La Pietà - Michelangelo's masterpiece

Brilliant sculpture commissioned by French Cardinal

Michelangelo's masterpiece, La Pietà

Michelangelo Buonarotti agreed the contract to create the sculpture that would come to be regarded as his masterpiece on this day in 1498.

It was made between the artist and Cardinal Jean de Bilhères-Lagraulas, the French ambassador to the Holy See, who wanted a sculpture of the Virgin Mary grieving over the body of Jesus, which was a common theme in religious art in northern Europe at the time.

Michelangelo, who would live until he was almost 89, was just 23 at the time and had been in Rome only a couple of years, but was about to produce a piece of work that astounded his contemporaries and is still seen as one of the finest pieces of sculpture ever crafted.

La Pietà – in English, 'the pity' – was carved from a block of blue and white Carrara marble selected by Michelangelo a good six feet (183cm) tall by six feet across.  The Cardinal intended it to be his funeral monument. It was eventually placed in a chapel in St Peter’s Basilica.

The work shows the body of Christ, shortly after being taken down from the cross following his crucifixion by the Romans, cradled in the lap of Mary.  It is necessarily out of proportion – Michelangelo makes Mary quite a broad figure, with voluminous clothes, to accommodate the body of a man lying full length across her -  but the detail is exquisite.

Michelangelo Buonarotti: a detail from Daniele
da Volterra's portrait, painted in about 1544

Michelangelo broke with convention by portraying Mary as a young and beautiful woman. The long and physically almost perfect body of Christ, moreover, with few signs of the damage done to him, wears a facial expression conveying almost serenity, rather than suffering. Giorgio Vasari, the artist and art historian, a contemporary of Michelangelo, described the work as “perfection that nature is scarcely able to create in the flesh.”

One explanation for Michelangelo’s decision to make Mary a young woman rather than the middle-aged figure of convention is that he intended her to be a symbol of incorruptible beauty.

Another is that it stems from his enthusiasm, as a Tuscan, for Dante’s Divine Comedy and is a reference to a scene in Paradiso, the third part of the epic poem, in which Saint Bernard describes Mary as ‘Virgin mother, daughter of your son’ on the basis that if Jesus is one of the figures of the Holy Trinity, then Mary would be his daughter.

When challenged about it, Michelangelo suggested that, as a chaste woman, Mary would retain her freshness and therefore could still appear youthful, even though the mother of a 33-year-old son.

Despite its scale and the intricacies of detail Michelangelo sought to achieve, the work took less than two years to complete.

The dome of the 'new' St Peter's

The Pietà's first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of the old St. Peter's, which the Cardinal had chosen as his funerary chapel.  Word of its outstanding brilliance spread and artists would travel to Rome especially to study it.  Michelangelo, already a noted sculptor who had worked for the Medici in Florence, became almost a revered figure among his peers.

The statue is the only one Michelangelo ever signed, something he would later say he regretted as an act of vanity.

Apparently, it happened shortly after it had been installed in the chapel, when Michelangelo overheard a conversation among a group of visitors from Lombardy in which one of the group said the work was by a sculptor from Milan, Cristoforo Solari, also known as Il Gobbo (the hunchback).  Furious, Michelangelo returned to the chapel that night with his chisels and chipped out an inscription across the sash of Mary’s robe, which read: ‘Michelangelus Bonarotus Florent Faciebat’ – Michelangelo Buonarotti, Florentine, Made This’.

According to Vasari, Michelangelo later felt ashamed at having left a rather tawdry mark on his work out of petty impulsiveness.  From then on, nothing he created bore his signature.

The Pietà  has been moved a number of times, including in the early 18^th century when four fingers on Mary’s outstretched left hand were damaged and had to be reconstructed, but remarkably it survived the extraordinary journey undertaken in 1964 after Pope John XXIII agreed for the sculpture to be displayed at the New York World’s Fair.

The SS Cristoforo Colombo, on which the Pietà
was shipped to New York in 1964

Packed into a crate padded with plastic foam within two outer crates, it was loaded on to the SS Cristoforo Colombo, the luxury cruiser of the Italian Line, and embarked on an eight-to-nine-day journey across the Atlantic.

Apparently, the crate, despite weighing 5.26 metric tonnes (11,600lb), would have floated to the surface had the Cristoforo Colombo sunk, and have been visible in the water by its red painted top.  There was also radio equipment in the crate which would have given its position had it slipped below the surface, although this was operational only to a depth of three metres (10ft).

Happily, both voyages were completed without mishap and the Pietà , not previously moved from the Vatican in 465 years, was returned safely to St Peter’s, where it can be found in the first chapel on the right after entering through the main doors.

Following an attack in 1972 by a mentally disturbed geologist, the Hungarian-born Australian Laszlo Toth, who struck the Pietà  with a hammer 15 times, damaging Mary’s left arm, part of her nose and one of her eyelids, it is now behind a bulletproof acrylic glass panel.

Travel tip:

Visitors to Rome will find that St Peter’s Basilica is open every day throughout the year, from 7am to 7pm between April and September and from 7am to 6pm October to March. As with most religious buildings in Italy, visitors must abide by the dress code, that tends to mean no shorts or short skirts and that shoulders should be covered. The Pietà  is in the Chapel of the Pietà , which is immediately on the right after entering from St Peter’s Square via the Porta Santa (Holy Door).

