Giovanni di Bicci de’ Medici - banker

Medici dynasty was built on his fortune

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Travel tip:

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

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

Travel tip:

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

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More reading:

The colourful life of Baldassare Cossa

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

The architectural genius of Filippo Brunelleschi

Also on this day:

1339: The Battle of Parabiago

1549: The birth of Francesco Maria II della Rovere

1778: The death of scientist Laura Bassi

1816: Rossini’s Barber of Seville premieres 

1950: The birth of journalist Pino Aprile

1993: The death of car maker Ferruccio Lamborghini

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Giambologna – sculptor

Artist worked for three successive Medici Grand Dukes in Florence

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Travel tip:

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

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

Travel tip: 

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

Also on this day: 

1819: The birth of republican activist Aurelio Saffi

1868: The birth of electrical engineer Camillo Olivetti

1912: The birth of microbiologist Salvador Luria

1958: The birth of fashion designer Domenico Dolce

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Francesco Zucco – artist

Versatile painter decorated churches and produced acclaimed portraits

Zucco's San Diego e la Vergine in the 
Bergamo church of Santa Maria delle Grazie

Francesco Zucco, who was a prolific painter in the Baroque style in the late 16th and early 17th centuries in northern Italy, died on this day in 1627 in Bergamo in Lombardy.

Zucco painted both secular and religious subjects after he had trained as an artist and learnt about technique from other Bergamo painters, such as Giovanni Paolo Cavagna and Enea Salmeggia. Art critics have compared the quality and style of his portrait painting to that of Veronese and Giovan Battista Moroni. 

The artist was born at some time between 1570 and 1575 in Bergamo. He is known to have studied art at the workshop of the Campi brothers in Cremona and afterwards returned to live in his native city, where he associated with other painters working in Bergamo at the time.

Even if he was never a pupil of the Bergamo portrait painter Giovan Battista Moroni, art experts believe Zucco must have studied the artist’s works closely. He also formed strong personal links with Cavagna and Salmeggia. They all lived close to each other in Borgo San Leonardo, the artists’ quarter in Bergamo’s Città Bassa.

As he matured, Zucco began to dominate the artistic scene in Bergamo and painted many religious works of art. His success began in 1592 with his painting, la Circoncisione di Gesù - the Circumcision of Jesus - for a church in Stezzano in the province of Bergamo. It was a work that revealed signs of the training he had received from the Campi brothers at their workshop in Cremona.

The following year, Zucco painted Vergine con bambino e santi (Virgin with Baby and Saints), and L’adorazione dei Magi (the Adoration of the Magi) for the Church of Santi Pietro e Paolo, in Levate in the province of Bergamo. The painting of the Magi was signed Franciscus Zucchis 1593, indicating that he had already achieved artistic fame, with a style similar to that of Moroni, while maintaining the strength of design reminiscent of the Campi brothers.

Ritratto di gentildonna gravida can be
seen in the Accademia Carrara

Zucco then received numerous commissions that gave him the chance to perfect his own style. Among the many works he executed towards the end of the 16th century is a Vergine con bambino (Virgin with Child) for the church at Orio al Serio, a Bergamo suburb that is well known because of its airport.

In the years that followed, there were many paintings for other churches in the province but in Bergamo itself, Zucco painted for the Church of Santa Maria delle Grazie, the Basilica di Santa Maria Maggiore and the Monastero di Astino.

For his own local church, Sant’Alessandro in Colonna in Via Sant’Alessandro, named after Bergamo’s patron saint, which was near where he lived in Bergamo, Zucco painted a Cycle of the life of Sant’Alessandro and his last known painting, Sant’Alessandro si presenta ad un Vescovo (Saint Alexander is Presented to a Bishop) which was dated 1627. 

Zucco married Aurelia Chiesa and they had three children, Bartolomeo Carlo, born in 1617, and Margherita and Giovanni Battista, who were born in 1623. Sadly, Zucco did not live long enough to see his children grow up. He died on May 3, 1627 at his home in Bergamo.

Examples of his religious paintings can still be seen in the Basilica of Santa Maria Maggiore in the Città Alta in Bergamo and in many other churches throughout the province of Bergamo. The Accademia Carrara in Bergamo have some of his portraits on display, such as the acclaimed Ritratto di gentildonna gravida (Portrait of an Expectant Gentlewoman).

