Domenico Fontana – architect

Swiss designer who built the Royal Palace in Naples

The Royal Palace in Piazza del Plebiscito was
designed by Fontana in his role as Royal Engineer

Domenico Fontana, an architect working during the late Renaissance, died on this day in 1607 in Naples. Although he had a long career working for the papacy in Rome, Fontana was employed by the Spanish Viceroy of Naples toward the end of his life and he built the Royal Palace in Naples.

His work in Naples led to the rediscovery of Pompeii, when a crew working for him building canals became the first to confirm the location of the ancient city.

Fontana was born in Melide, a municipality in the district of Lugano in the canton of Ticino in Switzerland.

He went to Rome in 1563 to join his older brother and began a career as a plasterer, moving on to become a mason and master builder, showing particular expertise with measuring and good technical skills. After moving to Rome, just before Michelangelo's death, Fontana was able to study the works of both ancient and modern masters of design.

Fontana’s first architectural project was to design a villa for Cardinal Montalto, who later became Pope Sixtus V. He was then commissioned to design a Cappella del Presepio, a chapel of the crib, for the Church of Santa Maria Maggiore in Rome. This was a powerful domed building over a Greek cross.

He then constructed the Palazzo Montalto near Santa Maria Maggiore and later, when Cardinal Montalto became Pope, he was appointed as the official papal architect.

Domenico Fontana was born in
the Swiss canton of Ticino 

Fontana designed the Vatican Library, made alterations to Basilica San Giovanni in Laterano and rebuilt the Lateran Palace, on the site of the former medieval palace. 

He also worked with Giacomo della Porta on the completion of St Peter’s dome, with them both referring to Michelangelo’s model that the great architect had left behind him. 

His most famous undertaking was the removal of the 320-ton Egyptian obelisk, which had been brought to Rome in the first century. He moved it from its location near the Vatican and re-erected it in St Peter’s Square in front of the basilica in 1586. This was said to have taken the concerted effort of 800 men, 160 horses, and countless pulleys and metres of rope, and was a feat of engineering that astonished his contemporaries.

It also demonstrated his mastery of statics, the branch of classical mechanics that is concerned with the analysis of force and torque (the rotational equivalent of linear force), acting on a physical system that does not experience an acceleration, but rather is in equilibrium with its environment. . 

But, after later being accused of misappropriating public money, Fontana was dismissed from his post in 1592 by Pope Clement VIII, who was the fourth pope to come after the death of Pope Sixtus V in 1590. 

Fontana went to live in Naples where he became Royal Engineer at the court of the Spanish Viceroy and he was responsible for building the Royal Palace in Piazza del Plebiscito, which commenced in 1600.

Later, during work he was overseeing to construct a canal linking the River Sarno with some mills in Torre Annunziata, his workmen were the first to find some remains of Pompeii. At the time, the importance of this discovery was not fully understood and the ancient city of Pompeii in Campania was not rediscovered until 150 years later.

Domenico Fontana was the first Ticinese architect to gain major recognition in Roman architecture, establishing a lineage of Ticinese builders who dominated the Roman scene for nearly two centuries afterwards and contributed significantly to the construction of baroque Rome alongside architects such as Carlo Maderno and Francesco Borromini.

Fontana's legacy is marked by his architectural innovation and his pivotal role in shaping Renaissance and Baroque Rome and Naples. 

Michelangelo's Dome of St Peter's is one of the
most familiar landmarks on the Rome skyline

Travel tip:

Michelangelo's dome, which Domenico Fontana helped to complete, is one of the dominant features of the Rome skyline.  Situated next to the Tiber, St Peter's is the largest Christian church in the world, covering 5.7 acres with a capacity to accommodate 60,000 people, with room for a further 400,000 in the square outside.  The dome itself rises to a height of 136.57 metres (448.1 feet) from the floor of the basilica to the top of the external cross. The Egyptian obelisk in the square, which Fontana erected, rises to 40m (132 ft), and was placed at or near the spot where St Peter was believed to have been crucified by the Romans in 64 AD. The construction of St Peter’s Basilica took 120 years, from the laying of the foundation stone in April 1506 under Pope Julius II to its formal dedication in November 1626 by Pope Urban VIII. The project spanned the reigns of 21 popes and  was led by eight different chief architects. In addition to Michelangelo, other key figures in shaping the design included Donato Bramante, who created the initial layout, Carlo Maderno, who completed the main façade, and Gian Lorenzo Bernini, who left a considerable imprint on both the vast interior and St Peter’s Square.

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The Throne Room inside the Royal Palace, in
which 30 rooms are open to the public

Travel tip:

The Royal Palace (Palazzo Reale) in Naples, which was designed by Domenico Fontana near the end of his life, was once one of the magnificent residences of the Kings of Naples. The palace is at the eastern end of Piazza del Plebiscito and dates back to 1600, when building commenced using Domenico Fontana’s design. It now houses a 30-room museum and has the largest library in southern Italy, which are both open to the public to look round.  The palace was originally commissioned to host King Philip III of Spain. Though the monarch never actually visited, the building became the seat of Spanish, Austrian, and eventually Bourbon power in the region. From 1734, King Charles of Bourbon and his successors expanded the palace, transforming its interior into a showcase of Baroque and Neoclassical opulence. During the Napoleonic era, rulers such as Joachim Murat further embellished the estate with refined Neoclassical decor. After Italian Unification in 1861, the House of Savoy took ownership, eventually opening the palace to the public in 1919.

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More reading: 

Giovanni Antonio Medrano, the Sicilian who designed Teatro di San Carlo

Luigi Vanvitelli, Neapolitan genius behind Royal Palace at Caserta

Why the Bourbons executed Joachim Murat, the flamboyant Neapolitan King of Naples

Also on this day:

1503: The birth of Giovanni della Casa, author of manual on etiquette

1909: The birth of politician and partisan Walter Audisio

1952: The birth of athlete Pietro Mennea

1971: The birth of footballer Lorenzo Amoruso 

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Giovanni Scalfarotto - architect

Grandiose church renovation is one of Venice’s best-known sights

The church of San Simeon Piccolo is situated
opposite Venice's Santa Lucia railway station

Giovanni Scalfarotto, a Venetian architect remembered essentially for just one project, was born on this day in 1672.

