"Ciao." Hey. Hi, I'm Rick Steves, back with more of
the best of Europe. This time, we're enjoying
a city with exquisite art and people-friendly streets --
Florence. Thanks for joining us. In this episode,
we'll enjoy some of the treasures of
the Florentine Renaissance and we'll see the city in
a wider context, from ancient to modern. Then we'll side-trip to
a couple of rival cities and cultural capitals
in their own right, Pisa and Lucca. In Florence, we'll be wowed
by Michelangelo, eat and drink well
with my friend Bobo... I'm working.
[ Laughs ] And get to know
the Medici dynasty through the art of
the Palazzo Vecchio. Then we hop a train, side-tripping to marvel
at a tipsy tower, circle a city on its ramparts, survey the realm from atop
a tree-capped tower, and enjoy some Puccini
in his hometown. Italy, about the size
of Arizona, is made of many
distinct regions. We're in Tuscany,
exploring its capital, Florence, before side-tripping
to Pisa and then to Lucca. Florence was the epicenter of the Renaissance,
that cultural explosion that propelled Europe
out of the Middle Ages and into an economic,
intellectual, and artistic boom time. This is the city
where civic pride, an abundance of genius,
lots of wealth, and a passion for merging
art and science ushered in an age of humanism. In the space of
a couple generations, Florence gave us
Brunelleschi's dome, Leonardo's "Mona Lisa,"
and Michelangelo's "David." This remarkable town, with just 60,000 people
in the 15th century, would help lead Europe
into the modern age. You can't have an art boom
without money, and the Medici family, who ruled Florence
for generations from palaces like this,
was loaded. It was the Medici wealth --
they were bankers -- along with their passion for art
and super-sized egos that helped Florence host
the Renaissance, making this city the art capital
of the western world. The statues in their garden
are a reminder that it was in Florence that art
was first commissioned simply to be enjoyed
by a wealthy elite. With the Renaissance,
you had art not just to teach Bible stories
or to glorify kings. Now, rich people sponsored art
just for art's sake. The art-loving Medicis hosted lots of famous artists,
philosophers, and poets. Imagine --
a teenage Michelangelo lived with them almost
as an adopted son, Leonardo da Vinci played
the lute at their parties, and Botticelli actually studied
the classical statues that dotted their gardens. Today, the plush world
of the Medici is on display
in their palaces. This lavishly frescoed
family chapel takes you back to Florence --
at least the Florence of its aristocratic class --
in the 1400s. The walls around
the altar display "The Journey of the Magi,"
or Three Kings, on their way to Bethlehem,
by Benozzo Gozzoli. Showing no shortage of ego,
a Medici prince portrays himself as one of the Three Kings. This is an idealized image of
Lorenzo the Magnificent leading a parade of Florentines
through a rocky landscape. Rather than the Holy Land, the scene is set
in 15th-century Tuscany. Behind the king are other
family members along with the city's rich
and powerful of the day. These elegant
Florentine dandies are actually
realistic portraits, showing the leading characters
of Florence around 1450. They're wearing colorful clothes that set trends
throughout Europe. The chapel doubled
as the place the Medici received important guests,
and by portraying their family in this religious setting,
the Medici made an impressive display of power
and sophistication. When potential rivals
would drop by and see this, they could only think,
"Damn, those Medici are good." Powerful as they were,
the Medici were mortal like everyone else and eventually ended up
down the street at San Lorenzo in a grander Medici chapel which served as
the family tomb. Designed by Michelangelo
at the height of his creative powers,
this richly decorated room, created completely under
one artist's control, is an innovative
ensemble of architecture, tombs, and sculpture. Michelangelo,
who personally knew three of the four
family members buried here, was emotionally attached
to the project. This is the work of
a middle-aged man reflecting on his contemporaries
dying all around him, and, it seems to me,
reflecting on the tension between humanism, salvation,
and his own mortality. The room is strikingly empty
of Christian iconography. Lorenzo II is shown as
a Roman general, seated, arm resting on
a Medici money box, and bowing his head
in contemplation. His sarcophagus bears
two reclining statues, metaphors for
