Lorenzo di Pierfrancesco de’ Medici - politician

Art enthusiast who was Botticelli’s major patron

Botticelli's 1479 Portrait of a Young Man,
is thought to be Lorenzo di Pierfrancesco

The Florentine banker and politician Lorenzo di Pierfrancesco de’ Medici, who was a significant figure in Renaissance art as the main sponsor and patron of the painter Sandro Botticelli, was born on this day in 1463.

The great-grandson of Giovanni di Bicci de’ Medici, the founder of the Medici bank, Lorenzo di Pierfrancesco belonged to the junior, sometimes known as ‘Popolani’ branch of the House of Medici.

In 1476, when he and his brother, Giovanni, were still boys, their father, Pierfrancesco de’ Medici the Elder, died. They became wards, effectively, of their cousin, Lorenzo il Magnifico - Lorenzo the Magnificent - a member of the senior branch of the family and the effective ruler of Florence.

Relations between the two branches had been tense for some years and were not helped when Lorenzo di Pierfrancesco discovered, on becoming an adult, that Lorenzo had plundered a considerable sum from he and his brother’s joint inheritance in order to stave off a threatened bankruptcy of the family’s financial empire.

Although Lorenzo had provided the boys with the best education money could buy - the notable Florentine Renaissance humanists Marsilio Ficino, Angelo Poliziano and Giorgio Antonio Vespucci (uncle of Amerigo) were among their tutors - and given them a number of properties in compensation, the incident created a lingering bitterness.

Meanwhile, thanks to the curiosities stirred by the education he received, Lorenzo di Pierfrancesco developed a reputation as an art connoisseur. In around 1485, he commissioned an illuminated manuscript of Dante's Divine Comedy featuring artwork by Botticelli, to whom he had been introduced by the Vespucci family, who were neighbours of the Botticellis in Florence.

Botticelli's Primavera is thought to have been commissioned
to celebrate Lorenzo di Pierfrancesco's marriage

Two of Sandro Botticelli’s most famous works may have been commissioned to celebrate the marriage that Lorenzo il Magnifico arranged between Lorenzo di Pierfrancesco and Semiramide Appiano, daughter of the Appiani lord Jacopo III of Piombino.

It is thought that Lorenzo il Magnifico commissioned Botticelli's Pallas Athene Taming a Centaur as a wedding gift to the new couple, while either Lorenzo il Magnifico or Lorenzo di Pierfrancesco himself had Botticelli paint his allegorical work Primavera as a celebration, with Mercury representing Lorenzo di Pierfrancesco and Semiramide by the central figure of Grace.

After the wedding, both paintings were displayed on the walls of Lorenzo di Pierfrancesco’s villa in the centre of Florence. Some accounts suggest that he also commissioned Botticelli's best known work, The Birth of Venus, one of the most famous paintings of the Renaissance by any artist.

The tension that still existed between him and Lorenzo il Magnifico came to a head in October 1484, when his cousin, determined to protect the primacy of the senior branch of the Medici family, had Lorenzo di Pierfrancesco's name removed from the lists of persons eligible for election to the Florentine political institutions.

Angelo Bronzino's portrait of the Florentine
leader Lorenzo il Magnifico

A settlement was agreed in 1485 by which Lorenzo di Pierfrancesco and his brother were given the Medici family property of Villa Cafaggiolo in the Mugello region. Lorenzo di Pierfrancesco was unhappy, though, at having to shelve his political ambitions.

When Lorenzo il Magnifico died in 1492, Lorenzo and Giovanni sided against il Magnifico's son, Piero. They were exiled as a result but returned when King Charles VIII of France invaded Italy and Piero was ousted from Florence by a Republican government.

The nickname Popolano - meaning ‘of the people’ - was coined for the brothers and Lorenzo di Pierfrancesco became a popular figure in the new administration. He extended his patronage of the arts to protect Botticelli, Michelangelo, Filippino Lippi and Bartolomeo Scala, and in 1494 he founded a workshop of ceramics at Cafaggiolo.

He was pushed out when the hellfire preacher Girolamo Savonarola swept to power in 1494 with his denunciation of clerical corruption, despotic rule and the exploitation of the poor, yet refused to return even after the controversial Dominican friar was burned at the stake in the main square of the city in 1498.

