Paolo Mascagni – physician

Scientist was first to map the human lymphatic system

Paolo Mascagni studied geology before turning
to human science and anatomy

The physician Paolo Mascagni, whose scientific research enabled him to create the first map of the complete human lymphatic system, was born on this day in 1755 in Pomarance, a small town in Tuscany about 40km (25 miles) inland from the western coastline.

Mascagni described his findings in a book with detailed illustrations of every part of the lymphatic system he had identified, which was to prove invaluable to physicians wanting to learn more about a part of the human body vital to the regulation of good health.

He also commissioned the sculptor Clemente Susini to create a full-scale model in wax of the lymphatic system, which can still be seen at the Museum of Human Anatomy at the University of Bologna.

Later he created another significant tome, his Anatomia Universa, which comprises 44 enormous copperplate illustrations that set out to bring together in one book the full extent of human knowledge about the anatomy of the human body.  The ‘book’ in the event was so large it was never bound, each plate measuring more than 3ft 6ins (1.07m) by 2ft 6ins (0.76m), designed in such a way that those from the same plane of dissection can be placed together and show the whole body in life size.

Mascagni was the son of Aurelio Mascagni and Elisabetta Burroni, both belonging to ancient noble families from Chiusdino, a village in the province of Siena.

An illustration from Mascagni's celebrated
book on the human lymphatic system

He studied at the University of Siena, where his teacher of anatomy was Pietro Tabarrini, and graduated in philosophy and medicine in 1771. By his final year, he had been appointed assistant to Tabarrini and succeeded his mentor as Professor of Anatomy after blindness forced him to retire.

As a young man, Mascagni had been keen on geology and wrote a number of papers on the thermal springs of Siena and Volterra. Later, he would successfully identify boric acid in the waters and suggest ways to produce from it the industrial compound now known as borax.

After graduating, his focus turned to the human lymphatic system, feeling that he owed it to Tabarrini to do what he could to advance his teacher’s research into the workings of the human body. He decided that he would not work in clinical medicine but devote himself entirely to teaching and research.

His work was interrupted for a while by the political upheaval of the late 18^th century, when Tuscany was occupied by the French. He became involved in politics somewhat reluctantly, becoming Superintendent of the Arts, Sciences and Charitable Institutions of Siena, and this placed him in constant conflict with the French authorities over their seizing of personal and public property.

Unfortunately, his involvement with the French was misinterpreted when Austria regained control of the area. Accused of having Jacobin sympathies, he was arrested and imprisoned for seven months.

The statue of Mascagni in the courtyard of the
Uffizi in Florence, where he lived for some years

On his release, he was appointed a professor of anatomy at the University of Pisa and began lecturing at the Hospital of Santa Maria Nuova in Florence before becoming a full professor at the University of Florence.

In his research into the lymphatic system, Mascagni perfected a technique whereby he injected mercury as a contrast medium into the peripheral lymphatic networks of a human cadaver and by following the mercury’s flow to other parts of the system was able to produce detailed diagrams and models.

This brought him fame all over Europe, yet he did not limit himself to merely describing the anatomy of the lymphatic system.  By his research into its physiology and pathology he was able to highlight its importance in fighting disease in the human body, the understanding of which helped in the evolution of new treatments.

Mascagni died in 1815 during a stay at his estate in Castelletto, near Chiusdino, the village near Siena where his family originated and where he spent most of his free time. He had contracted a pernicious fever, probably malaria.

His memory has been commemorated in several ways. The street where he was born in Pomerance is now called Via Paolo Mascagni; the hamlet where the family lived, 33km (20 miles) southwest of Siena, is now known as Castelletto Mascagni, and there is another Via Paolo Mascagni in nearby Chiusdino.

A statue of Paolo Mascagni can be found in a niche in the courtyard of the Uffizi in Florence, as one of the great men of Tuscany.  His house in Florence was in Via Fiesolana.  There is also a monument to him in the Accademia dei Fisiocritici in Siena, of which he was president.

One of the medieval gates into the town of Pomarance

Travel tip:

The town of Pomarance, where Mascagni was born, sits on a hill overlooking Val di Cecina, on the border between the provinces of Pisa, 80km (50 miles) to the north, and Siena, 69km (43 miles) to the east. The main square, Piazza de Larderel, is named after Francois Jacques de Lardarel, a 19^th century French engineer who worked in the area on the exploitation of geothermal energy from the steam emitted by lagoons in the area.

