Cesare Cremonini - philosopher

Great thinker famous for Galileo ‘denial’

Cesare Cremonini was one of the most
revered Aristotelian philosophers of his day

The philosopher Cesare Cremonini, the contemporary and friend of Galileo Galilei who famously refused to look at the Moon through Galileo’s telescope, died on this day in 1631 in Padua.

Cremonini was considered one of the great thinkers of his time, a passionate advocate of the doctrines of the ancient Greek philosopher Aristotle. He was paid a handsome salary by his patron, Alfonso II d’Este, the Duke of Ferrara, and kings and princes regularly sought his counsel.

He struck up a friendship with the poet, Torquato Tasso, while he was studying in Ferrara, and met Galileo in 1550 after he was appointed by the Venetian Republic to the chair of the University of Padua.

The two built a relationship of respect and friendship that endured for many years, despite many differences of opinion, yet in 1610 their divergence of views on one subject created an impasse between them.

It came about when Galileo observed the surface of the Moon through his telescope and proclaimed that he had discovered mountains on the Moon.

But Cremonini said that Aristotle had proved that the Moon could only be a perfect sphere and was having none of Galileo’s claim that it was not true. Galileo invited him to look through the telescope and see for himself but Cremonini refused.

Cremonini first met Galileo
in Padua in 1550

It may be that Cremonini simply refused to countenance the idea that Aristotle’s assertion may have been wrong. An alternative theory is that he feared for the consequences if he aligned himself with Galileo.

The Tuscan polymath was already in trouble with the Roman Inquisition for stating his belief in heliocentrism - the idea that Earth and the other planets in the solar system revolve around the sun,  which contradicted the idea to which the Catholic Church subscribed - based on the wisdom of Aristotle - that the sun revolved around Earth as the centre of the universe.

Cremonini had himself been under the scrutiny of the Inquisition. Indeed, he had been charged with atheism and heresy for propagating Aristotle’s argument that the human soul was mortal. As a citizen of Padua, however, he was protected by the leniency of Venice and had been spared punishment.

It may be that he felt that if he had seen what Galileo saw with his own eyes he would have been obliged to argue in support of his friend and could land himself in trouble again.  Given that Galileo was threatened with being burned at the stake and was held under house arrest for the remainder of his life over his belief in heliocentrism, some may argue that Cremonini was wise not to get involved.

He also had genuine concerns for Galileo’s wellbeing, warning his friend that if he decided to move to Tuscany from Padua it would bring him under the Inquisition's jurisdiction.

Born in Cento, nowadays a town of around 35,000 residents about 35km (22 miles) southwest of Ferrara, Cremonini was chair of natural philosophy and chair of medicine at the University of Padua from 1591 until his death.

He died in 1631 when an outbreak of plague swept Padua. He was buried in the Benedictine monastery of St. Justina of Padua, to which he also willed his possessions.

Cento's 14th century castle, originally built by the Bishop
of Bologna and enlarged by future pope Giulio della Rovere

Travel tip:

Cento, which was part of the Papal States when Cremonini was born, is best known as the birthplace of the Baroque painter Giovanni Francesco Barbieri, better known as Guercino. The town’s main square, the place at which the four ancient roads into the town once converged, is called Piazza Guercino. Monuments around the square include the Palazzo del Governatore, which has a 17th century clock tower, and the Palazzo Comunale, built in 1612 but improved with the addition of an elegant facade in the 18th century. The town has an impressive castle, built in 1378.

Donatello's statue of the condottiero
Gattamelata outside St Anthony's Basilica

Travel tip:

Padua’s well-preserved medieval layout and artistic heritage attract many hundreds of thousands of visitors each year, although it is much quieter than Venice, which is only a little over 40km (25 miles) away.  The presence in the city of Giotto, Donatello and Mantegna support the claim that Padua was the capital of Italian art in the 15th and 16th centuries. The most famous example of Giotto’s work are the frescoes in the Scrovegni Chapel, there are works by Donatello in and outside the Basilica di Sant’Antonio, including the equestrian statue in front of the church, while there are restored frescoes by Mantegna in the Chiese degli Eremitani.

More reading:

Why the philosopher and scientist Galileo Galilei was convicted of heresy

The mysterious death of philosopher Giovanno Pico della Mirandola

How a simple friar laid some of the cornerstones of Western philosophy

Also on this day:

1249: The death of Jacopo Tiepolo, Doge of Venice

1374: The death of the scholar and poet Petrarch


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Giovanni Antonio Magini – astronomer and cartographer

Scientist laboured to produce a comprehensive atlas of Italy

The cover of Magini's great work, which
was published by his son in 1620

Giovanni Antonio Magini, who dedicated his life to producing a detailed atlas of Italy, was born on this day in 1555 in Padua.

He also devised his own planetary theory consisting of 11 rotating spheres and invented calculating devices to help him work on the geometry of the sphere.

Magini was born in Padua and went to study philosophy in Bologna, receiving his doctorate in 1579. He then dedicated himself to astronomy and in 1582 wrote his Ephemerides coelestium motuum, a major treatise on the subject, which was translated into Italian the following year.

In 1588 Magini joined in the competition for the chair of mathematics at Bologna University and was chosen over Galileo because he was older and had more moderate views. He held the position for the rest of his life.

