Italian Unification Shortly Explained

When I last visited Italy, in Bari in the south, I hired a car to explore the surrounding area rather than limiting myself to the city alone. It turned out that the best chance of finding a parking space was along the city’s main boulevard, Corso Cavour. That prompted me to ask myself: who was the person after whom this prominent street was named? – The answer was that Camillo Cavour was the first Prime Minister of united Italy, appointed by Victor Emmanuel II. Just a few days ago, I caught an episode – perhaps on the BBC – featuring actor Stanley Tucci travelling across Italy in search of authentic local flavours. Coincidentally, in one of the scenes, he visited a restaurant located directly opposite the former office of Cavour in Turin. At the time when Cavour was in office, Turin served as the capital of Italy. Cavour was known to dine there daily, always sitting by the window so he could keep an eye out for his assistant. If the assistant waved a white handkerchief from the office window, it was a sign that Cavour needed to return to his duties.

This anecdote offers an excellent opportunity to delve into the history of Italian unification or Risorgimento and to reflect on its key protagonists.

Following the Congress of Vienna in 1815, Italy – much like throughout the majority of its earlier history – did not exist as a unified state in the modern sense of the word. The Italian Peninsula was once again fragmented into a number of independent political entities, often differing in their systems of governance, economies, and cultures. Crucially, many of these states were either under the influence or direct control of foreign powers.

In the north lay the Kingdom of Sardinia (comprising Piedmont and the island of Sardinia) – the only significant political body governed by a native dynasty, the House of Savoy, which managed to retain a relative degree of autonomy. Adjacent to it was the Kingdom of Lombardy–Venetia, subordinate to the Austrian Empire, and destined to become a principal stronghold of resistance against future unification efforts.

In central Italy stretched the vast Papal States, under the direct rule of the Pope, who held not only spiritual authority but also exercised absolute temporal power as a monarch. To the south was the Kingdom of the Two Sicilies, encompassing all of southern Italy and the island of Sicily, governed by the Spanish Bourbon dynasty.

Beyond these main powers, there existed several smaller duchies, such as Parma, Modena, and Tuscany, often ruled by members of dynasties allied with Austria. This political configuration not only hindered the unification of Italy but also entrenched the Peninsula’s dependency on external European powers.

As a result, the Italian people found themselves living in a fragmented political landscape, which intensified social tensions, deepened regional disparities, and gave rise to increasingly powerful nationalist aspirations, encapsulated in the idea of Risorgimento -the unification of Italy into a single, independent nation-state.

The first attempts to unify Italy in the 19th century were predominantly ideological and revolutionary in nature. In response to the political fragmentation of the Italian Peninsula and the dominance of foreign powers, there emerged a growing societal yearning for national unity and sovereignty.

During the 1830s, several movements inspired by Romanticism, the French Revolution, and democratic principles began to take shape. A central figure of this era was Giuseppe Mazzini – an ideologue, journalist, and underground activist – who founded the organisation Giovine Italia (Young Italy). Its principal aim was the overthrow of monarchies, the unification of the nation, and the establishment of a republic.

Members of the organisation engaged in clandestine activities, organised uprisings, and distributed manifestos urging the people to embrace a national awakening. Although most of these insurrections ended in failure, their ideological impact was profound – for the first time, Italians began to perceive their land not as a patchwork of duchies and kingdoms, but as a single political and cultural entity, deserving of its own unified state.

Another pivotal figure in the unification of Italy was Giuseppe Garibaldi, who began his revolutionary career as a young sailor, captivated by the republican and nationalist ideals promoted by Giuseppe Mazzini. In the 1830s, he joined Mazzini’s movement Giovine Italia, which called for the unification of Italy as a republic. Charged with subversive activity by the authorities of the Kingdom of Sardinia, Garibaldi was forced into exile and spent several years in South America, where he fought in various military conflicts. These experiences earned him valuable combat skills and a reputation as a charismatic commander.