The ancient village of Chiusdino occupies a hilltop position

Travel tip:

The ancient village of Chiusdino dates back to the seventh or eighth century, when it was a Longobard settlement, sitting on the top of a hill, surrounded by walls. Much of the history of the town surrounds the legend of San Galgano, who was an arrogant, licentious son of a local feudal lord in the 12^th century who changed his ways after a supposed visit from Saint Michael the Archangel, who told him he must give up his excesses, prompting Galgano to say it would be easier to cut a rock with a sword. As if to prove it, he launched a sword thrust at a rock and was amazed when the blade plunged into the rock as easily as a knife into butter. He knelt to pray and vowed to become a hermit. The sword in the rock remains on display in a chapel, the Rotonda della Spada, that was built around it.

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Farinelli – music’s first superstar

Castrato rated among all-time opera greats

The castrato Carlo Broschi, known as Farinelli, in
a 1752 painting by Jacopo Amigoni

The opera singer Carlo Broschi – better known by his stage name of Farinelli – was born on this day in 1705 in the city of Andria in what is now Apulia.

Farinelli was a castrato, a type of classical male singing voice that was enormously popular from the 16th to the 18^th century, one which had an enormous range and flexibility, a little like a female soprano but subtly different.

It was achieved through the somewhat barbaric practice of castrating a male singer before puberty, which is why there are no castrati today. Among other things, the procedure caused changes in the development of the larynx, meaning the voice effectively never breaks, and of the bones, including the ribs, which grew longer than in non-castrated boys and gave the castrato singer considerably enhanced lung power and capacity.

Although many survived and, like Farinelli, went on to enjoy a normal lifespan, the practice was hugely risky and there were many deaths not only from post-operative infections but also from overdoses of opium or other narcotic drugs administered as painkillers, or else from the compression of the carotid artery in the neck employed as a means of rendering the boy unconscious.

During the early part of the 18^th century, when castrato singers were in demand and could earn a considerable income, many poor families had their sons castrated in the hope that they would turn out to have beautiful voices that would provide the family with a route out of poverty.  Legally, a castration could be carried out only if there was a medical need, but tenuous reasons were often accepted with little argument.

Another depiction by Amigoni of the
artist in a fantasised setting

Farinelli’s story was somewhat different. His father, Salvatore Broschi, was a composer and maestro di cappella at Andria’s cathedral, and both he and Carlo’s mother, Caterina Barrese, were related to nobility. They were a well-to-do family.

Carlo had natural singing talent and, after the family had moved from Barletta, a coastal town not far from Andria, to Naples, primarily so his brother, Riccardo, could enroll at the Conservatory of Santa Maria di Loreto, he began to receive lessons from the renowned composer and voice teacher, Nicola Porpora.

There are differing versions of how he came to be castrated. One is that, after Salvatore Broschi died unexpectedly at the age of just 36 in 1717, the family suddenly faced financial insecurity and, knowing that Porpora was an especially gifted coach of castrati voices, Riccardo took the decision that Carlo should be castrated. But this is disputed by some historians, who argue that at 12 years old he was too old for the procedure to have saved his voice and that he probably underwent it earlier, while his father was alive.

Whatever the truth was, Carlo Broschi’s singing talent developed rapidly under Porpora’s tutelage and he made his stage debut at the age of 15 in one of Porpora’s own compositions, a serenata entitled Angelica e Medoro, with a libretto by the poet Pietro Trapassi, who would go on to be famous in his own right under the name of Metastasio.

It is thought Broschi adopted Farinelli as his stage name as a nod to the help provided for the family in paying for his singing lessons by the Farino brothers, who were wealthy Neapolitan lawyers and music lovers.

The cathedral at Andria, where Farinelli's father was
the maestro di cappella

Farinelli’s extraordinary voice, described by one critic as “a penetrating, full, rich, bright and well-modulated soprano voice, with a range from the A below middle C to the D two octaves above middle C”, soon made him famous across Italy and beyond.

After making his Rome debut in 1722, he sang in Vienna in 1724, then Parma and Milan in 1726, subsequently performing in Munich and again in Vienna.  In 1729, he was engaged to perform in two works by Metastasio during the carnival season in Venice, appearing at the Teatro San Giovanni Grisostomo alongside some of the greatest singers of his time.

Audiences were large and appreciative. In addition to his handsome appearance fees, Farinelli was regularly showered with lavish gifts and acquired a wealth to go with his fame.

In 1734, he moved to London, where he was signed up by Senesino, an Italian contralto-castrato who had formed his own company, the Opera of the Nobility, performing at a theatre in Lincoln’s Inn Fields, with Porpora as a composer. 

