Francesco Laparelli - architect and military engineer

Italian who designed Valletta, the fortified capital of Malta

Francesco Laparelli found himself
in demand as a military architect

The architect Francesco Laparelli da Cortona, who worked as assistant to Michelangelo Buonarroti at St Peter’s Basilica in Rome but is chiefly renowned for the design of Valletta, the fortified capital city of Malta, was born on this day in 1521 in the hilltop city of Cortona in what is now Tuscany.

Laparelli designed the campanile - bell tower - for Cortona’s duomo but turned his talents towards military engineering after serving as an officer under Cosimo de’ Medici during the battle for control of the Republic of Siena in the 1550s.

He went on to serve on Cortona’s city council and worked with other engineers on the Fortezza del Girifalco above the city. The cost of the fortress and other work on the city walls eventually bankrupted the city but Laparelli’s reputation was established.

He was summoned to Rome by Pope Pius IV in 1560  on the recommendation of Gabrio Serbelloni, the pope’s cousin and a condottiero with whom Laparelli had worked in Cortona.

Pius IV commissioned him to restore the fortifications at Civitavecchia, Rome’s main port, to build defences for the mouth of the Tiber river and to direct the strengthening of fortifications around the Vatican and the new suburb of Borgo Pio.

In 1565 he completed the reinforcement of the cylindrical Castel Sant'Angelo, now a familiar Rome landmark, and collaborated with Michelangelo on the huge dome of St Peter's Basilica, with particular focus on ensuring it was a stable structure.

Modern Valletta, capital of Malta, still resembles
the fortress-city that was planned by Laparelli

Laparelli was keen to take on further architectural projects in the capital but later in 1565 was asked by Pope Pius V to go to Malta, where the Knights of St John had finally defied a long siege of the island by the Ottoman Turks, who wanted it as a base from which to attack Italy, but at a cost of considerable destruction to the principal forts at Birgu, Senglea and St Elmo.

The Grand Knight, Jean Parisot de la Valette, favoured rebuilding the existing defences but Laparelli calculated that it would need 4,000 labourers working 24 hours a day just to make basic repairs and proposed that a new fortification on the Sciberras Peninsula could be built at a much cheaper cost. Such a fortification, he said, would enable Malta to be defended against any new incursion by the Turks with just 5,000 soldiers, far fewer than the 12,000 soldiers and 200 horses previously required to protect the island.

Laparelli’s design was for a city built on a grid plan with wide, straight streets, surrounded by ramparts and with the fort of St Elmo rebuilt at the tip of the peninsula. A ditch, later renamed the Ġnien Laparelli as a tribute to him, was added to protect the landward end of the peninsula.

The monument to Laparelli and his
assistant, Girolamo Cassar, in Valletta

He left Malta in 1569 to help in the papal naval war against the Turks, at which point the major construction work on the city, to be called Valletta, was still to begin.

Born into one of Cortona’s wealthiest and most illustrious families, Laparelli would have one day hoped to return to his home city, where he still owned considerable land and estates, but met with an early death in Crete, where he was staying when he contracted plague at the age of 49 in 1570.

He was unable to see his designs reach fruition in Valletta, where his work was continued by his Maltese assistant, Girolamo Cassar. Both he and Cassar are commemorated with a monument between Valletta’s Parliament House and the ruins of its old Royal Opera House, sculpted by John Grima and unveiled in 2016.

Laparelli's campanile towers over the small hilltop
city of Cortona, his place of birth

Travel tip:

Cortona, Laparelli’s home town, was founded by the Etruscans, making it one of the oldest cities in Tuscany. Its Etruscan Academy Museum displays a vast collection of bronze, ceramic and funerary items reflecting the town’s past. The museum also offers access to an archaeological park that includes city fortifications and stretches of Roman roads. Outside the museum, the houses in Via Janelli are some of the oldest houses still surviving in Italy. Powerful during the mediaeval period, Cortona was defeated by Naples in 1409 and then sold to Florence.  Characterised by its steep narrow streets, Cortona’s hilltop location - it has an elevation of 600 metres (2,000 ft) - offers sweeping views of the Valdichiana, including Lago Trasimeno, where Hannibal ambushed the Roman army in 217 BC during the Second Punic War.

Castel Sant'Angelo, which Laparelli reinforced before
leaving for Malta, is a well-known Rome landmark

Travel tip:

Castel Sant’Angelo was originally built as a mausoleum for the Roman Emperor Hadrian and his family on the right bank of the Tiber between 134 and 139 AD. There is a legend that the Archangel Michael appeared on top of the mausoleum, sheathing his sword as a sign of the end of the plague of 590, which is how the castle acquired its present name. Pope Nicolas III commissioned a covered fortified corridor, the Passetto, to link it to the Vatican and Pope Clement VII was able to use it to escape from the Vatican during the siege of Rome by Charles V’s troops in 1527. Castel Sant’Angelo was used as the setting for the third act of Giacomo Puccini’s 1900 opera Tosca, during which the heroine leaps to her death from the ramparts.

