06 | |
while Mary Magdalene twists her face into this scream of anguish, | 0:37:06 | 0:37:10 | |
somehow this emotion will transmit from that sculpture into you, | 0:37:10 | 0:37:15 | |
and that you will feel these things in your heart... | 0:37:15 | 0:37:19 | |
and you will be moved to turn to the priest | 0:37:19 | 0:37:21 | |
who accompanies you on the scaffold, you will confess. | 0:37:21 | 0:37:25 | |
And maybe, just maybe, | 0:37:25 | 0:37:27 | |
this sculpture may help to save your soul. | 0:37:27 | 0:37:29 | |
I think it does achieve what it set out for, doesn't it? | 0:37:41 | 0:37:45 | |
'These sculptures are refined and sophisticated, | 0:37:47 | 0:37:51 | |
'yet unashamedly proud of their roots, | 0:37:51 | 0:37:54 | |
'having grown out of the humblest of materials - the Emilia-Romagna clay itself.' | 0:37:54 | 0:38:00 | |
-Andiamo. -Andiamo. | 0:38:01 | 0:38:03 | |
Well, you can step out of character now. | 0:38:06 | 0:38:08 | |
'What draws me most to this region | 0:38:14 | 0:38:16 | |
'is the beautiful produce that grows out of this soil. | 0:38:16 | 0:38:19 | |
'For 25 years, I've been buying balsamic vinegar tradizionale | 0:38:24 | 0:38:28 | |
'from the Aggazzotti family, | 0:38:28 | 0:38:30 | |
'but until now, I've never met my supplier, Ettore Aggazzotti.' | 0:38:30 | 0:38:33 | |
This is the place where it all happens. | 0:38:43 | 0:38:47 | |
The produce transforms itself | 0:38:47 | 0:38:49 | |
and becomes balsamic vinegar tradizionale. | 0:38:49 | 0:38:54 | |
-The real deal. -The real deal. | 0:38:54 | 0:38:56 | |
'The Aggazzotti family has been making vinegar since 1714. | 0:38:56 | 0:39:01 | |
'The family has perfected the art of creating a symphony of flavour | 0:39:01 | 0:39:04 | |
'out of the most modest of ingredients. | 0:39:04 | 0:39:07 | |
'Grapes, patience and a colony of bacteria | 0:39:07 | 0:39:10 | |
that vinegar producers call "the mother".' | 0:39:10 | 0:39:13 | |
The mother is a colony of bacteria. | 0:39:18 | 0:39:20 | |
They keep on reforming itself. | 0:39:23 | 0:39:26 | |
Right, so what does the mother do to this liquid? | 0:39:26 | 0:39:28 | |
The natural sugar that there is inside, | 0:39:28 | 0:39:30 | |
the mother transform the sugar into vinegar. | 0:39:30 | 0:39:32 | |
-Bacteria does that by sort of eating it. -That's right. | 0:39:32 | 0:39:35 | |
So the mother bacteria colony that you still use in every batch... | 0:39:35 | 0:39:39 | |
Every years. | 0:39:39 | 0:39:40 | |
..was actually first sort of created | 0:39:40 | 0:39:42 | |
and it's still the same bacteria family that's doing it? | 0:39:42 | 0:39:45 | |
Exactly, and this is... That's exactly what the value would be. | 0:39:45 | 0:39:49 | |
The value of the acetaia is on the value of the mother. | 0:39:49 | 0:39:53 | |
If you start tomorrow, you're going to have to wait | 0:39:53 | 0:39:55 | |
-quite a long time before... -Right. | 0:39:55 | 0:39:56 | |
'Balsamic vinegar is often swept aside as a simple condiment | 0:39:58 | 0:40:02 | |
'that you use to dip your bread in or throw over a salad. | 0:40:02 | 0:40:05 | |
'But balsamic vinegar tradizionale is very different to normal balsamic vinegar. | 0:40:05 | 0:40:11 | |
'And that's why this tiny bottle of 25-year-old vinegar costs 250 euros.' | 0:40:11 | 0:40:18 | |
The aging factor, I think, is a typical expression of this land - | 0:40:18 | 0:40:22 | |
this patience, this idea of, "I can wait to have something fantastic." | 0:40:22 | 0:40:27 | |