Lorenzo di Pierfrancesco died in Florence in 1503, aged only 39. Years later, his grandson Lorenzino de' Medici murdered Alessandro de' Medici, the last ruler of Florence from the senior branch of the Medici, thereby passing power to Lorenzo's great-grandson Cosimo I de' Medici.

The Villa del Trebbio, which Cosimo de' Medici turned
into a fortified castle

Travel tip:

One of the properties owned by Lorenzo di Pierfrancesco was the Villa del Trebbio, which he inherited from his grandfather Lorenzo the Elder.  Located near San Piero a Sieve in the Mugello region, the area from which the Medici family originated, it was possibly the first of the Medici villas built outside Florence, on top of a hill dominating the Val di Sieve. It had earlier belonged to Giovanni di Bicci de' Medici, the founder of the Medici bank, and was remodelled by his son, Cosimo de' Medici, whose architect, Michelozzo, restyled it as a fortified castle.

The Piazzale between the two wings of the Uffizi, which links
Piazza della Signoria with the Arno river

Travel tip:

Primavera, Pallas Athene Taming a Centaur and The Birth of Venus are among a number of Botticelli paintings displayed in the Uffizi Gallery in Florence, which is one of the largest and best known art museums in the world. Its collection of priceless works, particularly from the period of the Italian Renaissance, owes much to Anna Maria Luisa de' Medici, the last Medici heiress, who bequeathed the family’s entire art collection to the city of Florence. The Uffizi was open to visitors by request as early as the 16th century, and in 1765 it was officially opened to the public.

More reading:

Why Lorenzo the Magnificent was seen as a benign despot

Cosimo de' Medici  - the first Medici ruler of Florence

How Sandro Botticelli's paintings became forgotten works of genius

Also on this day:

1521: The birth of Pope Urban VII

1994: The death of politician Giovanni Spadolini

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Antonio da Sangallo the Younger - Architect

Talented Florentine was commissioned by the Popes

The Church of Santa Maria de Loreto in
Rome was Sangallo's first major commission

Antonio da Sangallo the Younger, who left his mark on Rome during the Renaissance, died on this day in 1546 in Terni in Umbria.

Sangallo was the chief architect on St Peter’s Basilica from 1520 onwards and built many other beautiful churches and palaces in the city and throughout the Papal States.

He was born Antonio Cordiani in Florence in 1484. His grandfather had been a woodworker and his uncles, Giuliano and Antonio da Sangallo, were architects.

The young man followed his uncles to Rome to pursue a career in architecture and ended up taking the name Sangallo himself.

He became an assistant to Donato Bramante and started by preparing sketches for his master.

Recognising his talent, Bramante gave Sangallo projects to complete with no more than an outline of the design and motifs.

Sangallo’s first major commission was for the Church of Santa Maria di Loreto in 1507.

He came to the attention of Cardinal Alessandro Farnese, who later became Pope Paul III, and was commissioned to design the Farnese Palace in Piazza Farnese and a palace and church in the Cardinal’s home town of Gradoli.

Sangallo designed the Palazzo Farnese
on behalf of the future Pope Paul III

Sangallo designed the Palazzo Baldassini for Melchiore Baldassini and was responsible for the final design of the Villa Madama for Cardinal Giulio de' Medici.

Having acquired a reputation in Rome as a master architect, he was appointed by Pope Leo X to oversee the construction of St Peter’s Basilica.

He was also responsible for some inspired engineering feats, such as building the foundations for the Church of San Giovanni dei Fiorentini on the banks of the Tiber, following Jacopo Sansovino’s design, which called for the church to extend into the river.

He shored up the foundations for the Basilica della Santa Casa in Loreto and did similar work on the Vatican loggias. His reinforcements are still standing today.

His last engineering project was the draining of the Rieti Valley. Because of the marshy environment he was working in, Sangallo contracted malaria and died before finishing the task.

When Cardinal Farnese became Pope Paul III in 1534 he asked for the Palazzo Farnese design to be expanded. In 1546 during the construction he became dissatisfied with Sangallo’s original design for the cornice and held a competition for a new design, which was won by Michelangelo.

