The Strange Ironies Surrounding Fettuccine Alfredo

First of all, Fettuccine Alfredo is not an Italian dish even though it was “invented” in Rome.  It is full of butter, cream, and parmesan, and Italians almost never put cream on pasta.   In Rome, the city of pasta alla carbonara, this recipe does not have a drop of cream.  (See “Italian Food that isn’t Italian,” a post from October 3, 2016.)

The story goes that the origins of the dish date back to 1908.  Ines, the wife of Alfredo Di Lelio, owner and cook of a small restaurant in Rome’s piazza Rosa, had just given birth to little Alfredo, but she was weak and had no appetite.  The husband prepared a fresh pasta and seasoned it with plenty of butter and parmesan.  She liked it, ate it every day and returned to good health.  She then asked him to put in on the restaurant’s menu.  The restaurant moved to larger quarters in via della Scrofa in Rome in 1914.

Then in 1920, as one story goes, American film stars Douglas Fairbanks and Mary Pickford, came to Rome on their honeymoon.  They fell in love with this glutinous dish.  When they returned home and described it to their friends, all of Hollywood couldn’t wait to taste it.  Fairbanks and Pickford sent to Alfredo and Ines a photo of themselves at the restaurant and two gold-plated service cutlery with the engraving, “To Alfredo, king of noodles.”  The restaurant in via della Scrofa became a destination for the Hollywood elite and international VIPs, as more and more photos accumulated on the walls.

Then in 1948, Di Lelio sold his restaurant—and everything in it—to the Mozzetti family, who kept the name and the menu and all the photos on the wall.  The family still manages it.  But in 1950 Alfredo and his son opened another restaurant, Il Vero Alfredo, which today is managed by the grandchildren.  Now both restaurants claim to be the originator of the dish, and both have a set of the gold-plated cutlery from Fairbanks and Pickford!  But wasn’t the dish invented in the small restaurant in piazza Rosa?

The friendly rivalry has continued over the years, even during the Festival of Fettucine Alfredo celebrated every February.  The irony is that you will only find alfredo sauce at these two competing restaurants, where the fettuccine is mixed tableside with the famous gold fork and spoon.  Singers serenade the diners.  It sounds like a perfect tourist trap.

Elsewhere in Rome and in Italy you should ask for fettuccine al burro, fettuccine burro e parmigiana, or pasta in bianco.  No one will know what you’re talking about if you ask for fettuccine Alfredo.

 

 

 

 

 

 

Posted in Abitudini, Cucina italiana, Differenze culturali, English, Foto, Italia, Roma | Leave a comment

Michelangelo, il Papa, e la Cappella Sistina

Michelangelo di Lodovico Buonarroti Simoni e Papa Giulio II hanno avuto, a volte, una relazione difficile.  Si piacevano e si rispettavano a vicenda, ma ognuno aveva una personalità difficile di per sé.  Michelangelo era permaloso, irritabile e pronto all’ira; il Papa era esigente, invadente e altrettanto pronto all’ira.

Il Papa sentì parlare del genio di Michelangelo e lo reclutò per diversi progetti, tra cui la creazione delle sculture per la tomba del Papa. Anche se inizialmente svilupparono una buona relazione, non durò a lungo.  Allo scultore non piaceva essere osservato al lavoro e teneva chiuso il suo studio, non gli piacevano le domande del Papa sui suoi progresso, e si irritava molto per l’interferenza autoritaria del suo patrono.

Quando il Papa spinse Michelangelo a intraprendere progetti per i quali lo scultore non si sentiva qualificato—una monumentale statua bronzea di Giulio…e il dipinto del soffitto della Cappella Sistina—Michelangelo insisté sul fatto che non era “il suo tipo di arte”.  Più Michelangelo rifiutava, più il Papa insisteva al punto che Michelangelo stava per infuriarsi. Ma vedendo la persistenza del Papa, Michelangelo alla fine cedette e iniziò a lavorare sul soffitto nel 1508.