Hmm, that is fantastic, the sweet with the salt, | 0:40:38 | 0:40:42 | |
it's even more intense. | 0:40:42 | 0:40:44 | |
It takes 25 years to get the balsamic out of that barrel, doesn't it? | 0:40:44 | 0:40:48 | |
After 25 years, we actually managed to meet each other. | 0:40:48 | 0:40:51 | |
-Well, here's to both of you - Ettore, Giorgio. -Salute! | 0:40:51 | 0:40:56 | |
Brindiamo. Facciamo un brindisi! | 0:40:56 | 0:40:59 | |
'This trip to Modena is a dream for me. | 0:40:59 | 0:41:01 | |
'First I get to meet Ettore and now I get to satisfy my second love, | 0:41:01 | 0:41:06 | |
'fast cars. | 0:41:06 | 0:41:07 | |
'Modena is the home to Enzo Ferrari, | 0:41:12 | 0:41:14 | |
'and we can't come here without going to visit the new Ferrari museum, | 0:41:14 | 0:41:18 | |
'a testament to his life's work. | 0:41:18 | 0:41:21 | |
'He was obsessed with racing since childhood, and he turned his dream | 0:41:21 | 0:41:25 | |
'into a quest to build the ultimate racing machine. | 0:41:25 | 0:41:29 | |
'Today, Ferrari is famous worldwide. | 0:41:29 | 0:41:31 | |
'Enzo's original workshop and office, founded here in 1929, | 0:41:33 | 0:41:37 | |
'is still standing, | 0:41:37 | 0:41:38 | |
'sheltered by this spectacular museum designed by architect Jan Kaplicky. | 0:41:38 | 0:41:42 | |
'It's a perfect demonstration of how tradition meets modernity | 0:41:44 | 0:41:48 | |
'and technology in this region.' | 0:41:48 | 0:41:51 | |
It's all white, it's like an art gallery, the cars are on plinths. | 0:41:51 | 0:41:53 | |
So beautiful, aren't they? | 0:41:53 | 0:41:55 | |
I think cars deserve to be looked at in terms of, you know... | 0:41:55 | 0:41:58 | |
Especially these cars, look at that beautiful shape... | 0:41:58 | 0:42:01 | |
an aeroplane, almost. | 0:42:01 | 0:42:02 | |
Well, it's funny, I mean we're looking at these cars as if they're sculptures, | 0:42:02 | 0:42:06 | |
but they do actually look like sculptures of the 1940s. | 0:42:06 | 0:42:09 | |
-If you think of Henry Moore if you think of Arc... -Yes. | 0:42:09 | 0:42:11 | |
That sort of biomorphic that was in the air, | 0:42:11 | 0:42:14 | |
so even the cars are like that. | 0:42:14 | 0:42:16 | |
Even if you're ugly, you look good on this one. | 0:42:16 | 0:42:19 | |
Ferrari seems to me to be the man who almost literally | 0:42:19 | 0:42:23 | |
gives Italy the engine to drive into the future. | 0:42:23 | 0:42:25 | |
'Emilia-Romagna has also given the world Ducati, Maserati, Lamborghini. | 0:42:28 | 0:42:33 | |
'What a roll call for one fairly small region.' | 0:42:33 | 0:42:36 | |
This real modern aesthetic and this culture of design. | 0:42:37 | 0:42:42 | |
Why do you think it flourished in Northern Italy? | 0:42:42 | 0:42:45 | |
I think it's the passion and the drive. | 0:42:45 | 0:42:47 | |
You know, they want to show everybody they could do something | 0:42:47 | 0:42:50 | |
really great, they dream about being. | 0:42:50 | 0:42:53 | |
That's what Enzo Ferrari used to say, "I dream about being Ferrari, | 0:42:53 | 0:42:57 | |
"I dreamt to be Ferrari and I become Ferrari, you know, I dreamt it." | 0:42:57 | 0:43:02 | |
Can you imagine how strong he must have been feeling to dream about it? | 0:43:02 | 0:43:05 | |
-No more Medici, no more... -No more Medici, no more Este, no more that! | 0:43:05 | 0:43:09 | |
They took the mantle on, and they took it on through | 0:43:09 | 0:43:12 | |
