Pietro Nardini – violinist

Brilliant musician inspired the young Mozart

Violinist Pietro Nardini was praised for
the beauty and emotion of his playing

Pietro Nardini, who was one of the most celebrated violinists of the 18th century and was also a talented composer of violin music, died on this day in 1793 in Florence.

Nardini’s playing was praised by his contemporaries for its beauty and emotional power and his violin and flute compositions are still valued for their melodious qualities and technical skill.

He was a friend of Johann Georg Leopold Mozart, the father and teacher of the composer Wolfgang Amadeus Mozart. When the young composer first visited Italy with his father, he performed alongside Nardini in Tuscany.

Pietro Nardini was born in Livorno in 1722. At the age of 12 he became a pupil of the violinist and composer Giuseppe Tartini. 

By the time he was 14, he was already playing the violin at festivals in Lucca, but he continued working with Tartini until 1740, when he became head instrumentalist in Lucca.

In 1762, Nardini moved to Stuttgart, where he joined the court of Charles Eugene, Duke of Wurtemberg as a violinist. He was later appointed orchestra conductor, succeeding Niccolo Jomelli in the post.

After moving back to Italy to support the ailing Tartini, Nardini was appointed as maestro di cappella in Florence and he remained at the court of Leopold II Grand Duke of Tuscany for the rest of his life, although he also sometimes performed in Pisa, Rome and Naples.

Nardini also had many successful pupils, including Thomas Linley Junior, who was a highly talented violinist and is sometimes referred to as ’the English Mozart.’

The young Mozart performed with Nardini
at the Villa Medicea di Poggio Imperiale

When the teenage Mozart visited Tuscany with his father in 1770, he performed alongside Nardini at the Grand Duke Leopold’s summer palace, the Villa Medicea di Poggio Imperiale.

The Mozart family had first met Nardini in Augsburg in 1763. Pietro Nardini was intrigued to meet the young Mozart again, because his student,  Thomas Linley, was almost exactly the same age. 

The next days the boys met for the first time at the home of the Medici court’s official poetess, who was known as Corilla Olimpica, and was herself a pupil of Nardini on the violin and often held musical evenings.

In 1768, Thomas Linley, at the age of 12, had been sent to Florence to study with Nardini. The Tommasino, as he was known, and the little Mozart, were both talked of in Italy as the most promising musicians of the age. 

That evening in Tuscany, they performed one after another,  constantly embracing each other between pieces of music

The boys spent the next day together as well and the following evening performed together at the home of the court finance minister. The Mozart family party were to leave Tuscany the next day and plans were discussed for a reunion, but sadly, Linley and Mozart were never to see each other again. 

The Mozart family were unable to go back to Florence, and Linley, who also became a promising composer, returned to England. He died eight years later at the age of 22 in a boating accident in Lincolnshire.

Manuscripts of Nardini’s compositions are preserved in many Italian cities and abroad. Much of his work has been recorded in the 20th and 21st centuries and is available on disc. 

Probably the best known among Nardini’s highly regarded compositions are his Sonata in D Major and Concerto in E Minor.

The canal district in the Quartiere Venezia is
one of Livorno's attractions
(Image by danielmanastireanu from Pixabay)

Travel tip:

Livorno, where Pietro Nardini was born, is a lively Tuscan port city dating back to the Renaissance, which features Medici fortresses and canal districts among its attractions. Planned by the Medici as an ideal Renaissance port, its cosmopolitan past as a free port created a tolerant, multicultural atmosphere that remains part of its identity.  The city’s most elegant promenade is the Terrazza Mascagni, a sweeping checkerboard terrace overlooking the Ligurian Sea.  The Livorno Aquarium sits at one end, while historic bathing establishments line the shore.  At the heart of the older part of the town lies Quartiere Venezia, a 17th‑century canal district of bridges, warehouses, and pastel façades. Nearby stands the city’s emblem, the Monumento dei Quattro Mori, a dramatic 1620s sculpture of four chained bronze figures supporting the statue of Grand Duke Ferdinando I.  Livorno has two major fortresses. The Fortezza Vecchia, guarding the Medici port, preserves medieval towers and later Renaissance additions.  Inland, the Fortezza Nuova rises above a green moat and park, offering peaceful walks amid red‑brick ramparts.  For a taste of daily life, the Mercato Centrale is one of Italy’s largest indoor markets, with stalls selling fish, bread and pastries, and many local specialties. 

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The Villa Medicea di Poggio Imperiale, where Mozart
and Nardini performed, now houses a girls' school
(Picture by Sailko via Wikimedia Commons)

Travel tip:

The Villa Medicea di Poggio Imperiale, where Pietro Nardini performed with the young Mozart, is a grand, predominantly neoclassical Medici residence in Arcetri, in the hills just south of Florence.  The villa was originally the Baroncelli family’s country house and passed to the Pandolfini and Salviati families before being seized in 1565 by Cosimo I de’ Medici, who gave it to his daughter Isabella de’ Medici. Isabella transformed it into a refined retreat, hosting an intellectual court and enriching the interiors with art. In 1622, it was bought by Grand Duchess Maria Maddalena of Austria, who commissioned architect Giulio Parigi to double its size, create the monumental façade, and link the villa to Florence via a long, tree‑lined avenue. It was she who gave it the name Poggio Imperiale, reflecting her imperial Habsburg lineage. After further expansions followed under Vittoria Della Rovere, in the 18th century, Grand Duke Leopold II adopted the villa as a principal residence.  The villa’s present neoclassical appearance is largely down to Maria Luisa of Spain, Elisa Baciocchi (Napoleon’s sister), and Ferdinando III, who refined the façade and interiors into the elegant, symmetrical form seen today.  Today the building houses a prestigious girls’ boarding school, but guided tours can be booked.