The art treasures of the Accademia Carrara are
a major attraction for visitors to Bergamo

Travel tip:

The Accademia Carrara, a palace filled with art treasures, is a major attraction in Bergamo. The art gallery, just outside the Città Alta in Piazza Giacomo Cararra, was built in the 18th century to house one of the richest private collections of art in Italy and now houses some of the portraits painted by Francesco Zucco. It is the only Italian museum to be entirely stocked with donations and bequests from private collectors. Visitors can view a broad-ranging collection of 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 Accademia Carrara was established in Bergamo in 1794 as a combined Pinacoteca (art gallery) and School of Painting on the initiative of Bergamo aristocrat Count Giacomo Carrara. In addition to his collection of paintings he left his entire estate to the Accademia to secure its future. From being a museum dedicated to Renaissance painting, the Accademia grew into an art gallery that also provided a broad representation of pictorial genres from the 17th, 18th, and 19th centuries. Among the highlights are a Madonna and Child by Andrea Mantegna; Portrait of Leonello d’Este by Pisanello; Madonna and Child by Giovanni Bellini; Portrait of an Elderly Man Seated by Giovan Battista Moroni and The Grand Canal from Palazzo Balbi by Canaletto.

The church of Sant'Alessandro
in Colonna in Bergamo

Travel tip:

A Roman column in front of Chiesa di Sant’Alessandro in Colonna is believed to mark the exact spot where Bergamo’s patron saint was martyred by the Romans for refusing to renounce his Christian faith. The column in Via Sant’Alessandro in Bergamo’s lower town was constructed in the 17th century from Roman fragments. Every year on August 26, Bergamo remembers their patron saint’s decapitation there in 303. The church of Sant’Alessandro in Colonna was rebuilt in the 18th century on the site of an earlier church. Its ornate campanile (bell tower) was completed at the beginning of the 20th century. The church houses some works by Francesco Zucco, as well as a work depicting the Martyrdom of Sant’Alessandro by Enea Salmeggia and one showing the transporting of Sant’Alessandro’s corpse by Gian Paolo Cavagna. It also contains paintings by Lorenzo Lotto and Romanino. 

Also on this day:

1461: The birth of Cardinal Raffaele Riario

1469: The birth of writer and diplomat Niccolò Machiavelli

1764: The death of writer and art collector Francesco Algarotti

1815: The Battle of Tolentino

1901: The birth of actor Gino Cervi

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Paolo Uccello - painter

Pioneer of perspective also worked in mosaics

The first panel of Uccello's fresco series, Battle of
San Romano, on display at the National Gallery

Paolo Uccello, who was one of the leading painters in Florence in the 15th century, died on this day in 1475 at the age of 78.

The son of a surgeon, Uccello served an apprenticeship in the workshop of the sculptor and goldsmith Lorenzo Ghiberti but made his own mark as a painter and also as a mosaicist, at one time employed to work on the facade of Basilica di San Marco in Venice.

Younger than Ghiberti, Filippo Brunelleschi and Donatello, three giants of the Early Renaissance period, Uccello belonged to a generation of artists eager to move away from the flat, decorative forms of traditional Gothic art. His work is more often characterised by clear colours, well-defined outlines and a dramatic narrative, although he retains the fairytale quality of Gothic.

He was noted for his interest in linear perspective, which helped create a sense of depth in many of his paintings. According to Giorgio Vasari, the 16th century painter and architect whose book, Lives of the Most Excellent Painters, Sculptors, and Architects, led him to become known as the first art historian, Uccello was so fixated with perspective that he would stay up all night, seeking to apply his knowledge of mathematics to ensuring the angles in his pictures and the relative scale were exactly right.

Uccello's St George and the Dragon echoed the
typical themes of traditional Gothic art

Uccello’s most celebrated works include a 1456 cycle of paintings depicting the Battle of San Romano, in which a Florentine army defeated Sienese troops in 1432, originally commissioned to adorn the palace of a Florentine politician, Lionardo Bartolini Salimbeni.  The three panels that comprised the cycle are now shared between the National Gallery in London, the Louvre in Paris and the Uffizi in Florence.

His love of perspective, meanwhile, was no better illustrated than in The Flood and The Waters Receding, part of a 1447-48 fresco depicting Scenes from the Life of Noah, which he painted for the Chiostro Verde of the Basilica of Santa Maria Novella in Florence.

