Pietro Tacca - sculptor

Pupil of Giambologna became major figure in own right

Tacca's equestrian sculpture of Philip IV 
of Spain broke new ground in statuary

The sculptor Pietro Tacca, who succeeded his master, Giambologna, as court sculptor to the Medici Grand Dukes of Tuscany, was born on this day in 1577 in Carrara.

Tacca, who initially produced work in the Mannerist style, later made a significant contribution to the advance of Baroque and helped preserve Florence’s pre-eminence in bronze casting.

As well as his work for the Medici family, Tacca achieved something never before attempted with his marble equestrian statue of King Philip IV of Spain in Madrid’s Plaza de Oriente. 

The sculpture, considered to be a masterpiece, is notable for depicting the monarch on a rearing horse with its front legs off the ground and the entire weight of the statue supported by its hind legs and tail. 

Tacca began attending the Florence workshop of Giambologna in 1592 at the age of 15. Giambologna was the most important sculptor of his time in Florence, not only for his relationship with the Medici but also for his bronze statue of Neptune above the Fontana di Nettuno in Bologna.

When Giambologna’s first assistant, Pietro Francavilla, left for Paris in 1601, Tacca was chosen to fill his role. On the death of the master in 1608 at the age of 79, Tacca inherited both his studio and his house in Borgo Pinti. A year later, the Medici family appointed him as Giambologna’s successor as the grand-ducal sculptor.

Tacca's i Quattro Mori sculptures in Livorno
showed his embrace of the drama of Baroque

Among Tacca's earliest tasks in his prestigious new position were the completion of some of Giambologna’s unfinished works, including the equestrian statues of Ferdinando I de' Medici in Piazza Santissima Annunziata in Florence, of Henry IV of France, which was sent to Paris but later destroyed during the revolution in 1793, and of Philip III of Spain, which is still located in the Madrid’s Plaza Mayor.

The statue of Ferdinando I de’ Medici was cast with bronze melted from the cannons of captured Barbary and Ottoman galleys, taken by the Order of Saint Stephen, of which Ferdinando was Grand Master.

As his own career progressed, Tacca began to embrace the Baroque aesthetic. His work became characterised by a sense of the theatrical, conveying dramatic movement and exaggerated emotion. While his sculptures often depicted religious subjects, such as saints and biblical figures, he also created secular works, including fountains and allegorical figures.

Between 1623 and 1626 he executed what is considered his masterpiece, i Quattri Mori - the Four Moors - which shows four Saracen pirates chained at the base of Giovanni Bandini's monument to Ferdinando I de' Medici in Piazza della Darsena in Livorno. The pirates were supposedly taken prisoner by the Order of St. Stephen and imprisoned in Livorno. Tacca used some of them as models, posing them in accentuated twists and depicting grimaces of pain on their faces.

Tacca's Porcellino Fountain, a bronze of a wild
boar, is now in a museum in Florence

Two bronze fountains by Tacca originally destined for Livorno, notable for their intricate grotesque masks and shellwork textures, were set up instead in Piazza Santissima Annunziata in Florence.

In 1634, Tacco created his famous Fontana del Porcellino, a bronze fountain statue of a wild boar originally planned for the gardens - the Giardino di Boboli - behind Palazzo Pitti, the main Medici residence in Florence, but subsequently placed in the recently built Loggia del Mercato Nuovo, where a copy is currently on display. The original is in the Museo Stefano Bardini in Palazzo Mozzi.

The colossal equestrian bronze of Philip IV in Madrid was Tacca's last public commission.

Based on a design by Diego Velázquez, it was started in 1634 and shipped to Madrid in 1640, the year of Tacca’s death. The sculpture, set on top of a fountain composition, forms the centrepiece of the façade of the Royal Palace. 

Tacca consulted the scientist Galileo Galilei for advice on how he might make the statue stable, despite its entire weight being supported by the two hind legs and the tip of the tail, shown as brushing the ground as the horse rears. The feat had never been attempted successfully in a statue of such scale. 

Towards the end of his life, Pietro Tacca was assisted by his son, Ferdinando, who almost certainly completed some of his father’s unfinished projects. After the death of Ferdinando Tacca, the studio and foundry in Borgo Pinti were taken over by Giovanni Battista Foggini.

Foggini specialised in small bronze statuary. His reproductions of Tacca’s Moors figures in bronze and ceramic were still selling well on the connoisseur market in the early to mid-18th century.

The Giambologna coat of arms
identifies his former workshop

Travel tip:

Borgo Pinti is an historic street in the heart of Florence, which runs from Via Sant’Egidio to Piazzale Donatello. It has several notable landmarks along its path, including the Chiesa di Santa Maria Maddalena dei Pazzi, a church dating back to around 1250 on a site that was previously occupied by the Monastery of the Women of Penance, a house of refuge for repentant women known as the Repentite, to which some ascribe the origin of the name Pinti, although others claim it was the name of an ancient family. The street, which forms a north-south axis of the historic centre, is lined with many notable palaces, as well as houses occupied by the painter Perugino and the sculptor Lorenzo Bartolini.  The house and workshops where Giambologna and Pietro Tacca created so much of their art were at numbers 24-26 in a building now called Palazzo Bellini delle Stelle, identifiable by the Giambologna coat of arms over the door.

The white of Carrara's marble makes the Apuan
Alps seemed snow-covered even in the summer

Travel tip:

Pietro Tacca’s town of birth, Carrara, famous for its blue and white marble, sits just inland from the Ligurian Sea coastline, in a valley that descends from the Alpi Apuane in Tuscany. The natural white of the peaks often convinces visitors they are covered with snow even in the summer. Marble has been quarried in the area for more than 2,000 years. Michelangelo was said to have been so taken with the purity of the stone that he spent eight months there choosing blocks for specific projects.  The Pantheon and Trajan's Column were both constructed using Carrara marble, which was also the material used for many Renaissance sculptures.  Carrara, nowadays a city of around 70,000 inhabitants, is home to many academies of sculpture and fine arts and a museum of statuary and antiquities.  The exterior of the city's own 12th century duomo is almost entirely marble.