Upon returning to Europe, he became involved in the Revolutions of 1848, and gained particular renown during the defence of the Roman Republic in 1849. This short-lived republic was established in the Papal States following a revolution that temporarily deposed the Pope’s secular authority in Rome. Together with Mazzini, Garibaldi sought to defend the new regime against French intervention, which – ostensibly to protect the papacy – restored Pope Pius IX to power. Despite the defeat, Garibaldi’s bravery and sacrifice earned him admiration across Italy.

Though initially devoted to Mazzini’s ideals, Garibaldi gradually realised that the unification of Italy would require pragmatic compromise. He aligned himself with the Kingdom of Sardinia’s monarchist camp, recognising it as the most realistic force capable of uniting the country.

The culmination of his efforts came in the form of the “Expedition of the Thousand” in 1860, during which he and a volunteer army – the Redshirts conquered Sicily and southern Italy, toppling Bourbon rule. After his triumph, he met King Victor Emmanuel II in Teano, and – despite his republican convictionssymbolically handed over authority of the liberated territories, acknowledging the king as the only viable figure to lead a unified Italy.

Although his relations with the king and conservative elites were often strained, Garibaldi’s decision enabled the incorporation of the south into the Kingdom of Italy and significantly accelerated the unification process.

Ultimately, the Kingdom of Sardinia, encompassing Piedmont and the island of Sardinia, with its capital in Turin, became the centre of Italy’s unification. It was the most modern and liberal state on the Italian Peninsula, equipped with a constitution and a well-developed administrative apparatus. Its ruler, Victor Emmanuel II, played a pivotal role in unifying the Italian territories.

Following the abdication of his father, Charles Albert, in 1849, Victor Emmanuel II ascended the throne in the wake of a military defeat by Austria. He retained the liberal constitution (the Statuto Albertino), but recognised the need for a strong, modern government – one that could maintain internal order while preparing the country for future transformation and growth. This is where Camillo Cavour enters the historical stage.

Camillo Benso, Count of Cavour, was born in Turin into a wealthy aristocratic family from Piedmont. From a young age, he distinguished himself through sharp intellect, pragmatism, and a deep interest in public affairs. Though trained at a military academy, he soon abandoned a military career in favour of economic, journalistic, and political pursuits.

Cavour was deeply influenced by liberalism, capitalism, and the modernity of Western Europe, especially Britain and France. He believed that Italy should not be unified through revolution, but rather through deliberate reform and astute diplomacy. Unlike Mazzini or Garibaldi, he was not a romantic patriot, but a pragmatist, convinced that unification must proceed gradually, starting with the strengthening of the Kingdom of Sardinia.

Cavour did not enter government as Prime Minister straight away. He began as a parliamentarian and journalist, gradually earning the support of the moderate bourgeoisie through his liberal views. In 1850, he was appointed Minister of Agriculture and Commerce, and later became Minister of Finance and the Treasury. His economic reforms and the modernisation of the taxation system delivered tangible results, clearly demonstrating his administrative competence.

In 1852, following a political crisis and the weakening of the previous government led by Massimo d’Azeglio, King Victor Emmanuel II entrusted Cavour with the task of forming a new cabinet. Cavour became Prime Minister, simultaneously overseeing both foreign affairs and finance. He immediately embarked on a sweeping programme of modernisation, expanding industry, infrastructure (notably the railway network), education, and the military.

At the same time, Cavour worked diligently to ensure that Sardinia would be taken seriously on the international stage. He understood that defeating Austria, the principal opponent of unification, would be impossible without the backing of European powers. A crucial turning point in his diplomacy was his rapprochement with Napoleon III, Emperor of France. In 1858, Cavour met secretly with the emperor in Plombières, where they devised a plan: France would support Sardinia in a war against Austria in exchange for the cession of Savoy and Nice.

In 1859, the war with Austria commenced and, though it ended prematurely, it resulted in a partial success – Sardinia gained control of Lombardy. Although Cavour was displeased by Napoleon’s unexpected halt to the campaign, he soon managed to annex additional central Italian statesTuscany, Parma, Modena, and others – greatly expanding the kingdom’s territory and bringing the vision of unity closer to reality.

