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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Palma Giovane - painter

Mannerist took the mantle of Tintoretto 

Jacopo Negretti, the Venetian artist better
known as Palma Giovane

The Venetian artist Jacopo Negretti, best known as Jacopo Palma il Giovane - Palma the Younger - or simply Palma Giovane, died in Venice on this day in 1628.

Essentially a painter of the Italian Mannerist school, Palma Giovane's style evolved over time and after the death of Tintoretto in 1594 he became the most revered artist in Venice.

He became in demand beyond Venice, too, particularly in Bergamo, the city in Lombardy that was a dominion of Venice, and in central Europe.  He received many commissions in Bergamo and was often employed in Prague by the Habsburg Emperor, Rudolph II, who was a noted art connoisseur.

Palma had been born into a family of painters. His great uncle, also called Jacopo, was the painter Palma Vecchio - Palma the Elder - while his father, Antonio Negretti, was a pupil of the elder Palma’s workshop manager, Bonifacio Veronese, whose shop and clientele he inherited after the latter’s death.

The younger Palma is said to have developed his skills making copies in the style of Titian, although the claim in some biographies that he worked in Titian's workshop in Venice is now thought to be incorrect. What is not disputed is that when Titian died, in 1576, Palma was entrusted with finishing his last work, the Pietà, in the Accademia in Venice.

In 1567, Guidobaldo II della Rovere, Duke of Urbino, had recognised Palma’s talents and sponsored him to further his education in Rome, where he remained until about 1572.

Palma Giovane's 1620 Lamentation of Christ,
at the National Gallery of Art in Washington

On his return to Venice, Palma received his first major public commission, to paint three scenes in the Sala del Maggior Consiglio of the Doge’s Palace following a fire there in 1577.

Mannerism, from the Italian word maniera, meaning style, is characterised by frequently complex figures with elongated features, often given exaggerated, unusual poses.  It is seen as a reaction to High Renaissance art, which emphasised proportion, balance and idealistic beauty.

By the mid-1580s Palma was incorporating Tintoretto’s versatile figure postures and echoes of Titian’s loose brushstrokes and emphasis on light.

Palma worked alongside Veronese and Tintoretto on the decorations in the Doge’s Palace, where he embraced the Venetian tradition. Some of his finest works were the cycles of large canvases he painted for schools or religious brotherhoods and for sacred buildings such as the sacristies of San Giacomo dall’Orio and the Gesuiti, the Scuola di San Giovanni Evangelista, and the Ospedaletto dei Crociferi.

His official commissions at the Doge's Palace included a magnificent portrait of Saint Pope Pius V, commissioned by the Bellanti Counts, an influential family in Tuscany.  The painting left Italy after being bought by Major-General Sir Robert Dick, the British soldier and collector, before being returned by Roberto Gagliardi, an Italian art dealer based in London, who purchased it at Bonham's for display at the Museum of Art he established at Chianciano, not far from Siena.

After his death at the age of 80, Palma was interred in the Basilica dei Santi Giovanni e Paolo, a traditional burial place of the doges.

The Basilica dei Santi Giovanni e Paolo in
Venice, where Palma Giovane is buried

Travel tip:

The huge Gothic Basilica dei Santi Giovanni e Paolo, where Palma Giovane is buried, is in the Castello district of Venice.  It is one of the largest churches in Venice and after the 15th century the funerals of all Doges took place there.  In all, it houses the tombs of 25 Doges.  There are many works by Veronese in the Chapel of the Rosary, as well as paintings elsewhere by Lorenzo Lotto and sculptures by Pietro Lombardo.  Outside is a statue of Bartolomeo Colleoni, the Bergamo condottiero (mercenary) and a former captain-general of the Republic of Venice, by Andrea del Verrocchio.

Travel tip:

Several of Palma Giovane's works commissioned in Bergamo are on display at the Accademia Carrara, a magnificent palace just outside Bergamo's Città Alta that was built in the 18th century to house one of the richest private collections in Italy. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as great artists who came later, such as Lotto, Titian, Moroni, Rubens, Tiepolo, Guardi and Canaletto.  The gallery, in Piazza Giacomo Carrara, is open Monday, Wednesday and Thursday (10am to 7pm); Friday (10am to 12 noon) and Saturday and Sunday (10am to 8pm).

More reading:

Titian - giant of Renaissance art

Tintoretto - dyer's won whose work still adorns Venice

How Guardi captured the final glory years of the Venetian Republic

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Saint Giustina of Padua

Murdered by Romans in last major purge of Christians

A portrait of Santa Giustina by Italian
artist Bartolomeo Montagna

On the Italian catholic calendar, today is the feast day of Santa Giustina of Padua, celebrating the memory of a young woman executed on this day in 304 in the city of Padua.

Little is known about the life of Giustina apart from her faith. Born into a noble family in Padua, she took a vow of chastity and devoted her life to God and teaching the values of Christianity.

She died as a victim of the purge of Christians undertaken by the Roman Emperor Diocletian.

Persecution of Christians by the Romans was nothing new. Christians were regarded with suspicion and seen as subversive at times. When misfortune struck the Roman Empire they were often blamed. Feeding Christians to lions was once seen as entertainment.

Even as Christianity grew and attitudes softened, there were still emperors from time to time who decided to take a hard line.  One was Diocletian, who had come to power in 284.

Following an edict that rescinded all legal rights for Christians and compelled Christians to sacrifice to Roman gods or face imprisonment or execution, Diocletian launched what became known as the Diocletian Persecution.

