A Mini-Museum in Lucca

Lucca is not a big museum town.  There are several – Palazzo Mansi, The Paolo Cresci Emigration Museum, Villa Guinigi, the Barsanti and Matteucci, the Duomo Museum.  Most are small and many short-term visitors to Lucca are unaware that some of these even exist. Instead, they spend most of their time on the city walls, in the Medieval streets and squares, and visiting the many churches of Lucca.  Unlike nearby Florence, the museums are not what draw most people to Lucca. There is one newer and very small addition to Lucca’s collection of museums.  It is so small that it is more of a mini-museum.  But it is fascinating!  

It is located underneath Lucca’s historic walls at the Sotterraneo del Baluardo Santa Croce, the under-the-wall passage located where Via delle Conce meets Via San Tommaso in the northwest corner of the city. The passage way itself is fascinating and makes a perfect backdrop to the exhibit.

The content of the mini-museum, which tells the story of Lucca’s walls from the Medieval Period until the Renaissance and beyond, unfolds in a series of displays that line the passageway.  On the left wall is the Italian version, on the right is the story in English. 

It is a unique display, one that begins in the very low light of the darkened passageway and ends in daylight outside the confines of the city walls.  In between, photos and written histories tell the story of the walls from the 1400’s on, the important historical figures, and some of Lucca’s cultural related to the walls and their construction and function.  

Maria Luisa of Bourbon

No history of Lucca’s walls would be complete without acknowledging the role of Maria Luisa of Bourbon, the Duchess of Lucca between 1805 and 1814. It is thanks to her that the walls became a city park, one that is still enjoyed today.

There is also a bit of 19th and 20th century history in the exhibit. Did you know that there was once a threat to knock down portions of the wall to better connect it with the growth of suburbs? Fortunately objections came from all over Italy, including from famous poets and composers (including Puccini) and the plan to disrupt the walls was abandoned.

Later there came a period when the top of the walls became just a city street - filled with cars.  Many of Lucca’s youth learned to drive atop the circle of the walls. And many cars were parked there.  Hard to imagine today that up until the 1980’s the walls were filled with car traffic !

At the midway point of the sotterraneo passage, an interesting video projected on the stone walls tells the story the wall played in protecting Lucca, the times when it closed the city entirely overnight, and how dignitaries, residents and tradespeople entered the walls through Porta San Donato and Porta San Pietro.  The video plays first in Italian and then is repeated in English. It is a great addition to the exhibit.

It does not take long to visit this small space.  It provides a wonderful diversion to anyone using the passage as a way to exit the historic center on their way to the greater part of the city outside of the walls.  But it is also a good destination on its own. I am so glad that a friend pointed me to this fascinating bit of Lucca’s history.

The Medici Chapels

The Medici crest in the Cappella di Principi

It is impossible to think of Florence without thinking of the Medici family.  From Cosimo the Elder in the early 1400’s, to Lorenzo the Magnificent, ruler of the Florentine Republic and key figure during the Renaissance period, to the Grand Dukes from Cosimo I to the last Medici ruler Gian Gastone, the Medici family had an enormous impact over the centuries of their  rule.  Bankers, Rulers, Tyrants, Popes, Assassins, Queens, and patrons of the arts, their influence is impossible to overstate.  The family crest, a gold shield with five red palle (balls) and one blue palle with three fleur-de-lis, can be seen on buildings throughout Florence. 

Following the death of the last ruler, Gian Gastone, in 1737, his sister Anna Maria Luisa transferred the family’s art and treasures to the city of Florence with the caveat that the collection always remains in Florence.  And so it has, filling the Uffizi Gallery as well as many other museums and palazzi.

Anna Maria Luisa, the last heir of the ruling Medici family

It is no surprise that such an important family would have a dedicated mausoleum.  The Medici Chapel, an addition to the church of San Lorenzo, is where the Medicis were laid to rest.  It is a spectacular place to visit, especially the Cappella di Principi (Prince’s Chapel), an octagonal room filled with decoration in marble, granite, mosaics, and semi-precious stones. 