One of Cavour’s greatest challenges was reconciling Garibaldi’s revolutionary actions with the interests of the monarchy. When Garibaldi launched his southern campaign in 1860, Cavour feared it might lead to civil war or provoke foreign intervention. To avert this, he dispatched royal troops southwards to take over the territories liberated by Garibaldi before he could declare a republic.

The situation culminated in the meeting between Garibaldi and Victor Emmanuel II in Teanocarefully orchestrated by Cavour to symbolise national unity and to legitimise the king’s authority over the newly unified lands.

Thus, Garibaldi, at the head of a volunteer army of a thousand Redshirts, set out from Genoa to Sicily, launching the legendary Expedition of the Thousand. His lightning victories led to the collapse of the Kingdom of the Two Sicilies and paved the way for the conquest of southern Italy.

Although Victor Emmanuel II and Garibaldi were ideologically opposed – the former a monarch, the latter a republican – they both recognised the supremacy of national unity over personal beliefs. The climactic moment of their cooperation came with the historic meeting at Teano, orchestrated by Cavour on 26 October 1860. There, Garibaldi symbolically handed over the territories he had conquered to the king, acknowledging him as the legitimate ruler of a united Italy.

This gesture held enormous political and propagandistic significance, as it legitimised Victor Emmanuel II as the symbol of national unity and the future King of all Italians.

In March 1861, the Kingdom of Italy was proclaimed in Turin, and Victor Emmanuel II became its first king. Although the unification was not yet complete – Venice and Rome remained outside the new state’s borders – it marked a turning point in Italian history.

Camillo Cavour became the first Prime Minister of the newly unified Italy, but his tenure was tragically short. He died unexpectedly in June 1861, just a few months after the proclamation of unification, at the age of fifty. Although Cavour did not live to see the annexation of Venice (1866) and Rome (1870), his contribution to Italian unification is inestimable. He was the architect of the operation, who – despite never wielding a weapon in battle – guided Italy through diplomacy, reform, and strategic alliances toward unity.

The final phase of unification came in 1870, when, after the withdrawal of French troops from Rome, the Papal States were annexed, and Rome was declared the capital of the new nation.

Victor Emmanuel II entered the annals of history as the Padre della Patria (Father of the Fatherland) – a monarch who, through political skill, compromise, and cooperation with diverse forces, succeeded in founding the unified Kingdom of Italy.

Italian Unification Shortly Explained

Castel del Monte. Geometry, Mystery, and Silence

Despite its remote location, Castel del Monte attracts a steady flow of visitors – drawn not only by its UNESCO status, but also by its unique, almost mathematical design. Perched high on a hill and surrounded by quiet countryside, it feels detached from the everyday world, yet still manages to be surprisingly accessible.

Castel del Monte was commissioned by Holy Roman Emperor Frederick II (1194–1250), a member of the Hohenstaufen dynasty, who reigned as King of Sicily from 1198, King of Germany from 1212, and Holy Roman Emperor from 1220. The Apulia region fell under his direct rule as part of the Kingdom of Sicily, inherited from his mother, Constance of Sicily. It was constructed between 1240 and 1250.

Despite its fortress-like appearance and elevated position, Castel del Monte was not built for military purposes, as it lacks defensive features such as a moat or drawbridge. Its true function remains uncertain, with theories ranging from a hunting lodge or a place of study, to a symbolic expression of imperial power – or even an astronomical observatory.

Castel del Monte on approach

Castel del Monte stands in the Apulia region of south-eastern Italy, within the Alta Murgia National Park. It is located atop a hill 540 metres above sea level, around 20 kilometres from the town of Andria.

We reached Castel del Monte by car. Departing from Bari, the regional capital, we followed the A14 motorway towards Andria and continued along local roads. The drive took just over an hour. At the foot of the hill on which the castle stands, there is a small car park. Although conveniently situated, the parking area is quite limited and can become crowded in peak season. Fortunately, we had no difficulty finding a space, as we visited in mid-November on a misty, drizzling day. From the car park, the ascent to the hilltop is brief and can be done on foot.

