Francesco Borromini - architect

Rival of Bernini and Da Cortona was pioneer of Roman Baroque

The undulating facade of the church
of San Carlo alle Quattro Fontane

The architect Francesco Borromini, who was a pivotal figure alongside Gian Lorenzo Bernini and Pietro da Cortona in the development of the Roman Baroque style in the 17th century, was born on this day in 1599 in the village of Bissone, now in Switzerland but at that time part of the Duchy of Lombardy.

Borromini, who was born Francesco Castelli, gained widespread recognition for his innovative design of the small San Carlo alle Quattro Fontane church on the Quirinal Hill in Rome, which was his first independent commission and is regarded by some historians as one of the starting points for Italian Baroque.

His other major works include the church of Sant'Ivo alla Sapienza, which was part of Rome’s Sapienza University, the Re Magi Chapel, the Palazzo Spada and the church of Sant'Andrea delle Fratte.

As Francesco Castelli, he began his career as a stonemason, following in the footsteps of his father, Giovanni, who was in the service of the noble Visconti Borromeo family. He began his apprenticeship in the trade at just nine years old, moving to Milan even though he was still a boy. His father believed he would gain more practical experience there and it is thought he cut some of the stone used in the building of Milan Cathedral’s magnificent Gothic facade.

By 1619 he had moved to Rome, where he began working for Carlo Maderno, his uncle. He became involved in the construction of St. Peter's Basilica and the Palazzo Barberini. 

When Maderno died in 1629, he and Pietro da Cortona continued to work on the palace under the direction of Bernini. The smaller of two staircases flanking the main hall in the Palazzo was built to Castelli’s design. 

Borromini left his home to work in
Milan and then Rome while still a boy 

He decided to change his name to Borromini once he had become established in Rome. It is not known exactly why he chose to be Borromini, but it may have been because of his family’s connections with the Borromeo family, or because he had been in Milan when Carlo (Charles) Borromeo, the former Archbishop of Milan who had died in 1584, was made a saint. 

Borromini’s relationship with Da Cortona was stormy at times, while his tendency to be stubborn and easily angered led to clashes with Bernini, whom he is said to have resented for not passing on more of the huge commissions he was able to secure for his work, although some accounts say Bernini paid him handsomely. 

The two also had fundamental differences in their approach to design. Bernini, in line with convention, argued that the proportions of buildings should be derived from those of the body of man and woman, while Borromini based his buildings on geometric configurations. 

While working with Bernini at St Peter’s to execute Maderno's design for a monumental bronze canopy above the tomb of St Peter, Borromini began to seek patronage as an independent architect and set up on his own in 1633.

His first significant independent commission, in 1634, was for the church and monastery of San Carlo alle Quattro Fontane, built for the Spanish Trinitarians, at the corner of Via del Quirinale and Via delle Quattro Fontane in the centre of Rome. With its undulating facade, alternating between convex and concave curves, and an oval dome, the church served to announce the theatrical Baroque style that would become Borromini’s trademark.

Borromini's oval spiral staircase at
the Palazzo Barberini in Rome

Borromini’s works are generally characterised by their inventive use of geometry, dynamic forms, and the masterful manipulation of light and space, embracing bold curves and complex structures that have left a lasting impact on the world of architecture.

His use of light and space was particularly noteworthy in the characteristics of the church of Sant’Ivo alla Sapienza and of the Re Magi Chapel, while the Palazzo Spada is famous for its Galleria Prospettica - Perspective Gallery - which creates an optical illusion that makes a corridor appear much longer than it actually is.

His elegant juxtaposing of concave and convex curves can also be seen on the church of Sant’Agnese in Agone in Piazza Navona and the Oratorio dei Filippini, adjacent to the nearby Chiesa Nuova.

In the 1660s, Borromini’s fortunes declined. He was increasingly frustrated by the fame and success of his rival, Bernini, and succumbed to bouts of depression. He found relief by spending time in Lombardy, away from the sources of his irritation, but when he returned to Rome his melancholy also returned. 

Eventually, during one tormented, sleepless night in the summer of 1667 he took his own life, literally by falling on a sword he had propped up against the side of his bed, blade upright. In his testament, he requested that he be buried in the tomb of his teacher, Carlo Maderno, in San Giovanni dei Fiorentini.

He had added a condition that his name should not be on the tomb, which was observed until 1955, when the Swiss embassy in Rome commissioned a marble commemorative plaque to be placed on a pillar next to the tomb.