The Basilica of St Peter with Bernini's colonnades and
Carlo Maderno's fountain in the foreground 

Travel tip:

At the time the Pietà was made, St Peter’s Basilica did not exist in its present form but as a church built originally in the fourth century on the spot where it was believed St Peter was buried. The idea of building a new basilica was first mooted in the mid-15^th century, and finally commissioned by Pope Julius II in 1505 after a competition was held, inviting designs for what Julius described as “the grandest building in Christendom". Donato Bramante, from Urbino, won the competition, although he was only the first of several architects to be involved, included Michelangelo, Carlo Maderno and Gian Lorenzo Bernini.  Construction began in 1506 and took 120 years to complete.

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Parmigianino - Mannerist painter

Artist from Parma left outstanding legacy

Parmigianino's Self-Portrait in a Convex Mirror, with
which he announced himself in Rome in 1524 

The artist Girolamo Francesco Maria Mazzola – better known as Parmigianino – died on this day in 1540 in Casalmaggiore, a town on the Po river south-east of Cremona in Lombardy.

Sometimes known as Francesco Mazzola, he was was only 37 years old when he passed away but had nonetheless made sufficient impact with his work to be regarded as an important influence on the period that followed the High Renaissance era of Leonardo da Vinci, Michelangelo and Raphael.

Known for the refined sensuality of his paintings, Parmigianino – literally ‘the little one from Parma’ – was one of the first generation of Mannerist painters, whose figures exuded elegance and sophistication by the subtle exaggeration of qualities associated with ideal beauty.

Parmigiano is also thought to have been one of the first to develop printmaking using the technique known as etching and through this medium his work was copied, and circulated to many artistic schools in Italy and other countries in northern Europe, where it could be studied and admired.

The church of San Giovanni Evangelista in
Parma, where Parmigianino did early work

Parmigianino’s figures would often have noticeably long and slender limbs and strike elegant poses. He is most famously associated with the Madonna dal collo lungo – Madonna with the Long Neck – which portrays a tall Virgin Mary with long, slender fingers, long, narrow feet and a swan-like neck, cradling a particularly large baby Jesus watched over by a group of lithe and graceful angels.

He is also remembered for The Mystic Marriage of St Catherine, for his fresco series Legend of Diana and Actaeon, executed while he was living in Parma, for his Vision of St Jerome, which he painted in Rome, and for the Madonna with St Margaret and Other Saints that he worked on in Bologna after leaving Rome to escape the sacking of the city by German troops loyal to the Holy Roman Emperor, Charles V.

Parmigianino was born, as the name suggests, in Parma, in 1503, into a large family. His father died when he was two and he was brought up by two uncles, Michele and Pier Ilario, who were both established artists.

His uncles saw his talent at a young age and he would help them on local commissions.  His early influence was said to be Antonio Allegri – otherwise known as Correggio, the foremost painter of the Parma school during the Renaissance, with whom he likely worked at the church of San Giovanni Evangelista, in Parma, where there are frescoes attributed to Parmigianino.

Parmigianino's Madonna with the Long
Neck highlights his exaggerated style

In common with many young artists of his era and earlier, he moved to Rome in 1524, seeking fame and inspiration by working in the city of so many great masters, where he could study the works of Raphael and Michelangelo among others. He took with him his brilliantly imaginative Self-Portrait in a Convex Mirror, which he presented to the Papal court, after which Giorgio Vasari, who is recognised as art’s first historian, noted that he was hailed as 'Raphael reborn'.

Parmigianino and Pier Ilario, along with Maria Bufalina from Città di Castello, collaborated on a project at the church of San Salvatore in Lauro that included an altarpiece of the Vision of Saint Jerome, now on show at the National Gallery in London.

His time in Rome was cut short when the city was destroyed by Charles V’s imperial army in 1527.

Initially, he went to Bologna, where he stayed for almost three years. His works during that time included the Madonna and Child with Saints, which is kept now by the Pinacoteca in Bologna and the Madonna with Saint Zachariah, which is in the Uffizi in Florence.

By 1530 he was back in Parma, where he was paid an advance to produce two altarpieces, depicting Saint Joseph and Saint John the Baptist, for the unfinished church of Santa Maria della Steccata.

He painted the Madonna with the Long Neck after being commissioned by the noblewoman Elena Baiardi to decorate her family chapel in the church of Santa Maria dei Servi in Parma.

For all he was celebrated at his peak, however, Parmigianino was to end his life somewhat in disgrace.

Distracted, it is thought, by his obsession with etching and printmaking techniques, he neglected his commission with the church of Santa Maria della Staccata and was eventually imprisoned for two months for breach of contract and replaced with Giulio Romano.

The monument to Parmigianino in Parma

Released on bail, he took refuge in Casalmaggiore, where he died of a fever. Increasingly eccentric, he was said to have been buried in the church of the Servite Friars naked and with a cross made in cypress wood placed on his chest.

Many Venetian artists, including Jacopo Bassano and Paolo Veronese, are said to have been strongly influenced by the emotional and dramatic qualities in Parmigianino’s work. 

