Equestrian traditions of the Roman Carnival during the Renaissance

Il gioco dell'anello era molto praticato sin dal Rinascimento Bartolomeo Pinelli, Costumi diversi inventati ed incisi da Bartolomeo Pinelli, 1822

The ring joust was widely practiced since the Renaissance
from Costumi diversi inventati ed incisi da Bartolomeo Pinelli, 1822

di Giovanni Battista Tomassini

This is the text of the lecture I gave on Tuesday, February 28, 2017, during the final symposium of the 9th edition of the Roman Carnival. I am especially grateful to the Associazione Carnevale Romano for inviting me, once again, to the beautiful Biblioteca Angelica to tell the stories of this great collective ritual of the city of Rome. For more information: http://www.carnevaleromano.com/ and https://www.facebook.com/Carnevale-Romano-454618444667202/?fref=ts

On Thursday, February 24, 1536, about a year and a half after the election of Pope Paul III, the people of Rome started, once again, to celebrate the Carnival after many years, during which in the city disfigured by the Sack of 1527, there had been very little to celebrate. On that day, all the municipal authorities gathered at the Campidoglio (where the Roman Senate had its seat): the Senator of the Roman people, the Conservatori, the Caporioni and the Priors, the Mayors, the Constables, and the representatives of the Guilds. All of them wore their most elegant clothes and were armed with the weapons of the town militia. As one of the few civic events in the Holy City, the Carnival pageant was, in fact, an opportunity to show the military pride of the city and was exploited by the aristocracy to show off the signs of its wealth and power. For this reason, the horses and the other attributes of chivalric dignity, such as the more luxurious weapons and clothes, played a leading role in the event.

Cavaliere con costume e bardatura "alla romana" da parata. Libro dei disegni di Filippo Ursoni, 1554 Royal and Albert Hall Museum - Londra

Knight “alla romana”
The design book of Filippo Ursoni, 1554
Royal and Albert Hall Museum – Londra

The pageant moved toward the “Campo in Agone”, that is to say towards Piazza Navona, according to a strict order of precedence. After the representatives of the Rioni (i.e. the Wards, or city districts) there were the so-called Giocatori (the Players), namely the champions of the Wards themselves who were going to take part in the knightly trials during the afternoon and in the following days. There were eight for each Ward, each of them was accompanied by eight grooms. Among them, we read in an anonymous account of the time, addressed to Girolamo Orsini d’Aragona, Duke of Bracciano::

“two of them were riding beautiful horses and were dressed in the ancient style, with beautiful helmets and many gems, pearls, chains and other beautiful ornaments, on their chest and head, among which there was one in particular whose gold and precious stones it was said that valued at more than thirty thousand scudi” (FORCELLA, 1885, pp. 22-23).

This description gives us an idea of the magnificence associated with the presence of horses in the parade, which was evident both because of the precious ornaments (thirty thousand scudi for only one piece of jewelry) and because of the beauty and the value of the animals themselves. It should then be noted that the Statutes of the City of Rome of 1360-1363, specified that the Giocatori (Players) belonged to the social category of the so-called cavallarocti, i.e. those who could contribute to the urban militia with a mount. They, therefore, came from the corporations of the major arts and from the baronial aristocracy, which is to say, from the richer social strata of the Roman society.

Corsiero d'Italia con bardatura "alla leggera" Filippo Ursoni, 1554 Royal and Albert Hall Museum - Londra

Italian courser “lightly” harnessed
The design book of Filippo Ursoni, 1554
Royal and Albert Hall Museum – Londra

The following description of the Caporioni emphasizes even more the quality of the horses participating in the parade on which the Caporioni were mounted:

“on beautiful lightly harnessed horses, three by three, with their pages also proceeding three by tree, on horseback, dressed in their livery and armed with lances and shields of the two Caporioni” (FORCELLA, 1885, p. 23).

In this case, the horses were “lightly” harnessed, that is to say, they were unarmored and without the other protection typical of the steeds of the so-called “men at arms”.

Cavallo armato e "uomo d'arme", entrambi protetti da armatura metallica. Pirro Antonio Ferraro, Cavallo frenato, 1602

Armed horse and “man at arms”,
both protected by a metal armor
Pirro Antonio Ferraro, Cavallo frenato, 1602

The Caporioni Prior and the Conservatore ended the first part of the parade. Thirteen allegorical chariots followed them, one for each Rione (Ward). They celebrated the victory of the Roman consul Paulo Emilio, the winner in the second century AD, of the third Macedonian war. His story is told in Plutarch’s Parallel Lives and his name was considered allusive to the name of the Pope (Paul III). Other authorities and high-ranking personalities, finally, ended the parade. All of them were mounting “big beautiful harnessed horses.” Giuliano Cesarini, Gonfalonier of Rome, came as the last one, with a splendid dress and mounted on a “beautiful horse”, as equally beautiful specimens were those mounted by his retinue.

The pageant arrived at the Castel Sant’Angelo where the Pope awaited and where a concert was held in his honor. Then the parade went back to Piazza Navona, where the participants drew up in good order. A ring joust then began. This was a kind of knightly trial in which the riders had to insert the tip of their lance in a ring suspended by a ribbon, while cantering at full speed. It was very popular at that time and it is still practiced today in many parts of the world, as for example, during the Oristano Carnival, in Sardinia. In this case, riders dressed with suggestive masks, must seize a star with a central ring, with the tip of their sword. In one of his plates, Bartolomeo Pinelli has handed down to us a variant of this kind of joust, practiced in the surroundings of Rome at the beginning of the nineteenth century. The ring was suspended under a vat filled with water. In this case, if the rider missed his target and bumped the vat with the lance, the water poured down on him and his horse (see the picture at the beginning of this article).

La Corsa della Stella

The Sartiglia at Oristano
Picture from www.paradisola.it website, by Domenico Corraine

The martial and chivalrous character of these demonstrations is underlined in the Nuptiali, a key text for the memory of the Roman festivals, written by Marco Antonio Altieri, in the first two decades of the sixteenth century. In particular, he underlines the virtues shown by the Roman aristocracy on the Campo di Agone, “practicing the manly principles” (ALTIERI, 1873, p. 26), i.e. doing the knightly exercises. He also highlights the appearance of “an infinite number of valiant gentlemen, on their harnessed horses” (ALTIERI, 1873, p. 114) during the pageants from the Campidoglio to Piazza Navona, on the Thursday before Lent.

The next day, Friday, February 25, 1536, a real encierro was held in Rome. The Caporioni ordered their Constables to lead thirteen ferocious bulls, one for each Ward, through the city streets. On Saturday, these animals were displayed on the Piazza del Campidoglio. This practice is not surprising. At the time, in fact, bullfighting was wide spread, not only in Rome, but also in many other areas of Italy. Bullfights are well documented, for example, in Naples, particularly favored by the Spanish viceroy Don Pedro de Toledo (1484-1553), who had a real passion for them and he personally took part in them. There were bullfights also in Tuscany. According to Benedetto Croce, those held in 1584 in Siena and Florence during the visit of Prince Vincenzo Gonzaga, heir to the throne of Mantua, were particularly memorable. The fact that the herdsmen conducted the bulls through the city streets was normal, considering the lack of other means of transport at the time. It was for centuries the only way also to bring the animals to the slaughterhouse, as we see in one of the plates of Costumi diversi inventati ed incisi da Bartolomeo Pinelli (Different costumes invented and engraved by Bartolomeo Pinelli), dated 1822.

