Lorenzo the Magnificent - Renaissance ruler

Patron of the arts who sponsored Michelangelo and Botticelli

A portrait of Lorenzo the Magnificent by the
Florentine artist Agnolo Bronzino

Lorenzo de’ Medici, the ruler of Florence usually known as Lorenzo the Magnificent, died on this day in 1492 in the Medici villa at Careggi, just to the north of the city.

He was only 43 and is thought to have developed gangrene as a result of an inherited genetic condition.  He had survived an assassination attempt 14 years earlier in what became known as the Pazzi Conspiracy, in which his brother, Giuliano, was killed.

The grandson of Cosimo de’ Medici, Lorenzo was a strict ruler but history has judged him as a benevolent despot, whose reign coincided with a period of stability and peace in relations between the Italian states.

He helped maintain the Peace of Lodi, a treaty agreed in 1454 between Milan, Naples and Florence which was signed by his grandfather.

However, he is most remembered as an enthusiastic patron of Renaissance culture, providing support for poets, scholars and artists, notably Michelangelo and Botticelli.

He contributed more than anyone to the flowering of Florentine genius during the second half of the 15th century. Respected himself for his poetry, he held lavish parties for his artistic friends at the Careggi villa and was the protector of artists such as Giuliano da Sangallo, Botticelli, Andrea del Verrocchio, and Verrocchio’s pupil Leonardo da Vinci.

A young Lorenzo as he appeared in
Botticelli's Adoration of the Magi

Lorenzo opened a school of sculpture, at which he noticed the great talent of a 15-year-old pupil called Michelangelo Buonarroti, whom he took under his wing and brought up like a son.

Sandro Botticelli repaid his patronage by using Medici family members as models in some of his most famous religious paintings. In his Madonna of the Magnificat, for example, one of the figures is Lorenzo, while the Madonna is his mother, Lucrezia Tornabuoni. Lorenzo also appears in Botticelli’s Adoration of the Magi, while Mars in his Mars and Venus is Lorenzo’s brother, Giuliano.

In addition to his patronage of artists, Lorenzo also expanded the collection of books begun by Cosimo, which became the Medici Library. He retrieved large numbers of classical works from the East, which he had copied and shared with other countries across Europe. He also supported philosophers such as Marsilio Ficino, Poliziano and Giovanni Pico della Mirandola.

Although the assets of the Medici bank were diminished during Lorenzo’s rule, partly through the family focussing more on power than the actual source of their power, i.e. money, they were still not short of jealous rivals and the Pazzi family fell into this category.

With the support of Pope Sixtus IV, Francesco Pazzi conspired with Girolamo Riario, the Lord of Imola, and Francesco Salviati, the archbishop of Pisa, to attack Lorenzo and Giuliano, who were joint rulers of Florence at the time, during High Mass at the Duomo.

The goal was to kill both and seize power, but while Giuliano was being stabbed to death Lorenzo escaped into the sacristy, where he hid from the assassins. The coup d’état therefore failed and it is estimated that around 80 people, either conspirators or their associates, were captured and executed in the months that followed.

Controversially, it was Lorenzo de’ Medici, taking advice from his friend, Giovanni Pico della Mirandola, who was responsible for the return to Florence of the firebrand priest Girolamo Savonarola, who had left his position at the Convent of San Marco some years earlier after proposing sweeping reforms to the Catholic Church.  Savonarola’s preaching, in which he railed against despotic rulers and the exploitation of the poor, and persuaded people that works of art and literature were sinful and should be destroyed, would eventually provoke the overthrowing of the Medici family.

The Palazzo Pitti was acquired by the Medici family
from the Florentine banker Luca Pitti

Travel tip:

Florence has a wealth of preserved antiquity, but one of the finest examples of true Renaissance architecture is the Palazzo Pitti - the Pitti Palace - which was originally commissioned in 1458 as a house for the Florentine banker Luca Pitti, a friend and supporter of Cosimo de’ Medici. Designed by Luca Fancelli, a pupil of Filippo Brunelleschi, it is characterised by a strong, symmetrical structure, wide arches and rusticated stone pillars and walls. It was later sold to Eleonora di Toledo, wife of Cosimo I de Medici (not to be confused with Cosimo de’ Medici, who came from a different branch of the family) , and remained in the Medici family for centuries. Today it houses the biggest museum in Florence and a number of art galleries, and looks out across the Boboli Gardens, created on land Eleonora bought from the wealthy Boboli family.

The Villa Careggi, where Lorenzo died in 1492

Travel tip:

In common with his grandfather, Cosimo, Lorenzo died at the Villa Careggi, originally a working farm acquired in 1417 by Cosimo’s father to make his family self-sufficient. Cosimo employed the architect Michelozzo to remodel it around a central courtyard overlooked by loggias. Lorenzo extended the terraced garden and the shaded woodland area. Careggi, which is not far from Florence’s airport, is nowadays a suburb of the city, about 8km (5 miles) northwest of the centre.

