Pietro Tacca - sculptor

Pupil of Giambologna became major figure in own right

Tacca's equestrian sculpture of Philip IV 
of Spain broke new ground in statuary

The sculptor Pietro Tacca, who succeeded his master, Giambologna, as court sculptor to the Medici Grand Dukes of Tuscany, was born on this day in 1577 in Carrara.

Tacca, who initially produced work in the Mannerist style, later made a significant contribution to the advance of Baroque and helped preserve Florence’s pre-eminence in bronze casting.

As well as his work for the Medici family, Tacca achieved something never before attempted with his marble equestrian statue of King Philip IV of Spain in Madrid’s Plaza de Oriente. 

The sculpture, considered to be a masterpiece, is notable for depicting the monarch on a rearing horse with its front legs off the ground and the entire weight of the statue supported by its hind legs and tail. 

Tacca began attending the Florence workshop of Giambologna in 1592 at the age of 15. Giambologna was the most important sculptor of his time in Florence, not only for his relationship with the Medici but also for his bronze statue of Neptune above the Fontana di Nettuno in Bologna.

When Giambologna’s first assistant, Pietro Francavilla, left for Paris in 1601, Tacca was chosen to fill his role. On the death of the master in 1608 at the age of 79, Tacca inherited both his studio and his house in Borgo Pinti. A year later, the Medici family appointed him as Giambologna’s successor as the grand-ducal sculptor.

Tacca's i Quattro Mori sculptures in Livorno
showed his embrace of the drama of Baroque

Among Tacca's earliest tasks in his prestigious new position were the completion of some of Giambologna’s unfinished works, including the equestrian statues of Ferdinando I de' Medici in Piazza Santissima Annunziata in Florence, of Henry IV of France, which was sent to Paris but later destroyed during the revolution in 1793, and of Philip III of Spain, which is still located in the Madrid’s Plaza Mayor.

The statue of Ferdinando I de’ Medici was cast with bronze melted from the cannons of captured Barbary and Ottoman galleys, taken by the Order of Saint Stephen, of which Ferdinando was Grand Master.

As his own career progressed, Tacca began to embrace the Baroque aesthetic. His work became characterised by a sense of the theatrical, conveying dramatic movement and exaggerated emotion. While his sculptures often depicted religious subjects, such as saints and biblical figures, he also created secular works, including fountains and allegorical figures.

Between 1623 and 1626 he executed what is considered his masterpiece, i Quattri Mori - the Four Moors - which shows four Saracen pirates chained at the base of Giovanni Bandini's monument to Ferdinando I de' Medici in Piazza della Darsena in Livorno. The pirates were supposedly taken prisoner by the Order of St. Stephen and imprisoned in Livorno. Tacca used some of them as models, posing them in accentuated twists and depicting grimaces of pain on their faces.

Tacca's Porcellino Fountain, a bronze of a wild
boar, is now in a museum in Florence

Two bronze fountains by Tacca originally destined for Livorno, notable for their intricate grotesque masks and shellwork textures, were set up instead in Piazza Santissima Annunziata in Florence.

In 1634, Tacco created his famous Fontana del Porcellino, a bronze fountain statue of a wild boar originally planned for the gardens - the Giardino di Boboli - behind Palazzo Pitti, the main Medici residence in Florence, but subsequently placed in the recently built Loggia del Mercato Nuovo, where a copy is currently on display. The original is in the Museo Stefano Bardini in Palazzo Mozzi.

The colossal equestrian bronze of Philip IV in Madrid was Tacca's last public commission.

Based on a design by Diego Velázquez, it was started in 1634 and shipped to Madrid in 1640, the year of Tacca’s death. The sculpture, set on top of a fountain composition, forms the centrepiece of the façade of the Royal Palace. 

Tacca consulted the scientist Galileo Galilei for advice on how he might make the statue stable, despite its entire weight being supported by the two hind legs and the tip of the tail, shown as brushing the ground as the horse rears. The feat had never been attempted successfully in a statue of such scale. 

Towards the end of his life, Pietro Tacca was assisted by his son, Ferdinando, who almost certainly completed some of his father’s unfinished projects. After the death of Ferdinando Tacca, the studio and foundry in Borgo Pinti were taken over by Giovanni Battista Foggini.

Foggini specialised in small bronze statuary. His reproductions of Tacca’s Moors figures in bronze and ceramic were still selling well on the connoisseur market in the early to mid-18th century.

The Giambologna coat of arms
identifies his former workshop

Travel tip:

Borgo Pinti is an historic street in the heart of Florence, which runs from Via Sant’Egidio to Piazzale Donatello. It has several notable landmarks along its path, including the Chiesa di Santa Maria Maddalena dei Pazzi, a church dating back to around 1250 on a site that was previously occupied by the Monastery of the Women of Penance, a house of refuge for repentant women known as the Repentite, to which some ascribe the origin of the name Pinti, although others claim it was the name of an ancient family. The street, which forms a north-south axis of the historic centre, is lined with many notable palaces, as well as houses occupied by the painter Perugino and the sculptor Lorenzo Bartolini.  The house and workshops where Giambologna and Pietro Tacca created so much of their art were at numbers 24-26 in a building now called Palazzo Bellini delle Stelle, identifiable by the Giambologna coat of arms over the door.