At the time it was said that Sangallo had died from shame soon afterwards, but his biographer, Giorgio Vasari, later wrote that he was an excellent architect whose achievements deserved to be celebrated. Antonio Sangallo the Younger was buried in St Peter’s Basilica.

Sangallo's construction of St Patrick's Well in Orvieto is
considered one of his most accomplished engineering feats

Travel tip:

One of Sangallo’s amazing engineering feats was St Patrick’s Well in Orvieto, built for Pope Clement VII. Ramps around a central open shaft allowed oxen carrying water to do down one of the ramps and up the other without having to turn round. Despite the depth of the well, the ramps were well lit through windows cut into the centre section.

The Scala Regia was built by Sangallo and later restored
by Gian Lorenzo Bernini

Travel tip:

Sangallo was capomaestro in charge of the day-to-day construction of St Peter’s Basilica from 1513 until about 1536. A wooden model of his design for the basilica is still in existence. He also worked on the Vatican apartments, building the Pauline Chapel and the Scala Regia, the main staircase to the Apostolic Chapel. Therefore it was fitting that the architect was allowed to be buried in St Peter’s.

More reading:

The Renaissance pope who turned Rome into the cultural heart of Europe

How Gian Lorenzo Bernini sculpted Rome

The story of La Pietà - Michelangelo's ultimate masterpiece

Also on this day:

1486: The birth of Imperia Cognati - courtesan

1778: Milan's Teatro alla Scala opens for business

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Bologna railway station bombed

Biggest terrorist atrocity in Italy's history killed 85

The scene outside Bologna railway station in the aftermath
of the explosion on August 2, 1980

Italy suffered the most devastating terrorist outrage in its history on this day in 1980 with the bombing of Bologna's main railway station.

A massive 23kg (51lbs) of explosive packed into a suitcase left in a crowded waiting room was detonated at 10.25am, creating a blast that destroyed much of the main building of the station and badly damaged a train on one of the platforms.

Many people, locals and tourists, Italians and foreign nationals, were caught up in the explosion. Some were killed instantly, others died as a result of the roof of the waiting room collapsing on to the victims. There were 85 deaths and more than 200 other people were wounded.

The bomb was clearly placed to cause mass casualties. It was the first Saturday in the traditional August holiday period, one of the busiest days of the year for rail travel, and the explosive-laden suitcase was left in a room with air conditioning, then still relatively rare in Italy. On a hot day, the room was naturally full of people.

The station clock is now permanently set at the exact time
the bomb exploded on that fateful Saturday morning

The attack was the deadliest of several during a bleak period of 10-12 years in Italian history that became known as the Years of Lead, when the ideological struggle between the left and right in Italian politics was at its height.

It began with the killing of a Milan policeman in a far-left demonstration in November 1969 followed a few weeks later by a number of bomb attacks in Rome and Milan, the biggest of which killed 17 people in a bank in Piazza Fontana, not far from the Milan cathedral.

There were several more bombings in the years that followed and countless assassinations of policemen, military personnel, government officials and other prominent public figures, the most high profile of which was the kidnap and murder of former prime minister Aldo Moro in 1978. In all, it has been calculated that the Years of Lead claimed the lives of 428 people.

Although the killings continued after the Bologna Massacre, they happened with much less frequency after 1980 than in the three years leading up to the bombing, which has led some commentators to regard the August 2 attack as effectively bringing to an end the darkest period in Italian history since Fascism.

The tangled remains of the waiting
room roof after the blast

As is almost always the case in Italy, the process of identifying the perpetrators and bringing justice was a long and torturous process.

Although the Ansa news agency received a call within minutes of the bomb going off, purporting to claim responsibility on behalf of a right-wing terrorist group known as Nuclei Armati Rivoluzionari (Armed Revolutionary Corps), it was seven years before anyone was brought to trial and 10 more years before a series of trials, appeals, acquittals and retrials finally resulted in the confirmed conviction for murder of two NAR members, Valerio Fioravanti and Francesca Mambro.

Even now, conspiracy theories still persist over who else might have been involved with the planning and execution of the massacre.