More reading:

Cosimo de' Medici - founder of the Medici banking dynasty

Girolamo Riario - the papal military leader murdered after failed Pazzi plot

The rival in the court of Lorenzo who broke Michelangelo's nose

Also on this day:

1848: The death of the composer Gaetano Donizetti

1868: The birth of equestrian pioneer Federico Caprilli, who revolutionised jumping technique


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Lorenzino de’ Medici - assassin

Mystery over motive for killing cousin

Alphonse Mucha's
1896 lithograph
of Lorenzino

Lorenzino de’ Medici, who became famous for the assassination of his cousin, the Florentine ruler Alessandro de’ Medici, was born on this day in 1514 in Florence.

The killing took place on the evening of January 6, 1537.  The two young men - Alessandro was just four years older - were ostensibly friends and Lorenzino was easily able to lure Alessandro to his apartments in Florence on the promise of a night of passion with a woman who had agreed to meet him there.

Lorenzino, sometimes known as Lorenzaccio, left him alone, promising to return with the woman in question, at which point Alessandro dismissed his entourage and waited in the apartments.  When Lorenzino did return, however, it was not with a female companion but with his servant, Piero, and the two attacked Alessandro with swords and daggers. Although a struggle ensued, they killed him.

The motive has been debated for centuries. One theory was that it was an act of revenge following a legal controversy the previous year, when Alessandro sided against Lorenzino in a dispute over the inheritance of his great, great grandfather, Pierfrancesco the Elder. Civilities were maintained at the time, yet Lorenzino was disadvantaged financially.

Another is that Lorenzino, as a junior member of the family compared with his cousin, wanted to make his mark in history by any means possible. Murdering Alessandro, who had been installed as Duke of Florence by the Medici pope Clement VII, and thus extinguishing the main branch of the Medici family (descended from Cosimo the Elder, the founder of the dynasty), would give him immortality, albeit of a dark kind, in the family history.

His own explanation, which he set out in a remarkable defence of his crime, entitled Apology, which he wrote within days of Alessandro’s death, was that he committed the crime out of a love of liberty, ridding Florence of a leader generally acknowledged as a tyrant.

The murder of Alessandro by Lorenzino,
as imagined in an 1863 engraving

There were suggestions that Lorenzino wanted to see a revival of the Republic of Florence, which had been disestablished with Alessandro’s appointment, following an 11-month siege.  This theory seemed to be supported by Lorenzino fleeing Florence first to Bologna, where he met Silvestro Aldobrandini, a republican exile, and then on to Venice, where he was welcomed by another exile, the wealthy banker Filippo Strozzi.

His supporters hailed him as a latterday Brutus, who had slain Julius Caesar in the name of liberating Rome, but whatever the truth of the story, Lorenzino was to spend the rest of his life effectively on the run, constantly looking over his shoulder at who might be plotting to avenge his cousin’s death.

In the event, there was no re-establishment of the Florentine Republic. Alessandro’s father-in-law, the Holy Roman Emperor Charles V, appointed 17-year-old Cosimo I de’ Medici, from the so-called cadet line of the family, as Duke of Florence, which effectively meant Lorenzino could never return.

For the next few years he moved between Venice, Mirandola in the Duchy of Modena, Constantinople and France.  While he was in Constantinople, Strozzi was taken prisoner after his forces were beaten by the army of Cosimo I and he died in 1538.

While in France, where he enjoyed the hospitality of many Florentine exiles, Lorenzino acted as a go-between for the French king, Francis I, in trying to organise Florentine exiles to mount a new military attack on Cosimo I.

Titian's portrait of Holy Roman
Emperor Charles V

He returned to Venice in 1544, by which time the city was crawling with spies working on behalf of the Emperor and of the Medici family. Lorenzino was sheltered by the papal legate Giovanni Della Casa, but as more and more exiled Florentines left for France, fearful for their lives if they stayed in Venice, he became increasingly isolated.

The inevitable happened on February 26, 1548, when Lorenzino was murdered. Two mercenary assassins were responsible, but the identity of who hired them has been disputed by historians over the centuries.  A early theory that the disgraced former Medici secretary Giovanni Francesco Lottini was responsible was eventually discounted, to be replaced by an acceptance that Cosimo I ordered the murder directly to avenge the death of his predecessor.

More recent research has established that the trail actually went back to Charles V himself, who was grief-stricken by the death of Alessandro, his daughter Margaret’s husband, and without the knowledge of Cosimo I instructed Juan Hurtado de Mendoza, his ambassador in Venice, to see that Lorenzino paid the ultimate price.

The Villa del Trebbio, the Medici villa in the Mugello area

Travel tip:

In the early part of his life, Lorenzino lived in the Villa del Trebbio, near San Piero a Sieve in the Mugello area, about 30km (19 miles) north of Florence, the area from which the Medici family originated. The villa had belonged to Giovanni di Bicci de' Medici, the founder of the Medici bank, and was remodelled by his son, Cosimo de' Medici (Cosimo the Elder), whose architect, Michelozzo, restyled it as a fortified castle.

Palazzo Strozzi in Via de' Tornabuoni, the
high fashion centre of Florence

Travel tip:

The Strozzi family, who were great rivals of the Medici family in Florence in the late 15th century, left their mark on the city in the shape of the Palazzo Strozzi, which can be found right in the heart of the city in Via de’ Tornabuoni, where all the high fashion stores are now clustered (the Gucci shop is directly opposite). Many buildings were demolished to create a big enough space for the palace, a towering three-storey structure with a facade of rusticated stone, which was started in 1489 on the instructions of Filippo Strozzi the Elder, who died two years later long before it was finished. On completion, it was confiscated by the Medicis, who did not return it to the Strozzi family for 30 years.