Buoi condotti dai mandriani attraverso le vie di Roma Bartolomeo Pinelli, Costumi diversi inventati ed incisi da Bartolomeo Pinelli, 1822

Bulls lead by herdsmen through the streets of Rome
from Costumi diversi inventati ed incisi da Bartolomeo Pinelli, 1822

On Sunday, February 27, they all finally gathered at the Campo di Testaccio, to the south of the city and on the left side of the river Tevere. Here the Giocatori (Players) preceded the Caporioni,

“dressed and armed like the previous Thursday. Once on the square, that is to say the Campo di Testaccio, the Players began a beautiful tournament, running across the square, two by two, then four at a time, so that they never rested.” (FORCELLA, 1885, p. 30).

In this case also, the “tournament” consisted of ring jousts. During the tournament, the Conservatori prepared six carriages covered with red cloth, each carrying a cage containing a live pig. Then three “palios”, i.e. three pieces of fine cloth, were exposed: one of gold brocade lined with ermine, one of crimson velvet, lined with green taffeta, the third of blue damask. Afterwards, there were three horse races: that of the barbs, that of the jennets and that of the mares. In the palio, the horses competed riderless, that is to say, without jockeys. The barbs were the lightest and fastest horses at the time, mainly of oriental blood. Jennets were, rather, the precious Spanish horses: small, agile and spirited.

Le tauromachie si svolgevano in un'area delimitata ai piedi del Monte di Testaccio Etienne Du Pérac, La festa di Testaccio del 1545, incisione. British Museum - Londra

The bullfights were held in a designated area at the foot of Monte Testaccio
Etienne Du Pérac, La festa di Testaccio del 1545, engraving,

At the foot of Monte Testaccio, an area of the field was designated by tying together wagons and erecting boxes and stands, creating a sort of big arena. The chariots with the pigs were then run downhill from the Monte and the bulls were released in the arena. The hunt then began. A cruel rite, halfway between the corrida de toros and the Coliseum’s venatio (hunt in Latin). At this stage, the horses were playing a major role, since the bullfight was mainly fought on horseback.

Bullfights, or as they were called at the time, “bulls hunting” was so popular that in 1500, during the papacy of Alexander VI (1431-1503), the son of the pope, Cesare Borgia, fought a bullfight in an arena that was set, no less, than on Saint Peter’s Square, on the day of the feast of St. John (June, 24). The same event took place two years later when, during the celebrations for the wedding of Lucrezia Borgia and Alfonso d’Este, on December 31, 1502 a horse race and a bullfight were held in St. Peter’s Square. The tradition to hold bullfights in the Vatican continued even with the pontificate of Julius II (1443-1513). On Shrove Tuesday of 1510, for example, there were horse races in the Vatican and a bullfight in the Belvedere courtyard. However, many contemporaries considered bullfighting in the Vatican as an excess of worldliness in the heart of Christianity, as for example, Erasmus of Rotterdam who expressed his indignation in his Responsio ad Petri Cursii defensionem (1535).

I tori venivano liberati sul Monte Testaccio e irrompevano nell'arena correndo lungo la discesa Hendrick Van Cleve III, Mons Testaceus, , Festa a Testaccio, incisione di Philipp Galle, 1557-1612 (c.).

The bulls were released on Monte Testaccio and swarmed into the arena running down the slope
Hendrick Van Cleve III, Mons Testaceus, engraving by Philipp Galle, 1557-1612 (c.).

The “Games of Testaccio” ended with Pope Paul III, with a final massacre in 1545. Subsequently, the axis of the Roman Carnival returned in the Via Lata, now Via del Corso, where Pope Paul II already moved it in 1465. On 1 November 1567, Pope Pius V (1504-172) published the apostolic constitution De salute, with which he forbade bullfights and condemned animal cruelty by man, but unfortunately without any real effect.

I stop here. From these few examples, you can easily understand the central role that the chivalrous dimension held in the context of the Roman Carnival. A feature that the Carnival in Rome maintained into later centuries, in which it was characterized, for better or for worse, by the famous Race of the Barbs, that went from Piazza del Popolo to Palazzo Venezia.

A bullfight in front of the Palazzo Farnese, Hendrick Van Cleve III, engraving by Philipp Galle, 1557-1612

A bullfight in front of the Palazzo Farnese, in Rome
Hendrick Van Cleve III, engraving by Philipp Galle, 1557-1612


ALTIERI, Marco Antonio, Li nuptiali, pubblicati da Enrico Narducci, Roma Tip. C. Bartoli, 1873.

CROCE, Benedetto, La Spagna nella vita italiana durante la Rinascenza, 2a ed. riveduta, Bari, Laterza, 1922.

FORCELLA, Vincenzo, Tornei e giostre, ingressi trionfali e feste carnevalesche in Roma sotto Paolo III, Roma, Tip. Artigianelli, 1885.

GUARINO, Raimondo, Carnevale e festa civica nei Ludi di Testaccio, “Roma moderna e contemporanea”, XX, 2012, 2, pp. 475-497.

L’History talk alla Biblioteca Angelica nelle immagini di Barbara Roppo e Robbi Huner

11 - Biblioteca Angelica 312 - Biblioteca Angelica 413 - Biblioteca Angelica14 - Biblioteca Angelica 215 - Biblioteca Angelica16 - Biblioteca Angelica 2

19 - Biblioteca Angelica 217 - Biblioteca Angelica 218 - Biblioteca Angelica 2

A riding academy in Sicily during the Renaissance: the Congregazione dei Cavalieri d’Armi

Le splendide tavole de Le guerre festive (Palermo, 1680), mostrano il lusso delle armi e delle bardature impiegate nelle giostre che si tenevano in Sicilia tra il XVI e il XVII secolo

The beautiful plates of Le guerre festive (Palermo, 1680) 
show the luxury of weapons and harnesses used in Sicily 
 between the sixteenth and seventeenth centuries

di Giovanni Battista Tomassini

At dawn on Friday, May 18, 1565, the sentinels of the Knights of Malta saw on the horizon, the sails of the Turkish fleet, commanded by Admiral Piyale Paşa. The fleet consisted of approximately one hundred and seventy vessels: galleys, galleass and galliot, eight large transport mahon and dozens of smaller boats, carrying supplies and horses. The Ottoman sultan, Suleiman the Magnificent (1494-1566), was launching an attack on the Christian stronghold at the center of the Mediterranean with one of the largest armies hitherto ever seen. The news of the siege threw Europe into dismay and caused a real panic in nearby Sicily. The siege lasted nearly four months, but in the end, the brave resistance of the Maltese knights got the better of the powerful Ottoman army, which was rejected back into the sea, after suffering heavy losses.

