Italian Risorgimento martyr Pietro Fortunato Calvi was hanged on this date in 1855 in Mantua.
The son of a Paduan police commissioner when that province rested in Austrian hands, Calvi — that’s an Italian link, as are almost all in this post — was an army lieutenant who was drawn by the swirl of patriotism into the Revolutions of 1848. He commanded a 4,600-strong militia in Venice where the abortive proclamation of a republic was suppressed by Austria.
He fled to exile in Turin, then part of the mainland remit of the independent Kingdom of Sardinia. But his sympathy for an attempted Milanese insurrection in those parts wore out his welcome with his new hosts, and he was obliged to find refuge in Switzerland.
From there, he and four companions launched a romantic, doomed expedition to sound out the alpine north for patriotism that might be stirred into revolution anew. Their mission was compromised by a spy, however, and the quintet was soon arrested.
Transported to Mantua for trial, Calvi successfully protected his companions by throwing all the responsibility upon himself and went to the gallows with a stirring declaration as he ought.
what I have done I have done of my own free will, that I would do it again, in order to expel Austria from the States it so infamously usurped … Pietro Fortunato Calvi, rather than betraying his homeland, offers his corpse.
The place of his execution, the valley of Belfiore, has conferred its name upon a host of Italian patriots who hanged there in the 1850s. Our guy Calvi was the last of these Belfiore martyrs.
Belfiore, Mantua, Padua, Venice, Turin, and all the rest were part of a united Italy within a generation.
On this date in 1856, the Bourbon monarchy of Naples avenged the near-murder of its king … but neither sovereign nor state would much outlive the assassin.
Giuseppe Garibaldi had returned two years prior from exile, and the decades-long stirring of patriots whose loyalties eschewed their peninsula’s various sordid rival kingdoms to glory in a shared dream of the future unified Italy — the era of the Risorgimento — was about to draw towards a first culmination.*
The soldier Agesilao Milano (Italian link) shared the dream too. He determined to speed it by removing the man who ruled the Kingdom of the Two Siciliies, Ferdinand II — and so after mass on December 8, he hurled himself upon his sovereign and bayoneted him. The one wound he inflicted before he was subdued was deep, but not fatal, or at least not immediately so: Ferdinand would die three years later at the age of 49 and he morbidly nagged his deathbed doctors to investigate his old bayonet scar for signs of inflammation. (They found none.)
Ferdinand’s son Francis was the last ruler the Kingdom of the Two Silicies would ever have, for in 1860 Garibaldi’s Expedition of the Thousand marched upon that realm and its polity speedily collapsed, becoming absorbed into the newly forged Kingdom of Italy
Milano shared the triumph only from the plane of spirits, for he had been hanged five days after his treasonable attack at the Piazza del Mercato, bearing a placard dishonoring him a “parricide” and crying out, “I die a martyr … Long live Italy! .. Long live the independence of the peoples …”
The Risorgimento cosigned his martyr’s credentials, with Garibaldi creating a diplomatic furor by awarding pension and dowries to the late parricide’s mother and sisters, respectively.
On this date in 1530, Francesco Ferruccio (or just Ferrucci) and his executioner Fabrizio Maramaldo clinched their immortality at the Battle of Gavinana.
The battle was the tragic final scene of the War of the League of Cognac, in which an alliance of Italian city-states tried to expel the Habsburg Holy Roman Emperor Charles V from the peninsula. Charles had already in effect decided matters by forcing the French out of the fight, which also brought about the capitulation of the Vatican.
Left alone in the fray, doughty Florence — ever so briefly at this moment restored as a Republic, having given the Medici the boot — continued to hold out against impossible odds. A vast imperial army swollen by landsknechts whose mercenary arms were now unnecessary elsewhere in Italy besieged Florence on October 24, 1529.
The Siege of Florence, by Tuscan Renaissance Man Giorgio Vasari.
The intrepid Florentine commander Francesco Ferruccio (English Wikipedia entry | Italian) strove to take his hopeless fight to the enemy. After a plan to coerce papal support by striking Rome was vetoed, Ferruccio mounted a march through the Apennines to threaten the Imperials’ rear.
He was intercepted at Gavinana, a battle decided by the arrival of landsknecht reinforcements under the command of the notoriously cruel condottiere Fabrizio Maramaldo.
