Placeholder Image

字幕列表 影片播放

  • I'm Andrew Graham Dickson and I'm an art historian.

  • I'm Giorgio Locatelli and I'm a chef.

  • We are both passionate about my homeland, Italy.

  • The smells, the colour, this is what food is all about for me.

  • The rich flavours and classic dishes of this land are in my culinary DNA.

  • And this country's rich layers of art

  • and history have captivated me since childhood.

  • It's enough to make you feel as if you are being whirled up to heaven.

  • We're stepping off the tourist track and exploring Italy's

  • Northern regions of Emilia-Romagna, Lombardy and Piedmont.

  • It's part of Italy that's often overlooked, but it drives

  • the whole country and I want to show off its classic dishes.

  • Not to mention its hidden legacy of artist, designers, intellectuals.

  • Wow, this is incredible.

  • This week we are in Lombardy, where I grew up.

  • I can't wait to introduce Andrew to the hearty Lombardy food of my youth.

  • We'll also enjoy the ingenious art and thrilling design that

  • reveal how this region really is the motor of Italy.

  • Lombardy may not be the most exotic region in Italy,

  • but, for me, it's special.

  • Bordering Switzerland, we are closer here to Zurich than Rome.

  • There is only one place to start our journey,

  • my home town of Corgeno, by Lake Maggiore.

  • I've cooked for Andrew many times at my restaurant,

  • but I'm taking him to where it all started, Casa Locatelli.

  • Mama, Papa.

  • Oh, ciao, Mama.

  • Small daddy, he's a small daddy.

  • He used to be bigger than me, but now he's...

  • Ferruccio. Pinuccia and Ferruccio.

  • No, I'll remember, I'll remember. I'm hungry.

  • 'We're here for lunch and polenta's on the menu.'

  • You see, what happens here is, my mum runs the kitchen

  • and even when I come home, I'm not allowed to cook.

  • So she cooks all the time.

  • An exception is made for polenta. Polenta is a man thing.

  • So my dad, as you can see, he's ready with his apron.

  • So we're going to leave my mum here.

  • No. No, no, we do it on the fire on the garden.

  • So we're going to cook the polenta downstairs. Let's go.

  • SHE SPEAKS ITALIAN

  • It has to taste of smoke, otherwise, it's not good.

  • Even though she's the captain of the kitchen,

  • she's still telling you how to do the polenta.

  • She's got to prepare the mushroom and the thing

  • and we go and do the polenta.

  • 'Polenta, made from ground maize, really is the pasta of the north.

  • 'In fact, the southerners call us Lombards, Polentoni,

  • 'because we eat so much of the stuff.'

  • OK, you see, it's the most simple thing. You know, you just need a fire

  • and a paiolo, which is this like cast iron, and then copper inside.

  • And so, I remember when I was little I used to see all the shepherds

  • going around with their flocks, and they had the donkey

  • and on the donkey they will have the paiolo on the back.

  • So that would actually make polenta in the field? That's right.

  • On the open fire? That's why you make it on the open fire.

  • During the war, that was the only thing that they had,

  • polenta and when the partisan, which were striving here,

  • you know it's like lost... The heroes? The heroes. That lived in the woods.

  • Yeah, you know they were living in the woods.

  • They'll camp, you're duty as a, somebody that

  • didn't like the Fascists, obviously, at that point

  • was to give half of your polenta to them.

  • A beautiful colour! It's like saffron or something.

  • Beautiful yellow. This is Roberto This is your... This is my brother.

  • This is your brother. You look exactly, nothing like you.

  • No, he's been training how to do polenta for the last 20 years.

  • Who's the older brother? He is.

  • And he's the one that's getting all the training.

  • I'm just been around just doing Michelin starred food.

  • You know, something not very important.

  • I'm hungry. Is this the moment of truth?

  • This is the most important moment.

  • The man job is done, now we've got to go upstairs

  • and see what the girls have managed to... Fantastic.

  • ..Rustle up.

  • I like the way, I like the way it's all swaddled up like a baby.

  • While we were making the polenta, my mum was busy whipping up

  • a meaty brochette and some delicious porcini mushrooms.

  • Come, sit down.

  • 'This is the kind of food that ignited my love affair with cooking.

  • 'Hearty and simple, just the way I like it.'

  • Wow. Look at the lake.

  • Eh, and eat the polenta. Now you are full emersion.

  • You smell it? This woody smell. Mmm..

  • You see how the flavours are so settled, so...? Mellow, gentle.

  • Mellow, gentle.

  • Almost like it reflects the personality of the people.

  • Here, the people are a bit more mellow,

  • and the nature determine what the people eat, but it almost

  • looks like you almost determine the character of the people.

  • Having visited Giorgio's home, it's only reinforced my sense of how

  • strong an influence his earthy Lombard roots have had on him.

  • But there are still sides to this region he doesn't know.

  • Lombardy is a treasure trove of surprising little known

  • works of art, and near the town of Bergamo there's a fascinating

  • masterpiece Giorgio has never seen before.

  • Just a few miles from where you live, there's this chapel attached

  • to a grand house, and inside the chapel is one of the most

  • extraordinary weird fresco cycles of the whole Renaissance.

  • Right. By an artist called Lorenzo Lotto.

  • Right. It's absolutely bizarre.

  • He's like the Renaissance version of Magritte or Salvador Dali. OK.

  • The frescos he created here in 1524

  • were commissioned for the private chapel of the Suardi family,

  • one of the oldest and most influential in the region.

  • The chapel isn't usually opened to the public,

  • but the family have kindly agreed to let us in.

  • Same. The same family from the time, so from the time of Lorenzo Lotto,

  • 500 years later, still the same family.

  • Oh, that's fantastic.