But his greatest achievement was the preparation of Italia, or the Atlante geografico d’Italia, which was printed posthumously by Magini’s son in 1620.

Although Italy as a state has existed only since 1861, the name Italia, referring to the southern part of the peninsula, may go back to the ancient Greeks. It appeared on coins thought to have been produced in the 1st century BC and was eventually applied to the whole of the peninsula. Magini’s atlas set out to include maps of every Italian region with exact names and historical notes.

Giovanni Antonio Magini

It proved expensive to produce and Magini took on extra posts in order to fund it. These included working as mathematics tutor to the sons of Vincenzo I of Gonzaga, Duke of Mantua.

The atlas is dedicated to the duke, who assisted him with the project by arranging for maps of the many states of Italy to be brought to Magini.

The governments of Messina and Genoa also assisted him financially to help him produce the atlas.

Magini died in Bologna in 1617 and the lunar crater maginus was later named after him.

Giotto's brilliant frescoes cover the walls of the Scrovegni
Chapel, one of the Italy's great artistic treasures

Travel tip:

Padua in the Veneto, where Magini was born, is one of the most important centres for art in Italy and home to the country’s second oldest university. Padua has become acknowledged as the birthplace of modern art because of the Scrovegni Chapel, the inside of which is covered with frescoes by Giotto, an artistic genius who was the first to paint people with realistic facial expressions showing emotion. At Palazzo Bo in the centre of the city, where Padua’s university was founded in 1222, you can still see the original lectern used by Galileo and the world’s first anatomy theatre, where dissections were secretly carried out from 1594.

The courtyard of the Archiginnasio, the oldest surviving
building of the University of Bologna

Travel tip:

Bologna University, where Magini occupied the chair in Mathematics, was founded in 1088 and is the oldest university in the world. The oldest surviving building, the Archiginnasio, is now a library and is open Monday to Friday from 9 am to 7 pm, and on Saturdays from 9 am to 2 pm. It is a short walk away from Piazza Maggiore and the Basilica di San Petronio in the centre of the city.

Also on this day:

The feast of St Anthony of Padua

2000: Mehmet Ali Agca, the gunman who tried to kill Pope John Paul II, is granted a state pardon by the Italian government

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Blessed Fra Angelico – painter

Talented Friar became patron of Catholic artists

A detail from a Luca Signorelli fresco in Orvieto
cathedral, thought to represent Fra Angelico

The early Renaissance painter who became known as Fra Angelico died on this day in 1455 in Rome.

Fra Angelico is regarded as one of the greatest painters of the 15th century, whose works reflected his serene religious attitude.

He painted many altarpieces and frescoes for the Church and Priory of San Marco in Florence where he lived for about nine years.

In 1982, more than 500 years after his death, Fra Angelico was beatified by Pope John Paul II in recognition of the holiness of his life. In 1984, Pope John Paul II declared him ‘patron of Catholic artists’.

The artist was born Guido di Pietro at Rupecanina near Fiesole, just outside Florence, towards the end of the 14th century.

The earliest recorded document concerning him dates from 1417 when he joined a religious confraternity at the Carmine Church and it reveals that he was already a painter.

The first record of him as a Friar is dated 1423 and shows him to have been a member of the Dominican order.

The San Marco altarpiece in Florence is one of Fra
Angelico's most famous works

It is believed his first paintings were an altarpiece and a painted screen for the Carthusian Monastery in Florence, but these no longer exist.

Between 1418 and 1436 he lived at the convent of Fiesole where he painted frescoes and an altarpiece. A predella - platform - of the altarpiece is now in the National Gallery in London.

In 1439, while living at the convent of San Marco in Florence, he completed one of his most famous works, the San Marco altarpiece, which was unusual for its time as it showed the saints grouped in a natural way as if they were able to talk to each other. Paintings such as this became known as Sacred Conversations and were later executed by many other artists, including Bellini, Perugino and Raphael.

In 1445 Fra Angelico was summoned to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peter’s. He moved to Orvieto in 1447 to paint works for the Cathedral and then went back to Rome to design frescoes for Pope Nicholas V, which were probably later painted by his assistants.

Fra Angelico returned to live in his old convent in Fiesole in 1449, but must have eventually gone back to Rome to do more work for the Vatican. He died in a Dominican Convent there in 1455 and was buried in the Church of Santa Maria sopra Minerva.

Piazza Giotto is the central square of Vicchio

Travel tip:

Rupecanina, where Fra Angelico was born, is a hamlet of Vicchio, a town about 25 km (16 miles) north east of Florence. Many other Italian painters came from the area, including Giotto, who was believed to have been born in Colle di Vespignano, another hamlet of Vicchio, in about 1270.

The Church of Santa Maria sopra Minerva in Rome

Travel tip:

Fra Angelico’s tomb, which was the work of Isaia da Pisa, is in the Church of Santa Maria sopra Minerva in Rome because the artist died in the adjoining convent. He had painted a fresco in the cloister there, which has not survived.  The important Dominican Church is in Piazza Minerva, close to the Pantheon, and was built directly over an ancient temple. The church was consecrated in 1370 and the façade was designed by Carlo Maderno.

Also on this day:

1564: The death of Michelangelo

1967: The birth of footballer Roberto Baggio

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Azzone Visconti - ruler of Milan

Nobleman who used family power to bring prosperity to the city

Azzone Visconti's rule saw Milan prosper and
expand in the early 14th century

Azzone Visconti, a nobleman sometimes described as the founder of the state of Milan and who brought prosperity to the city in the 14^th century, was born on this day in 1302 in Ferrara.