Bissone, Borromini's place of birth, occupies a
position on the shore of Lake Lugano

Travel tip:

Bissone, where Borromini was born, is a pretty village located on the shore of Lake Lugano, nowadays falling within the canton of Ticino in Switzerland. Part of the Lugano metropolitan area, it has a population of around 1,100. The village’s history dates back at least to the eighth century, when it appeared on maps as Blixuni and was home to a Lombard garrison. During the Middle Ages, at the site of today's Casa Tencalla, a castle was built. It occupied a strategic position and Bissone became the centre of the Ghibellines' resistance during the 12th century dispute between Milan and Como. Much later, following the French invasion in 1798 and the end of the Old Swiss Confederacy, it became a stronghold of supporters of the Cisalpine Republic. The local economy used to be based on fishing and the income generated by providing ferries across the lake, although that was ended by the construction of rail and road links. Nowadays, Bissone relies on tourism and the production of high-quality cheeses, wine, and chocolate. 

Rome's Palazzo Quirinale, which since 1946 has
been the official residence of Italy's President

Travel tip:

The Quirinale neighbourhood is located on one of Rome's seven hills. As well as being home to Borromini’s masterpiece, the church of San Carlo alle Quattro Fontane, the area also contains the Palazzo Quirinale, designed by Ottaviano Mascherino in the 16th century and since 1946 the official residence of the President of Italy, having previously been home to monarchs and popes. Just a short walk from the Palazzo Quirinale are the iconic Trevi Fountain, one of Rome's most famous landmarks, the ruins of the Baths of Constantine, the last great thermal complex built in imperial Rome, and the Piazza and Palazzo Barberini, built by Bernini and Maderno.  Also in the neighbourhood is Bernini’s church of Sant'Andrea al Quirinale, which is regarded as one of the most elegant examples of Baroque architecture in the city. 

Also on this day:

1733: The birth of biologist Agostino Bassi

1930: The birth of fashion designer Nino Cerruti

1955: The birth of singer-songwriter Zucchero

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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 Battista Gaulli – artist

Baroque painter decorated leading Jesuit church in Rome

Baroque painter Giovanni Battista Gaulli,
a self-portrait  painted in about 1667

Painter Giovanni Battista Gaulli, whose nickname was Baciccio, was born on this day in 1639 in Genoa.

He became a leading baroque painter whose work was influenced by the sculptor and architect Gian Lorenzo Bernini. He is most remembered for his beautiful frescoes in the Church of Gesù in Rome, which are considered a masterpiece of quadratura, or architectural illusionism.

Gaulli was born in Genoa and his parents died when he was just a teenager in an outbreak of plague in the city.

He was apprenticed with the painter Luciano Borzone but would also have been influenced by some of the foreign artists who were working in Genoa in the mid 17th century.

Peter Paul Rubens and Anthony van Dyck were in Genoa at the time but it is also said that Gaulli adopted the warm palette of Genoese artist Bernardo Strozzi.

Gaulli was introduced to Bernini, who recognised his talent and helped to promote him. In 1662 he was accepted into the Roman artists’ guild, the Accademia di San Luca.

The following year Gaulli received his first public commission, for an altarpiece in the Church of San Rocco in Rome.

Gaulli's masterpiece, the Triumph of the
Name of Jesus, in the Church of the Gesù

At the height of his popularity, Gaulli was also one of Rome’s most prestigious portrait painters.

But a visit to Parma in 1669, where he saw Correggio’s frescoed dome ceiling in the cathedral of Parma, had a profound influence on his style.

With the support of Bernini, the 22-year-old Gaulli was awarded the prestigious commission of decorating the interior of the large Jesuit church in Rome, the Church of the Gesù.

Gaulli decorated the entire dome, central vault, window recesses, and the ceilings of the transepts. He unveiled the main vault fresco on Christmas Eve 1679 and after this he continued the frescoing of the vaults of the tribune and other areas of the church. The work took him nearly 14 years.

Gaulli’s nave masterpiece, the Triumph of the Name of Jesus, is an allegory of the work of the Jesuits that envelops worshippers below into the whirlwind of devotion. It is one of the grandest baroque ceilings in Rome and the theatrical effect prompted art experts to label Gaulli as ‘a Bernini in paint’.

A series of ceilings like this were painted in the naves of other Roman churches until the beginning of the 18th century. But as the high baroque movement evolved into the rococo, the popularity of this style dwindled.

Gaulli also moved in the new direction, adopting less intense colours and more delicate compositions.

He had many pupils during his long career, who spoke of him as ‘generous, liberal of mind and charitable’.

Gaulli died in 1709 in Rome, at the age of 70.