Castel del Monte is a masterpiece of medieval architecture, renowned for its strict geometric precision and the harmonious blending of diverse stylistic elements. The core of the structure is a perfect octagon, with eight octagonal towers positioned at each corner. This motif repeats throughout: both floors feature eight rooms arranged around a central octagonal courtyard. Each outer wall is of equal length, and doorways and windows are placed in accordance with a strict axial rhythm, reinforcing the architectural coherence of the whole. The mathematical precision of the layout creates a strong sense of balance and symmetry.

The rooms themselves are architecturally restrained yet refined. The design draws on a mixture of stylistic influences, combining elements of Islamic, Romanesque, and Gothic architecture. Inside, Arab-style pointed arches contrast with classical Greco-Roman tympanums that crown several entrances, while Gothic windows, sculpted from pale limestone and white marble, introduce verticality. The central courtyard, open to the sky, serves both a practical and symbolic role – channelling light into the surrounding roomss while reinforcing the castle’s geometric core.

Today, the interior of Castel del Monte is entirely unfurnished. Visitors are invited to experience the architecture in its purest form – unmediated by decoration or modern reconstruction. The raw stone, the vaulted ceilings, and the spatial rhythm of the layout offer a contemplative, almost a monastic atmosphere.

Frederick II, who commissioned the castle was not only a powerful monarch but also a patron of knowledge. His court was a centre of intellectual exchange, bringing together the scientific, including mathematics and cosmology, and philosophical traditions of the Islamic world, medieval Christianity, and classical antiquity.

Frederick’s fascination with mathematics was reinforced by his association with leading thinkers such as Leonardo of Pisa – better known as Fibonacci. The renowned mathematician, who studied in North Africa, dedicated his Liber quadratorum to the emperor. Other scholars at Frederick’s court, such as Michael Scot and John of Palermo, translated key Arabic texts into Latin, enriching the emperor’s access to advanced ideas in geometry, astronomy, and numerical symbolism.

Although the identity of the architect is unknown, it is widely believed that Frederick himself played a significant role in the conceptualisation of the Castel del Monte. Central to the castle’s design is the number eight. In Christian tradition, the number symbolises regeneration and eternal life; in Islamic architecture, the octagon often mediates between the earthly square and the heavenly circle, reflecting a cosmological balance.

Since its construction in the 1240s, Castel del Monte has undergone several transformations. After Frederick’s death in 1250, it passed into the hands of successive dynasties ruling the Kingdom of Naples. Under Angevin and later Aragonese control, its symbolic imperial role diminished. Over time, it was repurposed – as a hunting lodge, a prison, and a military outpost.

By the 16th and 17th centuries, the castle had fallen into disrepair. Neglected and looted, its fine materials – including columns, marble cladding, and decorative details – were removed or sold. During this period, it also passed into private ownership.

Recognising its cultural significance, the newly unified Italian state acquired the castle in 1876 for 25,000 lire. Restoration work began in 1928 and continued in phases throughout the 20th century. In the 1950s, under the direction of Bruno Malajoli, further interventions helped stabilise the structure and restore elements of its integrity.

In 1996, Castel del Monte was inscribed as a UNESCO World Heritage Site. Today, it is managed by the Italian Ministry of Culture.

While the modern Italian word castello simply means “castle”, the name Castel del Monte uses the older, shortened form castel – and this is no coincidence. Castel is an archaic variant commonly used in the Middle Ages in proper names of places and fortifications. This linguistic form has been preserved in traditional place names such as Castel Gandolfo or Castel San Pietro.

Etymologically, the word derives from the Latin castellum, meaning “fortress” or “stronghold”. The abbreviated form was widely used in medieval geographic naming, much like San is used instead of Santo in the names of saints. Retaining this form in the name of the castle highlights its historical origin and connects it to the linguistic traditions of the time.

Castel del Monte may not overwhelm with grandeur or elaborate exhibitions, but its quiet presence lingers. There’s a sense of order in its geometry, uncertainty in its purpose, and stillness in its setting – a rare combination that makes the visit feel less like ticking off a landmark, and more like stepping into a space designed to make you pause. Geometry, mystery, and silence – it really is all there.