The Visconti family ruled Lombardy and Milan from 1277 to 1457 before the family line ended and, after a brief period as a republic, the Sforza family took control.

Azzone was the son of Galeazzo I Visconti and Beatrice d’Este, the daughter of the Marquis of Ferrara.

Galeazzo was descendant from Ottone Visconti, who had first taken control of Milan for the family in 1277, when he was made Archbishop of Milan by Pope Urban IV but found himself opposed by the Della Torre family, who had expected Martino della Torre to be given the title.

Ottone was barred from entering the city until he defeated Napoleone della Torre in a battle and, apart from a brief period in which forces loyal to Guido della Torre drove out Galeazzo’s father, Matteo, the Visconti family held power for the next 170 years.

Ambrogio Ficino's 1590 painting of the apparition
 of St Ambrose at the Battle of Parabiago

A crisis faced the Visconti rule in 1328 when Louis IV, the Holy Roman Emperor – known in Italian as Ludovico il Bavaro – had Galeazzo and other members of the family arrested following the death of Galeazzo’s younger brother, Stefano, in a suspected assassination.  Azzone’s uncle, Marco, was said to have betrayed Galeazzo by passing on information that implicated his brother at the heart of the plot.

Ludovico confiscated the Visconti territories, handing control of the smaller cities in Lombardy to local families. It proved the end of Galeazzo, who died later in the year.  On their release, Azzone was involved in a power struggle with Marco for control of Milan.

Azzone gained the upper hand when, with the help of another uncle, he raised the sum of 60,000 florins which he paid Ludovico for the title of Imperial Vicar of Milan, which effectively made him the ruler of the city.  When Marco was killed soon afterwards, Azzone was named as the chief suspect, although he was never prosecuted.

This development angered Pope John XXII, who excommunicated Azzone. As a solution, Azzone was forced to submit to the Pope and renounce his Imperial Vicariate, reaching a compromise under which he retained political power under the title of Lord of Milan.

Azzone’s rule lasted only nine years until his death in 1339 from gout, but during that time he enhanced the wealth and power of the city.

By joining the League of Castelbaldo, he brought the Lombardy cities of Bergamo, Novara, Cremona, Como, Lodi, Piacenza and Brescia back under the rule of Milan, establishing the city’s predominance in the region.

The bell tower of the church of San
Gottardo in Corte in Milan

He also defeated a plot to unseat him by his uncle, Lodrisio, who escaped a crackdown that saw several accomplices arrested and locked up in prison in the Castle of Monza but suffered defeat in the Battle of Parabiago, where a Milanese army led by another uncle, Luchino, was said to have been facing defeat but was saved by the divine intervention in the form of an apparition of St Ambrose on horseback, which caused the enemy army to flee.

Away from the battlefield, Azzone Visconti is credited with beginning an artistic renewal of Milan.

He rebuilt the Palazzo del Broletto Vecchio, opposite the Duomo, formerly the municipal seat, as Visconti palace - later the Royal Palace - and moved the town hall to the Palazzo della Ragione.

Azzone commissioned the Cremonese architect Francesco Pecorari to construct the church of San Gottardo in Corte, with an octagonal bell tower, which remains today, that was probably inspired by the drawings Giotto made for the bell tower of Santa Maria del Fiore in Florence.

He hired Giotto himself to execute a number of frescoes in the Visconti palace, although none remain today.  His commitment to the architectural embellishment of Milan continued under his successors, notably with work beginning on the magnificent Duomo in 1386 under the rule of Gian Galeazzo Visconti.

Azzone was also credited with rebuilding the city of Lecco, at the southern end of the eastern fork of Lago di Como, known as Lago di Lecco. The city had been destroyed by his grandfather, Matteo, in 1296.

The monumental tomb of Azzone Visconti

Travel tip:

The church of San Gottardo in Corte can be found in Via Francesco Pecorari, just a few yards from the Duomo. Built as a ducal chapel, it was originally dedicated to the Blessed Virgin but Azzone, who had gout, later changed the dedication to St. Gotthard of Hildesheim, patron of those with gout. The interior has been partially restored but in the original church part of the a fresco of the Crucifixion, thought to have been painted by a pupil of Giotto remains, along with the monumental tomb sculpted for Azzone by the Pisan sculptor Giovanni di Balduccio.

The Palazzo della Ragione in Piazza Mercanti

Travel tip:

The Palazzo della Ragione (Palace of Reason), which Azzone established as Milan’s town hall, is located in Piazza Mercanti, just off Piazza del Duomo, facing the Loggia degli Osii. It also served as a judicial seat. Built between 1228 and 1233 for the podestà (chief magistrate) of Milan, Oldrado da Tresseno. It maintained a central role in the administrative and public life of the city Milan until 1773, when it was enlarged to accommodate legal archives.  Between 1866 and 1870, the building hosted the headquarters of the Banca Popolare di Milano, a major Milanese bank, but returned to its function as house of legal archives until 1970.

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Lorenzo Ghiberti – sculptor

Goldsmith renowned for 'Gates of Paradise'

The baptistry doors known as
'The Gates of Paradise' 

Sculptor, goldsmith and architect Lorenzo Ghiberti died on this day in 1455 in Florence.

