La Carbonara: Never make these mistakes!

There are Italian recipes capable of unleashing virtual “religious wars” that manage to inflame many Bel Paese souls.  Pasta alla carbonara, sometimes simply called La Carbonara, is certainly among them.   When the British posted a recipe recently that included cream in this traditional Roman dish, the Italians responded with outrage.  Even Massimo Bottura got into the act.  Bottura is a renowned Italian chef and a vocal advocate for combatting food waste.  He has opened soup kitchens, as well as his famous Osteria Francescana, a Michelin three-star restaurant in Modena that features artful and creative renditions of Italian dishes.  Yet he defended the traditional ingredients in “our” perfect carbonara recipe: spaghetti, eggs, guanciale, pepper and Pecorino.

Bottura posted a message on Instagram: “Niente panna nella cabonara, per favore!  Siamo noi i campioni!  “No cream in the carbonara, please!  We are the champions!”  The celebrations after the recent final of the European Cup in soccer won by the Italian team against England probably offered the occasion to clarify things in the kitchen as well.  Bottura took the opportunity to say in effect, “Basta con le carbonare contraffatte!”—that is, “Enough with counterfeit carbonaras!”

The offending British chef?  Probably none other than Gordon Ramsay, known as much for his provocative statements and penchant for controversy as for Union Street Café, his London restaurant.  Ramsay uploaded on social media a video of his carbonara, which he humbly called “the most amazing carbonara!”  In his recipe there were three “counterfeit” ingredients:  cream, bacon, and melted cheese.  Plus, the color of the resulting dish was off—way too yellow.  Judging by the attendant comments, the Italians wanted to crucify him.

About five years ago, I wrote about “Carbonara-gate,” a French interpretation of Carbonara that nearly set off a diplomatic crisis.  On a French “infotainment” site appeared a video-recipe that contained a series of striking sins:  the entire cooking was in a casserole, the addition of cream, the incorrect method of adding the eggs, and the choice of pancetta and Parmigiano in place of the classic guanciale and Pecorino.  Italians considered it a sacrilege to her majesty La Carbonara.   Then recently the New York Times published another of its controversial recipes, this time “Smoky tomato carbonara.”  It called for tomato concentrate, cherry tomatoes, smoked bacon, and the use of Parmigiano instead of Pecorino.  Comments?  “This is a cardinal sin!”

In summary, here are the 10 commandments of La Carbonara:

  1.  First, you need a good guanciale.  Never use smoked bacon.  In a pinch, maybe you could get away with pancetta.
  2. Use only yokes or some egg white?  Here the doctrine is not explicit.  It’s better to use only egg yolks but the addition of a little egg white would be considered only a venial sin.
  3. Pecorino or Parmigiana?  Pecorino!  The origins of the dish are from the regions of Lazio or Abruzzo.
  4. Don’t forget the pepper.  Use a generous sprinkle of black pepper, freshly ground.
  5. Long or short pasta?  Here, doctrine surprisingly leaves room for interpretation.  Spaghetti or rigatoni are the most suitable.
  6. Forget the cream.
  7. Also forget the garlic and the onion.
  8. And be careful not to make a Stracciatella pasta (with a soup-like consistency). 
  9. Eggs should not be overcooked.
  10. Finally, don’t listen to chefs beyond the Italian Alps!
Posted in Abitudini, Cucina italiana, English, Formaggio, Foto, Italia, Modena, Roma | Leave a comment

Spoliazioni napoleoniche: Parte II

A Venezia nel 1562 i monaci di San Giorgio Maggiore commissionarono a Paolo Veronese un monumentale dipinto per decorare la parete di fondo del nuovo refettorio del monastero, su progetto dell’architetto Andrea Palladio. Terminato un anno dopo, Le Nozze di Cana, raffigura la storia biblica delle Nozze di Cana, durante le quali Gesù converte l’acqua in vino. Eseguito nello stile manierista del tardo Rinascimento, il dipinto mostra le sontuose feste di cibo e musica che erano caratteristiche della società veneziana del XVI secolo. L’affollata scena del banchetto è incorniciata da architetture greche e romane dell’antichità classica e del Rinascimento. Secondo la tradizione artistica dell’epoca, Veronese si inserì nella scena del banchetto, come musicista in tunica bianca. Tra gli altri musicisti, nel dipinto, ci sono i pittori Tintoretto che suona una viola a braccio e Tiziano, vestito di rosso, che suona il violone.

Dipinto in situ, Le Nozze di Cana è un’opera monumentale che misura 6,77 metri per 9,94 metri. È pensato per essere visto dal basso, perché il bordo inferiore del dipinto era a 2,50 metri dal pavimento del refettorio, dietro e sopra il capotavola dell’abate del monastero. Il dipinto riempì l’enorme muro fino a quando Napoleone trasformò il monastero nella sua sede veneziana nel 1797. Voleva che il dipinto fosse trasferito a Parigi. Il capo restauratore di Venezia avvertì che il dipinto era troppo grande e troppo fragile per essere spostato. Pesava 1,5 tonnellate. Ma non riuscirono a dissuadere gli uomini di Napoleone. L’opera d’arte fu sfacciatamente rimossa, avvolta in dipinti di Tintoretto, Tiziano e Veronese e fu spedita.