His St George and the Dragon (c1456), which is also kept by the National Gallery in London), and the Miracle of the Desecrated Host (c1467), housed in Urbino’s Galleria Nazionale, are other notable works.

Uccello was born Paolo di Dono or Paolo Doni. His father was from a wealthy Florentine family and his mother from the noble Del Beccuto family, who had three chapels in the church of Santa Maria Maggiore, one of which Uccello would decorate himself. It is not known with certainty why he came to be known as Paolo Uccello, although he often used birds - uccelli - as well as small animals in his paintings as a device to help create perspective.

At the age of 10, Uccello became an apprentice in the workshop of Ghiberti. It was around the time that Ghiberti was creating the renowned bronze doors for the Florence cathedral's Baptistery, known as The Gates of Paradise.  

Uccello's fascination with perspective is evident
in this section of his Scenes from the life of Noah

Little remains of his work for Ghiberti. The earliest frescoes attributed to him, though now badly damaged, are in the Chiostro Verde of Santa Maria Novella and depict episodes from the Creation. 

From 1425 to 1431, Uccello worked as a master mosaicist in Venice. Documentary evidence has come to light suggesting that a mosaic of Saint Peter for the facade of the Basilica di San Marco, which was depicted in Gentile Bellini's 1496 painting, Processione in Piazza San Marco, was Uccello’s. Sadly, if there was such a piece, it no longer exists.  Some floor mosaics within the basilica are more confidently attributed to Uccello.

After returning to Florence, where he was to stay for most of the rest of his life, he executed works for various churches and patrons, most notably the Cattedrale di Santa Maria del Fiore, the city’s Duomo.

This mosaic on the floor of Basilica San
Marco in Venice is attributed to Uccello

In 1436, Uccello completed a monochrome fresco of an equestrian monument to Sir John Hawkwood in the Duomo. This work exemplified his keen interest in perspective. The condottiero and his horse are presented as if the fresco was a sculpture seen from below. At the same time, a sense of controlled potential energy within the horse and rider were characteristic of the new style of the Renaissance that had blossomed during Uccello’s lifetime.

Later, he painted the four heads of the prophets that surround the clock on the Duomo’s interior west facade clock, and designed a number of stained glass windows.

The three paintings celebrating the Battle of San Romano are thought to have been executed between 1438 and 1440. The three panels were exhibited until 1784 in a room in the Medici Palace on Via Larga in Florence.

Married in 1453 to Tommasa Malifici, Uccello had a son, Donato, with whom he worked towards the end of his life, and a daughter, Antonia, who became a Carmelite nun. 

In poor health, Uccello stopped working in 1470. His last will and testament was dated November 11, 1475, about a month before he died. He was buried in his father's tomb in the church of Santo Spirito in Florence.

The magnificent Florence Duomo, topped by
Brunelleschi's colossal dome, towers over the city

Travel tip:

Florence’s Duomo - the Cattedrale di Santa Maria del Fiore - with its enormous dome by Filippo Brunelleschi and campanile by Giotto, is one of Italy's most recognisable and most photographed sights, the dominant feature of the city’s skyline. From groundbreaking to consecration, the project spanned 140 years and involved a series of architects. Arnolfo di Cambio, who also designed the Basilica of Santa Croce and the Palazzo Vecchio, was the original architect engaged and it was largely to his template that the others worked.  When he died in 1410, 14 years after the first stone was laid, he was succeeded by Giotto, who himself died in 1337, after which his assistant Andrea Pisano took up the project.  Pisano died in 1348, as the Black Death swept Europe, and a succession of architects followed, culminating in Brunelleschi, who won a competition - against Lorenzo Ghiberti - to build the dome, which remains the largest brick-built dome ever constructed.

The facade of the Basilica of Santa Maria
Novella, designed by Leon Battista Alberti

Travel tip:

The Gothic Basilica of Santa Maria Novella in Florence, for which Uccello created his Scenes from the Life of Noah fresco series, which included The Flood and The Waters Receding, was built in the 13th century by the Dominicans and can be described as the city’s first great basilica. This church was given the suffix ‘Novella’ - new - because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne.  The new church was commissioned by wealthy Florentine wool merchant Giovanni di Paolo Rucellai and designed principally by Leon Battista Alberti. The church, recognisable for its white marble façade, was built between 1456 and 1470. A list of its notable artworks reads like a roll call of masters of Gothic and early Renaissance painting and sculpture, including Botticelli, Bronzino, Brunelleschi, Duccio, Ghiberti, Ghirlandaio, Lippi, Masaccio, Pisano, Uccello and Vasari. The city’s nearby main railway station takes its name from the basilica.