Also on this day:

1797: The birth of revolutionary-turned-librarian Sir Anthony Panizzi

1841: The birth of politician Alessandro Fortis

1866: Sette e mezzo revolt breaks out in Palermo

1985: Terrorists attack Rome’s iconic Café de Paris

2005: Camorra boss Paolo Di Lauro captured in Naples

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Ugo Mulas - photographer

Images of street life in Milan and of New York art scene won acclaim

Ugo Mulas began his photography
career in Milan in the 1950s

The photographer Ugo Mulas, much admired for the way he captured the street atmosphere of postwar Milan and for his portraits of Andy Warhol and others in the Bohemian New York art scene of the 1960s, was born on this day in 1928 in Pozzolengo, a small town near the southern tip of Lake Garda.

At one time part of Milan’s fashion community, another of Mulas’s claims to fame is having been the photographer who discovered Veruschka, a German aristocrat who became part of the supermodel generation of Twiggy and Jean Shrimpton in the 60s. 

Known for his meticulous approach to composition and lighting, and for the candid, spontaneous style of his work, illness denied Mulas a long life but he is widely seen as a pioneering figure in photography who had a profound impact on the art form.

Little is known about Mulas’s early life other than that he studied at a classical lyceum and moved to Milan initially to study law, but then switched his focus to art, enrolling at the Accademia di Belle Arti di Brera.

He was drawn towards the company of the artists and intellectuals who frequented the nearby Bar Jamaica. 

A fashionable hang-out at different times for artists such as Piero Manzoni and Lucio Fontana, writers Allen Ginsberg and Salvatore Quasimodo, designers Achille Castiglioni and Ettore Sottsass and actors Dario Fo and Mariangela Melato, it was the Jamaica and its clientele that sparked Mulas to begin taking photographs.

Armed with a compact Leica camera, Mulas developed an eye for pictures that captured the essence of everyday life. In the Brera and beyond, around Milano Centrale station, where people from all walks of life paused in the waiting rooms, and in other locations, he created a visual record of life in a city at the forefront of Italy’s postwar recovery in the early 1950s.

Mulas first gave notice of his photographic talent
with his street scenes in postwar Milan 

He became a regular at the Jamaica, where in addition to taking photographs he made numerous contacts in the fashion industry and the media, which led to his first paid assignment in 1954, when he was invited by the Venice Biennale to cover the exhibition as its official photographer. It was a relationship that would continue until 1972.

The following year he opened his own studio in Milan and his work would soon be illustrating the pages of publications such as Settimo Giorno, Rivista Pirelli, Domus and Vogue, as well as supporting advertising campaigns for clients including Pirelli and Olivetti.

Away from fashion, art and architecture, Mulas still enjoyed taking his camera on to the streets to photograph Italians in their day-to-day life. It was while he was shooting street scenes in Florence, in 1959, that his eyes were drawn towards a woman whose 6ft 3ins frame would make her stand out in any crowd.

This was Veruschka von Lehndorff, a German aristocrat whose father, a member of the German resistance movement in World War Two, had been executed in 1944 for plotting to assassinate Adolf Hitler. She was in Florence in the late 50s to further her study of art.

Mulas’s striking images of her long-limbed elegance found their way to the desk of Diana Vreeland, editor of the US edition of Vogue. It was the start of a modelling career that would see Veruschka paid $10,000 for a single day’s shooting at her peak.

Among the projects for which Mulas won particular acclaim were his 1964 series on the Argentine-Italian artist Lucio Fontana, his reportage on the Sculture nelle città exhibition in Spoleto in 1962 and the series devoted to Ossi di sepia, the collection of poems by Eugenio Montale.

Mulas came into contact with the American art scene at the 1964 Venice Biennale, where his encounters with a number of American artists, art critics, and the art dealer Leo Castelli led him to travel to New York City.

Andy Warhol (right), with the American poet Gerard
Malanga, photographed by Ugo Mulas in New York

The New York art scene in the 1960s was a vibrant and transformative period, marked by a variety of groundbreaking movements and innovative artists.  Mulas was drawn in particular to the Bohemian atmosphere of the Pop Art scene. He won the trust of artists such as Jasper Johns and Roy Lichtenstein and installed himself as a fly on the wall within the studios of six artists he would follow closely over three visits: those of Johns, Lichtenstein, Marcel Duchamp, Andy Warhol, Barnett Newman, and Robert Rauschenberg. 

His collection of more than 100 photographs from this period became the subject of an exhibition and a book. 

From the late 1960s, Mulas began working in theatre, contributing to the stage design for many  productions at Milan's Piccola Scala theatre and the Teatro Comunale di Bologna.

As a photographer, Mulan would continually experiment, always pursuing new ideas for composition, plot and framing. Some of his contemporaries suggested that through his art he sought to understand the depths of human souls. In the late 1960s, he began work on a new series, entitled La Verifiche - the Verification - that was an attempt to analyse the photographic process and identify its value.

It turned out to be his last work of substance. Diagnosed with cancer in 1970, he continued to work for as long as he had the strength but in March 1973, soon after the release of his last book, La Photographie, in which he recorded all his ideas and observations on art and photography, he died at home in Milan at the age of 45, survived by his wife, Antonia “Nini” Bongiorno.

Before he died, Mulas established the Archivio Ugo Mulas, in Via Giovanni Battista Piranesi in Milan, which houses, manages copyright and sales and promotes the artistic work of Ugo Mulas.