  • Originally, the Suardis didn't reserve the chapel

  • for their own exclusive use.

  • Ordinary people who lived locally were encouraged to worship here.

  • The works of art inside plunge you back to 16th-century Lombardy,

  • a world in the grip of the Reformation.

  • What do you think of this extraordinary weird image?

  • Yeah, it's like this fingers, isn't it?

  • It's very weird, surreal isn't it?

  • It's absolutely surreal. Christ in need of a manicure.

  • He's got these strange...it reminds me of that German story

  • Struwwelpeter, the boy who lets his nails grow for ever.

  • If you look, you see there's a little clue at the top

  • actually to what's going on.

  • Lorenzo Lotto is the only painter who took that line from the Bible.

  • Ego sum vitis vos palmites.

  • I am the vine and you are the branches.

  • And he turned it into this extraordinary image.

  • What are all these image up there?

  • You've got saints growing in the...the whirls

  • and the curls of this vine as it reaches up.

  • But although it's so striking as an image,

  • you mustn't think of it as a single scene, cos it's not.

  • It's actually like a comic book.

  • And what it tells is this very bloody story of Saint Barbara,

  • Santa Barbara, and she is the daughter of Dioscoro,

  • this evil pagan.

  • And he wants to marry her off, but he wants her to be a virgin,

  • so he locks her into this tower. as he goes off on his travels. OK.

  • What he doesn't know, is that when she's in the tower,

  • Christ visits her, gives her a vision,

  • she converts to Christianity.

  • There she is kneeling, praying outside the tower,

  • always accompanied by this lovely little white dog with her.

  • Yeah, the dog is there.

  • And now this is where the story gets bloody and turns nasty.

  • Dioscoro, her father, has come back and there he is saying,

  • "Now's the time for you to get married."

  • And she points up to heaven and says,

  • "No, I'm not going to marry any man, I have become a bride of Christ."

  • Now he has her tortured.

  • He got her. Look, he's carrying her...

  • He's got her hair there. He's dragging her by her hair.

  • Dragging her.

  • And it gets really nasty. I mean, it's X-rated, isn't it?

  • I mean, he doesn't pull his punches.

  • So they apply burning brands to her breasts and her genitals.

  • It's very physical, you know.

  • Lotto's living in this time that's extremely violent.

  • It really looks terrible, doesn't it?

  • And throughout this sort of bloody story,

  • sufferings are punctuated by little rays of hope.

  • And now an angel comes down from heaven

  • and gives her a white cloak to put around her body.

  • And as soon as she puts the cloak around her body, her whole

  • body is healed, and then her little dog is accompanying her all the way.

  • The thing about this fresco cycle is the date.

  • Hmm. It's 1524, this is a time of huge crisis in Wittenberg

  • and the north, just over those mountains that he's painted.

  • Luther is saying,

  • "We must split the church, we must protest against Rome."

  • And this fresco is the Suardi family's way of saying to

  • everybody who lived around here, don't buy into the idea

  • that this church is going to be split, stay true to the old faith.

  • And also, I think just the picture has these kind of normal people.

  • So the people kind of sympathise with that. Yeah, or...

  • ..Can see themselves part of this thing.

  • Absolutely, it's saying to the people,

  • "This could happen in your world."

  • Hmm, hmm.

  • Lotto himself is actually represented in that fresco.

  • Oh, OK. I think that's almost like his signature.

  • Looks like that. And he's looking at us.

  • And he's got this haunted expression.

  • He's almost saying, "Got the message?"

  • I think, and for such a small chapel and with such a big...

  • I like that big message. I think that's what he's saying.

  • "Have you got the message?"

  • 'He's an Italian artist with an Italian message,

  • 'but Lotto's style owes a lot to the art of northern Europe.

  • 'I love it!'

  • Andrew's right. Lombardy often has more in common

  • with northern Europe than Mediterranean south.

  • Progressive and pragmatic, unlike the laidback southerners,

  • the Lombards like to get things moving.

  • And you don't have to look far for examples from every era.

  • My favourite is located on the river Adda,

  • one of the greatest arteries of Lombardy.

  • It may not be a fresco,

  • but I'm pretty sure Andrew will appreciate it.

  • Andrew this is it, this is the bridge, this is it, we are here!

  • Oh, look at the drop! It's unbelievable.

  • Turn, turn right here.

  • Here you've got a lot of industry and, and, and exchange.

  • So this bridge was very, very important for the communication.

  • It is amazing.

  • Built in 1889, the San Michele bridge was much admired

  • across Europe for its elegant design and cutting edge technology.

  • It's simple, beautiful, and most importantly functional.

  • Wow. It's enormous, isn't it?

  • It looks so tiny from the top, now it is just so big.

  • What I like is, when you see it in the river,

  • it's like an eye staring into the 20th century.

  • And this is what Lombardy is all about, you know,

  • looking towards the future.

  • They built this thing in two years. Two years?!

  • In two years they built this thing.

  • Their feet were definitely in Europe.

  • These guys were there with everybody else with the Industrial Revolution

  • and building and going forwards.

  • They're kind of the dreamers, but they're also engineers.

  • Bellisimo.

  • Well, I think we've had enough wandering around.

  • It's time to go into the beating heart,

  • the capital of this region, Milan.

  • Even the road that takes you there, the A8,

  • expresses Lombardy's forward looking spirit.

  • They say it's the first motorway in the history of roads.

  • That's right, not the German, not the English,

  • but the Italians built the first.

  • North Italians.

  • This was the first road, straight in a very Roman way

  • and went through all these big fat towns and took you to Milan.

  • This road is also very important at a symbolic level,

  • for what a northern Italy wanted to represent

  • in the earlier 20th century.