The facade of the Palazzo Ducale (Doge's Palace) in Genoa.
one of the maritime city's architectural highlights

Travel tip:

Genoa, where Gaulli was born, is the capital city of Liguria and the sixth largest city in Italy. It has earned the nickname of La Superba because of its proud history as a major port. Part of the old town was inscribed on the World Heritage List in 2006 because of the wealth of beautiful 16th century palaces there.   Genoa has a rich history as a powerful trading centre with considerable wealth built on its shipyards and steelworks, but also boasts many fine buildings, many of which have been restored to their original splendour.  The Doge's Palace, the 16th century Royal Palace and the Romanesque-Renaissance style San Lorenzo Cathedral are just three examples. 

The baroque facade of the Church of the Gesù,
which Michelangelo offered to design for free

Travel tip:

The Church of the Gesù, which was built between 1568 and 1584 was the first Jesuit church in Rome and its design has been much imitated throughout the Catholic world.  Located in the Piazza del Gesù, it has the first truly baroque façade, which introduced the style into architecture. Gaulli’s ceiling fresco is considered the most striking feature of the interior decoration.  Although Michelangelo offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, and the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta.

Also on this day:

1587: The birth of Victor Amadeus I of Savoy

1898: Genoa become the first football champions of Italy

1960: The birth of AC Milan and Italy icon Franco Baresi


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Antonio Barberini – Cardinal

Pope’s nephew amassed fortune and became patron of the arts

Carlo Maratta's portrait of Antonio
Barberini as an older man

Catholic cardinal, military leader and patron of the arts Antonio Barberini was born on this day in 1607 in Rome.

As one of the cardinal-nephews of Pope Urban VIII he helped to shape the politics, religion, art and music of 17th century Italy and took part in many papal conclaves.

He is sometimes referred to as Antonio the Younger, or Antonio Barberini Iuniore, to distinguish him from his uncle, Antonio Marcello Barberini.

Antonio was the youngest of six children born to Carlo Barberini and Costanza Magalotti. Like his brothers, he was educated at the Collegio Romano.  His brother, Francesco Barberini, became Grand Inquisitor of the Roman Inquisition

His uncle, Maffeo Barberini, was elected as Pope the day after Antonio’s 16th birthday and became Pope Urban VIII.

Urban VIII was notorious for nepotism and he appointed Antonio as a cardinal just after his 20th birthday.  Nepotism was commonplace among popes from the Middle Ages up to the 17th century. The word derives from the Latin nepos (Italian: nipote), meaning nephew, to describe the practice among popes, who had taken vows of chastity and therefore could have no legitimate children, of appointing nephews to key positions.

Antonio was made papal legate in Avignon, where he forged some powerful connections. In 1636 he accepted the post of Crown-Cardinal-Protector of the Kingdom of France.

Barberini in a portait dated at around 1725,
when he would have been 18 years old

It has been estimated that Antonio accumulated more than 63 million scudi in personal wealth during the 21-year pontificate of Urban VIII.

Antonio and his brother, Taddeo, led the Pope’s forces to occupy Castro after Urban VIII started a feud with the Farnese family. But their victory over the Farnese was short lived and they suffered a series of losses during which Antonio himself was nearly captured.

The Pope was forced to sign a peace treaty with the Farnese to prevent them from marching on Rome.

After Innocent X was elected as Pope, Antonio and Taddeo were accused of financial abuses and had to go into exile in Paris under the protection of Antonio’s supporter, Cardinal Mazarin.

The next Pope, Alexander VII, made Antonio the Cardinal Bishop of Frascati and Louis XIV of France made him the Archbishop of Rheims.

Antonio had a number of mistresses, including one he is said to have had whipped for flaunting herself during Carnevale and another who died mysteriously while carrying his child. There were also allegations that he had homosexual relationships, in particular with the castrato singer Marc'Antonio Pasqualini. But in later life he changed his lifestyle and became deeply religious.

Bernini's monument to Barberini in the
church of San Giovanni dei Fiorentini

He was patron to many composers, musicians, architects and artists. The composer Marco Marazzoli wrote music for him and dedicated his Fiori Musicali to Antonio in 1635.

Antonio commissioned Gian Lorenzo Bernini to design the Palazzo del Propaganda Fide in Rome, but while Antonio was in exile, Bernini was replaced by Francesco Borromini, who had Bernini’s chapel demolished and replaced it with one built to his own design. Antonio and his brothers also commissioned the Teatro delle Quattro Fontane, an opera house built in 1632 near Piazza Barberini.

Antonio was a great admirer of Caravaggio, who died when he was just three years old. His extensive art collection contained many paintings by Caravaggio. He also commissioned Lorenzo Ottoni to complete a number of Barberini family sculptures for him.