Also on this day:

1498: The birth of soldier Giovanni dalle Bande Nere

1622: The birth of mathematician and scientist Vincenzo Viviani

1801: The birth of philosopher and politician Vincenzo Gioberti

(Picture credits: Valletta by MarcinCzerniawski, Castel Sant'Angelo by Rainhard2 via Pixabay; monument by No Swan So Fine, Cortona by Patrick Denker via Wikimedia Commons)

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Jacopo Carucci da Pontormo – artist

Painter’s expressive style was the start of Mannerism

Jacopo Pontormo's masterpiece, The
Deposition from the Cross

Painter Jacopo Carucci, often referred to simply as Pontormo, was born on this day in 1494 in Pontorme near Empoli in Tuscany.

Pontormo is considered to be the founder of the Mannerist style of painting in the later years of the Italian high renaissance, as he was capable of blending Michelangelo’s use of colour and monumental figures with the metallic rigidity of northern painters such as Albrecht Dürer. His work represents a distinct stylistic shift from the art typical of the Florentine Renaissance.

According to Giorgio Vasari in his book, The Lives of the Artists, Pontormo’s father was also a painter but he became an orphan at the age of ten. As a young art apprentice he moved around a lot, staying with Leonardo da Vinci, Mariotto Albertinelli, Piero di Cosimo and Andrea del Sarto.

Pope Leo X, passing through Florence in 1515 on a journey, commissioned the young Pontormo to fresco the Pope’s Chapel in the church of Santa Maria Novella.

Pontormo also participated in the decoration of the nuptial chamber of Pierfrancesco Borgherini with his Stories of Joseph, four paintings that are now in the National Gallery in London.

According to Vasari, the model for the boy seated on the step in one of the pictures was Pontormo’s young apprentice, Bronzino.

In 1522, when the plague broke out in Florence, Pontormo went to stay at a cloistered Carthusian monastery, the Certosa di Galluzzo, where he painted a series of frescoes on the passion and resurrection of Christ, but sadly these have been damaged over the years.

Pontormo’s surviving masterpiece is considered to be The Deposition from the Cross, a large altarpiece canvas in the church of Santa Felicità in Florence.

Pontormo's portrait, The Halberdier, was once
the most expensive painting in the world

In the last few years of his life, Pontormo worked on frescoes for the choir of the Basilica of San Lorenzo in Florence, but only the drawings for these have survived. The artist died, aged 62, in January 1557 before completing this work.

According to Vasari, Pontormo ‘was buried in the first cloister of the Church of the Servite friars under the scene he had previously painted there of the Visitation.’ This is the church of Santissima Annunziata in Piazza della Santissima Annunziata in Florence.

His body was moved in 1562 to the chapel devoted to artists and placed under the Trinity, which had been painted by his pupil, Bronzino.

Vasari portrays Pontormo as withdrawn, neurotic and miserly, but subsequent art historians have pointed out that the two were rivals for Medici commissions, which might have influenced Vasari’s judgment.

Pontormo’s work was out of fashion for centuries, but there has recently been renewed interest in him from art historians. Between 1989 and 2002, Pontormo’s portrait of The Halberdier held the title of the world’s most expensive painting by an Old Master.

The church of San Michele in Pontorme, Empoli, is just
a few steps from the house in which Pontormo was born

Travel tip:

The village of Pontorme, where Jacopo Carucci was born, is now a district of the town of Empoli, which can be found 20km (12 miles) southwest of Florence. Pontorme is essentially the network of streets around the church of San Michele Arcangelo. The house where Carucci spent his early years is now a museum in which visitors can see objects and artworks that include preparatory sketches for the altarpiece depicting Saints John the Evangelist and the Archangel Michael from the church of San Michele, a page from the painter’s diary and pieces of ceramic cookware uncovered during the building’s restoration.  The house is close to the church of San Michele in Via Pontorme, who can arrange visits.

The loggia facade of the Basilica della Santissima
Annunziata in Florence, where Carucci was buried

Travel tip:

The Basilica della Santissima Annunziata, where Carucci was buried, is a Renaissance-style basilica in Florence. Considered the mother church of the Servite Order, it is located at the northeastern side of the Piazza Santissima Annunziata near the city centre. The facade of the church is by the architect Giovanni Battista Caccini, added in 1601 to imitate the Renaissance-style loggia of Brunelleschi's facade of the Foundling Hospital, which defines the eastern side of the piazza. The building opposite the Foundling Hospital, designed by Sangallo the Elder, was also given a Brunelleschian facade in the 1520s.

Also on this day:

1671: The birth of Gian Gastone de’ Medici, the last Medici to rule Florence

1751: The birth of Charles Emmanuel IV, King of Sardinia

1981: The birth of celebrity chef Simone Rugiati


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Baldassare Peruzzi - architect and painter

Pupil of Bramante who left mark on Rome

The portrait of Baldassare Peruzzi in
Giorgio Vasari's 1568 book Lives of the Most
 Excellent Painters, Sculptors, and Architects

The architect and painter Baldassare Peruzzi, who trained under Donato Bramante and was a contemporary of Raphael, was born on this day in 1481 in a small town near Siena.

Peruzzi worked in his home city and in Rome, where he spent many years as one of the architects of the St Peter’s Basilica project but where he was also responsible for two outstanding buildings in his own right - the Villa Farnesina and the Palazzo Massimo alle Colonne.

The Villa Farnesina, a summer house commissioned by the Sienese banker Agostino Chigi in the Trastevere district, is unusual for its U-shaped floor plan, with a five-bay loggia between the arms.