Part of his legacy were the magnificent doors he created for the Baptistery of the Florence Duomo that have become known as the Gates of Paradise.

Ghiberti had become a man of learning, living up to the image of the early 15th century artist as a student of antiquity, who was investigative, ambitious and highly creative.

His Commentaries - I Commentarii - which he started to write in 1447, include judgements on the great contemporary and 14th century masters as well as his scientific theories on optics and anatomy, revealing the scope of his artistic and practical experimentation.

Ghiberti was born in 1378 in Pelago near Florence and was trained as a goldsmith by Bartolo di Michele, whom his mother had married in 1406 but had lived with for some time previously.  Ghiberti took his name from his mother’s first husband, Cione Ghiberti, although he later claimed that Di Michele was his real father.

He moved to Pesaro in 1400 to fulfil a painting commission from the city's ruler, Sigismondo Malatesta, but returned to Florence when he heard about a competition that had been set up to find someone to make a pair of bronze doors for the Baptistery of the cathedral.  

Detail from Ghiberti's second set of doors to the baptistery,
which depicts scenes from the life of Joseph

Ghiberti’s design won and the contract was signed for him to produce the doors in Di Michele’s workshop.  He began the project in 1407 and it would take him until 1424 to complete. He actually created two sets of doors; the first, for the Baptistery, depicted scenes from the New Testament, the second, with ten square panels and deemed to be superior to the first, scenes from the Old Testament.

It was Michelangelo who suggested they were of such quality they would be worthy of being chosen as the Gates of Paradise.  The painter and art historian Giorgio Vasari declared then to be “undeniably perfect in every way”.

Although, it was the doors that established Ghiberti’s reputation he took other commissions, including gilded bronze statues of St John the Baptist for niches of the Orsanmichele church in Florence and the Arte di Calimala (Wool Merchants' Guild) and one of St. Matthew for the Arte di Cambio (Bankers' Guild). He  also produced a bronze figure of St. Stephen for the Arte della Lana (Wool Manufacturers' Guild).

He also wrote what is considered to be the first autobiography of an artist, which formed part of I Commentarii. 

I Commentarii has come to be regarded as one of the most important sources of information about the Renaissance and the art of the period.

Ghiberti was an influential figure in many ways.  Among the artists who worked in his studios as they were making their way in the world included Donatello, Masolino di Panichale, Michelozzo di Bartolomeo Michelozzi, Paolo Uccello, and Antonio Pollaiuolo.

He married Marsilia, the 16-year-old daughter of Bartolomeo di Luca, a wool carder. They had two sons – Tommaso, who was born in 1417, and Vittorio born the following year – who both joined Ghiberti in his business, Vittorio taking over the workshop after his father’s death.

The market square in Pelago

Travel tip:

Pelago, a small town in Tuscany about 20km (12 miles) east of Florence, was developed by the Etruscans on the site of a settlement thought to date back to the Paleolithic period. It grew around a castle built in the 11th century in an area rich in castles, usually built on the top of a hill.  At the foot of Pelago Castle is a marketplace and a number of palaces once owned by wealthy noblemen.  The church of San Clemente, which originates in the 12th century and now contains a museum, can be found within the castle walls.

Florence's Duomo is one of the most familiar sights in Italy

Travel tip:

The Florence Duomo - the Cattedrale di Santa Maria del Fiore - with its enormous dome by Filippo Brunelleschi and campanile by Giotto, is one of Italy's most recognisable and most photographed sights, towering above the city and the dominant feature of almost every cityscape. From groundbreaking to consecration, the project took 140 years to complete and involved a series of architects. Arnolfo di Cambio, who also designed the church of Santa Croce and the Palazzo Vecchio was the original architect engaged and it was to his template, essentially, that the others worked.  When he died in 1410, 14 years after the first stone was laid, he was succeeded by Giotto, who himself died in 1337, after which his assistant Andrea Pisano took up the project.  Pisano died in 1348, as the Black Death swept Europe, and a succession of architects followed, culminating in Brunelleschi, who won a competition - against Ghiberti, as it happens - to build the dome, which remains the largest brick-built dome ever constructed.

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St Francis Basilica struck by earthquake

Historic art works damaged in double tremor

The Basilica of St Francis at Assisi

The historic Basilica of Saint Francis in Assisi suffered serious damage on this day in 1997 when two earthquakes struck in the central Apennines.

The quakes claimed 11 lives in the Assisi area and forced the evacuation of 70 per cent of buildings in the Umbrian town, at least temporarily, because of safety fears.

Many homes were condemned as unsafe for occupation and residents had to be housed in makeshift accommodation.

The event also caused considerable damage to frescoes painted in the 13^th century by Giotto and to other important works by Cimabue, Pietro Lorenzetti and Simone Martini.

The dramatic moment the vaulted ceiling came down

The first quake, measuring 5.5 on the Richter Scale, struck shortly after 2.30am and was felt as far away as Rome, some 170km (44 miles) to the south.  A series of smaller tremors kept residents on edge through the night.

Yet the biggest quake, measured at 5.7 initially but later revised upwards to 6.1, was still to come. With tragic consequences, it occurred at 11.43am, just as a party of Franciscan monks, journalists, town officials and experts from the Ministry of Culture had decided to venture inside the basilica to inspect the damage.