More reading:

Cosimo de' Medici - the banker who founded the Medici dynasty

The despotic reign of Alessandro's successor, Cosimo I

How the forces of Charles V sacked Rome

Also on this day:

1919: Benito Mussolini and the founding of the Italian Fascists

1922: The birth of Commedia all'Italiana star Ugo Tognazzi


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Salvator Rosa – artist

Exciting Baroque painter inspired others

Salvator Rosa: a self-portrait (1645), which can
be seen at the Musée des Beaux-Arts in Strasbourg

Salvator Rosa, a fiery and flamboyant character who was a poet and actor as well as an artist, died on this day in 1673 in Rome.

One of the least conventional artists of 17th century Italy, he was adopted as a hero by painters of the Romantic movement in the 18th and 19th centuries.

He mainly painted landscapes, but also depicted scenes of witchcraft, revealing his interest in the less conventional ideas of his age. These scenes were also sometimes the background for his etchings and the satires he wrote.

Rosa was born in Arenella on the outskirts of Naples. His father, a land surveyor, wanted him to become a lawyer or priest and entered him in the convent of the Somaschi Fathers.

Rosa was interested in art and secretly learnt about painting with his uncle and his brother-in-law, Francesco Fracanzano, who was a pupil of Jose de Ribera. Rosa later became an apprentice to Aniello Falcone, working with him on his battle scenes.

His own paintings featured landscapes overgrown with vegetation and beach scenes with caves, peopled with shepherds, seamen, soldiers and bandits.

After moving to Rome in about 1638, Rosa painted the first of his few altarpieces, the Incredulity of Thomas. He also wrote and acted in satires put on around the city, causing him to make a powerful enemy in the sculptor and architect Gian Lorenzo Bernini, whom he offended.

Rosa's controversial painting Allegory
of Fortune almost saw him arrested

Rosa then moved to Florence to work in a more comfortable environment, where he enjoyed Medici patronage and founded the Academia dei Percossi - the Academy of the Afflicted - for artists and writers.

In 1646 he returned to Naples, where he is thought to have sympathised with the insurrection of Masaniello as he painted a portrait of him.

Rosa went back to live in Rome in 1649, where he enjoyed success as a history painter and with his etchings. It was then that he painted his Allegory of Fortune, which seemed to imply that frequently artists received rewards that did not match their talent. This was considered controversial and he was nearly arrested.

Rosa is remembered as being determinedly independent, refusing to be constrained by patrons. It is said he would not paint on commission or to an agreed price, a stance that appealed to the British Romantic painters who came later.

His final work is believed to be Saul and the Witch of Endor, which is now in the Louvre.

Rosa was ill with dropsy for a few months and died in 1673. In his last moments he married a woman from Florence who had borne him two sons. He was buried in Rome in the church of Santa Maria degli Angeli e dei Martiri.

The unconventional artist later inspired biographies, fictional accounts of his life, novels, a ballet, a piece of music by Franz Liszt, and an opera.

The view across Naples towards Vesuvius
from the top of Vomero hill

Travel tip:

Arenella, where Rosa was born, is an area of Naples on the Vomero hill above the city, which was once considered a desirable place to get away from the chaos of the city. There is a street, Via Salvator Rosa and a metro stop named after the artist. Vomero is a middle class largely residential area of central Naples but has a number of buildings of historic significance. The most dominant, on top of Vomero Hill, is the large medieval fortress, Castel Sant'Elmo, which stands guard over the city. In front of the fortress is the Certosa San Martino, the former Carthusian monastery, now a museum.  Walk along the adjoining street, Largo San Martino, to enjoy extraordinary views over the city towards Vesuvius. 

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Salvator Rosa's tomb

Travel tip:

Salvator Rosa’s tomb is in the Basilica of Santa Maria degli Angeli e dei Martiri, a 16th century church built to a design by Michelangelo inside the ruined frigidarium of the Roman Baths of Diocletian in the Piazza della Repubblica in Rome.

More reading:

How the Baroque artist Cerquozzi depicted the Revolt of Masaniello

The mysterious death of Caravaggio

The genius of Gian Lorenzo Bernini

Also on this day:

44BC: Julius Caesar is murdered

1738: The birth of criminal law philosopher Cesare Beccaria

1849: The death of hyperpolyglot Giuseppe Mezzofanti 

(Picture credit: Tomb by Giovanni dell'Orto via Wikmedia Commons)


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Benvenuto Cellini – sculptor and goldsmith

Creator of the famous Perseus bronze had a dark history

Cellini's bronze of Perseus with the Head of
Medusa in Piazza della Signoria in Florence

The colourful life of the Renaissance artist Benvenuto Cellini ended on this day in 1571 with his death in Florence at the age of 70.

A contemporary of Michelangelo, the Mannerist Cellini was most famous for his bronze sculpture of Perseus with the Head of Medusa, which still stands where it was erected in 1554 in the Loggia dei Lanzi of the Piazza della Signoria in Florence, and for the table sculpture in gold he created as a salieri - salt cellar - for Francis I of France.

