 |
| Andrea Vicentino, Battle of Lepanto Italian, 1603 Venice, Palace of the Doge |
 |
| Battle Standard Carried at Lepanto Italian, 1571 Gaeta, Museo Diocesano |
Among the notable events of St. Pius’ pontificate are the reforms of the breviary and of the liturgy. It is Pius who authorized the Roman Missal that was in use until 1970. However, Pius is mostly remembered in the English speaking world for the promulgation of the bull “Regnans in excelsis“. In this bull, Pius excommunicated Queen Elizabeth I and released her subjects from their allegiance. Although well meant, this set the stage for such sad events as the death of Mary, Queen of Scots, the Armada, and the Elizabethan government’s persecution of English Catholics, who were now deemed to be traitors almost by definition.
What Pius is not remembered for among English speakers is his leadership of the Holy League which gained a tremendous victory in the last great naval battle of the classical world. That is the last great battle between naval forces composed entirely of oar powered galleys. The foe was the previously all-conquering Ottoman navy.
Most people know little of the Ottoman Empire, although they may have heard of it. From the 14th century the Ottoman Turks (the name comes from the founder of the ruling line, Osman or Othman) expanded their rule throughout the remains of the old Byzantine Empire, until, by 1400, all that remained of the Empire was the city of Constantinople itself and some tributary territories in the Balkans and Greece. In spite of desperate efforts by the Byzantines, their Empire, continuous with the eastern half of the ancient Roman Empire, fell to the Ottomans, led by their young Sultan, Mehmet II, on May 19, 1453.
From this point on the Ottomans controlled the entire Middle East and Anatolia and pushed both east and west, into Persia and Egypt. They also began to push into Central Europe, conquering Hungary and reaching Vienna in 1529, although they were unsuccessful in their attempts to take it. The Ottomans also organized a fleet, which began to capture the islands of the Mediterranean, and they began to harass the Mediterranean mainland, especially in Italy.
 |
| Martin Rota. The Holy League Croatian, c.1571 London, Trustees of the British Museum Here Pope Pius V is shown with his arms spread over the shoulders of King Philip II of Spain (left) and the Doge Alvise I Mocenigo (right) joining hands to form the Holy League of 1571. God the Father and the Holy Spirit are seen above them, while a male angel holds a crown above the head of the King and a female angel holds the cap of the Doges above the head of Doge Mocenigo. |
What Pius is not remembered for among English speakers is his leadership of the Holy League which gained a tremendous victory in the last great naval battle of the classical world. That is the last great battle between naval forces composed entirely of oar powered galleys. The foe was the previously all-conquering Ottoman navy.
Most people know little of the Ottoman Empire, although they may have heard of it. From the 14th century the Ottoman Turks (the name comes from the founder of the ruling line, Osman or Othman) expanded their rule throughout the remains of the old Byzantine Empire, until, by 1400, all that remained of the Empire was the city of Constantinople itself and some tributary territories in the Balkans and Greece. In spite of desperate efforts by the Byzantines, their Empire, continuous with the eastern half of the ancient Roman Empire, fell to the Ottomans, led by their young Sultan, Mehmet II, on May 19, 1453.
 |
| Anonymous, Battle of Lepanto Italian, after 1571 Private Collection |
In 1570 they began their attack on Cyprus, then a possession of the Venetian Republic. Finally, the powers of Southern Europe became willing to follow the urgings of Pope Pius and to unite in the Holy League. They gathered a fleet to meet the Turkish navy. The command was given to Don John of Austria, an illegitimate son of the former Holy Roman Emperor, Charles V, and, therefore, half-brother to Philip II of Spain.
Spain, Genoa, Venice and the Papal States formed the backbone of the Christian fleet. On board the Spanish ship, Marquesa, was a young man who would later become known world-wide as the author of “Don Quixote”, Miguel de Cervantes.
 |
| Martin Rota, Battle Formations at Lepanto Croatian, c. 1571 or later Boston, Museum of Fine Arts |
The ships of the Holy League met the Turkish fleet on October 7, 1571 off the coast of Greece, at what is now called the Gulf of Patras. Both fleets were primarily composed of oared galleys. The ships of the Holy League gained a tremendous victory, sinking or capturing the majority of the ships in the Turkish fleet.