showing something that they could do. So they went forwards with that. | 0:43:12 | 0:43:16 | |
This is so important. | 0:43:16 | 0:43:18 | |
'But these cars weren't just made to be looked at, | 0:43:22 | 0:43:25 | |
'they were designed to be driven. | 0:43:25 | 0:43:27 | |
'Every aspect of these cars is the product of craftsmanship. | 0:43:29 | 0:43:33 | |
'Even today, every engine is signed by the mechanic who put it together.' | 0:43:33 | 0:43:37 | |
I'm crying, it was so good! Oh, that was so good! | 0:43:40 | 0:43:44 | |
HE LAUGHS | 0:43:44 | 0:43:46 | |
You enjoyed it? | 0:43:46 | 0:43:47 | |
Oh, yes, Giorgio, I enjoyed it(!) | 0:43:47 | 0:43:49 | |
GIORGIO LAUGHS | 0:43:49 | 0:43:51 | |
I feel my blood is going round! | 0:43:51 | 0:43:52 | |
'Finally, we arrive in Parma, our last stop in Emilia-Romagna. | 0:44:00 | 0:44:05 | |
'This town is famous for the highest-quality delicacies - | 0:44:05 | 0:44:09 | |
'Parma ham, Parmesan cheese. | 0:44:09 | 0:44:11 | |
'And quality control has become a business, too. | 0:44:11 | 0:44:15 | |
'The EU has based its Food Standards Agency in this tiny town.' | 0:44:15 | 0:44:19 | |
Baptistry, Archbishops' Palace, Cathedral. | 0:44:19 | 0:44:22 | |
Beautiful Romanesque cathedral. | 0:44:22 | 0:44:25 | |
'It's not just the food that's world class.' | 0:44:25 | 0:44:27 | |
Giorgio, after you. One of the world's great buildings. | 0:44:27 | 0:44:31 | |
And how cool is it?! It's like instant air conditioning, | 0:44:33 | 0:44:36 | |
you come out of 40 degrees heat and here, you can relax, | 0:44:36 | 0:44:39 | |
you can enjoy, you can see. | 0:44:39 | 0:44:41 | |
'Here in Parma's cathedral is one of the most innovative, | 0:44:41 | 0:44:45 | |
'awe-inspiring works of art of the whole Renaissance.' | 0:44:45 | 0:44:48 | |
So in the 1520s, Antonio Allegri, | 0:44:49 | 0:44:53 | |
detto il Correggio was commissioned to paint the dome of the cathedral. | 0:44:53 | 0:44:58 | |
Right now, you look up to the dome. | 0:45:03 | 0:45:07 | |
Wow! | 0:45:07 | 0:45:10 | |
And it's showing us the Assumption of the Virgin Mary, | 0:45:10 | 0:45:13 | |
she's being whooshed into heaven after her death. | 0:45:13 | 0:45:17 | |
And she's going to meet her son, Jesus Christ, in heaven. | 0:45:17 | 0:45:21 | |
It's so uplifting, isn't it? it goes like whoosh. Like a spiral. | 0:45:24 | 0:45:30 | |
Unbelievable. | 0:45:30 | 0:45:32 | |
It's a painting that's meant to make you feel | 0:45:36 | 0:45:38 | |
as if you are being whirled up to heaven. | 0:45:38 | 0:45:41 | |
It does. It does. It really feels like it's lifting you up. | 0:45:41 | 0:45:45 | |
Levitation. But what's amazing about this is that it's ten years | 0:45:45 | 0:45:49 | |
after Michelangelo has finished the Sistine Chapel. | 0:45:49 | 0:45:53 | |
And the people in Parma think, | 0:45:53 | 0:45:55 | |
"We're not going to be outdone by those Romans." | 0:45:55 | 0:45:58 | |
So what they do, this is not a ceiling. | 0:45:58 | 0:46:00 | |
This is not a ceiling, this a dome. | 0:46:00 | 0:46:03 | |
In the past, if they painted a dome, | 0:46:03 | 0:46:05 | |
they just painted it blue with gold stars - heaven. | 0:46:05 | 0:46:08 | |
Correggio set himself the challenge | 0:46:08 | 0:46:11 | |
to paint the Madonna entering heaven. | 0:46:11 | 0:46:14 | |
Was he really appreciated for this? Did people love it? | 0:46:14 | 0:46:17 | |
Well, this is the terrible paradox. | 0:46:17 | 0:46:19 | |