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More reading:

Giuseppe Tartini, 18th century composer who changed technique of violin playing

Why Italian composer Antonio Salieri was dogged by Mozart murder rumours 

Opera composer Pietro Mascagni, another of Livorno’s famous musical sons

Also on this day: 

1917: The birth of cardinal and composer Domenico Bartolucci

1922: The birth of actor and TV host Raimondo Vianello

1976: The birth of rugby star Andrea Lo Cicero

1983: The birth of Olympic champion archer Marco Galiazzo

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Giovanni di Bicci de’ Medici - banker

Medici dynasty was built on his fortune

Giovanni di Bicci de' Medici; this portrait by
Alessandro Allori hangs in the Uffizi in Florence

Giovanni di Bicci de’ Medici, who created the wealth upon which the Medici dynasty of Renaissance Italy was built, died on this day in 1429 in Florence.

Although Cosimo de’ Medici, his son, is regarded as the founder of the dynasty as the first Medici to rule Florence, it was the fortune that Cosimo inherited from his father that enabled him to command power and influence in the city. The Medici family would rule Florence, barring a few interruptions, for the next 300 years.

Giovanni di Bicci de’ Medici founded the Medici Bank in 1397 and at the time of his death was one of the wealthiest men in Europe. Although he had another son who survived to be an adult, Lorenzo, the bulk of his fortune passed to Cosimo.

Born in Florence, it is thought in 1360, he was the son of Averardo de’ Medici and Jacopa Spini. Bicci was Averardo’s nickname.

Averardo, a wool merchant, died comfortably off, but not wealthy. His estate was divided between his five sons and Giovanni’s share was relatively small, compelling him to build his fortune through skill and opportunity rather than inheritance. 

Giovanni's uncle, Vieri, on the other hand, was rich. From another branch of the Medici family, he owned one of the 70-plus banks thought to have existed in Florence in the second half of the 14th century and was good at his business, much of which involved loans and investments.

Vieri took the young De’ Medici on and supervised his rise through the ranks, being sufficiently impressed with the speed at which he learned that he made him a junior partner of the bank’s branch in Rome. In 1385, thanks to a dowry of 1500 florins that his wife, a noblewoman called Piccarda Bueri, brought to their marriage, he was able to take control of the Rome branch. The branch grew and when Vieri retired, in 1393, he decided to place De’ Medici in charge of the entire business.

In 1397, De’ Medici moved from Rome to Florence and opened the Medici Bank, establishing a headquarters at the crossroads between Via Porta Rossa and Via Calimala in an area of the city called Orsanmichele, a short distance from Piazza della Signoria.

Giovanni's son, Cosimo, built the
Medici powerbase on the bank's success

Giovanni De’ Medici was a shrewd businessman and the Medici Bank prospered in part thanks to his careful investment in the cloth trade. By the early 15th century, it had already become one of the most respected financial institutions in Europe, with branches in Venice, Rome and Naples as well as Florence. 

Under his leadership, the structure of the bank was revised in a way that meant that it functioned as a collection of partnerships, rather than having a central structure. This meant that if one branch suffered a loss, the impact on the bank as a whole would be less. In this way, the Medici Bank enjoyed financial resilience that other institutions lacked.

Giovanni was not an overtly political operator but had a knack for forming advantageous friendships, the most successful of all being the relationship he forged with the Catholic Church during his time in Rome. 

His decision to align himself with Baldassarre Cossa, a cardinal who would become the Antipope John XXIII during the Western Schism. In return for support from the Medici Bank, Cossa appointed them as managers of the papal treasury, a lucrative privilege that earned the bank a substantial amount in commissions.

Although Cossa was deposed after five years, Giovanni had by then foreseen the return of the papacy to Rome and found favour with Oddone Colonna, who as Pope Martin V maintained the Medici as papal bankers.

At the same time, he honoured Baldassare Cossa’s trust in him by paying a 38,000 ducat ransom to secure his release from prison in Germany. When Cossa died in 1419, Giovanni sponsored the construction of a magnificent tomb for him in the Florence Baptistery.

The Old Sacristy, a Brunelleschi masterpiece,
where Giovanni de' Medici is buried

Subsequent popes also retained the services of the Medici banks, setting the family on the path to becoming one of the richest dynasties in Europe. 

Through all this, Giovanni De’ Medici diligently protected the image he liked to portray as a humble businessman rather than a political figure. He insisted that he and his sons rejected the finery they could easily have afforded in favour of dressing like ordinary Florentines. He always believed that keeping on the side of the people would serve the family well. 

As an example, when Florence was hit by a serious outbreak of plague in 1417, Giovanni made substantial funds available to help the sick. He also used his considerable influence within the Signoria, Florence’s ruling council, to replace the city’s inequitable and oppressive poll tax with a new property tax he had designed himself that shifted the burden of tax to the wealthy, even at considerable cost to himself.

The Medici’s long tradition of patronage of the arts can also be attributed to a large degree to the example set by Giovanni, who made large donations to the work of artists such as Filippo Brunelleschi and Jacopo della Quercia.

Most notably, he commissioned the great Florentine architect Brunelleschi, famous for the colossal dome of Florence’s duomo, to renovate the ancient Basilica of San Lorenzo, destined to become the church of the Medici family. 

The Old Sacristy in the basilica is regarded as among Brunelleschi’s masterpieces - and of early Renaissance architecture in general. Donatello also contributed significant sculptural work to the project. 

The structure was completed in 1428, a year before Giovanni died. As per his wishes, Giovanni De’ Medici was buried in the Old Sacristy. His wife was buried with him after her death four years later.

De’ Medici was thought to be 69 at the time of his death. Though less flamboyant than some of his descendants, his achievements were foundational. By establishing the Medici Bank and securing the family’s early fortunes, he set in motion a dynasty that would shape European history for centuries. 

