Paolo Sarpi – writer and statesman

Patriotic Venetian who the Pope wanted dead

Paolo Sarpi was an outspoken critic of
the Catholic Church

Historian, scientist, writer and statesman Paolo Sarpi died on this day in 1623 in Venice.

He had survived an assassination attack 16 years before and was living in seclusion, still preparing state papers on behalf of Venice, writing, and carrying out scientific studies.

The day before his death he had dictated three replies to questions about state affairs of the Venetian Republic.

He had been born Pietro Sarpi in 1552 in Venice. His father died while he was still a child and he was educated by his uncle, who was a school teacher, and then by a monk in the Augustinian Servite order.

He entered the Servite order himself at the age of 13, assuming the name of Fra Paolo. After going into a monastery in Mantua, he was invited to be court theologian to Duke Guglielmo Gonzaga.

He then went to Milan, where he was an adviser to Charles Borromeo, the archbishop of Milan, before being transferred back to Venice to be professor of philosophy at the Servite convent.

At the age of 27, Sarpi was sent to Rome, where he interacted with three successive popes. He then returned to Venice, where he spent 17 years studying. His writings were highly critical of the Catholic Church.

Pope Paul V, who plotted to have
Sarpi killed

Sarpi was a defender of the liberties of Republican Venice and a proponent of the separation of the church and state.

After Paul V was made pope, Venice adopted measures to restrict papal prerogative, but Paul V excommunicated the Venetians. Sarpi entered the argument and set out principles, which struck radically at papal intervention in secular matters. A compromise was finally arranged between the Pope and Venice through Henry IV of France

Afterwards, however, Sarpi became the target of an assassination attempt instigated by the Pope. In 1607, an unfrocked friar assisted by two other people agreed to kill Sarpi for the sum of 8,000 crowns, but the plot was discovered and they were arrested and imprisoned after crossing into Venetian territory.

The following month Sarpi was attacked and left for dead with 15 stiletto thrusts. His attackers were welcomed back into papal territory but the pope’s enthusiasm for them cooled after he discovered Sarpi had survived his injuries.

His would-be assassins settled in Rome and were granted a pension by the viceroy of Naples.

Plots continued to be formed against Sarpi and he occasionally occasionally spoke of taking refuge in England.

But he stayed in Venice and served the state until the end. His last words are said to have been: ‘Esto perpetua,’ or ‘May she endure forever.’

These words were later adopted as the state motto of American state of Idaho and appear on the back of the 2007 Idaho quarter.

The statue of Parlo Sarpi in Campo
Santa Fosca in Cannaregio in Venice

Travel tip:

A bronze statue of Paolo Sarpi stands on a monument to him in Campo Santa Fosca in the Cannaregio district of Venice near Strada Nova. It is close to the place where he was stabbed by the Pope’s would-be assassins.

Travel tip:

Liceo Classico Paolo Sarpi, established in 1803, is a public high school in Bergamo’s Città Alta, which is ranked highly nationally because of the teaching methods and the subjects studied. Students shared their experience in a 2012 television documentary film, Gli anni e I giorni.

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Franchino Gaffurio – composer

Musician whose name has lived on for centuries in Milan

Da Vinci's Portrait of a Musician, of which
Gaffurio is thought to have been the subject 

Renaissance composer Franchino Gaffurio was born on this day in 1451 in Lodi, a city in Lombardy some 40km (25 miles) southeast of Milan.

He was to become a friend of Leonardo da Vinci later in life and may have been the person depicted in Leonardo’s famous painting, Portrait of a Musician.

The oil on wood painting, which Da Vinci is thought to have completed in around 1490, is housed in the Biblioteca Ambrosiana in Milan.

Gaffurio was born into an aristocratic family, who sent him to a Benedictine monastery, where he acquired musical training.

He later became a priest and lived in Mantua and Verona before setting in Milan, where he became maestro di cappella (choirmaster) at the Duomo in 1484. He was to retain the post for the rest of his life.

Gaffurio was one of Italy’s most famous musicians in the late 15^th and early 16^th centuries and as such met composers from all over Europe while working in Milan and wrote books of instruction for young composers.

One of his most famous comments was that the tactus, the tempo of a semibreve, is equal to the pulse of a man who is breathing quietly, at about 72 beats per minute.

The entrance to the Franco Gaffurio
Music School in Lodi

During his years in Milan, Gaffurio wrote masses, motets and hymns, many for ceremonial occasions held by the Sforza family.

Some of his music shows the influence of Josquin des Prez, a French composer he became friends with, and also the many composers from the Netherlands, who were drawn to Milan, which was a centre of musical activity at the time.