The white of Carrara's marble makes the Apuan
Alps seemed snow-covered even in the summer

Travel tip:

Pietro Tacca’s town of birth, Carrara, famous for its blue and white marble, sits just inland from the Ligurian Sea coastline, in a valley that descends from the Alpi Apuane in Tuscany. The natural white of the peaks often convinces visitors they are covered with snow even in the summer. Marble has been quarried in the area for more than 2,000 years. Michelangelo was said to have been so taken with the purity of the stone that he spent eight months there choosing blocks for specific projects.  The Pantheon and Trajan's Column were both constructed using Carrara marble, which was also the material used for many Renaissance sculptures.  Carrara, nowadays a city of around 70,000 inhabitants, is home to many academies of sculpture and fine arts and a museum of statuary and antiquities.  The exterior of the city's own 12th century duomo is almost entirely marble.

Also on this day:

1797: The birth of revolutionary-turned-librarian Sir Anthony Panizzi

1841: The birth of politician Alessandro Fortis

1866: Sette e mezzo revolt breaks out in Palermo

1985: Terrorists attack Rome’s iconic Café de Paris

2005: Camorra boss Paolo Di Lauro captured in Naples

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Baccio d’Agnolo - architect and woodcarver

Florentine who influenced the look of his home city

Baccio d'Agnolo was a significant
influence on Florentine architecture

The woodcarver, sculptor and architect Baccio D'Agnolo, whose work significantly influenced the architectural landscape of his home city in the Renaissance period, was born in Florence on this day in 1462.

His birth name was Bartolomeo Baglioni but he came to be referred to as d’Agnolo in a reference to the name of his father, Angelo, while Baccio was a popular short form for Bartolomeo. His father was also a woodcarver, which explains the direction of his early career.

Between 1491 and 1502, Baccio executed much of the decorative carving in the church of Santa Maria Novella and the Palazzo Vecchio in Florence before turning to architecture. 

He worked alongside Simone del Pollaiolo in restoring the Palazzo Vecchio, and in 1506 was commissioned to complete the drum of the cupola of the Cathedral of Santa Maria del Fiore, although the project was ultimately abandoned after criticism from Michelangelo.

Among the notable buildings attributed to Baccio d’Agnolo are the Palazzo Borgherini-Rosselli del Turco and the Palazzo Bartolini Salimbeni, while his design for the campanile of the church of Santo Spirito has also been praised.

Baccio had five children, three of whom - Giuliano, Filippo and Domenico - also became architects. 

It was through studying the best work of contemporaries such as Bernardo della Cecca, Giuliano da Maiano and Francione that he acquired such a high level of skill in working with wood.

An example of Baccio d'Agnolo's
early work with wood carving

The art historian Giorgio Vasari, who was a contemporary of so many of the great names of the Renaissance and was a talented architect in his own right, described Baccio as unsurpassed in the art of working wood. At the height of his fame, Baccio’s workshop became a meeting place for the most famous artists of the time, such as Michelangelo Buonarrotti, Raphael, del Pollaiolo, Giuliano and Antono da Sangallo the Elder, and Benedetto da Maiano. 

Many of Baccio’s original wood works were lost. The best remaining evidence of his carpentry is the choir of the church of Santa Maria Novella and the 16th-century choir of the church of Sant'Agostino in Perugia, on which his sons are said to have collaborated.

In a second period of his life, Baccio dedicated himself almost exclusively to architecture. He collaborated with Del Pollaiolo and Antonio da Sangallo the Elder on the construction of the Great Hall in the Palazzo della Signoria.

He established himself as an architect in his own right in 1503-04, building the Palazzo Taddei in Via dei Ginori, which was influenced by Del Pollaiolo’s Palazzo Guadagni and became a template for the typical noble Florentine residence of the first half of the 16th century. 

His commission to build an eighth part of the gallery around the huge dome of Santa Maria del Fiore, left unfinished by Filippo Brunelleschi, was continued due to the harsh criticism of Michelangelo, who defined it as a "cricket cage". 

The Palazzo Bartolini Salimbeni palace in the Piazza di Santa Trinita (1517-20) is considered by some to be Baccio's masterpiece, bringing together all the qualities of his art, the windows surmounted by the pediment and interposed by niches and excavations having a genuine originality. 

Executed in the High Renaissance style that Baccio admired during a period in which he worked in Rome, it became a model for civil constructions of the 16th century. 

Baccio d’Agnolo died in Florence in 1543, at the age of 80.

The Palazzo Bartolini Salimbeni
is one of Baccio's notable works

Travel tip:

The Palazzo Bartolini Salimbeni is in Piazza di Santa Trinita on Via de' Tornabuoni in central Florence. It was built on the site of a former residence of the Soldanieri and Dati families, which was bought by Bartolomeo Bartolini-Salimbeni, who paid Baccio d'Agnolo two florins per month for his work. The Bartolini-Salimbeni family lived in the palace until the early 19th century, after which, in 1839, it became the Hotel du Nord, where figures such as the American writer Herman Melville stayed. The palace was restored in 1961 and it is now a private property. It once housed the San Romano Battle paintings by Paolo Uccello, which were commissioned by a member of the Bartolini Salimbeni family. The paintings are now distributed between the Uffizi, the National Gallery in London and the Louvre in Paris.

Palazzo Vecchio, which
Baccio helped restore

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.