A detail from Paolo Veronese's altarpiece in the
Basilica di Santa Giustina in Padua

He concentrated first on purging the Roman military of Christians and then broadened the persecution to the population in general.

When Diocletian's officers confronted Giustina in Padua, they ordered her to go to the Roman temple to Minerva to worship the Roman goddess, offer her virginity as sacrifice and renounce Christianity.

Because she refused to comply with the edict and denounced the Roman gods, Giustina was condemned to death.  The execution is said to have taken place at a part of Padua called Pontecorvo, where she was stabbed through the heart with a sword.

The Diocletian Persecution was the last major purge of Christians before the Edict of Milan in 313 gave the religion legal status within the Roman Empire for the first time.

Giustina's body was buried in a cemetery near the Zairo Roman theatre and now lies beneath the altar table in the vast Basilica di Santa Giustina, with its eight domes, which was built in the 16th century on the site of the cemetery.

The impressive Basilica di Santa Giustina in Padua

The Basilica is the ninth largest Christian church in the world and houses the relics of many revered saints, including those of St Luke the Evangelist, who is credited with writing the Gospel According to St Luke.

Giustina is a patron saint of Padua and of many other Italian municipalities, where celebrations take place on October 7 each year.

She is a co-patron saint of Venice, where she became extremely popular for a number of years following the Battle of Lepanto in 1571, a naval battle between a coalition of Catholic maritime states marshalled by Pope Pius V and the Turkish fleet which took place on her feast day, and which was decisive in halting the expansion of the Ottoman Empire on the European side of the Mediterranean.

Travel tip:

The Basilica di Santa Giustina in Padua is at the south-east corner of the square called Prato della Valle, where it is joined by Via Avazzano and Via Ferrari. At the back of the Presbytery, a magnificent altarpiece painted by Paolo Veronese in 1575 depicts the moment of her death. Next door to the basilica there is a Benedictine monastery with frescoed cloisters and a famous library that can be visited by arrangement. Admission to the basilica is free. It is open daily from 7.30am until noon and from 3pm until 6.30pm (7.30pm on Sundays).

Statues and a canal line Padua's Prato della Valle, site
of a former Roman theatre

Travel tip:

The elliptical Prato della Valle, one of Padua's principal squares, is built on the site of the Zairo theatre on land which fell into disuse and became flooded following the fall of the Roman Empire.  The land was drained in the 18th century and a canal crossed by four bridges was created around an island planted with trees and lawns, which was later lined by statues of 78 eminent citizens of Padua. Nearby is a restaurant, the Ristorante Zairo, which contains statues and wall decorations that recall the chariot races and other activities that would have taken place in the theatre. Diners can also see a 17th century fresco that came to light when renovations uncovered part of the structure of a former church.

More reading:

St Anthony of Padua - patron saint of lost people and things

How the horrors of war changed everything for St Francis of Assisi

San Gennaro - also a victim of the Diocletian Persecution

Bergamo's Sant'Alessandro paid for his believes with his life

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Pope Pius V - Saint

Pontiff dismissed jester and clamped down on heretics

Saint Pius V: a painting by El Greco

The feast day of Saint Pius V is celebrated every year on this day, the day before the anniversary of his death in 1572 in Rome.

Saint Pius V, who became Pope in 1566, is remembered chiefly for his role in the Counter Reformation, the period of Catholic resurgence following the Protestant Reformation.

He excommunicated Queen Elizabeth I of England for heresy and for persecuting English Catholics and he formed the Holy League, an alliance of Catholic states against the Turks.

Saint Pius V was born Antonio Ghislieri in Bosco, now Bosco Marengo, in Piedmont. At the age of 14 he entered the Dominican Order, taking the name of Michele. He was ordained at Genoa in 1528 and then sent to Pavia to lecture. 

He became a bishop under Pope Pius IV but after opposing the pontiff was dismissed. After the death of Pius IV, Ghislieri was elected Pope Pius V in 1566. His first act on becoming Pope was to dismiss the court jester and no Pope has had one since.

Protestantism had by then conquered many parts of Europe and Pius V was determined to prevent it getting into Italy. He therefore took a personal interest in the activities of the Inquisition in Rome and appeared to be unmoved by the cruelty practiced.

After his death in 1572, Pius V was buried in the Vatican despite having asked to be buried in Bosco.

He was canonised by Pope Clement XI in 1712.  Cardinal John Henry Newman later explained his severity as necessary for the time. He wrote about Pius V: “He was a soldier of Christ in a time of insurrection and rebellion, when in a spiritual sense, martial law was proclaimed.”

The parish church in Bosco Marengo with a monument
to Pope Saint Pius V in the foreground

Travel tip:

Bosco Marengo is a town in the province of Alessandria in Piedmont, southeast of Turin and Alessandria. The 16th century church of Santa Croce in the town was commissioned by Pope Pius V in the year of his election to the papacy to house his tomb and it now contains a marble monument to the pope.

Travel tip:

In 1698 the body of Pope Pius V was transferred to a tomb in the Basilica of Santa Maria Maggiore in Piazza del Esquilino in Rome, not far from the Termini railway station. The front of the tomb has a bronze lid engraved with a likeness of the Pope which was designed to be lifted down to allow pilgrims to view the saint’s remains.

(Photo of church in Bosco Marengo by Davide Papalini CC BY-SA 3.0)

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