The company paid Farinelli £1,500 per season – an enormous salary for the times and possibly swelled to £5,000 with gifts – although the sum was not sustainable in the long run and by the end of his time in London he was performing for much more modest fees.

Farinelli's tomb at the Certosa
cemetery in Bologna

When Farinelli left London in 1737, his career took a turn that removed him from the public arena for good but assured his financial security.  Summoned to Madrid by the Spanish queen, Elisabetta Farnese, in the hope that his voice might help lift her husband King Philip V, out of his depression, he was offered the position of Chamber Musician to the King.

He kept that position for 22 years, performing private concerts nightly for the royal couple and developing a still closer relationship with their successors, King Ferdinand VI and his wife, Barbara of Portugal, with whom he sang duets.

With a generous pension guaranteed, he left Spain in 1759 after Ferdinand was succeeded by Charles III, who was no music lover.  He retired to Bologna, where he had owned property since 1732, and died there in 1782, by then a rather lonely figure who had outlived most of his contemporaries.

He was buried at the Capuchin monastery of Santa Croce in Bologna and removed to the Certosa cemetery in Bologna after the monastery was destroyed during the Napoleonic wars.

Hotels in 

The Castel del Monte, outside Andria

Travel tip:

Andria, where Farinelli was born, is a city well off the usual visitor trail yet is a substantial place with a population of more than 100,000, the fourth largest municipality of the Apulia region, an important centre of the agricultural service industry and a producer of wine, olives and almonds. Situated some 60km (37 miles) northwest of the port of Bari, it is about 210km (130 miles) almost due east of Naples across the peninsula. The centre of the city is Piazza Catuma and a short distance away is Piazza Duomo, the site of a 12^th century cathedral. About 15km (10 miles) south of the city is the impressively well preserved 13^th century Castel del Monte, built by the Emperor Frederick II, who was particularly fond of the area.

Hotels in Andria by Booking.com

The Norman motte and bailey castle at Barletta

Travel tip:

Like Andria, the nearby coastal city of Barletta, where Farinelli grew up, is not a well known destination among tourists, with those who do visit the area tending to gravitate towards Trani, the attractive fishing port a few kilometres south. Yet Barletta is known for its sandy beaches to the north and south of the city and its reputation as a centre for concrete and cement production should not put off would-be visitors, who will find an attractive and historic old town and an impressive Norman castle of the traditional motte and bailey structure that was built in the 10^th century, when it served as a hostel for soldiers heading for the Holy Land during the crusades.

Stay in Barletta with Booking.com

Also on this day:

41: The assassination of Caligula

1444: The birth of Galeazzo Maria Sforza, Duke of Milan

1916: The birth of actor Arnaldo Foà

1947: The birth of footballer Giorgio Chinaglia

1987: The birth of racing driver turned commentator Davide Valsecchi

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Luisa Casati – heiress and muse

Outrageous marchioness saw herself as a living work of art

The Marchesa Casati photographed by
Adolfo de Meyer in 1912

The heiress, socialite and artist’s muse Luisa Casati, known for her outlandish dresses, exotic pets and hedonistic lifestyle, was born on this day in 1881 in Milan.

Casati, born into a wealthy background, married a marquis – Camillo, Marchese Casati Stampa di Soncino – when she was 19 and provided him with a daughter, Cristina, a year later, yet the marriage was never strong and they kept separate residences from an early stage.

It was not long before she tired of a life bound by formalities and the strict rules of etiquette and everything changed after she met the poet, patriot and lothario Gabriele D’Annunzio at a society hunt.

They became lovers and D’Annunzio introduced her to the world of writers and artists.  Tall, almost painfully thin and with striking looks, she became a creature of fascination for many young artists, who craved the attention of this eccentric aristocrat and the chance to paint her.

Their interest only encouraged the Marchesa Casati to indulge her taste for the extravagant, posing in ever-more outlandish dresses, embracing the culture of the Belle Époque. Her wealth enabled her to throw lavish parties and in 1910 she moved to Venice, taking up residence in the Palazzo Venier dei Leoni on the Grand Canal, the palace that now houses the Peggy Guggenheim Collection.

Casati in 1922 in a typically
outrageous dress

There she created a fantastical lifestyle, assembling an extraordinary menagerie of pets that included a pair of cheetahs, a boa constrictor, white peacocks trained to perch on her window sills, a flock of albino blackbirds and greyhounds whose coats she dyed blue.