Travel tip:

Despite the unhappy end to his relationship with what is now the Basilica of Santa Maria della Steccata, Parmigianino’s status as one of Parma’s most famous sons is celebrated with a monument immediately in front of the church, in Piazza della Steccata, executed by the sculptor Giovanni Chierici and inaugurated in 1879. The monument consists of a fountain and a statue.

Piazza Garibaldi in Casalmaggiore, looking
towards Palazzo Comunale 

Travel tip:

Casalmaggiore sits alongside the Po river about 42km (26 miles) south-east from Cremona. It is an attractive town with a lively central square, the Piazza Garibaldi, where there is a weekly market every Saturday and regular outdoor events. Most of the town’s main sights are in the vicinity of the square, including the imposing castellated Palazzo Comunale – the Town Hall – built in 1788, and the Estense tower. Look out also for the Diotti or Bijou Museum, in the basement of the former Collegio Santa Croce, which displays jewellery, ornaments and accessories made in local factories in the late 19^th century.

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Raffaele Riario – Cardinal

Patron of arts linked with murder conspiracies

Raffaele Riario captured in Raphael's 1512
painting of Mass at Bolsena

Renaissance Cardinal Raffaele Riario was born Raffaele Sansoni Galeoti Riario on this day in 1461 in Savona.

A patron of the arts, he is remembered for inviting Michelangelo to Rome and commissioning Palazzo della Cancelleria to be built. He was also embroiled in murder conspiracies which nearly cost him his life.

Although Riario was born in poverty, his mother was a niece of Francesco della Rovere, who became Pope Sixtus IV in 1471.

As a relative of the Pope he was created a Cardinal in 1477 and was named administrator of several dioceses, which gave him a good income at the age of 16, while he was studying canon law at the University of Pisa.

On his way to Rome in 1478, Riario stopped off in Florence, where he became a witness to the Pazzi conspiracy against the Medici. The Pazzi family wanted to replace the Medici as rulers of Florence. They attempted to assassinate Lorenzo, who was wounded but survived, and his brother Giuliano, who was killed, while they were attending mass in the Duomo. The conspirators were caught and executed and Riario was also arrested because he was related to Girolamo Riario, his uncle, who was one of the masterminds behind the plot. However, Lorenzo arranged for him to be released a few weeks later.

Sandro Botticelli's portrait of Giuliano de'
Medici, murdered in the Pazzi conspiracy

In 1480 Riario was ordained a priest and received the entitlement of San Lorenzo in Damaso. He commissioned a palace to be built next to the church for his personal residence.

Riario became involved in the war between the Orsini family and the Colonna family four years later. He tried in vain to save the life of one of his friends, who was charged with murdering one of the Orsini, but the friend was executed on the orders of Pope Sixtus IV.

In the Conclave of 1492 he voted for Rodrigo Borgia, Pope Alexander VI, and was rewarded with a lucrative bishopric for his support. He went on to gain distinction as a diplomat during the Borgia pope’s reign.

A lover of art and sculpture, Riario’s large palace was influenced by Florentine architecture. He noticed the talent of the young Michelangelo and invited him to Rome, where Michelangelo was to work on the major pieces of his career.

In 1517 there was a conspiracy to murder Pope Leo X and although Riario did not participate in it, he is believed to have been aware of it and done nothing to prevent it.

Leo arrested the conspirators and ordered their execution but Riario saved himself by giving his palace next to San Lorenzo in Damaso to the pope.

It became the seat of the Apostolic Chancery and was known thereafter as Palazzo della Cancelleria.

Riario died in Naples at the age of 60 and was buried in a tomb in Basilica dei Santi Apostoli in Rome.

The Palazzo della Cancelleria is believed to be the
earliest Renaissance palace in Rome

Travel tip:

The Palazzo della Cancelleria, the Papal Chancellery, is believed to be the earliest Renaissance palace in Rome. It was designed by Donato Bramante and built between 1489 and 1513 as a palace for Cardinal Raffaele Riario. The rumour was that the funds for the build came from a single night’s gambling winnings. The palace is now a property of the Holy See and has been designated a World Heritage Site. Just to the south of the square named after the palace, Piazza della Cancelleria, is the Campo dè Fiori, the site of a market in Rome for centuries, which has plenty of bars and restaurants and is a popular nightspot when the markets stalls have all been packed away.

Savona's baroque Cattedrale di Nostra
Signora Assunta

Travel tip:

Savona is the third largest city in Liguria and the fifth largest port in Italy yet its reputation as a sprawling industrial zone is unfair. It has an attractive medieval centre, with an elegant baroque Cattedrale di Nostra Signora Assunta, behind which is Italy’s other Sistine Chapel, like the Rome version erected by Pope Sixtus IV. Fishing boats share the harbour with expensive yachts and there is a good beach within walking distance of the centre. In between the beach and the harbour is the 16th century Priamar fortress, which served as a prison during most of the 19th century.

More reading:

Girolamo Riario and the plot to overthrow the Medicis

How Pope Julius II commissioned Michelangelo's greatest work

Why the Renaissance pope Leo X supported the arts

Also on this day:

1469: The birth of statesman and diplomat Niccolo Machiavelli

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Filippo Brunelleschi – architect

Genius who designed the largest brick dome ever constructed

Brunelleschi's Dome dominates the Florence skyline

One of the founding fathers of the Renaissance, Filippo Brunelleschi, died on this day in 1446 in Florence.

