Catherine of Siena, Cardinal Albornoz and Sir John Hawkwood

This is a story about how three very different individuals were involved in the return of the Papacy to Italy in the 14th Century.

In my article about the Avignon “captivity” I talked about how the French King basically took over the Papacy, moved it to Avignon in Provence, and stacked it with Frenchmen. Now I am going to talk about its return to Rome, almost 70 years later. It’s a complicated story, which I propose to simplify by concentrating on three people, only one of whom – Saint Catherine of Siena – was Italian. The other two are a Spaniard and an Englishman. Gosh, where do I start?

Catherine of Siena

Let us start with Catherine, whom history has long credited with being a major force in pressuring the last Avignonese Pope (Gregory XI) to return with his curia to Rome. Apparently modern scholarly opinion varies on just how influential she was, but as we shall see, she had by then acquired a reputation for holiness. Giving her the credit would have therefore been a more acceptable story than acknowledging some of the more worldly considerations Gregory might have had.

Catherine (her full name was Caterina di Jacopo di Benincasa) was born in Siena in 1347, just before the Black Death struck Europe. Her father was a cloth dyer and must have been reasonably well-off, going by the size of the house in which she lived with her long-suffering family, and which you can still visit.

Siena Catherine's house
Siena, the house of St. Catherine’s family. Canon EOS-3 35mm camera, 28-135mm IS zoom lens, Fujichrome Velvia 50 film (click to enlarge)
Siena
Siena, the view from the street near St. Catherine’s house, probably not looking all that different now. Canon EOS-3 35mm camera, 28-135mm IS zoom lens, Fujichrome Velvia 50 film (click to enlarge).

Catherine is known, among other things, for some fairly extravagant acts of asceticism and mortification of the flesh, some with psycho-sexual overtones, that today would provide plenty of material for a doctoral thesis, or at the very least a conference paper. At a minimum she would be diagnosed with anorexia. But we must be careful not to judge the past too much by the standards of the post-Freudian present, at least not without trying to understand what it must have been like to live then. During her childhood, the plague killed more than half the population of Europe – and an even greater proportion of the population in crowded medieval Italian cities like Siena. You can still see the effects today – in 1339 Siena had started a significant project to enlarge the cathedral, which stopped during the plague and never restarted.

Siena
Siena, the side of the Duomo. The colonnade was intended to be an extension to the nave, but the project was abandoned during the Great Plague. Canon EOS-3 35mm camera, 28-135mm IS zoom lens, Fujichrome Velvia 50 film (click to enlarge).

In the absence of any scientific understanding of what had caused the catastrophe, it is hardly surprising that many people assumed they were living through the early chapters of the Apocalypse, and responded accordingly. Confraternities of flagellants paraded through the streets whipping themselves. Others thought about prophecies of false saviours and false preachers, and looked hard at the contemporary church, obsessed as it was with wealth and power. This was the world in which the young Catherine grew up; how could it not have affected her and her contemporaries?

Although she is often portrayed in the habit of a Dominican nun, it seems that she was probably not a nun but joined a lay sisterhood associated with the Dominicans. Given the considerable freedom she seemed to enjoy, including living at home with her family, and travelling around Italy urging clerical reform, it does seem more likely that she was not actually a nun. Either way, she lived a life of virgin piety, acquired a reputation for holiness, and a habit of dictating letters to popes and princes telling them what they ought to be doing (the lay sisterhood taught her to read, but the fact that her books and letters were all dictated suggests that she did not write).

One of her lucky targets was Pope Gregory, who received a series of letters arguing for the return of the Papacy to Rome, and for reforms to the Church and the Papal States. John Julius Norwich, in his book The Popes, suggests that Gregory had already decided that the Papacy belonged in Rome, but as Catherine’s fame spread, associating her with the cause would have been an astute move. Gregory, like the rest of the Papal court, was French, but many of his fellow-Frenchmen did not share his enthusiasm for Italy, so he would have needed to make it look like he was yielding to a mass movement.

Her body worn out by self-inflicted privations, Catherine died in 1380 aged just 33, but she was quickly canonised, adding yet further spiritual lustre to the return-to-Rome movement. Another woman who had agitated for a return to Rome – Bridget of Sweden – was canonised as well, suggesting that the Papacy had no objections to such advocacy.

Cardinal Gil Albornoz

Gregory was not the first Avignon Pope to contemplate a return to Rome. Fifteen years or so earlier Innocent VI had the same idea, but he faced a problem, not with the Papacy’s spiritual power, but with its secular power in Italy, which had attenuated during the time in Avignon. The Popes’ claims to secular sovereignty were based on a bare-faced and not very competent 9th-Century forgery known as “The Donation of Constantine” according to which the Emperor Constantine had rather implausibly handed over the entire Western Empire, including Italy, to the Pope to rule as sovereign territory. In practice, the Papal power to govern states only really ran until it encountered a stronger power: in the North, the Holy Roman Empire, in the South, the Normans followed by the Angevins and Spanish, and in the West, Spain and of course France.

In much of Europe the Middle Ages saw the growth of unitary states with all powers vested in monarchs. In contrast, Central and Northern Italy saw the emergence of independent communes in which towns and cities developed the institutions of government for themselves, and an admirable system (rule by an independent podestà appointed from another city for a fixed term) to keep them working.

Over time the communes failed and became counties and dukedoms, or the notionally independent institutions remained in place but effective government took place behind the scenes under the control of powerful families like the Medici.

