Jacopo Mazzoni – philosopher

Brilliant scholar could recite long passages from Dante

Jacopo Mazzoni was known for literary
criticism as well as philosophy

Jacopo Mazzoni, a University professor with a phenomenal memory who was a friend of Galileo Galilei, died on this day in 1598 in Ferrara in Emilia-Romagna.

Mazzoni, also sometimes referred to as Giacomo Mazzoni, was regarded as one of the most eminent scholars of his period. His excellent powers of recall made him adept at recalling passages from Dante, Lucretius, Virgil and other writers during his regular debates with prominent academics. He relished taking part in memory contests, which he usually won.

Mazzoni was born in Cesena in Emilia-Romagna in 1548 and was educated at Bologna in Hebrew, Greek, Latin, rhetoric and poetics. He later attended the University of Padua where he studied philosophy and jurisprudence.

He became an authority on ancient languages and philology and promoted the scientific study of the Italian language.

Galileo Galilei was a fellow
professor at Pisa University

Although Mazzoni wrote a major work on philosophy, he became well known for his works on literary criticism, in particular for his writing in defence of Dante’s Divine Comedy - Discorso in Difesa Della Commedia della Divina Poeta Dante - published in 1572 and Della Difesa Della Commedia di Dante, which was not published until 1688.

Mazzoni was also influenced by Plato and Aristotle and often made references to their works.

In turn, his theories about poetry influenced romantic writers who came later such as Samuel Taylor Coleridge and Friedrich von Schiller.

Mazzoni is also credited with helping to found the Accademia della Crusca, a society of scholars of Italian linguistics and philology, in 1583. The academy, in Florence, is the oldest linguistic academy in the world and the most important research institution into the Italian language.

The pala - shovel - given to Mazzoni
by the Accademia della Crusca

Crusca is the Italian word for bran, its use a reflection of the society's symbology, which likened 'good' language to flour sifted from bran.  The society's emblem was the frullone, a machine used to separate flour from bran. The operator would load bran into the machine using a pala - shovel - and the society extended the symbolism by presenting each member with a shovel bearing the member's name and a motto, usually a line of verse.

Mazzoni worked as a university professor, first at Macerata and then at Pisa, where he taught philosophy from 1588 to 1597. It was there he met Galileo, who was a young mathematics professor at the university. They became good friends and in May 1597, Galileo wrote Mazzoni a letter in which he commented on Mazzoni’s latest book, In universam Platonis et Aristotelis philosophiam praeludia, and also stated his inclination towards the Copernican system over the Ptolemaic one.

Later that year, Mazzoni accepted the chair in philosophy at Rome’s La Sapienza University.

He was asked to accompany Cardinal Pietro Aldobrandini on a mission to Venice in 1598. After they stopped off in Ferrara on the way back, Mazzoni was taken ill and later died. He was 57 years old.

The Rocca Malatestiana in Cesena, once a prison, now
houses a museum of agriculture

Travel tip:

Cesena, the birthplace of Jacopo Mazzoni, is a city in Emilia-Romagna, south of Ravenna and west of Rimini. One of the main sights in the town is the 15th century Biblioteca Malatestiana, which houses many valuable manuscripts and was the first public library in Europe. The library has been preserved in its 15th century condition and is now a listed UNESCO World Heritage site. The city’s castle, the Rocca Malatestiana, was used by Cesare Borgia as a prison during the Italian Wars and is now a museum.

The Castello Estense is the centrepiece of the city
of Ferrara, where Mazzoni died

Travel tip:

Ferrara, where Jacopo Mazzoni died, is a city in Emilia-Romagna, about 50 km (31 miles) to the northeast of Bologna. It was ruled by the Este family between 1240 and 1598. Building work on the magnificent moated Este Castle (Castello Estense) in the centre of the city began in 1385 and the castle was added to and improved by successive rulers of Ferrara until the end of the Este line. The castle was purchased for 70,000 lire by the province of Ferrara in 1874 to be used as the headquarters of the Prefecture. You can still see Ferrara’s original narrow, medieval streets to the west and south of the city centre, between the main thoroughfares of Via Ripa Grande and Via Garibaldi. These were the original heart of the city in the middle ages before the Este family redesigned it.

Also on this day:

1726: The birth of physicist Giovanni Aldini

1886: The death of physician and politician Agostino Bertani

1926: Airship leaves Rome for the North Pole

1991: The Moby Prince disaster

(Picture credits - Mazzoni's shovel by Sailko CC-BY-3.0; Rocca Malatestiana by Otello Amaducci CC-BY-SA 3.0) 


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Niccolò Antonio Zingarelli - composer

Neapolitan who snubbed Napoleon wrote 37 operas

Niccolò Zingarelli was one of the most
successful composers of his time

The composer Niccolò Antonio Zingarelli, who wrote 37 mainly comic operas and more than 500 pieces of sacred music, was born on this day in 1752 in Naples.