He is remembered for developing a technique for linear perspective in art and for building the dome of Florence Cathedral.

However, his achievements also included sculpture, mathematics, engineering and ship design.

Brunelleschi was born in 1377 in Florence. According to his biographer, Antonio Manetti, and the historian Giorgio Vasari, his father was Brunellesco di Lippo, a notary. Filippo’s education would have equipped him to follow in his father’s footsteps but because he was artistically inclined he was enrolled in the silk merchants guild, which also included goldsmiths and metal workers, and he became a master goldsmith in 1398.

Luigi Pampaloni's 1838 statue of
Brunelleschi in Piazza Duomo

In 1401 he entered a competition to design a new set of bronze doors for the Baptistery in Florence. His entry and that of Lorenzo Ghiberti are the only two to have survived.

In the first few years of the 15th century, Brunelleschi and his friend, Donatello, visited Rome together to study the ancient ruins. It is believed they were the first to study the physical fabric of the ruins in any detail.

Brunelleschi’s first architectural commission was the Ospedale degli Innocenti, (Foundling Hospital) in Florence. It had a long loggia and impressive high arches. Later he used similar features in his designs for chapels in Florence.

In 1418 a competition was held for a design for the dome of the new cathedral in Florence, Santa Maria del Fiore. The original designs made provision for a dome when building began in 1296 but no one had been able to work out how to construct one on such a scale. Again the two main competitors were Ghiberti and Brunelleschi, with Brunelleschi winning and receiving the commission.

The dome was to take up most of the rest of Brunelleschi’s life and its success has been attributed to his technical and mathematical genius. Hence it became known as Brunelleschi’s Dome.

The loggia is a feature of the Ospedale degli Innocenti

He used more than four million bricks in the construction and invented a new hoisting machine for raising the masonry to the dome, inspired by Roman machines used in the first century AD.

Away from his architectural work, Brunelleschi was also granted the first modern patent for his invention of a river transport vessel. In 1427, he built an enormous ship named Il Badalone to transport marble to Florence from Pisa up the Arno river. Unfortunately, the ship sank on its maiden voyage,

After Brunelleschi’s death, at the age of around 69, his body was placed in the crypt of the cathedral in Florence. Inside the entrance is his epitaph: ‘Both the magnificent dome of this famous church and many other devices invented by Filippo the architect, bear witness to his superb skill. Therefore, in tribute to his exceptional talents a grateful country that will always remember him buries him here in the soil below.’

Brunelleschi's Dome illuminated at night

Travel tip:

Brunelleschi’s Dome was finally put in place in 1436 and the Cathedral of Santa Maria del Fiore was consecrated by Pope Eugene IV on 25 March that year. The dome remained the largest in the world until others were constructed using new materials that had been developed for building in modern times. But Brunelleschi’s Dome, the first in history to be built without a wooden frame, is still the largest brick dome ever constructed.  The sculptor Luigi Pampaloni created a statue of Brunelleschi in about 1838, placing it in Piazza del Duomo in a position from which Brunelleschi appears to be looking up at his work.

Hotels in Florence by Hotels.com

Travel tip:

The Ospedale degli Innocenti, literally Hospital of the Innocents, is a magnificent building that still stands in Florence. Brunelleschi was commissioned to design it in 1419 and it is now regarded as a notable example of early Italian Renaissance architecture. The loggia with its nine semi-circular arches faces on to Piazza Santissima Annunziata, a square that is not far from Galleria dell’Accademia, which houses Michelangelo’s sculpture of David.

More reading:

Gian Lorenzo Bernini - the Florentine who helped shape Rome

Why Carlo Maderno's facade of St Peter's attracted criticism

Antonio Palladio - the world's favourite architect

Also on this day: 

1452: The birth of Leonardo da Vinci

(Picture credits: Florence skyline by Rufus46; Ospedale degli Innocenti by Warburg; Dome at night by Petar Milosevic; all via Wikimedia Commons)

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Fra Bartolommeo - Renaissance great

Friar rated equal of Michelangelo, Raphael and Leonardo

Bartolommeo's God the Father with SS
Catherine of Siena and Mary Magdalene
can be seen at Villa Guinigi in Lucca

Fra Bartolommeo, the Renaissance artist recognised as one of the greatest religious painters, was born on this day in 1472 in Savignano di Vaiano, in Tuscany.

Also known as Baccio della Porta, a nickname he acquired because when he lived in Florence his lodgings were near what is now the Porta Romana, Bartolommeo created works that chart the development of artistic styles and fashion in Florence, from the earthly realism of the 15th century to the grandeur of High Renaissance in the 16th century.

His most famous works include Annunciation, Vision of St Bernard, Madonna and Child with Saints, the Holy Family, the Mystic Marriage of St Catherine, God the Father with SS Catherine of Siena and Mary Magdalene and Madonna della Misericordia.

Bartolommeo always prepared for any painting by making sketches, more than 1,000 in total over the years he was active.  Around 500 of them were discovered at the convent of St Catherine of Siena in Florence in 1722, where nuns were unaware of their significance.