The Cellini Salt Cellar, as it is generally known, measuring 26cm (10ins) by 33.5cm (13.2ins), is now kept at the Kunsthistorisches Museum in Vienna, with an insurance value of $60 million.

His works apart, Cellini was also known for an eventful personal life, in which his violent behaviour frequently landed him in trouble. He killed at least two people while working in Rome as a young man and claimed also to have shot dead Charles III, Duke of Bourbon, during the 1527 Siege of Rome by mutinous soldiers of the Holy Roman Emperor, Charles V.

Cellini was also imprisoned for alleged embezzlement of the gems from the tiara of Pope Clement VII, famously escaping from jail at the Castel Sant’Angelo by climbing down a rope of knotted bedsheets, and for immorality.

He was a self-confessed bisexual, being found guilty of sodomy on a number of occasions.  One such charge, brought following accusations made by a male apprentice in his Florence workshop, led to a prison sentence of four years, commuted to house arrest following the intervention of the Medici family.

Cellini's extraordinary salt cellar in gold is insured
for a value of $60 million

Much of this is known because Cellini documented his life in an autobiography, the first by a significant Renaissance figure, in which he shared the details of his racy exploits. 

Cellini was apprenticed as a metalworker in the studio of the Florentine goldsmith Andrea di Sandro Marcone. He might have stayed in Florence had he not twice had to leave to escape the consequences of his violent behaviour.

After fleeing to Rome, he worked for the bishop of Salamanca, Sigismondo Chigi, and Pope Clement VII, which is how he came to participate on the side of the pontiff in defending Rome against the imperial forces in 1527, where he claimed not only to have killed Charles III of Bourbon but also to have shot, possibly fatally, the Prince of Orange, Philibert of Chalon.

Having survived the sack of Rome, he returned to Florence and in 1528 worked in Mantua, making a seal for Cardinal Gonzaga, which is now the property of the city’s Episcopal Archives.  Back in Rome, he then executed several works in gold for Clement VII, although apart from two medals made in 1534, which can be seen at the Uffizi in Florence, none survive.

His violent ways continued. After his brother, Cecchino, had killed a corporal of the Roman Watch and in turn received fatal wounds from the gun of another soldier, Cellini meted out his own justice by murdering his brother’s killer. He later murdered another man, this time a rival goldsmith.

A portrait bust of Cellini by Raffaello Romanelli
 can be found on Florence's Ponte Vecchio

Amazingly, he was absolved by Clement VII’s successor, Pope Paul III, but the following year, having wounded a notary, he fled from Rome and settled back in Florence.

He made his first visit to France as a guest of Francis I in 1538. It was two years later that he arrived at Fontainebleau, carrying with him an unfinished salieri, which he had originally offered to Cardinal Ippolito d’Este of Ferrara, and which he now completed in gold for the French king. The piece, which has the figures of a man and a women symbolising the sea and the Earth, and in which tiny models of a ship and a temple were intended to be receptacles for the condiments, is the only surviving fully authenticated Cellini work in precious metal. Modelled by hand rather than cast, it has been dubbed the Mona Lisa of small sculptures.

While in France, Cellini modelled and cast his first large-scale work, a large bronze lunette of the Nymph of Fontainebleau for the entrance to the Louvre.

He left Paris to return to Florence in 1545, at which point he was welcomed by Cosimo de’ Medici and entrusted with the commissions for the bronze Perseus in the Loggia dei Lanzi, and for a colossal bust of the Grand Duke of Tuscany, now at the Bargello museum, a short distance away.

Cellini’s other late works include his marble figures of Apollo and Hyacinth (1546) and of Narcissus (1546–47), which are also in the Bargello, as is a small relief of a greyhound made as a trial cast for the Perseus (1545).

There is a statue of Cellini in the
Piazzale degli Uffizi

After the unveiling of the Perseus, he began work on a marble crucifix originally intended for his own tomb in the Florence church of Santissima Annunziata, but now in the church of the royal monastery of the Escorial in Spain.

He began to write his autobiography in 1558 and completed it in 1562, dictating the text to an assistant in his workshop.

First printed in Italy in 1728, the book was translated into English in 1771. Composed in colloquial language, it is enormously valuable in providing a first-hand account of life in Clement VII’s Rome, the Paris of Francis I, and the Florence of Cosimo de’ Medici.

Michelangelo's David (left) and Bartolommeo Bandinelli's
Hercules and Cacus in Florence's Piazza della Signoria

Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is home to a series of important sculptures, including Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Baccio Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copies of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.

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The Palazzo del Bargello in Via del Proconsolo
is home to many masterpieces

Travel tip:

As well as works by Cellini, other great Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo. The museum houses masterpieces by Michelangelo, Donatello, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.

More reading:

Michelangelo's masterpiece - La Pietà

Bartolommeo Bandinelli - the rival Cellini mocked

The sculptor who broke Michelangelo's nose in a fight

Also on this day:

1539: The death of influential marchioness Isabella d’Este

1816: Fire damages Teatro di San Carlo

1912: The birth of poet Antonia Pozzi

1960: The birth of football referee Pierluigi Collina

(Picture credits: Perseus statue by Denise Zavala; Cellini Salt Cellar by Jerzy Strzelecki; Romanelli bust by Grzegorz Gołębiowski; Uffizi statue by Jebulon; Piazza della Signoria statues by Richard White; Palazzo Bargello by Kandi; all via Wikimedia Commons)

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Simonetta Vespucci – Renaissance beauty

Noblewoman hailed as embodiment of female perfection

Simonetta Vespucci, as recalled by Sandro
Botticelli in his 1480s Portrait of a Woman

Simonetta Vespucci, a young noblewoman who became the most sought-after artist’s model in Florence in the mid-15^th century, is thought to have been born on this day in 1453.

