Giovanni Pierluigi da Palestrina - composer

Prolific writer had huge influence on the development of religious music

Giovanni Pierluigi da Palestrina was once
sacked by St Peter's for being married

The composer Giovanni Pierluigi da Palestrina, who was the most famous representative of the 16th century Roman school of musical composition and whose work is often described as the culmination of Renaissance polyphony, died on this day in 1594 in Rome.

Probably in his 70th year when he died, he had composed hundreds of pieces, including 104 masses, more than 300 motets, at least 72 hymns and some 140 or more madrigals.

He served twice as maestro di cappella - musical director - of the Cappella Giulia (Julian Chapel), the choir at St. Peter's Basilica in Rome, a highly prestigious if not well paid position.

Appointed for the first time in 1551, he might have stayed there for the rest of his working life had a new pope, Paul IV, not introduced much stricter discipline compared with his predecessor, Julius III. A decree set down by Paul IV in 1555 forbade married men to serve in the papal choir, as a result of which Palestrina and two colleagues were dismissed.

Palestrina subsequently directed the choir at the Basilica of San Giovanni in Laterano for five years before quitting abruptly in frustration at the limited ability of his singers, compared with St Peter’s.

An engraving from 1544 shows Palestrina presenting
Pope Julius III with a mass dedicated to him

After a period of unemployment, when he and his family had to live in modest circumstances, he took a position at the Basilica of Santa Maria Maggiore, where he stayed for seven years before, at the invitation of Cardinal Ippolito d’Este, he took charge of the music at the Villa d’Este in Tivoli, a popular summer resort near Rome. He also worked as music master for a newly-formed Seminarium Romanum (Roman Seminary), where his sons Rodolfo and Angelo became students.

By this time, his fame was spreading, but he turned down offers to go to Vienna to become musical director at the court of the emperor Maximilian II, and from the Duke of Mantua, Guglielmo Gonzaga, on the grounds that he preferred not to leave Rome, although his financial demands were considered too high also.

With the death in 1571 of Giovanni Animuccia, who had been musical director at the Vatican since Palestrina left, there was a chance for him to to return to his old post as musical director of the Julian Choir. Offered a much bigger salary, he accepted the opportunity to return and, when Santa Maria Maggiore attempted to rehire him, St. Peter’s again raised his salary.

Palestrina had been born in a house in Via Cecconi in the town of Palestrina, about 35km (22 miles) east of Rome. Commonly known as Gianetto, he became an altar boy and sang in the choir of his local church. By 1537, at around the age of 12, records suggest the was a chorister at Santa Maria Maggiore in Rome, where he was taught elementary composition.

The first page of Palestrina's Pope Marcellus
Mass, published in 1565

It is thought his music was influenced by the northern European style of polyphony, dominant in Italy at the time thanks to two composers from the Netherlands, Guillaume Dufay and Josquin des Prez. Until Palestrina, Italy had not produced anyone of comparable skill in polyphony, a style of composition which consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony.

At about 20 years old, Palestrina took his first job an organist of the Cathedral of St. Agapito, the principal church in his home town. In 1547, he married Lucrezia Gori, whose father had just died and left her some money as well as a house and a vineyard.

They had three sons, Rodolfo, Angelo and Iginio, and lived a relatively contented life until the series of epidemics that swept through central Italy in the late 1570s sadly took the lives of his wife and their two elder sons. Pelestrina himself became seriously ill and when he recovered, still grieving, he announced his intention to become a priest.

This all changed, however, when he met Virginia Dormoli, the widow of a wealthy merchant, whom he married in 1581. He took over the running of her late husband’s fur and leather business, which had a monopoly to supply ermine trim to the papal court. This gave him financial security for the first time in his life and he invested in property, drawing a further income from the rent on four houses.

A statue erected to commemorate the life
of Palestrina in his home town

Despite the now considerable demands on his time, Palestrina continued to compose prolifically, perhaps more so, and maintained a remarkably high standard in both his sacred and secular works.

The Palestrina Style - the smooth style of 16th century polyphony - is usually taught as ‘Renaissance polyphony’ in college counterpoint classes of today.  It is characterised by the strict guidelines that Palestrina followed, namely that the flow of music should be ‘dynamic, not rigid or static’; that the melody should contain few leaps between notes and any leaps be immediately countered by opposite stepwise motion; and that dissonances (lack of harmony) are either passing note or off the beat and, if on the beat, immediately resolved.

His 105 masses embrace many different styles, and the number of voices used ranges from four to eight. Among his most important were his Pope Marcellus Mass, Accepit Jesus calicem, “L’Homme armé, Tu es Petrus and his Ave Maria. 

Palestina died in Rome on February 2, 1594 after suffering with pleurisy. His funeral was held at St. Peter's, and he was buried beneath the floor of the basilica, although his tomb was later covered by new construction and attempts to locate the site have so far been unsuccessful.