The Castello di Pozzolengo in the historic town
close to Lake Garda dates back to the 10th century

Travel tip:

Pozzolengo, where Mulas was born, is a small town in Lombardy, close to the border with the Veneto region and about halfway between Brescia and Verona. Situated just a few kilometres south of Lake Garda, it is surrounded by low hills lined with vines. Its origins can be traced to the Bronze Age, while Roman relics have also been discovered in the area. It has a mediaeval castle, built in the 10th century at the highest point of Monte Fluno, and a 12th century Benedictine monastery, the Abbazia di San Virgilio, now converted to a golf resort. The town’s vineyards produce the Lugana DOC wine, while other local products include saffron and a salami called salame morenico di Pozzolengo. In the 19th century Pozzolengo was the scene of a number of battles which led to the independence and unification of Italy, in particular, of the Battle of Solferino and San Martino in June 1859. Fought between the Austrian and Franco-Sardinian armies with the participation of over 230,000 soldiers, the battle resulted in a victory for the Franco-Sardinian forces, bringing to an end the Second Italian War of Independence.

The Palazzo Brera in Milan is home to the 
prestigious Accademia di Belle Arti di Brera

Travel tip:

The Accademia di Belle Arti di Brera, sometimes shortened to Accademia di Brera, where Ugo Mulas studied after initially pursuing a law degree, is now a state-run tertiary public academy of fine arts in Via Brera in Milan, in a building it shares with the Pinacoteca di Brera, Milan's main public museum for art. The academy was founded in 1776 by Maria Theresa of Austria and shared its premises with other cultural and scientific institutions. The main building, the Palazzo Brera, was built in about 1615 to designs by Francesco Maria Richini.  The Brera district is so named because in around the ninth century, for military purposes, it was turned into a ‘brayda’ – a Lombardic word meaning ‘an area cleared of trees’. For a long time a magnet for artists and writers, the Brera district remains one of Milan’s most fashionable neighbourhoods, its narrow streets lined with trendy bars and restaurants. As the traditional home of many artists and writers, the area has a Bohemian feel that has brought comparisons with Montmartre in Paris.

Also on this day:

1665: The death of painter and printmaker Elisabetta Sirani

1809: The birth of sculptor Giovanni Maria Benzoni

1909: The birth of movie actor Lamberto Maggiorani

1938: The birth of journalist and talk show host Maurizio Costanzo

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Angelo Morbelli - painter

Artist known for socially conscious themes

Morbelli, pictured in this self-portrait,
highlighted social issues in his work

Angelo Morbelli, a painter who won acclaim for his socially conscious genre scenes, was born on this day in 1853 in the Piedmont city of Alessandria.

Initially a painter of landscapes and historical scenes, he switched quite early in his career to contemporary subjects, many of which reflected his own social concerns. He had a particular interest in the lives of the elderly and the fate of the women who laboured in the region’s rice fields.

He was a proponent of the Divisionist style of painting that was founded in the 1880s by the French post-Impressionist Georges Seurat. In Divisionism, rather than physically blending paints to produce variations in colour, the painter constructed a picture from separate dots of paint that by their proximity would produce an optical interaction. Divisionists believed this technique achieved greater luminosity of colour.

Morbelli developed his painting as a student at the prestigious Brera Academy in Milan but his original ambitions had been in the field of music.

The son of a wealthy vineyard owner from Casale Monferrato, about 35km (22 miles) north of Alessandria, Morbelli had shown a remarkable aptitude for the flute but was forced by illness into a change of direction. At the age of seven, he contracted mastoiditis, a serious ear infection that caused him to suffer permanent hearing loss.

His parents instead encouraged him instead to study drawing, which quickly revealed a different talent, which would in time win him a scholarship granted by the Municipality of Alessandria to move to Milan and enrol at the Brera, where he studied under Giuseppe Bertini, Raffaele Casnedi and Luigi Riccardi, three renowned professors.

Morbelli's Giorni...ultimi, painted at the Pio Albergo
Trivulzio retirement home, is one of his greatest works

His early works were primarily landscapes and historical scenes. His 1880 work, La morte di Goethe - the Death of Goethe - was among the first he exhibited to bring him public attention. 

Around 1883, Morbelli shifted his focus to contemporary subjects. Notably, he depicted elderly residents of the Pio Albergo Trivulzio, a retirement home and hospital in Milan that was founded in the 18th century following a bequest from Tolomeo Trivulzio, a Milanese aristocrat. 

Morbelli’s series of paintings from the home included Giorni…ultimi (Last Days), which earned him a Gold Medal at the Exposition Universelle in Paris in 1889. 

Early in the 1880s he married Maria Pagani, a woman with whom he would share the rest of his life. They had four children, inspiring him to paint several works on motherhood. He often painted Maria with the children at their house in Milan and in the garden of their summer residence, Villa Maria, at Colma di Rosignano Monferrato, in the hills above Casale Monferrato.

He began to experiment with Divisionism in around 1890, at first painting landscapes close to the Villa Maria.

Morbelli's Per ottanta centesimi highlighted the
exploitation of female labour in the rice fields

In the mid-90s, his interest drawn towards another social issue, he began to visit the farms in the rice fields around Vercelli, north of Casale Monferrato. A collapse in the price of rice led to the harsh exploitation of workers, mainly women, who were made to toil long hours for low wages.

His painting Per ottanta centesimi (For Eighty Cents), which depicted groups of women, standing ankle deep in water, engaged in the back-breaking work of picking the rice, was awarded the Gold Medal at the 1897 International Exhibition in Dresden.  He used photography to inform some of his work, which attracted criticism from some other painters.