Armatura da Giostra Museo di Capodimonte, Napoli

Jousting armor
Capodimonte Museum, Naples

Nevertheless, in Sicily the final victory of the Christians did not dispel the widespread feeling of an impending threat. It seemed urgent to form a militia ready to repel possible assaults on the coasts and to uphold the honor of the Sicilians, rivaling in value with the Spanish rulers. It was, therefore, with this purpose that soon after the siege of Malta, the viceroy of Sicily, García Álvarez de Toledo y Osorio (1514-1577), founded, an equestrian academy in Palermo in which the nobles could practice horsemanship and military disciplines, but also study mathematics, geography and navigation. The academy was named Congregazione dei Cavalieri d’Armi (Congregation of the Knights of Arms) and San Sebastian became its patron saint, while the Ponte dell’Ammiraglio (the Admiral’s Bridge) was chosen as its emblem. The Admiral’s Bridge is a twelve arches bridge dating from Norman times, which at that time, was on the eastern borders of the city of Palermo (today it is visible from Corso dei Mille). It was probably chosen as a symbol of the city’s glorious past and because its name (“Admiral’s”) evoked one of the top military positions of the Norman army. The Latin sentence Et suos hic habet Oratios (“And here it has its Horatius”) was the academy’s motto. It referred to Horatius Cocles, the Roman hero who (in 508 BC) defended the Sublicio Bridge, blocking by himself the Etruscan army, led by Porsenna, which was marching towards Rome. The sentence means that, like Rome, «also Palermo had its Cocles, virtuous and brave men in arms able to defend the city from any danger» (BILE, 2011, p. 30).

Il Ponte dell'Ammriaglio a Palermo venne scelto come emblema della Congregazione

The Admiral’s Bridge was chosen as emblem of the Congregation

A public ceremony held on San Sebastian’s Day sanctioned the establishment of the Congregation. A pageant of the knights traveled through the streets of the city following the blessing of the academy standard:

January 20, 1567 – The day of Saint Sebastian the standard of the Academy’s knights was blessed and in the evening, the knights, completely armed with cold steel, escorted it throughout the city, holding torches. The illustrious Marquis of Avola was the Academy’s general, Baron Fiumesalato the counselor and Mr. Carlo Marchisi the standard-bearer. (PARUTA – PALMERINO, 1869, p. 27)

That same day, the knights gave the first public demonstration of their skills in a joust, organized at the Pian della Marina (now Piazza Marina, at the end of Corso Vittorio Emanuele, in Palermo). At that time, jousts and carousels represented the main occasions for the nobles to demonstrate their skills in martial exercises in times of peace. In this sense, jousts and pageants played an essential political and social role. In the second half of the sixteenth century, the growing strategic importance of firearms and the military role of the infantry had, in fact, drastically reduced the role of cavalry and fed into the nobility, “the frustration that comes from being nominally knights but with little chance, if not in carousels and tournaments, to prove themselves to the world” (Antonelli, 1997, p. 194).

Burgonet, depicting the Roman emperor Trajan Capodimonte Museum, Naples

Burgonet, depicting the Roman emperor Trajan
Capodimonte Museum, Naples

In Sicily, as indeed in the rest of Europe, jousts were very frequent and were very popular shows. So much so that the Senate of the city of Palermo, decided to build an “Aringo”, i.e. an ephemeral wood amphitheater, which could hold up to twenty-five thousand people, with boxes reserved for the vice royal court and the representatives of the Senate. “Every opportunity was good to organize these choreographic shows of arms: the celebration of a victory or of a wedding; a peace or an alliance or another important political event, such as the visit of a king or a prince; but sometimes they were also an occasion to find husbands for maidens, or to allow young riders to stretch their limbs after the inertia of a long winter and keep them in constant exercise and always ready to use weapons “(MANSELLA, 1972, p. 16). These chivalric trials had their peak in the sixteenth century, but they continued to be practiced, with great pomp, even in the next century, as evidenced by the superb plates that illustrate this article and which are from the report devoted by Pietro Maggio to the jousts held in Palermo during the celebrations for the wedding of the King of Spain, Charles II, with Maria Luisa of Bourbon-Orléans, in 1679. The report was published in 1680 under the title Le guerre festive (The festive wars: Palermo, Giuseppe Barbera and Tomaso Rummulo & Orlando).

Shield Capodimonte Museum, Naples

Capodimonte Museum, Naples

On October 10, 1567, with another solemn public ceremony, the Congregation took possession of Palazzo Ajutamicristo, on the borders of the walls of Palermo (now in Via Garibaldi), not far from the Admiral’s Bridge. The pageants was led by Ottavio del Bosco, appointed general of the Congregation, who was escorted by armed pages on horseback, each of them bearing the insignia of his lord. “In the palace, the knights gathered in the morning for mathematics lessons, and during the day to ride horses” (NARBONE, 1851, p. 101). The statutes of the Congregation (Maurizio Vesco has recently published their frontispiece in VESCO, 2016) regulated minutely the tasks, the meetings, the ceremonies and the devotions, and fixed the requirements for the aspirants, as well as how to behave in the presence of the Viceroy. Academics practiced daily for two hours in the riding arena, divided into two classes. The session of the most experienced was open to the public, while the extraneous could not be present for that of the novice riders (see MAYLÄNDER, 1926-30, vol. I, p. 523).

In 1620, the Congregation changed location and moved to another building just in front of the Senate Palace, so that the knights could defend the Senate more effectively and promptly if necessary. In case of an alarm, the knights were required to gather, fully armed, at the Admiral’s Bridge, and each of them had to bring with him a similarly armed companion. The Academy, however, was abolished in 1636.

Dettaglio della rotella da giostra con Orazioo Coclite a cavallo Museo di Capodimonte, Napoli

Details of the shield with Horatius Cocles on horseback
Capodimonte Museum, Naples

Soon after the establishment of the Congregation, the academy turned to Lombard armorer, which at the time was among the best in Europe, to supply the knights with war and parade weapons. A few years ago, the deputy manager of the Capodimonte Museum in Naples, Umberto Bile (who died in 2013), discovered that the most valuable pieces of Capodimonte’s armory did not belong to Alessandro, or to Ottavio Farnese, as it was believed for at least two centuries, but they went back just to the knights of the Congregation. During the seventeenth century, some of the most valuable weapons of the knights of the Congregation were transferred to the armory of the Castle of Canicattì, where they were stored for about two centuries. After some years, the memory of their origin was lost and they were erroneously considered dating back to Roger I the Norman (around 1031 – 1101). In 1800 Giuseppe Bonanno and Branciforte, prince de la Cattolica, gave to Ferdinand of Bourbon a shield, a sword and a burgonet (helmet), which were considered the weapons belonged to the “Great Count” Roger I, conqueror of Sicily in 1062. Bile demonstrated that they, obviously, were the burgonet, the shield and the sword of extraordinary workmanship, which are the most valuable and famous pieces of Capodimonte’s armory. The iron, embossed, damascened and golden shield depicts Horatius Cocles on horseback, facing the enemies, while the Roman soldiers are demolishing the Sublicio Bridge, to prevent the Etruscan from entering in Rome. It is the same Roman hero summoned by the motto of the Congregation of Palermo. The beauty of such weapons gives us an idea of the magnificent elegance of the knights who drilled in the Sicilian academy.