Titian, supposedly the greatest painter in the history of painting... | 0:46:19 | 0:46:22 | |
Right. | 0:46:22 | 0:46:24 | |
..he heard about this and he looked at it and said, | 0:46:24 | 0:46:26 | |
"This is incredible. You couldn't pay Correggio enough for this. | 0:46:26 | 0:46:32 | |
"In fact, if you turned that dome upside-down and made it into a bowl, | 0:46:32 | 0:46:36 | |
"and filled it with gold, it wouldn't be enough money." | 0:46:36 | 0:46:39 | |
But the tragedy of it is that the patron, | 0:46:42 | 0:46:45 | |
the Canon of the Cathedral, who was obviously a very conservative man, | 0:46:45 | 0:46:50 | |
he simply said, "It looks like a stew of frog's legs." | 0:46:50 | 0:46:55 | |
He didn't? | 0:46:55 | 0:46:56 | |
That was his judgment, and Correggio finished it in 1530, | 0:46:56 | 0:47:00 | |
it took him eight years from start to end, | 0:47:00 | 0:47:02 | |
-he never got another commission in Parma. -No! | 0:47:02 | 0:47:06 | |
-So it was like, "Thank you very much but no thank you." -No way. | 0:47:06 | 0:47:11 | |
Bellissima. Grazie, andiamo. | 0:47:12 | 0:47:15 | |
Prego, prego. | 0:47:15 | 0:47:17 | |
'Just a little way out of Parma | 0:47:21 | 0:47:23 | |
'is my great friend Massimo Spigaroli's farm. | 0:47:23 | 0:47:27 | |
'Parma is famous for its dried ham | 0:47:27 | 0:47:29 | |
'and I think Massimo's Culatello di Zibello is definitely | 0:47:29 | 0:47:33 | |
'some of the best in the world. | 0:47:33 | 0:47:35 | |
'Culatello is a type of Parma ham | 0:47:35 | 0:47:37 | |
'only made with the finest cut of pork rump.' | 0:47:37 | 0:47:40 | |
So, Massimo, what do we use? | 0:47:40 | 0:47:43 | |
It's very, very simple. Salt, pepper... | 0:47:43 | 0:47:45 | |
Salt and pepper. | 0:47:45 | 0:47:47 | |
..garlic, red wine Fontana, territorio, the bladder. | 0:47:47 | 0:47:52 | |
-Pig's bladder. -Pig's bladder, meat pig. | 0:47:52 | 0:47:56 | |
Meat from the pig, which is a rump, it's the culatello. | 0:47:56 | 0:48:02 | |
What makes this recipe is the fog, is the silent. | 0:48:02 | 0:48:07 | |
These are the ingredients as well of this pig, isn't it? | 0:48:07 | 0:48:11 | |
E tempo - time. | 0:48:11 | 0:48:13 | |
And time, time is what plays, like for the balsamic vinegar, | 0:48:13 | 0:48:17 | |
again the master of time, the master of time. | 0:48:17 | 0:48:21 | |
When they make Ferraris, they master time when they make culatello. | 0:48:21 | 0:48:24 | |
They know how to wait for something | 0:48:24 | 0:48:27 | |
that gets better and better and better. | 0:48:27 | 0:48:31 | |
'The meat is massaged with garlic, and wine, | 0:48:31 | 0:48:34 | |
'then it's covered with salt. | 0:48:34 | 0:48:39 | |
'Finally, it's wrapped tightly in a pig's bladder. | 0:48:39 | 0:48:43 | |
'It's a technique that hasn't changed for centuries.' | 0:48:43 | 0:48:47 | |
That's the same way that his grandfather | 0:48:47 | 0:48:49 | |
-used to make culatello for Giuseppe Verdi. -What? | 0:48:49 | 0:48:52 | |
Giuseppe Verdi, you know, he used to buy culatello from his grandfather. | 0:48:52 | 0:48:56 | |
This is where, actually, the artisan is king, you know. | 0:48:56 | 0:49:00 | |
Fantastic. How long will it be hanging? | 0:49:00 | 0:49:02 | |
It can stay up to two or three years without any problem. | 0:49:02 | 0:49:06 | |
'When it's ready, it's down to the cellar.' | 0:49:06 | 0:49:09 | |
I can smell it. | 0:49:13 | 0:49:16 | |
