Anonymous German broadsheet
Müezzinzade Ali Pasha, the Turkish commander at the Battle of Lepanto., c. 1571
Woodcut with stencil and hand colouring on laid paper with letterpress.
Victoria and Albert Museum
"Müezzinzade Ali Pasha is shown full length, wearing a kaftan of costly woven, figured silks. His exotic clothes, turban and long feathery headdress denote his high rank. Although he is shown alive, in the background is a detail of his head on the end of a pole. Behind Ali Pasha is the Turkish (Ottoman) flagship on which he was wounded and subsequently beheaded."
Müezzinzade Ali Pasha (also known as Sofu Ali Pasha or Sufi Ali Pasha or Meyzinoğlu Ali Pasha; died 7 October 1571) was an Ottoman statesman and naval officer. He was the Grand Admiral (Kapudan Pasha) in command of the Ottoman fleet at the Battle of Lepanto, where he was killed in action. He also served as the governor of Egypt from 1563 to 1566. More on Müezzinzade Ali Pasha
Unknown artist
Sokollu Mehmet Paşa (1506 - 1579)
I have no further description, at this time
Sokollu Mehmed Pasha (1506 – 11 October 1579) was an Ottoman statesman most notable for being the Grand Vizier of the Ottoman Empire. Born in Ottoman Herzegovina into an Orthodox Christian Serbian family, Mehmed was abducted at an early age as part of the Ottoman devşirme system of forcibly recruiting Christian boys to be raised to serve as a janissary. He rose through the ranks of the Ottoman imperial system, eventually holding positions as commander of the imperial guard.
Although Sokullu was Muslim, he remembered his Serbian Orthodox roots and his family. He persuaded the Sultan to restore the Serbian Patriarchate of Peć as a "gesture of reconciliation". He appointed members of his family (both Muslim and Christian) to important positions in Ottoman Empire, including Makarije Sokolović, Ferhad Pasha Sokolović, Sinan-beg Boljanić, Sokolluzade Lala Mehmed Pasha and Lala Mustafa Pasha
On 11 October 1579, Sokollu Mehmed Pasha was assassinated. Ending his near 15-year rule serving as the sultan sole legal representative in the administration of state affairs.
More on Sokollu Mehmed Pasha
Uluç Ali
The left and centre galleasses had been towed half a mile ahead of the Christian line. When the battle started, the Turks mistook the galleasses for merchant supply vessels and set out to attack them. This proved to be disastrous; with their many guns, the galleasses alone were said to have sunk up to 70 Ottoman galleys before the Ottoman fleet left them behind. Their attacks also disrupted the Ottoman formations.
Unknown
Venetian galleas at the Battle of Lepanto
Etching
145 x 228 mm; Mount: 482 mm x 633 mm
National Maritime Museum, Greenwich, London
Andries van Eertvelt (Flemish, 1590–1652)
The Holy League's fleet lying off a harbour thought to be Genoa before the battle of Lepanto
Oil on canvas
95.3 x 139.7 in. (242.1 x 354.8 cm.)
Private collection
The Holy League's fleet lying off a harbour, thought to be Genoa, before the battle of Lepanto, with figures loading arms and armour onto a boat in the foreground with a dignitary looking on. More
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
Attributed to Andries van Eertvelt (Flemish, 1590–1652)
A coastal scene with a warship flying the Papal warflag and a Dutch sloop before a harbour entrance , ca. 1608–1632
Oil on panel
39.9 x 68.6 cm. (15.7 x 27 in.)
Private collection
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
Giorgio Vasari, (1511–1574)
The Battle of Lepanto, c. 1572
The combined Christian navel forces (Holy League) of Spain, Venice, and the Papacy defeated the Turkish fleet at Lepanto, October 7, 1571. Vasari was commissioned by Pope Pius to commemorate the event in the Sala Regia in the Vatican. The foreground includes an allegorical representation of the three Christian powers.
Giorgio Vasari (30 July 1511 – 27 June 1574) was an Italian painter, architect, writer, and historian, most famous today for his Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of art-historical writing.