  • Because throughout the 18th and 19th century,

  • Italy was a byword for a country living in the past,

  • going really nowhere.

  • And then suddenly this road, this road said no, no, no,

  • we're going somewhere and where are we going, we're going to the future.

  • Rome may be the capital, but Milan is the real power behind Italy.

  • Over 2,000 years old, it occupies a key position along

  • the ancient trade route between Rome and northern Europe.

  • Dynamic and industrious,

  • it remains the most important commercial centre in the country.

  • For me, there's only one place to start our exploration

  • of the city, the grand Gothic Cathedral.

  • Dominating the old city centre, it's the heart and soul of Milan.

  • All roads seem to start and end here.

  • Construction started in 1386 and it's one of the earliest examples

  • of the great Milanese gift for design and engineering.

  • Do you know, Giorgio, I think that's the first time... Yeah.

  • ..I have ever seen the front of Milan Cathedral

  • without huge amounts of scaffolding on it.

  • It's the first time I've seen it so white. Yeah.

  • Even in the picture on the panettone, the one you buy

  • at Christmas, there's a picture of it and it's much greyer than that.

  • It's wonderful this cathedral front.

  • Ruskin loved it, he talked about its frost, crystalline beauty.

  • He thought it was almost like a snowflake

  • that has come down to Earth. Yes.

  • It's got that sort of structure of a snow flake. It's beautiful.

  • It is impressive, isn't it?

  • Shall we go inside? Let's go and have a look.

  • Built over six centuries,

  • the cathedral is one of the largest in all of Europe.

  • It's dedicated to the Madonna

  • and is still one of the great pilgrimage sights in all of Italy.

  • I've visited many times, and always find something new to marvel at.

  • 'This time we're going to explore a very different part of the building.'

  • I love this, what a treat.

  • 'We're on our way to the roof of the Duomo,

  • 'the most ingenious part of its design.'

  • Oh, yes. How beautiful is that?!

  • I think we've arrived.

  • 'We've arranged to meet one of the engineers currently restoring the roof.'

  • Hello.

  • 'Benigno Morlin works for the Veneranda Fabbrica del Duomo,

  • 'the 600-year-old workshop that built the cathedral,

  • 'and is still dedicated to its restoration.'

  • These are pieces they've remade.

  • Oh, beautiful.

  • OK so, they own,

  • they own the quarry where you actually get this stone from.

  • It is an historic quarry. It's an historic... It's the same.

  • It's the same quarry... It's the same quarry.

  • ..They got the stone from in the first place.

  • 'It was modelled on the Gothic cathedrals of northern Europe.

  • 'But the Lombard builders couldn't resist adding a few

  • 'innovations of their own.

  • 'And the construction of its roof was completely revolutionary.'

  • 'Talking to Signore Morlin made us

  • 'want to see more of the Duomo's crowning glory.

  • 'I love how what might have been a purely functional feature

  • 'has been made a thing of beauty.

  • 'It's as if there's a whole other cathedral here up in the clouds.

  • 'And it's open to the public too.'

  • It's a phenomenon, this building. It is incredible.

  • I tell you, it's the only great Gothic cathedral that seems

  • almost designed for you to be able to enjoy

  • and take pleasure in the structure of its making.

  • Down here, you see, you've got the sort of series of walkways,

  • pathways, it was always made to be walked on, enjoyed. Right.

  • So all the different levels, you can see the structure, and as a

  • result of that, you know they've exercised their ingenuity,

  • whereas in other Gothic cathedrals, the spires and the minarets

  • just rise up to the sky pointing to God.

  • Here they've become plinths for outdoor sculptures.

  • You could say this is the first outdoor sculpture park.

  • You know what it reminds me of, it reminds me of this, you know when

  • you wet the sand and you make these things and they just sort of

  • grow underneath your hands. It has the same kind of fragility to that.

  • That's what's so beautiful about the Gothic, I think.

  • This cathedral is actually the engine room of what's made

  • Milan a great temple of modern technology and design,

  • because in the Gothic period, the mathematicians, the engineers,

  • the architects, the designers,

  • they were brought into being by the needs of this cathedral.

  • Solving problems.

  • So yes, it's kind of a machine

  • that's constantly attracting to Milan, technological innovators.

  • 'Back in the day, every great intellectual who came to

  • 'Milan seems to have been involved with the cathedral.

  • 'And in the Duomo's archives, there's evidence of one particular

  • 'genius and his small contribution.'

  • Roberto. Buongiorno.

  • A list of payment for everybody who collaborated to build the Duomo.

  • A lot of people seem to have collaborated.

  • Excusi, Roberto. Si.

  • This is, you've picked this one out for us and it's actually

  • evidence that Leonardus Florentinus, so Leonardo from Florence... Si.

  • ..ie, Leonardo Da Vinci

  • had actually done some work for the cathedral. How wonderful.

  • The tiburio is the top... The cupola. That's right.

  • What a wonderful little detail, cos that's far less than he would be

  • paid for the major commissions. And yet, a wooden model for a cupola is

  • a very complicated thing to make, so that suggests to me that he really

  • wanted to work on the cathedral, he wanted to leave a mark on Milano.

  • He understood something. Yeah.

  • Well, of course, he didn't, in the end, design the cupola. Yeah.

  • The model never got used. No. It's been lost. Grazie, Roberto.

  • It's a pleasure.

  • Arrivederci. Arrivederci.

  • 'It's very revealing that Leonardo sold himself to

  • 'the court of Milan as an engineer rather than an artist.

  • 'He worked for the great Duke Ludovico Sforza for nearly 20 years.

  • 'Designing bridges, boats, weapons or war.

  • 'Design and engineering were the priorities in Milan.