The Basilica of San Lorenzo in Florence became
the family church of the Medici dynasty

Travel tip:

The Basilica di San Lorenzo, the burial place of the principal members of the Medici family, is one of the largest churches in Florence, situated in the middle of the market district in Piazza di San Lorenzo. Filippo Brunelleschi was commissioned to design a new building in 1419 to replace the original 11th century Romanesque church on the site but the new church was not completed until after his death. It is considered one of the greatest examples of Renaissance architecture.  Numerous architects worked at the church, including Michelangelo. Brunelleschi designed the central nave, with the two collateral naves on either side, and the Old Sacristy. The sacristy chapel is a cube with a lateral length of about 11 metres (36 feet), covered with a hemispheric dome, that is without any decoration beside its twelve ribs that converge in an oculus. The interior became a standard in Renaissance architecture, as did Brunelleschi’s use of white walls. 

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The beautiful Florence Baptistery, featuring 
Ghiberti's 'Gates of Paradise' is a city landmark

Travel tip:

The Florence Baptistery, where Giovanni De’ Medici commissioned a tomb for Baldassare Costa, is also known as the Baptistery of Saint John, dedicated to the patron saint of the city, John the Baptist. The octagonal baptistery stands where Piazza del Duomo meets Piazza San GThe architecture of the Baptistery takes inspiration from the Pantheon, an ancient Roman temple, yet it is also a highly original artistic achievement, although the identity of the architects who worked on its construction in the 11th and 12th century is undocumented. What is known is that the North Doors and the famous East Doors - dubbed the Gates of Paradise and widely regarded as a masterpiece of Renaissance art - were constructed in the 15th century by the sculptor Lorenzo Ghiberti. The project was awarded to Ghiberti after he entered a competition for designs in which the judges were unable to decide between his submission and that of Filippo Brunelleschi, with whom he might have shared the commission had the latter not refused.

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More reading:

The colourful life of Baldassare Cossa

Why Cosimo di Giovanni de’ Medici is seen as the founder of the Medici dynasty

The architectural genius of Filippo Brunelleschi

Also on this day:

1339: The Battle of Parabiago

1549: The birth of Francesco Maria II della Rovere

1778: The death of scientist Laura Bassi

1816: Rossini’s Barber of Seville premieres 

1950: The birth of journalist Pino Aprile

1993: The death of car maker Ferruccio Lamborghini

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Pina Carmirelli - violinist

Virtuoso trusted with 17th century masterpiece

Pina Carmirelli quickly established herself as
one of Italy's most talented violinists

Pina Carmirelli, who became one of Italy’s most gifted violinists of the 20th century, was born on this day in 1914 in Varzi, a town in the province of Pavia in Lombardy about 90km (45 miles) south of Milan.

Carmirelli enjoyed a brilliant career as a soloist and as a member of various chamber groups, the most notable of which was the Boccherini Quintet, which she co-founded with her husband, cellist Arturo Bonucci, in order to revive interest in the music of the 18th century cellist, Luigi Boccherini.

She was held in such high regard that the Accademia Nazionale di Santa Cecilia in Rome, where she taught for many years, allowed her use of one of the prized possessions of their Museum, a 1690 violin that was one of a set of five instruments the great luthier Antonio Stradivari built for Ferdinando de’ Medici, the Grand Prince of Tuscany.

Carmirelli played the precious instrument, known as the 'Tuscan, Medici' in numerous recitals and concert performances between 1962 and 1977, as well as in some recordings, notably those with the Boccherini Quintet.

As a child, Pina Carmirelli is thought to have been inspired to follow a career in music by her grandfather, the conductor and composer Carlo Podesta. She began studying music and performing as a concert pianist at a very young age. 

She also had a music-loving uncle in Cremona, which - thanks to the Stradivari, Amati and Guarneri families and others - is steeped in the traditions of violin-making. Carmirelli visited the historic city throughout her childhood and it became something of a spiritual home. 

Later, as a student of Teresina Tua and Michelangelo Abbado, she graduated from the Conservatorio di Musica “Giuseppe Verdi” in Milan in violin in 1930, and in composition five years later.

Carmirelli with the Boccherini Quintet soon after it
was formed. Arturo Bonucci is on the right, seated

She was awarded the Stradivari Prize in 1937 and the Paganini Prize in 1940, which cemented her status as one of the most gifted young violinists in Italy. 

Carmirelli’s distinguished career was notable for her deep affinity for Classical and early Romantic music. Along with her husband, who was 20 years her senior, she formed the Boccherini Quintet in 1950, followed by the Carmirelli Quartet in 1954, also featuring Bonucci.

She also became first violin of I Musici, the chamber orchestra from Rome, formed in 1952, which became well known for their interpretations of Baroque and other works, particularly those of Antonio Vivaldi and Tomaso Albinoni.

The orchestra consisted of 12 musicians, most of whom were students of the Accademia di Santa Cecilia. They were so successful that their recordings of Vivaldi’s most famous work, his collection of violin concerti known as The Four Seasons, sold more than 25 million copies.

Bonucci, who she met in 1938 and soon married, was a decorated pilot as well as a musician, but also a committed opponent of the Fascist regime, a stance shared by Carmirelli. 

In later years, Carmirelli played often at
the Marlboro Music Festival in Vermont

They collaborated in the revival of Luigi Boccherini’s music after Carmirelli, on tour in Paris, discovered by chance in the library of the Paris Conservatory a complete collection of Boccherini’s works for strings, which had been long forgotten. Carmirelli persuaded the Italian consulate to buy them on her behalf before she and Arturo painstakingly worked through 147 string quintets for two cellos and over 84 string quartets, forming their Boccherini Quintet in order to do them justice in front of an audience.

While Carmirelli’s career was rooted in Italy, she also performed extensively abroad, including in the United States. Her American engagements included chamber tours, guest appearances with orchestras, and collaborations that helped introduce European chamber traditions to US audiences.