The son of a bricklayer, Scalfarotto spent much of his career as a site foreman or supervisor around Venice and nearby towns, usually involved with relatively minor restoration work, although he advised on the domes of San Giorgio Maggiore and San Marco as a consultant.

The exception was his work on the church of Saints Simeone and Giuda Apostoli, also known as San Simeon Piccolo, on the Grand Canal, in a restoration project that spanned 20 years between 1718 and 1738 and created what is today arguably one of Venice’s most recognisable visual symbols. 

Likely originally to have been a three-nave basilica built parallel to the canal, the church was transformed under Scalfarotto, who created a central rotunda beneath an enormous oval dome in green copper topped by a temple-shaped lantern, accessed through a Corinthian portico mounted on a flight of steps leading to the water’s edge.

The design had echoes of the Pantheon in Rome, of Antonio Palladio’s Redentore in Venice and his Tempietto in Maser, Baldassare Longhena’s Basilica di Santa Maria della Salute in Venice and the twin churches of Piazza del Popolo in Rome, designed by Carlo Rainaldi.

When the age of the railways reached Venice with the construction of Santa Lucia railway station in the 1860s, the position of San Simeon Piccolo on the Grand Canal, directly opposite the entrance to the station, meant that for hundreds, and ultimately thousands of tourists who arrive in Venice by train every day, it was the first thing their eyes were drawn to as they stepped out into the sunshine.

Given that he was in his 40s when he began work on the church and had only a relatively modest career behind him, many experts have cast doubt on whether the design can be reliably attributed to Scalfarotto.

The twin churches of Piazza del Popolo in Rome
possibly influenced the design of San Simeon Piccolo

But even if he had been merely executing ideas put forward by others, the successful completion of a project of such complexity was a notable achievement in itself.

Scalfarotto - sometimes spelled Scalferotto or Scalfurotto - was born in the parish of San Pantalon, the second son of Tommaso, a bricklayer originally from Valmarino, about 80km (48 miles) north of Venice, in the province of Treviso.

By his early 20s, Giovanni Scalfarotto was himself working in Venice as a bricklayer or mason. His training was probably provided by his father and his older brother, Bartolomeo. He is thought likely to have become interested in architecture and design through his friendship with Andrea Musalo, a Greek mathematician, engineer and architectural theorist who was based in Venice.

His career appeared to move to another level after he had travelled to Rome in 1711 with a group of Baroque artists and craftsmen that included Domenico Rossi, a Swiss‑Italian architect whose major designs included the magnificent, sculpturally theatrical façade of the church of San Stae, the Jesuit church of Santa Maria Assunta and Ca’ Corner della Regina.

On his return to Venice, Scalfarotto began to take on bigger projects involving his own designs, although few of them saw fruition. He also married Domenico Rossi’s daughter, Caterina, with whom he had three children. When Caterina died, he was married for a second time to Marina, daughter of the architect Andrea Tirali, who recommended him to be elected as ‘proto’ of the monasteries - a kind of master builder or chief engineer in charge of appraisals and reports on the state of churches and monasteries in Venice.

Scalfarotto’s name is engraved on the internal architrave of the portico in front of church of San Simeon Piccolo, which remains known as such even though the nearby church of San Simeone Grande was dwarfed by the 'smaller' church's rebuild. 

It is known that, in 1721, he was appointed foreman of the restoration project at San Simeon Piccolo by the church chapter, raising doubts about his role as an independent designer of the building. There are suggestions that, as foreman, he may have received suggestions about design from his client and drafted the project based on those ideas, rather than executing his own original ideas. 

Information about Scalfarotto in later life became sparse, although it is known that, between 1748 and 1750, after having lived in the parish of Sant’ Agnese in a house possibly owned by Andrea Musalo’s brother, he moved to Santa Maria Formosa, where he lived comfortably until his death in October, 1764. He was buried in the church of Santa Maria Formosa.

Campo Santa Maria Formosa, with its church
of the same name, offers a taste of Venetian life

Travel tip:

Campo Santa Maria Formosa, at the heart of the parish where Giovanni Scalfarotto spent his later years, is one of Venice’s most atmospheric squares, one in which the city’s layers of history bump into daily life in a generous open space. It is rare among squares in Venice, often tight and enclosed, in that it opens out in multiple directions, creating a sense of breadth and light that feels unexpected in the dense fabric of Castello. Palaces sit shoulder to shoulder with humbler residential buildings amid the commanding presence of the church that gives the square its name. The church of Santa Maria Formosa, where Scalfarotto is buried, is said to have been founded in the seventh century and rebuilt in the 15th century as a landmark of early Renaissance architecture in Venice. The church is unusual in having two façades, each addressing a different side of the square, one serene and classical, the other more theatrical, adorned with sculptural flourishes.  The Campo feels like a crossroads of Venetian life, with children playing, local people going about their daily business and visitors enjoying a break from the crowds of Piazza San Marco, which is barely five minutes’ walk away. 