Also on this day:

1813: The birth of composer Errico Petrella

1903: The birth of painter Giuseppe Dossena

1907: The birth of actor Amedeo Nazzari

1921: The birth of football administrator Giuseppe 'Peppino' Prisco

1936: The death of playwright and novelist Luigi Pirandello

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Alessandro Striggio - composer and diplomat

Medici musician who invented the madrigal comedy

The score of Striggio's best known
work was missing for 281 years

The Renaissance composer Alessandro Striggio, famous as the inventor of the madrigal comedy, once thought to be the forerunner of opera, died on this day in 1592 in Mantua (Mantova), the town of his birth.

Although there is no accurate record of his age, it is thought he was born in 1536 or 1537, which would have put him in his mid-50s at the time of his death. 

Striggio spent much of his career in the employment of the Medici family in Florence, for whom he also served as a diplomat, undertaking visits to Munich, Vienna and London among other places on their behalf. 

He produced his best work while working for the Medici, composing madrigals, dramatic music, and intermedi - musical interludes - to be played between acts in theatrical performances.

Striggio’s best known composition is his Il cicalamento delle donne al bucato e la caccia (The gossip of the women at the laundry),  an innovative piece that combined music and words to tell a story, without acting. This was an example of what became known as the madrigal comedy, comprising a series of 15 humorous madrigals that together tell a story in words and music.

Perhaps his greatest achievements, though, were his choral works, including his motet Ecce beatam lucem, a feat of polyphony that included 40 independent voices, and his still more impressive Mass, Missa sopra Ecco sì beato giorno, which also featured 40 different voice parts and a final movement for 60 voices, which is thought to be the only piece of 60-part counterpoint in the history of Western Music.

Cosimo I de' Medici sent Striggio on
a diplomatic mission to Vienna

Although Striggio was born into an aristocratic family in Mantua, there is only sparse knowledge of his early life there. He possibly moved to Florence in his late teens or early 20s. He started work for Cosimo I de' Medici, Duke of Florence, on 1 March 1559 as a musician, eventually to replace Francesco Corteccia as the principal musician to the Medici court.

In the 1560s, he visited Venice and produced two books of madrigals influenced by the musical styles he encountered there.

Music was central to the Medici’s use of Striggio in a diplomatic role. Cosimo I craved the title of Archduke or Grand Duke, which within the hierarchy of the Holy Roman Empire was a rank below Emperor but a notch above Duke and equivalent to a King.

He ordered Striggio to travel to Vienna in the winter of 1566-67, sending his principal musician on a perilous journey through the Brenner Pass in order to meet Emperor Maximilian II and present Cosimo’s case for the Medici to be granted a royal title.

Striggio’s grand opus, Missa sopra Ecco sì beato giorno, was to be part of the presentation, underlining Cosimo’s commitment to the Catholic faith. Striggio was also charged with convincing Maximilian II that the Medici could support him both financially and militarily.

Unfortunately, Striggio reached Vienna only to find he needed to journey a further 140km (87 miles) north to Brno, where Maximilian had removed himself for the winter months. He presented the Emperor with a copy of the Mass, although he had too few musicians or singers with him in Brno for the piece to be performed.

The English composer Thomas Tallis is
said to have been inspired by Striggio

Instead, as Striggio continued his travels, it was performed in full before the courts of Munich and Paris, to great acclaim, before Vienna.  The Medici were granted the right to be headed by a Grand Duke two years later but it took almost 10 years for it to be given approval by the Emperor, although Cosimo I went by the title from 1569 until his death in 1574.

Striggio went on to visit England, having much respect for the work of musicians in the royal court there. He is said to have met Queen Elizabeth I and the composer Thomas Tallis, who had served in the courts of four monarchs - Henry VIII, Edward VI and Mary I, as well as Elizabeth I - and is considered one of England’s greatest composers, particularly of choral music. His own 40-voice motet, Spem in alium, is thought to have been inspired by his meeting with Striggio.

Striggio returned to Florence, where he became friends with Vincenzo Galilei, the lutenist and composer whose son was the astronomer and scientist, Galileo Galilei.