In the longer term the future for Italian cities was either direct control from Rome or passing into the possession of a foreign dynasty, but back in the 14th Century none of that looked inevitable. The Visconti of Milan were growing in power and many other cities were quite content with the de facto independence they enjoyed with the Papacy all that distance away in Provence. Two things turned all that around – one was the Black Death, which temporarily stopped all economic activity and created a significant labour shortage. The other was Cardinal Gil Àlvarez Carrillo de Albornoz, the Pope’s Vicar-General.

In theory the Vicar-General was a cardinal delegated to assist the Pope with the management of the Papal States, but as Vicar-General, Albonorz was more of a general than a vicar. An example of the church militant if ever there was one, Albornoz led armies, besieged cities, killed thousands, and built a lot of fortresses in the process of completing his task to re-establish Papal control.

He had started his career as a mere archbishop of Toledo leading his forces in Spain against invaders from Morocco. Without apparent ironic intent, Innocent VI gave him the title “Angel of Peace”.

So in 1353 Albornoz was given the job of subduing these independently-minded city-states, and he and his small army of mercenaries turned out to be very effective at it.

Spoleto
The ” Rocca Albornoziana” in Spoleto. It was used as a prison until the 1980s. Hasselblad 501 C/M camera, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

All through central Italy, in towns like Urbino, Assisi, Orvieto, Spoleto and Narni, you will find castles built by Albornoz after the towns were taken by Papal forces. In other towns such as Todi you might find the remains of one subsequently dismantled. The name and the history behind them are well enough known that they may simply called “Fortezza Albornoz” or “Rocca Albornoz”.

Assisi Rocca
Assisi, the Rocca Maggiore. Reconstructed by Albornoz on the site of an earlier castle. Hasselblad 501 C/M camera, Zeiss Sonnar 150 CF lens, CFV-50c digital back (click to enlarge).

Under Albornoz, the role of these fortresses was not to defend the towns they guarded. It was to subdue them, and in cases like Narni, it was to control a strategic road – the ancient Via Flaminia where it passes through the gorge of the River Nera.

Narni Rocca
Narni, the Rocca, built by Albornoz, and rebuilt after destruction by Charles V’s “landesknechte” in 1527. Hasselblad 501 C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge).
Urbino Fortezza Albornoz
Urbino, foundations of the Fortezza Albornoz. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Orvieto Rocca Albornoz
Orvieto, the Rocca Albornoz. Fujifilm X-Pro 3 camera, 35mm lens (click to enlarge).
Todi Rocca Albornoz
Todi, remains of the Rocca Albornoz. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

But now we need to turn our attention to the third person in this story – and one just as unlikely as the other two.

Sir John Hawkwood

Some people say that “Hawkwood” sounds like the name of a character from a fantasy novel, but it makes me think of a 1970s prog-rock band. I’ve just discovered that there is also a character by that name in a popular video game. Whatever associations his name might have for English speakers, the Italians couldn’t really cope with it and mangled it into “Giovanni Acuto”, which since that means “John the Sharp” or “John the Astute”, is not actually a bad fit. It turns out that Albornoz wasn’t the only person leading a band of mercenaries around Italy, and that this particular person – Hawkwood – had a considerable effect, for good or ill, on the conduct of warfare and politics in Italy. He was loathed and execrated, but ended up being celebrated as a hero in Florence.

How did an Englishman find himself in that position? It was in part the unintended consequence of a peacemaking exercise by a Pope. In 1360 the Hundred Years’ War between England and France was still only the Twenty-Three Years’ War,  but after the disasters of Crécy and Poitiers, and the taking into captivity of the French King, things were going badly for France. Innocent VI (like all the other Avignon Popes a Frenchman) had been keen to engineer a truce, which he did with the Treaty of Brétigny.

The unintended consequence of peace was that, because a large number of troops on both sides were not feudal levies but mercenaries, they were promptly discharged in situ in France, either to starve or to form themselves into “free companies” and keep on soldiering, but this time on their own account. One such group was called the White Company, led by a German called Sterz, but composed mostly of Englishmen, including John Hawkwood of Essex.

Pickings were slim in the war-ravaged regions of north-western France, but to the south was a fabulously wealthy place – the Papal state of Avignon. The brigands captured the nearby town of Pont-Saint-Esprit and laid siege to Avignon itself. After a while, and another outbreak of plague, Innocent gave in and paid them a large sum of money to go away. And here’s a fascinating possibility. There is no written record, it seems, of the agreement between the Papacy and the White Company, but it has been suggested that part of the deal was that the Company should continue south into Italy, there to assist Albornoz, who already had several mercenary companies in his pay. Subsequent events are not inconsistent with this scenario.

The free companies hit Italy like a gauntleted fist. Italy had seen a good many armies over the years, but the military professionalism of these foreigners set them apart from the citizen militias that were all that most cities could call on – to the amazement of Italians, they even continued campaigning in winter. And they had the English longbow – the most effective infantry weapon of the Middle Ages.

While working for Perugia, Sterz was imprisoned and executed by the city authorities on a charge of plotting to betray them to the Papal forces, and Hawkwood formally took over command of the White Company. He quickly established a reputation for ruthless effectiveness – you wanted him on your side if you could afford him. And there were plenty who could, or were desperate enough to promise to find the money. Central and northern Italy were in turmoil as Albornoz, the Visconti of Milan and the remaining free communes all manoeuvred for advantage. At this early stage Hawkwood was mostly fighting on the side of the Pope, but on one occasion when he was not, he had a mysterious and bloodless encounter with Albornoz’s forces near Orvieto which may simply have been arranged to create an opportunity for a clandestine meeting between the two.