Si pentì immediatamente di aver ceduto.  C’erano problemi con l’impalcatura che un architetto aveva costruito per lui. C’erano problemi con i suoi assistenti da Firenze che considerava così incompetenti da cancellare tutto ciò che facevano e dipinse sé stesso tutti i 1,110 metri quadrati.  Chiuse a chiave la porta della cappella provocando un’altra lite con il Papa.  Il lavoro fu estenuante sia fisicamente che emotivamente.  Dipinse mentre stava in piedi e guardando verso l’alto per lunghi periodi di tempo così il suo collo divenne rigido e gonfio.

E poi c’era il Papa…di nuovo.  Insistette per essere lasciato entrare nella cappella per vedere cosa stava pagando. Il Papa continuava a chiedere con impazienza quando il progetto sarebbe finito persino salendo sull’impalcatura con il suo bastone.  “Quanto tempo ancora?” chiese.  Quando sono soddisfatto come artista” fu la risposta di Michelangelo. L’arrabbiato Julius replicò: “E vogliamo che tu ci soddisfi e finisca presto”.  Durante uno dei loro scoppi, il Papa colpì anche Michelangelo con il suo bastone, ma dopo di che si scusò.

Dopo quasi quattro anni di lavoro, l’impalcatura fu rimossa.  L’artista non era ancora soddisfatto e voleva fare molto di più.  Ma il Papa non poteva più aspettare.  Si precipitò nella cappella per vedere il risultato sorprendente di oltre 300 figure, molte delle quali dipinte tre or quattro volte a grandezza naturale.  Il 31 ottobre 1512, il Papa celebrò la messa nella cappella.  Successivamente, tutta Roma venne a vedere cosa aveva fatto Michelangelo.  Rimasero ammutoliti dallo stupore.

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Michelangelo, the Pope, and the Sistine Chapel

Michelangelo di Lodovico Buonarroti Simoni and Pope Julius II had, at times, a testy relationship. They respected and liked each other, but each was a difficult personality in his own right.  Michelangelo was touchy, irritable, and quick to anger; the Pope was demanding, intrusive, and also quick to anger.

The Pope had heard of Michelangelo’s genius and recruited him for several projects, including the sculptures for the Pope’s tomb.  Although they initially developed a nice relationship, it didn’t last long.  The sculptor did not like being watched at work and kept his studio locked; he didn’t like the Pope’s questions about his rate of progress.  Michelangelo became very irritated about his patron’s bossy interference.

When the Pope pressed Michelangelo to undertake projects for which he did not feel qualified—a monumental bronze statue of Julius fourteen feet high for the façade of a church in Bologna…and the painting of the ceiling of the Sistine Chapel—Michelangelo insisted it wasn’t “his kind of art.” The more he refused the Pope, the more the Pope insisted, and Michelangelo was ready to fly into a rage.  But seeing how persistent the Pope was, Michelangelo eventually relented and began work on the ceiling in 1508.

He immediately regretted that he had given in.  There was trouble with the scaffolding that an architect had constructed for him. There was trouble with his assistants from Florence whom he considered so incompetent that he removed everything that they did and painted all twelve thousand square feet of it himself.  He locked the chapel door provoking another quarrel with the Pope.  And then the labor was both physically and emotionally exhausting.  He painted standing up and looking upwards for such long periods that his neck became stiff and swollen.

And then there was the Pope…again.  He insisted on being let into the chapel to see what he was paying for.  The Pope kept asking impatiently when it would be finished, even climbing up onto the scaffold with his stick.  “How much longer?” he asked.  “When it satisfies me as an artist” was Michelangelo’s reply. The angry Julius retorted, “And we want you to satisfy us, and finish it soon.”  During one of their outbursts, the Pope even hit Michelangelo with his stick, after which he did apologize.

After nearly four years’ work, the scaffolding was removed.  The artist was still not satisfied and wanted to do much more. But the Pope would wait no longer. He rushed into the chapel to look at the astonishing achievement of more than 300 figures, many of them painted three or four times life-size.  On 31 October 1512, the Pope celebrated Mass inside the chapel.  Afterwards, all of Rome came to see what Michelangelo had done. They were speechless with astonishment.

 Summarized from excerpts from “Rome: The Biography of a City” by Christopher Hibbert.

 

Posted in Abitudini, Architecture, Arte, English, Foto, Italia, Roma, Storia, Vaticano | 1 Comment