During the 1580s, Striggio began an association with the Este court in Ferrara, which at the time was at the forefront of musical composition in Italy. In 1586, he moved back to his home city, Mantua, although he would continue to compose music for the Medici at least until 1589.

Although the idea of Striggio’s madrigal comedy being the forerunner of opera is no longer widely held, the composer has a connection with the roots of opera in that his son, also called Alessandro, wrote the libretto of Claudio Monteverdi's L'Orfeo, one of the earliest works to fit the conventional definition of an opera.

As a footnote, the score of Striggio’s Missa sopra Ecco sì beato giorno was declared lost in 1726 but was rediscovered in 2007 by a musicologist from the University of California, Berkeley in the Bibliothèque nationale de France in Paris, where it had resided for most of the intervening years, unnoticed because it had reportedly been recorded in an inventory of manuscripts as being a four-part Mass by a composer called Strusco.

The Ducal Palace is one of many highlights of
the atmospheric city of Striggio's home city

Travel tip:

Mantua is an atmospheric old city in Lombardy, to the southeast of Milan, famous for its Renaissance Palazzo Ducale, the seat of the Gonzaga family between 1328 and 1707. In the Renaissance heart of Mantua is Piazza Mantegna, where the 15th century Basilica of Sant’Andrea houses the tomb of the artist, Andrea Mantegna. The church was originally built to accommodate the large number of pilgrims who came to Mantua to see a precious relic, an ampoule containing what were believed to be drops of Christ’s blood mixed with earth. This was claimed to have been collected at the site of his crucifixion by a Roman soldier.  In nearby Piazze delle Erbe is the Chiesa di San Lorenzo, another masterpiece of Renaissance architecture. Its elegant facade and interior are adorned with beautiful artwork and sculptures.  In the same square, the Torre dell’Orologio Astronomico - the Astronomical Clock Tower - displays lunar cycles as well as the time. Installed in 1473, the clock has failed twice but was restored in 1989.

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Palazzo Vecchio was at
one time Cosimo I's home

Travel tip:

Florence’s imposing Palazzo Vecchio, formerly Palazzo della Signoria, a cubical building of four storeys made of solid rusticated stonework, crowned with projecting crenellated battlements and a clock tower rising to 94m (308ft), became home of Duke Cosimo I de' Medici moved his official seat from the Medici palazzo in via Larga in May 1540. When Cosimo later removed to Palazzo Pitti, he officially renamed his former palace the Palazzo Vecchio, the "Old Palace", although the adjacent town square, the Piazza della Signoria, still bears the original name. Cosimo commissioned the painter and architect Giorgio Vasari to build an above-ground walkway, the Vasari corridor, from the Palazzo Vecchio, through the Uffizi, over the Ponte Vecchio to the Palazzo Pitti. Cosimo I also moved the seat of government to the Uffizi, which translated literally, simply means ‘offices’. Today, of course, the Uffizi, is known the world over for its collection of art treasures.

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More reading:

Gonzaga court violinist Salomone Rossi, the leading Jewish musician of the Renaissance

Cosimo II de' Medici, patron of Galileo

Claudio Monteverdi, the Baroque composer who wrote the first real opera

Also on this day

1792: The birth of composer Gioachino Rossini

(Picture credit: Palazzo Vecchio by Geobia via Wikimedia Commons)

(Paintings: Portrait of Cosimo I de' Medici, Bronzino, Art Gallery of New South Wales)

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Erasmo da Narni - condottiero

Soldier from poor origins became general commander of Venetian armies

Erasmo da Narni made a 
living as a condottiero

One of the most famous condottieri of the Renaissance, Erasmo da Narni, who had a distinguished career as a military leader, died on this day in 1443 in Padua.

Known as Gattamelata, the honey-eyed cat, Erasmo has been immortalised by Donatello’s bronze equestrian statue of him in Piazza del Santo, one of Padua’s main squares.

Born in Narni in Umbria, Erasmo went from a humble household into a military life, serving in turn the rulers of the Papal States, Rome, Florence, and Venice. Condottieri were professional soldiers who were hired by city states to lead mercenary armies on the battlefield.

With his friend, Brandolino Brandolini, he worked for the Assisi lord, Cecchino Broglia, and later, serving under another condottiero, Braccio da Montone, lord of Perugia, he played his part in the conquests of Todi, Terni, Narni, Rieti, and Spoleto and helped win the Battle of Viterbo against Muzio Attendolo Sforza in 1419.

