Robert Browning – English poet

Writer who called Italy his ‘university’

Robert Browning pictured in 1888, about
 a year before he died in Venice,  aged 77

Victorian poet and playwright Robert Browning died on this day in 1889 at his son’s home, Ca’ Rezzonico, a palazzo on the Grand Canal in Venice.

Browning was considered one of the most important Victorian poets, who had made contributions to social and political debate through his work, and he was given the honour of being buried in Poets’ Corner in Westminster Abbey.

The poet’s early career had begun promisingly with his work being well received by the critics, but his long poem, Sordello, produced in 1840, was judged to be wilfully obscure and it was to take many years for his reputation to recover.

In 1846 Browning secretly married the poet, Elizabeth Barrett, who was six years older than him and had been living the life of an invalid in her father’s house in London. A few days later they went to live in Italy, leaving their families behind in England forever.

Elizabeth’s poetry became increasingly popular and after the death of Wordsworth in 1850 she was considered as a serious contender to become the next Poet Laureate. However, the position eventually went to Alfred Tennyson.

The Brownings lived in Pisa at first but then moved to Florence, where they lived in an apartment in a 15th century house, Casa Guidi, in the Oltrarno district.

A younger Robert Browning in a portraint by
 Italian painter Michele Gordigiani in 1858

Their only child, Robert Wiedeman Barrett Browning, who they nicknamed Penini, or Pen, was born to them in 1849.

Browning became fascinated with the art and cultural environment of Italy and would in later life describe the country as his ‘University’.

While Elizabeth continued to write and achieved fame through her poetry, Browning’s own work was still being dismissed by other writers and critics.

While in Florence, Browning worked on the poems that would eventually comprise his two-volume Men and Women, for which he is now well known.

But in 1855 when they were first published they made little impact.

When Elizabeth’s health began to deteriorate, the Brownings moved to the Villa Alberti in Siena.

They moved to Rome in 1860, but when Elizabeth’s health became worse they returned to Florence. Elizabeth died in Browning’s arms in June 1861, aged 55. She was buried in a white marble tomb, designed by Frederic, Lord Leighton, in the protestant English Cemetery of Florence.

Now a widower, Browning returned to London with his 12-year-old son, Pen. Through years of hard work he gradually built up his reputation again and became part of the London literary scene.

A portrait of Robert Browning painted by
his son, Pen, in aroud 1882

In 1868, after five years of intensive writing, he published The Ring and the Book, his most ambitious project,and considered by some to be his greatest work. The poem was a commercial and critical success and brought him the recognition he had long been hoping for.

In his later years, Browning travelled frequently to Italy, finding peace and inspiration in the small hilltop town of Asolo in the Veneto. However, he never visited Florence again.

After one last visit to Asolo in the summer of 1889, Browning, accompanied by his sister, Sarianna, travelled to Venice to visit Pen and his wife at the end of October.

Pen, who had by then become a successful painter, had recently bought and renovated Ca’ Rezzonico.

Browning would spend the mornings at the Lido, the afternoons visiting his friend, Katharine Bronson, at her residence Ca’ Alvisi, and the evenings at Ca’ Rezzonico with his family.

In December, Browning became unwell and was diagnosed with bronchitis and a weak heart.

On December 12 he received the news that his last volume of poetry, Asolando, had sold out on the same day it was published. Browning knew there was an advertisement for a new edition of Mrs Browning’s poetry on the back of the book.  He told his son he was ‘more than satisfied’ and died a few hours later. He was 77 years old.

The elegant Ca' Rezzonico on the Grand Canal
in Venice, which Browning's son, Pen, owned

A private funeral service was held in the sala (dining room) of Ca’ Rezzonico.

At the end of the service, eight pompieri (firemen) in blue uniforms and brass helmets, carried Browning’s body downstairs and on to a municipal barge, which conveyed the poet to the chapel on San Michele, the ‘isle of the dead’.

Two days later, Browning’s manservant escorted the coffin back to London by train.

On 31 December 1889, Browning was conveyed to Westminster Abbey along a route lined by thousands of people for a service, followed by an interment in Poets Corner, where he now lies surrounded by the great names of literature.

Casa Guidi in Florence, which has now
been converted into a study centre

Travel tip:

A plaque marks Casa Guidi, the home of Elizabeth Barrett Browning and her husband Robert Browning in Piazza di San Felice in the Oltrarno district of Florence. The Brownings lived in the piano nobile apartment between 1847 and 1862. The New York Browning Society restored the apartment and then gave it to Eton College to be converted into a study centre. Casa Guidi is open to the public on Monday, Wednesday and Friday afternoons from 3-6pm between April and November.

The main square - Piazza Giuseppe Garibaldi - at Asolo in
the Veneto, which Browning made his home

Travel tip:

Robert Browning’s beloved Asolo is a hilltop town in the Veneto region of northern Italy. It is known as ‘the pearl of the province of Treviso’ and also as ‘the city of a hundred horizons’ because of its beautiful views over the countryside and the mountains. Browning published Asolando, a volume of poetry written in the town, in 1889 just before his death. The main road leading into the town is named Via Browning in his honour. One of the main sights is the Castle of Caterina Cornaro, which now houses the Eleonora Duse Theatre.