She staged enormous, elaborate parties, in which she paraded herself in increasingly ridiculous costumes, such as a dress made entirely of lightbulbs, which at one point gave her such a powerful electric shock she was thrown backwards across the room. 

Naturally shy, the Marchesa concentrated on making an impression through how she looked. She contrasted her fiery red hair with skin that she kept a deathly white, dropped belladonna in her eyes to dilate her pupils and framed them with black eye liner and false eyelashes.  She delighted in prowling the atmospheric Venetian streets after dark, with her jewel-collared cheetahs on leads, herself often naked beneath a cloak embroidered with emeralds.

Her parties, in Rome and Paris as well as Venice, may have seemed like merely excuses for decadence and excess, with opium and cocaine a common indulgence among some of the guests, but were affairs that she choreographed carefully, with clothes, décor and entertainment precisely planned according to whichever theme she chose.  She saw herself as a living work of art.

She was certainly an inspiration for works of art.  Giovanni Boldini, Paolo Troubetzkoy, Adolph de Meyer and Romaine Brooks were among those painters who were in her thrall, along with Futurists such as Fortunato Depero and Umberto Boccioni. She had affairs with several. Augustus John's portrait of her is one of the most popular paintings at the Art Gallery of Ontario.

The Marchesa with a greyhound,
painted by Giovanni Boldoni

D'Annunzio is said to have based the character of Isabella Inghirami in Forse che si forse che no (Maybe yes, maybe no) on Casati, while the character of La Casinelle, who appeared in two novels by Michel Georges-Michel, was also inspired by her. Plays and movies were written featuring characters based on the Marchesa, with actresses such as Vivien Leigh and Ingrid Bergman in the lead roles.

She patronised a number of fashion designers. John Galliano, Karl Lagerfeld and Alexander McQueen created collections based on or inspired by her, while the British designers Georgina Chapman and Karen Craig had her in mind when they opened a fashion house called Marchesa.

It was all a far cry from a childhood lived in a palace in Milan and villas in Monza and on Lake Como. Her father was Alberto Amman, a giant in the textile industry who was made a Count by Umberto I and whose death when Luisa was 15 made her and her sister, Francesca, the two wealthiest young women in Italy.

But her extravagances did not come cheap.  By 1920 she was living on Capri at the Swedish psychiatrist Axel Munthe’s Villa San Michele and moved out of the Palazzo Venier dei Leoni in the mid-1920s.  By 1930 she had amassed personal debts of $25 million and was forced to auction off her possessions.

Pursued by creditors, she fled to London and lived in a one-bedroom flat. It was just around the corner from Harrods in hardly the least salubrious part of the city, yet placed her reduced circumstances by her standards.

Casati's grave in London

She died in London in June 1957 at her address in Beaufort Gardens in Knightsbridge at the age of 76, having suffered a stroke.  She was buried at Brompton Cemetery, one of her few remaining friends having seen to it that she was dressed in a leopard skin and black outfit and false eyelashes, with one of her taxidermied Pekinese dogs at her side.

Among just a handful of mourners at her funeral was an elderly man who had travelled from Venice, where half a century earlier he had been her personal gondolier.  Her grave is marked with a small tombstone shaped like an urn draped in cloth, bearing the inscription ‘Age cannot wither her, nor custom stale her infinite variety’ from Shakespeare's Antony and Cleopatra.

An autumnal scene in Milan's Parco Nord

Travel tip:

The Marchesa Casati’s married home in Milan was the Villa Casati, a stately mansion on the edge of what is now Parco Nord, a suburban park that was once an airfield, in Cinisello Balsamo, then a town in its own right, now more of a suburb. It is on the northern edge of the Milan metropolitan area, about 10km (6 miles) from the city centre. More than 75,000 people now live there.

The Grand Canal frontage of the Palazzo Venier dei Leoni

Travel tip:

The Palazzo Venier dei Leoni is a palace on the Grand Canal in Venice once owned by a noble Venetian family of the 14^th to 16^th century, three of whom – Antonio Venier, Francesco Venier and Sebastiano Venier – were Doges.  It was bought by the American socialite and arts patron Peggy Guggenheim in 1949 and she lived there for 30 years, opening her collection of artworks to the public for the first time in 1951.  It is in the Dorsoduro quarter of Venice, near where it emerges into the lagoon, accessed from San Marco via the Accademia Bridge.

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Frankie Yale - gang boss

Mobster who employed a young Al Capone

Frankie Yale's police mugshot

The gang boss who gave Al Capone one of his first jobs was born in this day in 1893 in Longobucco in Calabria.

