Giuseppe Moretti - sculptor

Sienese artist who became famous in the United States

Giuseppe Moretti

The sculptor Giuseppe Moretti, who became well known in the United States as a prolific creator of public monuments, was born on this day in 1857 in Siena.

Moretti's favourite medium was marble and he considered his Head of Christ, which he carved from a block of Alabama marble in 1903, to be his greatest work.

The creation which earned him most fame, however, was the 56-foot (17.07m) statue of Vulcan, the Roman god of fire and metalworking, which he made for the 1904 World's Fair in St Louis, Missouri on behalf of the city of Birmingham, Alabama as a symbol of its heritage in the iron and steel industry.

Moretti made the statue in clay in New Jersey before overseeing its casting in iron in Birmingham.  Vulcan, the largest cast iron statue in the world, was relocated to Alabama State Fairgrounds after the St Louis Exposition before being moved again to the top of Red Mountain, the ridge overlooking Birmingham, which it shares with a number of radio and television transmission towers.

Moretti's enormous statue of Vulcan on
Red Mountain, overlooking Birmingham

Although he spent much of his life away from Italy, it was in his homeland that Moretti developed his love for art and sculpture.  The nephew of Vincenzo Cardinal Moretti, a patron of the arts, he began sculpting at the age of nine with Tito Serrochi, who had a studio Siena.

Aware that Florence was the cradle of Italian art, the young Moretti apparently set off on foot one day, following the road sign that pointed towards the Tuscan capital, unaware that it was more than 60km (37 miles) away.  He was taken home by a neighbour.  A few years later, he reached his intended destination by gaining a place at the Academy of Fine Arts in Florence.

Always prepared to move in search of work, Moretti relocated to Carrara to work with marble before accepting an invitation to work in Croatia, where he might have stayed but for a devastating earthquake in Zagreb.  Instead, he moved on to Vienna and then Budapest before taking the bold decision in 1888 to emigrate to the United States.

He set up a studio in New York in partnership with the Austrian-American sculptor Karl Bitter, operating from a town house in Manhattan.  The architect Richard Morris Hunt hired him for commissions for wealthy clients in Newport, Rhode Island, including William K and Alva Vanderbilt.

The house in Manhattan's East Village that
Moretti shared with fellow sculptor Karl Bitter

A keen opera fan and an amateur singer himself, it was around this time that he joined the Liederkranz music club in New York, where he met and became friends with the great tenor, Enrico Caruso.

Work took him next to Pittsburgh in Pennsylvania, where he took regular commissions over a 28-year period, beginning with a series of works in the city's Schenley Park.

His popularity in Pittsburgh brought him wide attention and the commission to create Birmingham's Vulcan followed shortly afterwards.

While overseeing the casting, Moretti visited the marble quarries around Sylacauga and discovered that Alabama marble was of outstanding quality, good enough to rival the Carrara marble that was imported to the United States in large quantities each year. He hauled a block of the gleaming white stone back to his studio in Birmingham and carved The Head of Christ, a work that he carried with him to every place that he lived for the rest of his life. It is now on display at the Alabama Department of Archives and History.

Although he was a brilliant sculptor, Moretti was a poor businessman, in that most of his ventures ended badly and cost him money.

Giuseppe Moretti felt his Head of Christ in Alabama marble
was his finest piece of work

Ultimately, it became clear that the only way he would make money was from the fees he earned from individual commissions.  So he abandoned his ambitions to own marble quarries and focussed again on sculpting.

This explains why he was so prolific. In all, he completed 12 First World War memorials, 19 monumental works, six church sculptures, 24 memorial tablets, 14 cemetery memorials, 27 sculptures in marble, bronze, and aluminum, and 27 bronze statuettes.

There are at least 17 Moretti works in Pittsburgh's east end. Moretti's notable work in Pittsburgh includes two imposing entrances to Highland Park and four bronze Panthers erected on Panther Hollow Bridge.