Also on this day:

1685: The birth of composer Lodovico Giustini

1901: Guglielmo Marconi receives the first transatlantic radio signal

1957: The birth of author Susanna Tamaro

1969: The Piazza Fontana bombing kills 17


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Caterina Cornaro – Queen of Cyprus

Monarch lived out her last years in 'sweet idleness'

Titian's portrait of Caterina Cornaro,
painted in around 1452

The last ruler of the Kingdom of Cyprus, Caterina Cornaro, died on this day in 1510 in Venice.

She had been living out her life in a castle in Asolo, a pretty town in the Veneto, after the Venetian Government persuaded her to abdicate as Queen of Cyprus.

Her court at the castle became a centre of literary and artistic excellence as she spent her days in what has been described as ‘sweet idleness,’ a translation of the verb asolare, invented by the poet Pietro Bembo to describe her daily life in the town.

Caterina was born in 1406 into the noble Cornaro family, which had produced four Doges, and she grew up in the family palace on the Grand Canal. The family had a long trading and business association with Cyprus.

Caterina was married by proxy to King James II of Cyprus in 1468, securing commercial rights and privileges for Venice in Cyprus. In 1472 she set sail for Cyprus and married James in person at Famagusta.

James died soon after the wedding and Caterina, who was by then pregnant, became regent of the kingdom, as was specified in his will. She was imprisoned briefly, after Cyprus was seized by the Archbishop of Nicosia, but restored to continue ruling after a military intervention by Venice.

After her son, James II, died just before his first birthday, she became the actual monarch of the kingdom.

The castle at Asolo which was Caterina
Cornaro's home from 1489

She ruled Cyprus for 15 years, assisted by Venetian merchants, who effectively controlled the island and guaranteed her safety from other conspirators.

As a ruler she became an admired figure in contemporary European society and she was painted by great artists such as Durer, Titian, Gentile Bellini and Giorgione.

In 1489 she was persuaded to abdicate and to pass the control of Cyprus to the Republic of Venice.

Caterina was allowed to retain the title of Queen and was also made Lady of Asolo in return. The pageantry of the fleet carrying the exiled Queen home was captured in contemporary paintings and is now regarded as having been a brilliant piece of propaganda by the Venetian Republic.

Under Caterina, Asolo became a centre for late Renaissance art and learning. The painter Bellini and the poet Andrea Navagero spent time there. Bembo used Asolo as the setting for his dialogues on platonic love, Gli Asolani.

Caterina had more than 20 years of pleasurable life in Asolo before her death at the age of 55. Her grave is in the Church of San Salvador near the Rialto Bridge in Venice.

Piazza Giuseppe Garibaldi, the main square in
the town of Asolo in the Veneto

Travel tip:

Asolo is a town in the Veneto region of northern Italy. It is known as ‘the pearl of the province of Treviso’ and also as ‘the city of a hundred horizons’ because of its beautiful views over the countryside and the mountains. The poet Robert Browning spent time in Asolo after he became a widower and he published Asolando, a volume of poetry written in the town, in 1889. The main road leading into the town is named Via Browning in his honour. One of the main sights is the Castle of Caterina Cornaro, which now houses the Eleonora Duse Theatre.

The facade of the Chiesa di San Salvador
in Venice, where Caterina was buried

Travel tip:

Caterina died in Venice, having fled Asolo when her castle was occupied by imperial troops. She was buried in the Chiesa di San Salvatore, known in Venetian as San Salvador, which is in the Campo San Salvador along the Merceria, the main shopping street of Venice, and is close to the Rialto Bridge. As well as Caterina, the church houses the tombs of three Doges. It is rich in art works. The monument to one of the Doges, Francesco Venier, was sculpted by Jacopo Sansovino, and there are paintings by Titian and Francesco Vecellio among others.

More reading:

Pietro Bembo, the influential poet who was Lucrezia Borgia's lover

How the Bellini family became the most important artists in Venice

Titian: the Old Master who set new standards

Also on this day:

138AD: The death of Hadrian

1954: The death of Mafia chieftain Calogero Vizzini


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Filippo De Pisis - painter and poet

Artist known for extravagant lifestyle

A 1923 painting by Filippo De Pisis
entitled Still Life with a Bottle

The painter and poet Filippo De Pisis, whose works grace the Museum of Modern Art in New York, the Peggy Guggenheim Collection in Venice and the Palazzo Ruspoli in Rome among other galleries, was born Luigi Filippo Tibertelli De Pisis in Ferrara on this day in 1896.

A close associate for a while of Giorgio de Chirico and Carlo Carrà, De Pisis is best known for his cityscapes, metaphysically-inspired maritime scenes, and still life pictures, especially depicting flowers.  De Pisis, who was homosexual, also made many homoerotic sketches of the male nude. Later in life, he lived in Venice and became somewhat eccentric, travelling everywhere in his personal gondola.