Also on this day:

1860: The birth of politician Vittorio Orlando

1870: The birth of sculptor Pompeo Coppini

1946: The birth of actor Michele Placido

1979: The birth of footballer Andrea Pirlo

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Giovanni Maria Benzoni - sculptor

Roman collectors called him the ‘new Canova’

Benzoni's self-portrait bust is in the
Biblioteca Angelo Mai in Bergamo

The sculptor Giovanni Maria Benzoni, who earned such fame in Rome in the mid-19th century that collectors and arts patrons in the city dubbed him the “new Canova” after the great Neoclassical sculptor Antonio Canova, was born on this day in 1809 in Songavazzo, a small mountain village in northern Lombardy.

Benzoni sculpted many allegorical and mythological scenes, but also busts and funerary monuments.  

Songavazzo being just outside Clusone in the province of Bergamo, Benzoni was regarded as a bergamasco - a native of the ancient city - even though he spent much of his life in Rome.

As such he was held in similar regard to celebrated bergamaschi such as the composer Gaetano Donizetti, the philologist Cardinal Angelo Mai and the painter Francesco Coghetti, all of whom lived in Rome during Benzoni’s time there.

He was later commissioned to sculpt a monumental tomb for Cardinal Mai in the Basilica of Sant’Anastasia al Palatino in the centre of Rome.

Benzoni’s parents, Giuseppe and Margherita, were farmers of modest means. Giovanni Maria worked briefly as a shepherd, but his father died when he was around 11 years old, after which he was sent to work in his uncle’s small carpentry shop at Riva di Solto, on the western shore of Lago d’Iseo, about 25km (16 miles) away.

Benzoni's Flight from Pompeii is
notable for its extraordinary realism

He began to show a talent for carving religious statues which came to the attention of a wealthy patron called Giuseppe Fontana, who was impressed enough to speak about him to Count Luigi Tadini, who would later open the Tadini Academy of Fine Arts in Lovere, another town on Lago d’Iseo.

Tadini asked Benzoni to make a copy of the Stele Tadini, the sculpture made for him by Antonio Canova in memory of the count’s son Faustino, who had died at a young age.

He was so impressed by Benzoni’s attention to detail and the accuracy of the reproduction that he arranged for the young man, who had never had a formal education, to attend a college in Lovere. 

When he reached the age of 18 or 19, Tadini took Benzoni to Rome, where he would work in the workshop of Giuseppe Fabris - an artist who would later became director general of the Vatican museums - and attend the prestigious Accademia di San Luca, where his fees were paid by Count Tadini.

Benzoni’s elegant marble sculptures had echoes of Canova’s work, which he greatly admired. One of his earliest pieces sculpted at the Academy, entitled Silent Love, attracted the approval of wealthy buyers in Rome, who soon began to speak of him as “il novello Canova” - the new Canova. 

After winning several competitions at San Luca, Benzoni began to earn money for his work and opened a small studio in Via Sant'Isidoro, in the centre of Rome, off the street now called Via Vittorio Veneto. Demand for his work grew so rapidly that he was obliged to find bigger premises, first in Via del Borghetto and later in Via del Babuino, between the Spanish Steps and Piazza del Popolo.

Benzoni's bust of his former patron,
Count Luigi Tadini, in Lovere

At the peak of his fame, he employed more than 50 assistants, making multiple versions of his most popular works. His Cupid and Psyche (1845) and Veiled Rebecca (1863) are considered to be two of his greatest triumphs.  Benzoni had clients in Holland, France, England and Ireland as well as in Italy.  

One of his later works, Flight from Pompeii or The Last Days of Pompeii (1868), was inspired by his visits to the Naples region in the 1850s and 1860s, when he was moved by the capacity for destruction of the volcano Vesuvius. The sculpture depicts with notable realism a man, his wife and their baby child, the man holding a cloak above his head to try to protect the trio as they seek refuge from the falling ashes.

The original was made for the wife of a wealthy New York hotelier. Among the many copies Benzoni produced, one is housed in a museum in Australia, another in the Neoclassical-style Town Hall at Todmorden, in the English county of Yorkshire.

Benzoni, who married into a noble Roman family and had six children, always lived in Rome but returned regularly to Bergamo, where he became a member of the city’s university and donated busts of famous citizens. His own self-portrait bust is in the Biblioteca Civica Angelo Mai on Piazza Vecchia in Bergamo’s mediaeval Città Alta.

He sculpted a statue of his former patron, Count Tadini, which stands on a plinth in a lakeside garden opposite the Tadini Academy in Lovere.

After his death in 1873, the popularity of Benzoni’s work declined, in common with the Neoclassical style as the newlly unified-Italy began to look forward. It has enjoyed a revival in recent years, however. Among his most famous works, his 1861 sculpture Innocenza difesa dalla fedeltà (Innocence Defended by Loyalty), which shows a young girl removing a thorn from the paw of her faithful pet dog, sold at Sotheby’s in New York in 2001 for more than $84,000 (€77,800; £66,800) and was presented as a gift to the Metropolitan Museum of Art.

The Torre dell'orologio is one of several
notable buildings in the town of Clusone

Travel tip:

Benzoni’s birthplace, Songavazzo, is just outside the town of Clusone, about 35km (22 miles) northeast of Bergamo, a beautiful small town nestling on a plain against the backdrop of the Alpi Orobie - sometimes translated as the Orobic Alps - which attracts visitors all year round. Apart from its proximity to ski resorts, Clusone is famous for the frescoes that decorate some of its most significant buildings, such as the Municipio (Town Hall), the Torre dell'orologio (Clock Tower) and the Oratorio dei Disciplini (Oratory of the Disciplines), which has a macabre offering entitled The Triumph of Death. Clusone is also home to a prestigious annual jazz festival.