Born Simonetta Cattaneo to a Genoese family, she was taken to Florence in 1469 when she married Marco Vespucci, an eligible Florentine nobleman who was a distant cousin of the explorer and cartographer Amerigo Vespucci.

She quickly became the talk of Florentine society. Soon known as La Bella Simonetta, she captivated painters and young noblemen alike with her beauty. 

It is said that, shortly before her arrival, a group of artists had been discussing their idea of the characteristics of perfect female beauty and were stunned, on meeting Simonetta, to discover that their idealised woman actually existed.

The Medici brothers, Lorenzo and Giuliano, were said to have been besotted with her, Giuliano in particular, while she is thought to have been the model for several of Sandro Botticelli’s portraits of women.

The female figure standing on a shell in Botticelli’s masterpiece, The Birth of Venus, so closely resembles the woman in the paintings accepted as being Simonetta Vespucci that some critics insist he must have based his Venus on her.

The Venus in Botticelli’s Primavera has the same hair colour and similar facial features, as does one of the figures in his Three Graces.

Another Botticelli Portrait of a Woman,
clearly of the same model

The romantic notion that Botticelli, who never married, carried with him an unrequited love for Simonetta is reinforced by the story that, having outlived her, he asked to be buried at the Church of Ognissanti in Florence because she had been laid to rest there, although historians have pointed out that he had been baptized there and was buried with his family.

Other artists were similarly inspired by her. The 1490 Portrait of a woman by Piero di Cosimo is also believed to be Simonetta Vespucci.

Considering the impact she supposedly made, in reality her life was tragically short.

The daughter of a Genoese nobleman, Gaspare Catteneo, she was probably born in Genoa but some like to believe she was born in Porto Venere, the coastal town near La Spezia, the place that legend says was the birthplace of Venus herself.

Whichever it is true, she is said to have met Marco Simonetti while he was attending the Banco di San Giorgio. The young man asked her father for her hand and Gaspare, aware that the marriage would enhance his family’s social standing through Vespucci’s connection with the Medici, gave his approval.

In any event, both Lorenzo and Giuliano fell for her charms on their first meeting, and offered the couple use of a palazzo in Via Larga for the wedding ceremony followed by the wedding breakfast at their lavish Villa di Careggi.  The groom and his bride were both around 16 years old.

The Botticelli masterpiece The Birth of Venus is thought to
have been inspired by Simonetta Vespucci

Afterwards, Lorenzo was too busy with the politics of the day to pay Simonetta much attention but it was a different story for Giuliano, who did not conceal his feelings despite her now being married.

On one occasion, he took part in La Giostra, a jousting tournament, carrying a banner on which was a picture of Simonetta and an inscription, in French, that read La Sans Pareille, which translates in context as ‘The Woman Unparalleled’.

Guiliano won the tournament and dedicated his victory to ‘the Queen of Beauty’ and there have been suggestions that the pair become lovers, although historians think this was unlikely.

Simonetta died just one year later, at the age of 22.  It is thought she was stricken with tuberculosis, known at the time as ‘the subtle evil’ and a disease that was usually fatal.

During her funeral procession, it is said that the coffin was opened so that onlookers could appreciate her beauty one last time, although it appears to have been preserved for posterity in art.

The Uffizi overlooks the Arno river in central Florence

Travel tip:

Botticelli’s paintings The Birth of Venus and Primavera can both be found in the Uffizi Gallery in Florence, one of the largest and most important art museums in the world and the most visited art gallery in Italy, attracting more than two million visitors a year, with so many wanting to make it part of their experience of Florence that turning up without a pre-booked ticket can mean waiting up to five hours to be allowed in.  The complex of buildings that make up the gallery was originally designed by Giorgio Vasari on behalf of Cosimo I de’ Medici as offices – uffizi – for the Florentine magistrates.

The Villa di Castello is set in extensive gardens

Travel tip:

It is thought Cosimo I de’ Medici also commissioned Botticelli to provide some paintings to decorate the walls of a country house, the Villa di Castello, that the family had acquired in the hills northwest of Florence, near the town of Sesto Fiorentino and not far from the city's airport. Cosimo also commissioned an engineer, Piero di San Casciano, to build a system of aqueducts to carry water to the villa and gardens, a sculptor, Niccolo Tribolo, to create fountains and statues in the gardens and Vasari to restore and enlarge the main building.

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Guglielmo Libri – book thief

Nobleman stole more than 30,000 books and documents

Guglielmo Libri is thought to have stolen more
than 30,000 books, manuscripts and letters

The notorious 19^th century thief Guglielmo Libri, who stole tens of thousands of historic books, manuscripts and letters, many of which have never been found, was born on this day in 1803 in Florence.

A distinguished and decorated academic, Libri was an avid collector of historic documents whose passion for adding to his collections ultimately became an addiction he could not satisfy by legal means alone.