Castel del Monte. Geometry, Mystery, and Silence

Caravaggio’s David with the Head of Goliath. Art, Biography, and the Introspection

The first time I saw this painting was over ten years ago during my first visit to Rome’s Galleria Borghese. Our guide told us that the severed head, dangling lifelessly, was in fact a self-portrait of the artist himself. At the time, I couldn’t quite fathom what must have been going through the painter’s mind to make such a choice. Since then, I’ve grown a bit wiser, partly because I’ve been jotting down notes on this blog – not just recording what I observed or learned on-site but also diving into online research. In the meantime, I also completed a degree in psychology, so fewer things surprise me now. (No, this won’t be a psychology post!)

Anyway, when I returned to the Galleria Borghese last year, I remembered to take a photo of that painting. This time, I was also accompanied by a guide who briefly explained the context of the piece. The painting, titled David with the Head of Goliath, was created by the Italian master Caravaggio. Below is a bit more of an expanded version of what I was told by the guide.

The story of David and Goliath, one of the most iconic tales from the Old Testament. Goliath was a towering warrior from the Philistine army, an enemy of the Israelites, who intimidated the Israelite soldiers daily with his sheer size and strength. For forty days, he taunted them, challenging any one of their men to single combat to decide the battle. But none dared to face him, as he seemed utterly undefeatable. David, a young shepherd and the youngest son in his family, came to the Israelite camp to deliver provisions to his older brothers. Hearing Goliath’s challenge, David was outraged by the giant’s mockery of his people and of their God. Despite his youth and lack of experience in battle, he volunteered to fight Goliath. He was driven by his deep belief that he could succeed with God’s help. Rejecting conventional armour and weapons, which were too heavy for him, David took his shepherd’s sling and selected five smooth stones from a nearby stream. Approaching Goliath with nothing more than his sling and his faith, he struck the giant on the forehead with a single stone. The impact was so precise and forceful that Goliath fell. David approached Goliath and, using the giant’s own sword, severed his head.

Now let us look at Caravaggio’s life and what could have brought him to make this self-portrait. Caravaggio, born Michelangelo Merisi (1571-1610), was an Italian painter renowned for his revolutionary contributions to Baroque art. He was born either in Milan or in the nearby town of Caravaggio, from which his name is derived. At just six years old, Caravaggio faced tragedy when both his father and grandfather died during a plague outbreak, leading to a childhood marked by poverty and hardship. In his teenage years, he was apprenticed to Simone Peterzano, a relatively unknown artist in Milan, where he learned the fundamental techniques of painting. However, at the age of 21, Caravaggio left Milan for Rome, where he quickly gained a reputation not only for his exceptional talent but also for his volatile personality.

Caravaggio’s painting style, characterised by intense realism and the dramatic use of light and shadow soon established him as one of the most sought-after artists of his time. Uniquely, unlike other artists who typically began with preparatory sketches, Caravaggio painted directly onto the canvas, creating his compositions straight from his imagination. But even without formal training in art history, one can easily observe, based on the paintings displayed at the Borghese Gallery (an impressive six out of the 68 recognised paintings), that his works vary significantly in style and subject matter. To understand Caravaggio’s art and the stylistic changes in his work, we must examine his tumultuous life rather than just a change of style due to new artistic inspirations.

Caravaggio’s existence was marked by numerous brawls and frequent run-ins with the law. He was arrested multiple times for various offences, including carrying weapons illegally and assaulting others. In 1606, he killed a man named Ranuccio Tomassoni in a duel. There are several theories regarding the cause of the altercation, ranging from a gambling dispute to a disagreement over a tennis match or a conflict concerning a woman. The confrontation escalated into a violent encounter that ended with Caravaggio fatally wounding Tomassoni by striking his femoral artery. This incident had severe repercussions, as Caravaggio was sentenced to death for murder, forcing him to flee Rome and spend the remaining years of his life as a fugitive. A bounty was placed on his head, effectively allowing anyone to kill him with impunity. Over the following years, he moved between Naples, Malta, and Sicily in an attempt to rebuild his life. He briefly joined the Knights of Malta, but his unruly behaviour continued, leading to his expulsion from the order after he assaulted a senior knight. Caravaggio died in 1610 under mysterious circumstances, possibly due to fever or lead poisoning, while on his way back to Rome seeking a papal pardon.

