Category Archives: Milan

1526: Bianca Maria Gaspardone, the Insatiate Countess

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On this date in 1526, Bianca Maria Gaspardone was beheaded at Milan’s Castello di Porta Giova, the present-day Castello Sforzesco.

She was only about 26 years old, but onto her second* dynastic marriage — this to Renato di Challant.

As the story was later recorded in Matteo Bandello‘s Novelle,** the young woman had wealth and options, and with her husband off fighting in Milan’s war against France, she indulged a series of boudoir intrigues — critically for our purposes, one Ardizzino Valperga, Count of Masino.

Per Bandello, the Lady of Challant grew annoyed by him and tried to dispose of him by provoking a quarrel between he and another of her lovers, the Count of Gaiazzo — but the two men compared notes and simply arrived at a mutual contempt for her.

The count made the sign of the cross, and all full of wonder said: Fie, shameless slut that she is. If it weren’t a dishonor for a knight to imbrue his hands in the blood of a woman, I would gouge out her tongue through the back of her neck; but first I would like her to confess how many times she begged me with her arms on the cross, that I have you killed! And so they repeated in public and private the crimes of this dishonest woman until they were on every person’s lips. She, hearing what these gentlemen said about her, even if she pretended no concern for it, was angry with indignation and thought of nothing else but to be highly avenged.

It was in those days in Milan there was one Don Pietro di Cardona, a Sicilian, who governed the company of his legitimate brother Don Artale. This Don Pietro was a young man of twenty-two, dark-faced but proportionate in body and melancholy appearance, who one day seeing Mrs. Bianca Maria fell wildly in love with her. She judging him to be a pigeon of first feather and instrument capable of doing what she so longed for, lured him to better ensnare and dazzle him. He, who had never before loved a woman of account, considering her to be one of the first in Milan, pined miserably for her sake. In the end she made it one night to go and sleep with him, and took such loving pleasure together that he believed himself to be the happiest lover in the world, and not long after asked the young man to kill the Count of Gaiazzo and Signor Ardizzino.

Don Pietro obligingly ambushed Signor Ardizzino and did him to death. Arrested thereafter, he was equally obliging in giving up his paramour as the moving spirit, and she foolishly admitted as much by trying to bribe her way out of trouble.

Don Pietro was permitted to flee from prison. But the unfortunate young woman, having confirmed her lover’s confession with her own mouth, was condemned to have her head cut off. She, having heard this sentence, and not knowing that Don Pietro had run away, could not be prepared to die. At the end, being led onto the ravelin of the castle facing the square and seeing the block, she began to cry in despair and beg for the grace that, if they wanted her to die happy, they would let her see her Don Pietro; but she sang to the deaf. So the poor woman was beheaded. And whoever longs to see her face portrayed in life, should go to the Chiesa del Monastero Maggiore, and there he will see her painted.


Bandello’s closing remark about her painting has commonly been understood to claim her as the model for this fresco of Saint Catherine of Alexandria by Leonardo da Vinci follower Bernardino Luini (1530). More recent research has cast doubt on that notion: scholars now prefer to reckon her image as that of a kneeling patron (along with her first husband) in a different image.

This tale made its way from Bandello’s pen into subsequent literature, notably a Jacobean English sex-romp tragedy called The Insatiate Countess, and a 19th century Italian play, La Signora di Challant; the whole thing appears overall to have unrealized potential for digital-age revival as sultry costume drama for prestige television.

* First hubby Ermes Visconti was beheaded in 1519.

** Bandello’s Novelle stories, which mix history and folklore, also include a version of the pre-Shakespeare Italian Romeo and Juliet drama.

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1630: Guglielmo Piazza and Giangiacomo Mora, colonna d’infamia

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On this date in 1630, a ludicrous disease panic sent two innocent men to the scaffold in Milan.

Terrified as their family and neighbors dropped dead around them of a raging bubonic plague outbreak, the surviving Milanese sprouted buboes on their brains.


1630 illustration of the plague-wracked Milanese doing the bring-out-your-dead thing.

Just days before the executions marked in this post, a city official named Guglielmo Piazza was noticed by some busybodies “strolling down the street writing from an ink-horn at his belt and wiping his ink-stained fingers on the walls of a house.” They promptly reported him not for misdemeanor property damage but for spreading plague poison, whatever that would be.

Investigators to their shame gave this accusation enough credence to interrogate Piazza under torture, a decision which obviously was tantamount to the execution itself. He broke he sealed his own fate when he broke and confessed, and sealed same for a misfortunate barber named Giangiacomo Mora whom Piazza was made to accuse.