Raphael and Sebastiano del Piombo were among those who helped decorate the villa with frescoes, but Peruzzi is acknowledged as the chief designer, possibly aided by Giuliano da Sangallo. He was relatively inexperienced at the time but was personally selected by Chigi despite the huge array of talent on offer in the city at the time.

Some of the frescoed paintings on the walls of the interior rooms are also by Peruzzi. One example is the Sala delle Prospettive, in which the walls are painted to create the illusion of standing in an open-air terrace, lined by pillars, looking out over a continuous landscape.

Peruzzi's brilliant Sala delle Prospettive, with its illusion
of an open-air terrace, inside the Villa Farnesina

Originally known as the Villa Chigi, the house in 1577 became the property of the Farnese family after whom it was renamed. Michelangelo at one time proposed linking the villa with Palazzo Farnese on the other side of the Tiber. The project was never completed, although there are remnants of a few arches still visible in the back of Palazzo Farnese.

The Palazzo Massimo alle Colonne on the present-day Corso Vittorio Emanuele II is still more unusual, featuring a curved facade, dictated by the shape of the foundations of the building that had previously stood on the site - destroyed during the 1527 Sack of Rome by mutinous troops of Holy Roman Emperor Charles V - which had owed their pattern to the semi-circular Odeon of Domitian, an ancient Roman theatre.

Commissioned by Pietro Massimo, descendent of one of the oldest noble families in Rome, the palace has an entrance characterised by a central portico with six Doric columns. Inside, a courtyard and a loggia feature more Doric columns, hence the palace’s name.

The monument to
Peruzzi at the Pantheon

Peruzzi, born in the town of Sovicille, about 10km (6 miles) southwest of Siena, began his career as a painter of frescoes in the Cappella San Giovanni in Siena’s cathedral. He moved to Rome in his 20s, receiving the commission for the Villa Farnesina in 1509.

With the death of Raphael, in 1520 he was appointed as one of the architects engaged on the massive programme to build a new St Peter’s Basilica.

However, he fled Rome following the events of 1527 and returned to Siena, where he was employed as architect to the Republic. He built new fortifications for the city, remodelled the Church of San Domenico and designed a remarkable dam on the Bruna river near Giuncarico.

From 1531 he was back in Rome and again working at St Peter's, where he was appointed the principal architect to the basilica in 1534.

Other works attributed to Peruzzi include a mosaic ceiling for the church of Santa Croce in Gerusalemme, paintings in the churches of Sant'Onofrio and San Pietro in Montorio and in Santa Maria in Portico a Fontegiusta in Siena.

Peruzzi’s son, Giovanni Sallustio, was also an architect. Another son, Onorio, learned painting from his father but then became a Dominican priest in the convent of Santa Maria Sopra Minerva in Rome.

He died in Rome in January 1536, aged 54.

The Villa Farnesina is one of Baldassare Peruzzi's two
masterpieces from his time working in Rome

Travel tip:

The Villa Farnesina can be found on Via della Lungara in the Trastevere district of Rome.  After the Farnese family, the villa belonged to the Bourbons of Naples and in 1861 to the Spanish Ambassador in Rome, Bermudez de Castro, Duke of Ripalta. Today, it is owned by the Italian State and accommodates the Accademia dei Lincei, a long-standing academy of sciences. The main rooms of the villa, including the Loggia, are open to visitors from 9am to 2pm on Monday to Saturday, and on every second Sunday of the month from 9am to 5pm. For more details, visit http://www.villafarnesina.it

The beautiful Romanesque-Gothic
cathedral in Siena

Travel tip:

Siena’s Duomo - the Cathedral of St Mary of the Assumption - was designed and completed between 1215 and 1263 on the site of an earlier structure. It has a beautiful façade built in Tuscan Romanesque style using polychrome marble. There had been plans to build an enormous basilica, which would have been the largest in the world, but the idea was abandoned because of lack of funds due to war and the plague. Nonetheless, the cathedral built in its place to plans drawn up by Giovanni di Agostino, with a pulpit designed by Nicola Pisani, is considered a masterpiece of Italian Romanesque-Gothic architecture.

Siena hotels from Booking.com


More reading:

Raphael, the precocious genius who became one of the Renaissance greats

How Agostino Chigi became one of Europe's richest men

The mutinous army that laid waste to Rome

Also on this day:

1274: The death of the philosopher Saint Thomas Aquinas

1678: The birth of Turin architect Filippo Juvarra

1785: The birth of novelist Alessandro Manzoni

Selected books:

Giorgio Vasari's The Lives of the Artists (Oxford World's Classics)

(Picture credits: Peruzzi monument by cmholm;Villa Farnesina by Jean-Pierre Dalbéra; Siena cathedral by Myrabella; all via Wikimedia Commons)


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John Singer Sargent - painter

Celebrated portraitist had lifelong love for Italy

John Singer Sargent, photographed in
1903 by James E Purdy

The painter John Singer Sargent, who was hailed as the leading portraitist of his era but was also a brilliant painter of landscapes, was born on this day in 1856 in Florence.

Although he became an American citizen at the first opportunity, both his parents being American, he spent his early years in Italy and would regularly return to the country throughout his life.

At his commercial peak during the Edwardian age, his studio in London attracted wealthy clients not only from England but from the rest of Europe and even from the other side of the Atlantic, asking him to grant them immortality on canvas.