Antonio died at Nemi near Rome in 1671, two days before his 64th birthday. There is a monument to him by Bernini in the church of San Giovanni dei Fiorentini in Rome.

An 18th century engraving of the Palazzo di Propaganda
Fide in Rome by Giuseppe Vasi

Travel tip:

Palazzo di Propaganda Fide, commissioned by Antonio Barberini, is at the southern end of Piazza di Spagna in Rome close to the Basilica Sant’Andrea delle Fratte. The main façade was designed by Bernini, but the side looking out on to Via di Propaganda was designed by Borromini. The chapel of the Biblical Magi was built by Borromini. One of the most famous examples of Italian baroque architecture, the palace was built to house the Congregation for the Evangelisation of Peoples and since 1929 it has been an extraterritorial property of the Holy See.

Corso Vittorio Emanuele is one of the
main streets in Nemi

Travel tip:

Nemi, the town where Antonio Barberini died, is in the Alban Hills overlooking Lake Nemi, a volcanic crater lake. It is about 30km (19 miles) southeast of Rome. The Roman emperor Caligula built several large barges for use on the lake. They were rediscovered during the Renaissance period but attempts to raise them from the bottom of the lake proved unsuccessful. Mussolini ordered them to be salvaged in 1929 but most of them were destroyed by fire in 1944, either deliberately by the retreating German army, or accidentally by squatters who had taken refuge in the building that housed them. The surviving remnants and replicas of Caligula’s barges can be seen in the Museo Nazionale at the Palazzo Massimo in Rome. Nemi is also famous for the wild strawberries that grow on the side of the volcanic crater in ideal conditions that make them taste sweet.

More reading:

Why Grand Inquisitor Francesco Barberini refused to condemn Galileo as a heretic

The genius of Gian Lorenzo Bernini

How Pope Urban VIII's extravagance ended in disgrace

Also on this day:

1623: The birth of composer Marc'Antonio Cesti

1953: The birth of magistrate Felice Casson, who exposed secretive Operation Gladio

2002: The death of thriller writer Franco Lucentini


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Ernesto Basile - architect

Pioneer of Stile Liberty - the Italian twist on Art Nouveau

The rear facade of the Palazzo Monteciterio, which was
almost completely rebuilt by Ernesto Basile

The architect Ernesto Basile, who would become known for his imaginative fusion of ancient, medieval and modern architectural elements and as a pioneer of Art Nouveau in Italy, was born on this day in 1857 in Palermo.

His most impressive work was done in Rome, where he won a commission to rebuild almost completely the Palazzo Montecitorio, the home of the Chamber of Deputies of the Italian parliament.

Yet his most wide-ranging impact was in Sicily, where he followed in the footsteps of his father, Giovan Battista Filippo Basile, in experimenting with the Art Nouveau style.

Basile senior designed the Villa Favaloro, in Piazza Virgilio off Via Dante, and with Ernesto and others, notably Vincenzo Alagna, taking up the mantle, it was not long before entire districts of the city were dominated by Stile Liberty, the Italianate version of the Art Nouveau that took its name from the Liberty and Co store in London's Regent Street, which sold ornaments, fabric and objets d'art to a refined clientele and encouraged modern designers.

Ernesto Basile was a pioneer
of Art Nouveau style

Fine examples of Ernesto Basile’s architecture in Palermo include the Villino Florio (1899–1902) in Viale Regina Margherita, which is open to the public, the Hotel Villa Igiea (1899–1901) on the waterfront and the Casa Utveggio on Via XX Settembre.

He also completed the construction of the city’s great opera house, the Renaissance-style Teatro Massimo, which had been started by his father in 1874 and was finally completed in 1897, its progress interrupted by an eight-year hiatus after a dispute over funding.  Allegations of fraud were levelled at Basile senior and he was to have been replaced with another architect until a public outcry forced his reinstatement. In the event he died soon after work restarted and the final six years were overseen by Ernesto.

Taught initially by his father, who was a professor at the University of Palermo, Ernesto graduated from the Royal School of Engineering and Architecture and soon afterwards moved to Rome.

His work on the Palazzo Montecitorio came about after he took part in a competition held by Francesco Crispi, the President of the Chamber of Deputies, to find an architect to supervise the reconstruction of the palace, designed by Gian Lorenzo Bernini with later input from Carlo Fontana, which had been seized by the new Italian government in 1870 but had fallen into serious disrepair.