Hawkwood fought on the Pisan side in an inconclusive Pisa-Florence war, on the Milanese side in a war between the Visconti and Papal forces, and on the Papal side in two wars with Florence. He built closer relations with Milan, marrying Donnina Visconti, the illegitimate daughter of Bernabò Visconti, the Lord of Milan. It seems she had inherited her father’s force of character and proved an effective deputy in managing Hawkwood’s affairs.

The White Company
A tent at the annual spring medieval festival in Bevagna, Umbria, bearing Hawkwood’s arms: argent on a chevron sable, three escallops of the field. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

 Pope Innocent died and was replaced by Gregory XI. Albornoz died on campaign and was replaced as Vicar-General by Cardinal Robert of Geneva, a vicious man who in the name of the Church perpetrated one of the worst massacres of the Italian Middle Ages, in which most of the population of Cesena were slaughtered, despite having been promised forgiveness if they surrendered.

Hawkwood’s troops were involved in that massacre; by one contemporary account he tried to persuade Robert to accept the town’s submission without bloodshed, but the cardinal was determined to make an example of Cesena, and thousands of innocent civilians died.

We don’t know whether that was the event that finally turned Hawkwood against the Pope; after all he had not previously shown himself to be particularly sentimental when it came to civilian lives, and there had been other irritants in the relationship, such as Gregory’s regular failure to pay wages. That was not a trivial matter, as Hawkwood still had to pay his men out of his own pocket, causing some serious liquidity problems. On one occasion Hawkwood, in frustration, took the Umbrian town of Città di Castello in the name of the Pope but held it for himself in lieu of wages. But whatever his reasons, after the Cesena massacre Hawkwood mostly turned up on the side of a city for whom he had previously been a nemesis – Florence – and against both of his previous allies: the Visconti and the Papacy.

Florence returned the compliment: they paid him well and granted him Florentine citizenship, and he acquired a good deal of property in the region.

He died peacefully in 1394, at the (for then) advanced age of 70 or 71. The Florentine authorities gave him a lavish funeral in the duomo, where his standards were hung and remained for years. A marble tomb was planned, but the municipal funds were a bit low (perhaps because of all the money paid to mercenaries), and forty years later the Medici employed the painter Uccello to do a mock-marble memorial in the duomo, which you can still see today.

Ucello Hawkwood Memorial
The Hawkwood memorial in the Florence Duomo, by Uccello. Fujifilm X-Pro 3 camera, 35mm lens (click to enlarge).

The inscription reads, in translation: “John Hawkwood, British knight, most prudent leader of his age and most expert in the art of war”.

Why would the Medici bother honouring the memory of someone forty years dead? I doubt they ever did anything out of sentiment. My guess is that it was because Hawkwood ended up on their side against dangerous rivals that still threatened them. A reminder of past victories would be a useful signal to their enemies and their own people of their determination to continue to fight for their independence.

Which brings me to the issue of Hawkwood’s legacy. Much has been written about the great and undeniable harms that the free companies visited upon Italy (although they didn’t really start any wars, they just made existing conflicts worse). And also how much the great condottieri of the next couple of centuries – Gattamelata, Colleoni, the Dukes of Mantua, Federico da Montefeltro, Cesare Borgia – learned from Hawkwood’s example. But did he do any good? The Florentines seemed to think so. Perhaps if had not been for him, Florence and Tuscany might have ended up subject to either Milan or the Papal States, or divided between them. The glories of Medici Florence might never have happened. Now that would have made a difference.

Odds and ends

In 1377, after an arduous and dangerous sea voyage from Marseilles, a small fleet carrying Gregory XI, his cardinals  and his court sailed into the Tiber, and the Papacy never left Rome again. It had only been away for seven decades or so, but an awful lot had changed. The Black Death had delivered enormous economic and spiritual shocks to European society, and there was a new breath of intellectual enquiry in the air: the Renaissance was coming.

The end of the Avignon Papacy was not a clean break. Most of the cardinals were still French and shortly after Gregory died and was replaced by the Italian Urban VI, they had second thoughts, walked out, and elected their own Pope – none other than Robert of Geneva, the butcher of Cesena, who took the name of Clement VII. Urban and Clement excommunicated each other, exchanged insults, and the resulting “Great Schism of the West” was to last another forty years. Urban is now considered a canonical pope by the church, and Clement an “antipope”, which serves him right.

I’ve chosen to write this post around three individuals, but there was a fourth memorable character involved – an extraordinary fellow called Cola di Rienzo (or Rienzi). This vain and pompous, but romantic and audacious adventurer rose from humble origins, seized power in Rome, and announced his intention to reunite Italy under a reborn Roman Empire. His bombastic personality, his imperial Roman fantasies and not least his violent end are all strangely reminiscent of Benito Mussolini. It’s quite a story, which has inspired multiple works of fiction and a Wagner opera. If I can assemble enough relevant photographs I might do a separate post on him one day.

The White Company included not just soldiers, but lawyers and notaries as well, to draw up complex contracts with employers. One oddity of those contracts is a standard clause that they would not act contrary to their loyalty to the King of England. Some have taken this to imply a degree of control by the King (Edward III).

There is some evidence for this. Hawkwood may have been a go-between helping arrange the marriage of Edward’s second son, Lionel, Duke of Clarence, to the daughter of Galeazzo Visconti of Milan. The wedding went ahead, but Lionel died soon after (inevitably, given the Visconti’s record, there were suggestions of poison). The wedding had taken place in Milan, and the Visconti hired a large force of mercenaries to escort the groom there. That bodyguard was commanded by John Hawkwood.

In Lionel’s retinue was a young diplomat called Geoffrey Chaucer. It is probable that they met, and plausible that the Knight in the Canterbury Tales is based on Hawkwood, at least in part.