His full length portraits, which epitomised the elegance and opulence of high society at the end of the 19th century, would cost the subject up to $5,000 - the equivalent of around $140,000 (€122,000; £109,000) today.

Sargent was born in Italy on account of a cholera pandemic, the second to hit Europe that century, which caused a high number of fatalities in London in particular. His parents, who were regular visitors to Italy, were in Florence and decided it would be prudent to stay.

A Sargent portrait of a celebrated
American actress and her daughter

There was always a strong chance that he would be born in Italy. Although his parents had a home in Paris, they were almost constantly travelling to one part of Europe or another in search of culture, and Italy, with its wealth of classical attractions, was a favourite destination.

Sargent’s sister, Mary, was also born in Florence and in time the family decided to stay there, his father relinquishing his position as an eye surgeon in Philadelphia.

The young Sargent did not have a formal education but learned much from his parents, quickly developing an appreciation of art, particularly in Venice, where he studied at first hand the works of Tintoretto, whom he rated an inferior only to Titian and Michelangelo.

By the age of 12, Sargent was already making his own sketches of the scenic wonders of Italy. He received his first organised art instruction from the German landscape painter, Carl Welsch, in Florence but left in 1874 to study in Paris. He was 22 before he made his first visit to the United States, and although he took the opportunity to claim his American citizenship, he immediately returned to Italy.

He spent time in Naples and Capri in 1878 before taking a studio in Venice, from which he painted many views, often of the lesser-known parts of the city and of Venetian people going about their normal daily lives. Where many painters focused on the places that attracted tourists, and did very well as a result, Sargent was more interested in the real Venice.

Sargent's impressionist-style watercolour of the Scuola di San
Rocco in Venice, noted for its collection of Tintoretto paintings

Among his Venetian scenes, his Scuola di San Rocco (c. 1903) marks Sargent as one of the finest watercolour painters of all time.

He found his own best commercial opportunities lay in Paris, and subsequently London, however, and portrait-painting became the driving force of his career.

His gift was in his ability to make each portrait somehow unique, despite the repetitive nature of the work. He managed to find something different about every sitter, could use props and background to suggest their class or occupation, and specialised in capturing his subjects in off-guard moments, rather than formal poses, to evoke a sense of their nature.

But portraits were not really what he wanted to do and, in 1910, having grown wealthy, Sargent gave up portraiture and devoted the rest of his life to painting murals and Alpine and Italian landscapes in watercolour.

Sargent's watercolour of the church of Santa Maria della Salute

Travel tip:

The great Baroque church of Santa Maria della Salute was one of Sargent’s favourite churches in Venice. Standing at the entrance to the Grand Canal and supported by more than a million timber piles, it was built to celebrate the city’s deliverance from the plague that claimed the lives of 46,000 Venetians in 1630. It is one of the most imposing architectural landmarks in Venice and has inspired painters such as Canaletto, Turner and Guardi. The interior consists of a large octagonal space below a cupola with eight side chapels. There are paintings by Titian and Tintoretto and a group of statues depicting the Virgin and Child expelling the plague by the Flemish sculptor, Josse de Corte.

Sargent's impression of a gondola passing beneath the Rialto

Travel tip:

The Rialto Bridge, of which Sargent sought different aspects, is the oldest of the four bridges spanning the Grand Canal in Venice, connecting the sestieri of San Marco and San Polo. Originally built as a pontoon bridge in 1181, and called Ponte della Moneta after the city’s mint, which stood near its eastern entrance, it was rebuilt several times, first in 1255, when it was replaced with a wooden bridge to cope with extra traffic generated by the development of the Rialto market. It had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The rows of shops along the sides of the bridge were added in the first half of the 15th century. It was replaced by a stone bridge after once burning down and twice collapsing under the weight of people.

More reading:

Tintoretto, the dyer's son whose work adorns Venice

Titian, the giant of Renaissance art

The Festival of Madonna della Salute, when Venetians celebrate their deliverance from the plague

Also on this day:

1562: The birth of Charles Emmanuel I, Duke of Savoy

1751: The birth of Ferdinand I of the Two Sicilies

1848: Sicily rebels against the Bourbons


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Ruggiero Giovannelli – composer

Church musician wrote popular madrigals and songs

Ruggiero Giovannelli was maestro di
cappella at St Peter's for five years

Ruggiero Giovannelli, a religious composer who also wrote a surprising number of light-hearted madrigals, died on this day in 1625 in Rome.

He may have been a pupil of Giovanni Pierluigi da Palestrina, the most famous of the Roman School composers of the 16th century. Even though there is no documentary evidence to support this, there are stylistic similarities in their music.

On Palestrina’s death in 1594, Giovannelli was chosen to replace him as maestro di cappella at the Julian Chapel in St Peter’s Basilica.

Giovannelli was born in Velletri near Rome and not much is known about his life until 1583 when he became maestro di cappella at the church of San Luigi dei Francesi near the Piazza Navona in Rome. He moved on to become maestro di cappella at the Collegio Germanico, a pontifical college in Rome, in 1591.

His most important appointment was when he was chosen to replace Palestrina at St Peter’s in 1594, a position he held until 1599 when he became a singer at the Sistine Chapel, a position he held until he became maestro di cappella there in 1614.