By all accounts, the battle was an extraordinarily ugly fight.1 The Turks lost not only a disproportionate number of ships, but huge numbers of sailors and soldiers, by some estimates as many as twice the Christian losses.
Contemporary or near-contemporary paintings and engravings suggest some of the ferocity of the battle and, especially, the rather tight engagements that were at its core.
By all accounts, the battle was an extraordinarily ugly fight.1 The Turks lost not only a disproportionate number of ships, but huge numbers of sailors and soldiers, by some estimates as many as twice the Christian losses.
 |
| Adriaen Collaert, the Battle of Lepanto Flemish, after 1571 London, Trustees of the British Museum |
Contemporary or near-contemporary paintings and engravings suggest some of the ferocity of the battle and, especially, the rather tight engagements that were at its core.
 |
| Andries van Eertvelt, the Battle of Lepanto Flemish, c.1629 Private Collection |
The victory helped to lift the pressure of Turkish aggression from the mainland Mediterranean countries. Although the Turks were able to replace the ships quickly, it took them much longer to replace the lost seamen. They continued to press into Central Europe by land for another hundred years, but the security Southern Europe gained from the victory of Lepanto helped to usher in the age of the Baroque in Italy and Spain.
 |
| Johann Jakob Zeiller, Pius V Prays to the Madonna and Child During the Battle of Lepanto German, c. 1762-1763 Ottobeuren, Monastery Chuch of Saints Theodore and Alexander |
While the Holy League fleet was at sea the Pope had urged Catholic Europe to pray, in particular to pray the Rosary. The sailors and soldiers of the fleet were also urged to pray the Rosary before the battle began. The victory was, therefore, credited to Our Lady’s intercession. In gratitude, Pope Pius instituted the feast of Our Lady of Victory on October 7. The name of the feast was subsequently changed to Our Lady of the Rosary, which is how we celebrate it to this day.
Many of the artists who have pictured the Battle of Lepanto were Venetian, quite appropriate since Venetian ships played a major part in the battle. Among them are the contemporary painters, Titian and Veronese. Titian’s picture “Philip II Offering the Infante Don Fernando To Heaven” is a predominantly secular image. Victory (or an angel) hands the palm of victory to Philip’s baby son, Ferdinand, as Philip holds him. In the background is a scene of the battle, in the foreground, a Turkish prisoner.
Titian also painted an allegorical picture which promoted Spain's leadership in the struggle against both the Ottoman Turks and the emerging heresies of Protestant Northern Europe, while recalling the role the Spanish monarchy had played in the reconquest of Spain from the Moors. Spain, personified as two warrior women (presumably representing the double crowns of Castille and Aragon), come to the aid of the near naked figure of Religion, who is beset and apparently wounded by serpents, which infest the tree stump behind her. On the left we can see the burning ships of the Turkish fleet at Lepanto. The two commissions together suggest how Philip II, who was the great-grandson of Ferdinand and Isabella, wished to be seen by the world.
On the other hand, Veronese’s picture “The Battle of Lepanto”, while giving us a view of the battle, actually celebrates the miraculous intercession of the Virgin Mary. The upper portion of the picture presents a view of heaven, where among the clouds and choirs of angels, the city of Venice, la Serenissima herself, kneels before Our Lady. Saints, including Peter and Paul and two Dominicans, join her in supplication, urging Mary to intercede. From heaven rays of light fall to earth, underlining the intercession that she grants.
However, like Titian, Veronese also painted another work that offers a slightly more secular view of the battle and its aftermath. This is The Allegory of the Battle of Lepanto, painted by Veronese in the late 1570s or early 1580s and possibly repainted in part sometime later.
 |
| Franz Martin Kuen, Thanksgiving Procession and Feast of the Rosary at Rome After the Victory at Lepanto German, 1768 Erbach Alb-Donau-Kreis, Church of St. Martin |
Many of the artists who have pictured the Battle of Lepanto were Venetian, quite appropriate since Venetian ships played a major part in the battle. Among them are the contemporary painters, Titian and Veronese. Titian’s picture “Philip II Offering the Infante Don Fernando To Heaven” is a predominantly secular image. Victory (or an angel) hands the palm of victory to Philip’s baby son, Ferdinand, as Philip holds him. In the background is a scene of the battle, in the foreground, a Turkish prisoner.