  • 'They're what its success is built on.'

  • 'That philosophy had a radical impact on the shape of the city.

  • 'Just a short walk from the Duomo, you can visit

  • 'one of the most outstanding examples of technical imagination.

  • 'La Scala is amongst the most prestigious opera houses

  • 'in the world, and we've been allowed to take a look inside.'

  • I've never been here before.

  • This, look at this!

  • I think it's the world's first horseshoe shaped theatre.

  • That's right. And it's all designed with sound on their mind.

  • So it's incredible.

  • You know, you see the shape of each thing and how it's made as well.

  • You know, to not destroy the echo. The boxes? Yeah, the boxes.

  • I'd love to come and actually... You sing a little bit, can you sing?

  • THEY SING A NOTE

  • No. Oh. Oh, no, I can't.

  • It is absolutely outstanding to be here.

  • But we didn't just come here to admire the theatre,

  • I'm taking Andrew to Il Marchesini, a restaurant in the same building.

  • It's owned by the most celebrated Italian chef in the world,

  • Gualtiero Marchesi.

  • With three Michelin stars, he globalised Italian food

  • and made it the success it is today.

  • Gualtiero is waiting for us, so come in and see.

  • It's like a theatre curtain.

  • That's what it is, we are in the theatre restaurant.

  • Gualtiero makes this dish, one of his creations.

  • And to me, it's the dish that really, really represents Milan

  • more than anything else that I have seen before.

  • What's this dish called?

  • Not just Milan! Italy.

  • He says all Italy. THEY LAUGH

  • With gold? Yeah, with gold. Yeah, with gold, saffron and...

  • We are rich. We're rich, I like it. Yeah.

  • One of the things that matter is to

  • really concentrate on the flavour.

  • And very neat and clear flavoured.

  • So even if there is a lot of creation in what he does,

  • it is always with a great respect for the flavours.

  • Hmm. So what is the essential flavour in this risotto?

  • The saffron. The saffron?

  • Definitely, yeah.

  • HE SPEAKS ITALIAN

  • So it's turning the procedure upside down. OK.

  • Or the risotto.

  • They also put a lot of cheese.

  • To give the acidity.

  • Then you taste only the cheese.

  • Taste it.

  • Mmm, wow. Acidity.

  • That's like erm... Very high acid.

  • ..A beautiful reduction of wine... Wine with onions. ..With butter.

  • Beautiful thing!

  • When he said gold, I thought he meant he was actually going to

  • put some gold leaf in it. Hold on a minute.

  • But he means, he means gold as in...

  • No, no, no, no, no, there is some gold coming.

  • ..Metaphorical? No, no, no, no, wait a minute.

  • That's amazing. Go on, you've got to taste it.

  • I have to taste it.

  • Oh, what an idea. I'm just going to eat loads of gold.

  • HE MOANS HAPPILY

  • And the shape of the rice. Can you feel the rice?

  • Yeah, you can get the shape of each of the rice in your mouth,

  • which makes a difference how you flavour it.

  • Innovation doesn't mean that you have to complicate things

  • or layer it so much.

  • And this is a clear example of somebody expressing himself...

  • Simplicity. ..Without complicating things.

  • So express yourself in simplicity, this is so important.

  • Grazie.

  • Arrivederci.

  • I will have some more gold.

  • HE LAUGHS

  • 'After sampling Marchesi's gold,

  • 'what better way to walk off the richness

  • 'than with a passeggiata through Milan's finest galleria.

  • 'Sophisticated and opulent,

  • 'the Galleria Vittorio Emanuele is the oldest shopping mall in Italy.

  • 'Strolling through this luxurious arcade, it's obvious why Milan

  • 'is one of the fashion capitals of the world.'

  • Look how elegant they are.

  • Even the traffic wardens, look at them. Fantastic.

  • Those are the cops. Those are the traffic warden, not the cops.

  • Only in Italy. Only in Milan, you know.

  • It's a bit of a temple of capitalism really, as you can see.

  • Well, I think it's a cathedral of capitalism.

  • I think what's amazingly daring about it

  • is that the Duomo is literally there.

  • And the Scala is there.

  • And the Scala is there, so you got the temple of art,

  • the temple of religion there

  • and you've got the temple of money here.

  • Because, yeah, this is what it's all about.

  • It is and it's so grand!

  • 1861, so it's, it's just a few years after

  • the Great Exhibition in London, the building of the Crystal Palace.

  • Because it does look like that, doesn't it? It's the same.

  • A Victorian sort of building.

  • And it's a great statement from a city to,

  • right in the middle of that, to really show their power.

  • And you know, the commercial.

  • You know, they are commercial animals those guys.

  • I think it's the only place where you can really see

  • and feel that sort of huge pride and self confidence,

  • you know, across Italy in the Industrial Revolution. Yes.

  • You only really feel that here.

  • Yeah. There is one thing that I want to show you. Yeah.

  • And whenever you come to this place,

  • there is this superstitious thing, and if you see any Milanese

  • walking through, they will come along and what they will do is

  • stand on the balls of the toro. It's called scica i ball al toro.

  • And you go like that. Step on the balls of the bull?

  • And you turn around and that's it.

  • Always in Italy there has to be a superstitious...

  • OK, is that 'cos you need balls

  • if you're going to pay the prices for some of these clothes?

  • THEY LAUGH

  • 'One of the things I love about the city is how open it is

  • 'to new ideas and innovations.

  • 'Although it cherishes its history, Milan isn't stuck in the past.

  • 'Progressive, forward-thinking, it fostered one of the most

  • 'revolutionary art movements of the early 20th century, Futurism.

  • 'It was dreamed up in 1909

  • 'by an eccentric poet and orator called Marinetti.'