In 1905, Moretti married Dorothea Long, a member of an aristocratic Boston family, in her hometown of Brookline, Massachusetts. Two years later, he encountered the work of Geneva Mercer, a student, whom he took on as an apprentice and then his assistant.

He decided to travel again and in 1909, with Dorothea and Geneva, left Alabama. During the next 13 years they lived in New York City, Florence, Havana and Pittsburgh.  One of his great achievements during this period was to complete, with Mercer's help, 97 sculptures for the Gran Teatro de la Habana in Cuba.

When he suffered another business failure in 1925, and with his health beginning to fail, Moretti decided to return to Italy, settling in a large villa and studio in Sanremo, where he died in February 1935.

The Torre del Mangia towers over Siena's Piazza del Campo

Travel tip:

Siena is best known for the twice-yearly Palio, the horse race between the city's rival contrade (parishes) that takes place in the city's expansive Piazza del Campo, but there are many other good reasons to visit.  Among them, dominating the piazza, is the 800-year old castellated Palazzo Pubblico, which contains frescoes by Ambrogio Lorenzetti, Simone Martini and Duccio, and the adjoining Torre del Mangia, at 88m (289 feet) high the third tallest tower in Italy.  Visitors wanting to enjoy the stunning view from the top need patience and stamina.  A restriction on 25 people inside the tower at any one time can mean a lengthy queue in high season, followed by a 300-step climb.

Travel tip:

The Academy of Fine Arts in Florence can be found in Via Ricasoli, next door to the Galleria dell'Accamedia, which houses Michelangelo's original David. An instructional art academy, it was founded by Cosimo I de' Medici in 1563, under the influence of the artist and historian Giorgio Vasari. It was both a guild for working artists and a body of established artists responsible for supervising artistic production in the area.  Members have included Vasari, Michelangelo, Lazzaro Donati, Francesco da Sangallo, Agnolo Bronzino, Benvenuto Cellini, Bartolomeo Ammannati, and Giambologna.

More reading:

How Giorgio Vasari wrote the world's first history of art

Giacomo Manzù - the son of a shoemaker who taught himself to sculpt

The genius of Antonio Canova almost brought marble to life

Also on this day:

1757: The birth of eye surgeon Giuseppe Forlenza



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Lodovico Giustini – composer

Church organist who wrote the first music for piano

Lodovico Giustini

Lodovico Giustini, composer and keyboard player, was born on this day in 1685 in Pistoia in Tuscany.

Giustini is the first composer known to write music for the piano and his compositions are considered to be late Baroque and early Classical in style.

Giustini was born in the same year as Bach, Scarlatti and Handel. His father, Francesco Giustini, was a church organist, his uncle, Domenico Giustini, was a composer of sacred music and his great uncle, Francesco Giustini, sang in the Cathedral choir for 50 years.

After the death of his father in 1725, Giustini took his place as organist at the Congregazione dello Spirito Santo in Pistoia, where he began to compose sacred music, mostly cantatas and oratorios.

In 1728 he collaborated with Giovanni Carlo Maria Clari on a set of Lamentations, which were performed later that year.

The dome of the Basilica of Santa Maria dell'Umiltà in Pistoia

In 1734 he was hired as the organist at the Basilica of Santa Maria dell’Umiltà in  Pistoia. He was to hold this position for the rest of his life. In addition to playing the organ he also gave performances on the harpsichord, often playing his own music.

Giustini is mainly remembered for his collection of 12 Sonate da cimbalo di piano e forte detto volgarmente di martelletti, 12 sonatas written for the piano.

These were composed by Giustini specifically for the hammered harpsichord, or fortepiano, which had been invented by Bartolomeo Cristofori in around 1700.

The sonatas were published in Florence in 1732 and are dedicated to the younger brother of the King of Portugal, probably because the Portuguese court was one of the few places where the early piano was being regularly played.

They were written for the church and have alternating fast and slow sections. They predate all other music specifically written for the piano by about 30 years.