His success made him one of the principal composers of opera and religious music of his time. At various points in his career, he was maestro di cappella - music director - at Milan Cathedral, choir master at the Sistine Chapel and director of the Naples Conservatory.

Many of Zingarelli’s operas were written for Teatro alla Scala in Milan. Early in his career he worked in Paris, which held him in good stead later when he was arrested after refusing to conduct a hymn for the newly-born son of the Emperor Napoleon, who at the time was the self-proclaimed King of Italy.

Sometimes known as Nicola, the young Zingarelli studied from the age of seven at the Conservatorio di Santa Maria di Loreto, which was the original conservatory of Naples, dating back to 1537. He was tutored by Fedele Fenaroli, whose pupils also included Domenico Cimarosa and, later, Giuseppe Verdi, and also by Alessandro Speranza.

As a young man, Zingarelli earned a living as a violinist, while also composing. His first opera, Montezuma, was successfully produced at Teatro di San Carlo in Naples in 1781. Four years later Alsinda was staged at La Scala, the first of a series of his operas produced there until 1803.

Zingarelli refused to conduct a service for
Napoleon's new son at the Sistine Chapel

In 1789, he was invited to Paris to compose Antigone to a libretto by Jean-François Marmontel for the Opéra. He might have stayed longer in Paris had the French Revolution not driven him to Switzerland.

From there he returned to Milan, where in 1793 he became music director at the Duomo.

A year later, Zingarelli moved again, to take up the post of maestro di cappella at the Basilica della Santa Casa in Loreto, in Marche, an important and prestigious position at the time. He stayed there for 10 years, composing a large number of sacred works, at the same time continuing to write operas for La Scala and other theatres.

When he left Loreto, it was to become music director and choir master at the Sistine Chapel in Rome, where he composed cantatas on poems by Torquato Tasso and Dante.

It was in Rome that he wrote Berenice (1811), an opera that achieved great popularity, although two operas he composed for La Scala, Il mercato di Monfregoso (1792), based on a play by Carlo Goldoni, and Giulietta e Romeo (1796), inspired by William Shakespeare’s play, are said to be his finest work.

It was in 1811 that he was asked to conduct a Te Deum - a short religious service, held to bless an event or give thanks, which is based on the Latin hymn of the same name - for Napoleon, to celebrate the emperor’s new-born son.  As an Italian patriot, however, he felt he could not and, as a consequence of his public refusal, was arrested.

As it happened, though, Napoleon was a fan of his music and not only allowed Zingarelli to go free, he also awarded him a state pension.

In 1813, he left Rome to return to Naples, where he became director of the Conservatorio di San Sebastiano, before moving to the current site, the Conservatorio di San Pietro a Majella, in 1826. By then, he had also replaced Giovanni Paisiello as choir master of Naples Cathedral, a position he held until his death, in 1837, in Torre del Greco, just along the coast.

The huge Basilica della Santa Casa sits at the highest point
of Loreto and therefore dominates the skyline

Travel tip:

The hill town of Loreto, about 5km (3 miles) inland from the Adriatic coast about 25km (16 miles) south of Ancona and a similar distance north of Civitanova Marche, is easily identified from a distance away by the dome of the basilica, which stands taller than anything else in the area. The Basilica della Santa Casa takes its name from the rustic stone cottage that once occupied its site - and indeed is preserved inside the structure of the cathedral - which was said to be the place of refuge to which angels brought the Madonna as a safe haven after the Saracens who had invaded the Holy Land. The beautiful basilica itself is a late Gothic structure upon which Giuliano da Maiano, Giuliano da Sangallo and Donato Bramante all worked at different times. Inside, there are artworks by Luca Signorelli and Lorenzo Lotto, who died there in 1556.

Torre del Greco was once a thriving upmarket seaside
resort, as depicted in this late 19th century postcard

Travel tip:

Torre del Greco was once part of Magna Graecia – Great Greece – in the eighth and seventh centuries BC but its name is thought to originated in the 11th century AD when a Greek hermit was said to have occupied an eight-sided coastal watch tower called Turris Octava. From the 16th century it became popular with wealthy families and even Italian nobility, who built elaborate summer palaces there. The area is largely run down these days but in the 19th century and early 20th century Torre del Greco enjoyed its peak years as a resort to which wealthy Italians flocked, both to enjoy the sea air and as a point from which to scale Vesuvius via a funicular railway. A thriving café scene developed, and the art nouveau Gran Caffè Palumbo became famous across the country.  Since the 17th century it has been a major producer of coral jewellery.