Caravaggio’s paintings created before his flight from Rome were predominantly commissioned for the city’s churches and private collectors, such as Cardinal Scipione Borghese, who initiated the collection now largely housed at the Galleria Borghese. His works from this period are characterised by clear, dramatic lighting, which he used to enhance the emotional impact and dramatic tension of his scenes. The subjects varied from biblical narratives to portraits and allegorical representations. His paintings were rich in detail and highly realistic, with figures portrayed in strong, direct light. Just, compare the painting of Saint Jerome, I wrote about a few weeks ago that was commissioned by Cardinal Borghese just before Caravaggio fled Rome.

After his flight from Rome, Caravaggio’s art became increasingly sombre. He began to focus more on themes of suffering, death, and penitence. The compositions from this period are characterised by a more restrained use of colour, with darker tones. A prime example is David with the Head of Goliath, in which the face of Goliath bears the features of Caravaggio himself. It’s not only the tones. Also the entire setting is unusually desperate.

The classic symbolism of the story of David and Goliath – good triumphing over evil, faith over brute strength – in fact doesn’t quite align with Caravaggio’s own situation. In his case, portraying his own face as the defeated Goliath suggests a more personal introspection. It is not a celebration of victory over an enemy, but rather an expression of inner conflict, remorse, and reflection on his turbulent life.

Caravaggio’s works fell out of favour in the 18th century, as his aesthetic and style were considered too brutal and lacking in elegance when compared to more classical artists. As a result, his paintings lost popularity, and the artist himself faded into obscurity for many years. It was not until the 20th century, when his technique of chiaroscuro (the contrast of light and shadow) and realistic portrayal of figures drew renewed interest, that his oeuvre was re-evaluated and appreciated once again. Consequently, Caravaggio came to be regarded as one of the most significant precursors of modern painting, influencing many later artists, such as Rembrandt. (I will write soon on twists in his life as well after the recent visit in Rijksmueseum in Amsterdam). Although Rembrandt likely never saw Caravaggio’s paintings in person, he was indirectly influenced by the Italian master’s style through Dutch painters belonging to the Utrecht Caravaggisti school. These artists travelled to Italy, where they drew inspiration from Caravaggio’s dramatic use of light and shadow, incorporating it into their own works and thus transmitting it back to the Netherlands.

The number of paintings attributed to Caravaggio varies widely depending on the source, ranging from 68 to as many as 105. However, this higher figure likely includes not only confirmed authentic works but also pieces attributed to him or copies created by his followers and students. The majority of verified Caravaggio paintings are housed in museums and galleries, and his works are a rarity on the auction market, which further elevates their value. One of the most high-profile recent cases involved the sale of a painting discovered in an attic in France in 2014. Initially, it was set to be auctioned with an estimated price of between €100 million and €150 million. However, it was eventually sold in a private transaction before reaching the auction block. The largest collection of Caravaggio’s paintings is held by the Galleria Borghese in Rome, which owns six of his works, including Boy with a Basket of Fruit, Sick Bacchus, Saint Jerome Writing, and David with the Head of Goliath. In Rome, other notable collections of his works can be found at the Galleria Nazionale d’Arte Antica in Palazzo Barberini and the Galleria Corsini. Significant examples of his paintings are also located in Roman churches such as San Luigi dei Francesi, which hosts the cycle of paintings dedicated to Saint Matthew, and Santa Maria del Popolo. Outside Rome, major collections of Caravaggio’s works can be found in Florence (at the Uffizi Gallery and Palazzo Pitti) and Naples (at the Capodimonte Museum), where his later works can be admired. Although most of his paintings are concentrated in Italy, several are housed in museums outside the country, such as the Prado Museum in Madrid (unfortunately there is a strict ban on making photos there) and the National Gallery in London.

Caravaggio’s David with the Head of Goliath. Art, Biography, and the Introspection