Maramaldo would elevate himself for posterity out of the ranks of his merely brutal brethren by finding Ferruccio, badly wounded, his prisoner, and putting him to immediate death by his own hand — an execution that resulted in Florentine capitulation one week later, and the installation of Alessandro de’ Medici as Duke of the now ex-Republic.*
While admittedly borderline as an “execution” suitable for this here site, Ferruccio’s defiance in the face of his killer and his last denunciation of Maramaldo — “Coward, you kill a dead man!” — became the stuff of legend in a later Italy. (It also helped Ferruccio’s case for the nationalist pantheon that he died fighting against the Germans, not against the next city-state over.)
The romantic novelist Francesco Domenico Guerrazzi** made Ferruccio the subject of his magnum opus L’Assedio di Firenze, and before you knew it the name was on the lips of every risorgimento Tom, Dick and Francesco. Garibaldi invoked him in speech; Goffredo Mameli wrote him into the national anthem.
Every man has the heart
and hand of Ferruccio …
Under the Italian state those men helped to make, Ferruccio was appropriated as the name of a battleship; fascist Italy especially found Ferruccio congenial to the national-pride project and valorized the martyr relentlessly.
1930 Fascist Italy stamp depicting — for the 400th anniversary of the occasion — Fabrizio Maramaldo murdering his prisoner Francesco Ferruccio. Other Februccio stamps from the same period can be found on the man’s Italian Wikipedia page.
For Maramaldo, a less flattering but possibly more durable legacy: Italian gained the noun maramaldo, the adjective maramaldesco, and the verb maramaldeggiare to signify bullying or cruel domineering.
* Alessandro had a reputation for despotism, and was assassinated a few years later by his cousin Lorenzino de’ Medici in a tyrannicide that was Brutus-like in both its motivation and effect. That later affair is the subject of the 19th century play Lorenzaccio.
They didn’t find the rumored revolutionaries — just martyrdom.
Reprieves preserved eight of the seventeen death-sentenced for the escapade; shot along with the renowned national martyrs together crying “Viva l’Italia!” were Nicola Riccioti, Domenico Moro, Anarcharsis Narde, Giovanni Verenui, Giacomo Rocca, Francesco Berti, and Domenico Lapatelli. (London Times, Aug. 12, 1844)
Venice visitors can pay their respects to the two at the Church of San Giovanni e Paolo, where they’re buried.
* There are some citations for July 23 out there, but the numerical bulk of the sources, and those closest to the event itself, clearly prefer July 25. e.g., the London Times of Aug. 12, 1844 cites the Journal of the Two Sicilies in reporting July 25; as noted by Mazzini and Marx, then-exiled Italian risorgimento figure Giuseppe Mazzini, who corresponded ineffectually with the martyrs, published a poem for this anniversary date in the July 25, 1846 edition of the Northern Star:
And in distant years the story
Still shall our children tell
Of those who sleep in glory
At Cosenza where they fell.
On this date in 1858, Italian revolutionary Felice Orsini calmly lost his head for the nation.
Something of a celebrity revolutionary, Orsini joined the independence movement of Giuseppe Mazzini and embarked on a generation’s worth of conspiracy, covert operations and prison spells and prison breaks which he himself voluptuously recounted in hot-selling autobiographical tomes.
Orsini became convinced that French ruler Louis Napoleon* was the chief obstacle to Italian unification, and accordingly chucked a bomb at the dictator’s carriage on January 14, 1858.
Ever theatrical, the condemned Orsini addressed a letter to Louis Napoleon while awaiting execution. In it, he urged the emperor to take up the Italian cause.
Whether mindful of the prospect of another Orsini waiting for his carriage, remembering his own youthful plotting with the Italian carbonari, or simply for reasons of French statecraft, Napoleon did just that. His alliance with the Piedmont state in northwest Italy (for which France received Savoy and the French Riviera in exchange) helped it absorb most of what now constitutes the Italian state.
Within three years of Orsini’s death, only a reduced papal enclave around Rome and the Austrian holdings around Venice separated the peninsula from unification.
In life, Orsini had been a prominent advocate of the Italian cause and played to packed houses in England. In death, he was felt further afield than that.
Tacking to a moderate stance on slavery abolition ahead of his presidential campaign, Abraham Lincoln condemned the late radical abolitionist John Brown as another Orsini — “an enthusiast [who] broods over the oppression of a people till he fancies himself commissioned by Heaven to liberate them. He ventures the attempt, which ends in little else than his own execution.”