All’arrivo a Parigi, i restauratori francesi tagliarono il dipinto in due per rifoderarlo e poi lo ricucirono insieme prima di essere appeso nella grande sala ristrutturata del Louvre. Quando Napoleone decise di utilizzare quella sala per il suo matrimonio con Maria Luisa d’Austria nel 1810, il dipinto interferì con i suoi piani e ne ordinò la distruzione: “Dal momento che non può essere spostato, bruciatelo”. I curatori dell’epoca ignorarono il suo comando. 

Dopo l’abdicazione di Napoleone, i proprietari di opere d’arte rubate tentarono di riprendersi le loro proprietà. Papa Pio VII incaricò lo scultore neoclassico Antonio Canova di negoziare il rimpatrio delle opere d’arte depredate dallo Stato Pontificio. Anche se alcune opere furono restituite, i francesi erano riluttanti a rinunciare ai loro trofei. Affermarono che Le nozze di Cana erano troppo grandi e fragili per essere spostate. Tuttavia, fu successivamente conservato in un contenitore  in Bretagna durante la guerra franco-prussiana (1870-1871) e fu arrotolato per lo stoccaggio durante la seconda guerra mondiale, spostato continuamente in nascondigli in tutto il sud della Francia per evitare il saccheggio nazista.

Che si sia d’accordo o meno con uno studioso che ha definito il saccheggio di Napoleone “un crimine contro l’umanità”, il suo sfacciato sequestro di opere d’arte da altre terre ha certamente minato gli alti ideali civici del Louvre. Oggi Le Nozze di Cana è il quadro più grande della collezione di dipinti del Louvre e condivide la stessa galleria della Gioconda (che Da Vinci aveva venduto al re di Francia). Nel 2007, in occasione del 210º anniversario del saccheggio, nel refettorio del Monastero di San Giorgio Maggiore, a Venezia, è stato appeso un facsimile digitale delle Nozze di Cana, generato al computer. Si tratta di un misura standard (67,29 metri quadrati), un facsimile digitale composto da 1.591 file grafici.

Posted in Architecture, Arte, Foto, Italia, Italiano, Storia, Vaticano, Venezia | 1 Comment

Art Looting under Napoleon: Part II

In Venice in 1562, the monks of San Giorgio Maggiore commissioned Paolo Veronese to undertake a monumental painting to decorate the far wall of the monastery’s new refectory, designed by the architect Andrea Palladio.  Finished a year later, The Wedding Feast at Cana depicts the biblical story of the Marriage at Cana, at which Jesus converts water to wine.  Executed in the Mannerist style of the late Renaissance, the painting shows the sumptuous feasts of food and music that were characteristic of 16th-century Venetian society.  The crowded banquet scene is framed with Greek and Roman architecture from classical antiquity and from the Renaissance.  In accordance with artistic tradition at the time, Veronese included himself in the banquet scene, as the musician in the white tunic.  Among the other musicians in the painting are the painters Tintoretto playing a viola da braccio and Titian, dressed in red, playing the violone.

Painted in situ, The Wedding Feast at Cana is a monumental work measuring 22 feet by 32 feet.  It is meant to be viewed from below, because the painting’s bottom edge was 2.50 meters from the refectory floor, behind and above the head-table of the abbot of the monastery.  The painting filled the huge wall until Napoleon turned the monastery into his Venetian headquarters in 1797.  He wanted the painting transferred to Paris.  Venice’s chief restorer warned that the painting was far too large and far too fragile to be moved.  It weighed 1.5 tons.  But Napoleon’s men could not be dissuaded.  The artwork was brazenly removed, wrapped in paintings by Tintoretto, Titian and Veronese and shipped off. 

Upon arrival in Paris, French conservators cut the painting in two to reline it and then stitched it back together before it was hung in the refurbished great hall in the Louvre.  When Napoleon decided to use that hall for his wedding to Marie-Louise of Austria in 1810, it interfered with his plans and he ordered it to be destroyed: “Since it cannot be moved—burn it.”  The curators at the time ignored his command. 

After Napoleon’s abdication, owners of stolen art attempted to get their property back.  Pope Pius VII appointed the neoclassical sculptor Antonio Canova to negotiate the French repatriation of art plundered from the Papal States.  Although some items were returned, the French were reluctant to give up their trophies.  They claimed that The Wedding Feast at Cana was too large and fragile to be moved.  Yet, it was subsequently stored in a box in Brittany during the Franco-Prussian War (1870-71) and was rolled up for storage during the Second World War, continually moving to hiding places throughout the south of France to avoid Nazi plunder. 

Whether or not you agree with a scholar who called Napoleon’s pillage “a crime against humanity,” his brazen seizure of art from other lands certainly undermined the Louvre’s lofty civic ideals.  Today The Wedding Feast at Cana is the most expansive picture in the paintings collection of the Louvre and shares the same gallery as the Mona Lisa (which Da Vinci had sold to the king of France).  In 2007 on the 210th anniversary of its looting, a computer-generated, digital facsimile of The Wedding Feast at Cana was hung in the refectory of the Monastery of San Giorgio Maggiore, Venice.  It is a full-sized (more than 704 square feet) digital facsimile composed of 1,591 graphic files.

Posted in Architecture, Arte, English, Foto, Italia, Storia, Uncategorized, Venezia | 1 Comment