Milan was proud enough of this obvious injustice to stand up an colonna d’infamia (“column of infamy”) denouncing both “poisoners” until a storm finally knocked the lying marble down in 1788. It read,

Here, where this plot of ground extends, formerly stood the shop of the barber Giangiacomo Mora, who had conspired with Guglielmo Piazza, Commissary of the Public Health, and with others, while a frightful plague exercised its ravages, by means of deadly ointments spread on all sides, to hurl many citizens to a cruel death. For this, the Senate, having declared them both to be enemies of their country, decreed that, placed on an elevated car, their flesh should be torn with red-hot pincers, their right hands be cut off, and their bones be broken; that they should be extended on the wheel, and at the end of six hours be put to death, and burnt. Then, and that there might remain no trace of these guilty men, their possessions should be sold at public sale, their ashes thrown into the river, and to perpetuate the memory of their deed the Senate wills that the house in which the crime was projected shall be razed to the ground, shall never be rebuilt, and that in its place a column shall be erected which shall be called Infamous. Keep afar off, then, afar off, good citizens, lest this accursed ground should pollute you with its infamy.

August, 1630.

Prior to the column’s overturning, the Milanese Enlightenment intellectual Pietro Verri wrote a meditation upon it titled Sulla tortura e singolarmente sugli effetti che produsse all’occasione delle unzioni malefiche, alle quale si attribui la pestilenza che devasto Milano l’anno 1630. Italian speakers can enjoy it here.

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1432: Francesco Bussone da Carmagnola, scheming condottiero

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Italian mercenary Francesco Bussone da Carmagnola was beheaded on this date in 1432.

A successful condottiero was defined by a mixture of battlefield success and cutthroat scheming, and it was his clumsiness with the latter that did in Carmagnola.

His name denotes his origin, from a town in the Piedmont where despite his low birth, his talents raised him to a command for Filippo Maria Visconti‘s brutally successful campaign* to reunite his father’s divided patrimony and make the Duchy of Milan a peninsular power.

So you might think that Carmagnola stood to reap ample rewards for fastening himself to a rising star. But Visconti, perhaps fearing the prospect of a subordinate accumulating enough power to mount a coup d’etat, used a niggardly hand with the emoluments that his general was anticipating — and this led Carmagnola to ditch the Duchy and make an arrangement with its rival, Venice.

The turncoat had the satisfaction of smashing his former Milanese mates at the 1427 Battle of Maclodio, a battle that helped to achieve for Serene Republic its largest-ever Italian territorial expanse.

But his failure to follow up the victory aggressively soon tested the patience of his new patrons. After a short interval of peace, Venice resumed war with Milan in 1431, and here Carmagnola dilated unacceptably (Italian link), failing to advance on Cremona and instead proposing to winter his army — in August.

The Venetian Council of Ten also caught wind that Carmagnola was maintaining a secret correspondence with Milan and exploring the prospect of changing teams yet again.

Determined to have done with the snake, it summoned him back to Venice under the pretense of convening a war council for the 1432 campaign season. He arrived to find that it was too late in the day to meet the Doge, but as he started for his gondola to retire one of the Venetian gentlemen who had been sent to meet him instead directed his steps away.

“That is not my way,” Carmagnola objected.

“Yes, yes, this is your right path,” the man insisted — and Bussone, beholding him gesturing to the yawning gate of the Piombi dungeon, could only exclaim, “I am lost!”


The arrest of Francesco Bussone da Carmagnola

He was beheaded as a traitor between the scenic columns of San Marco and San Todaro. His widow returned to Milan and eventually repatriated the late commander’s remains to his native soil.

* Carmagnola left a nasty legacy to the world’s architectural heritage during this time by collapsing the Trezzo sull’Adda Bridge, the widest-spanning single-arch bridge ever built before the industrial age.

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1477: Gerolamo Olgiati, ducal assassin

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Dramatization of events in this post for the video game-derived film Assassin’s Creed: Lineage.

On this date in 1477, the assassins of the Duke of Milan suffered bitter death for fame eternal.

Famous for both his astute political machinations and for cruelty verging on the sadistic, Galeazzo Maria Sforza inherited leadership of Milan in at the age of 22 with the passing of his father, the great condottiero Francesco Sforza.

Francesco, the founder of the Sforza dynasty, had dynastically married himself to one Bianca Maria Visconti, a daughter of Milan’s previous ruling house.* But not all of the Visconti were at home with the Sforza.

A brash young man of that noble family, Carlo Visconti, as full of humanistic idealism as he was of bile for the licentious Duke’s alleged violation of his sister, joined a conspiracy also compassing two other gentlemen, Giovanni Andrea Lampugnani and Gerolamo Olgiati, to do Galeazzo Sforza to death.

At a St. Stephen’s Day service in a basilica christened to Stephen Lampugnani approached the prince feigning supplication for some audience, then produced a hidden blade and stabbed Galeazzo Sforza. Visconti and Olgiati then rushed on Sforza as well and before anyone realized what was happening the Duke, croaking some half-heard invocation of Mary, was falling dead on the church floor.


Illustration of Galeazzo Sforza’s murder on the title page of a 1476 Lament for the Duke decrying the assassination.

Pandemonium ensued, and in the ensuing helter-skelter, Sforza’s bodyguards fell on Lampugnani and killed him on the spot, while Olgiati managed to escape.**

“It now only remains for us to consider those dangers which follow after the execution of a plot,” Machiavelli mused in his “Of Conspiracies” typology of his Discourses. “These in fact resolve themselves into one, namely, that some should survive who will avenge the death of the murdered prince. The part of avenger is likely to be assumed by a son, a brother, or other kinsman of the deceased.”