Francesco Ioele, who would later become known as Frankie Yale, moved to the United States in around 1900, his family settling into the lower Manhattan area of New York City.

Growing up, Ioele was befriended by another southern Italian immigrant, John Torrio, who introduced him to the Five Points Gang, which was one of the most dominant street gangs in New York in the early part of the 20^th century.

In time, Ioele graduated from petty street crime and violent gang fights to racketeering, changing his name to Yale to make him sound more American and taking control of the ice delivery trade in Brooklyn.

With the profits Yale opened a waterfront bar on Coney Island, which was called the Harvard Inn. It was there that he took on a young Capone as a bouncer and in a fight there that Capone acquired the facial scars that would stay with him for life.

Capone worked for Yale for two years until Torrio, by then based in Chicago, recruited him to his organisation, and Capone moved to the city with which his criminal activities would become associated.

Al Capone worked for Yale in the bar
he opened on Coney Island

Yale’s operations in Brooklyn flourished, his empire extending to extortion, prostitution and protection rackets as well as controlling legitimate businesses such as restaurant supply, creating monopolies by seeing off the competition through violence and coercion.  When prohibition was introduced, Yale became one of Brooklyn’s biggest bootleggers.

His front was a funeral home in 14^th avenue, which enabled him to describe himself in official paperwork as a funeral director by profession.   He kept his neighbourhood onside by regularly performing acts of philanthropic generosity to help out people who had fallen on hard times through no fault of their own.

A snappy dresser who favoured expensive suits and diamond jewellery, he was a family man who married twice and fathered three daughters.

Ultimately, though, his power made him a target and as other Italian Mafia groups moved into New York, increasing competition for territory, wars between rival crime families became a regular occurrence and moves were made to take Yale off the scene.

Yale survived two attempts on his life between 1921 and 1923 yet emerged from both with his power increased.  He continued to work with Torrio and the increasingly powerful Capone, travelling to Chicago himself with two associates to carry out a murder on their behalf, for which he was arrested but released without charge when police were unable to disprove Yale’s alibi.

44th Street in Brooklyn as it looks today

Yet when Yale finally met his demise on July 1, 1928, shot to death at the wheel of his Lincoln coupe on 44^th Street, Brooklyn, the trail led back to Capone.

The Chicago mob boss had sent a spy to New York to try to discover who was behind the hijacking of trucks that were meant to be ferrying supplies of imported Canadian whisky illegally obtained by Yale, and the word that came back was that it was Yale himself.

A trap was set for Yale that involved him driving alone from his club in Brooklyn to his home. It was not long before a Buick sedan carrying four men ranged alongside his Lincoln and despite his attempts to shake them off in a high-speed chase Yale was eventually caught and the men opened fire. One of them carried a Thompson submachine gun, the first time such a weapon had been used in a New York gangland shooting, and Yale was killed instantly.

Despite the allegations surrounding his death, Yale was given one of the most lavish mob funerals New York had seen or would see in subsequent years, with thousands of Brooklyn people lining the route of the procession.  There were 38 cars to carry the flowers alone and 250 for the mourners, who saw his $15,000 silver casket lowered into the ground at the Holy Cross Cemetery.

The village of Longobucco nestles in a remote valley
near the Sila national park in Calabria

Travel tip:

Longobucco, where Yale was born, is a typical Calabrian village hidden away in a remote valley on the edge of the Sila national park. The valley forms a section of a pass through the Sila massif, which carries a road linking the provincial capital of Cosenza with the coastal towns on the southwestern shore of the Gulf of Taranto, the sea which fills the arch of Italy’s ‘boot’. The town was once a stronghold for brigands, who would ambush travellers, steal their valuables and sometimes kidnap travellers who looked well-heeled enough to command a ransom.

The Corso Telesio in the medieval heart of Cosenza

Travel tip:

According to the Lonely Planet travel guide, the Calabrian city of Cosenza “epitomises the unkempt charm of southern Italy”. Like many Italian cities, it has a modern part and a distinct historic part.  In Cosenza’s case, that history can be traced back to the third century, when there was a settlement called Consentia, the capital of the Brutti tribe. Over subsequent years, the area was captured the Visigoths, the Lombards, the Saracens, the Normans and the Spanish, who resisted the French in the early part of the 19^th century, before the Risorgimento and unification saw it become part of the new Italy.  At the heart of the medieval old city, with its network of steep, narrow streets, is a cathedral originally built in the 11^th century and modified many times subsequently.  Its 19^th century neo-Gothic façade changed its character but parts of the original structure have been retained.

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