Ernesto Basile's stylish Villino Florio is one of many
examples of Stile Liberty in the city of Palermo

Basile demolished the wings and rear of the palace so that Bernini’s facade was virtually all that remained, building a new structure dominated by four red-brick towers at the corners. Basile also added the Transatlantico, the long and impressive salon which surrounds the grand debating chamber, which is also Basile’s design.

The project, in which Basile fused the Roman classical and Baroque elements of the building with Art Nouveau, is seen as one of the most important milestones for early modernism in Italian architecture.

Basile’s other notable works in a prolific career include the building for the National Exhibition of Palermo in 1892, the Teatro Sociale in Canicattì in the Sicilian province of Agrigento, the Palazzo Bruno di Belmonte in Ispica in the province of Ragusa in the southeast of the island and the Palazzo San Giorgio in Reggio Calabria.

In 1890 he succeeded his father as a professor of architecture at the University of Palermo. He died in the city in August 1932.

The extravagant Liberty-style Antico Stabilimento Balneare
di Mondello is a reminder of the resort's golden age

Travel tip:

Two particular areas of Palermo and the surroundings are dominated by Stile Liberty buildings. One is Via Libertà and the streets running off it between Politeama and the Giardino Inglese; another is Mondello, the seaside town just outside the city created from an area of former marshland, where the promenade retains many Art Nouveau villas built for the well-to-do of Palermo around the turn of the century, some designed by Ernesto Basile. Right in the water itself, built on stilts with a bridge linking it to the promenade, is the extraordinary Antico Stabilimento Balneare di Mondello, the extravagant Stile Liberty bathing platform built by Rudolf Stualker.

Hotels in Mondello from TripAdvisor.co.uk

Ernesto Basile's father designed Palermo's impressive Teatro
Massimo before his son completed the project

Travel tip:

The Teatro Massimo is the largest opera house in Italy and the third biggest in Europe after the Opéra National de Paris and the K. K. Hof-Opernhaus in Vienna. It was originally designed with an auditorium for 3,000 people, although today there is a limit of 1,350.  There are also seven tiers of boxes. Enrico Caruso sang in a performance of La Gioconda during the opening season, returning to perform in Rigoletto at the end of his career. The theatre was closed for renovation for more than 20 years but reopened in 1997. The final scenes of the third part of The Godfather Trilogy, based in Puzo's novel, were filmed there.



More reading:

Gian Lorenzo Bernini - Italy's last universal genius

Ulisse Stacchini, the architect behind two major Milan landmarks

The groundbreaking designs of Paolo Soleri

Also on this day:

1788: The death in Rome of British royal pretender Charles Edward Stuart

1888: The death of Saint Don Bosco

1933: The birth of Mafia boss Bernardo Provenzano

(Picture credits: Palazzo Monteciterio by Mac9; Villino Florio by GiuseppeT; Mondello Balneare by Berthold_Werner; Teatro Massimo by Bjs; all via Creative Commons)


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The 1693 Sicily earthquake

Devastation that led to architectural rebirth

An engraving dated at 1696 is thought to depict ruined
buildings in Catania after the 1693 earthquake

A huge earthquake destroyed or severely damaged scores of towns and cities in Sicily on this day in 1693, killing more than 60,000 people.

Records say the tremor struck at around 9pm local time and lasted about four minutes.  It was mainly confined to the southeast corner of the island, with damage also reported in Calabria on the Italian mainland and even on Malta, 190km (118 miles) away.

Although it is an estimate rather than a verifiable figure, the earthquake has been given a recorded magnitude of 7.4, which makes it the most powerful in Italian history, although in terms of casualties it was eclipsed by the earthquake that destroyed much of Messina and Reggio Calabria in 1908, with perhaps up to 200,000 killed.

By another measure, the Mercalli intensity scale, it was awarded a score of XI, the maximum.  The Mercalli scale, devised in 1902, judges a quake’s severity by the intensity of shaking. The XI rating given to the 1693 event may well reflect accounts such as that offered by Vincentius Bonajutus, published in the Philosophical Transactions of the Royal Society, who wrote that "It was in this country impossible to keep upon our legs, or in one place on the dancing Earth; nay, those that lay along on the ground, were tossed from side to side, as if on a rolling billow."

The Palazzo Ducezia, designed by Vincenzo Sinatra, is one
of the Sicilian Baroque palaces in the rebuilt city of Noto

At least 70 towns and cities - including Catania, Syracuse (Siracusa), Noto and Acireale - were either very badly damaged or destroyed, with an area of 5,600 sq km (2,200 sq mi) affected.