He stole on a large scale from the historic Laurentian Library in Florence but it was after he was appointed Chief Inspector of French Libraries in 1841 – he had been a French citizen since 1833 – that his nefarious activities reached their peak.

As the man responsible for cataloguing valuable books and precious manuscripts across the whole of France, Libri had privileged access to the official archives of many cities and was able to spend many hours in dusty vaults completely unhindered and unsupervised.

He was in a position to “borrow” such items as he required in the interests of research with no pressure to return them. Where the removal of a book or document was forbidden, he would smuggle them out under the huge cape that he insisted on wearing – on the grounds of supposedly poor health – even in the height of summer.

Although he began to arouse suspicion, it was not until 1848 that a warrant was issued in France for his arrest.  Tipped off, Libri had already fled to London, taking with him about 18 trunks containing more than 30,000 documents.

Some 72 letters written by Descartes were
thought to have been stolen by Libri

These included 72 letters written by the great French philosopher and mathematician René Descartes, as well as the Tours Pentateuch, a late sixth or early seventh-century illuminated Latin manuscript of the first five books of the Old Testament, which he stole from the Library of Tours.

With no extradition agreement existing between France and Britain at that time, Libri was thus able to evade justice, even though he was tried in absentia in 1850 and sentenced to 10 years’ jail.

Indeed, he lived a good life in London, mainly by selling books, often to members of the English nobility, or else at auction.

The Tours Pentateuch later became known as the Ashburnham Pentateuch after it was sold to the 4^th Earl of Ashburnham by Libri in 1847.  Two auction sales in 1861 are said to have netted him more than one million francs.

Born Count Guglielmo Libri Carucci dalla Sommaja, he was a precocious academic who began studying law at the University of Pisa at the age of 16 before switching to mathematics and being appointed professor of mathematical physics at the age of just 20.

He made many friends in Paris during a sabbatical visit in 1824 and when his involvement back in Italy with the secret revolutionary plotters known as the Carbonari led to the threat of arrest, it was to Paris that he escaped.

Libri's History of Mathematical Sciences
drew on stolen documents

He became a French citizen in 1833 and his academic stock continued to rise. He obtained a professorship at the Collège de France and in 1834 he was elected as assistant professor in the calculus of probabilities at the Sorbonne and elevated to the French Academy of Sciences.

Between 1838 and 1841, Libri wrote a four-volume tome entitled History of the Mathematical Sciences in Italy from the Renaissance of literature to the 17th Century, drawing from 1800 manuscripts and books by Galileo, Descartes, Leibniz and others which he claimed were in his personal collection. It was discovered later that many had been stolen from the Laurentian Library.

He cultivated contacts in high places to protect his reputation. His appointment as Chief Inspector of French Libraries, for example, came about through his friendship with the influential French Chief of Police, François Guizot.

Libri remained in England until 1868, when his declining health persuaded him to return to Italy.  He died the following year in Fiesole, just outside Florence, at the age of 66.

Although many of the huge number of items Libri stole have never been returned, having been forgotten about or left to gather dust in private libraries and storerooms, one of the missing Descartes letters, written in 1641 to Father Marin Marsenne, the priest and polymath who oversaw the publication of his Meditations on First Philosophy, turned up at Haverford College in Pennsylvania in 2010.

The Laurentian Library - the long building in the middle of
this picture - was fitted out to a design by Michelangelo

Travel tip:

The Laurentian Library – the Biblioteca Medicea Laurenziana – dates back to 1523, when the Medici pope Clement VII commissioned it to be built in a cloister of the Basilica of San Lorenzo in Florence, which is situated between the Duomo and Santa Maria Novella railway station. Home to some 11,000 manuscripts and 4,500 historic books, it was built to designs by Michelangelo in Mannerist style and is considered one of his greatest achievements, not only for elegance of its architectural features but for the innovative use for space to maximise the library’s capacity without detracting from its aesthetic beauty.

The remains of the Roman amphitheatre at Fiesole 

Travel tip:

Fiesole, a town of around 14,000 inhabitants, is situated about 8km (5 miles) northeast of Florence on a hill offering panoramic views. It was built on the site of an Etruscan city probably founded in the eighth or ninth century BC. In the middle ages it grew to be as powerful as Florence until it was conquered by the latter in 1125 after a series of wars. Among several notable sights is its 11^th century Romanesque Cathedral of St Romulus and many Roman remains, including those of an amphitheatre still used for open-air concerts during the summer.  Historically popular with wealthy Florentines as a place to build their villas, it still has the reputation of an upmarket residential area.

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Luca Giordano – artist

Talented Neapolitan was renowned for being a fast worker

Luca Giordano was influenced by Caravaggio

Luca Giordano, the most celebrated and prolific Neapolitan painter of the late 17th century, was born on this day in 1634 in Naples.

His nicknames were Luca Fa Presto - "Luca work faster" - said to derive from the way his father, the copyist Antonio Giordano, used to admonish him, Fulmine (the Thunderbolt) because of his speed, and Proteus, because he was reputed to be able to imitate the style of almost any other artist.

Giordano’s output both in oils and in frescoes was enormous and he is said to have once painted a large altarpiece in just one day.