  • Fillippo Tomasso Marinetti, in my opinion, wasn't a very nice man.

  • A lot of things wrong with him, he was a Fascist. Misogynist.

  • He glorified war, but he did have a vision.

  • And I think he's a very interesting character because what he did was,

  • he set out to drag Italy into the 20th century,

  • into the modern world.

  • The Futurist Manifesto, it's a guide to enjoying modern life.

  • Everything that an Italian perhaps at the beginning of the 20th century

  • might find disconcerting, that rapid movement of a tram,

  • a crowded street, the sudden sense that everything's moving,

  • it's confusing.

  • And, Andrew, what was amazing is that when you travel the world

  • and when I went to New York and I went to the MOMA,

  • I was so shocked to see there is a room only of Futuristic painting.

  • In Italian museums, very rarely you find a whole room of Futurism.

  • Maybe you find one of these.

  • The Italians have kind of refused them this.

  • I think that's part of the later story, because Futurism turned dark,

  • became associated with Fascism, it got a bad name in Italy.

  • But here in Milan, it's the one exception. A home city of Futurism.

  • They did actually create and build a great collection,

  • which we're going to see and we're... Yeah.

  • And I think we're just about there.

  • Yeah, we are in Duomo, we have to get out now.

  • Andiamo, let's go and look at some electric art.

  • 'We're visiting the Novecento Museum,

  • 'home to the best collection of Futurist art in Italy.'

  • I really like this. It's like a little capsule of Futurism,

  • all condensed into just a couple of galleries.

  • Here they begin, they're in Paris, they're in the cafes,

  • they're reading the papers, they're doing what Picasso had done,

  • they're trying to think, "What would it be like to be a modern artist?"

  • And I think, suddenly, on this other wall, bang, you've got the answer.

  • Hmm. They turn, this is not a very well-known Futurist, Achille Funi.

  • But he is turning to Milan, he's not in Paris,

  • he's painting Milan, he's painting a man getting off a tram.

  • That's what it looks like for real, look at that.

  • It's like an explosion, isn't it?

  • I think what he's trying to, he's trying to capture that,

  • you know when we were on the tram,

  • that sense that the world is not still.

  • That there's the sound, you can almost hear the shriek of the tram.

  • They do take their cue, to a certain degree, from Paris.

  • Because Paris is the great centre of modern art,

  • but they're changing all the time.

  • Think of someone like Toulouse Lautrec painting the can-can girls.

  • Well, this is an Italian artist, Gino Severini

  • and this is what he makes of the can-can.

  • This is very much an artist who's read Marinetti's Futurist Manifesto.

  • Hmm. And he's interested in this idea that we are inhabitants

  • of the machine age, and when he looks at the chorus line,

  • it's as if he sees a group of people who've turned themselves

  • into a kind of animated piston engine. You know, legs kicking.

  • Yeah, 12 pistons going up.

  • It's almost like people becoming like the inside of a motor car.

  • They were setting themselves quite a difficult task,

  • which is to capture in a still frame, a sense of movement.

  • This picture, once you read the title, you can see the subject.

  • Girl Running On A Balcony.

  • It is there, the girls running on a balcony, literally.

  • Like if it was different frames of a moving image. Yeah.

  • The further you get, the more you can actually see the image moving.

  • It takes really shape. It is brilliant.

  • One of the things I like about Futurism is,

  • that they're trying to break up the language of the past.

  • But the real star of the movement was a man called Umberto Boccioni.

  • Look at this.

  • This is, this is Boccioni's sort of masterpiece in sculpture.

  • And it's called Unique Forms Of Continuity In Space.

  • It was based,

  • how appropriate for one of the masterpieces of Milan,

  • with its two great football teams,

  • is based on the image of a football player.

  • What do you think of it, do you like it?

  • I really, really like it.

  • It reminds me more than a footballer,

  • he actually looks like one of those

  • little robo transformers that my children used to have.

  • Yeah, well, I don't think it's a coincidence.

  • It's the Futurist man striding into what he thought was the future.

  • 'The Futurists didn't just want to revolutionise art,

  • 'they wanted to transform how Italians ate as well.

  • 'Marinetti even wanted pasta banned.

  • 'And in 1930 he compiled a radical cookbook.

  • 'I can't resist trying out a couple of recipes on Andrew.'

  • What is that?

  • Look, here you got a sandwich that instead of having

  • the bread on the outside, you have the salami on the outside

  • and the bread is in the inside.

  • You have got anchovies and you got green apple.

  • Fantastic, it looks brilliant, doesn't it?

  • So it's really like a very Italian version of what they,

  • you know, what they thought the food of the future would be.

  • Do you expect me to like this?

  • Oh, I expect you to taste it!

  • You know, you know, I made an effort to make it

  • so you're going to have to taste it at least.

  • OK. OK.

  • Is it delicious or what? What is that?!

  • ANDREW LAUGHS

  • I'm trying to be polite, Giorgio.

  • No.

  • In deference to Fillippo Tomasso, but...

  • No, there is some...it's a quite an interesting taste, isn't it?

  • Hmm.

  • It's sort of a little bit disgusting when you bite into it because

  • you're chewing through vast amounts of thick, fatty salami.

  • Taste the other one. It's, do you...?

  • It's the other one.

  • So what...the other one's a strong taste. OK.

  • And it has got, shall I tell you what's inside?

  • No, let me guess. OK, bite, go.

  • Sandwich tasting. This is...

  • Oh.

  • THEY LAUGH

  • That is amazing. That's amazing.

  • I have to say, actually, I like this one.

  • It's got a banana in it. I know.

  • And what you have to think about is, you know,

  • this is 100 years ago.