Further Reading

Many histories deal with the Avignon Papacy, but an excellent start would be The Popes by John Julius Norwich, 2011.

Norwich

Quite a bit has been written about Hawkwood, including several works of fiction (starting with Arthur Conan Doyle). An approachable but well-researched history is Hawkwood, Diabolical Englishman, by Frances Stonor Saunders, 2004.

Saunders

And for anyone who like me is not a professional historian but who wants to understand the profound traumas of the 14th Century, I think that you still can’t go past Barbara W. Tuchman’s A Distant Mirror, The Calamitous 14th Century (1978).

Tuchman

Lake Maggiore and the Borromean Islands

Lake Maggiore is the largest of the north Italian lakes, sitting between between Lombardy, Piedmont and Switzerland. The area has some famous attractions, such as the Borromean Islands, and some less famous but very worthy ones.

This post describes a visit we made there a few years ago (pre-COVID). We flew from Australia, and thanks to a delayed flight from Melbourne we missed a connection in Dubai, arriving at Milan six or seven hours late. We then drove into the mountains above Lake Maggiore, arriving very late in the evening where our kindly hosts were still waiting to let us into the property.

The property was located in the strip of cleared land that lies under the cable car connecting the town of Stresa on the lake shore with the top of Mount Mottarone. That gave us some wonderful views, and since the cable car was not then in operation, it was very quiet.

Note: this is the cable car that was involved in a terrible accident in 2021. Investigators found that a safety mechanism had been deliberately disengaged.

Lake Maggiore
Lake Maggiore, from the slopes above Stresa, looking north to the town of Verbania and beyond to Switzerland. Hasselblad 501C/M camera, Zeiss Sonnar CF 150mm lens, CFV-50C digital back (click to enlarge).

The day after we arrived saw storms and cold weather. The day after that was clear and sunny, and thanks to the bad weather the day before, there had been an unseasonable (it was May) dump of snow on the mountains, making excellent conditions for photography.

Geology

The great lakes of Northern Italy – Maggiore, Como and Garda, were all formed by glacial action in the Ice Age, and thus run roughly from north to south, from the Alps down towards the Po Valley. The Alps, formed by the collision of tectonic plates, run more or less east-west here. This is particularly clear in the case of Lake Maggiore, and makes for some spectacular scenery, particularly from the top of Mottarone, looking northwards to where the Lake enters Switzerland.

Lake Maggiore from Mottarone
Lake Maggiore looking north-east from the top of Mottarone. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge)

Stresa

Stresa, while apparently of medieval origin, is today largely a 19th-Century resort town with some large hotels, and villas which are a bit architecturally reminiscent of Victorian-era post offices and fire stations in parts of provincial Australia. It therefore has a slightly faded death-in-Venice atmosphere and one can easily imagine chaps in top hats strolling along the lake front and helping ladies down from carriages. Still, as resort towns go it is an excellent example of the breed, and the scenery obviously keeps the tourists coming in the 21st Century.

Stresa Villa
Stresa, an ornate villa. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge)
Stresa
Stresa, Palazzo di CIttà and Tea Rooms. Google Nexus 6P phone camera (click to enlarge).

Lago d’Orta

We were struck by how comparatively few medieval buildings there were around, compared with further south in Italy. I suppose that, it being a wealthy area, people could afford to knock their old places down and rebuild.

In any case, if it is medieval that you want, a visit to the Lago d’Orta not far away will satisfy you. Lake Orta, just west of Lake Maggiore, is much smaller but formed by the same glacial system. The main town on the lake is Orta San Giulio, named after a Saint Julius who died on the little island nearby and was commemorated by a small oratory there from the 5th Century (completely obliterated by later buildings). The island appears to be some sort of pilgrimage centre these days, but whether this is due to a surviving cult of St Julius or for some other reason I was unable to establish.

Orta San Giulio
The Island of Isola San Giulio, from the town of Orta San Giulio. Hasselblad 501C/M camera, Zeiss Sonnar CF 150mm lens, CFV-50C digital back (click to enlarge)
Isola San Giulio
Isola San Giulio from the shores of Lake Orta. Hasselblad 501C/M camera, Zeiss Sonnar CF 150mm lens, CFV-50C digital back (click to enlarge).

There is a splendid medieval town hall in the middle of the town. This presented a slight photographic challenge, which I will discuss later.

Orta San Giulio
Orta San Giulio, Palazzo della Comunità. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back. Multiple images combined in Photoshop (click to enlarge).

The Borromean Islands

For us, as for many other visitors, the main attraction of the region was a visit to the Borromean Islands. What are they? Well, in Lake Maggiore, just off the shore from Stresa, are three large islands – Isola Bella, Isola dei Pescatori, Isola Madre plus a couple of little ones – and they are owned by the Borromeo Family. This family started out in Milan around 1300 and is still going today – I believe the heir to the family title is a countess who is married to the head of the FIAT empire.

On the way to today they got very rich, produced several cardinals (but no popes) and one saint. The saint (San Carlo Borromeo) was archbishop of Milan during the 16th Century and was canonised not for extraordinary acts of piety but for playing a major part in the purification of the Catholic Church from corruption and the overhaul of doctrine that we call the Counter-Reformation. A bit like getting an Order of Australia for conspicuous service in public administration.

Isola Bella

The Borromeo Counts started acquiring the islands in the 16th Century, and in the 17th Century Count Carlo III renamed one of them Isola Bella after his wife, as a present. It means “Beautiful Island”, but it was also a pun on her name, which was Isabella. He then built a palace at one end and started an extraordinary baroque garden at the other, also as a present.

Isola Bella and Isola dei Pescatori
Isola Bella and Isola dei Pescatori. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back. Four images stiched in Photoshop (click to enlarge).