The Duomo in Milan to this day has a school for choirboys known as The Franchino Gaffurio School, named after the choirmaster, composer and teacher, whose music had resounded in the Duomo 600 years before.

Gaffurio died in 1522 in Milan and was buried in the Church of San Marcellino at Porta Comasina, one of the gates to the city, which was renamed Porta Garibaldi in 1860.

The Piazza della Vittoria in Lodi

Travel tip:

One of the main sights in Lodi, where Gaffurio was born, is Piazza della Vittoria, listed by the Italian Touring Club as one of the most beautiful squares in Italy, as it features porticoes on all four sides. Accademia Gaffurio in Via Solferino teaches music and dance and organises musical events and concerts. It was founded as the Franchino Gaffurio Music School in 1917.

The Duomo in Milan, where Gaffurio was maestro di
cappella from 1484 until his death in 1522

Travel tip:

The Duomo in Milan, where Gaffurio was maestro di cappella, was built in 1386 using Candoglia marble, which was transported along the Navigli canals. It was consecrated in 1418, yet remained unfinished until the 19th century, when Napoleon had the façade completed, before being crowned King of Italy there.

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Renato Bruson – operatic baritone

Donizetti and Verdi specialist rated among greats

Renato Bruson, pictured not long after
his debut in the 1960s.

The opera singer Renato Bruson, whose interpretation of Giuseppe Verdi’s baritone roles sometimes brought comparison with such redoubtable performers as Tito Gobbi, Ettore Bastianini and Piero Cappuccili, was born on this day in 1936 in the village of Granze, near Padua.

Bruson’s velvety voice and noble stage presence sustained him over a career of remarkable longevity. He was still performing in 2011 at the age of 75, having made his debut more than half a century earlier.

Since then he has devoted himself more to teaching masterclasses, although he did manage one more performance of Verdi’s Falstaff, which was among his most famous roles, at the age of 77 in 2013, having been invited to the Teatro Verdi in Busseto, the composer’s home town in Emilia-Romagna, as part of a celebration marking 200 years since Verdi’s birth.

Today he is director of the Accademia Lirica at Teatro alla Scala in Milan, a role he combines with a professorship at the Accademia Chigiana in Siena and a post at the lyrical academy in Spoleto.

It was at the Teatro Lirico Sperimentale in Spoleto, the ancient city in Umbria, that Bruson made his stage debut as the Conte di Luna in Verdi’s Il trovatore in 1960, which was a moment that brought deep satisfaction after a difficult childhood.

The parish church of Santa Cristina in Granze near Padua,
where Bruson sang in the choir as a boy

Born into a family of modest means, he found it difficult to convince his parents that if they allowed him to pursue his desire to study music it would not make him appear to others as workshy.

In an interview many years later, Bruson said that the older generation in Granze as he was growing up took the view that people who went straight from school into the world of work could look forward to a prosperous future, whereas those who preferred to continue their studies were destined never to find their path in life.

Therefore he was given little support from his family, even though they had encouraged him to sing in the parish choir. Fortunately, he was awarded a scholarship by the Conservatory of Padua, 30km (19 miles) away.

His debut in Spoleto was well received and he was soon making his mark at some of the great opera houses of Italy, including the Teatro dell’Opera in Rome (1961), La Fenice in Venice (1965) and the Teatro Massimo in Palermo (1966).

The Teatro Regio in Parma, where Bruson was
seen by a talent scout from the Met

His big break came in 1967, when he sang the role of Don Carlo di Vargas in Verdi’s La forza del destino at the Teatro Regio in Parma.

In the audience was Roberto Bauer, whose job was to scour Europe looking for new talent for the Metropolitan Opera in New York.  He was so impressed he sought out Bruson afterwards so that he could arrange a meeting with the Met’s artistic director, Rudolf Bing.  Two years later, Bruson was making his debut on the other side of the Atlantic as Enrico in Gaetano Donizetti’s Lucia di Lammermoor.

In the early part of his career, in particular, Bruson was associated with Donizetti’s baritones as much as Verdi’s, performing in no fewer than 17 operas from the pen of the Bergamo composer.

Over the next few years, Bruson paraded his acting skills, the deep but smooth resonance of his voice and his commanding stage presence at Europe’s leading opera houses.

Another milestone moment came in 1972 with his debut as Antonio in Donizetti’s Linda di Chamounix at La Scala.

In 1975 he took his first bows at the Royal Opera House in Covent Garden, London, as Renato in Verdi’s Un ballo in maschera, and in 1978 came his debut at the Vienna State Opera in Macbeth, the Shakespeare play upon which Verdi had based his 10^th opera in 1847.

