Palazzo Castracane

History of Palazzo Castracane
The Castracane Palace extends from the street of the same name to via Garibaldi, and stands in a section of the historic centre of Fano where the dwellings of the city’s noble families are concentrated. Nearby are some interesting buildings, such as the current Town Hall, the former Church and Convent of Federiciana Municipal Library. The noble Castracane family descends from Castruccio Castracane degli Antelminelli, a famous warlord, lord of Lucca and imperial vicar. The Castracane dynasty did not die out with Castruccio: to the same line belonged a Francesco whose descendants are the Castracane degli Antelminelli, who took up residence in Fano in 1400. The palace was presumably built between the end of the fourteenth century and the beginning of the fifteenth, but few traces of that construction remain in the exterior, as the building underwent a makeover during the Renaissance period and other modifications in recent times. The centre of the main façade is dominated by the imposing arched portal, decorated with large sandstone ashlars, surmounted by the family coat of arms with the characteristic rampant dog. Worthy of note on the upper floor is the so-called Salone del Sole (Sun Hall), with a coffered ceiling from which hangs a gilded lamp in the shape of a radiant sun, built to strike the imagination of Christina of Sweden on a visit to the Palace. Along the walls is a fresco frieze depicting the exploits of Castruccio Castracane.

Castruccio Castracane end other distinguished members of the family
Castruccio Castracani citizen of Lucca became its lord (1316); and because he was young, bold and fierce, and in his deeds fortunate, in a very short time he became prince of the Ghibellines of Tuscany”. Thus Niccolò Machiavelli in The Prince. “Istorie Fiorentine” describes Castruccio Castracane degli Antelminelli and then goes on to delve into his figure in “The life of Castruccio Castracani from Lucca” where it states “to have found in it many things, and as to virtue and as to fortune, of very great example”
He was born in Lucca in 1281 to Gerio (Ruggero) di Castracane and Puccia degli Streghi, a wealthy family from Lucca, dedicated to mercantile and credit activities. Forced into exile, Castruccio abandoned his merchant activities and devoted himself to arms, fighting with Philip the Fair in Flanders and northern Italy. In 1313, he was in Pisa at the head of the Ghibelline exiles from Lucca who intended to return to their homeland, and organised with Uguccione della Fagiola the invasion of Lucca in 1314.
In 1316 he was first elected Governor of War and Head of Lucca’s army and, in 1320, Lord of Lucca for life. A skilful warlord, he soon succeeded in controlling the territory of north-western Tuscany. Thanks to his pro-imperial policy, in 1327 he obtained from Ludovico il Bavaro the legitimacy of his military conquests and the hereditary title of Duke of Lucca, Pistoia, Luni and Volterra, and of Imperial Vicar of Pisa; this proximity earned Castruccio two excommunications. Some of Castruccio’s significant military exploits are depicted in the fresco frieze that embellishes the Sun Hall, attributed to the famous mannerist painter Federico Zuccari, by others to Cavalier D’Arpino, and by some to Cristoforo Roncalli known as Pomarancio. Among the battles represented is the victory of Montecatini (1315) against the Guelphs of Florence, which marked the birth of the rivalry between Castruccio and Uguccione, previously allies, resolved by the sudden rebellion of Pisa to the advantage of the former. Another victory represented is that of Altopascio (23 September 1325) fought against Florence and celebrated with a Roman triumph. Also celebrated is the recognition by Lodovico il Bavaro (28 June 1324) of his appointment as Imperial Vicar in the Duchy of Lucca, Lunigiana and the Val di Nievole and the privilege of including the blue and silver chess of the Dukes of Bavaria in the coat of arms for his merits.
Another episode in Castruccio’s life is his participation in the coronation in Rome by Pope John XXII of Ludovico il Bavaro, his great friend and valuable ally, as he was about to lay siege to Florence and launch the decisive attack. He suddenly succumbed to the fatigues of war in Lucca on 3 September 1328. A man of his time, he wished to be buried religiously and with the humility of the Franciscan habit in the temple of the Saint in Lucca. His life and his deeds passed from history to legend, deserving to be elevated to the dignity of art and the light of thought by Machiavelli, who in the life of Castruccio foreshadowed the expected and perfect figure of the Prince. Several members of the Castracane family are worth mentioning. Alessandro Castracane (1583-1649), an able diplomat and Apostolic Nuncio to Savoy and Portugal at the time of Pope Urban VIII, was appointed Bishop of Fano in 1643. In Fano Cathedral, you can still admire his magnificent funeral monument on the wall of the Baptistery Chapel. A famous scientist was Francesco Castracane (1817-1899), a botanist and cryptogamicist, who devoted himself to experimenting with the photographic procedure recently invented by Daguerre and, among the first in Italy, applied this method to microscopy, becoming an expert in microphotography and maintaining relationships with leading European experts as an Academician of the Lincei. His research focused on diatoms and the usefulness of using monochromatic illumination and stereoscopic vision to study these algae. Also worth mentioning is Antonio Castracane (1858-1909), musician and composer by vocation and delight, the appreciated author of the operas ‘Edelweiss’ (1857), ‘Paron Giovanni’ (1895) and ‘Welve’ (1907) performed in some of the major Italian theatres.
Also worth mentioning are the brothers Guido and Castruccio Ludovico. The first was chairman of the Cassa di Risparmio of Fano for almost thirty years. He gave a Malatesta palace as its prestigious headquarters, restoring it, and victoriously opposed the nationalisation of the bank by waging a personal battle at Venezia Palace. He also paid out of his own pocket some loans for the motorisation of fishing boats where some ship owners could not meet the financial commitment. Castruccio Ludovico was the Navy’s first airship aviator; he was taken prisoner by the Austrians after the bombing of Fiume. This endeavour brought him close to Gabriele d’Annunzio, who called him to take part in the capture of Fiume in 1919, where he distinguished himself in the fighting.