The Palazzo Tadini in Lovere on Lago d'Iseo is
home of the Accademia di Belle Arti Tadini

Travel tip:

Lovere, where Benzoni received his first formal education, is the largest town on the western shore of Lago d’Iseo  and has wonderful views of the top of the lake with its dramatic backdrop of mountains. Benzoni’s patron, Count Luigi Tadini of Crema, established the Accademia di Belle Arti Tadini in the lakefront Palazzo Tadini in 1829 and it has become one of the most important art galleries in Italy. The church of Santa Maria in Valvendra has some 16th century frescoes and the church of San Giorgio, which is built into a mediaeval tower, contains an important work by Palma il Giovane. A pleasant boat ride connects Lovere with Pisogne on the eastern shore of the lake, which has a railway line linking the lake with the city of Brescia. The landing stage adjoins Piazza XIII Martiri.

Also on this day:

1665: The death of painter and printmaker Elisabetta Sirani

1909: The birth of Lamberto Maggiorani, star of classic movie Bicycle Thieves

1938: The birth of journalist and talk show host Maurizio Costanza

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Arnaldo Pomodoro - sculptor

Romagnolo artist best known for his Sphere within Sphere series

Arnaldo Pomodoro, pictured in 1975, is regarded 
as one of Italy's most influential sculptors

The avant-garde sculptor Arnaldo Pomodoro, who became famous for a series of monumental spherical bronze sculptures with their outer surface cracked to reveal intricate interiors, was born in Morciano di Romagna, a small town just inland from the Adriatic coast, on this day in 1926.

Pomodoro’s first Sphere within Sphere (Sfera con Sfera) was installed in the Cortile della Pigna courtyard at the Vatican Museums in Roma in the 1960s and he has subsequently produced versions for many locations around the world.

These include Trinity College, Dublin, the United Nations Plaza and Mount Sinai Hospital in New York, museums in Washington D.C., Tehran and Tokyo and on the beach front at Pesaro, another Adriatic resort not far from Pomodoro’s birthplace.

Broadly speaking, the sculptures, which contain a smaller sphere at the centre of the larger, broken sphere, separated by layers of what look a little like the inner workings of a watch, represent the fragility of the world or of society and the complexities that lie beneath the surface.

Although he was interested in art from a young age, when he was inspired by the countryside and architecture of Montefeltro, an historical region close to where he grew up, Pomodoro’s career initially followed a different path.

Pomodoro's first Sfera con Sfera, which is at the
 centre of the Cortile della Pigna at the Vatican

He studied at the Technical Institute for Surveyors in Rimini and secured a job in the Public Works Office in Pesaro, both resorts being within 30km (19 miles) of his home. His work involved the restoration of public buildings.

Yet his curiosity with forms of art led him to study subjects from stage set design to jewellery design in his spare time.

It was after he moved to Milan in 1954, when the city was seen to be at the cutting edge of theatre, art and music, that he began to pursue his interest more vigorously. He started to frequent the Jamaica Bar in the Brera district, a popular meeting place for artists and intellectuals.

His earliest sculptures were shown at the Galleria del Naviglio in Milan in 1955. Arnaldo’s younger brother, Giò, was similarly keen to develop his talent for sculpture and the two participated in the Venice Biennale.

Pomodoro spent the early part of the 1960s in the United States after obtaining a grant to study American art. He exhibited at a number of festivals, in 1964 winning the International Prize for Sculpture at the São Paulo Biennale and also the National Prize for Sculpture at the XXXII Venice Biennale.

He remained in the United States, becoming an artist in residence at Stanford University, and then at University of California, Berkeley.

Disco Grande in Milan is one of
Pomodoro's personal favourites

In the 1970s, Pomodoro gained renown for his work with geometric shapes, with disks, pyramids and cubes but in particular spheres.  His Sfera con Sfera at the Vatican Museums attracted huge interest, leading to commissions to create versions of the same sculpture for locations around the world, around 20 in total.

Other works by Pomodoro to have found permanent homes include a large fibreglass crucifix for the Cathedral of St. John the Evangelist in Wisconsin, which features a 14-foot (4.27m) diameter crown of thorns which hovers over the figure of Christ.

In Copenhagen, Denmark, a decorative pillar with a sphere on its top, called Solar Form, in the Amaliehaven park close to Amalienborg Palace, was sculpted by Pomodoro, who is also responsible for a pyramid named Forms of Myth, which was bought by the city of Brisbane in Australia after being unveiled at Brisbane's World Expo. Another pyramid sculpture, Wing Beat: Homage to Boccioni, sits in the centre of a large fountain in Los Angeles.

Pomodoro, now 96, has described his Disco Grande, which can be found in Piazza Filippo Meda in the centre of Milan, as one of the works that has given him the most personal pride.  The 4.5m (15ft) bronze disc, which weighs around seven tons and has two faces, has five large cracks extending to its outer edges, with a design that evokes an exploding sun or star at the centre.

The sculptor talks of Milan as the city that adopted him and the disc, which has echoes of Leonardo da Vinci’s Vitruvian Man, the drawing he made in the late 15th century of a male figure within a circle, as representing the dynamism, optimism and solar strength of the city.