birth and death. "Dusk," worn out after a long day,
slumps his chin on his chest and reflects on
the day's events. "Dawn" stirs restlessly
after a long night as though waking
from a dream. Opposite, on the tomb of
Lorenzo's brother, Guiliano, Michelangelo portrays
"Night" and "Day." The woman representing Night
looks almost masculine, reflecting Michelangelo's
passion for capturing the musculature
of the human body. The man, representing Day,
struggles to be comfortable, each limb twisting in
a different direction. These statues represent
the swift passage of time, which eventually
overtakes everyone, even the most powerful. Day, night, dawn,
and dusk, brought to life in this room
by the greatest sculptor of the Renaissance,
meditate eternally on death. On the city's main square
stands the Palazzo Vecchio, Florence's City Hall. While the exterior is medieval,
Michelangelo's "David" -- this one's a replica --
seems to welcome you into the Renaissance world
and the dawn of our Modern Age. The elaborate courtyard, with its Roman-inspired
decoration, is textbook Renaissance. The enormous main hall is
designed to impress 500 guests at the same time. In an age before it was
possible to buy mass media, this was how you shaped
public opinion. The art trumpeted the glory of
Florence thanks to the Medici. The frescos recall great
military victories -- Florence beating Pisa, 1497... Florence trouncing Siena
in 1555. The ceiling heralds
the divine glory of the Grand Duke
Cosimo de' Medici. Dressed as an emperor
and blessed by the pope, he was the first Medici
to rule like a king. In front,
you've got Leo X, the first of
three Medici popes, giving the family
some nice connections in both Rome and heaven
and explaining how the Medici family became
the bankers of the Vatican. The hall is flanked
by statues showing the heroic labors
of Hercules, a mortal who became
a half-god through his labors, a parallel not lost
on wowed Florentines. Again, you've got to be
impressed by those Medici. Back out on the streets,
it's fun to think that today, even a tourist
can eat better than the princes and dukes
of centuries past. My son Andy's taking time out
from his travels to join us for
a convivial Florentine dinner at Trattoria Tito. My favorite restaurants
in Europe have a common thread. They're run by people
who love their work. And Bobo, with
his "grande" personality, runs this place
with exuberance. Tonight, we're going with
his recommendation -- the antipasto extravaganza,
a parade of plates with wine to match. Knowing what I'll be eating,
he recommends a wine that compliments the food. Dry enough to clean
the mouth with the salamis, with the fats of salamis. Steves: Bobo,
the consummate professional, tests the wine to make sure. I think it's perfect. Bobo: Okay. This is the pecorino cheese. We aged it in caves
for 12 months, and it's perfect to eat
with the honey or with fava beans. You have to get
a fava bean. You have to
break it, push out the bean.
Okay? Look at that.
That's nice. Eat it with a piece of
pecorino cheese. It's perfect. Steves: Bobo takes a break from his busy schedule
to make sure the wine will still compliment
the fava beans. What dedication. Bobo: It's not a typical Florentine starter
without the bruschettas, or "crostini,"
as we call them. We have crostini with
seasonal mushrooms and then the lard,
"lardo di colonnata." Spiced with black pepper
and rosemary, and then the bruschetta with
fresh tomatoes, basil, olive oil, and garlic. We have the typical
Florentine liver paté. I think it's time
to change the wine. Steves: I was just
about to suggest that. Bobo:...A syrah,
and it will be perfect with
the stronger cheeses and with the wild meats. Enjoy. I'm working. [ Laughs ] Steves: Bobo certainly
loves his work. Bobo: Here you go. Okay, this is wild salamis. This is deer salami. This one is
wild boar shoulder. This one is wild boar cheeks, deer ham,
and wild boar sausages. Enjoy them with the wine. Steves: Oh, boy,
here comes another wine change. Bobo: Okay. Okay. This is the "vin santo," and these are our homemade Florentine biscuits
with almonds. So you dip them in the sweet
wine for five seconds... One, "due,
tre, quattro..." "Cinque,"
and then you eat them. Steves: The perfect end
to a fantastic meal, thanks to Bobo. Civic pride
and the Florentine celebration of good living enlivens
the city streets to this day. Any time of year, a festival
with centuries-old roots is likely to take you
by surprise, as did this one here on
Piazza della Signoria. Another grand meeting place,
this time with ancient roots, is Piazza della Repubblica. This lonely ancient column