For example, she became a regular at the Marlboro Music Festival in Vermont, which she visited for the first time in 1964, not long after the death of Arturo, for whom she was still in mourning. She admitted that the sense of community at the festival allowed her to set aside some of her sadness and feel part of a family again, sharing her knowledge and experience with countless musicians in the years that followed.

Carmirelli, who had by then enjoyed a 50-year association with the Accademia di Santa Cecilia, died in 1993 in a town today known as Capena, in northern Lazio, some 35km (21 miles) north of Rome. She had reached the age of 79.

Varzi, the Lombardy village that was Pina Carmirelli's
birthplace, has a well-preserved medieval centre

Travel tip:

Varzi, where Pina Carmirelli was born, designated by the Associazione I Borghi più belli d’Italia as one of Italy’s most beautiful villages, is the gateway to the Upper Oltrepò region, an unspoiled area of the Apennines located at the southern tip of Lombardy, close to the borders with Piedmont to the west, Emilia-Romagna to the east and Liguria to the south. It is characterised by medieval architecture largely unchanged for centuries. Historical attractions include the 13th century Malaspina Castle and Witches’ Tower, the 18th century Palazzo Tamburelli, the 16th century Chiesa di San Germano and the Oratories of the Bianchi and the Rossi, built in the 17th century in different architectural styles, one late Renaissance, the other Baroque. Remnants of the medieval walls are visible in the towers of Porta Soprana and Porta Sottana. Varzi is famed for its Salame di Varzi DOP, which supposedly owes its flavour to being cured by the breezes from the Ligurian Sea. A crucial stop along the Via del Sale trade route, which connects the Po Valley with the Ligurian coast, Varzi enjoyed great prosperity from the 13th century onwards under the Malaspina family, who built many of the buildings that distinguish the village today.

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The inner courtyard of the Conservatorio di Santa
Cecilia, where Carmirelli taught for many years

Travel tip:

The Accademia Nazionale di Santa Cecilia, one of the oldest musical institutions in the world, was established in 1565. It was founded in Rome by Pope Sixtus V at the Church of Santa Maria ad Martires, better known as the Pantheon. Over the centuries, many famous composers and musicians have been members, among them in recent times the opera singers Beniamino Gigli and Cecilia Bartoli. Since 2005 the Academy’s headquarters have been at the Parco della Musica in Rome, which was designed by the architect Renzo Piano, in Viale Pietro de Coubertin in the Flaminio district, close to the location of the 1960 Summer Olympic Games. Previously, the Accademia was based at the Conservatorio di Santa Cecilia, which dates back to 1875. Entrances can still be seen in Via dei Greci and Via Vittoria, not far from the Spanish Steps in central Rome.  The museum housing the 1690 Tuscan, Medici violin and the other instruments that comprised the Medici Quintet is located in the Parco della Musica complex. In the exhibition gallery some 130 instruments are on display and about 50 luthiery tools in an open-air laboratory where the museum luthiers work.

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More reading:

Why Luigi Boccherini spent his last years in Madrid

Niccolò Paganini, the violinist whose extraordinary talent aroused bizarre suspicions

The 17th century luthier whose instruments are still seen as the best in the world

Also on this day:

1752: The death of composer and pianist Muzio Clemente

1881: The birth of heiress and muse Luisa Casati

1921: The birth of sculptor and trophy-maker Silvio Gazzaniga

1928: The birth of controversial politician Salvatore Lima

1980: The death of car designer Giovanni Michelotti

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Giambologna – sculptor

Artist worked for three successive Medici Grand Dukes in Florence

Giambogna's Abduction of a Sabine
Woman in Piazza della Signoria

Giambologna, the last in the line of significant Renaissance sculptors, died on this day in 1608 in Florence.

He was considered so important by the Medici family that once he had started working for them, they would never allow him to leave their city. They feared he would be enticed away by either the Austrian or Spanish branches of the Habsburgs to work for them.

His best known works include Abduction of a Sabine Woman - often known as Rape of the Sabine Women - in Florence’s Piazza della Signoria, and his Neptune, atop the Fountain of Neptune, in Bologna’s Piazza Maggiore.

Although influenced by Michelangelo, Giambologna produced many beautiful works in marble and bronze in his own late-Mannerist style, with perhaps less emphasis on emotion, and more on the elegance of the figures.

The sculptor was also sometimes known as Giovanni da Bologna, or Jean de Boulogne in French, and Jehan Boulongne in Flemish.

Giambologna had been born in Douai in Flanders in 1529, which was then part of the Netherlands, but is now part of France. He studied in Antwerp with the architect and sculptor Jacques du Broeucq, before moving to live in Italy in 1550. 

There, he made a detailed study of the sculptures of classical antiquity in Rome. His first major commission was given to him by Pope Pius IV, who employed him to sculpt the colossal bronze Neptune and subsidiary figures, for the Fountain of Neptune in Bologna.

Giambologna moved to live and work in Florence in 1553. He had become established there within a few years and he was invited to become a member of the Accademia delle Arti del Disegno after it was founded by the Medici Duke, Cosimo I, in 1563, who was influenced by the painter and architect Giorgio Vasari.

Giambologna was so prized by the
Medici he was forbidden to leave

Among Giambologna’s most celebrated works are the Mercury, of which he did four versions. In his depictions of Mercury, the figure is poised on one foot, supported by a zephyr.

His marble sculpture Abduction of a Sabine Woman still stands in the Loggia dei Lanzi in Piazza della Signoria. The work includes three full figures and yet it was carved from a single block of marble. It was produced for Francesco I de’ Medici, Grand Duke of Tuscany.

The sculpture was inspired by a story from ancient Roman history of the mass abduction of women from other cities for the purposes of growing the population of Rome which, at the time of its foundation, had relatively few female inhabitants. The Latin word raptio, which occurs in accounts of the incident written by the Roman historian Livy, can be translated as ‘rape’ in certain circumstances, but in this context may more accurately be taken to mean ‘abduction’ or ‘kidnapping’.