The year that opened the millennium was important for Morbelli, who at the 1900 Exposition Universelle in Paris received another Gold Medal - and the award of the Legion of Honor - for Giorno di festa (Day of Celebration), another painting set in the Pio Albergo Trivulzio.

Between 1902 and 1903, continuing to ponder old age and death, Morbelli set up a studio in the rooms of the hospice, where he created Il Natale dei resta (The Christmas of the Remainers), part of a cycle entitled Il poema della vecchiaia (The Poem of Old Age). The painting presented a stark image of five men sitting in a hall partly lit by the sun, among many rows of empty benches.

Morbelli’s work in the early part of the 20th century returned to painting landscapes, with work ranging from a view of Milan’s Duomo to a boat on Lake Garda. His 1913 painting Angolo di giardino (Corner of the Garden), which offered a glimpse of the family villa in Colma, was noted for the vibrant luminous depth he gave to the countryside beyond the villa’s garden.  Some of his last work was completed between 1914 and 1919 in the Usseglio valley, a mountainous area in the east of Piedmont, close to the border with France.

Between 1908 and 1903, Morbelli is said to have met Carlo Carrà and Umberto Boccioni, two important painters of the Italian Futurist movement. Divisionism was influential in the development of Futurism, whose proponents adopted some of its methods to help evoke the dynamism of the urban environment they sought to convey in their work

He was still active when, in 1919, he developed pneumonia, which led to his death in Milan on November 7, at the age of 66. 

The Cattedrale dei Santi Pietro e Marco was
consecrated in 1879, replacing an older church 

Travel tip:

The historic city of Alessandria, about 90km (56 miles) southeast of Turin, became part of French territory after the army of Napoleon defeated the Austrians at the Battle of Marengo in 1800 on fields to the east of the city. Alessandria has a Museum of the Battle of Marengo in Via della Barbotta in the district of Spinetta Marengo. The city was ruled by the Kingdom of Sardinia for many years and is notable for the Cittadella di Alessandria, a star-shaped fort and citadel built in the 18th century, which covers more than 180 acres on a site just across the Tanaro river and is one of the best preserved fortifications of its type.  It remained a military establishment until as recently as 2007 and now holds a permanent exhibition of about 1500 uniforms, weapons and memorabilia. The city's neoclassical Cattedrale dei Santi Pietro e Marco was built in between 1874 and 1879. Alessandria is also a rail hub for northern Italy. The railway station opened in 1850 to form part of the Turin to Genoa railway and now also has lines to many other towns and cities both in Piedmont and neighbouring Lombardy. 

Submerged fields in the rice-growing
area around the city of Vercelli

Travel tip:

Vercelli is best known as the centre of Italy’s rice production industry, with many of the surrounding fields in the vast Po plain submerged under water during the summer months. Rice has been cultivated in the area since the 15th century. One of Vercelli’s speciality dishes, panissa, is made from risotto rice and beans, with pork and red wine.  The city, which has around 46,500 inhabitants, is some 85km (53 miles) west of Milan and about 75km (46 miles) northeast of Turin. It is reckoned to be built on the site of one of the oldest settlements in Italy, dating back to 600BC, and was home to the world's first publicly-funded university, which was opened in 1228 but folded in 1372. Vercelli’s Basilica of Sant'Andrea is regarded as one of the most beautiful and best-preserved Romanesque buildings in Italy. The city also has an amphitheatre from the Roman period.

Also on this day:

1610: The death of Renaissance painter Caravaggio

1871: The birth of painter Giacamo Balla

1884: The birth of Cardinal Alberto di Jorio, Vatican banker

1914: The birth of cycling star and secret war hero Gino Bartali

1933: The birth of William Salice, inventor of the Kinder Egg

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Beatrice Trussardi – entrepreneur

Art promoter chosen among the 100 most successful Italian women

Beatrice Trussardi has become an
important promoter of art and design

Art and design promoter and business woman Beatrice Trussardi, the daughter of fashion designer Nicola Trussardi, was born on this day in 1971 in Milan.

Since 1999, Beatrice has been president of the Fondazione Nicola Trussardi, which was founded by her father to promote contemporary art and culture.

Nicola Trussardi, who was born in Bergamo, went to work in his grandfather’s glove making business in the city and turned it into a multimillion-dollar business that helped contribute to the popularity of the Made in Italy label throughout the world.

Beatrice, who was his eldest child, obtained a degree in Art, Business and Administration at New York University and went on to work at the Guggenheim Museum, the Metropolitan Museum of Art, and the Museum of Modern Art.  

She directed the move by the Fondazione Nicola Trussardi from its permanent exhibition space in Milan to develop a new, itinerant model. The foundation now focuses on holding art exhibitions in historical monuments and forgotten buildings in Milan, that were not previously accessible to the public.

As part of this, Palazzo Litta, Palazzo Dugnani and Palazzo Citterio have all been restored, enabling them to host major exhibitions by contemporary artists.

In 2021, Beatrice launched the Beatrice Trussardi Foundation, a nomadic art foundation, working with artistic director Massimiliano Gioni to produce and exhibit art installations in international locations. Issues such as climate change, gender inequality and talent empowerment are at the core of the foundation’s research programme.

Beatrice was CEO of her father's
Trussardi Group for 11 years

Beatrice became president and CEO of Trussardi Group in 2003, positions she held until 2014.

In 2007, she enrolled in the Global Leadership and Public Policy for the 21st century programme at the John F Kennedy School of Government.

Beatrice became one of 237 people selected by the World Economic Forum to be part of its Young Global Leaders group in 2005. She joined the Women’s Leadership Board at the John F Kennedy School of Government, which was founded to promote gender equality in society and politics, in 2007. She became president of the Friends of Aspen at Aspen Institute Italia, whose aim is to analyse and discuss important economic, social and cultural issues fundamental to development.