Sun Hall
The first depiction, which allows us to follow C.’s early vicissitudes, is the one in front of the entrance of the Hall, where our warlord is in England at the court of Henry II by whom he is taken in sympathy because of their shared passion for the game of court tennis. Beaten by a punch given to him by an English nobleman or by the Lucchese Ciacco Roncini (according to sources), C. kills the offender with a dagger blow in front of the sovereign. The quarrel allegedly took place during the game of court tennis in which C. proved to be very skilled. He was arrested and locked up in the Tower of London; he managed to escape with the help of his family and embarked for Flanders. In October 1325, through the intercession of his doctor Pancio da Controne, Henry II issued him with a pardon charter.
The second depiction represents C. who is in the presence of the King of France, Philip the Fair, who is enlisted to fight the English; he is entrusted with the command of a small squad, acquires considerable fame and becomes familiar with the King of France himself.
The third depiction shows C. in the presence of Uguccione della Faggiuola, perhaps the most renowned Ghibelline commander of the period, and in his retinue he fights and conquers. However, C. fell out of favour with Uguccione, who was envious of the fame the Lucchese had won in the field and was imprisoned, awaiting execution. The warlord had fate on his side, being freed during a popular uprising that broke out in Lucca and Pisa against Uguccione’s rule.
The fourth depiction describes the liberation of our warlord during a popular uprising that broke out in Lucca and Pisa against Uguccione’s domain. The fifth depiction, at the bottom of the wall located in Via Castracane, represents the Emperor Ludovico il Bavaro confirming to C. the appointment, made to him by the Archduke of Austria Frederick I of Habsburg, as vicar for Lucca, Lunigiana and the Val di Nievole. (Ludovico il Bavaro granted Castruccio Castracani for his merits to include in his heraldic coat of arms (‘White dog in blue backdrop’), the blue and silver chess of the Dukes of Bavaria).
The sixth depiction, also at the bottom, shows us C resuming hostilities against the Florentines, bursting into their territory, setting fire to and plundering where he passed. The painter, through his brushstrokes, succeeds in realising one of the many scenes full of drama and pathos.
The seventh depiction, above the front door, describes C. engaged, with the help of Filippo Tedici, in the subjugation of Pistoia and later is said to have also consolidated its walls that were torn down by the Florentine and Lucchese Guelphs in 1306.
The eighth depiction depicts Pope John XXII crowning Ludwig the Bavarian, but he was later excommunicated by the same pontiff along with C. for his aversion to the temporal power of the Church.
The ninth depiction is a moment of glory, when C. is crowned commander, prince of the city of Luni-Sarzana and of Lucca.
The last depiction on the right-hand wall is painted by the author in an attempt to maximise the drama and glory at the same time of the event, which consists of the Pistoia uprising to return to Pisa.
The representation is quite articulated and internally, starting from the left, Castruccio’s sons Vallerano and Arrigo are highlighted holding the conquered city of Florence like a trophy. And Castruccio, on a chariot pulled by white horses, performs in great triumph with an angel who crowns his laurel head, a symbol of victory and triumph, among the people of Lucca, in Roman style.
In the middle there is the Florentine Carroccio made up, as can be seen, of a cart drawn by two oxen, on which is placed ‘la Montalina’, i.e. the bell of the castle of Montale, which by misfortune fell off while tolling its chimes together with other bells when the Florentine army led by Commander Cardona (Spanish) was preparing for the conquest of Pistoia and Pisa.
Montalina without its clapper stands the white banner of Florence, with the red lily. Upside down. Around them are monks, holding candles in their hands.
The last scene depicts the battle of Altopascio where C. triumphs after a very bloody battle, fought against the Florentine army, led by Cardona, and against Urlimbaca, another warlord hired by Florence for their defence.