reminds us that 2,000 years ago, this piazza was the Roman Forum. The grand square also evokes
19th-century Florence. Marked by a triumphal arch, it was built as
a nationalistic statement celebrating
the unification of Italy. That explains its name --
Piazza of the Republic. Florence reigned as the capital
of a newly united Italy for just five years,
from 1865 to 1870. That's when Rome was still
Vatican territory. Florence lacked
a square worthy of this grand new country,
so this neighborhood, once a ramshackle
Jewish ghetto, was torn down
to open up a space for this imposing,
modern piazza. Today, the piazza,
surrounded by stately buildings
from the 19th century, is a fine place
to enjoy a coffee or just feel the energy
of contemporary Florence. While most of Florence's
attractions cluster together in the old center,
a short bus ride takes us to a much-loved
medieval church. Set on a hill
overlooking the city, it makes it clear
there's more to Florence than Renaissance treasures. For a thousand years,
the Church of San Miniato -- still part of a functioning
Benedictine monastery -- has blessed the city that
lies at the foot of its hill. The church predates
the Renaissance by several centuries. Its marble facade,
dating from the 12th century, is a classic example
from the Romanesque period. The perfect symmetry
is a reminder of the perfection
of God, and the eagle on top,
with bags of wool in his talons, reminds all who approach
the church who paid for it -- the wool guild. Stepping inside, you enter the most
exquisite holy space medieval Florentines
could create. The "carpet of marble"
actually dates from about 1200. The wood ceiling is repainted, showing off its
original color scheme. This 14th-century golden mosaic
shows an earthly king offering his paltry secular crown
to the king in heaven. Visitors are welcome to
attend the sung mass, chanted as it has been by Benedictine brothers
for centuries. [ Chanting ] In the adjacent sacristy,
14th-century frescos show scenes from the life of their founder
and inspiration, Saint Benedict. Benedict is shown as
an active force for good, busy blessing, preaching, and chasing the devil, until that day when he
slides up the ramp to heaven. Benedict was the founder of
the Benedictine Order, a vast network of over
a thousand monasteries that eventually gave
Europe some cohesiveness in the cultural darkness that
followed the collapse of Rome. That's why Benedict is
the patron saint of Europe. While San Miniato comes with
commanding Florentine vistas, the nearby
Piazzale Michelangelo, marked by its towering
statue of David, is the city's
most popular viewpoint. Crowds line the terrace, enjoying the cityscape
of Florence. From here,
you see the Arno River dividing the town center
and the Oltrarno district, landmarks like the Ponte Vecchio
and the city's beloved dome,
designed by Brunelleschi. It's a fine place to reflect
on your Florentine visit. While Florence is
the big draw in Tuscany, there are a handful of
side-trips within about an hour
by bus or train. Pisa, with its
famous tipsy tower, makes a wonderful day trip. Pisa is a grand city
with a grand history. For nearly three centuries,
until about the year 1300, Pisa was a booming port town, rivaling Venice and Genoa
as a sea-trading power. From here, where the Arno River
meets the sea, its 150-foot galleys cruised
throughout the Mediterranean. Pisa's three
must-see sights -- the Cathedral, Baptistery,
and leaning bell tower -- are reminders of its long-ago
sea-trading wealth. This dazzling ensemble
floats regally on the best lawn
in Italy. This square,
the Piazza del Duomo, was nicknamed
the "Campo dei Miracoli," or Field of Miracles, for the grandness
of the undertaking. The architectural style
throughout is Pisa's very own
"Pisan Romanesque." Where traditional Romanesque
has a heavy fortress feel, Pisan Romanesque
is light and elegant. The buildings,
with their tight rows of thin columns,
geometric designs, and striped colored marble, give the square
a striking unity. The 200-foot-tall bell tower
is famous because it leans about 15 feet. The tower started to lean almost immediately
after construction began. Various architects tried to
correct the problem of leaning by kinking
the top level up straight. Climbing to the top is
an unforgettable experience, offering great views
of the city, the square, and its dramatic duomo,
or cathedral. Pisa's huge and richly
decorated cathedral is artistically more important
than its more famous bell tower. Its ornate facade