Born into a noble family, as a boy he was known as Gigi. He was educated at home and was strongly influenced by his sister, Ernesta Tibertelli, who was a distinguished illustrator with libertarian views, and who probably introduced De Pisis to mystical writings.

De Pisis spent his childhood reading, drawing, collecting butterflies and wildflowers and writing poetry. He studied literature and philosophy at the University of Bologna, and published a volume of poems, Canti della Croara, in 1916. That same year, he met Carrà, De Chirico and his brother Alberto Savinio and and was attracted to metaphysical painting.

De Pisis spent 14 of his most productive years as
a painter living in Paris

In 1919, he moved to Rome, living in Via di Monserrato, near the Palazzo Farnese. He met more artists, including Armando Spadini, and began to paint in earnest. He still wrote, publishing a collection of essays, La città dalle 100 meraviglie - The City of 100 Wonders - in 1920.

He had been criticised for the overly-sentimentality of some of his poetry, yet his emotional nature worked in his favour in his painting, which received early acclaim.

Seeking new adventures and subjects, in 1925 he moved to Paris, which would be his base for the next 14 years, with only brief interruptions. He met and became friends with Édouard Manet, Camille Corot, Henri Matisse and members of the avant-garde fauve movement.

After holding a personal exhibition, presented by Carrà, in the Lidel room in Milan, he returned to Paris and began an intense relationship with the painter Onofrio Martinelli, who he had met in Rome. They shared a house-studio in the Rue Bonaparte in the Saint-Germain-des-Prés quarter.

He became part of a group of artists known as the Italians in Paris, which included De Chirico, Savinio, Massimo Campigli, Mario Tozzi, Renato Paresce and Severo Pozzati.  During his Parisian period he also visited London several times, forming friendships with the British painters Vanessa Bell and Duncan Grant.

De Pisis was probably best known for his cityscapes. This
one, painted in Venice in 1942, is Rio della Torricella 

De Pisis returned to Italy in 1939, anticipating the outbreak of the Second World War.  He settled in Vicenza for a few weeks before moving to Milan, taking up residence at the Hotel Vittoria in Via Durini.  He might have remained in Milan, but in 1943 his studio in Via Rugabella was destroyed in a bombing raid.

He moved again to Venice, where he was inspired by the paintings of Francesco Guardi and other Venetian masters of the 18th century, and began to live a rather extravagant lifestyle, travelling to and from his house on the Rio de San Sebastian canal in the Dorsoduro district by gondola. He maintained two gondoliers on 24-hour duty, who wore black-and-gold livery.

His health began to decline after the war and in 1948 he was treated in a clinic for neurological disorders in Bologna. From 1949 until his death in 1956 he lived mainly in a nursing home for sufferers from nervous diseases in Brugherio, a town north of Milan.  As well as the collections in New York, Venice and Rome, there are a large number of his paintings at the Museo Filippo De Pisis in his home city of Ferrara.

After moving to Venice permanently in 1943, De Pisis lived
in a house on Rio de San Sebastian in Dorsoduro

Travel tip:

Dorsoduro, where De Pisis lived after leaving Milan in 1943, is one of the six sestieri - municipal areas - of Venice, and sits between the Grand Canal and the Giudecca Canal.  It is regarded as a good place to get a feel for the more traditional Venice, without the huge crowds and tourist trappings associated with the areas around St Mark's and the Rialto.  There are many traditional bacari, the small bars that sell inexpensive small snacks - cicchetti - along with glasses of wine - known locally as ombre, as well as squares where local people meet during the day and students gather at night.  It is also home to some fine churches, such as San Sebastiano, close to Casa De Pisis, which is full of works by Veronese. Nearby are two of the city's most prestigious galleries, the Accademia and the Peggy Guggenheim.

The Villa Fiorita in Brugherio used to house the nursing
home where De Pisis was cared for in his later years

Travel tip:

The nursing home in which De Pisis spent the last few years of his life was housed in the Villa Fiorita, an historic aristocratic urban mansion in Brugherio that was built in 1721 for the Scotti family. After being bought and sold a number of times, it was given over for use as a nursing home in 1938. De Pisis spent much of his time in the mansion’s vast greenhouse, which is situated in its large landscape gardens, which he chose because of its optimal exposure to sunlight and relaxing parkland setting. The mansion now houses Brugherio’s municipal offices. The greenhouse has been renamed Serra De Pisis.



More reading:

Giorgio de Chirico, founder of the scuola metafisica movement

How Carlo Carrà captured violence and speed on canvas

Vittorio Miele, the artist of the metaphysical school who lost his family in World War II battle

Also on this day:

1715: The birth of opera composer Ignazio Fiorillo

1817: The birth of ballet star Fanny Cerrito

1932: The birth of fashion icon Valentino





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Francesco Algarotti - writer and art collector

Francesco Algarotti was a man of many talents
with a colorful love life

Philosopher and polymath with a playboy lifestyle

The multi-talented writer, philosopher and art connoisseur Francesco Algarotti, one of the most prominent and colourful individuals in 18th century intellectual society, died in this day in 1764 in Pisa.