Giovannelli was influenced by Giovanni Pierluigi da
Palestrina (above), whom he succeeded at St Peter's 

Giovannelli composed church music in the style of Palestrina, although after 1600 he experimented with innovations that reflected the beginning of the Baroque era. Manuscripts of his masses, motets and psalms are kept in the Vatican Library.

Giovannelli wrote a surprising amount of secular music, mostly madrigals and canzonettas. He wrote three books of madrigals for five voices and two books for four voices, as well as a large quantity of other secular songs. His music was reprinted in Italy and abroad, which indicates its popularity at the time.

After retiring in 1624, he died the following year. He is buried in the church of Santa Marta in Rome.

The Cathedral of San Clemente in Velletri, which dates
back to the fourth century

Travel tip:

Velletri, where Ruggiero Giovannelli was born, is a municipality outside Rome in the Alban Hills. It has a fourth century cathedral, the Cathedral of San Clemente, which was originally built over the ruins of a pagan temple, but was rebuilt in the 17th century and given a Renaissance-style portal. The town suffered extensive damage during bombing raids in the Second World War, although the cathedral survived.  In the 15th century, Velletri had the dubious claim to fame of being the host to what is believed to have been the world's first pawnshop.

Michelangelo's incredible work
on the ceiling of the Sistine Chapel

Travel tip:

The Sistine Chapel, where Ruggiero Giovannelli was both a singer and maestro di cappella, is in the Apostolic Palace, where the Pope lives, in Vatican City. The chapel takes its name from Pope Sixtus IV, the uncle of Pope Julius II, who had it restored during his papacy. Between 1508 and 1512, Michelangelo painted the ceiling at the request of Pope Julius II.  His amazing masterpiece is in bright colours, easily visible from the floor, and covers more than 400 square metres.



More reading:

Domenico Bartolucci - a musician who directed the Sistine Chapel choir under six 20th century popes

The tale of Carlo Gesualdo, the 16th century composer of madrigals who brutally killed his wife and her lover

Andrea Gabrieli, the father of Venetian music

Also on this day:

1655: The death of the controversial Pope Innocent X

1797: Italy's tricolore flag is hoisted for the first time

1920: The birth of actor Vincent Gardenia


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Pope Paul III excommunicates Henry VIII

The day a pontiff finally lost patience with the Tudor king

Pope Paul III was born Alessandro
Farnese and became pope in 1534

Pope Paul III announced the excommunication of King Henry VIII of England from the Catholic Church on this day in 1538 in Rome.

Henry had been threatened with excommunication by the previous pope, Clement VII, in 1533 after he married Anne Boleyn. However, Clement did not act on his threat straight away, hoping Henry might come to his senses.

Henry had been awarded the title of Defender of the Faith by a previous pope because he had written a defence of the seven sacraments of the Catholic church against the protestant leader Martin Luther.

But Clement died the following year and a new pope had to be elected.

Pope Paul III, who was born Alessandro Farnese, became pontiff in 1534 and took on the job of organising the Counter Reformation as well as using nepotism to advance the power and fortunes of the Farnese family.

When it became clear Henry was intent on demolishing the Catholic Church in England, Paul III issued the original papal bull - edict - drawn up by Clement VII.

Henry VIII was punished  for his
attack on the English Catholic Church

He lost patience with Henry after he declared himself head of the Church of England and started ordering the execution of anyone who stood in his way.

In the bull, Paul III specifically referred to Henry’s actions in digging up and burning the bones of St Thomas of Canterbury, scattering his ashes to the winds and driving out the monks from St Augustine’s monastery in the same city, putting his deer in their place.

During the rest of his time as pontiff, Paul III used his diplomatic skills to avoid conflict with both Francis I of France and the Emperor Charles V and he reasserted papal control of central Italy.

He convened the Council of Trent in 1545, which met at Trento in northern Italy for nearly eight years to plan the Catholic resurgence in response to the Protestant Reformation.

The Sistine Hall of the Vatican Library in Rome

Travel tip:

The Vatican Library in Rome is the official library of the Holy See. Established in 1475, it is one of the oldest libraries in the world and has more than one million books. In the 17th century, on the orders of Pope Paul V, the Vatican Archives, containing all the Acts promulgated by the Holy See and other important documents, were separated from the Vatican Library. They remained closed to outsiders until the late 19th century when Pope Leo XIII made them available to researchers again. In 2012, to mark the 400th anniversary of the Vatican Archives, a selection of the documents was put on display in the Capitoline Museums in Rome. They included a letter signed by 81 English noblemen, which had been sent in 1530 to Pope Clement V11 urging him to annul Henry VIII’s marriage to Catherine of Aragon so he could marry Anne Boleyn.

Hotels in Rome from TripAdvisor

Pope Paul III renewed Michelangelo's commission to
work on St Peter's Basilica during his time in office

Travel tip:

As well as leading the Counter Reformation, Paul III was a keen patron of the arts and during his reign as Pope he renewed Michelangelo’s commission to paint the Last Judgment on the wall of the Sistine Chapel in the Vatican Palace and oversaw the project until it was completed in 1541. He also appointed Michelangelo to take over the supervision of the building of St Peter’s Basilica after the death of the architect Antonio Sangallo the Younger. He commissioned the building of the Palazzo Farnese in the centre of Rome to reflect his wealth and status. The palace was initially designed by da Sangallo but was given some architectural refinements by Michelangelo.