She was appointed to the Board of Directors of Museo Nazionale delle Arti del XXI Secolo in Rome in 2013 by invitation of the Italian Ministry of Cultural Heritage and Activities and, in 2014, she joined the Board of Directors of Comitato Fondazioni Italiane Arte Contemporanee.

Beatrice is married to businessman Federico Roveda and the couple have two children. She was chosen by Forbes Italia as among the 100 Most Successful Italian Women in 2019.

Bergamo's Città Alta is guarded by imposing
walls built by the Venetians in the 16th century

Travel tip:

Bergamo, where Trussardi’s father, Nicola, was born, is a beautiful city in Lombardy about 50km (31 miles) northeast of Milan. It has upper and lower town that are separated by impressive fortifications. The magical upper town - the Città Alta - has gems of mediaeval and Renaissance architecture surrounded by the impressive 16th century walls, which were built by the Venetians who ruled at the time. Outside the walls, the elegant Città Bassa, which grew up on the plain below, has some buildings that date back to the 15th century as well as imposing architecture added in the 19th and 20th centuries. While the Città Alta is the draw for many tourists, the lower town also has art galleries, churches and theatres and a wealth of good restaurants and smart shops to enjoy.  The Trussardi family home, Casa Trussardi, which they acquired in 1983, sits on top of the south-facing walls overlooking Viale delle Mura, with commanding views over the Città Bassa and the vast Po Valley.

Travel tip:

Palazzo Litta, also known as Palazzo Arese-Litta, is a Baroque palace on Corso Magenta in the centre of Milan, opposite the church of San Maurizio al Monastero Maggiore and a short distance from the church of Santa Maria delle Grazie, which houses Leonardo da Vinci’s wall painting of The Last Supper. Built between 1642 and 1648, it dates back to the period of Spanish rule of the city. The original owner was Count Bartolomeo Arese, a member of one of Milan’s most influential families of the period, who went on to become President of the Senate of Milan in 1660. The structure of the palace has changed over time, although parts of architect Francesco Maria Richini’s original design remain intact. Having become the property of the Litta family in the mid-18th century, the palace was given a facelift when Bartolomeo Bolli constructed the current façade, highly decorated with Rococò features. Apart from its exhibition spaces, the palace is home to the oldest theatre in Milan, originally Richini’s oratory and later turned into a private theatre for the use of the Arese family and guests. It is still in use as the Teatro Litta di Milano.

Also on this day:

1533: The birth of Alfonso II d’Este, last Duke of Ferrara

1710: The death of Baroque composer Bernardo Pasquini

1902: The birth of Mafia boss Joe Adonis

1911: The birth of Olympic champion cyclist Giuseppe Olmo

1947: The birth of footballer and coach Nevio Scala

1949: The birth of entrepreneur Rocco Commisso

1954: The birth of former prime minister Paolo Gentiloni

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Andrea Appiani - painter

The master of the fresco technique became court painter to Napoleon

Appiani fell into poverty at the end of 
his life despite his notable career

Neoclassical artist Andrea Appiani, who was chosen to paint for the Emperor Napoleon during the time in which he ruled Italy, died on this day in 1817 in Milan.

He is remembered for his fine portraits of some of the famous people of the period, including Napoleon, the Empress Joséphine, and the poet, Ugo Foscolo. He is also well regarded for his religious and classical frescoes.

Born in Milan in 1754, Appiani was intended for a career in medicine, to follow in his father’s footsteps, but he went into the private academy of the painter Carlo Maria Guidici instead, where he received instruction in drawing and copying from sculpture and paintings.

He then joined the class of the fresco painter Antonio de Giorgi at the Ambrosiana picture gallery in Milan and he spent time in the studio of Martin Knoller where he learnt more about painting in oils.

Appiani also studied anatomy at the Ospedale Maggiore in Milan with the sculptor Gaetano Monti and travelled to Rome, Parma, Bologna, Florence and Naples to further his studies.

He became interested in aesthetic issues, inspired by the classical poet Giuseppe Parini, who was the subject of two fine pencil portraits by him.

Appiani's magnificent portrait of
 Napoleon Bonaparte, painted in 1805

Appiani attended the Brera Academy of Fine Arts from 1776 where he learnt the technique of fresco painting. His frescoes depicting the four evangelists in the church of Santa Maria presso San Celso, in Milan, completed in 1795, are considered by art experts to be among his masterpieces.

He is also remembered for his frescoes in the Royal Villa - Villa Reale - of Milan and his frescoes honouring Napoleon in some of the rooms of the Royal Palace of Milan.

Appiani was created a pensioned artist to the Kingdom of Italy by Napoleon, but lost his allowance after the fall of the kingdom in 1814, and he later fell into poverty. He suffered a stroke and died at the age of 63 in the city of his birth.

He is sometimes referred to as Andrea Appiani the Elder, to distinguish him from his great nephew, Andrea Appiani, who was an historical painter in Rome.

Appiani’s portrait of the poet Foscolo, a revolutionary who supported Napoleon’s attempts to expel the Austrians from Italy, hangs in the Pinacoteca di Brera, his 1805 portrait of Napoleon is in the Kunsthistorisches Museum in Vienna, while that of the Empress Joséphine hangs at the Château de Malmaison, her former home in Paris and and Napoleon's last residence in France.

The Pinocoteca di Brera is also home to the self-portrait of Appiani shown here.