Algarotti, who wrote many essays and a number of books, was something of a polymath in his breadth of knowledge on a wide number of subjects, including architecture and music as well as art. He was also a charismatic figure who became friends with most of the leading authors of his day, including Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens and Pierre-Louis de Maupertuis.

His urbane manner and suave good looks, combined with his considerable intellect, led him to acquire admirers of both sexes. Indeed, at one time he is said to have found himself at the centre of a colourful bisexual love triangle involving John Hervey, the English peer and politician, and Lady Mary Wortley Montagu, the aristocratic travel writer, who became infatuated with Algarotti at the same time as Hervey, her one-time lover.

Algarotti was often engaged by the courts of European monarchs to acquire or commission paintings and other decorative artworks, or to advise on architectural projects, but also amassed a considerable collection of his own.  He commissioned works by Tiepolo, Pittoni, Piazzetta, Castiglione, Panini and Balestra among others, while helping to further the careers of Giuseppe Nogari, Bernardo Bellotto and Francesco Pavona.

Lady Mary Wortley Montagu is said to have
become infatuated with Algarotti

Giovanni Paolo Panini’s famous view of the interior of the Pantheon in Rome, painted in around 1734, was commissioned by Algarotti.

One painting thought to have been in his collection, Sebastiano Ricci’s Vision of St Bruno, sold at auction in the United States for $500,000 after turning up in a warehouse in Texas in 2008.

Algarotti was born in Venice in 1712. His father, a wealthy merchant, was an art collector and it was expected he would join his older brother, Bonomo, in the family business.

Instead, he went Rome to for a year, and then studied natural sciences and mathematics at Bologna and Florence. At age of 20, he went to Paris, where he became friendly with Voltaire and, in 1737, published Newtonianesimo per le dame, ovvero Dialoghi sopra la luce e i colori (Newtonianism for Ladies, or Dialogues on Light and Colour), a work on Newtonian optics, in which he had a particular expertise.

He spent time in London, where he met Lord Hervey, who would later become Lord Privy Seal in the government led by Robert Walpole. Hervey, who is known to have had many affairs with both men and women, was drawn towards his sophistication and physical attractiveness, but at the same time Algarotti attracted the attention of Lady Mary Wortley Montagu, who became so enamoured of him that she left her husband and proposed that they live together in Italy.

Algarotti's tomb, paid for by Frederick
the Great, at Campo Santo in Pisa

The relationship came to nothing, however, after Algarotti received an invitation to go to Berlin from Frederick the Great of Prussia, and stayed there for more than nine years as court chamberlain.

A member of the Royal Society, Algarotti was popular in many European courts. Frederick the Great made him a Prussian count.  Augustus III of Poland also honored him with the title of Councillor.

In 1754, he returned to Italy, living in Bologna, Venice and then Pisa, where he died from tuberculosis ten years later at the age of 51. In his memory, Frederick the Great erected a monument to him on the Campo Santo in Pisa.

Algarotti's writings include several studies on classical themes and a series of treatises on language, opera, architecture, the poet Horace, painting and on influences on national character. He is credited with introducing the genre of essay-writing into Italy.

His 1745 book Il congresso di Citera, which was published in English as The Modern Art of Love, was a lighthearted comparison of English, French, and Italian attitudes toward love.

Panini's painting of the interior of
The Pantheon in Rome

Travel tip:

The Pantheon in Piazza della Rotonda in Rome is considered to be Rome’s best preserved ancient building. It was built in AD 118 on the site of a previous building dating back to 27 BC. It was consecrated as a church in the seventh century and many important people are buried there, including Victor Emmanuel II, his son, Umberto I, and his wife, Queen Margherita.  It was as much a tourist attraction in Panini’s day as it is today and Panini manipulated the proportions and perspective to include more of the interior that is actually visible from any one vantage point.

The Campo Santo is part of the Piazza dei Miracoli complex,
the most famous landmark of which is the Leaning Tower

Travel tip:

The Campo Santo, also known as Camposanto Monumentale, is a huge oblong Gothic cloister at the northern edge of the Piazza dei Miracoli in Pisa. Designed by Giovanni di Simone, who began work on it in 1278, it was the fourth and final structure erected in the piazza, following the cathedral, the baptistery and the campanile - the leaning tower. It is thought the building was not meant to be a cemetery, but a church called Santissima Trinità (Most Holy Trinity), but the project changed during construction.  It is called Campo Santo, which literally means ‘holy field’, because it is said to have been built on sacred soil from Calvary, or Golgotha, the site outside the walls of Jerusalem where the Gospels say Christ was crucified, which had been brought back to Pisa from the Third Crusade by Ubaldo Lanfranchi, archbishop of Pisa.