In an era when the Italian Communists were as close to winning power, or a share of power, in the government of the country as they have been at any stage in their history, most of the outrages carried out during the Years of Lead were attributed either to extreme left-wing groups such as the Red Brigades and Prima Linea or to far-right organisations such as Ordine Nuovo, Terza Posizione and NAR.

The attack in Bologna was seen as symbolic because it targeted a city with a history of of left-wing politics along with a strong civic culture and a tradition of supporting the Partisans and rejecting Fascism.

Valerio Fioravanti, pictured in police custody, was one of two
terrorists eventually jailed for carrying out the attack

But many commentators have theorised that behind the NAR, darker forces many have been at work, possibly involving the Italian government and its secret services via the secret movement known as Operation Gladio, or even the subversive Masonic organisation labelled Propaganda Due, of which countless civil servants, military personnel, policemen and politicians were secretly members.

It was even suggested that the Israeli secret services might have supported the attack to punish Italy for a perceived sympathetic stance towards the Palestine Liberation Organisation.

The finger of suspicion was pointed at Gladio because of revelations years after the bombing that this was an organisation, in effect a shadow army, that had been put in place at the end of the Second World War, with the tacit backing of the United States, to act initially as a force primed to react to any invasion by forces from the Eastern Bloc, which Italy bordered, but later to prevent, by any means, the Italian Communist Party from forming a government, which it was feared would turn Italy into a de facto Soviet satellite.

None of these theories was ever proven, although three figures connected with Italy’s military intelligence service SISMI, along with P2 grand master Licio Gelli, were convicted during the course of the trials of supplying false information likely to mislead the investigation.

The memorial at Bologna station to the
victims of the 1980 bombing

Travel tip:

Memorial services at which to remember the 85 victims of the Bologna Massacre are held each year, with a march and a concert in Piazza Maggiore, right at the centre of the city.  There is a plaque carrying the names of all the victims, who ranged from three years old to 86, while the clock inside the station has been stopped at 10.25am as a mark of respect for those killed. The reconstructed wall to which the plaque is attached has a jagged-edged gap left in it.

The beautiful Piazza Maggiore in Bologna

Travel tip:

The history of Bologna, one of Italy's most historic cities, can be traced back to 1,000BC or possibly earlier, with a settlement that was developed into an urban area by the Etruscans, the Celts and the Romans.  The University of Bologna, the oldest in the world, was founded in 1088.  Bologna's city centre, which has undergone substantial restoration since the 1970s, is one of the largest and best preserved historical centres in Italy, characterised by 38km (24 miles) of walkways protected by porticoes.  At the heart of the city is the beautiful Piazza Maggiore, dominated by the Gothic Basilica of San Petronio, which at 132m long, 66m wide and with a facade that touches 51m at its tallest, is the 10th largest church in the world and the largest built in brick.

More reading:

December 12, 1969: The Piazza Fontana bombing

How magistrate Felice Casson revealed the existence of Operation Gladio

The kidnapping of ex-prime minister Aldo Moro

Also on this day:

1854: The birth of author Francis Marion Crawford

1945: The death of opera composer Pietro Mascagni

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Antonio Cotogni – baritone

Singer who moved the composer Verdi to tears

Antonio Cotogni's voice was admired
by the composer Giuseppe Verdi

Antonio ‘Toto’ Cotogni, who achieved international recognition as one of the greatest male opera singers of the 19th century, was born on this day in 1831 in Rome.

Cotogni’s fine baritone voice was particularly admired by the composer Giuseppe Verdi and music journalists wrote reviews full of superlatives after his performances.

Cotogni studied music theory and singing from an early age and began singing in churches and at summer music festivals outside the city.

He made his opera debut in 1852 at Rome’s Teatro Metastasio as Belcore in Donizetti's L’elisir d’amore.

After that he did not sing in public for a while, concentrating instead on building up his repertoire.

After singing in various Italian cities outside Rome he was signed up to sing at Rome’s Teatro Argentina in 1857 in Lucia di Lammermoor and Gemma di Vergy, also by Donizetti. Later that year he performed in Verdi's I due Foscari and Sanelli's Luisa Strozzi at Teatro Rossini in Turin. He met the soprano Maria Ballerini there and married her the following year.