He was influenced at the start of his career by Jose de Ribera, who he was apprenticed to, and he also assimilated Caravaggio’s style of dramatic intensity.

But after Giordano had travelled to Rome, Florence and Venice, his style underwent a profound change. The influence of Pietro da Cortona’s frescoes in the Pitti Palace in Florence can be detected in Giordano’s huge ceiling fresco in the ballroom of the Palazzo Medici-Riccardi, which he completed in 1683, and he became noted for his showy use of colour.

He went to Spain in 1692 as court painter to Charles II and stayed there till 1702. The frescoes in El Escorial are often claimed to be his best works, but there are nearly 50 paintings by him in the Prado in Madrid, which are evidence of his huge output.

Detail from Giordano's ceiling fresco at
the Palazzo Medici-Riccardo in Florence

After his return to Naples he continued to paint prolifically. His last great work there was the ceiling of the Cappella del Tesoro in San Martino, begun on his return to the city in 1702 and completed in 1704.

Many of Giordano’s other works in Naples were destroyed during the Second World War.

His St Benedict cycle, painted in 1677 in the abbey of Monte Cassino in Lazio, was entirely destroyed.

But his painting of Christ expelling the Traders from the Temple, painted in the monastery church of Girolamini (or Gerolamini) next to the Duomo in Naples, miraculously survived. It is full of expressive lazzaroni, Neapolitan beggars, who Giordano would have seen every day in the surrounding streets while he was working at the church.

Giordano died in Naples in 1705 and was buried in a tomb in the Church of Santa Brigida, where he had previously painted the cupola. He was to have a profound influence on many Italian artists who came after him.

The Palazzo Medici-Riccardi

Travel tip:

Construction of the Palazzo Medici-Riccardi in Florence was begun in 1444 to provide a home for the Medici family and the headquarters for their banking business. It was later sold to the wealthy Riccardi family. Part of the palace now open to the public includes the room where Giordano painted his frescoes between 1682 and 1685.

Travel tip:

The 17th century church of Santa Brigida in Naples had to have a dome that was no more than nine metres high, otherwise it would have obstructed artillery fire from Castel Nuovo. The fresco of a vivid sky executed by Giordano on the cupola cleverly creates a feeling of immense space. The artist’s tomb can be found in the left transept of the church.

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Mary of Modena – Queen of England

Catholic wife of James II greeted with suspicion

A 1680 portrait of Maria Beatrice by the
Dutch master Simon Pietersz Verelst

Maria Beatrice Anna Margherita Isabella d'Este, who would become known in England as Mary of Modena when she served as queen consort for almost four years in the 17^th century, was born on this day in 1658.

The daughter of Alfonso IV, Duke of Modena, the princess, descended from the Bourbon royal family of France and the Medici family of Italy, was born in the Ducal Palace in Modena. Her mother, Laura Martinozzi, from Fano in the Marche, hailed from a noble Roman family.

Tall, elegant and highly educated – she was fluent in French as well as Italian and had a good knowledge of Latin – Maria Beatrice was sought after as a bride for James, Duke of York, heir to Charles II.

She was picked as a suitable prospective bride for his Catholic master by Lord Peterborough, one of the Duke’s closest aides, who communicated with the d’Este family through French diplomatic channels.

James was a widower following the death of his first wife, Anne Hyde. He was no great catch, 25 years older than Maria Beatrice, scarred by smallpox and venereal disease and afflicted with a stutter.

Her mother was more interested in holding out for a possible match with Charles II of Spain, then only 11 years old, and it is said that her daughter was reluctant to marry a man so much older than her. 

Maria Beatrice with her only surviving son, James Francis
Edward Stuart, who later be known as the Old Pretender

She was persuaded to accept after Pope Clement X had written directly to her mother, who had been Maria Beatrice’s regent since the death of Alfonso IV.  They were married by proxy in September 1973, a few days before her 15^th birthday, and she arrived in England in the November.

The English public and the Protestant parliament were deeply suspicious, fearful of a Papist plot, and she was soon branded “the Pope’s daughter”. Parliament had to be suspended after some members tried to have the marriage annulled.

For her own part, the young princess, noted for her fair complexion and dazzling eyes, was said to have been so shocked at the appearance of her new husband when they first met that she burst into tears.  James already had two children, to whom he introduced his bride as “a new play-fellow”.

Between 1675 and 1682, Maria Beatrice gave birth to five children, none of whom survived.  In the meantime, the unpopularity of the marriage was such that for a number of years they lived in self-imposed exile in Brussels.

James II of England, whose appearance was said
to have shocked the young Maria Beatrice

When Charles II became gravely ill, however, James returned to England, fearful that if he was out of the country when his father died his illegitimate half-brother, James Scott, Duke of Montague, might attempt to seize power.

In the event, Charles recovered and the Duke of Montague’s public popularity waned following the discovery of a plot to have both the Duke of York and his father assassinated.

Charles eventually passed away in February 1685 and James II was crowned King in April of the same year. Public unrest grew again, however, and when it was announced in 1688 that Maria Beatrice had given birth to a second son, named James Francis Edward Stuart, a rumour quickly spread that he was a “changeling” - another new-born baby sneaked into the birth chamber inside a warming pan to replace her real child, which was stillborn.