During the War of L’Aquila, Braccio’s army was defeated and the condottiero himself was killed, so Erasmo led the remaining troops into the service of Florence.

Later, Pope Martin V hired Erasmo to recapture the lands he had lost in the battles against Braccio da Montone. 

Erasmo was also hired by the Republic of Venice to fight against Filippo Mario Visconti of Milan. In the conflict, he came up against another condottiero, Niccolò Piccinino, who defeated him in a battle in 1434 in which Erasmo was wounded.

Braccio da Montone, who
fought with Erasmo

After successfully defending Brescia and Verona against the Visconti army, Erasmo was granted the title of General Commander of the Armies of the Republic of Venice. He was also made ruler of Padua in 1437. 

The following year, the Venetians lost Legnago, Soave and Verona, which led to criticism of Erasmo, but with the help of Francesco Sforza, he was able to re-enter Verona in 1439.

In 1440, while mustering a flotilla on Lake Garda, Erasmo suffered a cerebral haemorrhage. He never fully recovered from this illness and was unable to lead any further military campaigns. 

Erasmo died in 1443 and was buried in the Basilica di Sant’Antonio in Padua. Donatello’s statue of Gattamelata was later placed outside the front entrance of the church as a tribute to him.

Erasmo’s daughter, Polissena Romagnola, married Tiberto Brandolini, the son of his old friend and military comrade, Brandolino, and they had two sons, Sigismondo and Leonello. Sigismondo, Erasmo’s grandson, was later considered good enough to marry into an important family in Piacenza.

The hill town of Narni is said to be close to the
precise geographical centre of Italy

Travel tip:

Narni, where Erasmo was born, is a hill town in the region of Umbria that is close to the exact geographical centre of Italy and there is a stone in the town marking the precise spot. Erasmo’s birthplace is in Via Gattamelata, which has since been named after him, and there is now a plaque on the outside of the house. You can reach the birthplace from Via Garibaldi, or from the end of Vicolo degli Orti. Narni has retained its mediaeval appearance with stone buildings and narrow cobbled streets, but it is also famous for having the Ponte d’Augusto, one of the largest Roman bridges ever built. One arch of the bridge, which is still standing, is 30 metres (98 feet) high. The imaginary land of Narnia, featured in the works of author C S Lewis, is named after Narni, which was a place name he came across in an atlas that he looked at when he was a child.  

Donatello's bronze statue of Erasmo da Narni as
he might have appeared on the battlefield

Travel tip:

Donatello’s bronze equestrian statue of Gattamelata is to the left of the Basilica di Sant’Antonio in Padua as you approach the church from the direction of Via del Santo. The statue was completed in 1453 and is believed to be the earliest Renaissance equestrian statue that still survives. It became a precedent for many later sculptures honouring military heroes. The soldier and his horse are both portrayed in life size by Donatello, instead of being larger than life as with previous, classical equestrian statues. Donatello had been commissioned by the family to create a monument in memory of the great Commander of the Armies of the Venetian Republic and the statue is mounted on a pedestal that resembles a sepulchre. Gattamelata appears in the style of a Roman emperor astride his horse. His head is uncovered and the expression on his face shows his wonderful fighting spirit. 

Also on this day:

1728: The birth of opera composer Niccolò Piccinni

1749: The birth of playwright and poet Count Vittorio Alfieri

1910: The birth of poet and psychiatrist Mario Tobino

1941: The birth of controversial archbishop Carlo Maria Viganò

1957: The death of conductor Arturo Toscanini

1998: The death of interior and set designer Renzo Mongiardino

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Vincenzo da Filicaja – poet

Patriotic writer was inspired by victory against the Turks

Da Filicaja earned comparisons
with the great poet Petrarch

Vincenzo da Filicaja, a writer and a politician whose poetry has been compared with that of the great Italian poet Petrarch, died on this day in 1707 in Florence.

Da Filicaja’s six celebrated odes inspired by a famous battle victory led to scholars placing him on a level with some of the greatest Italian poets.

He was also a respected politician and was named governor of Volterra and Pisa by Cosimo III, the Grand Duke of Tuscany, who later appointed him to serve in the Tuscan Senate.