Pomodoro's Sfera con Sfera on the promenade
in Pesaro, where he worked as a young man

Travel tip:

Pesaro, where Pomodoro worked after graduating from college, is a coastal city in Le Marche with a 15th century Ducal Palace, commissioned by Alessandro Sforza. It has become known as the city of music because the opera composer Gioachino Rossini was born there in 1792. The Rossini Opera Festival has taken place in Pesaro every summer since 1980 and the town is home to the Conservatorio Statale di Musica Gioachino Rossini, which was founded from a legacy left by the composer.  In addition to its long stretch of sandy beach, which extends for around 7km (4.3 miles), the city, which has a population of almost 100,000, is dubbed the Città della Bicicletta (the City of the Bicycle) for its extensive network of cycle paths.

A characteristic narrow street in
Milan's fashionable Brera district

Travel tip:

The Brera district of Milan is thought to derive its name from the Lombardic word ‘brayda’, which was ninth century military terminology for ‘an area cleared of trees’.  Today, it is one of Milan’s most fashionable neighbourhoods, its narrow streets lined with trendy bars and restaurants. It has been traditionally home to the city’s artists and writers, which gives it a  Bohemian feel that has brought comparisons with Montmartre in Paris.  The Brera is home to the Brera Academy of Fine Arts and the Brera Art Gallery. The Jamaica dal 1911 Ristorante, where Pomodoro and his artist friends were regulars, can be found in Via Brera, the street that dissects the area, between Via Pontaccio and Via Fiori Chiari.

Also on this day:

1945: The birth of partisan Giuseppina Tuissi

1980: The birth of tennis champion Francesca Schiavone

2008: The death of actor and voice dubber Claudio Capone

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Pompeo Coppini - sculptor

Italian emigrant famous for Texas monument

Pompeo Coppini spent much of his
career working in Texas

The sculptor Pompeo Coppini, best known for the Alamo Cenotaph in San Antonio, Texas, was born on this day in 1870 in Moglia, a village in Lombardy a few kilometres south of the city of Mantua.

Coppini emigrated to the United States at the age of 26 and after initially working in New York moved to Texas, where the majority of his work can be found.

The Alamo Cenotaph, also known as The Spirit of Sacrifice, consists of a 60ft high sloping shaft of grey Georgia marble resting on a base of pink Texas granite. Carved into the sides of the monument, erected near the scene of the siege of the Alamo Mission during the Texas Revolution in 1836, are images of the Alamo defenders including William B Travis, Jim Bowie, David Crockett and James Bonham, while the names of those who died at the Alamo were etched along the base.

It was commissioned to commemorate the centenary of the siege and took two years to complete. It is now the centrepiece of a square known as the Alamo Plaza.

The son of a musician, Pompeo moved with his family from Moglia to Florence in 1880 at the age of 10. His craft skills began to earn him an income at an early age through work with ceramics and miniature models of famous monuments.

Coppini's most famous work is the
Alamo Cenotaph in San Antonio 

At 16, he enrolled at the Accademia dell'Arte del Disegno in Florence, furthering his knowledge and technical skills under the Genovese sculptor Augusto Rivalta.

Upon graduating, he opened a small studio and continued to make items he could sell, including busts of local celebrities and cemetery monuments. 

Business was slow, however, and in 1896, Coppini followed the example set by others of his generation in deciding to move to the United States, specifically New York.

He arrived there, reportedly with nothing but a trunk full of clothes and $40 in cash, and found work sculpting figures for a wax museum before being commissioned to create a memorial to Francis Scott Key, best known for writing the lyrics for the American national anthem The Star-Spangled Banner.

A model hired to pose for Coppini’s memorial to Key, Elizabeth di Barbieri, ultimately became his wife.

His progress in New York was steady if not spectacular. Craving a base which would give him more chance to stand out, in 1901 he moved to Texas to work alongside the German-born sculptor Frank Teich. A year later he became an American citizen.

Apart from his most famous work, sculpted with the help of a $100,000 donation from the state of Texas, Coppini’s other creations in Texas include the Confederate Monument in Paris, Terry's Texas Rangers Monument and Hood's Texas Brigade Monument in Austin, the Littlefield Memorial Fountain, also in Austin, with which he worked with the French-born architect Paul Cret, and several statues at the Texas State Fair Hall of State in Dallas.

Coppini's Littlefield Memorial Fountain
at the University of Texas in Austin

Coppini sculpted three statues of George Washington, the founding father of the United States. The first, to commemorate the 1910 centennial of Mexican Independence, was installed in 1912 in the Plaza Dinamarca since renamed Plaza Washington, in Mexico City; the second, in Portland, Oregon, was created to commemorate the 1926 sesquicentennial of the Declaration of Independence; the third, commissioned by the Texas Society, Daughters of the American Revolution to commemorate the 1932 bicentennial of Washington's birth, stands on the campus of the University of Texas at Austin, although because of fund-raising problems it was not installed until February, 1955.

Coppini died in San Antonio in 1957, his body laid to rest in the city’s Sunset Memorial Park in a tomb he sculpted himself.

Travel tip:

Moglia, the village where Coppini was born, is situated a little over 30km (19 miles) south of Mantua in Lombardy. With a population of more than 5,000 today, it has grown to about five times its size in the last 150 years. A feature is a marble monument by Coppini to the Martyrs of War, finished in 1951 and sited in front of the village’s primary school. Moglia was hit badly in the 2012 earthquake that hit the area, with the Town Hall, the parish church and several other buildings in the historic centre suffering severe damage, along with many private residences.

The Palazzo Ducale in Mantua was the home for  
four centuries of the Gonzaga family 

Travel tip:

Mantua is an atmospheric old city in Lombardy, to the southeast of Milan. In the Renaissance heart of the city 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.  Mantua is famous for its Renaissance Palazzo Ducale, the seat of the Gonzaga family between 1328 and 1707, in which the Camera degli Sposi is decorated with frescoes by Mantegna, depicting the life of Eleonora’s ancestor, Ludovico Gonzaga and his family in the 15th century. 