Locally recorded counts of the dead indicate that there were probably more than 60,000 people killed. Around 12,000 of those - two thirds of the city’s population - were in Catania alone.

More damage and deaths occurred before the main earthquake in a powerful foreshock on January 9, itself with an estimated magnitude of 6.2, and as a result of tsunamis that devastated the coastal villages on the Ionian Sea and in the Straits of Messina.

The exact position of the epicentre remains unknown, although it was probably close to the coast, or slightly offshore, between Catania and Syracuse.  The tsunamis that followed affected some but not all coastal settlements. One place that did suffer was the port of Augusta, north of Syracuse, where the harbour was left drained when the sea receded, only to be swamped by waves of up to eight metres (26ft) high as the waters surged back.

Stefano Ittar's facade of the Basilica
della Collegiata in Catania

It may seem perverse to talk of good coming from such a catastrophic natural disaster that claimed so many lives, but it is an inescapable fact that had it not been for the 1693 earthquake, much of the wonderful architecture that makes the cities of southeast Sicily so attractive today might not exist.

That it does is thanks to the extravagantly wealthy aristocracy that controlled the purse strings on the island, which was then part of the Spanish empire.

After concentrating initially on restoring military defences around the strategically important Syracuse, Augusta, Catania and Acireale, the island’s government began drawing up of plans for the reconstruction of towns and cities.

Some, such as Catania, would be rebuilt to new plans on their existing sites, others such as Syracuse and Ragusa rebuilt following existing layouts, and others moved to new sites and built from scratch, as was the case with Noto and Avola.

In all cases, dozens of local architects were given palaces and churches to build.  Many had trained under the great Baroque architects in Rome and this was their opportunity, with money apparently no object, to recreate the sophisticated Baroque architecture that had become popular in mainland Italy, but had not really reached Sicily.

On such architect was Vincenzo Sinatra, a pupil of Rosario Gagliardi, who had been influenced by Gian Lorenzo Bernini’s work in Rome.  Sinatra was responsible for many of the new buildings in the new city of Noto, including the churches of Monte Vergine and San Giovanni Battista, the Basilica di Santa Maria Maggiore and its Loggiato, and the splendid Palazzo Ducezio (now the town hall).

Their work inspired more local architects to follow suit and between 1730 and 1780 the style that became known as Sicilian Baroque, characterised by typically Baroque curves and flourishes, but often with the addition of grinning masks or chubby cherubs, was at its peak, reflecting the flamboyance of the era.

Although the fashion for neoclassicism changed the thinking of architects on the island towards the end of the 18th century, it is Sicilian Baroque that gives Sicily much of its architectural character even today.

Other notable Sicilian Baroque architects include Andrea Giganti, Guarino Guarini, Stefano Ittar, Andrea Palma and Giovanni Battista Vaccarini.

The facade of the cathedral at Syracuse, which was
rebuilt by Andrea Palma in Baroque style

Travel tip:

As well as its Sicilian Baroque buildings, concentrated on the island of Ortygia, the historic centre linked to the modern city of Syracuse by the Ponte Umbertino, Syracuse is known for its ancient ruins. The Parco Archeologico Neapolis, situated within the city, comprises the Roman Amphitheater, the Teatro Greco and the Orecchio di Dionisio, a limestone cave shaped like a human ear. The Museo Archeologico Regionale Paolo Orsi, meanwhile, exhibits terracotta artifacts, Roman portraits and Old Testament scenes carved into white marble.  Syracuse as a city is listed by UNESCO as a World Heritage Site.

The city of Ragusa occupies a spectacular setting
on a rugged hillside in southeastern Sicily

Travel tip:

Ragusa, the principal city of the province of the same name, which also suffered much damage in the earthquake, is one of Sicily’s most picturesque cities. Set in same rugged landscape with a mix of medieval and Baroque architecture. The older part of the city, the spectacular Ragusa Ibla, is the town that was built on the site of the settlement destroyed in the quake, and is home to the grand Duomo di San Giorgio and the Giardino Ibleo, a public park with churches and fountains that offers stunning views.  Ragusa Ibla may seem familiar to viewers of the TV detective series Inspector Montalbano as the dramatic hillside city in the title sequence. The city streets also feature regular in location filming for the series, based on the books of Andrea Camilleri.