Graziano Balli Barone di Galattuvo in Pietro Maggio, Le guerre festive, 1680

Graziano Balli Barone di Galattuvo
in Pietro Maggio, Le guerre festive, 1680


ANTONELLI, Raoul, Giostre, tornei, accademie: formazione e rappresentazione del valore cavalleresco, in AA. VV., I Farnese. Corti, guerra e nobiltà in antico regime, a cura di P. Del Negro e C. Mozzarelli, Roma, Bulzoni, 1997, pp. 191-207.

HERNANDO SÁNCHEZ, Carlos José, La gloria del cavallo. Saber ecuestre y cultura caballeresca en el reino de Napóles durante el siglo XVI, in AA. VV. Actas del Congreso Internacional: Felipe II (1527-1598). Europa y la Monarquía Católica (UAM, 20-23 de abril de 1998), coord. J. Martínez Millán, Madrid, Parteluz, 1998, pp. 277-310.

MANSELLA; Giovanni Battista, Le giostre reali di Palermo, a cura di R. La Duca, Palermo, Sellerio, 1972.

MARINO, Salvatore Salomone, La Congregazione dei cavalieri d’armi e le pubbliche giostre in Palermo nel secolo 16°: notizie e documenti, Palermo : Tip. di P. Montaina e Comp. gia del Giornale di Sicilia, 1877.

MAYLANDER, Michele, Storia delle Accademie d’Italia, Bologna-Trieste, Cappelli, 1926-30 (rist. anastatica Bologna, Forni, 1976).

NARBONE, Alessio, Bibliografia sicola sistematica, o apparato metodico alla Storia litteraria della Sicilia, Palermo, stamp. di G. Pedone, 1851.

PARUTA, Filippo – PALMERINO, Niccolò, Diario della città di Palermo 1500-1613, in AA. VV. Diari della città di Palermo dal secolo XVI al XIX pubblicati sui manoscritti della Biblioteca Comunale, a cura di G. Di Marzo, Palermo, Luigi Pedone Lauriel editore, 1869.

VESCO, Maurizio, La Regia Razza di cavalli e le scuderie monumentali nella Sicilia degli Asburgo: il modello “negato” delle Cavallerizze dei Palazzi Reali di Palermo e Messina, in AA. VV., Las Caballerizas Reales y el mundo del caballo, Cordoba, Edicioneslitopress, 2016, pp. 391-428.

Ajutamicristo palace in Palermo was the first seat of the Congregation

Ajutamicristo palace in Palermo was the first seat of the Congregation

Anglomania (Part 2): Federico Mazzucchelli witness and critic of the “British Fashion”

James Seymour, A Horseman Galloping, uncertain date © Tate Modern Gallery - Londra

James Seymour, A Horseman Galloping, uncertain date
© Tate Modern Gallery – Londra

by Giovanni Battista Tomassini

In the first part of this article we saw that, in the eighteenth century, a growing interest in the British institutions and culture spread throughout Europe. This trend also involved the equestrian field. “English equitation” became fashionable and interest in horse racing and country riding raised. So much so that in the nineteenth century English clothing, harnesses and horses became de rigueur among the continental enthusiasts.

Since at least the seventeenth century, the different morphological features of English horses and their use in racing and hunting in the countryside stimulated, in England, the evolution of a different way of riding in comparison with the other countries of Europe, where the academic style was still prevalent. The most evident innovation was the introduction of the rising trot, which was exactly called the “English trot”. This came together with a seat with shorter stirrups and a slightly forward position of the upper body. This technique also required different tools: starting from the flat saddle, with low pommel and cantle, and the bridoon, which in many cases was associated with a curb bit with shorter shanks than the one in use in academic riding, attached to a second rein.

Filippo Palizzi, Cavaliere al trotto, datazione incerta La moda inglese portò alla diffusione in tut'Europa del trotto sollevato Galleria dell'Accademia di Belle Arti di Napoli

The “English trot” spread in Europe since the second half of the eighteenth century
Filippo Palizzi, Trotting horseman, Eigtheenth century
Galleria dell’Accademia di Belle Arti di Napoli

The spreading of this new way of riding in the “English style”, even in continental Europe, ignited lively debates which, in many ways, resembles the diatribes that real, or supposed “innovations” in equestrianism, stir up even today. For example, we can compare it to the dispute that now divides supporters and opponents of so-called “natural horsemanship”. Even in the case of “English riding”, between the eighteenth and nineteenth centuries, practitioners and horse lovers were divided between enthusiasts and absolute opponents. We find an interesting testimony of this controversy in a chapter of Federico Mazzucchelli’s book Scuola equestre (Equestrian School, 1805), entitled Avvertimenti sul modo di cavalcare all’inglese e sulle corse praticate in Inghilterra (Remarks on how to ride in the English style and about the horse races practiced in England).

Mazzucchelli begins his argument noting that this way of riding “which today is very fashionable […] produces many reasons of disagreements and issues. There is no person, even ignorant of horse riding, who has not his particular way of considering it” (MAZZUCCHELLI, 1805, Volume II, p. 285). In short, the debate did not involve only experts, but the new fashion was so widespread and popular that even those who were “ignorant of horse riding,” had their own opinion about it. With great, good sense, Mazzucchelli distinguishes between a proper way of “riding in the English style” and a wrong way, which, as unfortunately it often happens, was predominant because it was the easier way.

The same thing happens also in England, where those who are good [riders] are not many, and indeed they can be pointed out among all the others and deservedly exalted. There [in England] the number of riders is infinite, and an easy way, suited to those who have no skills, or who do not want to learn, is widespread. In Europe, this way is fatally believed worthy of imitation, as if it was the best of that school. Instead that is not but the manner of common people, who are ignorant of these interesting gymnastics. (MAZZUCCHELLI, 1805, Volume II, p. 285)

James Seymour, A Bay Racehorse with Jockey Up, ca 1730 Yale Center for British Art

James Seymour, A Bay Racehorse with Jockey Up, ca 1730
Yale Center for British Art

Mazzucchelli says that the English technique is particularly suited for riding in the countryside and at the races, but it is especially necessary because of the characteristics of English horses. The author does not seem to appreciate them, while he prefers the breeds traditionally used in academic riding, Andalusians and Barbs, but he liked also Arabs. He considers English horses rather unsuited to the typical collected gaits of academic exercises. For this reason he believes

that the education of this quadruped, destined to racing and hunting, will be directed to instruct him to the extended trot in the open field, and supported with long working sessions. The disciplines which tend to collection would be inopportune; therefore the lesson which is said “to bend [collect] a horse”, which makes the horse sensitive to the legs and able to perform two track movements like half-pass and pirouettes, would be unworkable. So it all comes down to a negligent walk, a low but active and violent trot; to an ordinary and full speed canter, either right or left at random. (MAZZUCCHELLI, 1805, Volume II, p. 286)

Traduci Baucher eseguì le più sofisticate arie di scuola con cavalli inglesi Baucher performed the most sophisticated school airs with English horses M. L. Heirauld, François Baucher riding Partisan, cantering backwards From F. Baucher, Souvenirs équestres, Paris, Manège Baucher et Pellier, 1840.