Also on this day:

1860: The birth of politician Vittorio Orlando

1946: The birth of actor and director Michele Placido

1979: The birth of footballer Andrea Pirlo

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Luca della Robbia - sculptor

Renaissance ‘genius’ famed for glazed terracotta

Della Robbia's Resurrection over the door of
the northern sacristy in the Florence duomo

Luca della Robbia, whose work saw him spoken of in the same breath as Donatello and Lorenzo Ghiberti among the great sculptors of the Renaissance, died on this day in 1482 in Florence.

Della Robbia worked in marble and bronze initially but enjoyed considerable success after inventing a process for making statuary and reliefs in terracotta decorated with a colourful mineral glaze.

Thought to be around 82 or 83 years old, he had shared the full details of the process only with his family. On his death, his nephew Andrea della Robbia inherited his workshop and other members of the family, notably his great-nephews Giovanni della Robbia and Girolamo della Robbia, continued to employ his methods with success into the 16th century.

Terracotta literally means cooked earth and Della Robbia’s technique involved the application of colourful glazes made using lead, tin and other minerals to the fired clay. 

Sculpting in terracotta was not new, having been invented in the ancient world, but Della Robbia’s idea to coat the terracotta with a glaze that fused with the clay below gave the surface a brightness and shine and made the sculpture particularly durable. 

Della Robbia decorated the dome of Brunelleschi's
Pazzi Chapel in the Basilica of Santa Croce

It took him many years to perfect his technique. The clay itself came from riverbeds, where Della Robbia would look for a light-colored, chalky variety of clay that bound particularly well with his glazes, cleaning and sifting it before adding soft river sand to achieve optimal consistency.  The blend of minerals in the glaze itself was a closely guarded secret.

The first commissions for which Della Robbia used the technique were in the Duomo of Florence, where between 1442 and 1445 he sculpted a lunette of the Resurrection over the door of the northern sacristy and a relief of the Ascension over the southern sacristy door.

He went on to execute many more works in the medium, of which some of the most important are the roundels of the Apostles in Filippo Brunelleschi’s Pazzi Chapel in the Basilica di Santa Croce in Florence, the roof of Michelozzo’s Chapel of the Crucifix in the Basilica di San Miniato al Monte, Florence, and a lunette over the entrance of the Church of San Domenico at Urbino.

His final major work was an altarpiece in the Palazzo Vescovile at Pescia, a small town just over an hour from Florence, near Montecatini Terme.

Della Robbia's bust in the Pincio
Gardens in Rome

It was the Renaissance polymath Leon Battista Alberti who compared Della Robbia to fellow sculptors Donatello and Ghiberti, ranking him also alongside the architect Brunelleschi and the painter Masaccio in terms of their artistic genius. This assessment took into account more than just his work in glazed terracotta, although his use of bright colours gave his work in the medium a particular charm that was very popular.

In the early part of his career, Della Robbia, who may have trained as a goldsmith, worked with Ghiberti on the famous bronze doors of the Florence Baptistry - the so-called Gates of Paradise.

Brunelleschi often used him for sculpture on his buildings. His important commission was for the Cantoria - a singing gallery - in Florence's Duomo, for which he was probably chosen by the Medici family.  The project took seven years and his depictions in the 10 panels of children singing, dancing and making music, the figures lively and finely observed in the manner of Renaissance naturalism, established him as a major Florentine artist.

Della Robbia’s other important works in marble include a tabernacle carved for the Chapel of San Luca in the Santa Maria Nuova Hospital in Florence, and the tomb of Benozzo Federighi, bishop of nearby Fiesole.

Florence's magnificent Duomo towers above
the skyline of Della Robbia's city

Travel tip:

The Florence 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, towering above the city and the dominant feature of almost every cityscape. From groundbreaking to consecration, the project took 140 years to complete and involved a series of architects. Arnolfo di Cambio, who also designed the church of Santa Croce and the Palazzo Vecchio was the original architect engaged and it was to his template, essentially, 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.

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Piazzo Mino is the main square in the centre of
Fiesole, in the hills to the northeast of Florence

Travel tip:

Fiesole, a town of about 14,000 inhabitants situated in an elevated position about 8km (5 miles) northeast of Florence, has since the 14th century been a popular place to live for wealthy Florentines and even to this day remains the richest municipality in Florence.  Formerly an important Etruscan settlement, it was also a Roman town of note, of which the remains of a theatre and baths are still visible.  Fiesole's cathedral, built in the 11th century, is supposedly built over the site of the martyrdom of St. Romulus. In the middle ages, Fiesole was as powerful as Florence until it was conquered by the latter in 1125 after a series of wars.

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More reading:

Lorenzo Ghiberti and the 'Gates of Paradise'

Filippo Brunelleschi, the genius who designed the dome of the Florence duomo

Gian Lorenzo Bernini, the Florentine who made his mark in Rome

Also on this day:

1791: The birth of painter Francesco Hayez

1918: The death of Nobel Peace Prize winner Ernesto Teodoro Moneta

1941: The birth of author and politician Raffaele Lauro

1953: The founding of the giant oil and gas company ENI

1966: The birth of footballer Andrea Silenzi

(Picture credits: Resurrection by Sailko; Pazzi Chapel ceiling by Mattis; bust of della Robbia by Lalupa; via Wikimedia Commons)

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Pietro Canonica - sculptor

Artist in demand from European royalty

Pietro Canonica was well known for creating busts, statues
and portraits for the monarchy and nobility across Europe

The sculptor Pietro Canonica, who was also a proficient painter and an accomplished musician but who found himself most in demand to create busts, statues and portraits for the royal courts of Europe, was born on this day in 1869 in Moncalieri in Piedmont.