The 1720 Cristofori piano, the oldest surviving,  at the
 Metropolitan  Museum of Art in New York

Giustini uses all the capabilities of the piano in his music, effects that were not available on other keyboard instruments at the time. They are typical of pieces written during the transition from the late Baroque to the early Classical period.

It is considered surprising by some music experts that the sonatas were ever published at all as, at the time they were composed, there were only a few pianos in existence and these were owned mainly by royalty.

The oldest surviving Cristofori piano is a 1720 model, which is in the Metropolitan Museum of Art in New York.

Giustini died in 1743 and since then most of his sacred music has been lost, but his published piano sonatas have kept his memory alive and are well worth hearing.

Travel tip:

Pistoia, where Lodovico Giustini was born and worked as an organist, is a pretty medieval walled city in Tuscany to the north west of Florence. The city developed a reputation for intrigue in the 13th century and assassinations in the narrow alleyways were common, using a tiny dagger called the pistole, made by the city’s ironworkers, who also specialised in manufacturing surgical instruments.

Fresco of the Madonna at the Basilica
della Madonna dell'Umiltà

Travel tip:

The Basilica della Madonna dell’Umiltà, where Lodovico Giustini played the organ in the 18th century, is in Via della Madonna in Pistoia. It was built to replace an ancient church after a miracle involving a 14th century fresco of the Madonna. According to legend, in 1490 in the middle of a period of fighting between the local power factions, people noticed blood dripping from the forehead of the Madonna in the fresco, which was interpreted as a sign that the Virgin Mary was suffering because of the bloodshed in the region at the time. Important local families got together to build a new Basilica to house the Madonna fresco. The octagonal church was designed by architect Ventura Vitoni. A heavy dome was added to the Basilica in 1560, designed by architect Giorgio Vasari.

More reading:

How Bartolomeo Cristofori adapted a harpsichord to create the first piano

Alessandro Scarlatti - a prolific composer ahead of his time

How Giovanni Gabrieli inspired the spread of Baroque style

Also on this day:

1901: Guglielmo Marconi receives the first transatlantic radio signal

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Florence's catastrophic floods

Tuscan capital devastated on same day six centuries apart

Plaques on the Via San Remigio in
Florence mark the level of both floods

More than 3,000 people were believed to have been killed when the River Arno flooded the streets of Florence on this day in 1333.

More than six centuries later, 101 people died when the city was flooded on the same day in 1966. The 50th anniversary of the most recent catastrophe, which took a staggering toll of priceless books and works of art in the Cradle of the Renaissance, is being commemorated in the city today.

The 1333 disaster - the first recorded flood of the Arno - was chronicled for posterity by Giovanni Villani, a diplomat and banker living in the city.

A plaque in Via San Remigio records the level the water allegedly reached in 1333 and another plaque commemorates the level the water reached after the river flooded in 1966, exactly 633 years later.

Villani wrote in his Nuova Cronica (New Chronicle), ‘By noon on Thursday, 4 November, 1333, a flood along the Arno River spread across the entire plain of San Salvi.’

By nightfall, the flood waters had filled the city streets and Villani claimed the water rose above the altar in Florence’s Baptistery, reaching halfway up the porphyry columns.

The statue of Giovanni Villani in the
Loggia del Mercato Nuovo in Florence

Apart from its two central piers, the Ponte Vecchio was swept away when huge logs in the rushing water became clogged around it, allowing the water to build and leap over the arches.

An old statue of Mars that stood on a pedestal near the Ponte Vecchio was also carried off by the flood waters, Villani recorded.

The idea of creating a year-by-year history of Florence came to Villani after he attended the first Jubilee in the city of Rome in 1300. He realised Rome’s history was well-known and wanted to create a history of his own city.

In his Cronica he covers 14th century building projects, population statistics and disasters, such as the flood and the Black Death of 1348, which eventually took his own life. His work on the Chronicle was continued by his brother and nephew after his death.

There have been eight major floods in Florence since 1333 but the one that occurred on November 4, 1966, is considered to be the worst.