More reading:

How Giovanni Battista Vaccarini left his mark on Catania

The genius of Gian Lorenzo Bernini

Why the Messina earthquake of 1908 is the worst in Italian history

Also on this day:

1944: Mussolini has his son-in-law, Galeazzo Ciano, shot dead by a firing squad

1975: The birth of Matteo Renzi, Italy's youngest PM

1980: The birth of the Giannini sextuplets


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Giovanni Battista Falda - engraver

Printmaker who found market among Grand Tourists

An engraving by Giovanni Battista Falda of Gian Lorenzo
Bernini's tour de force, the Piazza San Pietro in Rome 

The engraver and printmaker Giovanni Battista Falda, who turned his artistic talent into commercial success as 17th century Rome welcomed the first waves of Europe’s Grand Tourists, was born on this day in 1643 in Valduggia in Piedmont.

Falda created engravings depicting the great buildings, gardens and fountains of Rome, as well as maps and representations of ceremonial events, which soon became popular with visitors keen to take back pictorial souvenirs of their stay, to remind them of what they had seen and to show their friends.

He took commissions to make illustrations of favourite views and of specific buildings and squares, and because the early Grand Tourists were mainly young men from wealthy families in Britain and other parts of Europe he was able to charge premium prices.

Giovanni Battista Falda's depiction of the church of Santa
Maria della Rotonda, popularly known as the Pantheon

Falda showed artistic talent at an early age and was apprenticed to the painter Francesco Ferrari as a child, before moving to Rome when he was 14 to be mentored by Gian Lorenzo Bernini, the sculptor and architect who had such a huge influence on the look of Rome.

His early draughtsmanship caught the eye of the printmaker and publisher Giovan Giacomo De Rossi, who took Falda on as an apprentice at his print shop.

The De Rossi family were the principal publishers of prints in Rome during the 17th century, and almost all of Falda’s work was published by them.

Falda was taught all the technical skills of engraving and etching, while also perfecting his own style of drawing, which was focused on realistic representation of his subjects.

A section of Falda's incredibly detailed map of Rome

He made the acquaintance of emerging figures of the Roman art world, such as Francesco Borromini and Pietro da Cortona, and when he finished his training at the age of 20 began a career as a printmaker.

His specialisation was the urban landscape of Rome, and he is best known for his vedute - views - of architecture throughout the city, especially the renovation projects backed by Pope Alexander VII. In 1665, the De Rossi printshop published a book of prints by Falda depicting views of the construction and restoration projects sponsored by the Pope.

Gardens and fountains interested Falda in particular. Two of his most famous series collected in book form are Giardini di Roma (1670) and Fontane di Roma (1675).

An illustration from the collection of garden views created
by Giovanni Battista Falda, entitled Giardini di Roma

Falda was a significant influence on the work of later Roman printmakers, such as Giovanni Francesco Ventunni, Alessandro Specchi, and Giuseppe Vasi.

With more than 300 architectural views attributed to him, Falda also had much to do with Rome’s renown in the 17th century for the veduta as a genre and helped change the perception of the city, shifting the focus away from its ancient history and underlining its new status as a modern, progressive and expanding metropolis.

In 1676, he produced a 12-sheet map of Rome depicting the city in minute detail at the height of its Baroque splendor.

The first of the Grand Tourists, who arrived in Rome in the mid-17th century, bought so much of Falda’s work that he soon grew prosperous, although he did not live long to enjoy his wealth. He passed away at the age of just 34 in 1678.

Today, his works are still collectible. When they come up at auction, they usually sell for between £2,500 and £3,500 (€2,800 - €3,900), although some have realised up to £20,000 (€22,500).

Gian Lorenzo Bernini's Fontana dei Quattro Fiumi in
Rome's historic Piazza Navona

Travel tip:

Gian Lorenzo Bernini, who was born in 1598 and lived for more than 81 years, is the architect and sculptor behind many of Rome’s most famous landmarks, particular the fountains that Giovanni Battista Falda depicted with such success in his engravings. The Fontana della Barcaccia in Piazza di Spagna, the Fontana del Tritone in Piazza Barberini, and the Fontana dei Quattro Fiumi and Fontana del Moro in Piazza Navona are all by Bernini, although he is more famous even for his work at St Peter’s Basilica, which included numerous beautiful sculptures within the church and the architectural masterpiece that is Piazza San Pietro - St Peter’s Square - with its majestic sweep of statue-topped colonnades.

The Isola San Giulio in the middle of the beautiful Lago
di Orta in Piedmont, not far from where Falda was born

Travel tip:

Valduggia, the small town in northern Piedmont where Falda was born, is just 15km (9 miles) from Lago di Orta, a smaller and less well known lake than Maggiore, Como, Garda and Iseo, yet one that is no less beautiful and has the benefit of being less crowded than its more high-profile neighbours. The small town of Orta San Giulio, at the south-eastern edge of the lake, is the most important town on the shores of Lake Orta, boasting an attractive historical centre with narrow cobbled streets and many bars and ice cream shops.  Boats leave the harbour to cross to Isola San Giulio, the charming island in the centre of the lake where visitors can find the ruins of a 12th century basilica and follow a path that follows the circumference of the island.