Detail from the Nile Mosaic in the Museo Archeologico
Nazionale di Palestrina, near Rome

Travel tip:

Palestrina is a pretty town of narrow, flower-bedecked streets and is full of history. In Etruscan times, then known as Praeneste, it was home to a spectacular terraced temple, the Santuario della Fortuna Primigenia, which covered much of what is now the centre of the town. It has long since been built over but there is a model in the Museo Archeologico Nazionale di Palestrina, the town’s hilltop museum, which also contains many exhibits of Etruscan remains, among them the Nile Mosaic, which once decorated the heart of the temple, depicting the course of the Nile through the Egyptian landscape, complete with attendant lions and crocodiles, until it reaches the sea. Outside the museum, within its grounds, there are some exposed sections of the original temple.

The Fontana dell'Ovato is one of the profusion of fountains
in the gardens of the Villa d'Este at Tivoli

Travel tip:

The Villa d'Este is a 16th-century villa in Tivoli, about 32km (19 miles) east of Rome, famous for its terraced hillside Italian Renaissance gardens, often referred to simply as the Tivoli Gardens, and for its profusion of fountains, more than 50 in total. A former Benedictine convent, the villa and gardens were designed by the Mannerist architect Pirro Ligorio for Cardinal Ippolito II d’Este, who had confiscated it as his residence. It is now an Italian state museum, and is listed as a UNESCO world heritage site.

More reading:

Ruggiero Giovannelli, a composer of religious music thought to have been Palestrina's pupil

How Cardinal Domenico Bartolucci became an authority on Palestrina's work

Carlo Maderno, designer of the great facade of St Peter's in Rome

Also on this day:

1723: The death of anatomist Antonio Maria Valsalva

1891: The birth of former prime minister and president Antonio Segni

1925: The birth of Olympic showjumper Raimondo D’Inzeo

(Picture credits: Statue by Sergio d'Afflitto; Mosaic by Camilia.boban; Fountain by Dnalor.01)

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Tintoretto – painter

Dyer’s son whose work still adorns Venice

Tintoretto: this 1548 self-portrait is housed
 in the Victoria and Albert Museum in London

Renaissance artist Tintoretto died on this day in 1594 in Venice.

Known for his boundless energy, the painter was also sometimes referred to as Il Furioso.

His paintings are populated by muscular figures, make bold use of perspective and feature the colours typical of the Venetian school.

Tintoretto was an expert at depicting crowd scenes and mythological subjects and during his successful career received important commissions to produce paintings for the Scuola Grande di San Marco and the Scuolo Grande di San Rocco.

Tintoretto was born Jacopo Comin, the son of a dyer (tintore), which earned him the nickname Tintoretto, meaning 'little dyer'.

He was also sometimes known as Jacopo Robusti as his father had defended the gates of Padua against imperial troops in a way that was described as ‘robust’ at the time.

As a child, Tintoretto daubed on his father’s walls so the dyer took him to the studio of Titian to see if he could be trained as an artist.

Things did not work out and Tintoretto was quickly sent home. Although Tintoretto later claimed to be an admirer of Titian, the famous artist remained distant towards him so Tintoretto studied on his own and practised his technique day and night.

One of Tintoretto’s early pictures, which is still in the Church of the Carmine in Venice, is the Presentation of Jesus in the Temple.

The Presentation of Jesus in the Temple, one of Tintoretto's
 early works, can be found in the Church of the Carmine

He then painted four subjects from Genesis and, two of these, Adam and Eve and The Death of Abel, are now in the Accademia Museum in Venice.

In 1546 he painted three of his major works, The Worship of the Golden Calf, The Presentation of the Virgin in the Temple and The Last Judgement, for the Church of Madonna dell’Orto in Canareggio.

Then in 1548 he was commissioned for four pictures about the life of St Mark for the Scuola Grande di San Marco. From 1565 onwards Tintoretto produced many paintings for the walls and ceilings of the Scuola Grande di San Rocco.

The last important picture painted by Tintoretto was a vast canvas entitled Paradise, which takes up an entire wall of the Great Council Chamber in the Doge’s Palace. A painted sketch of it is also in the Louvre in Paris.

In May 1594, after suffering severe stomach pains and fever, Tintoretto died aged 75 and was buried in the Church of Madonna dell’Orto.

The Church of the Madonna dell'Orto in
Venice, where Tintoretto is buried

Travel tip:

The Church of Madonna dell’Orto in Cannaregio, where Tintoretto is buried, is one of the finest Gothic churches in Venice. In his painting, The Adoration of the Golden Calf on the left wall, the figure carrying the calf is said to represent Tintoretto himself.

Travel tip:

Tintoretto lived with his family in a house near the Church of Madonna dell’Orto overlooking the Fondamento dei Mori from 1574 till his death in 1594. He was born, lived and died in Cannaregio and is believed to have left Venice only once in his life.

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