Giambologna’s several depictions of Venus produced a canon of proportions for the female figure, and also set standards for artists making Venus their subject that were to influence many future sculptors in Italy and Europe.

He also produced sculptures and ornaments for the Boboli Gardens in Florence and the gardens of other Medici villas in Tuscany.

His pupils went on to influence other sculptors throughout Europe as well as in Italy. Giambologna’s style, which incorporated grace, strength, and movement in his figures, anticipated the Baroque sculptures that were later created by Gian Lorenzo Bernini.

After he died in Florence at the age of 79, Giambologna was interred in a chapel that he had designed for himself in the Basilica della Santissima Annunziata in the centre of the city.

He had been an Italian sculptor in all but birth, who had left his mark on Florence and helped to make it the refined, elegant city it is today.

The Loggia dei Lanzi in Piazza delle Signori 
houses a number of important statues

Travel tip:

Giambologna’s most famous work, the marble sculpture Abduction of a Sabine Woman, stands in the Loggia dei Lanzi on the south corner of the Piazza della Signoria in Florence, close to the Uffizi gallery. The 14th century Loggia is named after the Lancers, who were the bodyguards of Cosimo I de’ Medici and it now provides an open air sculpture gallery for visitors to Florence to enjoy. The back wall of the Loggia is lined with ancient Roman statues of priestesses. On the far left of the Loggia is the bronze statue of Perseus by Benvenuto Cellini. Giambologna’s Abduction of a Sabine Woman, stands on the far right. Including three separate figures, it is believed to have been worked from the largest block of marble ever to have been transported to Florence and it was designed so that it can be appreciated equally from all sides. It has stood in the Loggia since 1583. A plaster cast model of the sculpture can also be seen in the Accademia Gallery in Florence. 

The Basilica della Santissima Annunziata in
Florence, where Giambologna was buried

Travel tip: 

Giambologna was laid to rest in the Cappella della Madonna del Soccorso in the Basilica della Santissima Annunziata, the mother church of the Servite Order, in Piazza Santissima Annunziata in Florence. The sculptor designed the chapel between 1594 and 1598 for his own tomb and it is richly decorated with frescoes and statues. The most important work in the chapel is the large bronze Crucifix by Giambologna, showing the dead Christ with his head reclining and his eyes closed. It towers over everyone who enters the chapel and depicts the body of Christ as elegant and athletic, free from the marks of the Passion.  The church itself dates back to the laying of its foundation stone in 1250. Its richly decorated interior harks back more to Roman Baroque than to Tuscan religious tradition, being decorated with marble, stucco and gilding, with impressive ceiling frescoes by Volterrano.

Also on this day: 

1819: The birth of republican activist Aurelio Saffi

1868: The birth of electrical engineer Camillo Olivetti

1912: The birth of microbiologist Salvador Luria

1958: The birth of fashion designer Domenico Dolce

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Bianca Cappello – noblewoman

Tragic end for the mistress who earned promotion to Grand Duchess 

Bianca Cappello became the
mistress of Francesco I

Bianca Cappello, the mistress of Francesco I Grand Duke of Tuscany, who became his Grand Duchess after he married her in the face of widespread criticism, died on this day in 1587 in Poggio a Caiano.

Grand Duchess Bianca died just one day after her husband, and historians are still divided between the theories that either they were both poisoned, or that they each died of malarial fever.

Bianca had been born in Venice in 1548, the only daughter of a Venetian nobleman, and as she grew up, she was acknowledged to be a great beauty.

At the age of 15, Bianca fell in love with a young Florentine clerk and she eloped with him to Florence, where they were married. She gave birth to a daughter one year later.

The Venetian government tried to have Bianca arrested and brought back to Venice, but Cosimo I, the Grand Duke of Tuscany, intervened on her behalf and she was allowed to stay in Florence. However, she found that she did not get on well with her husband’s family, who, because they had little money, made Bianca do menial work. 

Because of her beauty, Bianca attracted the attention of the Grand Prince Francesco, the son and heir apparent of Tuscany’s Grand Duke Cosimo I.

Even though Francesco was married to Joanna of Austria, he seduced Bianca, and as a reward, he gave her money and jewellery as presents. Bianca’s own husband was given employment at the Medici court for a while, until he was murdered in a street in Florence in 1572.

After Francesco became Grand Duke on the death of his father in 1574, he installed Bianca in her own palace, which is now known as Palazzo Bianca Cappello, and he flaunted his mistress in front of his wife.

Francesco I de' Medici succeeded
Cosimo I as Grand Duke of Tuscany

Francesco had no legitimate son to inherit the Duchy from him and he thought that a child by Bianca could be a potential heir for him, even though it would be illegitimate.

But after Bianca gave birth to his son, Antonio, in 1576, Francesco refused to acknowledge him, because he was still hoping to have a legitimate heir with his wife, Joanna.

Joanna succeeded in producing a son, Grand Prince Philip de’ Medici, in 1577, crushing Bianca’s hopes of becoming anything more than a mistress who was favoured by Francesco.

However, after Joanna’s death in 1578, Francesco secretly married Bianca, only a few months later.

The marriage was announced publicly in 1579 and Bianca’s son, Antonio, was finally acknowledged as the Duke’s son. Two days later, Bianca was crowned Grand Duchess of Tuscany at Palazzo Vecchio in Florence.

The Venetian government sent a representative to the magnificent, official wedding festivities that were held, because they realised that Bianca Cappello could be useful to them as an instrument for cementing good relations with Tuscany.

But Bianca’s position was still insecure because her son, Antonio, was illegitimate, and he was therefore barred from inheriting the Duchy. She was also aware that if her husband died before she did, she would be lost, because his family all disliked her and regarded her as an interloper.