Among Lincoln’s officers in the coming Civil War would be Charles DeRudio, the anglicized name of Orsini co-conspirator Carlo di Rudio.
Di Rudio had drawn a death sentence himself for the Orsini plot but was spared (pdf) by the clemency of his intended victim. He would go on to fight in the Battle of the Little Bighorn where he once again managed to cheat death.
On the morning this day in 1599, the Cenci family — mother Lucrezia, son Giacomo, and immortal tragic heartthrob Beatrice — were put to death at Sant’Angelo Bridge for murdering the clan’s tyrannous father.
Francesco Cenci, the victim, was more accustomed to making victims of his own: detested around the Eternal City, he indulged his violent temper and fleshy lusts with the impunity of a wealthy cardinal’s son. By all accounts, he enjoyed pushing around his family, too.
This much is stipulated. What lies beyond is legend.
But the legend is why we’re dallying with Beatrice today, so we might as well begin there: in fear that her father would rape her, it goes, Beatrice tried to turn to the authorities, who let mean old dad walk on account of his connections. Desperate to protect herself from incest, Beatrice and family arrange to batter his gulliver and toss him over a balcony to make it look like suicide.
So the family was hauled in and tortured, and eventually Lucrezia and Beatrice (both beheaded) and Giacomo (quartered after suffering the mazzolatura of an incapacitating hammer blow to the head followed by gory lethal knifework by the executioner) all paid the price while the youngest child watched, spared death but condemned to life in the galleys.
(The papacy gobbled up the patricides’ estate, which puts a fine point on the ironically-named Pope Clement VIII‘s law-and-order stance on the appeal for mercy, and his subsequent edicts to quash public comment on the affair.)
Then Beatrice’s body — the part below the neck — contrived to disrobe when fumbled by the brethren taking it away for burial.
You’ve got to admit it’s pretty romantic. Some versions even hold that the responsible executioners died violently themselves within a month, or that a ghostly Beatrice returns to the scene of her demise on this anniversary.
And not a word of Italian fluency will be necessary to catch the gist of this excerpt from this 1969 Lucio Fulci film:
While the case was a true sensation Rome at the turn of the 17th century, the legend as we know it was heavily constructed in the 19th century … and specifically Percy Bysshe Shelley, who heard the story in Italy* where it had persevered as local folklore. A girl who killed her despot-father, executed by the despotic agents of the Divine Father? You don’t get into the canon without knowing what to do with that kind of material.
And he had this charming painting of her to boot:
Shelley amped up the menaced-virginal-purity theme, made the bloodshed a lot more demure, and turned it into a long poem, “The Cenci” (available on Google Books, and on Bartleby.com) which in Melville’s description proceeds from putting its protagonist between the “two most horrible crimes possible to civilized humanity — incest and parricide.”
This doesn’t all actually turn out to be well supported: at a minimum, Shelley inflated an incest allegation of doubtful lineage into accomplished fact. Beatrice’s camp did not raise this claim until just before her execution, when it needed a high card for clemency. The loutish victim eventually got his own biographer, who strongly disputed the incest charges. (Francesco also sports his own Italian Wikipedia page.)
Remarkable how the tradition in its modern incarnation proceeds root and branch from Shelley’s apprehension of a single painting, and how his reading stamped itself upon the canvas for later observers — like Hawthorne, writing in his journal:
It is the very saddest picture that ever was painted, or conceived; there is an unfathomable depth and sorrow in the eyes; the sense of it comes to you by a sort of intuition. … It is the most profoundly wrought picture in the world; no artist did it, or could do it again. Guido may have held the brush, but he painted better than he knew. I wish, however, it were possible for some spectator, of deep sensibility, to see the picture without knowing anything of the subject or history; for no doubt we bring all our knowledge of the Cenci tragedy to the interpretation of the picture.
He wrote better than he knew: the painting is no longer attributed to Guido Reni, and it’s doubtful whether it’s a portrait of Beatrice at all. One wonders if it would retain its place in Hawthorne’s estimation as a local washer-woman modeling for an allegory.
The son of a Paduan police commissioner when that province rested in Austrian hands, Calvi — that’s an Italian link, as are almost all in this post — was an army lieutenant who was drawn by the swirl of patriotism into the Revolutions of 1848. He commanded a 4,600-strong militia in Venice where the abortive proclamation of a republic was suppressed by Austria.
The soldier 
The intrepid Florentine commander Francesco Ferruccio (
Something of a celebrity revolutionary, 