The march of the pig leads here. | 0:49:16 | 0:49:18 | |
This is the paradise of the pig. | 0:49:18 | 0:49:20 | |
'This cellar has been used to cure culatello for nearly 700 years.' | 0:49:20 | 0:49:24 | |
They're like sleeping bats. | 0:49:24 | 0:49:26 | |
Look at that. Massimo questo e bellissimo. | 0:49:26 | 0:49:30 | |
Questo e il paradiso del maiale, eh? Pig paradise. | 0:49:30 | 0:49:34 | |
Have you seen? Look, Giorgio. | 0:49:34 | 0:49:36 | |
Are these the names of the clients? | 0:49:36 | 0:49:38 | |
E qui e Principe Carlo. That's Prince Charles's one? | 0:49:38 | 0:49:41 | |
And look at that - Prince Albert of Monaco. | 0:49:41 | 0:49:45 | |
Armani! | 0:49:45 | 0:49:47 | |
-Giorgio Armani has a culatello. -And look at that. | 0:49:47 | 0:49:50 | |
'This cellar is like a perfectly honed machine. | 0:49:50 | 0:49:53 | |
'To work best, Massimo must keep exactly 5,000 culatello | 0:49:53 | 0:49:57 | |
'hanging in here.' | 0:49:57 | 0:50:00 | |
He decides every day how much to open or close the window. | 0:50:00 | 0:50:04 | |
Depend on the temperature, depend on the humidity. | 0:50:04 | 0:50:07 | |
So the fresh air will come in with the fog, the humidity, | 0:50:07 | 0:50:13 | |
and this activates the noble white mould that gives | 0:50:13 | 0:50:17 | |
that characteristic flavour to the cured meat. | 0:50:17 | 0:50:21 | |
This is the last ingredients coming naturally through the window, | 0:50:21 | 0:50:24 | |
and the man decides how much to expose the culatello to. | 0:50:24 | 0:50:29 | |
-Oooh, that's a perfume of history. -Posso. | 0:50:44 | 0:50:47 | |
Smell that. | 0:50:47 | 0:50:50 | |
If a woman smelled like that, would be my lover. | 0:50:53 | 0:50:56 | |
Speak for yourself! | 0:50:57 | 0:51:01 | |
We're going to eat it before we get back to London, | 0:51:08 | 0:51:10 | |
I'm not letting you away with that. | 0:51:10 | 0:51:13 | |
'How wonderful that something as simple as fog, | 0:51:15 | 0:51:17 | |
'or even silence, can generate such incredible flavour. | 0:51:17 | 0:51:23 | |
'I've been struck for the first time on this trip that | 0:51:23 | 0:51:25 | |
'the features of the landscape are actually just as important | 0:51:25 | 0:51:28 | |
'to the art of the region. | 0:51:28 | 0:51:30 | |
'The fog that swirls through Correggio's fresco | 0:51:30 | 0:51:33 | |
'in Parma Cathedral, just as it swirls around Massimo's cellar.' | 0:51:33 | 0:51:38 | |
'Centuries-old traditions are vital to this region's livelihood, | 0:51:42 | 0:51:46 | |
'even today. | 0:51:46 | 0:51:49 | |
'So preserving them is important to everyone who lives here. | 0:51:49 | 0:51:53 | |
'Parma's Palatine library contains a rare historical treasure | 0:51:53 | 0:51:57 | |
'that I'm desperate to get a peek at.' | 0:51:57 | 0:51:59 | |
Wow, that is what I call a library. That's fantastic. | 0:51:59 | 0:52:03 | |
'This book is one of the earliest existing Italian recipe books, | 0:52:03 | 0:52:06 | |
'written in 1680 by Carlo Nascia, | 0:52:06 | 0:52:09 | |
'who was private chef to the Duke Ranuccio Farnese. | 0:52:09 | 0:52:13 | |
'This 400-year-old manuscript has recently been restored.' | 0:52:13 | 0:52:17 | |
This book is very important. | 0:52:17 | 0:52:19 | |
It really tells you what the cookery of that time was like. | 0:52:19 | 0:52:25 | |
Obviously, this is not the cookery of the poor people, | 0:52:25 | 0:52:28 | |
this is the cookery of the rich. The recipes are very simply written, | 0:52:28 | 0:52:31 | |