More reading:

Why Carlo Goldoni is seen as the greatest Venetian dramatist

The story of the troubled Renaissance poet Torquato Tasso

How Domenico Cimarosa developed the model for comic opera

Also on this day:

1951: The birth of singer-songwriter Francesco De Gregori

1960: The birth of businesswoman Daniela Riccardi

1963: The birth of politician and journalist Irene Pivetti


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Bronzino – master of Mannerism

Florentine became Medici court painter

Bronzino's portrait of Eleonora of Toledo, wife
of Cosimo I de' Medici, with her son, Giovanni

The Mannerist painter Agnolo di Cosimo – better known as Il Bronzino or simply Bronzino – was born on this day in 1503, just outside Florence.

Bronzino is now recognised as the outstanding artist of what has become known as the second wave of Mannerism in the mid-16^th century.  His style bears strong influences of Jacopo Pontormo, who was an important figure in the first wave and of  whom Bronzino was a pupil as a young man in Florence.

The Mannerist movement began in around 1520, probably in Florence but possibly in Rome. In the evolution of art it followed the High Renaissance period.

Typical of Mannerist painters is their use of elongated forms and a style influenced by the attention to detail allied to restrained realism that was characteristic of the Renaissance masters Raphael, Michelangelo and Leonardo da Vinci.

Bronzino became best known for his portraits, which were detailed and stylishly sophisticated, in which the subjects were superbly realistic but also tended to wear stoical, rather haughty expressions.

He also paid particular attention to fabric and clothing, his works often notable for his recreation of textures. He often used strong colours - sometimes cold blues, at other times warm reds – and created effects that were almost like theatrical lighting.

Cosimo I de' Medici in armour, as portrayed by
Bronzino in 1545

He painted many religious works, in which the influence of Michelangelo could be seen in his use of dramatic body shapes, but his greatest contribution to the Mannerist period was his portraiture, particularly during his time in the Medici court, where his ability to give his subjects an air of elegant nobility made him very popular.

Born in Monticelli, then a small town just outside Florence but now essentially a neighbourhood of the Tuscan city, Bronzino became apprenticed to Pontorno in 1515, their relationship developing almost as that of father and son. Indeed, when plague swept the city in 1522, Pontorno took his pupil with him to stay in the relative seclusion of the Certosa di Galuzzo, a monastery.

When they returned, Pontorno’s trust in Bronzino – who is thought to have acquired his nickname mainly on account of a dark complexion, possibly due to a pigment disorder – was such that he enlisted his help in creating what is seen as his own masterpiece, the Deposition from the Cross, an altarpiece in the church of Santa Felicità in Florence, not far from the Ponte Vecchio, where they also worked together on a sidewall fresco, Annunciation.

Indeed, Bronzino became so adept as following his master’s methods that there has at times been fierce debate between experts over whether certain paintings were the work of Pontorno or his pupil.

Bronzino's Portrait of a Young Man, painted in
around 1540, is seen as one of his finest works

Bronzino left the city for a second time in 1530 when it came under siege from the armies of Spain and the Holy Roman Empire, who were seeking to overthrow the Florentine republic established in 1527 and restore the Medici family to power.

When he rejoined Pontorno in Florence some years later, he had revealed his talent for portraiture while in the employ of the Duke of Urbino and it was not long before he was appointed by the Medici court as official portraitist, a role he would keep until he died in 1572, at the age of 69.

Bronzino’s figures influenced portraiture in Europe for almost a century. His best-known works include portraits of the Grand Duke of Tuscany, Cosimo I de' Medici, and his wife, Eleonora, and other members of their court such as Bartolomeo Panciatichi and his wife Lucrezia.  He also painted idealized portraits of the poets Dante and Petrarch.

By the time of his death he had developed a relationship similar to that he had enjoyed with Pontorno with his own pupil, the late Mannerist painter Alessandro Allori.

The church of Santa Felicità in Florence

Travel tip:

The church of Santa Felicità is described as the oldest religious building in Florence, apart from the Basilica of San Lorenzo.  Although the current structure was built in 1739, it is thought that the first church on the site was probably built in the late fourth century.  As well as Pontorno’s painting, assisted by Bronzino, the church is famous for the fact that the Vasari Corridor, the enclosed passage built by the Medici to link the Palazzo Vecchio in Piazza della Signoria with the Medici’s family residence, the Palazzo Pitti, passes through the façade.

Piero della Francesco's Flagellation

Travel tip:

The town of Urbino in Le Marche has long been associated with art, most famously as the birthplace of Raffaello Sanzio – better known by the anglicised name, Raphael.  Its Galleria Nazionale delle Marche houses many fine works, including Raphael’s La Muta, several paintings by Titian and Paolo Uccello and Piero della Francesco’s Flagellation, measuring 59cm by 82cm and once described as ‘the greatest small painting in the world’.

Also on this day: 

1494 - the death of philosopher Giovanni Pico della Mirandola

1878 - Attempted Assassination of Umberto I

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