Vasari was born in Arezzo, Tuscany. Recommended at an early age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia, a skillful painter of stained glass. Sent to Florence at the age of sixteen by Cardinal Silvio Passerini, he joined the circle of Andrea del Sarto and his pupils Rosso Fiorentino and Jacopo Pontormo where his humanist education was encouraged. He was befriended by Michelangelo whose painting style would influence his own. More on Giorgio Vasari
A Greek painting of the battle of Lepanto on a table, in the Orthodox icon style. The Greeks were already tired of Turkish domination and were now more receptive to Latins. The victory at Lepanto gave hope of liberation to many, and some raised in rebellion at the Venetian request, armed and supported by Venetian troops. After peace was concluded between the Porte and the Signoria, the Greek rebels were bloody massacred by the Turks, and the orthodox priests, held responsible under the Millet system, were usually hanged or burned. Once more, relations between Latins and Orthodox did not lead to love precisely. More
Ferrando Bertelli (born c. 1525)
Battle of Lepanto (1571)
Description
Etching After fresco
Museo Storico Navale, Venice
This fresco depicts the Battle of Lepanto, where a combined Christian force crushed the Ottoman Navy - this particular painting occupies a prominent position at one end of the Hall of Maps, in the Vatican Museums, Rome. More on this work
Ferrando Bertelli (born c. 1525) was an Italian engraver of the Renaissance period. He was born in Venice. He engraved Omnium fere nentium, Sc. Ven. (1569); Christ curing the sick after Farinait (1530); The Crucifixion after Giulio Somalio; Venus and Cupid after Titian (1536); and Specchio della Vite Humana (1566). More on Ferrando Bertelli
Zundt, Matthias, (1498–1586)
The Battle of Lepanto, 1571
Etching
267 mm x 543 mm
National Maritime Museum, Greenwich, London
Matthias Zündt (sometimes Zynndt; 1498–1586) was a German engraver, born at Nuremberg. He worked with both the graver and point, and produced portraits, Scripture subjects, allegories, and crests. Brulliot mentions an etching with a mark supposed to be his; it represents a Vase with figures of Tritons, standing on sea-horses' feet, and surmounted by a figure of Neptune. More on Matthias Zündt
Circle of Andries van Eertvelt (1590–1652)
The Battle of Lepanto, Date 1622
Oil on copper
44.4 × 70.8 cm (17.5 × 27.9 in)
Private collection
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
Andries van Eertvelt (Flemish, 1590–1652)
The battle of Lepanto
Oil on copper
41 x 56.5 cm. (16.1 x 22.2 in.)
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
Juan Luna (1857–1899)
Naval battle of Lepanto, c. 1887
Oil on canvas
550 × 350 cm (216.5 × 137.8 in)
Senate Palace (Spain)
Juan Novicio Luna (October 23, 1857 – December 7, 1899) was a Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists.
His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painter Félix Resurrección Hidalgo, prompted a celebration which was a major highlight in the memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters' good health and to the brotherhood between Spain and the Philippines.
Regarded for work done in the manner of the Spanish, Italian and French academies of his time, Luna painted literary and historical scenes, some with an underscore of political commentary. His allegorical works were inspired with classical balance, and often showed figures in theatrical poses. More
Juan Luna (1857–1899)
Naval battle of Lepanto, c. 1887
Detail, showing Miguel de Cervantes
Miguel de Cervantes Saavedra, 29 September 1547 (assumed) – 22 April 1616), was a Spanish writer who is widely regarded as the greatest writer in the Spanish language and one of the world's pre-eminent novelists.
His major work, Don Quixote, considered to be the first modern novel, is a classic of Western literature, and is regarded amongst the best works of fiction ever written. In 1569, in forced exile from Castile, Cervantes moved to Rome, where he worked as chamber assistant of a cardinal. He then enlisted as a soldier in a Spanish Navy infantry regiment and continued his military life until 1575, when he was captured by Barbary pirates. After five years of captivity, he was released by his captors on payment of a ransom by his parents and the Trinitarians, a Catholic religious order, and he subsequently returned to his family in Madrid. More
As the battle started, Doria found that Uluç Ali's galleys extended further to the south than his own, and so headed south to avoid being outflanked, instead of holding the Christian line. After the battle Doria was accused of having maneuvered his fleet away from the bulk of the battle to avoid taking damage and casualties.
Andrea Vicentino, (1542–1617)
Battle of Lepanto, c. 1603
Oil on canvas
Doge's Palace
Andrea Vicentino (c. 1542 – 1617) was an Italian painter of the late-Renaissance or Mannerist period. Born in Vicenza, he was also known as Andrea Michieli or Michelli. He moved to Venice in the mid-1570s and registered in the “Fraglia” or guild of Venetian painters in 1583.
Andrea Vicentino, (1542–1617)
Battle of Lepanto, c. 1603
Detail, Left
He worked alongside Tintoretto at the Palazzo Ducale in Venice, helping paint Arrival of Henry III at Venice (c. 1593) at the Sala delle Quattro Porte of the Ducal palace, as well as works in the Sala del Senato and dello Scrutinio. He also painted the altarpiece of Madonna of the Rosary (c. 1590) for the cathedral of Treviso, God the Father with Three Theological Virtues (1598) for the church in Gambara, and St Charles Borromeo (c. 1605) for a church in Mestre.Paintings by him exist in a number of galleries including the 'Raising of Lazarus' at the National Museum of Fine Arts in Valletta, Malta. More
Andrea Vicentino, (1542–1617)
Battle of Lepanto, c. 1603
Detail, Left
OUR LADY OF THE ROSARY/OUR LADY OF VICTORY
Unknown
Painting of the Battle of Lepanto of 1571
Oil on canvas
1270 mm x 2324 mm
National Maritime Museum, Greenwich, London.
Some of the ships are labelled, including the galley of Gian' Andrea Doria (IL.GIO.ANDREA.DORIA), the commander of the Genoese squadron, and the flagship of the Genoese Negroni family (LA CAPITANIA DENEGRNI). In the right foreground is the galley of the Christian renegade Uluch-Ali, inscribed OCHIALLRE.DALGIERIFUGE.DALLABATTA.GLIA. (Ochiali, King of Algiers flies from the battle).