Actually, the count didn’t manage to buy all of Isola Bella. A few indomitable fishermen refused to sell, doubtless with an eye to the profits of the tourist trade in four hundred years’ time, so there is now a small disorderly village running along a part of the lake front, all now converted into souvenir shops and the like.

Isola Bella
Isola Bella from the lake shore. The palace is at the back of the island in this view, the gardens at the front. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

The garden was completed by his next few successors, who had large quantities of soil ferried across to build up a series of monumental terraces. These were exuberantly decorated with statues, including several unicorns, a reference to the Borromeo coat of arms.

We turned up in Stresa nice and early, early enough to get a free car park opposite the extraordinary Regina Palace Hotel (picture below). Then we walked to the ferry terminal and bought what was basically an all-day ticket for the central section of the Lake Maggiore public ferry system – doubtless for a good deal less than it would have cost to get a ticket to the islands with one of the private tour companies.

Regina Palace Hotel
Stresa, Regina Palace Hotel. Google Nexus 6P phone camera (click to enlarge).

Having started early we therefore ended up on the first public ferry service to Isola Bella for the day. A couple of large French tour groups on private boats had beaten us there. To get to the gardens you have to buy a ticket to the palace, and go all the way through the palace. We took a tactical decision to do a speed tour of the palace and get to the gardens as quickly as possible. This was complicated by the tour groups who would spread out to block access to whichever room they were in but once it became clear that they were not going to move aside for us voluntarily, we did a bit of “scusi… scusi… scusi…” harassment and eventually penetrated their cordon sanitaire and made it into the gardens first. We had the gardens on Isola Bella all to ourselves, in beautiful weather, for probably fifteen minutes before the next few intrepid types broke through the French blockade.

Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola Bella
Isola Bella; the gardens. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

Isola dei Pescatori

The “Island of the Fishermen” is the next largest of the islands, and the only one to have a permanent population, albeit a small one. Having finished in the gardens at Isola Bella we made our way to the ferry jetty where one was just arriving and we hopped on to get to Isola dei Pescatori. There we found a little waterfront place called Trattoria Toscanini where we had a drink and watched the motor boats buzzing back and forth. The famous conductor wasn’t a local boy, but was apparently a regular visitor.

Isola dei Pescatore
Isola dei Pescatore. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola dei Pescatore
Isola dei Pescatore. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Isola dei Pescatore
Isola dei Pescatore. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

Then we walked around the island – it doesn’t take long – and poked around a few shops before having lunch. After having checked out several restaurants we decided that the Trattoria Toscanini seemed as nice as any and went back there. I had perch from the lake and Louise had a fritto misto of various lake fish. While we were eating, the restaurant cat turned up to check that all was in order. Being the resident cat at a fish restaurant on an island called “Island of the Fishermen” seems like a fairly cushy gig, and the cat did seem to consider that all in all the universe was ordered fairly sensibly. Below is a picture of the cat with the palace end of Isola Bella in the background.

Isola dei Pescatore
Isola dei Pescatore; the restaurant cat. Google Nexus 6P phone camera (click to enlarge).

Santa Caterina del Sasso

Another ferry trip we did from Stresa was to visit the convent of Santa Caterina del Sasso (Saint Catherine of the Rock). It was originally a hermitage that is built into a sheer rock and which until recently could only have been reached from the water.

Santa Caterina del Sasso
Santa Caterina del Sasso. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

The story of the site is that in the 12th Century a merchant, in gratitude for having survived a storm at sea, became a hermit on this solitary rock, which in the usual way acquired a reputation for sanctity, a chapel and a religious community. The religious community was suppressed by the Austrians in the 19th Century, and the site was re-occupied and restored by the Dominicans in the 1980s.

Santa Caterina del Sasso
Santa Caterina del Sasso. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).
Santa Caterina del Sasso
Santa Caterina del Sasso. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

It is now possible to reach the site on foot from above, but approaching it from the water is not only consistent with tradition, but gives by far the best views.

Santa Caterina del Sasso
Santa Caterina del Sasso. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50C digital back (click to enlarge).

A Note on the Photography

The challenge in photographing the town hall in Orta San Giulio was that it looked onto a busy square, full of tourists, but if you look back at the photograph above, the square looks deserted.

I don’t mind including the odd human figure in such shots, providing they are of the right kind – an old lady on a bicycle, say, or someone walking a dog, or maybe a shopkeeper. But in this case the tourists were too numerous, and too brightly dressed, to allow me to capture the atmosphere of the place. I waited a while in the hope that they would move off, but in a phenomenon well-known to photographers, as each group left, a new one arrived. So I decided to try a creative method of making them go away (shouting “fire!” would not have worked).

You can of course “paint out” a figure in Photoshop or similar software, but the more figures there are, and the more complex the background, the harder it is. That wasn’t going to be an option here.

I had a nice sturdy Manfrotto tripod with me, so I set it up in a corner of the square where it would not obstruct anyone, and mounted the Hasselblad on top, attaching a shutter release cable so I could take multiple identical pictures from exactly the same place.

The aim was that each part of the square should be free of people in at least one picture. So as the tourists ambled about, I took the several shots I thought I needed. In the event five was enough – all identical, you will recall, except for the moving people.

I then combined them into several “layers” in Photoshop, erasing each figure to reveal the empty space in the next layer down. The result is as you see in the photograph above. If you look hard you can see three figures I didn’t bother about – someone with a shopping bag under the arches of the building, a gentleman approaching down the street to the right, and a lady in a pink dress bending over and looking at the wares in a shop on the right. All three are in shadow and don’t really disturb the composition.