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Castelbrando, which now contains a luxury hotel,
stands guard over the village of Cison di Valmarino

Travel tip:

Valmarino - Cison di Valmarino to give its full name - is a village about 40km (24 miles) north of Treviso in the characterised by arcaded streets, stone houses, and a landscape shaped by vineyards and wooded hills. It sits at the foot of the Prealps along the Strada del Prosecco, and today is recognised as one of I Borghi più belli d’Italia and a Touring Club Bandiera Arancione destination. Its position gives it a distinctive blend of Venetian, Alpine, and agricultural character. The village was once the seat of the historic County of Valmareno, which included two castles and 20 villages. From 1439 it belonged to the Brandolini family, who shaped the area’s political and architectural identity for centuries. Part of their legacy is perched above the village on a limestone ridge in the shape of Castelbrando, one of Veneto’s most imposing castles, enclosing nearly 2,000 years of history. Today it functions as a hotel, museum complex, and cultural venue, accessible by funicular. The village lies in the heart of the Conegliano-Valdobbiadene Prosecco Superiore DOCG zone, with numerous cellars offering tastings. Local food specialities include spiedo, a traditional slow‑roasted meat dish cooked for at least seven hours, and local speciality biscuits called Buzholà.

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More reading:

Andrea Palladio, the stonecutter who became a giant of architecture

How Giorgio Massari built on Palladio’s legacy in Venice

The magnificent Venetian church built to commemorate deliverance from the plague

Also on this day:

1598: The birth of astronomer Giovanni Riccioli

1923: The birth of tenor Gianni Raimondi

1927: The birth of soprano Graziella Sciutti

1954: The birth of racing driver Riccardo Patrese

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Antonio da Ponte – architect

Builder who designed the most enduring image of Venice

Da Ponte's Rialto Bridge, completed in 1591, is
one of the best known images of Venice

The designer Antonio da Ponte, sometimes called dal Ponte, who is remembered for creating one of Venice’s most celebrated landmarks, the Rialto Bridge, died on this day in 1597 in his home city.

The Rialto Bridge over the Canal Grande (Grand Canal) has appeared in countless paintings and photographs of the city over the centuries since it was completed in 1591 and it is now a popular spot from which to take photographs when visiting the city.

Ponte’s design for the stone bridge, a broad single arch span covered with arcaded shops, won him a competition held in Venice in 1587 and it also ensured him a place in the history books.

Previously, a wooden bridge, Ponte da Moneta, built in 1178, was used as the way of crossing the Grand Canal at its narrowest point, but this bridge collapsed and had to be rebuilt several times over the centuries.

The Venetian authorities decided to replace the wooden bridge with a more permanent structure and held a competition for the design for the new bridge in 1587. 

Da Ponte’s idea for a bridge made out of stone was eventually picked as the winner by the judges acting on behalf of the Venetian authorities, who were led by the Doge at the time, Pasquale Cicogna.

When it came to constructing his design, Da Ponte was helped by one of his relatives, Antonio Contin, sometimes referred to as Conte, who went on later to design the famous Bridge of Sighs - il Ponte dei Sospiri - in Venice.  

Da Ponte had previously worked on other building projects in Venice, including warehouses, a hospital, the Doge’s Palace, and the Arsenal. 

Da Ponte, a respected designer, built
the bridge after winning a competition 

Documents from the time show that his opinions as a builder and designer were respected by the Venetian authorities.

Between 1577 and 1592, Da Ponte collaborated with Andrea Palladio on the construction of the Church of the Redeemer on the Giudecca, which was built by Venice to honour a pledge made after the plague of 1576 in the city came to an end.

Even though many other proposals for rebuilding the Rialto had been made by famous architects at the time, Pasquale Cicogna still chose to announce a competition, which he then decided to repeat after all the designers who entered suggested a classical design with many arches.

After the second competition, it is believed Da Ponte’s design was chosen by the Doge over the one submitted by the architect Vincenzo Scamozzi because Da Ponte had proposed building a bridge with a single arch.

The new Rialto Bridge, built of stone and looking exactly as it does now, was completed by 1591. Da Ponte was in his seventies by then but was able to look proudly on his work for a few more years. 

Da Ponte was in his early eighties when he died. He is buried in the Church of San Maurizio, which is in the San Marco sestiere of Venice.

The English playwright William Shakespeare, who is known to have been fascinated by Italy, may have read about the newly-built Rialto Bridge. In his play, The Merchant of Venice, there are several mentions of the Rialto district in Venice, notably the famous line: ‘What news on the Rialto?’, a question that is asked by a character called Solanio near the beginning of the play.

There is no evidence that Shakespeare ever visited Italy himself, but he may have mixed with Italians living in London and it is known that he read books in Italian so he must have had some understanding of the language. 

The play is believed to have been written by him at some time between 1596 and 1598 and the merchant referred to in the title just happened to be called Antonio.

The Ca' Rezzonico, built in Baroque style,
is a notable palace on the Grand Canal

Travel tip:

The Canal Grande (Grand Canal) sweeps through the heart of Venice, following the course of an ancient river bed. Since the founding days of the Venetian empire, it has served as the city’s main thoroughfare. It was once used by great galleys and trading vessels, but nowadays is teeming with vaporetti - the city’s water buses - as well as water taxis, private boats, and gondolas. The palaces bordering the winding waterway bear the names of the old Venetian aristocratic families and represent the finest architecture designed for the republic over its many centuries of history. When the ambassador to Charles VIII of France visited Venice in 1495, he afterwards referred to the Grand Canal as ‘the most beautiful street in the world.’ Its most notable palaces include the gilded Ca' d'Oro, the Baroque Ca' Rezzonico, the Renaissance-style Ca' Vendramin Calergi, the iconic Ca' Foscari University, and the Palazzo Venier dei Leoni, which houses the Peggy Guggenheim Collection.

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The former Church of San
Maurizio is now a museum 

Travel tip:

The Church of San Maurizio in Venice, where Antonio da Ponte was buried, was rebuilt in the sixteenth century on the site of a previous church in the Campo di San Maurizio in the sestiere of San Marco. The church was modified again in 1806 by the architect of Teatro La Fenice, Gianantonio Selva. It has now been deconsecrated and is home to the Museo della Musica, a museum dedicated to the Baroque music of Venice, which displays examples of period instruments and documents relating to Vivaldi and other Venetian composers of the same period.  The Artemio Versari collection of instruments recounts the golden epoch of stringed instrument making in 18th century Venice. Visitors can experience the sound as well as the sight of these instruments. As well as Venetian instruments, there are examples by such makers as Amati, Guadagnini and Goffriller, among the greats in Italy’s proud tradition of luthiers. 