but it's a very intelligent book | 0:52:31 | 0:52:34 | |
because he has a reference to French food, | 0:52:34 | 0:52:37 | |
he has a reference to Far East food. | 0:52:37 | 0:52:40 | |
So it shows you how sophisticated they were on their taste. | 0:52:40 | 0:52:44 | |
Even that long time ago. | 0:52:44 | 0:52:46 | |
Some of these recipes have just caught my eye, look. | 0:52:46 | 0:52:49 | |
-Don't touch it... -Mi dispiace! | 0:52:49 | 0:52:51 | |
You been to Oxford and you should know that you don't touch | 0:52:51 | 0:52:54 | |
a manuscript, I touch it because I got the gloves. | 0:52:54 | 0:52:57 | |
So get your hands off. | 0:52:57 | 0:52:58 | |
For one time, can I look intelligent and you look like a peasant? | 0:52:58 | 0:53:02 | |
For one time, you know, please, you know. I got the gloves. | 0:53:02 | 0:53:06 | |
Pasticcio di lombo, pasticcio di carne, le torte diverse. | 0:53:11 | 0:53:17 | |
'The Farnese Dukes of the 17th century | 0:53:17 | 0:53:19 | |
'would use these astounding banquets as political tools, | 0:53:19 | 0:53:22 | |
'demonstrating their power and wealth to visiting dignitaries | 0:53:22 | 0:53:26 | |
'who'd be left in awe and wonder.' | 0:53:26 | 0:53:28 | |
This is amazing and the smell of this book, it smells of the kitchen. | 0:53:28 | 0:53:33 | |
Smell it. | 0:53:33 | 0:53:35 | |
'For chefs like Carlo Nascia and Pellegrino Artusi, | 0:53:35 | 0:53:37 | |
'food is not just something to fill up your belly.' | 0:53:37 | 0:53:40 | |
It smells of the kitchen. | 0:53:40 | 0:53:41 | |
'It can also feed the mind and be used to great intellectual ends.' | 0:53:41 | 0:53:47 | |
This is what modern cookery is all about | 0:53:47 | 0:53:51 | |
and this is how we start to learn, | 0:53:51 | 0:53:54 | |
when people like that start to write these books. | 0:53:54 | 0:53:58 | |
'This book has been restored by a group of very special ladies | 0:53:58 | 0:54:01 | |
'who call themselves the Fornello Dining Club. | 0:54:01 | 0:54:05 | |
'They want to ensure that these recipes are kept alive. | 0:54:05 | 0:54:08 | |
'And most importantly, enjoyed! | 0:54:08 | 0:54:11 | |
'For our last meal in Emilia-Romagna they've invited us | 0:54:13 | 0:54:16 | |
'to try out one of Nascia's recipes.' | 0:54:16 | 0:54:19 | |
I'm going to cook something for you, | 0:54:19 | 0:54:22 | |
-which is this really special dish, that is the Rosa di Parma. -Si. | 0:54:22 | 0:54:27 | |
-Very simple ingredients, the fillet steak. -Filetto. | 0:54:27 | 0:54:31 | |
-Filetto. -Aperto. -Open up, butterflied open, then we've got some garlic, | 0:54:31 | 0:54:35 | |
some rosemary, some Parma ham, some Parmesan and again... | 0:54:35 | 0:54:41 | |
-Lambrusco. -Lambrusco. | 0:54:41 | 0:54:44 | |
'Without the efforts of these women, | 0:54:55 | 0:54:58 | |
'this recipe and many others would have been lost forever. | 0:54:58 | 0:55:02 | |
'The fillet is stuffed with Parmesan cheese and Parma ham, | 0:55:18 | 0:55:21 | |
'then rolled and tied.' | 0:55:21 | 0:55:23 | |
Quanto. | 0:55:23 | 0:55:26 | |
Yeah, I love the way the cheese mixes in with the Parma ham | 0:55:34 | 0:55:37 | |
and you get this sweet flavour, and then the wine kicks in. | 0:55:37 | 0:55:40 | |
-That's right. -With the cream, I mean, this is rich food. | 0:55:40 | 0:55:43 | |
This book proved that the banqueting was something that was not just | 0:55:43 | 0:55:48 | |