Baucher performed the most sophisticated
school airs with English horses
M. L. Heirauld, François Baucher riding Partisan, cantering backwards
From F. Baucher, Souvenirs équestres, Paris, Manège Baucher et Pellier, 1840.

This was a far too severe opinion, which was clearly vitiated by a prejudice. In the nineteenth century, in fact, English horses will be used with amazing results also in academic riding, and will prove to be capable (with riders of the caliber of François Baucher, or James Fillis) of very sophisticated exercises. Instead Mazzucchelli considers them rather hard horses, heavy on the hand, and on which it is impossible to support the elegant seat of academic riders. According to him, they could only be ridden while posting the trot and leaning forward. For this reason, he considers ridiculous the idea of combining the English and the academic styles, which in his opinion are completely incompatible.

Nevertheless, even Mazzucchelli admits that, with suitable horses, it is possible, and necessary, to use the new technique. He then outlines the ideal portrait of the “good English rider.”

He is determined in going forward, perfectly leading the horse, using the bridoon; and as light as a feather and in perfect balance, more on the stirrups than on the saddle, quite leaning forward, and with the left shoulder more forward than the right, he accompanies the energetic movement of the trot, gracefully rising, at the right time, avoiding the shock and pushing the horse in the momentum. (MAZZUCCHELLI, 1805, Volume II, p. 287)

George Stubbs, Otho, with John Larkin up , ca 1768 © Tate Modern Gallery - Londra

George Stubbs, Otho, with John Larkin up , ca 1768
© Tate Modern Gallery – Londra

According to Mazzucchelli the ideal English horse should be:

quite tall; of light and slender shape; courageous, fast and enduring; strong in the extended trot, so that the movement on the horizontal line is resolute and fast. (MAZZUCCHELLI, 1805, Volume II, p. 288)

English horses were prized for their height John Wotton, The Hon. John Spencer beside a Hunter held by a Young Boy, 1733-6 © Tate Modern Gallery - Londra

English horses were prized for their height
John Wotton, The Hon. John Spencer beside a Hunter
held by a Young Boy, 1733-6
© Tate Modern Gallery – Londra

He says that he also rode in England, following the dictates of this technique, and that this gave him “a very pleasant sensation:”

The surroundings of London, the movement, the wealth, the industry, the beautiful roads scoured so quickly, produce a singular meeting of pleasures, that you can hardly find together in other places. This is another kind of horse riding, another kind of delight. It almost seems that the rider is ravished and transported by fast wings, and dealing almost nothing with his horse, he is revived by the rapid change of the objects surrounding him, so many, and so different from each other. (MAZZUCCHELLI, 1805, Volume II, p. 289)

Although clearly influenced by his preference for the academic tradition, Mazzucchelli’s opinion of the English style proves to be quite balanced and clearly demonstrates the evolution of equestrian techniques between the eighteenth and the nineteenth centuries. An evolution determined by complex factors which highlights the rich network of relationships and mutual influences that links horse riding to our culture.

As it is shown by this beautiful plate of his treatise, Mazzucchelli preferred the classical academic style Basilio Lasinio, Riding School, in MAZZUCCHELLI, 1805

As it is shown by this beautiful plate of his treatise,
Mazzucchelli preferred the classical academic style
Basilio Lasinio, Riding School,


MAZZUCCHELLI, Federigo,  Scuola equestre, Milano, presso Gio Pietro Giegler, Libraio sulla Corsia de’ Servi, 1805.

Anglomania (Part 1): The spreading of English style equitation in the Eighteenth century

James Seymour, Mr Russell sul suo cavallo baio da caccia, c.1740 © Tate Modern Gallery - Londra

James Seymour, Mr Russell on his Bay Hunter, c.1740
© Tate Modern Gallery – Londra

by Giovanni Battista Tomassini

It seems that James Seymour’s passion for horses and horse racing finally led him to ruin. Not much is known of his life, but a chronicler of the time hints that, despite being the son of a banker and diamond trader, he died in 1752, reduced to poverty by the demon of gambling and by the costs of maintenance of his racing horses. Nevertheless, it is for that same passion for horses that his name has been handed down to posterity. Seymour, who was born in London in 1702, was in fact one of the first painters, along with John Wotton (1682-1764) and Peter Tillemans (1684-1734), who devoted his artistic production to sport. His favorite subjects were horses, which he vividly portrayed in many paintings and drawings, especially dedicated to hunting scenes and to the races at Newmarket, which in the first half of the eighteenth century became the most popular sport in England.

Among the various paintings of equestrian subjects that Seymour left us, there is one, preserved at the Tate Modern Gallery in London, which is particularly interesting. It is the portrait of a gentleman on horseback in the English countryside accompanied by his hound. The identity of the rider is not certain. An old label on the verso suggests he may be a descendant of Admiral Edward Russell (1653-1727), Earl of Orford, owner of Chippenham Park manor, near Newmarket. What is most striking in the picture is the rider’s clothing, which is represented in the most minute detail. He wears a green frock coat tightened at the waist with a leather belt, a dark jockey cap, light and firmly-tied breeches-lacings, with a buttoned leather strap above the knee, and tall, rigid, bicolored boots. His stylish outfit is completed by a scarf which is tied around his neck and a pair of light, soft leather gloves. With equal accuracy, the painter represented the details of the harness. The horse is bridled with a full cheek snaffle bit and a headstall without a noseband. The saddle is partially hidden by the coat of the rider, but the visible details identify it as a hunting type “English saddle”, with low pommel and cantle and short flaps. Note the folded saddle blanket, and the second girth which goes over the seat and done up under the horse. The horse has the typical slender body of the thoroughbred, with a curved and long neck and a small head. The picture is dated around 1740.

Philibert Benoît de La Rue Monsieur de Nestier, écuyer ordinario della grande scuderia del Re, (stampa di Jean Daullé), 1753 © British Museum - Londra

This picture is considered the emblem
of the classic academic seat
Philibert Benoit de La Rue, Monsieur de Nestier,
Ordinary écuyer of the great King’s stable,
(engravings by Jean Daullé), 1753
© British Museum – Londra

A simple comparison with other equestrian portraits of the time makes the historical importance of Seymour’s picture immediately obvious. Consider, for example, the very famous picture of Louis Cazeau de Nestier (1684-1754), écuyer of the great King’s stable, portrayed while he was riding Le Florido, by Philibert Benoit de La Rue, in 1751. This picture, which was made popular by Jean Daullé’s engraving (1753), is considered the touchstone of the classic academic seat. In this case, the rider wears a tailcoat with wide cuffs, tall and soft musketeer boots, wig and tricorn. The horse is mounted with a double bridle, with a saddle à la Française, with high saddle-bow, but low cantle. The horse is a beautiful Andalusian stallion, which was sent as a gift to Louis XV by the King of Spain.