Born into an aristocratic family in Florence in 1642, Da Filicaja was educated by Jesuits before going to Pisa University to study law. In Pisa, he was inspired by the historical associations he saw that were linked with the former glory of the republic of Pisa.

The banners and emblems of the Order of St Stephen, which had its seat in Pisa, had great significance for the young student, who knew that the navy of this military order, created by Cosimo I de’ Medici, formed the main defence of his country and its commerce against Turkish, Algerian and Tunisian corsairs.

After returning to Florence, Da Filicaja married Anna Capponi in 1673, the daughter of a senator and marquis, and he went to live in the Tuscan countryside, where his main interest was writing Italian and Latin poetry.

Da Filicaja earned comparisons
with the great poet Petrarch

He became a member of the Accademia della Crusca, a society for scholars of Italian linguistics and philology, which is now the oldest linguistic academy in the world.

Other scholars and writers he met there, such as the poet Francesco Redi, helped him to gain access to Medici court patronage.

Da Filicaja’s imagination was fired by the deliverance of Vienna from the Turks in 1683 and he composed six odes to celebrate the victory.  Redi showed Da Filicaja’s verses to his own royal patron and sent them to the foreign princes whose noble deeds were praised in them. The quality of Da Filicaja’s odes celebrating the victory of John III Sobieski in the Battle of Vienna is what made many scholars consider him to be on a level with some of the greatest Italian poets.

Christina, the ex Queen of Sweden, contacted Da Filicaja from her exile in Rome, offering to pay for the education of his two sons and to keep the generous gesture a secret. And in 1691, Da Filicaja became a member of the Academy of Arcadia, a literary academy founded in Rome.

Cosimo III made the poet the commissioner of official balloting and governor of Volterra, where Da Filicaja tried to improve public morality. He was also made governor of Pisa in 1700 and he became so popular that when he left office the inhabitants of both cities petitioned to have him brought back.

Cosimo III made him a Senator in Florence, where he spent the last years of his life. After he died, at the age of 64, he was buried in the family vault of the Church of San Pietro in Florence and a monument was erected in his memory in the Basilica di Santa Croce in the city by his only surviving son, Scipione Filicaja.

The Palazzo della Carovana, which was built
by Vasari for the Knights of St Stephen

Travel tip:

Pisa’s most popular tourist attraction by a long way is the Campo dei Miracoli, site of the famous Leaning Tower, which features a beautiful Romanesque cathedral and an equally impressive baptistry. For many visitors, the Campo dei Miracoli is all they come to see, yet there is much more to Pisa than the Leaning Tower. The University of Pisa remains one of the most prestigious in Italy, while the student population ensures a vibrant cafe and bar scene. There is also much to see in the way of Romanesque buildings, Gothic churches and Renaissance piazzas. Interesting churches include Santa Maria della Spina, which sits next to the Arno river, while Piazza dei Cavalieri is notable for the Palazzo della Carovana, built by Giorgio Vasari in 1564 as the headquarters for the Knights of St Stephen.

The magnificent facade of the Basilica di
Santa Croce, a Florence highlight

Travel tip:

The Basilica of Santa Croce, consecrated in 1442, is the main Franciscan church in Florence and the burial place among others of Michelangelo, Galileo, Machiavelli, the poet Ugo Foscolo, the philosopher Giovanni Gentile, the composer Gioachino Rossini and the nuclear physicist Enrico Fermi.  It houses works by some of the most illustrious names in the history of art, including Canova, Cimabue, Donatello, Giotto and Vasari. The construction of the current church, to replace an older building on what was once marshland outside the city wall, began in 1294, paid for by some of the city's wealthiest families. It is the largest Franciscan church in the world.  The floorplan is an Egyptian or Tau cross - a symbol of St Francis - 115 metres in length with a nave and two aisles separated by lines of octagonal columns, with 16 chapels. It stands proudly over the Piazza Santa Croce, one of the most famous and beautiful squares in the city.

Also on this day:

1501: The birth of doctor and mathematician Girolamo Cardano

1934: The birth of Princess Maria-Pia of Bourbon-Parma

1954: The birth of footballer Marco Tardelli

1955: The birth of businessman Ricardo Illy

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Ottaviano dei Petrucci – music printer

Pioneer in printing who worked for a Doge and a Pope

The first page of Petrucci's volume
 Harmonice Musices Odhecaton

Ottaviano dei Petrucci, who was the first person to print a book of polyphonic music from movable type, was born on this day in 1466 in Fossombrone near Urbino

It is thought that Petrucci was educated at Urbino, possibly at the humanist court of Guidobaldo da Montefeltro, who was Duke of Urbino apart from a brief period from 1482 until his death in 1508.