More reading:

Panini's eye for capturing scenes of Rome

Tiepolo's legacy to Venice

How 18th century Venetian playwright Carlo Goldoni reinvigorated commedia dell'arte

Also on this day:

1461: The birth of patron of the arts Cardinal Raffaele Riario

1469: The birth of statesman and diplomat Niccolò Machiavelli

1815: Austria defeats Napoleon's troops at the Battle of Tolentino


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Paolo Veronese – painter

Artist with a talent for using colour and painting people

Paolo Veronese: a self-portrait, reckoned to
be painted between 1558 and 1563.

A leading figure of the 16th century Venetian school of painting, the artist Paolo Veronese died on this day in 1588 in Venice.

Veronese left a legacy of huge, colourful, paintings full of figures, which depicted allegorical, biblical or historical subjects. Much of his work remains in Venice to this day.

A dominant figure during the Renaissance, Veronese has continued to inspire and be appreciated by many of the great artists who came after him, in particular Rubens, Watteau, Tiepolo and Renoir.

Veronese was born in 1528, taking his grandfather’s surname of Caliari, but later adopting the surname Veronese, referencing his birthplace of Verona.

He began training as an artist at the age of 14 with Antonio Badile, whose daughter, Elena, he later married. One of his early works, Temptation of St Anthony, painted in 1552 for the Cathedral in Mantua, shows the influence of Michelangelo.

In 1553 he began working for the Venetian authorities on the decoration of the Palazzo Ducale. His skilful work on the ceiling of the Hall of the Council of Ten makes the figures appear to be actually floating in space above the viewer.

Veronese's painting, Wedding at Cana, full of figures and
with beautiful colours, is one of his most famous works

His painting of a History of Esther for the ceiling of the Church of San Sebastiano in 1556 in Venice and his paintings for the ceiling of the Marciano Library in 1557 were awarded a prize, after being judged by Titian and Sansovino, establishing him as a master among his Venetian contemporaries.

Among his many triumphs are his decorations in the late 1550s for the Villa Barbaro in Maser, which was a newly-finished building by Andrea Palladio. These employed complex perspective and trompe l’oeil.

His famous work, Wedding at Cana, painted in 1562, was commissioned by the Benedictine monks for the San Giorgio Maggiore monastery across the lagoon from St Mark’s Square.   Veronese was contracted to cover 66 square metres and include as many figures as possible. The painting is now in the Louvre in Paris.

In 1573 Veronese completed his commission for his Feast in the House of Levi, although the painting for the rear wall of the refectory at the Basilica di Santi Giovannni e Paolo was intended to be a Last Supper.

Veronese's painting, The Feast in the House of Levi, was
originally commissioned as a Last Supper

Veronese’s banquet scene featured drunken German soldiers, dwarves and animals. The painting attracted the attention of the Inquisition who perceived it as heretical. The investigation later found there was no heresy, but the artist was ordered to change its title. Veronese chose The Feast in the House of Levi, which is still an episode from the Gospels, but one in which the Gospels specified "sinners" as being present.

In his biography of Veronese, Carlo Ridolfi said that The Feast in the House of Levi ‘gave reign to joy, made beauty majestic and made laughter, itself, more festive.’

In 1860, the art critic Theophile Gautier wrote that Veronese was ‘the greatest colourist who ever lived’.

Veronese died in Venice after contracting a fever in April 1588, when he was in his 60th year.  His brother and sons had him buried in the Church of San Sebastiano, which he had spent many years decorating, and they had a bust placed over his grave.

The Chiesa di San Sebastiano,
where Veronese painted for 15 years

Travel tip:

Veronese spent three periods between 1555 and 1570 decorating the interior of Chiesa di San Sebastiano in Venice. His last work for the church was the painting behind the high altar, Madonna in Glory with St Sebastian and other Saints, completed in 1570. Veronese’s tomb is to the left of the sanctuary. The church is in Campazzo San Sebastiano, a short walk from Ponte dell’Accademia, the Accademia bridge.

The entrance to the Gallerie dell'
Accademia, in Campo della Carità

Travel tip:

Veronese’s masterpiece, The Feast in the House of Levi, originally painted for the refectory at the Basilica di Santi Giovanni e Paolo, is now in Venice’s Gallerie dell’Accademia, an art gallery in Campo della Carita close to the Grand Canal, after which the wooden bridge, Ponte dell’Accademia is named.

More reading:

Titian - the giant of Renaissance art

How Sansovino left his mark on Venice

What made Palladio the world's favourite architect

Also on this day:

1798: The death of supremely gifted painter of Venetian scenes, Canaletto

1937: The birth of chef and restaurateur Antonio Carluccio

1953: The birth of Olympic champion Sara Simeon


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Pope Pius VII crowned

Jacques-Louis David's portrait of Pope Pius VII,
which is kept at the Louvre in Paris

Last papal conclave to take place outside Rome

Barnaba Niccolo Maria Luigi Chiaramonti was crowned Pope Pius VII on this day in 1800 in Venice.