Canonica’s ability to create realism in his work, bringing marble sculptures almost to life, resulted in an endless stream of commissions, taking him from Buckingham Palace in London to the courts of Paris, Vienna, Brussels and St Petersburg.

He was highly skilled in equestrian statuary and after the First World War was commissioned to create many monuments to the fallen, which can be seen in squares around Italy to this day.

Canonica’s mastery of Naturalism and Realism were the qualities that set him apart, exemplified nowhere with such stunning effect as in his 1909 work L'abisso - The Abyss - which depicts Paolo and Francesca, the ill-fated lovers from Dante’s Inferno, locked in their eternal punishment, clinging desperately to one another with fear in their eyes, her fingers digging into his back as the vortex in which they are trapped drags them towards their fate.

A master of Realism, Canonica produced some
extraordinary works, such as L'abisso (The Abyss)

His depictions of female figures, in particular, were notably lifelike.

Canonica’s precocious talent saw him begin an apprenticeship at the age of 10 and be admitted to the Accademia Albertina di Belle Arti di Turin the following year.  His depictions of Naturalism and Realism were unusual for the time.

He was regularly commissioned for funerary works in the early part of his career as noble and aristocratic families sought grave markers that exuded emotion and tenderness.

He moved in 1922 to Rome, and participated in important national and international exhibitions in Milan, Rome, Venice, Paris, London, Berlin, Dresden, Monaco, Brussels and St. Petersburg. He created portraits and commemorative works with a passion his clients appreciated.

He took commissions, too, from as far afield as Turkey, Egypt, Iraq and Bolivia in South America.

Canonica became professor of sculpture at the Accademia di Belle Arti di Venezia in 1910 and later at the Accademia di Belle Arti di Roma. He was one of the first to be granted membership of the Royal Academy of Italy in 1929.

His religious subjects were among his most successful works, reflecting his characteristic sensitivity and sense of sorrow. His Testa di Cristo (Head of Christ), which he exhibited in Naples in 1922, shows Christ with a raised shoulder, lowered eyelids and slightly open mouth as subtle indications of his suffering.

Pietro Canonica's bust of the Italian
king, Victor Emmauel III

Deeply saddened by the destruction of his work in Russia by the Bolsheviks in 1918, Canonica found his reputation devalued somewhat by the collapse of the monarchy and the defeat of Fascism, having been associated with both.

However, in 1950, the Italian president Luigi Einaudi nominated him life senator for his outstanding artistic achievements.

Much of his work nowadays is preserved in the Museo Pietro Canonica in the Villa Borghese in Rome, in a building known as the Fortezzuola, which was given to him by the Rome city authorities to restore after a fire had curtailed its use as administrative offices in 1919.

Originally used for the breeding of ostriches, peacocks and ducks for the Borghese family to hunt, it is notable for the medieval style castellated walls designed by the architect Antonio Asprucci.  Canonica, who converted the stables to accommodate his work, was told he could live there so long as his collections were ultimately donated to the city.

In addition to sculpting skills, Canonica was also a talented musician, composing several operas and other works.

As well as in the Museo Pietro Canonica, examples of Canonica’s sculpture and statuary around the world include his bust of King Edward VII at Buckingham Palace, his Monument to the Republic in Taksim Square in Istanbul, Turkey, where he also sculpted several statues of the revoltuionary statesman Mustafa Kemal Ataturk, monuments to Popes Benedict XV and Pius XI in the Vatican and to King Faysal I of Iraq on horseback in Baghdad.

He died in 1959 in Rome at the age of 90.

The Castello at Moncalieri, a former residence of
Victor Emmanuel II, is now a Carabinieri college

Travel tip:

Moncalieri, where Canonica was born, is a town with a population of almost 58,000 people. About 8km (5 miles) south of Turin, within the city’s metropolitan area, it is notable for its castle, built in the 12th century and enlarged in the 15th century, which became a favourite residence of King Victor Emmanuel II and subsequently his daughter, Maria Clotilde, and is listed among the World Heritage Site Residences of the Royal House of Savoy. The castle now houses a prestigious training college for the Carabinieri, Italy’s quasi-military police force.

The Tempio Esculapio by Antonio Asprucci is a feature
of the Villa Borghese Gardens in the centre of Rome

Travel tip:

The Villa Borghese Gardens is among Rome’s largest public parks. The gardens date back to 1605, when Cardinal Scipione Borghese, nephew of Pope Paul V and patron of the sculptor and architect Gian Lorenzo Bernini, began converting a former vineyard.  The park also includes the Galleria Borghese, built in 1613 for Cardinal Borghese to display his magnificent art collection. The gallery now houses masterpieces by Caravaggio, Titian and Lotto as well as sculptures by Bernini and Canova. To visit the gallery it is necessary to reserve tickets. For details visit www.galleriaborghese.it

More reading: 

La Pietà - Michelangelo's masterpiece

Luigi Einaudi, the politician and winemaker who was Italy's second president

Pietro Bracci, sculptor of the Trevi Fountain

Also on this day:

1773: The death of architect Luigi Vanvitelli, designer of the Royal Palace at Caserta

1926: The birth of movie actor Cesare Danova

1930: The birth of cycling champion Gastone Nencini

(Picture credits: Moncalieri Castle by Gianni Careddu; Tempio Esculapio by Jean-Christophe Benoist; via Wikimedid Commons)

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Gaetano Russo - sculptor

Creator of New York’s Christopher Columbus Monument

Gaetano Russo's monument to Christopher
Columbus has been in place since 1892

The sculptor Gaetano Russo, famous for having created the monument dedicated to Christopher Columbus at Columbus Circle in New York, was born on this day in 1847 in the Sicilian city of Messina.