The two riders could not be more different. Nestier is the emblem of eighteenth-century classical equitation, while the rider portrayed by Seymour looks like a gentleman of the following century. His clothing, harnesses, and even the type of horse he is riding, will in fact be widespread throughout Europe in the nineteenth century (and bicolored hunting boots are still in use today). Yet, if the dating is correct, Seymour’s picture is a decade earlier than that by de La Rue. This inconsistency indicates an interesting historical phenomenon, which testifies, once again, the close connection between politics, fashion and horse riding. In a word, it demonstrates that the equestrian art cannot be confined within the mere sphere of material culture, but fully takes part in the evolution of the history of ideas and of customs.

In the nineteenth century, the "English" clothing will be of rigor across Europe Filippo Palizzi, Hunting in the Neapolitan campaign, 1847 Private collection

In the nineteenth century, the “English” clothing
became de rigueur across Europe
Filippo Palizzi, Hunting in the Neapolitan campaign, 1847
Private collection

Beginning in the eighteenth century, a growing interest in English institutions spread in Europe. In a continent still dominated by absolutism, intellectuals, but also part of the nobility and, above all, the rising bourgeoisie, looked with curiosity and admiration to the English parliamentary monarchy. Already in 1215, the Magna Charta Libertatum imposed a number of significant limits to the power of the English sovereigns: they could not impose taxes at their own will, or imprison free people without the decision of a judge. Then, in 1689, the Bill of Rights sanctioned the freedom of speech and of debate in the Parliament. It established also that the king could not abolish laws or impose taxes without the consent of the Parliament, which should be elected with free elections. Principles that today may seem obvious, but that, at the time, were not obvious at all. In that context, the English institutions represented a beacon of democracy and modernity, to which the absolute regimes looked with suspicion and apprehension, as their principles ignited the imagination and passion of a growing number of European subjects. On the other hand, the greater freedom in England was matched with economic progress and soon Europeans began to be attracted not only by the English political institutions, but also by British literature, arts and by the corresponding British way of life. From clothing to food, from amusement to sports, England became a model of modernity to imitate.

James Seymour, Saltando il cancello (datazione ignota) Denver Museum - Berger Collection

In England the passion for racing and hunting
led to the selection of a new type of horse
James Seymour, Jumping the gate (date unknown)
Denver Museum – Berger Collection

Also riding was involved in this trend and indeed played a crucial role in spreading the “British fashion”. It should be noted that the differences with the continental way of life do not only relate to political institutions. In the domain of equestrian art, in fact, across the Channel different practices developed, which gradually began to spread in Europe. While the rest of the Continent was fond of the stylized riding exercises and of the baroque figure of Iberian horses, in England, as early as the seventeenth century, grew a passion for speed races and horse riding in the countryside. For these needs, in the late sixteenth century, began the slow selection of a new breed of horse: agile, spirited, fast. The Thoroughbred was less suited to the deliberate slowness of academic exercises, but was perfect to compete with the wind on the turf at Newmarket. This kind of horse was equally well-suited for chasing fox or deer over English estates, scattered with natural obstacles which had to be forded. Academic riding was also practiced in England (as testified by some beautiful drawings by John Vanderbank) but, over time, country riding and especially horse racing, became the distinctive features of the British equestrian world.

John Vanderbank, Volte Renversée a mano destra, 1728 © Tate Modern Gallery - Londra

Academic riding was also practiced in England
John Vanderbank, The Volte Renversée to the right, 1728
© Tate Modern Gallery – Londra

Horse racing was relatively widespread even on the continent. In Italy, for example, almost every town had its palio, but these competitions were very different from those that are held today at racetracks. In most cases, they took place within the city’s streets and very often the race was held between riderless horses (i.e. without jockey): as in the case of the Corsa dei Barberi that traditionally ended the Roman Carnival, or the Palio di S. Giovanni in Florence. These competitions were held during special occasions, and belonged to the same tradition of the ancient knightly trials.

David Allan, La mossa della Corsa dei Barberi a Roma, circa 1767-77 © Tate Modern Gallery - Londra

In continental Europe, horse racing
was very much different than in England
David Allan, The Start of the Race in the Corso, Rome, around 1767-77
© Tate Modern Gallery – London

It is in England that horse racing assumed the character of a modern sport, with the progressive specification of a set of rules regarding the age of the horses, the weight of the jockeys and the establishment of cash prizes for the winners. Already James I (1566-1625) led to the construction of the first racetracks at Newmarket and it was with Charles II (1630-185) that the most prestigious races were established: the King’s Plate and the Town Plate. In 1744, two more races, financed by local merchants and landowners, were established, with prizes of 50 guineas. Soon horse racing fostered a significant economy, both because of the prizes distributed and, above all, for the amount of the bets. In addition, it increased horse trading and promoted all the professions related to the care and maintenance of these animals, starting with that of the jockey. Later, horse races became social events in which members of the high society met and ladies and gentlemen showed off fashionable clothes and their beautiful coaches. The fame of these events, in which the luxury of high society and the trepidation of the competition mixed together, quickly spread across the continent and many fans began to go to England to buy horses (as in the case of the Italian poet Vittorio Alfieri, to whom we recently dedicated an article in two parts, which you can read by clicking on this link).

to read part 2 of this article, please click on this link ->

Horse racing soon became social events Peter Tillemans, Going to the Start for the King's Plate Newmarket Horse Race, 1725ca © Yale Center for British-Art - Paul Mellon Collection

Horse racing soon became social events
Peter Tillemans, Going to the Start for the King’s Plate Newmarket Horse Race, 1725ca
© Yale Center for British-Art – Paul Mellon Collection


GRAF, Arturo, L’anglomania e l’influsso inglese in Italia nel XVIII secolo, Torino, E. Loscher, 1911.

ROCHE, Daniel, La culture des apparences, Paris, Fayard, 1989 (Il linguaggio della moda. Alle origini dell’industria dell’abbigliamento, Torino, Einaudi, 1991)

ROCHE, Daniel, La gloire et la puissance. Histoire de la culture équestre XVIe-XIXe siècle, Paris, Fayard, 2011.

The Saracen Joust in Piazza Navona (part 2)

Filippo Gagliardi e Andrea Sacchi, The Saracen Joust in Piazza Navona (1656-1659) Museo di Roma - Palazzo Braschi

Filippo Gagliardi e Andrea Sacchi,
The Saracen Joust in Piazza Navona (1656-1659)
Museo di Roma – Palazzo Braschi

by Giovanni Battista Tomassini

In the first part of this article we analyzed the rules of the Saracen Joust in the seventeenth century. In this second part, we discover the complex dramaturgy of these types of equestrian festivals of the Baroque era.

