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Military Structure Built in the Last Years of The 1. THE PRISON OF THE MARTYRS OF BELFIORE (CASTELLO DI SAN GIORGIO) The Castello di San Giorgio (Castle of Saint George), military structure built in the last years of the fourteenth century, after a project by the architect Bartolino da Novara (who also designed the castle in Ferrara), was originally used as prison too. In the first half of the fifteenth century the prisoners were held in the dungeons of the castle. It’s quite probable that, when Ludovico II decided to move and live in the castle towards the year 1459, it wasn’t no longer used as a prison. The Hapsburgs, who ruled Mantua from 1707 to 1866, filled the piano nobile (the first floor) with their archives and used the upper floor as a prison where the Martyrs of Belfiore were jailed. They were the heroes of the Italian Risorgimento, hanged in a place called Belfiore close to Mantua. The Mantuan conspirators, don Giovanni Grioli, Enrico Tazzoli, Angelo Scarsellini, Bernardo De Canal, Giovanni Zambelli, Carlo Poma, Carlo Montanari, Tito Speri, Bartolomeo Grazioli, Pietro Frattini and Pietro Fortunato Calvi (he, however, had nothing to do with the ”conspiracy of Belfiore”), were related to Giuseppe Mazzini and were sentenced to death and executed between 1851 and 1855. They weren’t all from Mantua, but they were all condemned by general Radetzky and all imprisoned in the Castle, from which only Felice Orsini from Forlì managed to escape. A monument was sculpted by Pasquale Miglioretti in 1872, to recall the tragic end of those defenders of the Italian freedom and independence. The monument, formerly placed in piazza Sordello, was moved in 1930; in 2002 it was rebuilt just in Belfiore, but in the corridor of the prison there are still two bas-reliefs, which were already part of it, portraying the conspirators. The upper floor of the Castle doesn’t concern only the last time of the Martyrs of Belfiore, but also bears important traces of its Gonzaga past. In the twenties of the sixteenth century – therefore before carrying out the Appartamento di Troia (the Apartment of Troy) – Federico II had a set of rooms decorated on the upper floor, both in the Castle and in the buildings beyond the moat, corresponding to the actual Sala di Manto and Sala dei Capitani (Rooms of Manto and of the Captains). The decoration of the Zodiac Room, that was also the prison of Pietro Frattini, belongs to that decorative season, mostly hidden or eliminated by more important works. The wide cross-vault and the lunettes below were painted around 1520-25 for Marquis Federico II, who would become duke in 1530. The powerful Hercules frescoed in the center of the vault, holding a heavy club and carrying the inscription “UBIQUE FORTIS” (strong everywhere), should allude to Federico himself. The “sky” is divided into twelve sections by rays in gilded pastiglia, each of them corresponding to one of the twelve zodiac signs: possibly the implicit subject is the birth theme of the Marquis. The frescoes, already attributed to Lorenzo Leombruno or to an assistant of Giulio Romano – but the fantastic landscapes would be a work of a Flemish artist – recall the complex Mannerist culture that, in Mantua, mixed the knowledge of such painters as Dosso Dossi and Pordenone with echoes of the Raphaelesque culture. MUSEO DI PALAZZO DUCALE Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Mantova Trad. A. Corbellani, A. Mossini 2. THE PIANO NOBILE OF THE CASTELLO DI SAN GIORGIO (ISABELLA D’ESTE’S APARTMENT; ROOMS OF THE PALAZZINA DELLA PALEOLOGA) Isabella d’Este came in Mantua as a very young bride (in 1490) and lived on the piano nobile of the Castello for a long time, while her husband Francesco II lived on the ground floor. The cultivated and refined marchioness was a protagonist and a symbol of the Italian Renaissance. In about ten years she created a set of rooms of great beauty inside the Castle, although unluckly few of them is still extant. When she became a widow in 1519, she moved into Corte Vecchia (Old Court) where she had part of her furnishings transferred from the Castle and had them rearranged in the new apartment. However, at least some traces of the Studiolo and of the Grotta survive, as well as a series of small chambers and larger rooms. The Grotta (Grotto) is of particular interest. The actual wooden barrel vault covers paintings with the signs of the Zodiac, frescoed when the small room was used as Ludovico II’s (1444-78) studyroom. Today, the most interesting decorative element is the wooden ceiling, carved for the marchioness by the Mola brothers around 1506-08 and decorated with tablets representing the “musical pauses”. From 1534 onward, the Grotta became the passage leading to the Palazzina of Margherita Paleologa. Exactly above the Grotta is placed Isabella’s Studiolo (Study). The marchioness had it decorated at the end of the fifteenth century, but it was restored at Giulio Romano’s age. A trace of the original inlaid marble floor is left. It housed paintings of great value: works by Andrea Mantegna, Perugino, Lorenzo Costa the Elder, later transferred to Corte Vecchia, like most of the furnishings and collections; since 1628, however, those paintings moved to France and they can now be admired in the Louvre in Paris. The nearby Sala delle Armi (Room of the Arms), placed in the northeast tower of the Castle, houses a 1513 polyptych painted by Cima da Conegliano for the church of Sant’Anna in Capodistria. It’s further possible to enter the Cappellina del Bertani (Bertani’s Chapel), passing through the sacristy. The chapel was turned into a place of worship only in 1561 and it was the prefetto delle fabbriche (supervisor of the works), the painter and architect Giovanni Battista Bertani, who gave it the appearance of a refined small oratory, which seems to glorify the Corinthian order even more than the Virgin to whom it was dedicated. Through the Passo Oscuro (Dark Passage), we get to some rooms where the decorations of the Palazzina della Paleologa were reassembled. The building was carried out by Giulio Romano for Margherita Paleologa of Monferrato, between 1534 and 1536. The one-storey Palazzina had also a hanging garden; the whole building was demolished in 1899. The protests of part of the citizens led, at least, to the detachment of some pictorial decorations. In the twenties, they were reassembled on wooden frames and placed in the rooms on the piano nobile of the Castello where they still are now. Among the rooms that were preserved, the first is the Camerino degli Armadi (Small Chamber of the Cabinets), so called for the wooden closets painted by one of Giulio Romano’s assistants, maybe Agostino de Ganis. Among the rich festoons on the corbels of the vault, the representations of the Four Continents should be noticed. It’s quite probable that the pictorial decoration was realized by Lorenzo Costa the Younger (1535-83). The next room contains frescoes connected with an Oratorio, or Chapel. Anton Maria Viani (1550 c. - 1630) is generally acknowledged as the artist who painted these scenes between the end of the sixteenth and the beginning of the seventeenth century, but instead it is possible that they were frescoed by Ippolito Andreasi, known as Andreasino (1548-1608). The third room, called the Camerino delle Stagioni (Seasons Closet), is the only one that preserves the original decoration painted by Giulio Romano’s assistants. MUSEO DI PALAZZO DUCALE Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Mantova Trad. A. Corbellani, A. Mossini 3. APPARTAMENTO GRANDE DI CASTELLO (THE LARGE CASTLE APARTMENT) The Large Castle Apartment, built for Duke Guglielmo (1550-87), was at first designed by the architect Giovan Battista Bertani, but, after his death, the works were concluded probably under the direction of Pirro Ligorio from Neaples. Under the apartment there is a long passageway that leads from the lakeside road directly into piazza Santa Barbara (Santa Barbara square), skirting the Basilica. Guglielmo had the whole apartment decorated to exalt his lineage and to commemorate the main events of the city’s history, from the mythological origins to the more recent deeds of his ancestors. The Room of the Captains follows the Sala di Manto (Manto’s Room). Four large canvases (unluckly lost) were hosted herein and celebrated the exploits and events related to the first Captains of the people, starting from Luigi Gonzaga. The tempera mural depicting the Oath of Luigi Gonzaga – now to be seen on the wall opposite the entrance – was thus to be covered by a similar huge canvas. Although the painting shows strong archaisms, it dates back to the years 1576-78 and was realized by an artist (probably Benedetto Pagni from Pescia) who took inspiration from a late fifteenth- century composition. In the middle of the wall painting the dwarf Frambaldo is portrayed, while on the right is the giant Guglielmone, armed: both are mentioned at the court of Luigi in the oldest chronicles. The wooden ceiling and the fireplace were both carried out after a design by Giovan Battista Bertani. The stuccoes, in the corners of the room, portraying the four Captains Luigi, Guido, Ludovico I and Francesco I, are probably the work of the modeller Iacopo d’Ughetto from Modena, who was also author of those in Manto’s Room. In the following Sala dei Marchesi ( Room of the Marquises) the deeds of the Marquises (Gian Francesco, Ludovico II, Federico I and Francesco II ) were celebrated in a series of four very important canvases: the famous “Fasti”( Feats ) painted by Iacopo Tintoretto in 1579, that are now in the Alte Pinakothek in Munich.
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