It is thought that between 20 and 30 people were inside the Upper Church when the shaking began, caused the vaulted ceiling to collapse, bringing down sections of Giotto’s fresco cycle depicting the Life of Saint Francis.

Most of them were able to escape by running away as the ceiling began to fall but 10 were trapped under the rubble for many hours. Six were pulled out alive but rescuers found that two of the friars and two of the government experts had been killed.

As well as the Giotto cycle, there was also damage to a cycle of frescoes by Cimabue that many experts regarded to be fundamental to the history of Western art.  These included portraits of the so-called Doctors of the Latin Church – St Ambrose, St Jerome, St Augustine and St Gregory the Great – and of the writers of the Gospels of the New Testament – Matthew, Mark, Luke and John.

Detail from the Giotto cycle The Life of St Francis

The church, a significant tourist attraction in Italy, was immediately closed to visitors, yet it was reopened in just two years, which was considered exceptional by Italian standards. Giotto’s images of St Rufina and St Vittorino were reconstructed from more than 3,000 tiny fragments.

The government attracted criticism, however, for devoting much more money and energy to rebuilding the basilica and restoring art works than it had to rehousing people whose homes were destroyed by the quake.

On the day of the re-opening, a celebration that attracted live television coverage, 10,000 people in the area were still living in adapted metal containers, which had been provided as temporary accommodation.

It was revealed that whereas around €37 million had been spent on the restoration of the basilica, which dates back to 1228, and the Sacred Convent attached to it, only €4.75 million had been directed at rebuilding ruined homes and other buildings.

In the longer term, the broader restoration project was hailed as providing evidence to end a long-running argument over the authenticity of the works attributed to Giotto, which some experts believed were painted in the 14^th century, after his death.

A portrait thought to be
of Giotto di Bondone

In 2012, restorers uncovered previously unknown frescoes in a chapel within the basilica that had been closed and unused for many years. They discovered the initials “G.B” in one corner of the work, which they took to be the initials of Giotto di Bondone.

Giotto is considered to be the forefather of Italian Renaissance art, famous for the Scrovegni Chapel in Padua and the Ognisanti Madonna, which hangs in the Uffizi gallery in Florence.

The second of the two Assisi quakes was the most powerful to hit Italy since the devastating seismic event of 1980, just outside Naples, which killed at least 2,500 people.

There have been two more powerful quakes since – at L’Aquila in Abruzzo in 2009 and the one that struck the central Apennines in 2016, about 45km (28 miles) north of L’Aquila, both of which claimed around 300 lives.

The Basilica of St Francis is built into the side of a hill

Travel tip:

The Basilica of St Francis, which was begun in 1228 and developed over a period of about 300 years, is unusual in that it is built into the side of a hill and comprises two churches known as the Upper Church and the Lower Church, and a crypt where the remains of the saint are interred. The frescoes are by numerous late medieval painters from the Roman and Tuscan schools, and include works by possibly Pietro Cavallini as well as Cimabue, Giotto, Martini and Lorenzetti.  The range and quality of the works gives the basilica a unique importance in demonstrating the development of Italian art in early Renaissance.

The Temple of Minerva on
Piazza del Comune

Travel tip:

There is more to Assisi than the Basilica of St Francis.  The town has several other notable churches, including the Cathedral of San Rufino and the Basilicas of Santa Chiara and Santa Maria degli Angeli, plus the remains of a Roman amphitheatre.  At the centre of the town is a charming square, the Piazza del Comune, where can be found the ancient Temple of Minerva, with its six Corinthian columns, built in the first century BC.

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Giorgio Morandi – painter

The greatest master of still life in the 20th century

Giorgio Morandi pictured in
his studio in Bologna in 1953

The artist Giorgio Morandi, who became famous for his atmospheric representations of still life, was born on the day in 1890 in Bologna.

Morandi’s paintings were appreciated for their tonal subtlety in depicting simple subjects, such as vases, bottles, bowls and flowers.

He studied at the Accademia di Belle Arti di Bologna and taught himself to etch by studying books on Rembrandt. Even though he lived his whole life in Bologna, he was deeply influenced by the work of Cézanne, Derain and Picasso.

In 1910 Morandi visited Florence, where the work of Giotto, Masaccio, Piero della Francesca and Paolo Uccello also impressed him.

Morandi was appointed as instructor of drawing for elementary schools in Bologna, a position he held from 1914 until 1929. He joined the army in 1915 but suffered a breakdown and had to be discharged.

During the war his paintings of still life became purer in form, in the manner of Cezanne. After a phase of experimenting with the metaphysical style of painting he began to focus on subtle gradations of hue and tone.

Morandi's 1956 painting Natura morta

Morandi became associated with a Fascist-influenced Futurist group in Bologna and was sympathetic to the Fascist Party in the 1920s, although he also had friendships with anti-Fascist figures, which led to him being arrested briefly.

He took part in the Venice Biennale exhibitions, in the Quadriennale in Rome and also exhibited his work in different cities.

He was professor of etching at Accademia di Belle Arti from 1930 until 1956 and was awarded first prize for painting by the 1948 Venice Biennale.

Morandi lived for most of his adult life in Via Fondazza in Bologna with his three sisters until his death from lung cancer in 1964.

He was buried at the Certosa cemetery in Bologna in the family tomb, which bears a portrait of him executed by his friend, the sculptor Giacomo Manzù.