A Privy Council investigation later dismissed the allegation as false but, coinciding with a stand-off between James II and leaders of the Protestant church over his attempts to introduce religious liberty for English Catholics, it was enough to prompt his Protestant son-in-law, William of Orange, whose wife, Mary, would have inherited the English throne had James II and Maria Beatrice not had a son, to launch an invasion.

James was deposed in December 1688 in what became known as the Glorious Revolution. Maria Beatrice fled to France, soon to be followed by her husband, whose attempt to regain power after assembling an army in Ireland famously failed at the Battle of the Boyne.

He was allowed to return to France where he and Maria Beatrice spent the remainder of their lives in the Château de Saint-Germaine-en-Laye, a royal palace just outside Paris, where Maria Beatrice died in 1718.

An 18th century print of the Palazzo Ducale (Ducal Palace)

Travel tip:

Modena’s Ducal Palace was the seat of the Este court from the 17th to 19th centuries, occupying land which was the site of the former Este Castle, which was located on the northern periphery of the city at a key position in a network of canals that once linked the city to the Panaro river and the Po. Nowadays, the palace is a military academy, training Army officers and Carabinieri.  The building also houses a military museum and a library. There is limited visiting but bookings must be made in advance.

The Fontana dei Due Fiumi

Travel tip:

More recently, the city of Modena has become famous for being the home of several iconic Italian sports car manufacturers, including De Tomaso, Lamborghini, Pagani, Maserati and, most famously, Ferrari.  The company founder, Enzo Ferrari, had his first workshop in the centre of the city, just a short distance from the ornate Fontana dei Due Fiumi. Modena was also the home of the operatic tenor, Luciano Pavarotti, and of Mirella Freni, the soprano. The Teatro Comunale, built in 1841, was dedicated to Pavarotti after his death in 2007.

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Francesca Caccini – singer and composer

Court musician composed oldest surviving opera by a woman

Francesca Caccini pictured in a
cameo discovered in Pistoia

Prolific composer and talented singer Francesca Caccini was born on this day in 1587 in Florence.

Sometimes referred to by the nickname La Cecchina, she composed what is widely considered to be the oldest surviving opera by a woman composer, La Liberazione di Ruggiero, which was adapted from the epic poem, Orlando Furioso by Ludovico Ariosto.

Caccini was the daughter of the composer and musician, Giulio Caccini, and she received her early musical training from him. Like her father, she regularly sang at the Medici court.

She was part of an ensemble of singers referred to as le donne di Giulio Romano, which included her sister, Settimia, and other unnamed pupils.

After her sister married and moved to Mantua, the ensemble broke up, but Caccini continued to serve the court as a teacher, singer and composer, where she was popular because of her musical virtuosity.

She is believed to have been a quick and prolific composer but sadly very little of her music has survived. She was considered equal at the time to Jacopo Peri and Marco da Gagliano, who were also working for the court.

Caccini was considered a rival to Jacopo Peri

Caccini married a fellow singer, Giovanni Battista Signorina, in 1607 and they had a daughter, Margherita.

She wrote music for comedies written by Michelangelo Buonarotti the Younger, a great nephew of the artist of the same name, and in 1618 she published her own collection of 36 songs and duets.

In 1625 Caccini composed all the music for the opera, La liberazione di Ruggiero dall’isola d’Alcina, which was performed for the visiting crown prince of Poland at the Villa Poggio Imperiale in Florence in 1625.

The prince, Ladislaus Sigismondo, later Wladyslaw IV, was so pleased with it he asked for it to be performed again in Warsaw in 1628.

After her first husband died in 1626, Caccini arranged to marry again the following year to Tommaso Raffaelli, a nobleman from Lucca. She bore him a son and as the wife of a nobleman she turned down at least one request to perform as a singer. But once she was widowed again she tried to return to the service of the Medici.

By 1634 she was back in Florence serving as a music teacher and composing and performing music and entertainment for the women’s court.

All her music, apart from La Liberazione di Ruggiero, and a few excerpts from her other works, have been lost. But her surviving scores showed she took care over the notation of her music, focusing attention on the rhythmic placement of syllables and words.

She left the Medici court in 1637 and it is not clear when she died, but the guardianship of her son passed to his uncle, Girolamo Raffaelli, in 1645.

Caccini’s opera, La Liberazione di Ruggiero, has since been performed in Cologne, Ferrara, Stockholm and Minneapolis.

Palazzo Pitti as seen from the palace's gardens

Travel tip:

Francesca Caccini would have spent plenty of time in Palazzo Pitti in Florence teaching or performing music. The palace is on the south side of the River Arno, a short distance from the Ponte Vecchio. Palazzo Pitti was originally the home of Luca Pitti, a Florentine banker. It was bought by the Medici family in 1549, after which it became the chief residence of the ruling family of the Grand Duchy of Tuscany.

The Villa del Poggio Imperiale is about 4.5km (2.8 miles)
outside Florence, to the south

Travel tip:

The first performance of Caccini’s opera, La liberazione di Ruggiero, was given at the imposing neoclassical Villa del Poggio Imperiale, just outside Florence. It was once one of the homes of the Grand Dukes of Tuscany, having been seized from the Salviati family by the Medici. It was later given to Napoleon’s sister as a residence during French rule, before becoming a girl’s school. Some of the frescoed state rooms are open to the public by appointment.

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