High up on the walls are the cenotaphs, each one dedicated to a Medici luminary (Cosimo I, Francesco I, Ferdinando I, Cosimo II, Ferdinando II, and Cosimo III).  They are composed of sculpted “caskets”, each topped with a crown.  Above each is an arch designed for a statue, though only two were completed –those of Cosimo 1 and Ferdinando 1.  The others stand empty.   No physical remains are present in the Cappella di Principi, the bodies were interred in the crypt. 

Around the perimeter are the coat of arms of various Tuscan cities which were under Medici control.  They are stunning - crafted from mother of pearl, quartz, alabaster, lapis lazuli and other stones. 

Behind the altar are rooms containing the Treasure of San Lorenzo.  This is a vast collection of reliquaries and other artifacts including an intact processional banner, beautifully embroidered, that belonged to the Medici Pope Leo X. 

On the same level is the Sagrestia Nuova (New Sacristy) designed by Michelangelo in 1520.  The actual tombs of brothers Lorenzo and Giuliano di Medici are here, under the altar. Two monuments to them are adorned with sculptures representing Day and Night (Guiliano’s monument) and Dawn and Dusk (Lorenzo’s).  Small and intimate, the sacristy is beautiful in its simplicity, especially placed so near to the ornate Cappella di Principi.

Almost hidden beside the altar is a simple staircase leading down to what was a storeroom.  That is where wall drawings made by Michelangelo can be found.  No entrance to that space is possible though – it requires a separate ticket for which there is a two month wait.   I’ll save that for a future visit.

The crypt contains the actual tombs of the Medici

An Ancient Church and an Archangel

Chiesa Sant’Alessandro Maggiore

Lucca has been called the city of 100 Churches.  That number may be a bit of an exaggeration, but Lucca really does have a lot of churches.  Some of the oldest known churches no longer exist, having made way for the expansion of Lucca’s walls, clearing of spaces in front of palazzi, or for other building projects. Still others have been converted to non-religious uses, often performance spaces or art venues.  Others still stand but are no longer used, having been abandoned for many years.  The abandoned ones are the ones that intrigue me – if only I could get a peek inside!  On the rare occasion when one of the abandoned ones is opened for a special purpose, I make it a point to visit.

One such church is Chiesa di Sant’ Alessandro Maggiore.  This one is particularly special because it is the oldest church in Lucca, over 1000 years old, and a classic example of Romanesque architecture.  Modified over the centuries, it retains its plain structure, with a white limestone exterior and a simple three nave interior and small apse.  Relics of Saint Alessandro (Pope Alexander 1), originally placed in the church’s crypt, were later moved to the high altar. I believe they are still there. There are also relics (small bone fragments) on one of the side altars, but I could not find any information about those. A relic mystery !

The church interior is well maintained. Unlike other abandoned churches, this one simply feels like it is having a brief pause.  The floors are black and white marble, arches line the three naves, beautifully carved interior altar rails and marble decorative panels fill the church. 

The main altar and side altars still have their decorative elements and tabernacles.  Polished wood benches and confessionals line the sides of the church and narrow stained glass windows let in just enough light.

The art over the main altar is a fresco by Michele Ridolfi added in the 1800’s when the church underwent restoration.  It is a vibrant panel, with a gold background, showing Saints Alexander and Louis (Alessandro and Ludovico) beside the Madonna and child.  It seems a shame that it is hidden away in mostly unused church.

The church was recently opened to host a photographic exhibit by Lucchese artist Beatrice Speranza.  The exhibit, L’ombra di Michele (Michael’s Shadow), was a series of black and white photos, a perspective on the statue of the Archangel Michael which sits atop a different Lucchese church – the Basilica of San Michele in Foro.

The Archangel Michael is not just any old angel.  He is the highest-ranking angel, God’s warrior, who bested Satan and the band of fallen angels, and he is a saint.  And while he may be sitting atop a basilica here in Lucca, but he is not just a Catholic figure.  He is important in Judaism, Islam, and other Christian faiths – an ecumenical angel, uniting faiths. 