 |
| Titian, Philip II Offering the Infante Don Fernando to Heaven Italian, c. 1573-1575 Madrid, Museo Nacional del Prado |
Titian also painted an allegorical picture which promoted Spain's leadership in the struggle against both the Ottoman Turks and the emerging heresies of Protestant Northern Europe, while recalling the role the Spanish monarchy had played in the reconquest of Spain from the Moors. Spain, personified as two warrior women (presumably representing the double crowns of Castille and Aragon), come to the aid of the near naked figure of Religion, who is beset and apparently wounded by serpents, which infest the tree stump behind her. On the left we can see the burning ships of the Turkish fleet at Lepanto. The two commissions together suggest how Philip II, who was the great-grandson of Ferdinand and Isabella, wished to be seen by the world.
 |
| Titian, Spain Comes to the Aid of Religion Italian, c. 1572-1575 Madrid, Museo Nacional del Prado |
On the other hand, Veronese’s picture “The Battle of Lepanto”, while giving us a view of the battle, actually celebrates the miraculous intercession of the Virgin Mary. The upper portion of the picture presents a view of heaven, where among the clouds and choirs of angels, the city of Venice, la Serenissima herself, kneels before Our Lady. Saints, including Peter and Paul and two Dominicans, join her in supplication, urging Mary to intercede. From heaven rays of light fall to earth, underlining the intercession that she grants.
 |
| Paolo Veronese, Battle of Lepanto Italian, 1572 Venice, Galleria dell'Accademia |
However, like Titian, Veronese also painted another work that offers a slightly more secular view of the battle and its aftermath. This is The Allegory of the Battle of Lepanto, painted by Veronese in the late 1570s or early 1580s and possibly repainted in part sometime later.
 |
| Paolo Veronese Allegory of the Battle of Lepanto Italian, 1577-1582 Venice, Palazzo Ducale |
In it we see the victorious Venetian admiral, Sebastiano Venier, in his later years as Doge of Venice, being presented to Christ by Faith, holding a chalice, and St. Justine, holding the palm of martyrdom and the knife that killed her. Between them is the figure of the lion of St. Mark, one of the emblems of the Venetian Republic. Speculation has suggested that the figure now seen as Christ was originally that of St. Mark, the patron of Venice. This seems a distinct possibility, especially since Christ appears to be holding an anchor stone, which would seem to be a more appropriate attribute of St. Mark. In the left background there is a scene from the battle. This heavenly reception for Venier is his reward for the victory.
One might think that, because Lepanto is now a widely ignored event, no artist has represented it since those who were contemporaries. But, in 2001, the American artist, Cy Twombly, who lives in Rome, executed a twelve painting series , called “Lepanto” for the Venice Biennale.
Although abstract, the pictures do evoke the confusion and intensity of the battle and their bright colors recall both the rays of light from heaven in Veronese’s painting and the bloody decks of contemporary accounts. The cycle has since been exhibited in New York, Houston and Munich. So, there is still some resonance from the battle even in the secular world.
And so, every October 7th for the last 435 years Catholics have celebrated this victory that freed Southern Europe from a serious threat, guaranteed the continuing existence of Catholic Christianity and allowed a breathing space in which the arts could flourish.
© M. Duffy, 2008, 2016
One might think that, because Lepanto is now a widely ignored event, no artist has represented it since those who were contemporaries. But, in 2001, the American artist, Cy Twombly, who lives in Rome, executed a twelve painting series , called “Lepanto” for the Venice Biennale.
 |
| Cy Twombly, Lepanto American, 2001 |
Although abstract, the pictures do evoke the confusion and intensity of the battle and their bright colors recall both the rays of light from heaven in Veronese’s painting and the bloody decks of contemporary accounts. The cycle has since been exhibited in New York, Houston and Munich. So, there is still some resonance from the battle even in the secular world.
 |
| Cy Twombly, Lepanto American, 2001 |
 |
| Cy Twombly, Lepanto American, 2001 |
And so, every October 7th for the last 435 years Catholics have celebrated this victory that freed Southern Europe from a serious threat, guaranteed the continuing existence of Catholic Christianity and allowed a breathing space in which the arts could flourish.
© M. Duffy, 2008, 2016