glitters in the sun. The 320-foot-long nave
was the longest in Italy in the 12th century,
when it was built. The floor plan is that of
a traditional Roman basilica -- 68 Corinthian columns dividing
the nave into five aisles. The striped marble
and arches on columns give it an exotic, almost mosque-like feel. The pulpit,
by Giovanni Pisano, dates from around 1300. Pisano left no stone uncarved
in his pursuit of beauty. While this was sculpted over a century before
the Renaissance began, Michelangelo himself traveled
here to marvel at Pisano's work, drawing inspiration
from its realism. In the Middle Ages,
you couldn't even enter the church
until you were baptized. That's why baptisteries
like Pisa's were free-standing buildings
adjacent to the church. The interior is
simple and spacious. A statue of John,
the first baptist, the man who baptized Christ,
seems to say, "Welcome to my baptistery." The finely crafted font
is plenty big for baptizing adults by immersion,
medieval-style. A highlight here for many
is the remarkable acoustics, resulting in echoes long enough to let you sing
three-part harmony...Solo. [ Sings three notes ] [ Notes echo ] [ Sings note ] [ Note echoes ] Nearby is another fine
side-trip from Florence. Traveling through
more Tuscan countryside, we reach the delightful
town of Lucca. Beautifully preserved Lucca
is contained entirely within its iconic ramparts. Most cities
tear down their walls to make way
for modern traffic, but Lucca kept its walls,
effectively keeping out both traffic, and, it seems,
the stress of the modern world. The city is a bit
of a paradox. While it has Europe's
mightiest Renaissance wall, it hasn't seen a battle
since 1430. Locals,
like my friend and fellow tour guide
Gabriele Calabrese, treat their ramparts
like a circular park. And, with plenty of
rental bikes available, visitors can enjoy
a lazy peddle around its two-and-a-half mile circuit
as well. So, Gabriele, this is
a Renaissance wall. What's the difference between
a Renaissance wall and a medieval wall? The medieval wall
is thin because they had no problem
with arrows or stones, but in the Renaissance time,
the cannons became very strong and they became a problem, so that's why
it was so thick. Lucca's wall
didn't come cheap, but all that hard work
and investment, combined with clever diplomacy, earned the city a long
period of independence, and, to this day,
the proud Lucchesi have a strong sense
of identity. Rather than showcasing
famous monuments, Lucca's appeal is in its
relaxed Old World ambiance. Stroll around. Take time to
let the city unfold. Romanesque churches seem to be
around every corner, as do inviting piazzas
busy with children at play. The main pedestrian drag
is Via Fillungo. Strolling here past elegant
old store fronts, you'll get a glimpse of
Lucca's rich past as well as its
charming present. Piazza Amphitheater
was built around an ancient Roman arena. While the arena's long gone,
its oval shape is a reminder of
the city's classical heritage. Locals have been gathering here
for two thousand years. Today's attraction --
a flower market. Piazza San Michele also
has ancient roots. It's hosted a market
since Roman times, when it was the forum. Today it's dominated by
the Church of San Michele. Towering above its
fancy Romanesque facade, the archangel Michael stands
ready to flap his wings, which, thanks to a crude
mechanical contraption, he actually did
on special occasions. In its heyday,
Lucca packed over a hundred towers
within its walls. Each tower was the home
and private fortress of a wealthy merchant family. Towers were single rooms
stacked atop each other -- shop, living room,
and then the kitchen. This one, Lucca's tallest
surviving tower, is famous for being capped with
a bushy little forest. Those making the climb
are rewarded with commanding city views, all in the shade of
its amazing trees. Nearby, the Church
of San Giovanni hosts nightly concerts
celebrating the music of hometown composer
Giacomo Puccini. [ Singing ] He was one of Italy's
greatest opera composers. Puccini's delightful arias
seem to capture the spirit of this wonderful
corner of Italy. I hope you've enjoyed our
look at the treasures and charms of Florence, Pisa, and Lucca. I'm Rick Steves. Until next time,
keep on travelin'. "Ciao." And this one, the name
is "soppressata," and... I know him. Yes, uh, uh, uh, uh,
uh, uh, uh. I love those
fava beans. [ Laughs ] Listen to me,
you're not my type, you know? Like Pisa. [ Laughs ] Like Pisa. [ Laughs ] Like Pisa. [ Laughs ] Damn, those Medici are good. [ Laughs ]