Well, yeah.

The assassins of the Duke of Milan appear not to have burdened themselves overmuch with advance consideration of this danger, possibly indulging the dream of Brutus that by a dagger’s stroke alone they could restore the lost republic.

Needless to say, this beautiful hope vanished in the bloody revenge carnival that actually ensued the murder. Just a few days after the assassination, having taken refuge with a priest — his justly frightened family had closed its door on him and needed to make theatrical denunciations of his treason for their own safety — Olgiati was captured, put to a torturous interrogation, and publicly butchered. He had outlived the Duke by only a week, and his gashed carcass was hung up in sections around town by way of warning. The rotting heads of the conspirators remained impaled on lances on the city’s bell tower well into the 1490s.

According once again to Machiavelli, Olgiati “exhibited no less composure at his death than resolution in his previous conduct, for being stripped of his apparel, and in the hands of the executioner, who stood by with the sword unsheathed, ready to deprive him of life, he repeated the following words, in the Latin tongue, in which he was well versed

“‘Mors acerba, fama perpetua, stabit vetus memoria facti.'”

That is,

‘Death is bitter but fame is eternal, and the memory of the deed will endure.’

This attempt, quixotic and doomed, to depose an Italian tyrant by murdering him in church might well have formed the blueprint for a similar plot in Florence in 1478, the Pazzi conspiracy. That version was even less successful than its Milanese predecessor: at least Olgiati and company could say that they actually managed to kill their target before everything else hit the fan.

And republic or not, Sforza’s murder did shake up the polity. It put the Duchy of Milan in the hands of his wife, as the unsteady regent of a seven-year-old heir. A few years later, the late duke’s brother Ludovico displaced the regent and effectively bossed Milan until the French imprisoned him in 1500 during the Italian Wars.

While he had the run of the place, Ludovico Sforza commissioned of Leonardo da Vinci a monumental equestrian statue in memory of his brother that da Vinci never finished.† Quite strangely, the master’s notes were plumbed by a 20th century Pennsylvania airline pilot who dedicated the latter part of his life to actually casting “Leonardo’s Horse”.

* The names Visconti and Sforza are also associated with some of the earliest tarot decks and among the first to introduce to playing cards the use of trionfi, or “triumph” cards — that is, “trumps”. One can readily purchase present-day reprints of this historic pack.

** There is a positively maddening inconsistency, thus far irresolvable for this author, between accounts (here’s one example | and another) asserting that Carlo Visconti was slain by Sforza’s bodyguards directly after the assassination, and other accounts (like Gregory Lubkin’s 1994 history of Sforza’s Milan) that put Visconti on the scaffold beside Olgiati.

† Da Vinci’s ponderously slow progress on this high-profile project led Michelangelo to cattily impugn the rival artist’s bronze-casting aptitude.

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1418: Beatrice di Tenda

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On this date in 1418, the Duke of Milan annulled his marriage at the headsman’s block.

Beatrice (English Wikipedia entry | Italian) was initially the wife of the condottiero Facino Cane, a brutal but successful warrior who gained de facto control of the Duchy of Milan when it was inherited by a teenage Duke.

That teen’s younger brother, Filippo Visconti, spent the early 1400s packed away in Pavia, sickly and marginal, wondering which of the deadly machinations of state playing out above him might unexpectedly come crashing down on his own head. It seems doubtful that Beatrice ever had reason to give the little twerp a thought.

Delivery for Filippo came in May 1412. Big brother was assassinated while Facino Cane lay dying and suddenly the 19-year-old called the shots in Milan. In his day, he would become known as a cunning and cruel tyrant, and would make Milan the dominant power in northern Italy.

And it all was possible because of May 1412, which not only elevated Filippo but widowed our principal Beatrice. From her puissant late husband she inherited 400,000 ducats and huge … tracts of land. Her virtues could hardly fail to appeal to the whelp of a Duke, even at twenty years his senior; indeed, it was Cane himself who sketched out this succession plan from his deathbed.

It seems, however, that having taking possession of the wealth and legitimacy that came with Beatrice’s hand, Filippo soon grew irritated with the rest of her — enough so that he at last determined to put her aside. His paranoid Excellency wasn’t the quietly-retire-you-to-a-monastery type; instead, he went for the full Anne Boleyn.

Accusing his consort of consorting with a young troubadour in her court, Michele Orombelli, Filippo had the accused cuckolder and two of Beatrice’s handmaidens tortured until they produced the requisite confession/accusation of faithlnessness. Upon that basis he had Orombelli and Beatrice di Tenda both beheaded at the castle of Binasco. A plaque placed there to commemorate the spurned wife is still to be seen today.


(cc) image from Jk4u59.

Bellini’s second-last opera was based on this tragic story. Beatrice di Tenda premiered in 1833; it’s noteworthy in Bellini’s biography because deadline disputes in its composition ruined the composer’s longstanding collaboration with librettist Felice Romani.

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