Vision of St Bernard with SS Benedict and John the
Evangelist, housed in the Uffizi Gallery in Florence

He is also remembered for his striking profile portrait of Fra Girolamo Savonarola, the fanatical priest under whose influence he came in the 1490s.  He came to believe the message that Savonarola preached, that much of the art and literature of the Renaissance was sinful and that the sole purpose of painting should be to illustrate the lessons of the bible.

Consequently, he threw many of his own early paintings, particularly those which contained nudity or other sensual images, on Savonarola's famous bonfires.  When Savonarola was arrested, hung and burned at the stake in 1498, Bartolommeo gave up painting and entered the friary of San Domenico in Prato as a novice.

He entered the convent of San Marco in Florence in 1500 and was persuaded to return to painting in 1504 when his superior asked him to do so for the benefit of the order, who sold artworks to raise money.  He became head of the monastery workshop, a position occupied some 50 years earlier by another great Renaissance artist, Fra Angelico.

Before taking orders, Bartolommeo, the son of a mule driver, had been an apprentice in the Florence workshop of Cosimo Rosselli.  He set up a studio with another Florentine painter, Mariotto Albertinelli and soon came to be considered one of the greatest talents of his generation, his works standing comparison with those of Michelangelo, Raphael and Leonardo da Vinci.

Fra Bartolommeo's portrait of Fra Girolamo
Savonarola is in the San Marco museum

Savonarola's influence changed the direction of Bartolommeo's career. If he had not entered Holy Orders, it is likely he would have become an even more famous name.  Where Raphael and Michelangelo went to Rome to work at the Vatican, he stayed behind in Florence.

After resuming his career he nonetheless made an indelible mark on the history of art.  Following the completion of his Vision of St. Bernard in 1507 for a chapel in the Badia Fiorentina, he befriended Raphael when the younger artist visited Florence and they were said to have influenced each other.  When Bartolommeo eventually did travel to Rome in 1513, Raphael completed two unfinished pictures in Florence.

In the meantime, Bartolommeo had spent time in Venice, where he painted a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano. As the Dominicans failed to pay for the work, he took it back to Lucca, where it can be seen now.

Also in Lucca, he painted an altarpiece Madonna and Child with Saints for the local cathedral and was then commissioned to paint an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco.

In Rome, he painted a Peter and Paul, now in the Pinacoteca Vaticana, returning to Florence to execute his St. Mark Evangelist for the Palazzo Pitti in Florence and the frescoes in the Dominican convent of Pian di Mugnone, near Fiesole, just outside Florence. His last work is fresco of Noli me tangere also in Pian di Mugnone.

Fra Bartolommeo died in 1517 at the age of 44. The painter and art historian Giorgio Vasari recorded that he suffered a “violent fever” after “having eaten some figs.” But it is thought more likely that he died of malaria.

The Palazzo Pretorio in Prato

Travel tip:

The city of Prato is just half an hour from Florence yet is almost Tuscany's forgotten gem.  It has a commercial heritage founded on the textile industry and its growth in the 19th century earned it the nickname the "Manchester of Tuscany". Prato is the home of the Datini archives, a significant collection of late medieval documents concerning economic and trade history, produced between 1363 and 1410, yet also has many artistic treasures, including frescoes by Filippo Lippi, Paolo Uccello and Agnolo Gaddi inside its Duomo and the external pulpit by Michelozzo and Donatello. The Palazzo Pretorio is a building of great beauty, situated in the pretty Piazza del Comune, and there are the ruins of the castle built for the medieval emperor and King of Sicily Frederick II.

Check TripAdvisor's guide to Prato hotels

The Church of San Marco in Florence

Travel tip:

The San Marco religious complex in Florence comprises a church and a convent. During the 15th century, the convent was home to both the painter Fra Angelico as well as the preacher Savonarola.  The convent was stripped from the Dominicans in 1808, during the Napoleonic Wars, and again in 1866, when it became a possession of the state.  Until recently, it still housed a community of Dominican friars, but is now home to the Museo Nazionale di San Marco, where Fra Bartolommeo's portrait of Savonarola is on display.  Also housed at the convent is a famous collection of manuscripts in a library built by Michelozzo.

More reading:

What made Michelangelo the greatest of all the great artists

The precocious genius of Raphael

Artist and inventor - the extraordinary talents of Leonardo da Vinci

Also on this day:

1925: The birth of 'spaghetti western' producer Alberto Grimaldi

(Picture credits: Palazzo Pretorio by Massimilianogalardi; Church of San Marco by Sailko; both via Wikimedia Commons)

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Giuseppe Moretti - sculptor

Sienese artist who became famous in the United States

Giuseppe Moretti

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Travel tip:

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

Travel tip:

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

More reading:

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

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

The genius of Antonio Canova almost brought marble to life

Also on this day:

1757: The birth of eye surgeon Giuseppe Forlenza



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Carlo Maderno - architect

Facade of St Peter's among most notable works

The facade of St Peter's Basilica in Rome is one of
Carlo Maderno's most significant architectural works

The architect Carlo Maderno, who has been described as one of the fathers of Italian Baroque architecture, died on this day in 1629 in Rome.

His most important works included the facades of St Peter’s Basilica and the other Roman churches of Santa Susanna and Sant’ Andrea della Valle.