These days you can achieve the same effect with a lot less effort, with clever software which merges the layers and deletes anything that is only present in one layer. I tried it just now using Affinity Photo 2 software (which is what I use these days instead of Photoshop) and it was almost instantaneous, even on a rather old laptop. It even aligns the photos if you haven’t taken them with the camera on a tripod.

Cremona, Mantua and Venice – the life of Claudio Monteverdi

I would like to invite you on a tour through northern Italy, to Cremona, Mantua and Venice, the three cities in which lived one of the greatest composers in the history of music – Claudio Monteverdi (1567 – 1643).

Claudio Monteverdi
Portrait of Claudio Monteverdi by Bernardo Strozzi (Wikimedia Commons) (click to enlarge)

If you have not heard of him, or not heard much about him, there might be a few reasons for that. Two of the principal ones are firstly that the conventional classical musical pantheon is mainly inhabited by 18th and 19th-Century composers from German-speaking countries. Secondly, his non-vocal music is intended for instruments which are not typically available to modern symphony or chamber orchestras. As a result, Monteverdi’s music did not really become accessible to audiences until the early music revival of the 1970s. And it was in the late 1970s that, at a university choral festival, I first made his acquaintance through his Vespers of 1610. At the time my ignorance was such that I did not really appreciate how extraordinarily pivotal he was in music history, or how innovative was his music. Instead my critical insights were along the lines of “wow, this is good stuff!” (at least I got that bit right).

Before we start on the travelogue, let me try and set the context with some musical examples. Monteverdi’s long career straddles the late Renaissance and early Baroque periods, and he was a key influence on the transition from the older style to the newer. Oh, and along the way he managed to more or less invent opera.

Let us start with what came before. Here is an example of mature Renaissance music in the polyphonic style, a motel by Giovanni Pierluigi da Palestrina from 1604. You can hear how, rather than having a melody on top and an accompanying harmonisation underneath, each part is equally important and they weave around each other in a glorious harmonic soup.

Sicut Cervus by Palestrina, performed by The Gesualdo Six

It certainly is not simple or primitive music – it is very complex, but the structure imposes restrictions in terms of both harmonic and textural variations. Compare that with the following piece by Monteverdi – Nigra Sum sed Formosa from the 1610 Vespers. The basic structure is actually simpler – a melody and underlying chords, but that gives the composer (and the performer) more scope for expression.

Nigra Sum sed Formosa by Monteverdi, performed by Thomas Cooley and the San Francisco Early Music Ensemble

Cremona

Monteverdi was born in the elegant city of Cremona in the Po Valley, then part of the Duchy of Milan. These days the name Cremona is redolent with musical associations, but that is due to its having become, a century or so later, a centre for musical instrument manufacture by luthiers such as Stradivari and Guanieri. These days it is still elegant, and in the traffic-free zone in the centro storico, it has a relaxed feel.

Cremona
Cremona. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)
Cremona
Cremona. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

Monteverdi’s father was an apothecary, but young Claudio and his brother Giulio Cesare were destined for careers as musicians from a young age. It is known that Claudio was a student of a musician called Ingegneri who was maestro di cappella at the duomo in Cremona. This may well mean that Claudio was also a member of the cathedral choir.

Cremona DUomo
Cremona, the Duomo. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

The Duomo still stands in the main piazza of Cremona. It is the expected palimpsest of Romanesque, Gothic, Renaissance and Baroque styles, but the overall effect is harmonious enough. For our purposes, the important thing is that it looks today almost exactly as it would have done when the young Claudio wandered home across the square for lunch after a morning studying music theory, or scurried along under the cloisters on a dark wet winter’s morning on his way to sing at early mass.

Cremona Duomo
Cremona, the Duomo. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

Mantua

Monteverdi’s first published works date from his youthful studies in Cremona, but it was not long before he got the first of the only two jobs he held over the course of his long life. It was in Mantua, at the ducal court. He started there as a string player, but it was not long before his other talents were recognised, and the tasks flowed in. Compositions sacred and secular, for grand and intimate occasions, theatrical productions, you name it. The demands were continuous, and the schedule punishing.

Mantua
Mantua, a corner of the Ducal Palace. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

While the work was regular, his pay was not. We met the ruling family of Mantua, the Gonzagas, before, in their glory years around the turn of the 16th Century. But a hundred years later the Gonzagas’ party was coming to an end, although no-one was ready to admit it. Mercenary soldiering didn’t pay as well as it once did, and Duke Vincenzo wasn’t actually all that much of a soldier anyway – although he was good at striking martial poses. He was also quite good at flouncing off the battlefield if he thought his dignity had been impugned, or if there looked like being any chance of real action. Nor were the strategic circumstances as conducive as they had been to skilled balancing acts between the major powers. Not that Vincenzo would have been much good at that either, probably.

Mantua
Mantua, corridor in the Ducal Palace. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

The one thing that remained important was putting on a good show – facendo una bella figura – and among other things, it helped to be seen to be employing the greatest musician of the day, even if the state revenues didn’t quite run to paying him regularly. The state archives of Mantua contain many letters from Monteverdi, pointing out how badly in arrears his salary was.

But – and posterity must be grateful – that didn’t stop Monteverdi churning out innovative music of great beauty and variety. We think of the Italian Renaissance as being the centre of innovation in the arts, but in fact this wasn’t quite the case for music. In the late Middle Ages and much of the Renaissance, the action was in northern Europe, and when Italian courts started employing the great composers of the day, they were people like Josquin des Prez and Roland de Lassus from northern France and Flanders. When Monteverdi arrived in Mantua, the maestro di cappella was a Fleming whose Italianicised name has come down to us as Giaches de Wert. Monteverdi was therefore probably one of the first great Italian musical innovators, and his early madrigals showed a willingness to push the rules of harmony to breaking point in order to capture the emotional intensity of the text.