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More reading:

Vincenzo Scamozzi, an architect whose legacy can be seen in Venice and Vicenza

Andrea Palladio, the humble stonecutter who became architecture’s biggest name

Jacopo Sansovino, the Florence-born designer whose masterpiece competes for attention with the Doge’s Palace

Also on this day: 

43BC: The birth of Roman poet Ovid

1898: The birth of society jeweller Fulco di Verdura

1934: The birth of football coach Azeglio Vicini

1940: The birth of racing driver and entrepreneur Giampiero Moretti

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Guarino Guarini - architect

Baroque master who shaped the identity of Turin

Guarini's daring geometrics brought a
new dimension to the architecture of Turin

Guarino Guarini, an architect regarded as one of the most transformative figures in the architectural history of Turin, died on this day in 1683 at the age of 59.

Guarini enjoyed the patronage of the House of Savoy from 1666 until his death, during which time he is said to have built or submitted designs for as many as six churches and chapels and five palaces in the city. He reportedly designed a gate to replace the existing Porta di Pio, although it was never actually built.

Of those projects that progressed beyond the drawing board, his Church of San Lorenzo, with its structurally daring dome, the Chapel of the Holy Shroud and the Palazzo Carignano, notable for the rhythmic curves of its facade, are regarded as his most notable achievements.

The circumstances of Guarini’s death are not documented beyond his being in Milan at the time. His presence there may have been connected with his Architettura Civile, the treatise which became a reference point for many of his architectural successors, upon which he was still working at the time of his death. 

He also remained active in the Theatine Order - he was ordained a priest in 1648 at the age of 24 - and may have been in Milan to teach or to pursue other Theatine business, the order having a tradition of architectural patronage.

Guarini was born in Modena in 1624. Coming from a religious family, Guarino and his four brothers all became novices in the Theatine Order, Guarino being despatched to serve his novitiate at the monastery of San Silvestro al Quirinale in Rome.

In the event, he stayed in Rome for nine years, learning from the most innovative Baroque architects of the period. Francesco Borromini, whose spatial complexity and elastic geometry left a lasting imprint on Guarini’s imagination, was a major influence, as to a lesser degree was Gian Lorenzo Bernini. 

He returned to Modena in 1648. He combined his duties as a priest and  a lecturer in philosophy at the Theatine College with architectural projects for the Order, beginning with the reconstruction of the Church of San Vincenzo in Modena.

The undulating facade of Guarini's Palazzo Carignano,
a Baroque masterpiece in Savoyard Turin

Guarini also worked in Messina in Sicily, where he built the façade of the Church of Santa Maria Annunziata for his Order, providing early evidence of his willingness to experiment with design. He constructed the façade diagonally to the nave, so that it could conform with the line of the street. The church was destroyed in an earthquake but drawings show plans for complex vaulting and spatial layering. 

From Messina, Guarini moved to Paris, where a number of projects showed the influence of Borromini on his construction methods. Appointed a lecturer in theology at the Theatine School in Paris, he might have stayed much longer but for disagreements over the management of funding for the Church of Sainte-Anne-la-Royale, which he had been invited to design. Instead, he left for Turin.

It was in the capital of the Duchy of Savoy that Guarini produced his greatest work, his buildings there being defined by intricate geometries, interlaced ribs, and dramatic manipulation of light.

Among the most striking examples is the Real Chiesa di San Lorenzo, a Baroque-style church adjacent to the Royal Palace of Turin, which bears influences of Borromini and Bernini. In accordance with Guarini’s ambition ‘to erect buildings that were very strong, but looked so weak as to need a miracle to keep them standing,’ the dome of San Lorenzo was a masterpiece of spatial illusion, its structure appearing to be held up by slender columns, whereas the load-bearing was really down to massive brick arches hidden from view.  Its star-like pattern of interlocking arches dissolves the boundary between structure and ornament.

Guarini's beautiful cupola in Turin's Church of
San Lorenzo seemed to defy the laws of physics

The light that floods the interior creates a luminous quality, something also characteristic of the Chapel of the Holy Shroud, a building attached to the Royal Palace, a project started after Charles Emmanuel II, Duke of Savoy, impressed with his work on the Church of San Lorenzo, named him Royal Engineer and Mathematician in May 1668.

The chapel uses stacked, progressively narrowing arches to create a soaring vertical ascent, culminating in a lantern that floods the space with symbolic light. It remains one of the most technically daring domes of the Baroque.

Yet some regard the Palazzo Carignano in Turin, which showcased Guarini’s command of undulating façades and dynamic massing, anticipating styles that would become characteristic of later Baroque and Rococo. 

Built for Emmanuel Philibert, Prince of Carignano, heir to Victor Amadeus II, Duke of Savoy, it is regarded as one of the finest urban palaces of the second half of the 17th century in Italy.  In addition to its distinctive terracotta façade, the palace stands out for its atrium with double staircases and a double dome in the main salon. 

Guarini wrote prolifically throughout his career, producing treatises on  mathematics and astronomy as well as architecture.  He published books at the rate of one every other year and his major work, Architettura Civile, was published posthumously in 1737, bringing together previously unpublished manuscripts on architecture, surveying and drawing. 

Filippo Juvarra built
on Guarini's legacy

This text circulated widely in 18th‑century Europe and became a key reference for architects seeking alternatives to classical orthodoxy. Guarini’s influence can be seen particularly in the Central European Baroque styles that became prevalent in Bohemia, Austria and southern Germany. 

Nearer to home, Piedmontese architects such as Filippo Juvarra, responsible for the monumental Basilica of Superga and the Palazzo Madama among other great works, and later Bernardo Vittone, who built some of the finest churches not only in Turin but across the whole region,  absorbed and expanded Guarino’s geometric daring.