  • We're talking about certain ingredients that were so far ahead.

  • These guys were so far out, much more than Heston Blumenthal is

  • with his snail porridge at the moment.

  • Banana. Man, they see banana once a year.

  • And it's got anchovies, banana, and another very important thing.

  • Mustard, like an English mustard.

  • So they look again to the outside world,

  • they look to the English, they look to another world,

  • a world more industrialised than they one that they had.

  • It's seriously weird. Seriously good as well, I think.

  • The perfect breakfast sandwich, isn't it?

  • It'll be really an energetic food, it's food on the go

  • and it's supposed to inspire you, and make you feel

  • like you are a modern man, that's what it's all about.

  • Bizarrely, if you told me what you were going to put in there,

  • I wouldn't have even touched it. Right. But it's fantastic.

  • How many recipes in the Futurist Cookbook did you look at?

  • I read them all.

  • And how many did you think actually could be

  • turned into food you could eat?

  • Eh, two. THEY LAUGH

  • So we're eating the only two recipes you thought... Yeah.

  • ..And I thought one of them was disgusting anyway, so.

  • Cheers, man.

  • I think the only way to toast a banana and anchovy sandwich

  • is with pineapple liqueur champagne cocktail.

  • What are we doing?

  • 'For all their exuberance,

  • 'Marinetti and many of the Futurists were politically misguided.

  • 'When Mussolini and the Fascists came to power in 1922,

  • 'they embraced his radical policies to modernise Italy.

  • 'Mussolini would bring Italy to its knees and into the Second World War.

  • 'And there's one artist, Mario Sironi, who I think

  • 'captures the darkness of this time better than anyone else.

  • 'His work in the Novecento is a poignant reminder of how

  • 'Fascism devastated Italy.'

  • These are some of Sironi's pictures in the '20s and '30s.

  • And here, Sironi seems,

  • I think, to be painting a kind of dark portrait of Italy

  • as it moves into the Fascist years,

  • as it moves towards totalitarians and...

  • It's very difficult to think that this guy

  • was associated with that movement. Yeah.

  • I mean, what we see downstairs is this explosion of colour

  • and energy, and things in here are just like monochrome.

  • There is no hope in this picture isn't there?

  • It's like the guy is almost fading away, isn't he?

  • And the other one is in desperation completely.

  • Like there is no future.

  • Sironi had it from both angles because the Fascists, who he was

  • supposedly working for, didn't like what he produced for them.

  • And the avant-garde, the rest of Italy, as well,

  • didn't like him because he was Fascist.

  • And his work became ever increasingly melancholic.

  • If we look at this picture,

  • I mean, if anything, it's even darker than the other one.

  • This melancholy figure, as it were,

  • stranded among the ruins of this new modern Italy

  • by a sort of shattered aqueduct.

  • A night sky, it's all darkness, it's all despair.

  • Do you think these pictures do get to the heart of

  • this dark moment in Italian history?

  • Definitely. Definitely, both of them.

  • They really are very, very sad pictures.

  • You know, because my family have been through that.

  • My uncle got shot by the Fascists. He was a partisan?

  • He was a partisan and he got killed.

  • All the family were involved in the Resistance.

  • When you hear my father talking about those years,

  • they just, you know, they were really suffering, there was no food.

  • The Americans were coming and bombing,

  • the Germans were running away,

  • you know, it's just really like a social implosion, the wars.

  • You know, somewhere along the line you understood that this was

  • what was going to happen.

  • It's a rollercoaster ride, Italian history.

  • 'Despite the trauma suffered at the hands of the Fascists,

  • 'the country bounced back.

  • 'After the Second World War, Lombardy rolled its sleeves up

  • 'and kick started the economic boom of the '50s and '60s,

  • 'that transformed Italy into a modern country.'

  • 'Even though they never stand still,

  • 'the people of Lombardy never forget their roots.

  • 'Much of Lombard life is rooted in our food,

  • 'the kind of staple dishes I grew up eating.

  • 'After a busy day, I think it's time for Andrew

  • 'to experience a local classic.'

  • We've been poncing around a lot. Poncing around?

  • Yeah, we've been, we've been in the super shops

  • and things like that, I want to show the heart

  • that's really what the people eat, you know.

  • So you're going to de-poncify us through food.

  • Yes, that's right.

  • So we have check out one very important ingredient.

  • It's very early in the season, see if we've got any cabbage.

  • If we've got cabbage, I can cook you Cassoeula.

  • 'Hearty and earthy, the Cassoeula is just as representative

  • 'of Lombardy as Marchesi's delicate risotto.

  • 'With the vegetables chosen, it's time to go to the butchers,

  • 'the Macelleria of Roberto Faravelli.'

  • See, this is the Macelleria.

  • This has been here for 50 years, Andrew, you know.

  • We're going to meet the son.

  • 'The meat is the most important part of the Cassoeula.

  • 'This is real nose-to-tail eating.

  • 'And I know Roberto will sort us out with the best cuts.'

  • HE SPEAKS ITALIAN

  • This is puntina. Pork, spare ribs. Spare ribs, yeah.

  • HE LAUGHS

  • Sexy Italia, eh!

  • THEY LAUGH

  • The nose. The nose. Si.

  • Gelatine. Gelatine.

  • So you put the pig's nose in to make, to make it gelatinous?

  • That's right.

  • Ears. Ears.

  • Nice and cruchant. Cruchant.

  • How do you say in Italian, that's a meal to put hairs on a man's chest?

  • GIORGIO TRANSLATES

  • THEY LAUGH

  • Grazie! Arrivederci, grazie.

  • 'Now it's time to get to work, and there's quite a lot of work to do.

  • 'It's ages since I've cooked it.'