Since the Renaissance, jousts and tournaments undertook eminently theatrical features. They were carried out following a literary plot, which included a prologue and an epilogue that constituted the spectacular and narrative frame in which the chivalrous trials took place. In the days preceding the contest, a knight, the so-called “Maintainer”, presented his cartel. This usually took place during a show in which sonnets were recited and music and dances were performed. Generally, the Maintainer impersonated a fairy-tale character of exotic origin. In the case of the joust in Piazza Navona, the role of the Maintainer was attributed to Marquis Cornelio Bentivoglio, who was considered a great expert in matters of chivalry and was the nephew of Cardinal Guido, who was the chronicler of the joust. Cardinal Bentivoglio’s very detailed account of the Joust and the beautiful drawings by Andrea Sacchi, which enrich the 1635 edition, offer us the opportunity to discover and “see” the complex and very interesting dramaturgy of this kind of equestrian festival in the Baroque era.

The first act was held on the Shrove Saturday of 1634, in the house of Orazio Magalotti, where the pick of the Roman nobility had gathered. During the evening, a chariot drawn by an eagle, appeared in the hall. It carried a singer impersonating Fame. After he had sung some verses, a herald entered the room and read the cartel of the Maintainer, which was written by the poet Fulvio Testi, who was also the author of the verses sung by the singer of Cardinal Barberini, Marc Antonio Pasqualini. The Maintainer presented himself as a mysterious Egyptian knight, Tiamo of Memphis, and challenged his opponents to prove him false with weapons of the assertion:

that secrecy in love is a superstitious abuse, who supposes or lack of merits of the Lady, or poverty of spirit in the Knight (BENTIVOGLIO, 1654, p. 201).

Andrea Sacchi, The Charito of Fame (impersonated by Marc’Antonio Pasqualini, singer in the service of Cardinal Barberini) in BENTIVOGLIO, 1635

Andrea Sacchi, The Chariot of Fame
(impersonated by Marc’Antonio Pasqualini, singer in the service of Cardinal Barberini)

The presentation of the mysterious character of the Maintainer, and the challenge he launched thus, represented the fabulous premise of the joust and placed it within a rich texture of symbolic cross-references to the aristocratic and courtly culture and the chivalric imagery.

In order to make the joust magnificent, twenty-four knights, divided into six different teams, were designated to participate. These knights were the so-called “adventurers,” that is, those who accepted the Maintainer’s challenge, and were ready to demonstrate with weapons in hand, that his statement was false. The first team to reply to the Maintainer’s challenge was the team of Cardinal Barberini. Again, participants impersonated fictional characters of exotic origin. In the scenic fiction they were, in fact, presented as four kings, who were held prisoners by the Romans: Aristobulus, King of Palestine; Tigranes, Infant of Armenia; Artaphernes Prince of Bithynia and Ossatre, ruler of Cappadocia. Their response was proclaimed on the occasion of another party, held at Falconieri’s palace a few days after the presentation of the cartel. During the evening, after attending a ballet, the guests moved into a room where the chairs had been arranged as in a theater. Then two actresses, dressed like Nymphs, appeared. They were there, together with some shepherds and a herald. This latter read the answer of the four knights, who said they were willing to demonstrate:

the need for secrecy in love more adequately with the spear than with the pen. (BENTIVOGLIO, 1654, page 206)

Andrea Sacchi, Ballet of Nymphs, and Shepherds in teh Falconieri Palace (during the evening in which the

Andrea Sacchi, Ballet of Nymphs and Shepherds in the Falconieri Palace
(during the evening in which the “adventurers” replied to the challenge of the Mainteiner)

In the following days, in Piazza Navona, the fence for the joust was prepared, surrounded by boxes and tiers of seats. It occupied about two-thirds of the square, which stands on the ruins of the Diocletian’s stadium and preserves, in part, its shape. The boxes and the stands for the public were placed at a certain height, so that horses and operating personnel could be placed below, without disturbing the audience. The box for the ladies was set up right across from the Saracen dummy, and was accessed directly from the Mellini Palace (later incorporated into the Pamphili Palace, which still overlooks the square). The box, covered and lavishly decorated with rich fabrics, was intended first and foremost for Anna Colonna, the wife of Taddeo Barberini, the brother of Cardinal Antonio Barberini, and for Costanza, who was the mother of the same Cardinal. Beside them sat, in an order of precedence established strictly according to their rank, the wife of the ambassador of Spain and the other ladies of the Roman nobility. The stage of the judges was, instead, placed on the opposite side of the fence, inside the competition area. The whole arena was surrounded by stands for the public. The race course was of an octagonal shape. The career (i.e. the track on which the horses run during a joust) consisted of a double fence, divided by the lists and was paved with bricks. Finally, to the right of the theater’s southern gateway, there was the Maintainer’s pavilion: a rich marquee, from where the challenger watched the competition, surrounded by his retinue.

Andrea Sacchi, Andrea Sacchi, View of Piazza Navona during the Joust, the 25 the february 1634 (on the right, marked with the letter N, the box of Donna Anna Colonna; on the left, marked by the letter M, the boc of the judges) in BENTIVOGLIO, 1635

Andrea Sacchi, Andrea Sacchi, View of Piazza Navona during the Joust, February 25, 1634
(on the right, marked with the letter N, the box of Donna Anna Colonna;
on the left, marked by the letter M, the box of the judges)

On the morning of Saturday, February 25, 1634 people began to crowd the boxes and the stands around the competition field. Many high-ranking personalities attended, leaning out of the windows of the buildings, while their servants and common people crowded on the roofs of the palaces. When the ladies and the judges took their places in their respective boxes, the festival began. The teams of knights, accompanied by their seconds and by a large cortege of pages, grooms and trumpeters, made their entry into the field, following a strict order of succession. The view was magnificent, considering that three hundred and sixty people, and a hundred and thirty eight horses, took part in the show.

The first to be received by the Master of the Field was the Maintainer. He was dressed in a sumptuous green silk costume, embroidered in gold and decorated with many pearls and precious stones. He had a giant feather headdress, with a sun and the motto “Non latet quod lucet” (“what shines is not hidden”) in the center. The horse’s harness was just as rich and exotic. He was preceded by a procession made up by four trumpeters, six horses led in hand, twenty-eight grooms on foot and four pages on horseback who were carrying baskets from which they distributed printed copies of the cartel and of various sonnets. They were followed by the seconds, Don Prospero Colonna and the Count of Castel Villano, and by a page who carried the spear and the shield of the Maintainer.

Andrea Sacchi, The entry into the field of the Maintainer in BENTIVOGLIO, 1635

Andrea Sacchi, The entry into the field of the Maintainer

The magnificence of the clothes and of the rich harnesses of the horses had a great importance in this kind of show. This is demonstrated by the fact that, at least since the Renaissance, the very detailed description of the quality of the fabrics, the style of the clothes of the riders, and their retinue, took up pages and pages in the chronicles of jousts and tournaments, even being the largest part of the chronicles. These parades, in fact, represented an opportunity for the public expression of the power of the aristocracy. The noble wanted to dazzle the people with showy and flashy clothes, made with rare and precious fabrics. On the other hand, the showing off of wealth by the nobles was not directed only to common people, but also to their peers, in a competition for which they were ready to spend huge sums, in some cases up to getting into debt and ruining their finances. But it was not always gold that glittered. In some cases, the showy trappings of pages and footmen were made, as real theatrical costumes, with the poorest materials, such as papier mâché and plaster.