During his life Morandi completed 1350 oil paintings and 133 etchings. He once explained: ’What interests me most is expressing what’s in nature, in the visible world, that is.’

A 1952 still life from Morandi

Morandi is perceived as being one of the few Italian artists of his generation to remain detached from contemporary culture and politics and he is now regarded as one of the best modern Italian painters and the greatest master of still life in the 20th century.

His work has been discussed and written about by many art critics. Director Federico Fellini paid tribute to him in La Dolce Vita, which features his paintings, as does Michangelo Antonioni in La Notte.

The novelists Sarah Hall and Don DeLillo and the poet Ivor Cutler have all written about him. Barack Obama chose two oil paintings by Morandi, which are now part of the White House collection.

A Giorgio Morandi museum - the Museo Morandi - which includes a reconstruction of his studio, was opened in 1993 in Bologna.

Many famous photographers took images of him at his house or in his studio and the interior of his house has been filmed. In 2016 the American photographer Joel Meyerowitz published Morandi’s Object, a book containing his photographs of more than 260 objects that the painter had collected during his life.

Morandi's tomb at the Certosa di Bologna

Travel tip:

The Certosa di Bologna, where Morandi, is buried is a former Carthusian monastery founded in 1334 and suppressed in 1797, located just outside the walls of the city. In 1801 it became the city’s monumental cemetery and would later be praised by Byron in his writings. In 1869 an Etruscan necropolis was discovered there.

Travel tip:

The Museo Morandi, which displays a large collection of works by the painter, is being temporarily housed in the Museo d’Arte Moderna di Bologna, which is in Via Don Giovanni Minzoni in Bologna.

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Carlo Carrà - Futurist artist

Painter hailed for capturing violence at anarchist's funeral

Carlo Carrà, pictured in the late 1930s

The painter Carlo Carrà, a leading figure in the Futurist movement that gained popularity in Italy in the early part of the 20th century, was born on this day in 1881 in Quargnento, a village about 11km (7 miles) from Alessandria in Piedmont.

Futurism was an avant-garde artistic, social and political movement that was launched by the poet Filippo Tommaso Marinetti in 1909 and attracted many painters and sculptors, designers and architects, writers, film makers and composers who wished to embrace modernity and free Italy from what they perceived as a stifling obsession with the past.

The Futurists admired the speed and technological advancement of cars and aeroplanes and the new industrial cities, all of which they saw as demonstrating the triumph of humanity over nature through invention. They were also fervent nationalists and encouraged the youth of Italy to rise up in violent revolution against the establishment.

The movement was associated with anarchism. Indeed, Carrà counted himself as an anarchist in his youth and his best known work emerged from that period, when he attended the funeral of a fellow anarchist, Angelo Galli, who was killed by police during a general strike in Milan in 1906.

Carrà's most famous work, The Funeral of the Anarchist Galli,
which is housed in the Museum of Modern Art in New York.

As Galli's body was carried to the cemetery, violence erupted between anarchist mourners and the police. Carrà witnessed the clashes and hastened home to make sketches of what he had seen while the images were still fresh. They became the basis for his 1911 painting, The Funeral of the Anarchist Galli.

The abstract painting, which demonstrated strong Cubist influences and is seen as Carrà's masterpiece, shows Galli’s red coffin at the centre of the canvas, held precariously aloft amid a chaotic melee of figures clad in anarchist black, illuminated by light emanating both from the coffin and the sun.

In his memoirs, Carrà described the riot at the funeral, noting that the coffin, covered in red carnations, "swayed  dangerously on the shoulders of the pallbearers."

"I saw horses go mad, sticks and lances clash," he wrote. "It seemed to me that the corpse could have fallen to the ground at any moment and the horses would have trampled it."

Carrà had left home when he was only 12 in order to work as a mural decorator, the work taking him to Paris, where he became interested in contemporary French art, and to London, where he made the acquaintance of a number of exiled Italian anarchists.

Carrà (second left) in Paris in 1912 with Luigi Russolo, Filippo
  Tommaso Marinetti, Umberto Boccioni and Gino Severini

This shaped his life when he returned to Italy in 1901 and settled in Milan, where he enrolled at the Accademia di Brera and began to associate with anarchist groups. Along with Umberto Boccioni, Luigi Russolo and Giacomo Balla, in 1910 he signed the Manifesto of Futurist Painters, which emphasised a commitment to the dynamic portrayal of movement in their paintings, with particular reference to scenes of violent riot.

In the event, in the view of art experts, Carrà's Futurist phase ended around the time the First World War began, at which point his work began to move away from the influence of an angry political ideology towards stillness and calm and from motion towards clearer form, influenced among other factors by his fascination with the work of the French post-impressionist Henri Rousseau.

In 1917 he moved into another phase after meeting the surrealist Giorgio de Chirico in Ferrara. Carrà began to include mannequin-like figures in his paintings and the two between them invented the Scuola Metafisica - the metaphysical school, the idea of which was to stress a dislocation between the present and the past, illustrated perhaps by classical figures shown against contemporary backgrounds.

Within a couple of years, Carrà had begun to depart from that phase, his work The Daughters of Lot, painted in 1919, showing the influence of the genius of the early Renaissance, Giotto, who is acknowledged as the first painter to capture true human emotions.