Guarini sits in a remarkably elevated position among the architects who shaped Turin. The buildings he created can be said to have fundamentally altered the city’s architectural language.

Where Amedeo di Castellamonte planned many of the Savoy projects, giving Turin its ordered urban structure, Guarini reimagined them, introducing spatial complexity and daring geometry.  Juvarra admired Guarini’s work and built on his legacy, while taking fewer risks, yet Vittone’s domes and lanterns would have been unthinkable without Guarini’s precedent.

The Palazzo Madama, designed by Filippo Juvara,
can be found on Turin's Piazza Castello

Travel tip:

Turin became the capital of the House of Savoy in 1562, when Duke Emmanuel‑Philibert transferred his ducal seat from Chambéry to Turin. This move marks the beginning of Turin’s transformation from a provincial stronghold into a consciously designed capital city.  Much of the architecture of Turin illustrates its rich history as the home of the Savoy Kings. In the centre of the city, Piazza Castello, with the royal palace, royal library, and Filippo Juvarra’s Palazzo Madama, which used to be where the Italian senate met, showcases some of the finest buildings in ‘royal’ Turin, including the Palazzo Reale, to which Juvarra and Amedeo di Castellamonte both contributed, and the Teatro Regio, built to Juvarra’s plans after his death. Some members of the House of Savoy are buried in Turin’s Duomo in Piazza San Giovanni, built by Amedeo de Francisco di Settignano. Guarini’s adjoining chapel, of course, is famous for being the home of the Turin shroud, which many people believe was the actual burial shroud of Jesus Christ.  At the centre of the historic city, Piazza Castello is a hub that connects Via Po, Via Roma and Via Garibaldi.

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Luigi Bartolomeo Avanzini's huge Ducal Palace,
built as a home for the Este Dukes of Modena

Travel tip:

Modena, where Guarino Guarini was born, is a city on the south side of the Po Valley in the Emilia-Romagna region.  It is known for its car industry, because Ferrari, De Tomaso, Lamborghini, Pagani and Maserati have all been located there.. One of the main sights in Modena is the huge, Baroque Ducal Palace, begun by Francesco I on the site of a former castle in 1635. His architect, Luigi Bartolomeo Avanzini, created a home for him that few European princes could match at the time. In the Galleria Estense, on the upper floor of the Palazzo dei Musei in Modena, is a one-metre high bust of Francesco I d’Este, Duke of Modena, by Gian Lorenzo Bernini.  The Cathedral of Modena and its bell tower, Torre della Ghirlandina, are both UNESCO World heritage sites. The tower stands more than 89 metres (292ft) tall and can be seen outside the city from all directions. Inside, there is the Sala della Secchia room, which has 15th century frescoes, and the tower also houses a copy of the oaken bucket, from the War of the Bucket referred to by Tassoni in his poem, which was fought between Modena and Bologna in 1325. The statue of Alessandro Tassoni, which stands at the foot of the tower, was sculpted by Antonio Cavazza and erected in 1860. Modena is also well known for its balsamic vinegar, while operatic tenor Luciano Pavarotti and soprano Mirella Freni were both born in the city.

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More reading:

Filippo Juvarra, the architect behind the magnificent Basilica of Superga

Carlo Mollino, Turin’s 20th century ‘Renaissance man’

Alessandro Antonelli, the creator of Turin’s striking Mole Antonelliana, the tallest unreinforced brick building in the world

Also on this day:

1483: The birth of writer and diplomat Francesco Guicciardini

1779: The birth of Papal executioner Giovanni Battista Bugatti 

1853: The premiere of Giuseppe Verdi’s opera La traviata

1933: The birth of Augusto Odone, who invented ‘Lorenzo’s Oil’ for sick son

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Giovanni Antonio Medrano - architect and engineer

Designed Teatro di San Carlo and Palace of Capodimonte in Naples

Medrano revolutionised theatre design with his
horseshoe-shaped auditorium at Teatro di San Carlo

The architect and engineer Giovanni Antonio Medrano, who left a lasting mark on Naples by designing the Teatro di San Carlo and the Royal Palace at Capodimonte while in the service of the Bourbon king Charles VII - later Charles III of Spain - was born on this day in 1703 in Sciacca, a town on the southwestern coast of Sicily.

Teatro di San Carlo, which is recognised as the oldest continuously active opera house in the world, set new standards for European theatre design with Medrano’s horseshoe-shaped layout and attention to acoustics.

His design became known as the Italian-style theatre model and was taken up by architects around the world as the gold standard for new projects. The San Carlo became a symbol of Bourbon prestige and remains one of his most enduring legacies.

Medrano, born into a noble Sicilian-Spanish family, was stationed in Naples as a military engineer and brigadier having taken part in the Spanish military campaign to conquer Naples in 1734. This campaign was part of the War of the Polish Succession, which had broadened into a wider conflict after the Bourbons used it as a pretext to attack Austrian territories in southern Italy and Sicily.

When the Spanish prince Don Carlos de Borbón became Charles VII of Naples in 1735, he appointed Medrano - his former tutor in the court of his father, Philip V of Spain - as his court architect, with a brief to design and oversee major royal projects that symbolised Bourbon authority and magnificence.

One of his first projects was to renovate the Royal Palace that adjoins the Piazza del Plebiscito, designed by Domenico Fontana and built between 1600 and 1614 on behalf of the Bourbon king Philip III. Medrano’s work was mainly focussed on readying the royal apartments ahead of the new king’s marriage to Maria Amalia of Saxony.

Medrano's Teatro di San Carlo, as it appeared in
a painting of the centre of Naples in around 1830

The project to construct a theatre connected to the palace essentially followed on from that after Charles VII decided he wanted to replace the Teatro San Bartolomeo, which had been the city’s main theatre since 1621, with something much bigger and which would reflect the growing status of Naples as a centre for opera. 