The hinged metal wings are seen here from the back of the statue

The statue in Lucca is nearly 4 meters (about 13 feet) tall, made of marble with metal wings that have aged to a blue green patina. He carries an orb in one hand and in the other a spear which he used to pin a dragon under his feet. That is a typical representation of the Archangel, conquering evil (satan) in the form of a dragon.   Created during the 13th century, the artist is unknown.   

The Ombra di Michele exhibit captures the statue in black and white photography from various angles and heights and also presents the shadows that the angel casts on the surrounding piazza. Many of the smaller photos also have points of embroidery placed on the photos by the artist.  These beg for personal interpretations.  She enhances the presentation with music and narration.  In her words “the Archangel and the dragon, for those who seek to get a glimpse of them amidst the blinding rays of sunlight or through the clouds, serve as a reminder to confront our fears, fragilities, disappointments, and anger.  It seems that St. Michael urges us to acknowledge and manage them, to weigh them carefully, and to cut away what needs to be released”.

The combination of the art, the music, the meaning of the artist’s words, and the ancient church setting created something truly inspiring. 

Blessing The New Wine

Even Lady and the Tramp had a fiasco on their dinner table

It is easy to recognize the classic bottle of a Chianti wine – a fiasco (flask) with a rounded base wrapped in straw.  After all, is there an Italian restaurant in the US that doesn’t have a fiasco on the table, usually topped with a candle and covered in dripping wax?  A fiasco even made an appearance in Disney’s Lady and the Tramp!

Chianti wine is produced in an area of Tuscany that stretches roughly from Florence south to Siena, a specially designated region since the time when the Medici family ruled Florence.  Historically, the classic straw wrapped bottles were made in the city of Florence, creating a special relationship in which the Florentine bottles were sent to the wineries outside of the city where the new Chianti was bottled, and then the filled bottles were sent back to merchants in Florence.  Of course, this transport began long before there were trucks to move the bottles back and forth, so how did the wine bottles return to Florence after they were filled? 

The Carro Matto arrives to Florence’s Duomo

In centuries past, the new wine was brought from the countryside on an ox cart.  Once in Florence, the wine was blessed by the church and the first bottles presented to city leaders.  Then It was time to celebrate.

Today, the tradition of blessing the new Chianti is celebrated on the last Saturday in September when the Carro Matto (crazy cart) procession takes place.  Once pulled by oxen, this year it was a tractor that pulled the cart which was piled high with over 1000 bottles of wine in the classic fiaschi. 

The procession began in front of the Duomo and moved down Via Calzaiuoli.  Along the way it made a brief stop at the small Church of San Carlo dei Lombardi, very near the part of the city where a traditional maker of the flasks (a fiascaio) would have had his workshop.  The procession ended in Piazza Signoria where a fiasco was presented to city leaders.  In the 1400 and 1500’s the first bottle might have gone to a Medici – today it was given to the elected mayor. 

Accompanying the Carro Matto were people dressed in historic costumes, helmeted guards, musicians, and the Bandierai degli Uffizi (traditional flag bearers) who delighted the crowd with their flag-throwing.  Women carried individual fiaschi to be presented to the dignitaries. 

Crowds watched as the cart made its way along the route, looking as if the bottles could topple at any minute.  A crazy cart indeed.   Fortunately, the bottles remained in place, the wine was blessed, and the celebrations continued.  Time to toast the new wine with a glass of Chianti!    

Hard to believe this doesn’t topple over!

Ragu Bolognese

One of the best known recipes for Bolognese comes from Marcella Hazan’s book. Her recipe includes the essential ingredients, but is a little different than the one I just learned.

There must be a million recipes for ragu.  They can be found in cookbooks, on-line, or as handwritten recipe books passed down through generations. Ragu is in fact a very generic term, simply meaning a meat sauce.  No wonder there are so many variations!  In addition to classic Italian versions, changes were made over time and also as Italians emigrated, bringing traditional recipes but adapting them to new lands. 