about food, was about showing your power, your understanding | 0:55:48 | 0:55:52 | |
of who was sitting around the table, what they were going to eat, | 0:55:52 | 0:55:56 | |
and show them your understanding of the world that surrounds you, | 0:55:56 | 0:56:00 | |
to get things from Genoa, to get things from Venice, from Sicily. | 0:56:00 | 0:56:04 | |
That was a show of power. | 0:56:04 | 0:56:07 | |
Cheers, everybody! | 0:56:07 | 0:56:09 | |
'These ladies might be just a bit more glamorous | 0:56:09 | 0:56:12 | |
'than our friends at the fishing hut, | 0:56:12 | 0:56:14 | |
'but the sentiment is the same. | 0:56:14 | 0:56:16 | |
'To keep the heritage and traditions of this region alive. | 0:56:16 | 0:56:20 | |
'Emilia-Romagna is where centuries-old traditions | 0:56:27 | 0:56:31 | |
'have met with the modern world. | 0:56:31 | 0:56:33 | |
'The people here know how to appreciate the silence | 0:56:33 | 0:56:36 | |
'with the speed, richness with simplicity, | 0:56:36 | 0:56:39 | |
'and always with an eye to enjoying life.' | 0:56:39 | 0:56:43 | |
One of the things I was struck by, particularly in Bologna, | 0:56:43 | 0:56:47 | |
which for me was a great rediscovery, | 0:56:47 | 0:56:49 | |
was the extent to which people doing relatively modest occupations | 0:56:49 | 0:56:54 | |
like making pasta or being a barber, managed to carve out for themselves | 0:56:54 | 0:56:59 | |
this fantastic environment to work in. | 0:56:59 | 0:57:02 | |
They've kept that tradition of the small... | 0:57:02 | 0:57:05 | |
Respect of the working person. | 0:57:05 | 0:57:07 | |
Yes, there doesn't have to be a multinational company, | 0:57:07 | 0:57:10 | |
you can stay small and it will still work. | 0:57:10 | 0:57:12 | |
What do you think your abiding memories will be | 0:57:12 | 0:57:15 | |
of this trip through Emilia-Romagna? | 0:57:15 | 0:57:17 | |
Oh, for me, it was just incredible to see these people | 0:57:17 | 0:57:21 | |
and they got such a joy of life on one side, | 0:57:21 | 0:57:25 | |
almost like the southern, you know. | 0:57:25 | 0:57:27 | |
And then on the other side, you have this absolutely tough work ethic. | 0:57:27 | 0:57:34 | |
They can wait for their produce. | 0:57:34 | 0:57:37 | |
You mean the joy of the south and the work ethic of the north... | 0:57:37 | 0:57:40 | |
-That's right. -Fused. | 0:57:40 | 0:57:43 | |
This theme of patience or, you know, taking a long time | 0:57:43 | 0:57:45 | |
to get something just right, I think it's true of the art as well. | 0:57:45 | 0:57:49 | |
Do you remember that amazing dome painted by Correggio? | 0:57:49 | 0:57:52 | |
Oh, my favourite thing. That was my favourite thing ever! | 0:57:52 | 0:57:57 | |
I never seen anything like that, | 0:57:57 | 0:57:58 | |
that's much better than the Sistine Chapel. | 0:57:58 | 0:58:01 | |
-You think that's much better than the Sistine Chapel? -Much better! | 0:58:01 | 0:58:04 | |
Spoken like a true northern Italian. | 0:58:04 | 0:58:07 | |
-So where are we going to go next? -I'm going to take you to Lombardy. | 0:58:07 | 0:58:10 | |
I'm going to take you to my region, | 0:58:10 | 0:58:12 | |
my view of the world started from there. | 0:58:12 | 0:58:15 | |
I want you to have a look at it from that as well. | 0:58:15 | 0:58:17 | |
-So Giorgio's going home. -Andiamo. | 0:58:17 | 0:58:20 | |
Andiamo. Push down on the accelerator! | 0:58:20 | 0:58:22 | |
Subtitles by Red Bee Media Ltd | 0:58:43 | 0:58:44 |