The Real Teatro di San Carlo was built in just eight months, partially helped by Medrano’s use of wood rather than stone in the internal construction. This choice was initially controversial, as traditionalists favoured stone or marble, symbols of permanence and royal prestige, but Medrano argued that wood reflects and diffuses sound more evenly than stone, giving rise to a clearer, warmer tone.

What set the Teatro di San Carlo apart, though, was Medrano’s horseshoe-shaped layout with its six tiers of boxes. Unlike previous theatre designs, which were either based on the semi-circular footprint of Roman auditoriums, or rectangular layouts similar to medieval banqueting halls, Medrano’s design wrapped the audience around the stage, enhancing the acoustics and allowing almost all spectators a view of the performers.

After the Teatro di San Carlo was inaugurated in November 1737, with a performance of Domenico Sarro's opera Achille in Sciro, the horseshoe design became the standard for new theatres in Europe and around the world.

Medrano’s wide architectural legacy includes the Royal Palace of Portici, built between 1737 and 1738 as a summer residence for the royal family, with views over the Bay of Naples. 

Medrano also designed and built the Royal Palace
of Portici, a summer residence overlooking the sea

The palace later became central to the excavations of Herculaneum, the Roman city that had been buried by the same volcanic eruption that destroyed Pompeii in 79AD. The existence of ruins beneath the planned site of the palace was already known, marble having been discovered during the sinking of a well in 1709, but after more remains were revealed as the foundations were dug for the palace, Charles VII ordered more organised excavations, which Medrano oversaw.

The vast Reggia di Capodimonte, which Charles commissioned in 1738 after deciding the Portici palace was too small, was also designed by Medrano. Work began under Medrano’s direction but took over a century to complete, finishing in 1840.

Other projects attributed to Medrano include the Di Torcini bridge, which crossed the Volturno river at Venafro, north of Naples, and the Obelisk of Bitonto, which commemorates the decisive Bourbon victory over the Habsburg army at the town of the same name, near Bari in Puglia. 

Despite his successes, Medrano’s career was marred by controversy. In 1741, he and his associate Angelo Carasale were accused of fraud in tax dealings related to Capodimonte’s construction. The long trail was a contributing factor in delaying the work at Capodimonte.

The charges led to an 18-month jail sentence, after which Medrano was dismissed from his position at the court and exiled. Though he eventually returned to Naples, in 1746, and carried out renovations at the Santissima Trinità dei Pellegrini, a church on via Portamedina in the centre of Naples, his reputation never fully recovered.

After the inauguration of the choir in the church in 1754, there is no record of Medrano being active professionally again. He died in 1760, at the age of 56. 

The Reggia di Capodimonte, another Bourbon palace,
now houses a major museum of Italian art

Travel tip:

The Reggia di Capodimonte, which Charles VII commissioned to house both his expanding court and the vast Farnese art collection, which he had inherited from his mother, Elisabetta Farnese, is a grand Bourbon royal palace a few kilometres from the centre of Naples.  Adjoining an area of woodland now known as the Real Bosco di Capodimonte, it was originally intended to be a hunting lodge but evolved as a replacement for the Reggia di Portici.  Its location was chosen because its elevated position - capo di monte literally means ‘top of the hill’ - promised an escape from the heat of the city. Although it has subsequently become part of greater Naples, at the time of its construction it was surrounded by parkland. Nowadays, the main building is home to the National Museum of Capodimonte, which showcases major works by Caravaggio, Raphael, Titian, El Greco, Giovanni Bellini, Masaccio, Lorenzo Lotto and many others, as well as the best collection of paintings from the distinct tradition of Neapolitan art, and many works of monumental sculpture from the Farnese Collection.

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Some parts of Herculaneum are
extraordinarily well preserved

Travel tip:

Until 1969, the town now called Ercolano was known as Resina, the name given to the medieval settlement that was built on top of the volcanic material left by the eruption of Vesuvius that also destroyed nearby Pompeii.  The existence of Ercolano - the Roman city of Herculaneum - was not known until the early 18th century, when a farmer sinking a well came across ancient marble columns which, it transpired, were part of an ancient theatre.  Systematic exploration followed under the patronage of Charles VII, the Bourbon king of Naples, from the 1730s to the 1760s.  Charles was more concerned with treasure-hunting than archaeology, but under Giovanni Antonio Medrano’s supervision statues and frescoes were uncovered as well as the famous Villa of the Papyri, with its extraordinary library of carbonized papyrus scrolls. Ercolano was smaller and less prestigious than Pompeii but is better preserved due to the different volcanic materials that covered the town, although its more famous neighbour was a bigger city and its destruction was particularly well documented.  The ruins at Pompeii and Ercolano can both be reached by using the Circumvesuviana railway, which runs from Naples along the southern stretch of the Bay of Naples, terminating at Sorrento.

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More reading

The Vesuvius eruption that buried Pompeii

The emperor who came to the aid of the victims

The 19th century archaeologist who saved the relics

Also on this day:

1475: The birth of Pope Leo X

1912: The birth of film producer Carlo Ponti

1944: The birth of veteran pop star Gianni Morandi

1968: The birth of footballer Fabrizio Ravanelli

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Alessandro Antonelli – Architect

The creator of Turin’s striking Mole 

Turin at dusk, with the Alps in the background and
Antonelli's Mole towering above the skyline

Alessandro Antonelli, who became famous for designing what has become Turin’s most iconic building, died on this day in 1888 in the Piedmont capital.

Antonelli was the architect of the Mole Antonelliana, which was named after him. The Mole now houses the National Museum of Cinema. At 167.5 metres (550ft), it remains the tallest unreinforced brick building in the world, and is believed to be the tallest of any construction to house a museum.

Mole is an Italian word that is used to describe a building of monumental proportions. Turin’s impressive Mole is represented on the obverse side of the Italian two euro cents coin, which is the side that displays the nationality of the country that has issued the coin.