More reading:

Gian Lorenzo Bernini - the greatest sculptor of the 17th century

How Pietro da Cortona became the leading Baroque painter of his time

Visentini engravings took Venice to the wider world

Also on this day:

The Feast of St Ambrose in Milan

1302: The birth of Milanese ruler Azzione Visconti

1598: The birth of Gian Lorenzo Bernini


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Francesco Barberini – Cardinal

Patron of the arts sympathised with Galileo

Francesco Barberini knew Galileo from his
days as a student at the University of Pisa

Francesco Barberini, a cardinal who as Grand Inquisitor of the Roman Inquisition refused to condemn the scientist Galileo Galilei as a heretic, was born on this day in 1597 in Florence.

As a cardinal working within the Vatican administration, Barberini also became an important patron of literature and the arts.

The son of Carlo Barberini and Costanza Magalotti, Francesco was assisted by Galileo during his studies at the University of Pisa. The scientist was also a family friend. Francesco graduated in canon and civil law at the age of 25 in 1623.

Later that year, his uncle, Maffeo Barberini, who had been recently elected as Pope Urban VIII, made him a cardinal and sent him to be papal legate to Avignon.

He was sent to Paris as a special legate to negotiate with Cardinal Richelieu and then to Spain as a papal legate, but both his missions were unsuccessful.

From 1628 onwards Barberini led the foreign diplomacy of the Papal States, always favouring France.

Galileo subscribed to the view that the Earth
was not the centre of the universe

From 1633 until his death more than 40 years later, Barberini was the Grand Inquisitor of the Roman Inquisition. He was part of the Inquisition tribunal investigating Galileo after the publication of writings supporting the arguments put forward by the German scientist Nicolaus Copernicus that the sun and not the earth was the centre of the universe.

He was one of three members of the tribunal who refused to condemn the scientist, although the majority verdict was that Galileo was "vehemently suspect of heresy" and he was sentenced him to indefinite imprisonment, later commuted to house arrest, where he remained until his death in 1642.

The Barberini family fortunes declined after hostilities between the papacy and the Duchy of Parma and Piacenza led to the First War of Castro in which the papacy did badly. Peace was concluded only a few months before the death of Urban VIII.

Once it became clear that the Barberini candidate for the papacy was not going to be elected. Francesco and his brother, Antonio, switched their support to Giovanni Battista Pamphili.

Gian Lorenzo Bernini's bust of  Barberini,
 in the National Gallery of Art in Washington

But after Pamphili became Pope Innocent X, he launched an investigation into their handling of the finances during the War of Castro, forcing the Barberini brothers to flee to Paris.

Two years later, Francesco Barberini was pardoned, his properties were restored to him and he was able to continue as a patron of the arts.

He was a member of various literary associations and secured altarpiece commissions for St Peter’s from prominent artists, such as Pietro da Cortona and the French Baroque painter, Poussin.

Barberini bought several paintings by Poussin for himself during the artist’s early years living in Rome.

In 1625 he had acquired the former Sforza palace and, after buying further land, he engaged the architect, Carlo Maderno, to transform it into a much larger and grander building, which eventually became Palazzo Barberini.

Francesco Barberini died in Rome in 1679 at the age of 82.

The Palazzo alla Giornata on the Arno embankment is
one of the main buildings of the University of Pisa

Travel tip:

The University of Pisa, where Galileo taught and Francesco Barberini studied, was founded in 1343 making it the 10th oldest in Italy and it houses Europe’s oldest academic botanical garden. The main University buildings are in and around Lungarno Antonio Pacinotti, overlooking the River Arno, a short walk from the city’s famous Leaning Tower.

The Palazzo Barberini was Barberini's home in the
centre of Rome, just off Piazza Barberini

Travel tip:

Palazzo Barberini is just off Piazza Barberini in the centre of Rome. It was completed in 1633 as a home for Francesco Barberini and was the work of three great architects, Carlo Maderno, Francesco Borromini and Gian Lorenzo Bernini. The palace now houses part of the collection of Italy’s National Gallery of Ancient Art.

More reading:

Galileo Galilei convicted of heresy

How Carlo Maderno created the facade of St Peter's  

Pope Innocent X and revenge for Castro

Also on this day:

1943: Mussolini proclaims the puppet republic of Salò

1956: The birth of World Cup hero Paolo Rossi


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