His major breakthrough came in 1858 when he was asked to take the place of the famous baritone Felice Varesi in Nice.

Varesi’s fans felt that Cotogni, who was virtually unknown, should not have been chosen to replace the popular singer.

Cotogni in the role of Enrico in
Donizetti's Lucia di Lammermoor

He was engaged to sing Antonio in Donizetti’s Linda di Chamonix but was greeted with noises and whistling before he had sung a word.

The audience fell silent as he sang his opening aria and gave him thunderous applause afterwards demanding an encore. His performance revealed him to be a master of his art and Antonio became one of his signature roles.

Cotogni made his debut at La Scala in Milan in 1860 and after overcoming his initial nerves, he won over the notoriously critical audience.

He appeared at the leading opera houses in Madrid, Lisbon, Paris, Moscow and Saint Petersburg and became particularly popular with London audiences, performing at the Royal Opera House regularly from 1867 to 1889.

The famous baritone gave his last operatic stage performance in 1894 in Donizetti’s Don Pasquale in Saint Petersburg.

Cotogni became a celebrated vocal teacher in retirement, teaching first at the Saint Petersburg Conservatory and then at the Accademia di Santa Cecilia in Rome.

He taught dozens of celebrated singers during his retirement between 1894 and 1918, the year in which he died in Rome just before the armistice ended World War I.

Cotogni sang most of the major Verdi baritone roles and the composer himself praised the beauty and strength of his voice. Verdi heard him privately in several of the key pieces from Don Carlo and was moved to tears by his singing of Rodrigo’s death scene. Verdi had his own nickname for Cotogni, calling him mio ignoratino - my little ignoramus - which he used not in an insulting way but in teasing the singer for his unfailing modesty, humility and deference.

Cotogni was an exceptional teacher and was able to pass on to his pupils what Verdi had said to him about the arias and elements of the operas that had been changed in rehearsal.

Cotogni (second row, middle) with his class at the St Cecilia
Academy. Beniamino Gigli is on the right at the back.

Working with him was the young Luigi Ricci who would later become a vocal coach. Ricci took meticulous notes on information that Cotogni passed on to his pupils about things that had been changed in rehearsal but had never been officially recorded, as well as traditions begun by singers from the previous century.

Ricci eventually compiled a four-part collection, Variazioni-cadenze tradizioni per canto, which recorded this information for posterity.

At the age of 77 Cotogni recorded a duet with a much younger tenor for the gramophone. Although his voice was not the same as when it had moved Verdi to tears, it is a permanent reminder of the singer who had entranced audience throughout Europe for 40 years. It is also the oldest voice ever recorded for the gramophone as Cotogni had been born in 1831.

Via dei Genovesi in Trastevere

Travel tip:

Antonio Cotogni was born at number 13 Via dei Genovesi in the Trastevere district of Rome and there is a commemorative plaque on the house. Trastevere, once a working-class part of the city, is now one of Rome's most fashionable neighbourhoods, certainly among young professionals, who are attracted by its pretty cobbled streets and the wealth of inexpensive but chic restaurants.

The Conservatory of Santa Cecilia in Via dei
Greci is part of the Academy

Travel tip:

The St Cecilia Academy - Accademia Nazionale di Santa Cecilia - where Cotogni taught singing, is one of the oldest musical academies in the world. It was founded in Rome by Pope Sixtus V in 1585 at the Church of Santa Maria ad Martires, better known as the Pantheon. Over the centuries, many famous composers and musicians have been members of the Academy, which lists opera singers Beniamino Gigli and Cecilia Bartoli among its alumni. Since 2005 the Academy’s headquarters have been at the Parco della Musica in Rome, which was designed by the architect Renzo Piano.

More reading:

The death of Giuseppe Verdi - how Italy mourned the loss of a national icon

The brief but sparkling career of 19th century soprano Marietta Piccolomini

Antonio Scotti - the Neapolitan baritone who sang for 35 seasons at The Met

Also on this day:

1464: The death of Cosimo de' Medici, founder of a dynasty

1776: The birth of Francesca Scanagatta, the girl who pretended to be a man to join the Austrian army


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