A papier-mâché version of the papal tiara had to be used as the French Revolutionary army had taken the original with them when they took the previous pope, Pius VI, to France as a prisoner.

French troops under Napoleon Bonaparte had invaded Rome in 1796 and seized Pius VI, who was taken to Valence, where he died in 1799.

The conclave to elect his successor met on 30 November that year in the Benedictine monastery of San Giorgio in Venice. This was because Pius VI had issued an ordinance in 1798 saying that the city where the largest number of cardinals were to be found at the time of his death was to be the scene of the subsequent election. When he died there were 34 cardinals in Venice and others soon joined them.

After the conclave had lasted three months and the cardinals had been unable to agree on a successor, Chiaramonti was suggested as a compromise candidate and was elected. It was the last conclave to be held outside Rome.

The arrest of Pius VII in Rome in 1809, after which
he remained in exile until 1814

He was crowned in Venice on March 21 and then left the city by sea to return to Rome.

Chiaramonti was born in 1742 in Cesena, then part of the Papal States. He became a Benedictine and later was made Cardinal and Bishop of Imola by Pius VI, who was one of his relatives.

After his election, Pius VII wanted to make peace with Napoleon and negotiated the Concordat of 1801, which established reorganisation of the dioceses and declared Roman Catholicism as France’s chief religion.

But it was not long before his relationship with Napoleon deteriorated. Rome was occupied by French troops in 1808 and Napoleon declared the Papal States annexed to France.

Pius VII excommunicated the invaders in 1809 but was then taken prisoner by them and remained in exile until 1814.

After his release, Pius VII was greatly acclaimed on his journey back to Rome. The Congress of Vienna held between 1814 and 1815 restored nearly all the Papal States, including Rome, to him.

Pius VII died in 1823 after fracturing his hip in a fall in the papal apartments. After being briefly interred in the Vatican grottoes, Pope Pius VII was buried inside a tomb in St Peter’s Basilica.

In 2007 Pope Benedict XVI granted Pius VII the title, Servant of God.

The Basilica and former monastery of San Giorgio Maggiore
is one of the most famous features of the Venetian lagoon

Travel tip:

The San Giorgio monastery, where the election of Pius VII took place, was a Benedictine monastery on the island of San Giorgio Maggiore in Venice. It stands next to the Church of San Giorgio Maggiore. The monastery building currently serves as the headquarters of the Cini Foundation, a cultural foundation set up in 1951 in memory of Count Giorgio Cini. The church itself was designed by Andrea Palladio, and built between 1566 and 1610 in the classical Renaissance style. Its brilliant white marble gleams above the blue water of the lagoon.

The reading room at the Biblioteca Maltestiana in Cesena,
which was the first public library in Europe

Travel tip:

Cesena, the birthplace of Pope Pius VII, is a city in Emilia-Romagna, south of Ravenna and west of Rimini. One of the main sights in the town is the 15th century Biblioteca Maltestiana, which houses many valuable manuscripts and was the first public library in Europe. It is now a listed UNESCO World Heritage site. The city's castle, the Rocca Malatestiana, was used by Cesare Borgia as a jail for Caterina Sforza. It is octagonal, with two main towers.



More reading:

The papal appointment that sparked the Western Schism

The pope who excommunicated Henry VIII

How ruthless Sixtus V cleaned up Rome's criminal underworld

Also on this day:

The Feast Day of Saint Benedetta Cambiagio Frassinello

1474: The birth of Saint Angela Merici

1918: The birth of Alberto Marvelli, Rimini's wartime 'Good Samaritan'

(Picture credits: San Giorgio by Nau Kofi; Cesena library by Boschetti marco 65; via Wikimedia Commons)

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Carlo Goldoni – playwright

Greatest Venetian dramatist whose work still entertains audiences today

Alessandro Longhi's portrait of Carlo Goldini
is on display at the Casa Goldoni

Carlo Goldoni, the author of The Servant of Two Masters, one of Italy’s most famous and best-loved plays, was born on this day in 1707 in Venice.

Goldoni became a prolific dramatist who reinvigorated the commedia dell’arte dramatic form by replacing its masked, stock figures with more realistic characters.

He produced tightly constructed plots with a new spirit of spontaneity and is considered the founder of Italian realistic comedy.

The son of a physician, Goldoni read comedies from his father’s library when he was young and ran away from his school at Rimini with a company of strolling players when he was just 14.

Later, while studying at the papal college in Pavia, Goldoni read comedies by Plautus, Terence and Aristophanes and learnt French so he could read plays by Molière.

He was eventually expelled for writing a satire about the ladies of Pavia and was sent to study law.

Although he practiced law in Venice and Pisa and held diplomatic appointments, his real passion was writing plays for the theatres in Venice.

Antonio Dal Zòtto's statue of Goldoni
in Piazza San Bartolomeo in Venice

In 1748 he began writing for the Teatro Sant’Angelo company and dispensed with masked characters altogether for his play, La Pamela, a serious drama based on Samuel Richardson’s novel.