Bianca and Francesco's son,
Antonio, was born in 1576

Then, in 1582, Francesco’s heir, Grand Prince Philip, died, and so Francesco had Antonio legitimised, and declared him to be the heir apparent to the Duchy, making Bianca’s position stronger. In the event, Antonio never succeeded his father, whose title was instead taken by his brother, Ferdinando.

But on 19 October that year, at the Villa Medicea in Poggio a Caiano, Francesco died. The following day, Bianca also died. Both deaths were believed to be either the result of poisoning, or of malarial fever.

Francesco’s brother did not allow Bianca to be buried in the Medici family tomb, and it is thought that she may have been buried in an unmarked, mass grave under the church of San Lorenzo in Florence.

Bianca’s sad story was used as the basis for a tragic drama, Women Beware Women, written  by Thomas Middleton, which was staged for the first time in 1621. She has also been used as a main character in three different novels. 

The historic figure of Bianca Cappello was also a main protagonist in The Venetian, a play written by Clifford Vax, which opened in London’s West End in 1931, before moving on to be staged in venues in America. 

The Palazzo Bianca Cappello can be
found in Via Maggio in Florence

Travel tip:

The Palazzo Bianca Cappello in Florence's Via Maggio was renovated by Bernardo Buontalenti between 1570 and 1574 at the direction of Grand Duke Francesco I in order to install his lover, Bianca Cappello, in a location close to the Grand Ducal residence of Palazzo Pitti, which was less than 200m (220 yards) away. After Bianca had become Grand Duchess and moved permanently to the Palazzo Pitti, she ceded the palace to the Hospital of Santa Maria Nuova.  The palace was linked to the Palazzo Pitti by an underground corridor so that Bianca and Francesco could meet secretly during the time they were lovers. Thanks to this corridor, numerous artworks in the Vasari corridor, the elevated enclosed passageway connecting the Palazzo Vecchio with the Palazzo Pitti, were kept out of the hands of German occupiers in World War Two. Notable for a facade decorated using the sgraffito technique, with images scratched into layers of different coloured plaster, the palace today houses an hotel.

The Ponte Leopoldo was one of the earliest 
suspension bridges to be built in Italy

Travel tip:

A settlement since Roman times, Poggio a Caiano is a town of almost 10,000 residents on the banks of the river Ombrone in the Montalbano area northwest of Florence. First the Strozzi and then the Medici families populated the area, an important point of reference for trade and communication. The town is home to the magnificent Villa Medicea, the mansion commissioned by Lorenzo the Magnificent. Built between the 15th and 16th centuries by the architect Giuliano da Sangallo, the Villa Medicea is considered a masterpiece and is a UNESCO World Heritage Site. The villa was the scene of the sudden and mysterious death of Francesco I de' Medici and his second wife Bianca Cappello. Between Poggio and neighbouring Poggetto, the Torrente Ombrone river is crossed by the Ponte Leopoldo, built in 1833 and one of Italy's first suspension bridges.

Also on this day:

1438: The death of sculptor Jacopo della Quercia

1950: The birth of television presenter Mara Venier

1951: The birth of football manager Claudio Ranieri

1962: The birth of jazz musician Dado Moroni

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Mattias de’ Medici - Governor of Siena

Distinguished soldier was interested in art and science

A portrait of Mattias de' Medici by
the court painter, Justus Sustermans

Mattias de’ Medici, who was an enthusiastic supporter of the Palio horse race during his time as Governor of Siena, died on this day in 1667.

He is remembered for being a patron of art and of science and for the scientific instruments he acquired while on military campaigns during the Thirty Years War in Germany, which are now housed in the Uffizi galleries in Florence.

Mattias, who was born in 1613, was the third son of Grand Duke Cosimo II de' Medici of Tuscany and of Archduchess Maria Maddalena of Austria.

He was originally intended for the church, but he had little enthusiasm for the ecclesiastical life and so from the age of 16, he pursued a military career instead.

After Cosimo II died in 1621, he was succeeded as Grand Duke by Matteo’s older brother, Ferdinando.  Grand Duke Ferdinando II appointed Mattias as the Governor of Siena, to replace their aunt, Caterina de’ Medici, who had been governor of the city until her death in 1629.

After he arrived in Siena, Mattias took up residence in the Royal Palace in Piazza del Duomo and he quickly became very popular with the people living in the city.

He took part in the Battle of Lutzen in 1632, during the Thirty Years War in Germany. After he returned to Siena, he ruled the city again before becoming involved in the Wars of Castro.

A portrait of Mattias
in military uniform 

Mattias was given supreme authority over the grand duchy’s military affairs by his brother, Ferdinando, and he commanded the League of the Republic of Venice, the Grand Duchy of Tuscany, the Duchy of Parma, and the Duchy of Modena and Reggio, in the struggle against Pope Urban VIII.

As a reward for his military victories, his brother, Ferdinando, presented Mattias with the Villa of Lappeggi in a beautiful area of countryside near Florence.

Mattias was an enthusiastic  supporter of the arts and he became a keen collector. He was the patron of Justus Sustermans, the Flemish court painter of the Medici family, and of Baldassare Franceschini, who was also known as Il Volteranno.

His interests centred on painting, and he paid for the training of Livio Mehus, a Flemish painter, draughtsman and engraver, many of whose works are listed in an inventory of Mattias’s possessions made in 1669. As a soldier, Mattias was particularly interested in battle painting, and the artist Giacomo Cortese, who, like Mattias, had experienced military combat, was employed by him in the 1650s. 

Mattias was said to have been delighted with four paintings of battles in which he had fought himself, which have been identified in a room in the Villa of Lappeggi.  This room also contains a damaged fresco, which has been identified as Victory and Fame by Franceschini. 

Mattias promoted Siena’s famous Palio during its early history and a horse from his stable regularly took part in the event.