Mantua Ducal Palace
Mantua, courtyard in the Ducal Palace. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

That led him into inevitable controversies, and he conducted a long-running argument with a grumpy old musical theorist from Bologna called Giovanni Artusi who wrote a treatise called On the Imperfections of Modern Music. In this, although he did not name Monteverdi, Artusi illustrated his arguments with copious examples of Monteverdi’s own works! Monteverdi countered that there were two styles of music at the time – prima pratica, which was the older polyphony, and seconda pratica which was the newer melodic style. And to drive home the point, he showed that he was adept at both. But Monteverdi had his supporters too, who were happy to enter the lists on his behalf while he concentrated on composition.

Meanwhile, the Renaissance enthusiasm for artistic models from Greek and Roman antiquity was still running high. Having worked their way through the obvious options – visual arts and architecture – scholars turned their attention to theatre and music. The latter had the obvious disadvantage that there were no surviving examples or even any useful descriptions of ancient music, but some scholars noted references to the fact that the chorus in Greek plays sang their lines rather than speaking them. This, and the contemporary evolution of the highly emotional seconda pratica style of solo songs and madrigals, led people to consider the idea of a dramatic work in which all the dialogue was sung.

Monteverdi was not the only musician active in the field, but his l’Orfeo (Orpheus) of 1607 has long been considered the first proper opera. Below is a photograph of the Sala degli Specchi (Room of Mirrors) in the Ducal Palace in Mantua. It has been remodelled since the early 17th Century, but it is thought that the first performance of l’Orfeo took place in this room, or an adjacent one. And as you can see, it is still used for performances.

Mantua Ducal Palace
Mantua, Ducal Palace, “Sala degli Specchi”. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

If this is indeed the location of the original performance, you can see that the audience would not have been all that large. And while the interior may have been remodelled, the view out of the windows is not likely to have changed very much.

Mantua Ducal Palace
Mantua, Ducal Palace, view from the “Sala degli Specchi”. Hasselblad 501C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge)

Meanwhile Monteverdi had become fed up with Mantua. He was overworked, the damp climate disagreed with him, and his wife had died young, leaving him to raise two small boys on a small and unreliable wage. But if you worked for a ducal court, you couldn’t just resign; you had to be granted permission to leave. Despite several written requests from Monteverdi, this permission was always refused. In 1610 he published a mass and “some other pieces” dedicated to Pope Paul V, and it is thought that this was part of an unsuccessful attempt on his part to get a job in Rome. The Mass – Missa in Illo Tempore – was a polyphonic piece in the prima pratica style, showing his mastery of that older form, although not without some unexpected harmonic modulations of which Artusi would have disapproved.

The “other pieces”, though, were the psalms, motets and Magnificat which make up a complete setting of the vespers service, and of the works of Monteverdi that survive, the Vespers of 1610 is his masterpiece – probably the greatest unsuccessful job application ever.

The Vespers demand a full listening – my favourite recording is that by Philippe Herreweghe. But here are some more examples to go with the Nigra Sum sed Formosa linked above. Let us start with the stunning opening – Deus in Adiutorium Meum Intende (O God, make speed to save me). The Gregorian chant opening phrase is performed by the tenor soloist, “operatically” as if he is really crying out for help, after which the chorus and orchestra let rip, with a fanfare (recycled from l’Orfeo) playing underneath a monolithic D Major chord from the chorus. Wake up, music – the 17th Century is here!

Monteverdi, Deus in Adiutorium Meum Intende, performed by Szczawnica Chamber Choir, Cappella Infernata, Musica Aeterna Bratislava, dir. Agnieszka Żarska

The Vespers is a real tour de force in which Monteverdi displays mastery of different styles, and invents some more. What could have been more of a shock to old Artusi than to hear the psalm Nisi Dominus set to music in dance rhythms?

Monteverdi, Nisi Dominus, The Monteverdi Choir and Orchestra, dir. John Eliot Gardiner

Then in 1612, the Duke died, and his successor, faced with state finances that were completely out of control, did what all incoming governments do, and slashed spending. Monteverdi and his brother were unceremoniously sacked and found themselves returning to Cremona in real financial hardship.

Venice

But finally something went right for him. The following year, the most prestigious musical job in Italy – Director of Music at St Mark’s in Venice – suddenly became vacant, and Monteverdi got it. He was to live another thirty years, and he spent them all in Venice.

St Mark's, Venice
The Basilica of St Mark, Venice. Hasselblad 500C/M, Zeiss Planar C 80mm lens 6x6cm film back, Fujichrome Velvia film (click to enlarge).

I have been lucky enough to hear Monteverdi’s music performed in St Mark’s. In 2016 we were poking about near the Basilica when Lou noticed a small poster in Italian announcing a free concert that evening, to commemorate the 700th anniversary of the founding of a permanent musical establishment there. While there are always concerts on in Venice, most of them assume you only want to hear Vivaldi’s Four Seasons. So this promised to be special. And it was – not only for the music, which included a movement from the Missa in Illo Tempore, but interesting also to hear Monteverdi’s music in the sort of highly resonant acoustic for which it was composed. This sets practical limits on the speed at which it can be performed, and is something to which I feel musicologists sometimes pay insufficient attention. (Similarly, I feel that arguments about the appropriate number of musicians to perform Bach Cantatas should take account of the size of the choir loft in St Thomas’s Church in Leipzig).