It happened after two months of wet weather across the region began to cause problems in the Arno valley upstream of Florence, exacerbated when 43cm (17ins) of rain fell in 24 hours on November 2.

Pathe News footage following the 1966 flood

Dams built in the valley at Levane and La Penna, more than 50km away from the city, were already discharging water at a rate of more than 2,000 cubic metres per second on the afternoon of November 3.  At around four o'clock the following morning engineers feared that one of the dams would burst and took the decision to open the sluices still more.

The effect was to send a huge volume of water hurtling along the valley at a speed of around 60km per hour (37mph), turning the Arno into a terrifying torrent.  Within just a few hours the city was under water as the river rose a frightening 11m (36ft) above its normal level.

A marker of how high the water rose
in the 1966 catastophe

Streets were flooded up to 6.7m (22ft) at the flood's peak and although miraculously few people died compared with 1333 the damage to the city's historic treasures was almost unimaginable.  It is estimated that between three and four million books and manuscripts were destroyed or damaged and that 14,000 works of art were affected to one degree or another, with up to 1,000 suffering serious damage.

Two major libraries - the Biblioteca Nazionale Centrale Firenze and the Biblioteca del Gabinetto Vieusseux - and two notable archives - the Archivio di Opera del Duomo and the Archivio di Stato - suffered particularly badly.

Among the major artworks hit were Giovanni Cimabue's Crucifix at the Basilica di Santa Croce, the so-called Gates of Paradise doors by Lorenzo Ghiberti at the Florence Baptistry and Donatello's statue Magdalene Penitent, also at the Baptistry.

Astonishingly, thanks to the substantial generosity of donors and the work of experts from around the world, as well as many volunteers from among the citizens of Florence - dubbed the 'Mud Angels' by the Mayor of Florence - many of these works have been restored, although the task has taken many decades.

Cimabue's Crucifix has undergone
painstaking restoration work

Giorgio Vasari's Last Supper, a five panel painting completed in 1546, is being reinstalled in the Cenacolo, the old refectory of Santa Croce, to mark the 50th anniversary.

Travel tip:

Plaques in Via San Remigio record the level the flood waters reached in the city in 1333 and 1966. The street is just off Via de Neri in the centre of the city, not far from the Basilica di Santa Croce.

Hotels in Florence from Hotels.com

Travel tip:

A statue of chronicler Giovanni Villani can be found in one of the niches of the Loggia del Mercato Nuovo in Florence. The New Market is also the home of Il Porcellino, a 17th century copy in bronze of a Roman statue of a wild boar in the Uffizi. Visitors who rub its nose are said to return to Florence some day and coins dropped in the water basin below it are collected and distributed to the city’s charities.

More reading:

Giorgio Vasari - painter and the first art historian

Donatello - the greatest sculptor of 15th century Florence

Florentine Dante Alighieri and the Divine Comedy

Also on this day:

1737: Teatro San Carlo in Naples opens its doors for the first time

(Photo of high water mark by Gryffindor Wikimedia Commons)


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Roberto Benigni - Oscar winner

How Life is Beautiful made Tuscan actor and director famous

Roberto Benigni

Roberto Benigni, whose performance in the 1997 film Life is Beautiful won him an Oscar for Best Actor, was born on this day in 1952 in rural Tuscany, around 20km south of Arezzo.

The Academy Award, for which he beat off strong competition from Nick Nolte (Affliction) and Tom Hanks (Saving Private Ryan) among others, put him in the company of Anna Magnani (1955) and Sophia Loren (1961) as one of just three Italian winners of best actor or actress.

Benigni, who also directed Life is Beautiful, had won the Oscar for Best Foreign Language Film earlier in the awards ceremony, which delighted him so much he famously clambered on to the back of the seats of audience members in the row in front of his to lead the applause before stepping up to the stage to receive the award from Sophia Loren.