Carrà's political views also changed. He became more opposed to the social reform he supported as a younger man, becoming ultra-nationalist. He found the ideals of Fascism coincided increasingly with his own.

The Basilica of San Dalmazio in Carrà's
home village of Quargnento

In the 1930s, Carrà signed a manifesto in which called for support of state ideology through art, joining a group founded by Giorgio Morandi, another artist with Fascist sympathies and a background in Futurism and the Scuola Metafisica, which responded to the neo-classical guidelines set by the regime in the late 1930s.

After military service in the Second World War, Carrà taught at the University of Milan. He died in 1966, aged 85.

Travel tip:

Quargnento, where Carlo Carrà was born, was originally a Roman settlement, as evidenced by the discovery by archaeologists of the ruins of a Roman garrison. It became a large farming town during the Western Roman Empire, supplying neighbouring cities. Later, the town came under the control of the Bishop of Asti, who made the significant decision in 907 to order the remains of the Christian martyr Dalmazio to be hidden there from raiding Saracens.  The remains today are housed in the Basilica of San Dalmazio.

Carrà's 1914 work Interventionist Demonstration
is part of the Peggy Guggenheim Collection

Travel tip:

The Peggy Guggenheim Collection in Venice is home to the works of many prominent Futurist painters, including Giacomo Balla, Umberto Boccioni, Gino Severini and Luigi Russolo. It houses Carrà's 1914 work, Interventionist Demonstration, a Cubist-influenced collage of fragments of paper bearing words, radiating from the centre in concentric circles, said to have been inspired by the sight of leaflets dropped from aeroplanes fluttering down over Piazza del Duomo.

Venice hotels by Hotels.com

More reading:

How architect Marcello Piacentini's buildings symbolised Fascist ideals

The cycle of frescoes that confirmed the genius of Giotto

The anarchist whose 'accidental death' inspired Dario Fo's classic play

Also on this day:

1929: The Lateran Treaty turns the Vatican into an independent state

(Picture credits: Basilica by Tony Frisina via Wikimedia Commons)

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Guercino - Bolognese master

Self-taught artist amassed fortune from his work

Guercino - a self-portrait from about 1624-26,
which is part of a private collection

The artist known as Guercino was born Giovanni Francesco Barbieri on this day in 1591 in Cento, a town between Bologna and Ferrara in what is now the Emilia-Romagna region.

His professional name began as a nickname on account of his squint - guercino means little squinter in Italian.  After the death of Guido Reni in 1642, he became established as the leading painter in Bologna.

Guercino painted in the Baroque and classical styles. His best known works include The Arcadian Shepherds (Et in Arcadia Ego - I too am in Arcadia), showing two shepherds who have discovered a skull, which is now on display at the Galleria Nazionale di Arte Antica in Rome, and The Flaying of Marsyas by Apollo, which can be found in the Palazzo Pitti in Florence, both of which were painted in 1618.

The Vatican altarpiece The Burial of Saint Petronilla is considered his masterpiece.

Guercino's Burial of St Petornilla,
the Vatican altarpiece

Guercino's frescoes were notable for the technique of creating an illusionist ceiling and would make a big impact on how churches and palaces in the 17th century were decorated.

Mainly self-taught, Guercino became apprenticed at 16 to Benedetto Gennari, a painter of the Bolognese school at his workshop in Cento before moving to Bologna in 1615.

There he made the acquaintance of Ludovico Carracci, whose work was a great influence on him. Carracci encouraged him and Guercino's use of bold colours, and his ability to capture emotion in faces, was an echo of Carracci's style, although some of his early work also bears the stamp of Caravaggio. 

As his style developed, Guercino's altarpieces in particular were noted for their depth, achieved by his use of light and darkness.  His 1620 altarpiece of the Investiture of Saint William - currently housed at the Pinacoteca Nazionale in Bologna - is a great example.

In 1621, Guercino went to Rome, where he was influential in the evolution of Roman High Baroque art. His commissions included the decoration of the Casino Ludovisi, where his outstanding fresco, Aurora, adorns the ceiling of the Grand Hall.  It creates the illusion that there is no ceiling, with Aurora’s chariot painted as if it were moving directly over the building.

A detail from the ceiling at the Casino Ludovisi in Rome

He also painted the ceiling in the church of San Crisogono in the Trastevere district, a portrait of Pope Gregory XV (now in the Getty Museum) and the St. Petronilla Altarpiece in the Vatican, which is now housed in the Museo Capitolini.

Some critics believe Guercino's move to Rome brought about a subtle change in his style - in the view of some critics, not necessarily for the better - due to the influence of Pope Gregory XV’s private secretary, Monsignor Agucchi, who was a proponent of the classicism of Annibale Carracci, whose work was somewhat more restrained than his cousin, Ludovico.

He is said to have felt under pressure to paint in the popular classical style on his return to Cento two years later, largely because most of his paying clients wanted traditional paintings.

Guercino ran his Cento studio until 1642, when Guido Reni died. Guercino moved to Bologna, taking over Reni's religious picture workshop, and was quickly recognised as the city's leading painter.

Guercino's tomb at the church of Santissimo Salvatore

Notable for his prolific output - he completed more than 100 large altarpieces for churches and around 144 other paintings during his career - Guercino continued to paint and teach until his death in 1666, amassing a notable fortune.