Renato Bruson in more recent years

In the meantime, he had also begun what was to be a long and fruitful collaboration with the conductor Riccardo Muti, who was particularly appreciative of Bruson’s vocal style, which had deep resonance without the thunderous qualities associated with some baritones. The singer always wanted audiences to appreciate the quality of his voice, rather than the volume, and to go home “with something in their hearts rather than some sounds in their ears.”

Bruson is married to Tita Tegano, a costume and set designer who has also written several books about the life and work of her husband. In 1996 he was made Knight of the Grand Cross of the Order of Merit of the Italian Republic.

Last year, his career was celebrated again as he was named as the recipient of the Caruso Prize in recognition of his lifetime contribution to the opera genre.  The award is made annually in a ceremony at the Villa Caruso di Bellosguarda in Tuscany, former home of the great Neapolitan tenor and now a museum.

The well-preserved castle at Spoleto

Travel tip:

The ancient city of Spoleto in Umbria, where Bruson made his first appearance in a live opera performance, has a long association with music and other performing arts, which it celebrates every summer with the Festival dei Due Mondi, which sees events taking place in churches, theatres and open squares throughout the city and attracts a high calibre of performers during June and July. Spoleto also has some fine architecture, including a beautiful 12^th-century Duomo which has frescoes by Fra Filippo Lippi, who is buried in the church.  The city also has the remains of a Roman amphiteatre and an imposing castle, parts of which go back to the fifth century.

Padua's Palazzo della Ragione

Travel tip:

The city of Padua’s biggest attraction is the beautiful Scrovegni Chapel, made famous by the wonderful frescoes painted by Giotto, but there is plenty more to the Veneto’s second largest city, including a wealth of parks and gardens and a city centre where you will find many more students and local people than tourists.  This is despite Padua boasting the two fine basilicas of Sant’Antonio and Santa Giustina, the oval piazza known as Prato della Valle, the historic centre built around the Duomo, the Palazzo della Ragione and a University established in 1222 at which Galileo Galilei was a lecturer.

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Ferdinand I of the Two Sicilies

Despotic ruler presided over chaos in southern Italy

Ferdinand IV of Naples as a boy, painted by
the German painter Anton Raphel Mengs

The Bourbon prince who would become the first monarch of a revived Kingdom of the Two Sicilies was born in Naples on this day in 1751.

Ferdinando, third son of King Carlos (Charles) III of Spain, was handed the separate thrones of Naples and Sicily when he was only eight years old after his father’s accession to the Spanish throne required him to abdicate his titles in Spanish-ruled southern Italy.

In a 65-year reign, he would preside over one of the most turbulent periods in the history of a region that was never far from upheaval, which would see Spanish rule repeatedly challenged by France before eventually being handed to Austria.

Too young, obviously, to take charge in his own right when his reign began officially in 1759, he continued to enjoy his privileged upbringing, alternating between the palaces his father had built at Caserta, Portici and Capodimonte.

Government was placed in the hands of Bernardo Tanucci, a Tuscan statesman from Stia, near Arezzo, in whom King Charles had complete trust.  Tanucci, who fully embraced the enlightened ideas that were gaining popularity with the educated classes across Europe, had his own ideas about running the two territories, and did little to prepare the boy for the responsibilities he would eventually inherit as Ferdinand IV of Naples and Ferdinand III of Sicily.

Indeed, Tanucci was more than happy to encourage him to pursue the frivolous activities of youth for as long as he wished while he continued the liberal reforms King Charles had set in motion. Ferdinand reached the age of majority in 1767 but was prepared to allow Tanucci to continue to call the shots.

Bernardo Tanucci, the trusted statesman who
governed Naples and Sicily as regent

It all changed, however, in 1768 when Ferdinand married Archduchess Maria Carolina, daughter of the Habsburg Empress Maria Theresa and sister of the ill-fated French queen Marie Antoinette.

The marriage was part of a treaty between Spain and Austria, by the terms of which Maria Theresa would be given a place on Tanucci’s governing council once she had produced a male heir to her husband’s crowns.

The new Queen considered herself to be enlightened too but did not care for Tanucci and had her own long-term agenda for Austrian rule over the territory.  She had to wait until 1775 to give birth to a son, following two daughters, but by 1777 had found a reason to dismiss Tanucci.

Maria Carolina dominated Ferdinand, but herself was heavily influenced by Sir John Acton, the English former commander of the naval forces of the Grand Duchy of Tuscany, whom she hired to reorganise the Neapolitan navy.