In the 1750 season he produced some of his best comedies, such as I pettegolezzi delle donne - Women’s Gossip - a play in Venetian dialect, Il bugiardo - The Liar - written in commedia dell’arte style and Il vero amico -  The True Friend - a comedy of manners.

From 1753 to 1762, Goldoni wrote for Teatro San Luca, now called Teatro Goldoni. Among the important plays he wrote during this period is La locandiera - Mine Hostess - which was first performed in 1753.

There was intense rivalry between competing playwrights at the time. Goldoni satirised Pietro Chiari, a rival playwright, in I malcontenti - The Malcontents - which was performed in 1755, before Carlo Gozzi, an adherent of the commedia dell’arte, denounced him in a satirical poem in 1757, then ridiculed both Goldoni and Chiari in a commedia dell’arte classic, L’amore delle tre melarance - The Love of Three Oranges - which was performed in 1761.

In 1762, Goldoni left Venice for Paris to direct the Comedie-Italienne. He later rewrote all his French plays from this period for Venetian audiences. L’Eventail, performed in France in 1763, became Il ventaglio - The Fan - and is considered one of his finest works.

Goldoni retired from the theatre in 1764 and went to teach Italian to the French royal princesses at Versailles.

In 1783 he began writing his Memoirs in French but after the French Revolution his pension was cancelled and he died in poverty in Paris in 1793. The pension was eventually restored to his widow, Nicoletta Conio, after the intervention on her behalf of the poet Andrea Chénier.

Goldoni’s most famous work, Il servitore di due padroni - The Servant of Two Masters - written in 1745, has been translated into different languages and performed many times. In 2011 it was adapted for the National Theatre in the UK under the title One Man, Two Guvnors and it was so popular it transferred to the West End and then Broadway.

Travel tip:

Goldoni was born in Ca’ Centani, or Centanni, a beautiful 15th century Gothic palace overlooking a narrow canal in the San Toma district of Venice. Better known as Casa Goldoni, the palace was bequeathed to Venice in 1931 and now houses the Goldoni Museum and a centre for theatrical studies. Through a series of displays of relics, furniture, paintings, illustrations of Goldonian comedies and explanatory panels, the museum represents the life and work of Carlo Goldoni in the context of 18th century theatre and Venetian society.

Hotels in Venice from Booking.com

The interior of the Teatro Goldoni, which
dates back to the 1720s

Travel tip:

Teatro Goldoni near the Rialto Bridge in Venice was formerly known as Teatro San Luca, when Goldoni was writing plays for it. The present building dates back to the 1720s although it has been renovated many times after fires or structural problems. Situated in Calle Goldoni in the San Marco district, it was renamed Teatro Goldoni in 1875 and is now home to the Teatro Stabile del Veneto ‘Carlo Goldoni’.


More reading:

How Carlo Gozzi fought to preserve commedia dell'arte

Zanetta Farussi, the 18th century Venetian actress who was the mother of Casanova

Niccolò Piccinni, the opera composer for whom Goldoni wrote a libretto

Also on this day:

1682: The birth of anatomist Giovanni Battista Morgagni

1873: The birth of the great tenor Enrico Caruso

2003: The death of comic actor Alberto Sordi

Selected books:

The Comedies of Carlo Goldoni, edited and introduced by Helen Zimmern

The Servant to Two Masters, by Carlo Goldoni

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John Singer Sargent - painter

Celebrated portraitist had lifelong love for Italy

John Singer Sargent, photographed in
1903 by James E Purdy

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

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

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

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

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

A Sargent portrait of a celebrated
American actress and her daughter

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

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

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

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

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

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

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

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

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

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

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

Travel tip:

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

Sargent's impression of a gondola passing beneath the Rialto

Travel tip:

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

More reading:

Tintoretto, the dyer's son whose work adorns Venice

Titian, the giant of Renaissance art

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

Also on this day:

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

1751: The birth of Ferdinand I of the Two Sicilies

1848: Sicily rebels against the Bourbons


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Alberto Sughi - painter

20th century artist who was unwitting victim of plagiarism

Alberto Sughi's work was copied by a Japanese artist
who had visited his studio in Cesena

The artist Alberto Sughi, an acclaimed  20th century painter whose style was defined as “existential realism”, was born on this day in 1928 in Cesena in Emilia-Romagna.

Sughi was regarded as one of the greatest artists of his generation but is often remembered mainly for his unwitting part in a famous case of plagiarism.

It happened in 2006 when a Japanese painter, Yoshihiko Wada, was awarded the prestigious Art Encouragement Prize, the Japanese equivalent of the Turner Prize, for a series of paintings depicted urban life in Italy - one of Sughi’s specialities.

A month after the award was announced in March of that year, the Japan Artists Association and Agency for Cultural Affairs received an anonymous tip-off questioning the authenticity of Wada's work, which then sparked an investigation into possible plagiarism.