Andrea Sacchi, The team of the Kings prisoners of the Romans (The parade was open by the dwarf in the service of Cardinal Barberini) in BENTIVOGLIO, 1635

Andrea Sacchi, The team of the Kings prisoners of the Romans
(the parade was open by the dwarf in the service of Cardinal Barberini)

The first team of adventurers to enter the field, after the Maintainer was, of course, the team of Cardinal Barberini. The parade was opened by the dwarf of the Cardinal who rode a small bull, covered with gaudy trappings. At that time, almost all nobles kept dwarves at their service, as jesters, or just for company. He was followed by a cortege similar to that of the Maintainer, made of seconds, trumpeters, pages, grooms and spare horses. Again, the knights had extravagant dresses and tiaras with feathers on their heads and were holding a dart in their right hand. It should be noted that one of the knights of this team was Domenico Cinquini, one of the most famous Roman horseman of the time. In the second edition of his book La perfettione del cavallo (The perfection of the horse, 1669), Francesco Liberati wrote about him:

[he was] of such great value and experience in the Chivalric things that without any exaggeration it can be said that in our century he was the Apollo of this noble profession; since there was not any wild and untamed horse that under him did not acquired a wonderful gentleness and obedience; nor it was ever found such a skilled professor of this art, who did not voluntarily surrender and admire the lightness and the gracefulness with which he held himself on horseback, so that I sometimes saw him riding with such steadiness that if any subtle thing would have been placed between the stirrup and the foot, or between the boot and the saddle no one would have seen it move at all.  (LIBERATI, 1669, p. 78)

Andrea Sacchi, The teamo of the Indignant knights in BENTIVOGLIO 1634

Andrea Sacchi, The team of the Indignant knights

After entering the field and parading before the audience, the knights of the first team faced the Saracen. Then the following team entered and so on. All knights were impersonating fabulous characters. There was the team of the Roman knights, that of the Provençal, the team of the so-called Pertinacious, the one entitled to the Goddess Isis and that of the Indignant knights. Each of them “paced the field”, ie paraded before the boxes and the stands, while the pages distributed sonnets and printed copies of the knights’ replies to the Maintainer’s challenge. Then they took the place of the team that preceded them and the riders competed in the joust, charging the dummy with their spear. In this way the teams were continuously moving,

so that the Theater could easily gaze fondly, from all sides, the dresses and liveries of each Squadron.  (BENTIVOGLIO, 1635, p. 115)

Andrea Sacchi, The team of the Provençal knights (At the end of the joust this team won the deciding-game for Masgalano prize) in Bentivoglio, 1635

Andrea Sacchi, The team of the Provençal knights
(At the end of the joust this team won
the deciding-game for the “Masgalano” prize)
in Bentivoglio, 1635

When all the riders had run against the Saracen, the Master of the Field ordered them to made another parade before the audience. Finally, the blare of trumpets announced the trail of “the spear of the Lady”, a sort of special prize, which consisted of a jewel studded with diamonds, placed in the middle of a bunch of red roses, offered by Anna Colonna. During this trial, twelve knights hit the dummy in the front and then resulted at an equal score. The judges therefore decided to draw lots for the winner. After the end of the trails, the knights kept in showing off, demonstrating their skill before the audience. In particular, the Maintainer charged the dummy holding a spear in each arm and driving the horse with the reins between his teeth, finally hitting the target with both spears. Then he ordered to tie together three spears and charged and hit the dummy with them, nearly cutting off his head. His superiority over his rivals in the chivalric trials was overwhelming, so much so that he won sixteen awards. These were jewels that the knight gave as a present to the most prominent ladies, as a sign of gallantry.

Andrea Sacchi, The team of the knights of the the Goddess Isis in BENTIVOGLIO 1634

Andrea Sacchi, The team of the knights of the the Goddess Isis

In addition to the prizes awarded for the chivalrous trials, each joust also included a prize to the squadron that was judged the more elegant and with better bearing. It was the so-called Masgalano (from the Spanish “mas galante”, i.e. the more gallant). This prize still survives today in the Palio of Siena, in which it is awarded to the contrada whose “comparsa” (i.e. team) is considered the most “elegant”, during the parade that precedes the race. In the Joust of Piazza Navona the prize, offered by Cardinal Barberini, consisted of a magnificent silver sword and a beaver hat, gloves and other ornaments. The judges were the Ladies, and they decreed an ex-aequo among the knights of the First Squadron (the one of the four Kings) and that of the Provençal knights. It was decided to elect a champion for each team, who had to run three times with his spears against the Saracen, to determine the verdict. The winner was Ambrogio count of Carpegna, of the Provençal team.

Andrea Sacchi, The ship of Bacchus (Along the broadside are the emblems of those who at the time were the two most powerful families of Rome: the bees for the Barberini and the column for the Colonna) in BENTIVOGLIO, 1635

Andrea Sacchi, The ship of Bacchus
(along the broadside are the emblems of those who at the time were the two most powerful families of Rome: the bees of the Barberini and the column of the Colonna)

The entire show lasted over five hours. When it was beginning to get dark, some cannon shots were heard. Then two chariots entered inside the fence: one shaped like a ship, the second in the form of a boat. The first was richly decorated with the emblems of the Barberini and the Colonna (at the time, the two main noble families in Rome). The ship was armed with cannons and fireworks and carried actors impersonating the god Bacchus, accompanied by the Laughter, bacchantes, satyrs, shepherds and gunners firing blanks with cannons. The boat was, instead, carrying several musicians, who held a concert under the box of Anna Colonna and of the Marchioness of Castel Rodrigo, wife of the Spanish ambassador. The spectacle of the Ship of Bacchus excited such wonder that the people demanded that it was exposed, so that even those who had not attended the joust could come to admire it. And so it was done, while the ladies and the knights spent the evening at the reception hosted by Cardinal Barberini, in the Palazzo Mellini, which overlooked the square.

Andrea Sacchi, The musicians boat (After covering the field, they held a concert under the Ladies box) in BENTIVOGLIO ,1635

Andrea Sacchi, The musicians boat
(after covering the field, they held a concert under the Ladies box)


ADEMOLLO, Alessandro, Il Carnevale del 1634 in Piazza Navona, in Il carnevale di Roma nei secoli XVII e XVIII : appunti storici con note e documenti, Roma, A. Sommaruga, 1883, pp. 23-58.

BENTIVOGLIO, Guido, Festa fatta in Roma alli 25. di febraio MDCXXXIV, in Roma, data in luce da Vitale Mascardi, 1635.

LIBERATI, Francesco, La Perfettione del cavallo, Roma, per Michele Hercole, 1639 (2° ed. Roma, 1669).


Hati Trust Digital Library