Acton, promising to support Maria Carolina’s wish to free Naples from Spanish rule, was soon appointed commander-in-chief of both the army and the navy and eventually prime minister, much to the disapproval of the Spanish monarchy, who were about to go to war against Britain alongside France.

In the meantime, thanks to Ferdinand’s incompetence and Acton’s manoeuvring for power, Naples was so poorly governed it became clear that something similar to the French Revolution, which had famously toppled the French monarchy, could be about to be repeated in Naples.

Ferdinand aged 22 or 23, again painted by
Anton Raphael Mengs

Not surprisingly, the execution of Marie Antoinette in Paris in 1793 had a profound effect on Maria Carolina. Abandoning all pretence to enlightenment, she persuaded Ferdinand to pledge the Kingdom of Naples to the War of the First Coalition against republican France, while at the same time summarily rounding up anyone in southern Italy suspected of revolutionary intentions.

For the next 23 years, Ferdinand’s forces fought the French in one conflict after another. Obliged the make peace in 1796 when faced with the young commander Napoleon Bonaparte’s march into central Italy, the Bourbon king then enlisted the help of Nelson’s British fleet in the Mediterranean to support a counter march on Rome in 1798.

Driven back rapidly, Ferdinand took flight, leaving Naples in a state of anarchy as he took refuge in Sicily. Bonaparte’s troops soon marched into Naples and in January 1799 established the Parthenopaean Republic.

Ferdinand now turned his attention to rooting out and executing suspected republicans in Palermo, but when Napoleon was forced to send most of his soldiers back to northern Italy, Ferdinand despatched an army led by the ruthless commander Fabrizio Cardinal Ruffo to crush the Parthenopaean Republic and reclaim Naples.

Yet Ferdinand was driven out again six years later when Napoleon’s victories against Austrian and Russian forces in the north allowed him to send another army to Naples, led by his brother Joseph, whom he proclaimed king of Naples and Sicily.

Mengs painted Queen Maria Carolina in
1768, around the time they were married

In fact, Ferdinand remained ruler of Sicily, with British protection, although protection that came at a price that included granting the island a constitutional government and sending Maria Carolina into exile in Austria, where she died in 1814.

Ferdinand made another triumphant return to Naples in 1815 after Joseph Bonaparte’s successor, Joachim Murat, was defeated by the Austrians and Ferdinand was reinstated as King of Naples and Sicily.

Now completely beholden to the Austrians, he abolished Sicily’s constitutional government and declared himself Ferdinand I of the Two Sicilies, bringing the two kingdoms together as one, as they had been for a brief period in the 15^th century.

But for all Ferdinand’s attempts to eliminate revolutionary elements in Naples and Palermo, the mood for change would not go away, if anything gaining momentum through resentment of the Austrians. After Ferdinand’s death in 1825 the new Kingdom of the Two Sicilies lasted only until 1860, when it was conquered by Giuseppe Garibaldi’s volunteer army to complete Italian Unification.

The facade of the Royal Palace at Portici

Travel tip:

The vast wealth of King Charles enabled him to build lavish palaces around Naples.  Portici, close to the Roman ruins at Ercolano (Herculaneum), was constructed between 1738 and 1742 as a private residence where he could entertain foreign visitors. Today it has a botanical garden that belongs to the University of Naples Federico II and houses the Accademia Ercolanese museum.  The palace at Capodimonte, in the hills above the city, was originally to be a hunting lodge but turned into a much bigger project when Charles realised the Portici palace would not be big enough to house the Farnese art collection be inherited from his mother, Elisabetta Farnese. Today it is home to the Galleria Nazionale (National Gallery), with paintings by Raphael, Titian, Caravaggio, Masaccio, Lotto, Bellini, Vasari and many more.  Charles never actually slept in the spectacular Royal Palace at Caserta, modelled on the French royal family’s Palace of Versailles and containing 1,200 rooms, having abdicated before it was completed.

The Piazza Tanucci in the village of Stia

Travel tip:

Stia, the Tuscan village of Bernardo Tanucci’s birth, is the first large community in the path of the Arno, the source of which is in the nearby Monte Falterona. Florence lies some 40km (25 miles) downstream. Situated in the beautiful Casentino valley area around Arezzo, Stia is a charming village in which the unusual triangular main square, which slopes sharply at one end, is named Piazza Tanucci in honour of the statesman. In the square, which has covered arcades of shops and restaurants along each side, can be found the church of Santa Maria della Assunta, which has a 19^th century Baroque façade concealing a well-preserved Romanesque interior that possibly dates back to the late 12^th century.

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