In my family we called ragu “spaghetti sauce” and it had some definite American modifications.  First, it was a tomato sauce, with an acidic taste, and, other than onion, no vegetables at all.  It was also heavy on the spices – garlic, rosemary, oregano. Then there were the meatballs, cooked and served in the sauce with both then spooned over bowls of spaghetti. This was our typical Sunday dinner of “Italian” food. Imagine my surprise when I learned that, in Italy, meatballs (polpette) were not typically served in a sauce, much less on top of pasta.  And that spaghetti was not the traditional type of pasta for a ragu.  As for finding that there were carrots and celery in a ragu sauce – shocking!

A Bolognese ragu begins at the market with carrots, celery, onion

In Italy I’ve tasted many types of ragu. They vary by the region of Italy where they originated.  And if you want to get someone from Bologna upset, call a Tuscan ragu, which is typically made with sausage, garlic, and rosemary, a Bolognese.   Not a mistake you want to make!

This past week I had the opportunity to learn to make an authentic Bolognese in a cooking class.  The chef, Giuseppe, used a recipe from his Bolognese father’s family and his version has all the elements of an authentic Bolognese ragu. 

Bolognese is a sauce with rules.  So much so that the Bologna Chamber of Commerce publishes an official recipe. They updated their recipe in 2023 (which seems a bit unusual to me, updating a classic).  The current official version has a bit more meat and a little more tomato than the older version which was published in 1982. 

Our chef, Giuseppe, is sticking with his grandmothers version which predates both and so that is what we made in the class.

So, just what are those rules? 

The finely chopped soffritto is sautéed in EVOO and allowed to caramelize

First, a true Bolognese is a sauce that is more meat than tomato.  A combination of good beef (we used ground Chianina beef) and ground pancetta.  The pancetta for Bolognese can be fresh or cured but never, ever smoked. The pancetta adds both flavor and fat to the ragu, especially since the beef is fairly lean.

Next, a soffritto of finely chopped onion, carrot, and celery, sauteed in extra virgin olive oil until caramelized. Adding the pancetta to the soffritto keeps it moist. A little vegetable broth can be added too if the mixture begins to look dry. 

The ground beef is cooked in a separate pan over a fairly high heat to reduce its moisture content and become well browned – another important step in adding flavor.  The browned beef is then added to the soffritto / pancetta base.  The pan is deglazed with white wine which is added to the developing ragu, building layers of flavor with each added ingredient.

These tubes of Mutti brand double concentrated tomato paste are a kitchen staple in Italy. Here they add just the right touch of tomato in a Bolognese ragu

Next up is the touch of tomato.  In our class we used only double concentrated tomato paste, probably a couple of ounces (we didn’t measure).  This is the older classic method which keeps the tomato flavor as an accent, not a feature. The revised official recipe uses less tomato paste and some crushed tomato, but not too much!   Some more broth can be added to thin the sauce which is then allowed to simmer for about 2 hours. 

Lastly – the secret ingredient in Bolognese is milk. About ½ cup of whole milk is added to the ragu near the end of the 2 hours.  It should melt into the sauce and disappear. This is an important ingredient as it cuts any acidity from the tomato paste, helps keep the meat tender, and adds a smooth, rich texture to the sauce.

Last rule - A Bolognese sauce is never served over spaghetti! Those thin strands just don’t hold onto to sauce.  An egg-based, flat, wide pasta is typically used.  Tagliatelle is classic; pappardelle is also appropriate.  Just don’t ask for Spaghetti Bolognese!

In a twist, we used our classic Bolognese ragu (which was delicious) as a sauce for gnudi, a type of “naked” ravioli – in other words the ricotta & chard (or spinach) filling without a pasta shell.  I am not entirely sure that the Chamber of Commerce would approve of that change, but our group gave it a big thumbs up.

Gnudi with a classic Bolognese ragu

You may wonder what we did in the two hours while our Bolognese was simmering.  We used that time to make a wonderful risotto, some incredible stuffed and fried zucchini blossoms, build an appetizer plate, and make a citrus flavored custard dessert topped with fruit.  Not a bad way to spend the day.  Better still, it made for a fabulous lunch.

Giuseppe Mazzocchi is the Chef / Owner at the Olive Press Kitchen, near Montecatini between Florence and Lucca.  For more information contact Giuseppe at:   info@ theolivepresskitchen.com. or by phone / Whatsapp at +39 329 743 3364