To learn the art of printing, in 1490 Petrucci went to Venice, then the most advanced centre for printing in Italy.

In 1498, Petrucci petitioned the Doge, Agostino Barbarigo, for the exclusive right to print music for the next 20 years, which was granted. There are no examples of printed music produced by other Venetian printers until 1520.

Over the years, he continued to refine his technique and he held music printing monopolies in Venice until 1511. He produced books of printed music at the rate of a new book every few months. 

Petrucci's collection of 96 chansons, secular songs under the title of Harmonice Musices Odhecaton - One Hundred Songs of Harmonic Music - published in Venice in 1501, was the first book of polyphonic music to be printed from movable type.

His books were crafted with painstaking care and are among the most beautiful examples of printed music from the entire 16th century.

An example of the music that Petrucci was able
to produce using printing presses of his time

The Harmonice Musices Odhecaton and the books that followed began a flood of printed music that revolutionized the distribution of the art form throughout Europe and beyond, and began the process by which studying, performing, and enjoying music no longer remained an exclusive privilege of the nobility, the clergy, and those they patronized, but became a treasured pastime for the middle classes.

Petrucci’s activities were interrupted by the War of the League of Cambrai against Venice in 1509, and so he returned to Fossombrone where he continued printing.

He applied for a patent with Pope Leo X for the exclusive right to print music, which was granted for several years. The Pope then rescinded the patent when Petrucci failed to produce printed keyboard music.

Papal troops ransacked Fossombrone in 1516 and Petrucci printed nothing for the next three years, possibly because his equipment had been destroyed.

The Venetian Senate asked Petrucci to return to the city in 1536, where he assisted them in printing Greek and Latin texts.

Among his total of 61 music publications are masses, motets, chansons and frottole by the foremost composers of the 15th and early 16th centuries, such as Josquin des Pres, Jean d’Okeghem, Antoine Brumet and Loyset Compere.

Petrucci also published the first book of printed lute music, Francesco Spinaccino’s Intabolatura de Lauto, in 1507.

His later work was considered extraordinary because of the complexity of the notation and the small font that he used.

Petrucci died in Venice in 1539 at the age of 73.

The town of Fossombrone in Marche occupies a
position on the banks of the Metauro river

Travel tip:

Fossombrone, a town of just under 10,000 inhabitants in the province of Pesaro e Urbino in Marche, about 25km (16 miles) east of Urbino, takes its name from the ancient Roman colony of Forum Sempronii. After changing hands several times during the Middle Ages it flourished under the control of Federico III da Montefeltro, the Duke of Urbino, in the 15th century.  The town’s Roman heritage is visible in the remains of a statue of the god Vertumnus, the Furlo Pass, constructed by the Emperor Vespasian to shorten the passage of that mountain, the bridge of Trajannear Calmazzo, and the bridge now called Ponte della Concordia, originally built in 292 by Diocletian, which both cross the Metauro river.  There is an 18th century cathedral, dedicated to Saint Aldebrandus and Saint Augustine, built in neoclassical style.

The beautiful Renaissance Ducal Palace in Urbino
is one of the most important munuments in Italy

Travel tip:

Urbino, which is inland from the Adriatic resort of Pesaro, in the Marche region, is a majestic city on a steep hill.  It was once a famous centre of learning and culture, known not just in Italy but also in its glory days throughout Europe, attracting outstanding artists and scholars to enjoy the patronage of the noble rulers. The Ducal Palace, a Renaissance building made famous by Baldassare Castiglione’s The Book of the Courtier, is now one of the most important monuments in Italy and is listed as a Unesco World Heritage site. It is a city that is home to a number of gastronomic delights, including crescia sfogliata, a flatbread often served stuffed with melted caciotta cheese, and prosciutto di Carpegna, a local cured ham.

Also on this day:

1511: The birth of sculptor and architect Bartolomeo Ammannati

1943: The birth of entertainer and TV presenter Raffaella Carrà

1946: The birth of football coach Fabio Capello

1952: The birth of actress Isabella Rossellini 

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