Although most of Maderno's work was in remodelling existing structures, he had a profound influence on the appearance of Rome, where his designs also contributed to the Palazzo Quirinale, the Palazzo Barberini and the papal palace at Castel Gandolfo. 

One building designed and completed under Maderno's full control was the church of Santa Maria della Vittoria in the Sallustiano district.

Carlo Maderno was born in Capolago
on the shore of Lake Lugano

Maderno was born in 1556 in the village of Capolago, on the southern shore of Lake Lugano in what is now the Ticino canton of Switzerland, part of the finger of Italy's northern neighbouring country that extends between the Italian lakes Como and Maggiore.

Marble was quarried in the mountains around Capolago and as well as a talent for sculpture he had experience as a marble cutter when he moved with four of his brothers to Rome in 1588 to work with his uncle, Domenico Fontana.

Fontana also made his architectural mark in the city, where he worked on the Basilica of Santa Maria Maggiore and the nearby Palazzo Montalto.  He also erected the 327-ton Egyptian obelisk at the centre of St Peter's Square as well as the obelisks in Piazza del Popolo, Piazza di Santa Maria Maggiore, and Piazza di San Giovanni in Laterano.

Maderno's first commission in his own right, in 1596, was to build a facade for the church of Santa Susanna at the Baths of Diocletian, located on the Quirinal Hill.

Completed in 1603, Maderno's work on Santa Susanna has earned praise from modern architectural critics and at the time won him the admiration of Pope Paul V, who appointed him as the architect of St Peters, a position previously held by Domenico Fontana.

The facade of St Peter's has attracted criticism because it
obscures the view of Michelangelo's dome from the piazza

Extensive changes to St Peter's Basilica were demanded of Maderno by Paul V, both inside and out. Principally, he was required to modify Michelangelo's plans by adding an extended nave and a palatial facade.

His work on the inside, which changed the layout from Michelangelo's Greek cross to the present Latin cross, is generally seen as a seamless expansion but the facade has been condemned by some critics as a disaster.

Their main complaint is that the massive classical structure, with its lower two levels in brown stone and the top level in white marble, severely limits the view of Michelangelo's magnificent dome, despite it being the tallest in the world, particularly for the crowds looking up from the piazza.  The eight unevenly spaced columns have also divided opinions, praised in some quarters as a forceful statement, criticised in others as incongruous.

Happily, more blame was attached to an over-ambitious and architecturally ignorant pope than to Maderno himself.  There is an acceptance that he had much less freedom over the design than in his other projects.

The Palazzo Barberini was designed by Maderno on
behalf of the the family of Pope Urban VIII

Maderno's influence is seen too in the churches of Gesù e Maria, San Giacomo degli Incurabili, Santa Lucia in Selci and San Giovanni dei Fiorentini, where he is buried.

The Palazzo Barberini, which Maderno designed for the family of Pope Urban VIII, was completed by Francesco Borromini and Gian Lorenzo Bernini.

Travel tip:

From conception to completion, St Peter's Basilica took more than 150 years to build.  Suggested by Pope Nicholas V in about 1450, at which time the original St Peter's was near collapse, it was not finished until 1615.  Although the principal design input from the laying of the first stone in 1506 came from Donato Bramante, Michelangelo, Maderno and Bernini, contributions were also made by Giuliano da Sangallo, Fra Giocondo, Raphael and Antonio da Sangallo.  Michelangelo became involved with reluctance, ironically, after Pope Paul III's first choice as architect, Giulio Romano, died before he could take up the post and second choice Jacopo Sansovino refused to leave Venice.

Michelangelo's dome dominates the Rome skyline

Travel tip:

For all that the view from close quarters may have been impaired, Michelan- gelo's dome is one of the dominant features of the Rome skyline.  Situated in the Vatican City next to the Tiber river, St Peter's is the largest Christian church in the world, covering 5.7 acres with a capacity to accommodate 60,000 people, with room for a further 400,000 in the square outside.  The dome itself rises to a height of 136.57 metres (448.1 feet) from the floor of the basilica to the top of the external cross.  The Egyptian obelisk in the square, which rises to 40m (132 ft), is said to have been erected at or near the spot in which St Peter was allegedly crucified by the Romans in 64 AD.

More reading:

Why Michelangelo was called 'the greatest artist of all time'

How Gian Lorenzo Bernini's spectacular fountains adorn Rome

The consecration of St Peter's Basilica

Also on this day:

1935: The birth of movie actress Elsa Martinelli

(Picture credits: Main picture of St Peter's by Jean-Pol Grandmont; Palazzo Berberini by Jean-Pierre Dalbéra; Rome skyline by Daryl_Mitchell; all via Wikimedia Commons)

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Flaminio Bertoni - sculptor and car designer

Visionary ideas turned Citroën into style icon

Flaminio Bertoni in his workshop

The sculptor and automobile designer Flaminio Bertoni, the creative genius behind the groundbreaking Citroën cars of the 1930s, 40s and 50s, was born on this day in 1903 in what is now the Masnago district of Varese.

Bertoni, who lived in or near Paris from 1931 until his death in 1964, designed bodies for the stylish Traction Avant luxury executive car and the enduring workhorse 'Deux Chevaux' - the 2CV - which became almost a symbol of France.