When Helen Hunt called out his name for Best Actor - the first since Loren to win the most coveted prize with a foreign language film - he began his acceptance speech by apologizing for having "used up all my English", before proceeding to deliver another joyously emotional expression of gratitude.

Benigni was born in the hamlet of Manciano la Misericordia, near the walled town of Castiglion Fiorentino.  His family moved when he was six years old to Vergaio, a village near Prato, to which he made reference in his speech, thanking his parents, Luigi and Isolina, for "the gift of poverty", despite which he had a happy childhood and believes shaped his character and made him appreciate his good fortune all the more.

Roberto Benigni with his wife
and co-star, Nicoletta Braschi

He based Life is Beautiful, the story of a Jewish Italian bookshop owner who uses his comic imagination to shield his son from the horrors of internment in a Nazi concentration camp, in part on the experiences of his father, who spent almost three years in the Belsen concentration camp in Germany.

Written in collaboration with Vincenzo Cerami, the film was attacked by some critics for presenting an unrealistic picture of the Holocaust which contained too little suffering, and suggested that "laughing at everything" was disrespectful to the millions of victims.

However, others praised Benigni for having the artistic daring and skill to create such a sensitive comedy against a background of dark, unparalleled tragedy.

Before the huge fame the movie brought him, Benigni, who was raised as a Catholic and was an altar boy in his local church, had enjoyed relatively modest success in his acting and directing career.

After studying initially to become a priest, a path he abandoned after the school he attended in Florence was damaged in the floods of 1966, he developed a fascination with a circus that was playing near his home and was offered work as a magician's assistant.

He had his first taste of theatre in Prato before moving to Rome, where he appeared in avant-garde theatre and became popular for his improvisation of epic poems, such as those of Ludovico Ariosto, Edmund Spenser and Dante Alighieri.

It was in Rome that he met Giuseppe Bertolucci - brother of Bernardo - who cast him in a film entitled Berlinguer, I love You, that appealed to his Communist sympathies.  Enrico Berlinguer was the leader of the Italian Communist Party.

See Roberto Benigni's acceptance speech for Best Foreign Language Film Oscar

He appeared in a number of TV shows directed by Renzo Arbore, one of which was banned by the censors, and worked on films with Bernardo Bertolucci and Federico Fellini.

The first of his nine films as a director was Tu mi turbi (You disturb me), a comedy that satirizes religion and the banking system.  He also starred in the film opposite Nicoletta Braschi, an actress from Cesena with whom he became romantically involved.  They have been married since 1991.  Braschi also appears in Life is Beautiful as the wife of Benigni's character.

Benigni's two films after Life is Beautiful - Pinocchio and The Tiger and the Snow - played well with home audiences but were less well received outside Italy and in the 11 years since the latter he has not made another film, although he hinted recently that he has a new project in mind.

Roberto Benigni on stage in his touring
one-man show, TuttiDante

He has remained successful on stage and television with his 90-minute one-man show TuttiDante, in which he has returned to his love of improvisatory poetry - a particularly Tuscan art form for which his father was an enthusiast.

During the show, Benigni combines current events with his memories of the past in a passionate interpretation of Dante's Divine Comedy.

No stranger to controversy, apart from his role in the Abore TV show that was taken off the air, he attracted headlines for appearing to call Pope John Paul II by an impolite name, for lifting a startled Enrico Berlinguer off his feet in an embrace at a Communist rally, and then for gatecrashing a TV news bulletin reporting on a protest against Silvio Berlusconi in which he had taken part, removing his shirt, draping it around the shoulders if the presenter and declaring (falsely) that Berlusconi had resigned.

Travel tip:

Arezzo, where much of Life is Beautiful is filmed, is a city in eastern Tuscany famous among other things for the frescoes of the artist, Piero della Francesco, in the 13th century church of San Francesco.  The Legend of the True Cross, painted between 1452 and 1466, is considered to be one of Italy’s greatest fresco cycles.  Arezzo is also the birthplace of the 14th century Renaissance poet, Francesco Petrarca, widely known by his English name, Petrarch.