More reading:

The death of Pope Julius II, the 'warrior pope'

The legacy of Michelangelo

Ranuccio II Farnese - the Duke of Parma who feuded with popes

Also on this day:

546: Rome falls to the Ostrogoths

1749: The birth of composer Domenico Cimarosa

1981: Red Brigades seize Nato boss


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Elisabetta Sirani – artist

Sudden death of talented young woman shocked Bologna

A self-portrait by Elisabetta Sirani

The brilliant Baroque painter and printmaker Elisabetta Sirani died in unexplained circumstances at the age of 27 on this day in 1665 in Bologna.

The body of the artist was carried to the Chapel of the Rosary in the Basilica of San Domenico in Bologna to be mourned, not just by her family, but by an entire community as she was loved and respected as an important female painter.

Elisabetta has been described as beautiful, focused and selfless and she became a symbol of the progressive city of Bologna, where the creativity of women was encouraged and they were able to express themselves through art and music.

Elisabetta’s father, Giovanni Andrea Sirani, was himself an artist and she was trained in his studio, although contemporary writers have recorded that he was reluctant to teach her to paint in the Bolognese style, as established by artists in the city in the 16th and 17th centuries as a way to distinguish themselves from the artists of Florence and Rome.

But Elisabetta acquired the technique anyway and became one of the most renowned painters in Bologna , overshadowing her father. He had been a pupil of the highly regarded Bolognese painter Guido Reni, who had died in 1642, and many local people considered Elisabetta to be a female reincarnation of him.

Sirani's beautiful painting Sant'Antonio da
Padova in adorazione del bambino

When she was just 16 her father became incapacitated by gout and so Elisabetta began running his workshop and became the breadwinner for the whole family.

She never married, despite being described as attractive, lively and warm-hearted. Some people believed that her father prevented her from marrying.

When Elisabetta died suddenly on 28 August 1665 in Bologna her death was treated as suspicious and a servant, Lucia Tolomelli, was charged with poisoning the artist. She was put on trial but Elisabetta’s father later withdrew the charges.

Modern thinking, based on the descriptions recorded of her symptoms, is that she probably died of peritonitis after suffering a ruptured peptic ulcer.

Elisabetta was given an elaborate funeral that included an enormous catafalque - a kind of moving platform - containing a life-sized sculpture of her and she was buried in the same tomb as Guido Reni.

During her brief career she had produced more than 200 paintings, 15 etchings and hundreds of drawings. She painted many religious subjects but was also an accomplished portrait painter and was much mourned by the women of Bologna who had sat for her.

She established an academy for women painters in Bologna and trained many artists at what was the first school in Europe for women painters that was outside a convent.

Her 1663 painting Virgin and Child is now in the collection of the National Museum of Women in the Arts in Washington . In 1994 it was selected by the United States Postal Service for their Christmas holiday stamp series.

The Pinacoteca Nazionale di Bologna houses a number
of paintings by Elisabetta Sirani

Travel tip:

You can see paintings by Elisabetta Sirani in The Pinacoteca Nazionale di Bologna in Complesso di Sant’Ignazio in Via Belle Arti, a gallery close to Due Torri, the two towers that have become symbols of Bologna . One of the most beautiful paintings on show is Sant’Antonio da Padova in adorazione del bambino, which shows the saint kneeling at the baby’s feet. Also on display is her striking painting of Santa Maria Maddalena, which shows the saint bare-breasted and holding a crucifix.

Guido Reni's ceiling The Glory of San
Domenico is a feature of the basilica

Travel tip:

Elisabetta Sirani is buried with the artist Guido Reni in the Rosary Chapel of the 13th century Basilica of San Domenico in Piazza San Domenico. The church is close to the Archiginnasio, once the main building of the University of Bologna . Behind the red-brick façade of the church, which was added as recently as 1910, lies a treasure house of art including works by Pisano, Michelangelo, Iacopo da Bologna and Guido Reni. In the Rosary Chapel, the most important work is the Mystery of the Rosary, a group of paintings worked on by Lodovico Carracci, Bartolomeo Cesi, Denis Calvaert, Lavinia Fontana, Guido Reni and Domenichino.

More reading:

The Bolognese master Guercino

How the Bolognese painter Annibale Carracci influenced art in Rome

Why Domenichino is seen as the Raphael of the Bolognese School

Also on this day:

1909: The birth of Bicycle Thieves actor Lamberto Maggiorani

1938: The birth of journalist and TV talk show host Maurizio Costanzo


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Antonio da Sangallo the Younger - Architect

Talented Florentine was commissioned by the Popes

The Church of Santa Maria de Loreto in
Rome was Sangallo's first major commission

Antonio da Sangallo the Younger, who left his mark on Rome during the Renaissance, died on this day in 1546 in Terni in Umbria.

Sangallo was the chief architect on St Peter’s Basilica from 1520 onwards and built many other beautiful churches and palaces in the city and throughout the Papal States.

He was born Antonio Cordiani in Florence in 1484. His grandfather had been a woodworker and his uncles, Giuliano and Antonio da Sangallo, were architects.

The young man followed his uncles to Rome to pursue a career in architecture and ended up taking the name Sangallo himself.

He became an assistant to Donato Bramante and started by preparing sketches for his master.