Yes both of these were eclipsed, some would say, by the brilliance of Bertoni's aerodynamic, futuristic Citroën DS - also known as 'the Goddess' - which was named the most beautiful car of all time by the magazine Classic and Sports Car and was described by the Chicago Institute of Design soon after its launch as among the '100 most beautiful things in the world'.

Bertoni was fêted in France, where he was made a Knight of Arts and Letters by the government of Charles de Gaulle in 1961 but it was not until almost 40 years after his death that his achievements were given recognition in his home country, where his son, Leonardo, set up a museum in Varese to celebrate his work.

Even as a small child, Bertoni's ambitions were clear. He immersed himself in books about his idols, Michelangelo and Leonardo da Vinci, from the age of six.

Bertoni's Citroën DS was named 'the most beautiful car
of all time' by the magazine, Classic and Sports Car

Although he would embrace car design with passion, his involvement with the nascent automobile industry came about by accident.  Having graduated from technical college in Varese, he was forced by the death of his father to look for a job rather than continue his formal education further.

It just so happened that the first offer of work came from a small car manufacturer in Varese, Carrozzeria Macchi, where he was taken on as a joiner's apprentice.  The company soon realised where his true talent lay, however, and within only a few years he was their head draftsman.

His first visit to France came in 1925, when he was invited to Paris following a visit to the Varese factory by some French engineers.  Bertoni met André Citroën and was impressed by his energy and forward thinking, yet at that stage wished to make his career in Italy.

Within six years, however, he had decided to make his home in Paris.  Having fallen out with Carrozzeria Macchi because his ideas were seen as too advanced, and when his mother made it clear she disapproved of his girlfriend, Giovanna Barcella, the lure of a new life in the sophisticated French capital, which was at the forefront of automotive design at the time, became too much to resist.

Bertoni's iconic 2CV remained in production for 42
years, with sales topping five million

When he and Giovanna stepped off the train at Gard de Lyon in October 1931 he had no job and she was already three months' pregnant but everything fell into place the following year. Two months after the birth of his son, whom he would name Leonardo in honour of Da Vinci, he was taken on by Citroën.

His first design triumph came in 1934 with the Traction Avant - literally 'front wheel drive' - which he presented to the company not as a design on paper but a fully scaled sculpture in plasticine.  The car had a lightweight all-metal body and a substantially bigger passenger compartment than was typical. It seemed certain to be a success but its development had been so expensive that the company was bankrupted soon after its launch.

Fortunately, the tyre company Michelin not only came to the rescue of the company but were keen to see the Traction Avant project realised.  Eventually, 750,000 were sold.

The next few years were difficult for Bertoni.  In 1936, dismayed at how little time her husband spent at home - while not working, he was exhibiting his sculptures and drawings and enjoying the Paris nightlife - Giovanna returned to Italy, taking Leonardo with her.  After the outbreak of the Second World War, he was twice interned as an alien, although on each occasion he was quickly released.  He also spent a year in hospital after a serious motorcycle accident, although he put the time to good use by studying for an architecture degree.

Once recovered, he took Citroën's plans for what was originally named the TPV - a 'tres petite voiture' to rival the German 'people's car', the Volkswagen - and developed the distinctive bodywork lines that would instantly set apart the fabled 2CV.  Conceived at first as a purely functional vehicle aimed at agricultural workers, it would in time become a French icon.  Launched in 1948, it remained in production for 42 years, selling more than five million.

The 1930s luxury saloon the Traction Avant was
Bertoni's first major success designing for Citroën

By now married for the second time, to the dancer Lucienne Marodon, he followed the 2CV with a car aimed at a much different market as France recovered from war keen to reconnect with its opulent past.  The Citroën DS - the letters were a play on the French word 'Déesse', meaning Goddess - was unveiled at the Paris Motor Show in 1955, where visitors were wowed not only by the beautiful sculpted curves of the car's superstructure but by its hydro-pneumatic suspension, front power disc brakes and power steering. It was hailed as 'a magic carpet ride' and 12,000 orders were placed on the opening day.

Bertoni created one more fine car, the Ami 6, and also managed to put his architectural skills into practice in the United States, where a system for building houses designed by Bertoni enabled 1,000 homes to go up in 100 days at a project in St Louis, Missouri.

He frequently exhibited and won prizes for his drawings and sculptures both in Italy and France.  The imposing Monument to the Fallen in Varese's Piazza della Repubblica was in part sculpted by Bertoni, working for Enrico Butti.

Bertoni, who always walked with a stick after his motorcycle accident, which left him with one leg shorter than the other, died in Paris in 1964 after suffering a stroke.  His second son, Serge, from his marriage to Lucienne Maradon, passed away a few years later, the victim of a road accident.

Travel tip:

Leonardo Bertoni, who died in 2015 at the age of 82, campaigned for the last 15 years of his life to see that his father's memory was preserved in his native country, setting up a museum in Varese to celebrate his work.  The museum has since closed but the exhibits are now on display at the Museum of Transport at Ranco, about 20km west of Varese on Lake Maggiore.

The Estensi Palace and Gardens in Varese

Travel tip:

Varese is a pleasant city in northern Lombardy overlooking the lake of the same name, situated about 20 minutes from Milan Malpensa airport and about 55km (34 miles) from the city of Milan.  The city is small enough to get around on foot, with attractions such as the central Piazza Monte Grappa, the Basilica San Vittore and the spectacular Estensi Palace and Gardens within a short distance of one another.