During his time in Germany, he acquired many scientific instruments, such as dials, astrolabes, quadrants, and compasses, which were given to the Uffizi gallery. 

Mattias never married and as he got older, he suffered from gout. He was considering re-entering the church, but illness prevented it. He died in Siena in 1667 at the age of 54. He was buried in the Medici family tombs in the Basilica of San Lorenzo in Florence.

His embalmed body was exhumed in 1857 during an investigation into the Medici remains in the church. He was found dressed as a Knight of Malta in black velvet, wearing velvet shoes and with a gold medal on his chest.

The Palio di Siena still attracts huge crowds
to witness the event in Piazza del Campo

Travel tip:

The Palio di Siena is a horse race that takes place in the Piazza del Campo in Siena twice each year, on 2 July and 16 August. Ten horses and bareback riders, who are dressed in the colours of their districts, represent 10 of the 17 contrade, or city wards, in a competition that dates back to 1633, when it was inaugurated soon after Mattias de’ Medici became governor of the city.  The 10 participants race each other on a temporary dirt track around the perimeter of the shell-shaped piazza. The race consists of three laps, which the horses cover at such a furious pace that the whole thing is over in about 90 seconds. It is not uncommon for riders to fall off but a riderless horse can still be declared the winner if the colours of their contrada are still attached to the bridle. 

The Basilica di San Lorenzo in Florence, which
houses the tombs of the Medici family

Travel tip:

The Basilica of San Lorenzo, where Mattias de’ Medici is buried, is one of the largest churches in Florence. It is at the centre of the main market district of the city, and is the burial place of all the principal members of the Medici family. It is one of several churches that claim to be the oldest in Florence, having been consecrated in 393 AD, at a time when it stood outside the city walls. For hundreds of years it was the city's cathedral, before the Cathedral of Santa Maria del Fiore was completed in the 15th century. In 1419, Giovanni di Bicci de' Medici - father of Cosimo de’ Medici, the founder of the banking dynasty - offered to finance a new church to replace an 11th-century Romanesque building. Filippo Brunelleschi, the leading Renaissance architect of the first half of the 15th century, famous for the colossal dome of Santa Maria del Fiore, was commissioned to design it, although it was not completed until after his death.

Also on this day:

1815: The birth of adventurer Pierre-Napoleon Bonaparte

1896: The birth of composer and lyricist Cesare Andrea Bixio

2014: The death of soprano Anna Cerquetti

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Matteo Strukul – writer

Author is published worldwide in 20 languages

Matteo Strukul's historical novels about the Medici
family have been best sellers in Italy

Writer and journalist Matteo Strukul, best known for his best-selling historical novels about the powerful Medici family, was born on this day in 1973 in Padua (Padova) in the Veneto region.

Strukul’s first novel was a dark thriller set in the Veneto, which was published in 2011 in Italian as La ballata di Mila. The novel was translated into English and issued in 2014 as The Ballad of Mila.

He then wrote four historical novels set in Florence between the 15th and 17th centuries following the rise of the house of Medici, which all became best sellers in Italy and have sold more than 500,000 copies worldwide. The first novel, I Medici, una dinastia al potere, was awarded the Premio Bancarella in 2017. This prestigious award has been won in the past by Ernest Hemingway, Boris Pasternak, Umberto Eco, and Ken Follett. The novel was published in English in 2019 as Medici Ascendancy. 

Strukul’s novels have now been translated into more than 20 different languages.

Matteo Strukul studied law at the University of Padua and went on to study for a PhD in European Contract Law at the Ca’ Foscari University of Venice.

Strukul's first Medici novel
translated into English

He is an adjunct professor of interactive storytelling at Link Campus University in Rome and writes in the cultural section of the weekly magazine Il venerdi di Repubblica. 

Strukul, whose first published works were biographies of singer-songwriters, has also written Vlad, a comic book trilogy, for the publishers Feltrinelli, based on the historic character of Vlad the Impaler. This was the man that gave Bram Stoker the inspiration for the character of Count Dracula.  Strukul's latest novel, La crypta di Venezia, was published in April this year.

In 2018, Strukul was recognized as Excellent Paduan by the Municipality of Padua and won the Premio Emilio Salgari for adventure literature for the novel Giacomo Casanova - La sonata dei cuori infranti (Giacomo Casanova, the sonata of broken hearts). 

He is the creator and founder of the literary movement Sugarpulp and artistic director of the festival of the same name. On the Sugarpulp website he says his favourite wine is Raboso del Piave, which is said to be an austere wine with aromas reminiscent of morello cherry, wild blackberry and plum, but also cinnamon, leather, vanilla and pepper

Strukul, who now lives between Padua, Milan, and Berlin, celebrates his 51st birthday today.

The Palazzo Bo is the main building of the University
of Padua, Italy's second oldest university

Travel tip:

The University of Padova, where Matteo Strukul studied for his waw degree, was originally established in 1222 and is one of the oldest universities in the world - second in Italy only to the University of Bologna. The main university building is Palazzo del Bo in Via 8 Febbraio, which was named after the tavern known as Il Bo (‘the ox’ in Venetian dialect) that had been acquired by the university as new premises in 1493. Originally this building housed the university’s renowned medical faculty and visitors can see the pulpit that was used by Galileo Galilei when he taught at the university between 1592 and 1610 and the anatomy theatre built in 1594, which is the oldest surviving medical lecture theatre in the world today.  Padua is also known as the home of the Scrovegni Chapel, the inside of which is covered with frescoes by Giotto, an artistic genius who was the first to paint people with realistic facial expressions showing emotion.