These days, the selfie-stick plague means that photography is not permitted inside the Basilica during tourist visiting hours, but there seemed to be no such prohibition during an evening concert, so I grabbed a couple of shots on my phone.

St Mark's Venice
Interior of St Mark’s during a concert. Nexus 5 phone camera, ProShot camera app (click to enlarge).
St Mark's Venice
Interior of St Mark’s during a concert. Nexus 5 phone camera, ProShot camera app (click to enlarge).

It is sobering to think that, while what we have of Monteverdi’s music contains pieces of extraordinary beauty, much has not survived. Several of his operas and perhaps the major part of his liturgical music are lost. One of the lost operas was his second – Arianna (Ariadne) which tells the story of Ariadne’s abandonment on the island of Naxos by Theseus. Fortunately, the dramatic high point of the opera, Ariadne’s Lament, was so popular that it survives in several editions. It is in a recitativo style, where melodic sections are interspersed by sections where the rhythms match the natural rhythms of speech – another novelty.

Monteverdi, Lamento di Arianna. Accademia degli Imperfetti, Silvia Piccollo, soprano.

After Monteverdi’s death, his music (apart from the Lament) appears to have faded from the repertoire, and while no book of musical history would have been complete without a discussion of his influence, concert-goers would have been hard put to actually hear much of his music until the early music revival of the second half of the 20th Century. A major contribution to this was the publication of a performance edition of the 1610 Vespers, in modern notation, by the musicologist Denis Stevens in 1961.

These days there are many performing groups, and audiences, for whom Monteverdi would be considered core repertoire, which is an excellent thing. Here is an exuberant performance of Zefiro Torna by the group l’Arpeggiata.

Monteverdi, Zefiro Torna, performed by l’Arpeggiata, with sopranos Nurial Rial and Philippe Jaroussky.

Oddly, an early partisan of the rediscovery of Monteverdi at the start of the 20th Century was the poet and proto-fascist Gabriele d’Annunzio. Though I suspect that for d’Annunzio, the main attraction of Monteverdi was not necessarily his music, but the fact that he was Italian and not German.

But even though he may have been largely forgotten in his native country, it is possible with a bit of historical licence to trace Monteverdi’s influence on German music. The Dresden composer Heinrich Schütz studied twice in Venice, the first time under Giovanni Gabrieli, from whom he acquired his facility with polychoral composition. The second time it was with Monteverdi. On his return, Schütz composed operas and Venetian-style motets, although there wasn’t much demand for them during the privations of the Thirty Years War. But the other thing he brought back with him was Monteverdi’s recitativo style that we heard earlier in Arianna. This he incorporated into the emerging German cantata form, in which, as in Monteverdi’s operas, the music served the meaning of the text. In due course this tradition found its highest expression in the music of J.S. Bach. The idea of a direct line from Monteverdi to Bach is one that I find particularly appealing.

One of the reasons we know so much about Monteverdi’s career is that he was, almost from the start, a civil servant employed by two states whose official archives, including his correspondence with his employers, have mostly survived. If you go and see Monteverdi’s tomb in Venice, you will find it in a church (see below) that is next to the building that contained the official archives of the Republic.

Venice, Archives
Venice, the old Archives Building. Hasselblad 500C/M, Zeiss Planar C 80mm lens 6x6cm film back, Fujichrome Velvia film (click to enlarge).

Although he became a priest in 1631 (never having remarried after the death of his wife) Monteverdi continued to compose secular as well as sacred music, including several more operas. His final opera, published in the year of his death – 1643 – is l’Incoronazione di Poppea (The Coronation of Poppea). This is, simply, extraordinary. Absent are the Olympian gods, gone are the arcadian nymphs and swains, gone are the heroes of legend. Instead it is a bloody historical drama from ancient Rome about the Emperor Nero and his lover Poppea. At the end, after all the good characters are dead or exiled and only the two evil characters remain, they sing this meltingly beautiful (and highly erotic) love duet. Astonishing stuff from an elderly priest.

“Pur ti Miro” from l’Incoronazione di Poppea, with Philippe Jaroussky as Nero and Danielle de Niese as Poppea.

Some of the material in Poppea is known to be by other composers – not unusual at the time. There is a bit of discussion about whether Monteverdi actually wrote Pur Ti Miro. I’ve recently listened to a podcast on the subject from the BBC Radio 3 “Early Music Show” and I’m inclined to come down on the side of it having been Monteverdi. If not, then whoever wrote it went to great pains to reproduce Monteverdi’s style with complete fidelity.

On his death, Monteverdi was buried in the great Franciscan church of the Frari, in Venice.

Frari, Venice
The Frari Church, Venice. Hasselblad 500C/M, Zeiss Planar C 80mm lens 6x6cm film back, Fujichrome Velvia film (click to enlarge).
Frari, Venice
Altarpiece by Bellini, the Frari Church, Venice. Hasselblad 500C/M, Zeiss Planar C 80mm lens 6x6cm film back, Fujichrome Velvia film (click to enlarge).
Frari, Venice
Carved and gilded choir stalls, the Frari Church, Venice. Hasselblad 500C/M, Zeiss Planar C 80mm lens 6x6cm film back, Fujichrome Velvia film (click to enlarge).

If you enter from the glare of the street, and, having taken in the altarpieces by Bellini and Titian, you look down to your left, you will see the composer’s simple tombstone. You may find an offering of some sort placed on it, maybe some of the spring flowers that feature so often in his madrigals.

Frari, Venice
Monteverdi’s tomb, the Frari Church, Venice. Hasselblad 500C/M, Zeiss Planar C 80mm lens, 6x6cm film back, Fujichrome Velvia film (click to enlarge).