Recognising his talent, Bramante gave Sangallo projects to complete with no more than an outline of the design and motifs.

Sangallo’s first major commission was for the Church of Santa Maria di Loreto in 1507.

He came to the attention of Cardinal Alessandro Farnese, who later became Pope Paul III, and was commissioned to design the Farnese Palace in Piazza Farnese and a palace and church in the Cardinal’s home town of Gradoli.

Sangallo designed the Palazzo Farnese
on behalf of the future Pope Paul III

Sangallo designed the Palazzo Baldassini for Melchiore Baldassini and was responsible for the final design of the Villa Madama for Cardinal Giulio de' Medici.

Having acquired a reputation in Rome as a master architect, he was appointed by Pope Leo X to oversee the construction of St Peter’s Basilica.

He was also responsible for some inspired engineering feats, such as building the foundations for the Church of San Giovanni dei Fiorentini on the banks of the Tiber, following Jacopo Sansovino’s design, which called for the church to extend into the river.

He shored up the foundations for the Basilica della Santa Casa in Loreto and did similar work on the Vatican loggias. His reinforcements are still standing today.

His last engineering project was the draining of the Rieti Valley. Because of the marshy environment he was working in, Sangallo contracted malaria and died before finishing the task.

When Cardinal Farnese became Pope Paul III in 1534 he asked for the Palazzo Farnese design to be expanded. In 1546 during the construction he became dissatisfied with Sangallo’s original design for the cornice and held a competition for a new design, which was won by Michelangelo.

At the time it was said that Sangallo had died from shame soon afterwards, but his biographer, Giorgio Vasari, later wrote that he was an excellent architect whose achievements deserved to be celebrated. Antonio Sangallo the Younger was buried in St Peter’s Basilica.

Sangallo's construction of St Patrick's Well in Orvieto is
considered one of his most accomplished engineering feats

Travel tip:

One of Sangallo’s amazing engineering feats was St Patrick’s Well in Orvieto, built for Pope Clement VII. Ramps around a central open shaft allowed oxen carrying water to do down one of the ramps and up the other without having to turn round. Despite the depth of the well, the ramps were well lit through windows cut into the centre section.

The Scala Regia was built by Sangallo and later restored
by Gian Lorenzo Bernini

Travel tip:

Sangallo was capomaestro in charge of the day-to-day construction of St Peter’s Basilica from 1513 until about 1536. A wooden model of his design for the basilica is still in existence. He also worked on the Vatican apartments, building the Pauline Chapel and the Scala Regia, the main staircase to the Apostolic Chapel. Therefore it was fitting that the architect was allowed to be buried in St Peter’s.

More reading:

The Renaissance pope who turned Rome into the cultural heart of Europe

How Gian Lorenzo Bernini sculpted Rome

The story of La Pietà - Michelangelo's ultimate masterpiece

Also on this day:

1486: The birth of Imperia Cognati - courtesan

1778: Milan's Teatro alla Scala opens for business

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Andrea del Sarto – painter

The brief career of an artist ‘senza errori’

Andrea del Sarto, captured here in a self-
portrait. lived in Florence all his life

Renaissance artist Andrea del Sarto was born Andrea d’Agnolo di Francesco di Luca di Paolo del Migliore on this day in 1486 in Florence.

He had a brilliant career but died at the age of 43 during an outbreak of plague and afterwards his achievements were eclipsed by the talents of Da Vinci, Michelangelo and Raphael.

Andrea’s father, Agnolo, was a tailor and therefore the child became known as del Sarto, meaning son of the tailor.

As a young boy del Sarto was apprenticed to a goldsmith and then a woodcarver before being sent to learn to be an artist.

He decided to open a joint studio with an older friend, Franciabigio, and from 1509 onwards they were employed to paint a series of frescoes at Basilica della Santissima Annunziata in Florence. Del Sarto also painted a Procession of the Magi, in which he included a self-portrait, and a Nativity of the Virgin for the entrance to the church.

He married Lucrezia del Fede, a widow, in 1512 and often used her as a model for his paintings of the Madonna.

Part of Del Sarto's fresco series at the Villa Medici at
Poggio a Caiano, near Florence

After spending a year as court painter to Francis I of France in 1518, del Sarto returned home to his wife and was offered a major commission by the Medici family, to decorate the Villa Medici at Poggio a Caiano near Florence. The work was offered to him by Pope Leo X but the project ended when the Pope died in 1521.

Del Sarto’s fresco at the villa, Tribute to Caesar, is a fragment now incorporated into a much later decorative scheme.

His most important work is considered to be a series of frescoes on the life of St John the Baptist in the Chiostro dello Scalzo in Florence. He started the series in 1511 and it was not completed until 1526, so the work spans a large part of his career and most of the paintings are by his own hand.

Del Sarto's Nativity of the Virgin at the Basilica
della Santissima Annunziata in Florence.

His artistic style reflected his interest in colour and atmosphere and showed natural expressions of emotion. Del Sarto had a reputation for integrity and professionalism and was regarded by his peers as an artist ‘senza errori’ - faultless.

Del Sarto had a house built for himself in Florence, which was modified by other painters who lived there later. He died at his home after plague swept the city in 1530. The exact date of his death is unknown but he was buried in the Basilica of Santissima Annunziata on September 29, 1530.