Russo’s 13ft (3.96m) statue of the 15th century Genoese explorer, carved from a block of Carrara marble, stands on top of a 70ft (21.3m) granite column, decorated with bronze reliefs depicting the Niña, the Pinta and the Santa Maria, Columbus’s three caravel sailing ships.  At the foot of the column there is an angel holding the globe.

Unveiled on October 12, 1892 on the 400th anniversary of Columbus’s voyage to the Americas, the statue was a gift to the city from New York’s Italian-American community, funded by a campaign by an Italian-language newspaper, Il Progresso.

For the laying of the statue’s cornerstone, a procession took place from Little Italy to what is now called Columbus Circle, at the southern end of Central Park, a distance of 6.5km (4.2 miles). Close to 10,000 people are said to have attended the dedication ceremony.

Additional ornamentation around the base of the column depicts Columbus’s journey, American patriotic symbols, and allegorical figures. The monument was restored in 1992 on the occasion of the 500th anniversary of his transatlantic crossing.

The Columbus Circle intersection, seen from the air, is
an important part of the geography of New York City

Columbus Circle, at the intersection of Broadway, Central Park West, Central Park South (West 59th Street) and Eighth Avenue, has a symbolic importance to New Yorkers, as the traditional geographic centre of the city.

For decades, the Hagstrom Map Company sold maps that showed the areas within 25 miles (40km) or 75 miles (121km) of Columbus Circle. Even today, the New York City government employee handbook defines 'long-distance travel' as a trip beyond a 75-mile (121km) radius of Columbus Circle.

The monument came under threat in 2018 as part of a nationwide review of whether figures regarded traditionally as American heroes, and who were celebrated in statues and other monuments, deserved their status. Columbus was controversial for having taken back indigenous people from the Caribbean to sell in Spain as slaves and there were calls for the statue to be taken down.

However, after Governor of New York Andrew Cuomo, who is descended from Campanian immigrants, had spoken out on behalf of his fellow Italian-Americans in upholding the importance of Columbus in the links between the two countries, it was announced that the statue would stay in place but that there would be notices placed in or around Columbus Circle explaining the history of Columbus and of the monument.

The angel holding a globe on the pedestal
of the Christopher Columbus Monument

Gaetano Russo was born in Via dell’Oliveto in Messina and baptised in the nearby church of San Leonardo.

Little is known about his early life until 1870, when he received a grant to go to Rome where he studied with Girolamo Masini and Giulio Monteverde.

He worked in both Rome and his native Sicily. In the capital he was commissioned to sculpt bas-reliefs for the facade of the building that now houses the Academy of Dramatic Art, the pediments of the Policlinico Umberto I and the cenotaph dedicated to Felice Bisazza.

In Messina he was commissioned to make funerary sculptures for the monumental cemetery and the monument to Marco Miceli Puglisi, dated 1877, on which stands an imposing winged figure.

No record of Russo exists after 1908 and it is assumed that he died in the devastating earthquake of the same year that destroyed much of Messina and may have killed up to 200,000 people. It is known that his brothers, Letterio and Stellario, both perished and that all the buildings in and around Via dell'Oliveto, a heavily populated area of ​​the city, disappeared.

Messina's 12th century cathedral, originally built by the
Normans, suffered serious damage in the 1908 earthquake

Travel tip:

Messina is a city in the northeast of Sicily, separated from mainland Italy by the Strait of Messina. It is the third largest city on the island and is home to a large Greek-speaking community. The 12th century cathedral in Messina has a bell tower which houses one of the largest astronomical clocks in the world, built in 1933. Originally built by the Normans, the cathedral, which still contains the remains of King Conrad, ruler of Germany and Sicily in the 13th century, had to be almost entirely rebuilt following the earthquake in 1908, and again in 1943, after a fire triggered by Allied bombings.

Gaetano Russo sculpted the figures in the pediment
over the entrance to the Policlinico Umberto I in Rome

Travel tip:

Located in the San Lorenzo quarter, the Policlinico Umberto I of Rome, where Russo sculpted the bas relief figures decorating the pediment over the main entrance, is the polyclinic of the faculty of medicine and surgery of the Sapienza Università di Roma. The city’s main hospital, it is the second largest public hospital in Italy. Its construction was promoted by Italian physicians and politicians Guido Baccelli and Francesco Durante and began in 1883 to plans by Giulio Podesti and Filippo Laccetti. The opening was presided over by the then university rector Luigi Galassi and by King Umberto I, after whom it is named.


More reading:

The Alabama legacy of Giuseppe Moretti

How Corrado 'Joe' Parnucci made his made on Michigan

The genius of Gian Lorenzo Bernini

Also on this day:

1891: The birth of World War One flying ace Luigi Olivari

1941: The death of  mathematician Tullio Levi-Civita

1966: The birth of footballer Stefano Eranio


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