The Brera Academy of Fine Arts in Milan is
one of Italy's most prestigious art schools

Travel tip:

The Accademia di Belle Arti di Brera, sometimes shortened to Accademia di Brera, where Andrea Appiani studied, is now a state-run tertiary public academy of fine arts in Via Brera in Milan, in a building it shares with the Pinacoteca di Brera, Milan's main public museum for art. The academy was founded in 1776 by Maria Theresa of Austria and shared its premises with other cultural and scientific institutions. The main building, the Palazzo Brera, was built in about 1615 to designs by Francesco Maria Richini.  The Brera district is so named because in around the ninth century, for military purposes, it was turned into a ‘brayda’ – a Lombardic word meaning ‘an area cleared of trees’.  Today, it is one of Milan’s most fashionable neighbourhoods, its narrow streets lined with trendy bars and restaurants. As the traditional home of many artists and writers, the area has a Bohemian feel that has brought comparisons with Montmartre in Paris. 

The Villa Reale, which faces the Giardini Pubblici
of Porta Venezia, contains notable Appiani frescoes

Travel tip:

Milan’s Villa Reale, which at times has been known as the Villa Belgiojoso Bonaparte and the Villa Comunale,was built between 1790 and 1796 as the residence of Count Ludovico Barbiano di Belgiojoso, an Austrian diplomat and soldier who served the Habsburg monarchy in the second half of the 18th century. The mediaeval castle of Belgioioso, a town around 40km (25 miles) south of Milan in the province of Pavia, had been the seat of the Belgiojoso family for centuries. His villa, built in Neoclassical style and designed by Leopoldo Pollack, an Austrian-born architect, is on Via Palestro, facing the Giardini Pubblici of Porta Venezia, the eastern gate of the city.  In 1920 the villa became the property of the city of Milan and a year later became the home of the Galleria d'Arte Moderna. Adjoining the main building is the Padiglione d'Arte Contemporanea, an exhibition space for contemporary art, which was built in 1955 on the site of the former stables of the palace, destroyed by wartime bombing.  The villa’s English-style gardens were also laid out by Leopoldo Pollack.

Also on this day:

1830: The death of Francis I of the Two Sicilies

1931: The birth of film director Paolo Taviani

1936: The birth of actress Virna Lisi

1942: The birth of footballer Sandro Mazzola

1979: The birth of child actor Salvatore Cascio

1982: The birth of golfer Francesco Molinari

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Scipione Borghese – Cardinal and art collector

Pope’s nephew used position to acquire wealth to buy art

Ottavio Leoni's portrait of
Cardinal Scipione Borghese

Cardinal Scipione Borghese, who was a patron of Gian Lorenzo Bernini and Caravaggio and established a magnificent art collection during his life, was born on this day in 1576 in Artena, a town to the southeast of Rome

As the nephew of Pope Paul V,  Borghese was given the official title of Cardinal Nephew - cardinale nipote - and he had great power as the effective head of the Vatican government. He amassed an enormous fortune through the papal fees and taxes he gathered and he acquired vast amounts of land. He was able to use his immense wealth to assemble a large and impressive art collection.

Cardinal Borghese was the son of Francesco Caffarelli and Ortensia Borghese. When his father suffered financial difficulties, his uncle, Camillo Borghese, stepped in to pay for his education.

After Camillo Borghese was elected as Pope Paul V, he made his nephew a Cardinal and gave him the right to use the Borghese name and coat of arms.

Borghese was given many honours by his uncle, the Pope, who entrusted him with the management of the papal finances as well as the finances of the Borghese family.

He used money from the papal finances to fund Borghese family investments and, exploiting his power as Cardinal Nephew, he compelled people to sell their land to him at discounted prices.

Caravaggio's Madonna and
Child with Saint Anne

Borghese took a great interest in the development of the extensive gardens at his Roman residences, Palazzo Borghese, and Villa Borghese, and he built up one of the most impressive art collections in Europe. He collected paintings by Caravaggio, Raphael, and Titian, as well as ancient Roman art.

The Pope gave Scipione a collection of 107 paintings that he had confiscated from the artist Cavalier d’Arpino when he did not pay a tax bill. The haul included two important, early works by Caravaggio, a probable self-portrait usually called Bacchino Malato - Sick Bacchus - and A Boy with a Basket of Fruit. He also organised the removal of Raphael’s Deposition from a church in Perugia to be given to his nephew. He was later forced to provide Perugia with two good copies of the painting in order to avoid the population of the city rising up in violent rebellion against him.

Borghese also appropriated Caravaggio’s Madonna and Child with Saint Anne, a large altarpiece which had been commissioned for a chapel in St Peter’s Basilica. It was suspected that he had planned to acquire it for his collection when the work was commissioned.

The Cardinal’s patronage of Bernini helped the artist become the leading Italian sculptor and architect of the 17th century in Italy.

Between 1618 and 1623, Bernini worked primarily for the Cardinal Nephew, creating innovative pieces that foreshadowed the early Baroque style. He produced two marble busts of his patron, which are both in the Galleria Borghese in Rome, the second carved after Bernini found a flaw in the marble used for the first.

Cardinal Scipione Borghese died in Rome in 1633 and was buried in the Borghese chapel in the Church of Santa Maria Maggiore in Rome.

The Galleria Borghese is housed
in the Villa Borghese Pinciana

Travel tip:

The Villa Borghese Pinciana, built for Scipione Borghese by the architect Flaminio Ponzio, which now houses the Galleria Borghese, was originally intended as a party villa, where Scipione would entertain guests. The villa and the gardens surrounding it, developed on the site of a former vineyard, were acquired by the Italian state from the Borghese family in 1901 and opened to the public two years later. Generally known as the Villa Borghese Gardens, they now form the third largest public park in Rome, covering an area of 80 hectares or 197.7 acres, with entrances near the Spanish Steps and Piazza del Popolo. The Pincio, in the south part of the park, offers one of the finest views over the city.  Other villas in the area of the park include the Villa Giulia, which now houses the Etruscan Museum, and the Villa Medici, home of the French Academy in Rome.  The Piazza di Siena, an open space within the gardens, hosted equestrian events at the 1960 Rome Olympics.