  • Beautiful, isn't it?

  • Yeah, beautiful.

  • The smells, the colour,

  • you know, this is what food is all about for me.

  • This is the smell that I used to smell as I came home from school.

  • As soon as I got to the gate of the house, I knew that my

  • grandmother was cooking this, because you could smell it from outside.

  • Red wine. Red wine.

  • Mmm, it's such a good smell. It is, isn't it?

  • Now it's cooking. So we're going to add the rest of the pig.

  • Do you want me to shave the pig's ear?

  • That's right. Well, I want you to take away the hair.

  • Just like that, yes.

  • And in the meantime, while you're doing that,

  • I'm going to add the other pieces. The tail, the snout.

  • This feels to me, like a recipe that people have been

  • cooking for many centuries.

  • The idea is, they're using these parts because they are the parts

  • that are ready to be used straight away when you've killed the pig.

  • The rest of the meat, if it's hanged for a bit, it's better.

  • The ham will go and be cured, the back will be back heated and slice.

  • Oh, cos this is the dish for the day of killing of the pig, right.

  • That's right, that's right.

  • OK. Oh, it all begins to make sense.

  • Here I've got the cabbage.

  • Cabbage and pig, it's a classic combination, isn't it?

  • Absolutely.

  • And now all we have to do is wait for a couple of hours.

  • OK, we are happy.

  • 'Finally, it's ready and time for Andrew to taste Lombardy.'

  • Andrew, I introduce you to the Cassoeula.

  • Mmm. Smell that.

  • Mmm, fantastic.

  • The nose.

  • It looks lovely.

  • I'm going to have the ears.

  • Is there another ear? I'll give you half of my ear.

  • Then, Andrew, what you do...

  • You excavate some cabbage.

  • The cabbage is fantastic,

  • it's completely permeated with the meat juices.

  • And kind of sweet, you know.

  • It's a bit of ear.

  • It's like cutting into jelly, fantastic.

  • Mmm, it's really good.

  • Completely melts in your mouth, doesn't it?

  • It's fantastic food.

  • I love food that belongs to somewhere, to a culture.

  • And this, for me, it's Lombardy.

  • Fantastic. Cheers.

  • Cheers.

  • And the next two hours eating.

  • That's OK. We got time. Pace yourself.

  • I know, we've got a lot to get through.

  • 'The Cassoeula was the perfect dish to change gear

  • 'and lead us out of Milan.

  • 'We've come to Mantua, in the Po Valley,

  • 'one of Lombardy's great treasures.

  • 'Tranquil and elegant, it's home to the second great masterpiece

  • 'I want us to visit.

  • 'The work of art is to be found inside the Palazzo Te,

  • 'a hunting lodge built in 1525 for the powerful Duke Federico Gonzaga.

  • 'I think Giorgio may even like it more than the frescos

  • 'we saw at Villa Suardi.'

  • Prego signore. Cavaliere.

  • 'Inspired by the grand villas of Rome,

  • 'the palace was designed by architect and painter Giulio Romano.'

  • So, Giorgio, welcome to the Palazzo Te.

  • These guys used to live in luxury, didn't they?

  • Well, I think of this as the house of fun.

  • The whole place was once full of jokes.

  • This courtyard, originally, there was a labyrinth,

  • so even trying to get into this place, you'd get lost.

  • Unless you were with the Duke, who would take you through.

  • Oh, right. It was just full of little games.

  • So here we are.

  • Now this palace was not a place for serious thought.

  • It wasn't a place for the administration of his estates.

  • It wasn't a place for business.

  • It was, so to speak, a place for monkey business.

  • No way!

  • And er, I think the theme of this set of illustrations,

  • or decorations, is basically sex and drinking.

  • 'Inside, Giulio combined his skills to create some truly

  • 'sense-stunning illusions.'

  • Everything I've shown you so far

  • is a prelude to Giulio Romano's piece de resistance.

  • Wow! Oh, my God!

  • Come in the middle, come in the middle.

  • It's so brilliant.

  • Oh.

  • It makes you almost feel sick, doesn't it?

  • It's like it's falling down, the whole thing.

  • Is it not straight or something?

  • No, it's not straight at all. The room's got no corners, you see.

  • So that's why you feel like you really fell down, doesn't it?

  • Wow!

  • And originally, the floor was undulating,

  • so when you came in, you would almost stumble

  • and feel like you were taking part in the scene,

  • because the subject, in a sense,

  • is the biggest earthquake in mythological history.

  • It's called the Sala Dei Giganti.

  • And the story is, that the giants had tried to

  • rebel against Jupiter in heaven.

  • And Jupiter punishes the giants

  • by striking them with the thunder and lightning.

  • Oh, this is incredible!

  • Giulio Romano was taught by Raphael,

  • the great master of the High Renaissance.

  • And master of the calm and tranquillity, order, reason.

  • And this, so to speak, is the first thing that Giulio Romano does

  • after he gets out of school.

  • He's rebelling against his teachers.

  • It's almost as if he's bringing down the great edifice

  • of the High Renaissance.

  • He's bringing it down with his jokes and his games,

  • poking fun at it, making fun of it.

  • This style of art is called, Maniera, Mannerism.

  • It's a reaction against all that purity, all that classicism.

  • It's incredible.

  • What a place, eh!

  • I'm glad you liked it.

  • 'Palazzo Te certainly packs a punch.

  • 'But it's not just architecture and painting

  • 'that Lombardy does brilliantly.

  • 'A short drive away in Cremona, is another example of

  • 'the perfect marriage of tradition and innovation.

  • 'It's the home of the Stradivari violin.

  • 'Antonio Stradivari perfected the art of violin-making

  • 'here in the 18th century.