Antonelli was born in Ghemme, a town near Novara in Piedmont, in 1798. His father was a notary and he was one of 11 children. He studied architecture in Milan and Turin before taking a job in the state territorial planning offices. But after winning an architecture competition he moved to Rome in 1828 to study geometry.

Antonelli was renowned for the
ambitious nature of his projects

He developed a functional ideal of architecture, which inspired him to draw up an ambitious plan for the renovation of Turin’s historical centre.

Antonelli returned to his native city in 1836 and became a professor at the Albertina Academy, which was an institute of higher education in Turin. He also became a deputy in the Kingdom of Sardinia’s parliament and served as a councillor in both Turin and Novara.

Among the many villas, churches, and public buildings Antonelli designed during his career, he is particularly remembered for Novara Cathedral. ll Cattedrale di Santa Maria Assunta, or Duomo di Novara, was designed in neoclassical style by Antonelli and was built between 1863 and 1869 to replace the original 11th century church that had previously occupied the site. The cathedral incorporated the original mosaic floor of the presbytery and a chapel dedicated to Saint Syrus from the structure that preceded it. 

Antonelli also designed the dome of the Basilica of San Gaudenzio in Novara, a 75m (246ft) structure which brought the total height of the basilica to 121m (397ft), dwarfing the adjoining campanile, built earlier to designs by Benedetto Alfieri.  It was a highly ambitious project that had to be modified and reinforced to stop it collapsing under its own weight, yet it survived and dominates the Novara skyline as the Mole does in Turin.

The Orphan’s Hospice at Alessandria, a villa at Romagnana Sesia, and churches in Bellinzago Novarese and Borgo Lavezzarro are other buildings designed by Antonelli.

However, Antonelli’s most famous work was undoubtedly the 167.5m (550ft) Mole Antonelliano, which has become the symbol of the city of Turin. 

The cupola of the Basilica of San
Gaudenzio in Novara

It was begun in 1863 as a Jewish synagogue and was not finished until after Antonelli had died, construction having been halted in 1876 because Antonelli’s frequent modifications meant that costs had risen well beyond his original estimates and the Jewish community decided they could no longer afford to fund the project.

It was completed after the city’s municipal authorities agreed to finance the remaining work, compensating the Jewish community by building another synagogue elsewhere.

Work was finished in 1897 with the exception of the statue of a winged angel with which Antonelli planned to top the spire. This was added after his death but has since been replaced after the original was twice dislodged by storms.

From 1908 until 1938, the Mole housed the city’s Museum of the Risorgimento. Although the uppermost part of the spire was destroyed during a burst of violent weather in 1953, it was rebuilt in 1961, according to Antonelli’s original drawings. The building has been home to the Museo Nazionale del Cinema since 2000.

Following Antonelli’s death in 1888, his body was taken to Maggiora in the province of Novara to be buried in his family’s tomb.

Ghemme DOCG
is a renowned wine

Travel tip:

Ghemme, where Antonelli was born, is a town of just over 3,000 inhabitants in the province of Novara situated on the River Sesia, about 80 km (50 miles) north east of Turin and about 25 km (16 miles) north west of Novara. The small town’s main attraction is the Ricetto Castle, which dates back to the 11th century.  It was there in 1467 that a peace treaty was signed between the Duchy of Milan and Duchy of Savoy, ending several years of conflict. The the town is also famous for its red wine, Ghemme DOCG, which is produced in the surrounding Colli Novaresi. Ghemme’s wine was awarded DOC status in 1969 and was classified DOCG in 1997. The wine is made primarily from the Nebbiolo grape and it has to be aged for at least three years. Ghemme is also synonymous with the production of honey, being home to more than 600 bee hives. The town's acacia honey is regarded as one of the finest honeys produced in all of Italy.

The facade of the Palazzo Madama was designed,
like the Basilica di Superga, by Filippo Juvarra

Travel tip:

Much of the architecture of Turin illustrates its rich history as the home of the Savoy Kings of Italy. In the centre of the city, Piazza Castello, with the royal palace, royal library, and Palazzo Madama, which used to be where the Italian senate met, showcases some of the finest buildings in ‘royal’ Turin. Some members of the House of Savoy are buried in Turin’s Duomo in Piazza San Giovanni, which is also famous for being the home of the Turin shroud. Many people believe that the cloth now preserved in the Chapel of the Holy Shroud was the actual burial shroud of Jesus Christ. As well as the Mole Antonelliana, Turin is home to another architectural wonder in the Filippo Juvarra's magnificent Basilica di Superga, which sits on a hill above the city topped by another colossal dome, rising to 75m (246 feet). 

Also on this day:

1634: The birth of painter Luca Giordano

1833: The birth of entrepreneur Cristoforo Benigno Crespi

1933: The birth of racing driver Ludovico Scarfiotti

1969: Caravaggio masterpiece stolen in Palermo

Feast Day of Luke the Evangelist

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Giuseppe Terragni - architect

Major pioneer of Italian Rationalism

Terragni's Casa del Fascio in Como, completed in
1936, is considered a modernist masterpiece

The influential architect Giuseppe Terragni, who was a pioneer of the modern movement in Italy and a leading Italian Rationalist, was born in Meda, a town in Lombardy between Milan and Como, on this day in 1904.

Terragni's work tends to be associated with the Fascist regime of Benito Mussolini, although some students of his work have questioned whether he should be considered a Fascist architect.

He was a founding member of the Gruppo 7, a collective of seven Italian architects whose aim was to move Italian architecture away from neo-classical and neo-baroque revivalism towards Rationalism. The group produced a manifesto spelling out their aims. 

Terragni’s most renowned work is the Casa del Fascio in Como, also known as the Palazzo Terragni, which was constructed between 1932 and 1936 and is considered a masterpiece. 