The main facade of the Palazzo Borghese, which
was the Borghese family's principal Rome residence

Travel tip:

The Palazzo Borghese, the original home of the family’s art collection, is notable for its unusual trapezoidal layout, having two parallel sides but two that are not parallel, with its narrowest facade facing the Tiber. It was the main seat of the Borghese family in Rome, situated in the Campo Marzio district, not far from the Ponte Cavour and about 600m (0.37 miles) on foot from the Spanish Steps. It was built in about 1560-61 by the architect Giacomo Barozzi da Vignola on behalf of Monsignor Tommaso del Giglio and acquired by Cardinal Camillo Borghese in 1604, shortly before he became Pope Paul V.  The first floor of the palace has been the home of the Embassy of Spain in Italy since 1947. The Borghese family’s art collection, which contained works by Raphael, Titian and many others, was transferred in 1891 to the Galleria Borghese.

Also on this day:

1878: The birth of conductor Tullio Serafin

1886: The birth of vaudeville star Guido Deiro

1922: The birth of actor Vittorio Gassman

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Giovanni Maria Benzoni - sculptor

Roman collectors called him the ‘new Canova’

Benzoni's self-portrait bust is in the
Biblioteca Angelo Mai in Bergamo

The sculptor Giovanni Maria Benzoni, who earned such fame in Rome in the mid-19th century that collectors and arts patrons in the city dubbed him the “new Canova” after the great Neoclassical sculptor Antonio Canova, was born on this day in 1809 in Songavazzo, a small mountain village in northern Lombardy.

Benzoni sculpted many allegorical and mythological scenes, but also busts and funerary monuments.  

Songavazzo being just outside Clusone in the province of Bergamo, Benzoni was regarded as a bergamasco - a native of the ancient city - even though he spent much of his life in Rome.

As such he was held in similar regard to celebrated bergamaschi such as the composer Gaetano Donizetti, the philologist Cardinal Angelo Mai and the painter Francesco Coghetti, all of whom lived in Rome during Benzoni’s time there.

He was later commissioned to sculpt a monumental tomb for Cardinal Mai in the Basilica of Sant’Anastasia al Palatino in the centre of Rome.

Benzoni’s parents, Giuseppe and Margherita, were farmers of modest means. Giovanni Maria worked briefly as a shepherd, but his father died when he was around 11 years old, after which he was sent to work in his uncle’s small carpentry shop at Riva di Solto, on the western shore of Lago d’Iseo, about 25km (16 miles) away.

Benzoni's Flight from Pompeii is
notable for its extraordinary realism

He began to show a talent for carving religious statues which came to the attention of a wealthy patron called Giuseppe Fontana, who was impressed enough to speak about him to Count Luigi Tadini, who would later open the Tadini Academy of Fine Arts in Lovere, another town on Lago d’Iseo.

Tadini asked Benzoni to make a copy of the Stele Tadini, the sculpture made for him by Antonio Canova in memory of the count’s son Faustino, who had died at a young age.

He was so impressed by Benzoni’s attention to detail and the accuracy of the reproduction that he arranged for the young man, who had never had a formal education, to attend a college in Lovere. 

When he reached the age of 18 or 19, Tadini took Benzoni to Rome, where he would work in the workshop of Giuseppe Fabris - an artist who would later became director general of the Vatican museums - and attend the prestigious Accademia di San Luca, where his fees were paid by Count Tadini.

Benzoni’s elegant marble sculptures had echoes of Canova’s work, which he greatly admired. One of his earliest pieces sculpted at the Academy, entitled Silent Love, attracted the approval of wealthy buyers in Rome, who soon began to speak of him as “il novello Canova” - the new Canova. 

After winning several competitions at San Luca, Benzoni began to earn money for his work and opened a small studio in Via Sant'Isidoro, in the centre of Rome, off the street now called Via Vittorio Veneto. Demand for his work grew so rapidly that he was obliged to find bigger premises, first in Via del Borghetto and later in Via del Babuino, between the Spanish Steps and Piazza del Popolo.

Benzoni's bust of his former patron,
Count Luigi Tadini, in Lovere

At the peak of his fame, he employed more than 50 assistants, making multiple versions of his most popular works. His Cupid and Psyche (1845) and Veiled Rebecca (1863) are considered to be two of his greatest triumphs.  Benzoni had clients in Holland, France, England and Ireland as well as in Italy.  

One of his later works, Flight from Pompeii or The Last Days of Pompeii (1868), was inspired by his visits to the Naples region in the 1850s and 1860s, when he was moved by the capacity for destruction of the volcano Vesuvius. The sculpture depicts with notable realism a man, his wife and their baby child, the man holding a cloak above his head to try to protect the trio as they seek refuge from the falling ashes.

The original was made for the wife of a wealthy New York hotelier. Among the many copies Benzoni produced, one is housed in a museum in Australia, another in the Neoclassical-style Town Hall at Todmorden, in the English county of Yorkshire.

Benzoni, who married into a noble Roman family and had six children, always lived in Rome but returned regularly to Bergamo, where he became a member of the city’s university and donated busts of famous citizens. His own self-portrait bust is in the Biblioteca Civica Angelo Mai on Piazza Vecchia in Bergamo’s mediaeval Città Alta.

He sculpted a statue of his former patron, Count Tadini, which stands on a plinth in a lakeside garden opposite the Tadini Academy in Lovere.