  • 'The Lombards have always been proud of their excellent craftsmanship,

  • 'and they are still making instruments

  • 'to the Stradivari standard today.

  • 'We are visiting the International School Of Violin Making.'

  • Number five, here we are.

  • Come, Andrew.

  • When I was little, I used to go in Varese

  • and there was this shop where these guys made violins.

  • And I was so fascinated by how they made them.

  • Signor Daniele, buongiorno. Buongiorno.

  • Signor Andrea. Piacere.

  • Look at those tools that they have to make it.

  • I love the precision and it takes...

  • ..50 days to make a violin. 50!

  • 50 working days. So it is a work of love.

  • I notice that he's...

  • One little stroke of that wrong, you can just mess it all up.

  • So, to me, this is artisan work taken to a different level.

  • Look at that. Beautiful!

  • Every liutaio goes and chooses his own wood,

  • like an artist would choose his own colours.

  • Michelangelo going to Carrera to choose his marble.

  • Or a chef choosing his own ingredients. Yeah.

  • You know, the principle ingredient is the wood.

  • 'Stradivari violins are the most valuable in the world.

  • 'In the town's museum, there is an unrivalled collection

  • 'of some of the Master's original instruments.

  • 'To preserve their sound, they must to be played regularly.

  • 'I've arranged for us to have a private audience with Maestro Bosco,

  • 'the person responsible for keeping these precious objects alive.'

  • We're going to hear a Stradivarius. Yes.

  • And it's called Vesuvius. Vesuvius.

  • 'I can't quite believe we're going to have our own private concert

  • 'played on an original Stradivarius.'

  • Vesuvio.

  • HE PLAYS THE VIOLIN

  • 'This is such a treat.

  • 'I never realised that Stradivari was from Lombardy,

  • 'but it all makes sense.

  • 'The attention to detail, the beautiful design,

  • 'the utter fitness for purpose.'

  • 'There is one last stop for us in Lombardy.

  • 'A place that for me epitomises the spirit of the region,

  • 'the Taccani power station.

  • 'Built in 1904, it was one of a series of hydro electric plants

  • 'on the river Adda, that powered the modern success of Lombardy.

  • 'My father and his father before him were hydraulic engineers,

  • 'so places like this are special to me.'

  • Going and seeing my father when he was working,

  • I spent a lot of time in places like that.

  • But, you know, it is so important

  • because this is the blood of Lombardy.

  • They found themselves with a really enormous light industry that

  • needed energy to propel it forward.

  • They didn't have anything to burn, so they harnessed the power

  • of these mountains and this water coming down.

  • I love these old machines, I think they are wonderful.

  • They are incredible, aren't they?

  • This is like a...it's really an expression of what the

  • Lombards are, which is about movement, energy, going forwards,

  • building, you know, just getting things moving all the time.

  • They really built them to last, didn't they?

  • To think they were made in 1904,

  • and they're still powering Lombardy with electricity.

  • Still, yeah.

  • And what is really, really nice as well is,

  • the river makes the motion to get the tram in Milan to work.

  • And it is lovely to think that energy then propelled that thing

  • all the way through the Futurism to everybody.

  • Oh, I was going to say without this place,

  • Futurism wouldn't have been possible. Absolutely.

  • They were celebrating the electrical city.

  • There's so much noise in here. Yeah, there is.

  • It makes me feel like I am in a cathedral full of machines!

  • Strikes me that this is quite a good place to end our journey,

  • given that we have been banging on about how Lombardy is

  • the motor that drives Italy.

  • And here we are, at a turbine station that furnishes

  • half of the electricity of the region.

  • Pretty amazing building.

  • It's great, it's like a palace.

  • It's like the Palazzo del Te, except instead of having...

  • Palazzo del electricita.

  • I think it really sums up what I've got from this particular journey,

  • which is a really strong sense of the role that this part of Italy

  • has played in the larger Italian story.

  • I think really Lombardy has sort of electrically propelled

  • the rest into the 20th century.

  • Well, that's the reason that I took you here,

  • because I really see the connection between these kind of spaces.

  • These kind of showpieces like this are very beautiful to see,

  • but, as well, they really show the resilience of the Lombard.

  • And that meal you cooked, what did you call it, the cass...?

  • Cassoeula. Cassoeula. Yeah.

  • I felt that it was a really nice transition.

  • It helped me understand, as it were, where Lombardy came from,

  • because that, to me, felt like the origins of this place.

  • I was going back to something that people had eaten almost for ever.

  • And it wasn't very fancy, it wasn't very posh, it was really rustic.

  • That's food from the fields, and that, to me,

  • almost was a symbol of how far they rose, you know.

  • Through that cathedral, bringing all the intellectuals here.

  • Through that culture of design

  • gradually developing into the 19th century,

  • It's an amazing evolution from really quite low origins.

  • This is also based really on an absolutely strong work ethic.

  • Everybody realised themselves through work.

  • Work is like a religion for them.

  • When they get up in the morning and see you in the square,

  • they don't say to you, "How are you?"

  • They say, "Come va il lavoro?", which means, "How's the work?"

  • How's the work?!

  • How's the work, yeah, how do you do in the work?

  • Do you think I've finally...hey, maybe I've finally understood

  • that's why you're the way you are! Why?

  • Because you are a Lombard, you never stop working!

  • Subtitles by Red Bee Media Ltd

I'm Andrew Graham Dickson and I'm an art historian.

字幕與單字

單字即點即查 點擊單字可以查詢單字解釋

B1 中級 英國腔

BBC TV特輯:探索義大利 (BBC: Italy Unpacked 2/3 - Looking to the Future)

  • 7412 556
    VoiceTube 發佈於 2013 年 02 月 25 日
影片單字