As he never married, his estate passed to his nephews and pupils, Benedetto Gennari II and Cesare Gennari. His tomb is in the church of Santissimo Salvatore in Via Cesare Battisti in Bologna.

Travel tip:

The town of Cento, situated in the flatlands of the Po Valley equidistant from Bologna and Ferrara, grew from a fishing village in the marshes to an established farming town in the first few centuries in the second millennium.  Previously controlled by the Bishop of Bologna, it was seized by Pope Alexander VI and made part of the dowry of his daughter Lucrezia Borgia.  Main sights include the 18th century Palazzo del Monte di Pietà, which houses the Civic Gallery and some paintings by Guercino, whose works can be seen also in the Basilica Collegiata San Biagio, Santa Maria dei Servi, the church of the Rosary, and, in the frazione of Corporeno, the 14th-century church of San Giorgio.

Guercino's Madonna del Passero is part
of the Pinacoteca Nazionale collection

Travel tip:

Bologna's Pinacoteca Nazionale can be found in Via delle Belle Arti, a little over a kilometre from Piazza Maggiore to the north-east, inside a former meeting place for young Jesuits in the university district. The Pinacoteca's origins go back to 1762, when paintings from two other collections, one belonging to the Carracci family, were brought together. During the time of Napoleonic rule the most important works were hidden in Paris and Milan. The basis for the current collection was formed in 1827 with a catalogue of 274 paintings.  The gallery nowadays consists of 30 exhibition rooms showing works by Bolognese artists from the 14th century onwards, including a number of important canvases by the Carracci brothers, Annibale and Agostino, and their cousin Ludovico. Notable works include Ludovico's Madonna Bargellini, the Comunione di San Girolamo (Communion of St Jerome) by Agostino and the Madonna di San Ludovico by Annibale. There are 15 works by Guercino and 29 by Guido Reni.  Also represented in the gallery are Vitale di Bologna, Perugino, Giotto, Raphael, El Greco and Titian.

More reading:

How mystery still surrounds the death of Caravaggio

Titian - the Venetian giant of Renaissance art

The skill that enabled Giotto to bring figures on canvas to life

Also on this day:

1848: Students join uprising in Padua



(Picture credit: Guercino tomb by Sailko via Wikimedia Commons)

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St Clare of Assisi

Birth of the founder of the Poor Clares

This fresco depicting Clare of Assisi was
painted by the Italian artist Giotto in 1325

St Clare was born on this day in 1194 in Assisi as Chiara Offreduccio, the beautiful daughter of a Count.

As a young girl Clare was extremely devout and at the age of 18 she was inspired by hearing Francis of Assisi preach and went to see him to ask for help to live her life according to the Gospel.

In 1212, Clare left her father’s home and went to the chapel of Porziuncula to meet Francis. Her hair was cut off and she was given a plain robe and veil in exchange for her rich gown.

Clare joined a convent of Benedictine nuns and when her father tracked her down refused to leave it to return home.

Francis sent her to another monastery, where she was later joined by her sister. Over the years other women came to be with them who also wanted to serve Jesus and live with no money. They became known as the Poor Ladies of San Damiano because of the austere lifestyle they lived.

Clare took care of St Francis when he became old and after his death continued to lead her Order of Poor Women in the Franciscan tradition, which later became known as the Order of St Clare, also often referred to as The Poor Clares.

Another work by Giotto showing
St Francis and St Clare

In 1224, the Holy Roman Emperor, Frederick II, sent an army of soldiers to attack Assisi and, although she was very sick at the time, Clare went out to meet them carrying the Blessed Sacrament and placed it by the wall of the convent where they could see it. Then on her knees she begged God to save the Sisters in her Order.

At that moment a sudden fright seemed to strike the soldiers and they fled without harming anyone in Assisi.

Just before Clare’s death in 1253, Pope Innocent IV declared the Rule of Life that she had written for her women would serve as the governing rule for Clare’s Order. It is believed to be the first set of monastic guidelines known to have been drawn up by a woman.

After Clare died at the age of 59, her remains were placed in the Chapel of San Giorgio while a new church dedicated to her was being built. Two years later in 1255 she was made a saint, St Clare of Assisi, by Pope Alexander IV.

The Basilica of St Clare was finished in 1260 and her remains were buried beneath the high altar there. Six centuries later her remains were transferred to a newly constructed shrine in the crypt of the Basilica.

St Clare’s feast day is celebrated every year on August 11.

The façade of the Basilica of St Clare in Assisi

Travel tip:

The Basilica of St Clare (Basilica di Santa Chiara) is in Piazza Santa Chiara in Assisi. It was built in the 13th century in Gothic style to contain the remains of St Clare. These were transferred to a shrine in the basilica in the 19th century. The church is open daily from 06.30 to 12.00 and from 14.00 to 19.00. Outside the church there is a terrace with lovely views of the surrounding Umbrian countryside.

Travel tip:

The Papal Basilica of Saint Francis of Assisi, the mother church of the Franciscan Order, is in Piazza Inferiore di San Francesco in Assisi. Built into the side of a hill, it consists of two churches, a lower Basilica and an upper Basilica, and a crypt that contains the remains of St Francis. The Basilica is one of the most important places of Christian pilgrimage in Italy and has been a Unesco World Heritage site since 2000.

(Photo of Basilica of St Clare by Geobia CC BY-SA 3.0)

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