After his death in 1873, the popularity of Benzoni’s work declined, in common with the Neoclassical style as the newlly unified-Italy began to look forward. It has enjoyed a revival in recent years, however. Among his most famous works, his 1861 sculpture Innocenza difesa dalla fedeltà (Innocence Defended by Loyalty), which shows a young girl removing a thorn from the paw of her faithful pet dog, sold at Sotheby’s in New York in 2001 for more than $84,000 (€77,800; £66,800) and was presented as a gift to the Metropolitan Museum of Art.

The Torre dell'orologio is one of several
notable buildings in the town of Clusone

Travel tip:

Benzoni’s birthplace, Songavazzo, is just outside the town of Clusone, about 35km (22 miles) northeast of Bergamo, a beautiful small town nestling on a plain against the backdrop of the Alpi Orobie - sometimes translated as the Orobic Alps - which attracts visitors all year round. Apart from its proximity to ski resorts, Clusone is famous for the frescoes that decorate some of its most significant buildings, such as the Municipio (Town Hall), the Torre dell'orologio (Clock Tower) and the Oratorio dei Disciplini (Oratory of the Disciplines), which has a macabre offering entitled The Triumph of Death. Clusone is also home to a prestigious annual jazz festival.

The Palazzo Tadini in Lovere on Lago d'Iseo is
home of the Accademia di Belle Arti Tadini

Travel tip:

Lovere, where Benzoni received his first formal education, is the largest town on the western shore of Lago d’Iseo  and has wonderful views of the top of the lake with its dramatic backdrop of mountains. Benzoni’s patron, Count Luigi Tadini of Crema, established the Accademia di Belle Arti Tadini in the lakefront Palazzo Tadini in 1829 and it has become one of the most important art galleries in Italy. The church of Santa Maria in Valvendra has some 16th century frescoes and the church of San Giorgio, which is built into a mediaeval tower, contains an important work by Palma il Giovane. A pleasant boat ride connects Lovere with Pisogne on the eastern shore of the lake, which has a railway line linking the lake with the city of Brescia. The landing stage adjoins Piazza XIII Martiri.

Also on this day:

1665: The death of painter and printmaker Elisabetta Sirani

1909: The birth of Lamberto Maggiorani, star of classic movie Bicycle Thieves

1938: The birth of journalist and talk show host Maurizio Costanza

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Giovanni Paolo Cavagna – artist

Prolific painter left a rich legacy of religious canvases

Frescoes by Cavagna illuminate the dome of the
Basilica of Santa Maria Maggiore in Bergamo

Late Renaissance painter Giovanni Paolo Cavagna, who became famous for his religious scenes, died on this day in 1627 in his native city of Bergamo.

Cavagna was mainly active in Bergamo and Brescia, another historic city in the Lombardy region, for most of his career, although he is believed to have spent some time training in Venice in the studio of Titian.

The artist was born in Borgo di San Leonardo in Bergamo’s Città Bassa in about 1550. The painter Cristoforo Baschenis Il Vecchio is believed to have taken him as an apprentice from the age of 12. Cavagna is also thought to have spent time as a pupil of the famous Bergamo portrait painter Giovanni Battista Moroni.

Cavagna’s work can still be seen in many churches in Bergamo and villages in the surrounding area. In the Basilica of Santa Maria Maggiore in Bergamo’s Città Alta there are paintings by him of the Assumption of the Virgin, the Nativity, and Esther and Ahasuerus.

The church of Santo Spirito
in Bergamo's Città Bassa

In the Church of Santo Spirito in Bergamo’s Città Bassa, there are his paintings of Santa Lucia and the Crucifixion with Saints. He painted a Coronation of the Virgin for the Church of San Giovanni Battista in the province of Casnigo, which is to the north east of Bergamo, and some of his paintings can also be seen in the sanctuary of the Madonna del Castello in Almenno San Salvatore, a province to the north west of Bergamo.

The artist also completed a painting of the Crucifixion for the Church of Santa Lucia in Venice.

Cavagna’s son, Francesco, who became known as Cavagnuola, and his daughter, Caterina, also became painters.

After his death in 1627, Cavagna was buried in the Church of Santa Maria Immacolata delle Grazie in the Città Bassa in Bergamo, but after the reorganization of the lower town in the 19th century, the church was rebuilt and Cavagna’s tomb had to be moved, and it is now uncertain what happened to it.

Piazza Pontida is in Bergamo's Borgo San
Leonardo quarter in the Città Bassa

Travel tip:

Borgo San Leonardo, where Cavagna was born and lived, is a historic part of Bergamo’s Città Bassa where the Church of San Leonardo fronts an attractive square, Piazza Pontida, which links the important thoroughfares of Via Sant’Alessandro and Via XX Settembre. Piazza Pontida is part of an area that was known for centuries as Cinque Vie (five roads), where traffic from Milan, Lecco, Treviglio and Crema would converge and goods arriving in Bergamo would be unloaded. Some of the porticos in the piazza date back to the 15th century, when the farmers and merchants of the time would shelter from the sun under them.

The Via Arena entrance to the
Basilica di Santa Maria Maggiore

Travel tip:

Some of Cavagna’s paintings can be seen in one of the most important and beautiful churches in Bergamo, the Basilica di Santa Maria Maggiore, which has entrances from both Piazza Duomo and Via Arena in the Città Alta. The basilica was built in the 12th century in the shape of a Greek cross but was modified in the 14th and 16th centuries. It has a large interior with a richly decorated cupola from the 16th century and some fine Flemish and Florentine tapestries and works of art. At the back of the church is an elaborate white marble monument designed by Vincenzo Vela, marking the tomb of opera composer Gaetano Donizetti, who was born in Bergamo and came back to die in the city.

Also on this day:

1470: The birth of poet Pietro Bembo

1537: The birth of anatomist Hieronymous Fabricius

1916: The birth of athlete Ondina Valla

1943: The birth of singer Al Bano

1967: The birth of film director Gabriele Muccino

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