A play, Andrea del Sarto, by Alfred de Musset, was premiered in Paris in 1848. The 1968 opera Andrea del Sarto by the French composer Jean-Yves Daniel-Lesur was based on de Musset’s play.

The Basilica della Santissima Annunziata in Florence

Travel tip:

The Basilica della Santissima Annunziata, where Andrea del Sarto is buried, is in the Piazza della Santissima Annunziata in the San Marco district of Florence. The church was founded by the Servite order in 1250 and later rebuilt by Michelozzo between 1444 and 1481. Del Sarto’s frescoes can be seen in the atrium of the church. Newly wed couples traditionally visit the church to present a bouquet of flowers to a painting of the Virgin by a 13th century monk, where they pray for a long and fruitful marriage.

The Chiostro dello Scalzo in Via Cavour

Travel tip:

The Chiostro dello Scalzo, where del Sarto painted his fresco cycle featuring the life of St John the Baptist, is in Via Cavour in the San Marco area near the Basilica della Santissima Annunziata. The cloister used to be the entrance to the chapel of the Confraternity of St John the Baptist, which was founded in 1376 and lasted until 1786. Thankfully the frescoes were preserved and can be viewed free of charge in the cloister every Monday and Thursday and on some Saturdays and Sundays each month.

More reading:

The precocious genius of Raphael

Michelangelo 'the greatest of all time'

The multiple talents of Leonardo da Vinci

Also on this day:

1194: The birth of Saint Clare of Assisi

1852: The birth of Neapolitan sculptor Vincenzo Gemito

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Artemisia Gentileschi – painter

Brilliant artist who survived torture by thumbscrews 

Artemisia Gentileschi: a self-portrait as a lute player
painted in around 1615-17

Artemisia Gentileschi, who followed in the footsteps of the Baroque painter Caravaggio by painting biblical scenes with dramatic realism, was born on this day in 1593 in Rome.

As a young woman she was raped by an artist friend of her father who had been entrusted with teaching her, and when he was brought to trial by her father she was forced to give evidence under torture.

This event shaped her life and she poured out her horrific experiences into brutal paintings, such as her two versions of Judith Slaying Holofernes.

Gentileschi was notable for pictures of strong and suffering women from myths, allegories, and the Bible. Some of her best known themes are Susanna and the Elders, Judith Slaying Holofernes, the most famous of which, painted between 1614 and 1620, is in the Uffizi in Florence, and Judith and Her Maidservant. 

She had an ability to produce convincing depictions of the female figure, anywhere between nude and fully clothed, that few male painters could match.

Judith Slaying Holfernes (1614-20), which can
be found in the Uffizi Gallery in Florence

It was many years before Gentileschi’s genius was fully appreciated, but a newly discovered self portrait depicting herself as St Catherine of Siena has just been bought by the National Gallery in London for £3.6 million, a record amount for her work.

Her artist father, Orazio Gentileschi, was an admirer of the painter Caravaggio. He taught his daughter to paint in his interpretation of Caravaggio’s style.

After her father’s friend, the landscape painter Agostino Tassi, raped her, he was brought to trial in 1612 and she had to give evidence while being subjected to a thumbscrew-like torture ‘to make sure her evidence was honest’.

After the trial Gentileschi moved to Florence, married a Florentine and became the first woman to join Florence’s Academy of Design.

Unlike other women artists of the time she specialised in history painting. She painted an Allegory of Inclination for the series of frescoes honouring the life of Michelangelo in Casa Buonarroti.

Gentileschi's painting San Gennaro
nell'Anfiteatro

She moved to Naples, where she painted many important religious paintings for churches, such as San Gennaro nell’Anfiteatro di Pozzuoli (Saint Januarius in the Amphitheatre of Pozzuoli).

Later, she went to London where she worked alongside her father for King Charles I on ceiling paintings for the Queen’s House in Greenwich. She also painted many portraits and eventually became more famous than her father.

It is believed that Artemisia Gentileschi died in Naples during a devastating epidemic of plague that swept the city in 1656.

The bust of Michelangelo
at Casa Buonarroti

Travel tip:

Casa Buonarroti, which Artemisia Gentileschi helped decorate, is now a museum in Via Ghibellina in Florence in a building Michelangelo left to his nephew, Leonardo Buonarroti. The house was converted into a museum dedicated to the artist by his great nephew, Michelangelo Buonarroti the Younger. It houses Michelangelo’s early sculptures and a library with some of Michelangelo’s letters and drawings.

The interior of the Anfiteatro di Pozzuoli

Travel tip:

Pozzuoli’s Flavian Amphitheatre (Anfiteatro di Pozzuoli) was the third largest Roman amphitheatre in Italy, holding up to 50,000 spectators. Only the Colosseum in Rome and the Capuan Amphitheatre are larger. It was built during the reign of Vespasian by the same architects who previously constructed the Colosseum. Although most of the superstructure has been destroyed in an area subject to frequent seismic activity, the underground interior is still largely intact and well worth a visit. The amphitheatre is in the centre of the town, about 20km (12 miles) west of Naples, close to the Pozzuoli’s Metro station.

More reading:

The mysterious death of Caravaggio

The brilliance of Michelangelo

The rival who broke Michelangelo's nose in a fight

Also on this day:

1822: The death of the poet Shelley in a storm at sea

1918: Ernest Hemingway wounded working for Red Cross in Italy 

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