The anonymous accuser had noted that several pieces of Wada’s art in an exhibition before the award was decided bore striking similarities to paintings by Sughi. Two examples were Wada’s Boshi-zo (Mother and Child), which looked almost exactly like Sughi’s Virgo Laurentana, even in tiny details, and Wada’s Muso (Reverie), which appeared to be a near-identical copy of Sughi’s Piano Bar Italia.

One of the paintings Wada passed off as his own was one of
Sughi's many works depicting women in bars

Wada initially denied plagiarism. He claimed he he had known Sughi since he studied in Italy in the 1970s, and had been influenced by him while studying with him.

Later, Wada changed his story, saying he had painted with Sughi "in collaboration" and therefore the paintings were not plagiarised. He described his own paintings as "an homage to Sughi".

However, when contacted by the Japanese embassy in Italy in early May, Sughi denied the pair had worked together and said he was unaware Wada was even an artist. According to Sughi, Wada had introduced himself merely as a fan and had visited him as many as five times, always asking if he could photograph his work.

Subsequently, Japan’s Agency for Cultural Affairs took the decision to strip Wada of the award, the first time such a decision had been taken since the Art Encouragement Prize was inaugurated in 1950.  Sughi considered suing but later revealed he had received a visit from Wada shortly before the decision to disqualify him was announced, after which he had concluded that the shame he would suffer was punishment enough.

Sughi painted a number of works in which his theme was
the relationship between man and nature

Self-taught, Sughi began drawing before he could write, inspired by an uncle who painted as a hobby. He worked as an illustrator for the newspaper Gazzetta del Popolo in Turin in the 1940s and began to paint at the same time, choosing the realism of figurative art over the abstract styles that were fashionable. His paintings often depicted moments from daily life, with no attempt to moralise.

It was a visit to the Venice Biennale in 1948, where he was captivated by a still life by the French painter André Fougeron, that did most to influence the style he favoured. Later that year, Sughi moved to Rome where he remained until 1951. There he met several artists, including Marcello Muccini and Renzo Vespignani who were part of the Gruppo di Portonaccio, an affiliation of like-minded painters who would meet and work in Portonaccio, a poor, industrialised suburb.

He returned to Cesena, where he would be based until the early 1970s, when he left his studio in the city for a country house in the hills.

Sughi was still active as a painter well into
his eighth decade of life

Sughi’s work followed thematic cycles, beginning with his so-called 'green paintings', which examined the relationship between man and nature (1971–1973), followed by the Cena - Supper - cycle (1975–1976), in which his focus was on bourgeois society. This preceded Imagination and Memory of the Family, dating from the early 1980s, and Evening or Reflection, from 1985.  In 2000 he exhibited a series of large canvases entitled Nocturnal.

The director Ettore Scola chose as poster for his 1980 film La terrazza one of Sughi’s paintings from his Cena series.

Sughi’s standing in the art world was such that galleries and museums not only in Italy but in Russia and South America staged regular exhibitions of his work.

Between December 2005 and January 2006, a large retrospective exhibition of Sughi’s work was held at the Palazzo della Pilotta in Parma, containing 642 of his works, including paintings, tempera, drawings, and lithographs, made between 1959 and 2004.

Sughi died in Bologna in March 2012 at the age of 83.  Today, his works are held in the collections of the Hungarian National Gallery in Budapest, the Uffizi Gallery in Florence, and the Galleria d’Arte Maggiore in Bologna, among others.

The Piazza del Popolo is the main square of Cesena

Travel tip:

Cesena, where Alberto Sughi was born, is an historic city in Emilia-Romagna, about 38km (24 miles) south of Ravenna and a similar distance northwest of Rimini. The city found fame of an unwanted kind in 1377 when Pope Gregory’s legate ordered the murder of thousands of citizens for revolting against the papal troops, in the so-called ‘Cesena bloodbath’. The city recovered and prospered under the rule of the Malatesta family in the 14th and 15th centuries, who rebuilt the castle, Rocca Malatestiana, and founded a beautiful library, Biblioteca Malatestiana, which has been preserved in its 15th century condition and still holds valuable manuscripts.

A pair of giant hands reaching from the water to prop up the
Ca' Sagredo Hotel was an exhibit at the 2017 Venice Biennale

Travel tip:

The Venice Biennale is an international art exhibition featuring architecture, visual arts, cinema, dance, music, and theatre that is held at various venues in the Castello district of Venice every two years during the summer. It was founded in 1895 as the International Exhibition of Art of the City of Venice to promote “the most noble activities of the modern spirit without distinction of country.” The festival expanded in 1932 to include the Venice International Film Festival and again in 1934 with the addition of the International Theatre Festival. After World War II it became the leading showcase for contemporary and avant-garde art and in 1998 it expanded again to include architecture and dance. It typically attracts more than 300,000 visitors to the city.

More reading:

Giorgio Morandi - the 20th century master of still life

How Giorgio de Chirico founded the scuola metafisica

The man who invented Concrete Art

Also on this day:

1658: The birth of Mary of Modena

1712: The birth of the great Venetian artist Francesco Guardi



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