The view through one of the archways
in Giorgio Vasari's loggia

Travel tip:

Apart from its 13th century walls, the Tuscan hill town of Castiglion Fiorentino, of which Manciano la Misericordia, Benigni's birthplace, is a frazione (parish), is notable for a handsome nine-arch loggia designed by the 16th century artist and architect, Giorgio Vasari, along one side of the Piazza del Municipio, which offers a beautiful vista looking out over the Val di Chio below the town.  Vasari, who worked for the Medici family in Florence, designed the loggia at the Palazzo degli Uffizi and the Vasari Corridor, which connects the Uffizi with the Medici residence across the River Arno at Palazzo Pitti and includes the covered Ponte Vecchio bridge.

More reading:

Death of brilliant actress Anna Magnani shocked her friends

La Dolce Vita and the cinematic legacy of Federico Fellini

Dante's Divine Comedy 'the greatest work of Italian literature'

(Top photo of Benigni by Gorup de Besanez CC BY-SA 4.0)
(Second photo of Benigni by Georges Biard CC BY-SA 3.0)
(Photo of Vasari's loggia view by Silviapitt CC BY-SA 3.0)

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Giorgio Vasari - the first art historian

Artist and architect who chronicled lives of Old Masters

Portrait of Giorgio Vasari

Giorgio Vasari, whose 16th century book on the lives of Renaissance artists led to him being described as the world's first art historian, died on this day in 1574 in Florence.

Born in Arezzo in 1511, Vasari was a brilliant artist and architect who worked for the Medici family in Florence and Rome and amassed a considerable fortune in his career.

But he is remembered as much for Lives of the Most Excellent Painters, Sculptors, and Architects, from Cimabue to Our Times, a collection of biographies of all the great artists of his lifetime.

The six-part work is remembered as the first important book on art history.  Had it not been written, much less would be known of the lives of Cimabue, Giotto, Donatello, Botticelli, Da Vinci, Giorgione, Raphael, Boccaccio and Michelangelo among many others from the generation known as the Old Masters.

Vasari, who is believed to have been the first to describe the period of his lifetime as the Renaissance, also went into much detail in discussing the techniques employed by the great artists.  It is partly for that reason that the book is regarded by contemporary art historians as "the most influential single text for the history of Renaissance art".

Vasari's wall paintings in the Palazzo Vecchio in Florence

In his own career, Vasari became friends with Michelangelo and studied the works of Raphael.  His frescoes in the Palazzo della Cancelleria in Rome and his wall and ceiling paintings in the Palazzo Vecchio in Florence gained him much admiration.

As an architect, he designed the loggia of the Palazzo degli Uffizi in Florence and the Vasari Corridor, which connects the Uffizi with the Medici residence at the Palazzo Pitti on the other side of the Arno river.

He also renovated the medieval Florentine churches of Santa Maria Novella and Santa Croce. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and has been recently restored.

The wealth he acquired enabled him to build a fine house in Arezzo, which now houses a museum dedicated to his life and work.

Travel tip:

The town of Arezzo in eastern Tuscany, where Vasari was born, was famous because of another artist, Piero della Francesco. The 13th century church of San Francesco contains Piero della Francesco’s frescoes, The Legend of the True Cross, painted between 1452 and 1466 and now considered to be one of Italy’s greatest fresco cycles.

The Galleria at the Uffizi, looking towards
Vasari's loggia, which opens on to the Arno

Travel tip:

The Uffizi complex on which Vasari worked from 1560 onwards was built to accommodate the offices of the Florentine magistrates, hence the name uffizi (offices). Cosimo I de' Medici, Grand Duke of Tuscany, who commissioned the building, planned to display prime art works of the Medici collections in the complex.  Over the years, more sections of the palace were recruited to exhibit paintings and sculpture collected or commissioned by the Medici.  In 1765 it was officially opened to the public as an art gallery.

(Photo of Uffizi by Samuli Lintula CC BY-SA 3.0)

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