 

Ca' Foscari, the historic home of the University of
Venice, sits at the widest bend of the Grand Canal

Travel tip:

Ca’ Foscari University in Venice, where Matteo Strukul studied for his PhD,  was founded in 1868. Its main campus is a large Gothic palace which looks out over the Grand Canal in Venice, but there are other sites belonging to the university elsewhere in Venice, and in Mestre and Treviso. Ca’ Foscari was originally built for the Doge Francesco Foscari in 1453 and was designed by the architect Bartolomeo Bon in Venetian Gothic style. During the annual historic Regatta in Venice, a wooden platform known as La Macchina is placed in front of Ca’Foscari, from which the Venetian authorities watch the race. It is also the place on the Grand Canal where the race finishes and is where the prizes are distributed. The University has made parts of the palace accessible to the public, opening some of its most beautiful rooms, such as the Aula Baratto and the Aula Berengo, to visitors.

Also on this day:

1474: The birth of poet Ludovico Ariosto

1504: Michelangelo's David unveiled

2014: The death of soprano Magda Olivero

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Lucrezia Maria Romola de’ Medici – noblewoman

Daughter of Lorenzo the Magnificent supported popes and poets

Lucrezia de' Medici

Lucrezia Maria Romola de’ Medici, who as a newborn baby inspired Sandro Botticelli’s depiction of baby Jesus in one of his paintings, was born on this day in 1470 in the Republic of Florence.

After her brother became Pope Leo X, Lucrezia helped him fund papal building projects in Florence and Rome. She also raised money to pay a ransom and secure the release of her husband when he was taken prisoner by the Holy Roman Emperor Charles V.

She had 11 children, many of whom were to play an important part in the history of Renaissance Europe.  

Lucrezia was the eldest daughter of Lorenzo de’ Medici and Clarice Orsini. After her birth, Botticelli painted Our Lady of the Magnificat, which is now in the Uffizi Gallery in Florence, and used her image as a baby as the model for the figure of the newborn Christ in his masterpiece.

She grew up to be married to Florentine politician Jacopo Salviati in 1488 and brought a dowry of 2000 florins with her. But after her brothers were exiled from Florence, she was unable to help them because her husband was a supporter of the new rulers.

In 1497 she spent 3000 ducats to support a plot to bring her brother, Piero, to power in the city. The plot failed and all the men involved in it were executed, but Lucrezia was spared from harm because she was a woman.

Lucrezia is thought to have inspired
Botticelli's depiction of baby Jesus

Afterwards she worked to build more support for the Medici family and organised a marriage for her niece, Clarice de’ Medici, to Filippo Strozzi the Younger, even though it was against the wishes of the rulers of Florence at the time.

When her brother, Giuliano, returned to Florence in 1512, he asked for her advice on how to restructure the government of the city.

Another of Lucrezia’s brothers, Giovanni di Lorenzo de’ Medici, became Pope Leo X in 1513, and during the celebrations in Florence, Lucrezia and her family gave out money and gifts to the crowds who gathered outside their palace.

By 1514, Leo X had drained the Vatican treasuries and had to pawn the papal tiara, which was worth 44,000 ducats, to Lucrezia and her husband.

Lorenzo the Magnificent
was Lucrezia's father

After Leo X had appointed Lucrezia’s son, Giovanni, a cardinal, Lucrezia managed his household and office for him, especially when he was travelling as a papal legate, and she used her influence to promote Medici causes in Rome.

When the Medici were again exiled from Florence in 1527, Lucrezia’s husband, Jacopo, was taken prisoner by Charles V along with her cousin, who had become Pope Clement VII, and she worked to gather money for a ransom to get them released.

During her life, Lucrezia supported convents in Florence, funding new dormitories, cloisters, and workshops, and she also paid for the building of chapels in Rome, including a chapel that would be a resting place for members of the Medici family.

She corresponded with Niccolò Machiavelli about editing a biography of Alexander the Great and was a patron of the poet, Girolamo Benivieni.  With Benivieni, she petitioned her brother, Pope Leo X, to support their efforts to bring the body of the poet, Dante Alighieri, back to his home town of Florence.

After her husband, Jacopo, died in 1533, Lucrezia survived him by 20 years. She died at the age of 83. Of their children, Maria Salviati (1499–1543) was married to Lodovico de' Medici, uniting two branches of the Medici family, while Bernardo Salviati (1505/1508 - 1568) served Catherine de' Medici in France.

Lorenzo de' Medici was living at the family
villa in Careggi at the time of Lucrezia's birth

Travel tip:

Lorenzo de’ Medici, Lucrezia’s father, who is usually known as Lorenzo the Magnificent, lived at the Villa Medici at Careggi, originally a working farm acquired in 1417 by Cosimo de’ Medici’s father to help make his family self-sufficient. Cosimo employed the architect Michelozzo, who was considered one of the great pioneers of building design during the Renaissance, to remodel it around a central courtyard overlooked by loggias. Lorenzo - Cosimo’s grandson - extended the terraced garden and the shaded woodland area. After his death, in 1492, the villa was allowed to become somewhat run down until the early 17th century, when Cardinal Carlo de' Medici commissioned the remodelling of the interior, and updated the garden. Careggi, which is not far from Florence’s airport, is nowadays a suburb of the city, about 8km (5 miles) northwest of the centre.

The Piazzale degli Uffizi in Florence
offers access to the Uffizi Gallery

Travel tip:

The Uffizi Gallery evolved from a building project that began in around 1560, when the artist and architect Giorgio Vasari was engaged to build offices for 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 a part of the complex lit by a wall of windows .  Over the years, more sections of the palace were recruited to exhibit paintings and sculptures collected or commissioned by the Medici.  In 1765 it was officially opened to the public as an art gallery. Located in Piazzale degli Uffizi, it is close to Piazza della Signoria and the Palazzo Vecchio. Opening hours today are from 8.15 am until 6.50 pm from Tuesday to Sunday.

Also on this day:

1463: The birth of Lorenzo di Pierfrancesco de’ Medici

1521: The birth of Pope Urban VII

1994: The death of politician Giovanni Spadolini

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