More reading:

Battista 'Pinin' Farina - Ferrari's design mastermind

Vittorio Jano - engineer who created Ferrari's classic V-8 Dino engine

How industrialist Enrico Piaggio gave Italy the Vespa motor scooter

Also on this day:

967: Death of San Pietro Orseolo, doge of Venice

(Picture credits: Citroën DS by Alexandre Prévot; 2CV by Croquant; Traction Avant by Abrimaal; Estensi Palace by Docfra; all via Wikimedia Commons)

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Victor Emmanuel II dies

Christian burial for the King excommunicated by the Pope

Victor Emmanuel II: a portrait from 1860 

Victor Emmanuel II, the first King of Italy, died on this day in 1878 in Rome.

He was buried in a tomb in the Pantheon in Rome and was succeeded by his son, who became Umberto I, King of Italy.

Victor Emmanuel II was allowed to be buried in the Pantheon by Pope Pius IX, even though he had previously excommunicated him from the Catholic Church.

Before becoming King of Italy, Victor Emmanuel, as King of Sardinia-Piedmont, had secretly encouraged Garibaldi in the conquest of Sicily and Naples. He had then led his Piedmontese army into papal territory to link up with Garibaldi, despite the threat of excommunication.

In his quest to become King of a fully united Italy, Victor Emmanuel achieved two notable military triumphs. He managed to acquire the Veneto after linking up with Bismark’s Prussia in a military campaign in 1866. Also, after the withdrawal of the French occupying troops, his soldiers were able to enter Rome through a breach in the walls at Porta Pia and take over the city.

A painting by Sebastiano de Albertis shows Garibaldi hailing
Victor Emmanuel II as King of Italy at Teano, near Naples 

This had antagonised Pius IX so much that he refused all overtures from the new King, when he attempted a reconciliation.

The first King of Italy had been born Vittorio Emanuele Maria Alberto Eugenio Ferdinando Tommaso in 1820 in Turin.

In 1842 Victor Emmanuel married his cousin, Adelaide of Austria, and was styled as the Duke of Savoy, before becoming King of Sardinia-Piedmont after his father, Charles Albert, abdicated the throne following a humiliating military defeat by the Austrians at the Battle of Novara.

After he was proclaimed King of a united Italy in 1861 by the country’s new Parliament, the monarch styled himself Victor Emmanuel II, perhaps implying that Italy had always been ruled by the House of Savoy. This immediately provoked criticism from some factions.

Pope Pius IX

Victor Emmanuel II could trace his ancestry back to Victor Emmanuel I, who had been King of Sardinia from 1802 until his death in 1824.

Victor Emmanuel II had become King of Sardinia in 1849 after his father’s abdication. His father had succeeded a distant cousin to become King of Sardinia in 1831.

The Kingdom of Sardinia is considered to be the legal predecessor to the Kingdom of Italy.

As King of Sardinia, Victor Emmanuel II had appointed Count Camillo Benso of Cavour as Prime Minister of Sardinia-Piedmont, who had then masterminded a clever campaign to put him on the throne of a united Italy.

Victor Emmanuel II had become the symbol of the Risorgimento, the Italian unification movement in the 19th century.  He had supported Garibaldi’s Expedition of the Thousand in 1860, which resulted in the fall of the Kingdom of the Two Sicilies, giving him control over the southern part of the country.  But when he ascended the throne there were still two major territories left outside the new Kingdom, the Veneto and Rome.

The scene outside the Quirinale Palace at the start of Victor
Emmanuel II's funeral procession

He acquired the Veneto in 1866 and, in 1870, after the French had withdrawn from Rome, he set up the new Italian capital there and chose as his residence the Palazzo del Quirinale.

The Italian people called him Padre della Patria - Father of the Fatherland.

Travel tip:

Porta Pia is a gate in Rome’s ancient walls, named after Pope Pius lV, who commissioned Michelangelo to design it just before his death in Rome in 1564. You will find it at the end of Via XX Settembre, which goes off Piazza di San Bernardo, not far from the Quirinale Palace, which Victor Emmanuel II had chosen as his residence, and the Trevi fountain. A marble and brass monument, the Monumento al Bersagliere, commemorating the liberation of Rome, was put up near the place where the Italian troops found a way through the walls.

The Pantheon has been standing in the Piazza della Rotonda
 since AD118 and is one of Rome's finest ancient buildings

Travel tip:

Victor Emmanuel II is buried in the Pantheon in Piazza della Rotonda in Rome. Considered to be Rome’s best preserved ancient building, the Pantheon was built in AD 118 on the site of a previous building dating back to 27 BC. It was consecrated as a church in the seventh century and many other important people are buried there, including Victor Emmanuel II’s son, Umberto I, and his wife, Queen Margherita.

More reading:

How the capture of Rome completed Italian unification

First Italian parliament convenes to proclaim Victor Emmanuel II King of Italy

Victor Emmanuel I - King of Sardinia

Also on this day:

1878: Umberto I is proclaimed Italy's new monarch

(Picture credit: Pantheon by Klaus F via Wikimedia Commons)

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