Other notable works include his war memorials at Como and Erba, the Posta Hotel in Como, a number of apartment buildings in Como and Milan, a Casa del Fascio in Brianza and another in Lissone, and the Antonio Sant'Elia nursery school in Como.

Terragni's career and life were
cut short by World War Two

With fellow architect Pietro Lingeri, he designed the Danteum, a proposed monument in Rome to the Italian poet Dante Alighieri structured to reflect his greatest work, the Divine Comedy. The monument, in the event, was never built.

Terragni’s father, Michele, was a builder and owner of a construction company. His mother, Emilia, arranged for him to live with members of her family in Como so that he could attend lessons at the Technical Institute of Como, where he enrolled on a mathematical physics course.

He graduated in 1921 and enrolled at the Royal Higher Technical Institute (later Polytechnic of Milan), where he graduated in 1926 before he and six fellow students - Luigi Figini, Adalberto Libera, Gino Pollini, Guido Frette, Sebastiano Larco Silva and Carlo Enrico Rava - signed the document that united them as the Gruppo 7, which the following year expanded into the Italian Rational Architecture Movement (MIAR).

In the same year, 1927, the magazine Rassegna Italiana published the four articles considered to be the manifesto of Italian Rationalism. Terragni was one of the seven signatories.

With his brother, Attilio, Terragni opened an office in Como in 1927. His first original building, a collaboration with Luigi Zuccoli, was the Novocomum apartment building in Como (1927-29), designed in European avant-garde style with elements of German expressionism and Soviet constructivism. 

Between 1928 and 1932 he created the War Memorial in Erba, a town east of Como, the first modern war memorial in Italy. He moved from there to start work on the Casa del Fascio in Como, which fronts on to Piazza del Popolo on Via Alessandro Manzoni, opposite Como’s majestic duomo, the Cattedrale di Santa Maria Assunta, with its 15th century Gothic facade and a 18th century cupola by Filippo Juvarra.

Terragni's Monumento ai Caduti in Erba was the
first modern war memorial built in Italy

The Casa del Fascio, which enthusiasts see as a milestone of modern European architecture, forms a perfect prism, its height corresponding to half the base. It owes it expanse of glass to Terragni himself, who followed the Fascist regime’s instruction to create a building that was accessible and without secrets, declaring that "the concept of visibility, of the instinctive control established between the public and Federation workers predominates in the study of this Casa del Fascio". 

In 1933, Terragni joined Lingeri in opening a studio in Milan, where they designed a series of apartment houses, including the Casa Rustici in Corso Sempione, the broad boulevard that links Piazza Firenze with the Arco della Pace, and the Casa Toninello in Via Perasto and Casa Ghiringhelli in Piazzale Lagosta, both in the Isola district, north of Porta Garibaldi railway station.

Back in Como, in 1936 he built the Antonio Sant'Elia nursery school, for which his design was characterised by large bright spaces that he hoped would create a sense of happy freedom. It formed part of a social programme aimed at helping working-class women escape from domestic drudgery and giving children a healthy, hygienic environment, open to greenery, play and education. 

He and Attilio retained their office in Como until Giuseppe's premature death at the age of just 39, the result of the physical and psychological consequences of being called up to serve with the Italian Army on the Eastern Front. 

Terragni was ahead of his time in giving children
a large, airy play area in his Sant'Elia nursery

Attilio was the Fascist Podestà (mayor) of Como when the Casa del Fascio, built as the local party headquarters, was commissioned,

Until 1940 Terragni was fully active and had many works in progress, including the Danteum, the project for the development of the Cortesella district of Como, the Casa del Fascio and the complex Casa Giuliani Frigerio, which some consider to be his final masterpiece.

Everything changed, though, when Italy entered World War Two. Terragni received his call-up papers and was assigned to an Italian army unit destined for the Eastern Front. 

After the Italian advance disintegrated near Stalingrad, Terragni suffered a nervous breakdown.  He returned to Como but in July 1943 he collapsed and died at his girlfriend's house, having suffered a cerebral thrombosis.

His body was buried in the family tomb in Lentate sul Seveso, a neighbouring town to Meda. 

Terragni's architectural legacy, though brief, left a significant impact on modernist architecture in Italy, and his works continue to be studied and admired for their innovative approach and design excellence. 

Meda's Church of San Vittore is an important
example of Lombard Renaissance architecture

Travel tip:

Meda, where Terragni was born, is a town in the province of Monza and Brianza in Lombardy, around 26km (15 miles) north of Milan and a similar distance south of Como. Nowadays a centre for furniture production, it was originally established around a convent built on a mound (meta in Latin) from which it gets its name. The territory was held by the Visconti and Sforza families until coming under the control of Spain, France and the Habsburg empire before becoming part of the Kingdom of Italy. The town’s 16th century Church of San Vittore  has a series of frescoes by Bernardino Luini. 

The Casa Ghiringhelli in Isola
is one of Terragni's buildings

Travel tip:

Isola, the district of Milan where Terragini and Pietro Lingeri collaborated on a number of apartment buildings, is regarded as a somewhat trendy, up-and-coming neighbourhood, a former working-class area that has taken on a vibrant hipster feel. Easy to reach via Milan’s metro system, it is perfect for travellers who want to experience an alternative Milan. It has a lively art scene with plentiful street art, especially along the underground tunnel connecting the Isola and Garibaldi metro stations. As well as such public art installations, Isola has many art galleries that remain largely undiscovered by the tourist crowds who flood to Milan for its most famous art galleries. Isola is home to Ratanà, considered by some to be one of the best restaurants in all of Milan, where Milan-born head chef Cesare Battisti brings a signature twist to typical Milanese dishes. 

Also on this day:

1446: The birth of noblewoman Ippolita Maria Sforza

1480: The birth of notorious beauty Lucrezia Borgia

1902: The birth of politician Giuseppe Pella

1911: The birth of racing car maker Ilario Bandini

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