Flags on the Christian side include: the Lion of Venice, the red St George's cross of Genoa and the gold and silver standards of the Papal States, and a standard of Christ on the Cross alongside the Habsburg double-headed eagle on the flagship of John of Austria.
The flagship of Ali Pasha shows a flag with three crescents. The galley of Murat Reis flies a horizontal three-stripe ensign with a single crescent on the central bar directly above the stern of Uluch-Ali's. More
Regardless, he ended up being outmaneuvered by Uluç Ali, who turned back and attacked the southern end of the Centre Division, taking advantage of the big gap that Doria had left.
ATTRIBUTED TO JACOPO ROBUSTI CALLE TINTORETTO
THE BATTLE OF LEPANTO
OIL ON CANVAS
180 x 320 cm ; 70 7/8 by 126 in
Tintoretto; born Jacopo Comin, (October, 1518 – May
31, 1594) was an Italian painter and a notable exponent of the
Renaissance school. For his phenomenal energy in painting he was termed Il
Furioso. His work is characterized by its muscular figures, dramatic gestures,
and bold use of perspective in the Mannerist style, while maintaining color and
light typical of the Venetian School.
In his youth, Tintoretto was also known as Jacopo Robusti
as his father had defended the gates of Padua in a way that others called
robust, against the imperial troops during the War of the League of Cambrai
(1509–1516). His real name "Comin" has only recently been discovered
by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made
public on the occasion of the retrospective of Tintoretto at the Prado in
2007. More
Antonio de Brugada, (1804 - 1863)
The naval battle of Lepanto between the Holy League and the Turks in 1571 (detail)
Oil on canvas
163 × 305 cm (64.2 × 120.1 in)
Museo Marítimo de Barcelona
Antonio Brugada (1804 Madrid – 1863 San Sebastian) was a Spanish painter. Brugada is best known for his dramatic seascapes. He was a friend of Francisco Goya, and was instrumental in cataloging, and identifying some of the mythological figures in Goya's c. 1823 "Black paintings" series. More
In the north, Mehmed Siroco had managed to get between the shore and the Christian North Division, with six galleys in an outflanking move, and initially the Christian fleet suffered. Commander Barbarigo was killed by an arrow, but the Venetians, turning to face the threat, held their line. The return of a galleass saved the Christian North Division.
Attributed to Andries van Eertvelt
ANTWERP 1590 - 1652
MARINE BATTLE BETWEEN TURKS AND CHRISTIANS
oil on canvas
124.5 by 231.2 cm.; 49 by 91 in
Privately Held
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
The Christian Centre also held the line with the help of the Reserve, after taking a great deal of damage, and caused great damage to the Muslim Centre. In the south, off-shore side, Doria was engaged in a mêlée with Uluç Ali's ships, taking the worse part. Meanwhile, Uluç Ali himself commanded 16 galleys in a fast attack on the Christian Centre, taking six galleys—amongst them the Maltese Capitana, killing all but three men on board. Its commander, Pietro Giustiniani, Prior to the Order of St John, was severely wounded by five arrows, but was found alive in his cabin. The intervention of the Spaniards Álvaro de Bazán and Juan de Cardona with the reserve turned the battle, both in the Centre and in Doria's South Wing.
Antonio de Brugada (1804 - 1863)
The naval battle of Lepanto between the Holy League and the Turks in 1571 (detail)
Detail of Juan of Austria with armor
Antonio Brugada (1804 Madrid – 1863 San Sebastian), see above
Uluç Ali was forced to flee with 16 galleys and 24 galliots, abandoning all but one of his captures. During the course of the battle, the Ottoman Commander's ship was boarded and the Spanish tercios from 3 galleys and the Ottoman Janissaries from seven galleys fought on the deck of the Sultana. Twice the Spanish were repelled with heavy casualties, but at the third attempt, with reinforcements from Álvaro de Bazán's galley, they took the ship. Müezzinzade Ali Pasha was killed and beheaded, against the wishes of Don Juan.
Antonio de Brugada (1804 - 1863)
The naval battle of Lepanto between the Holy League and the Turks in 1571 (detail)
Detail of a soldier with the head of Ali Pacha on the tip of the spear.
Antonio Brugada (1804 Madrid – 1863 San Sebastian), see above
However, when his severed head was displayed on a pike from the Spanish flagship, it contributed greatly to the destruction of Turkish morale. Even after the battle had clearly turned against the Turks, groups of Janissaries still kept fighting with all they had. It is said that at some point the Janissaries ran out of weapons and started throwing oranges and lemons at their Christian adversaries, leading to awkward scenes of laughter among the general misery of battle.
Giorgio Vasari, (1511–1574)
Battle of Lepanto
Giorgio Vasari (30 July 1511 – 27 June 1574), see above
The battle concluded around 4 pm. The Ottoman fleet suffered the loss of about 210 ships—of which 117 galleys, 10 galliots and three fustas were captured and in good enough condition for the Christians to keep. On the Christian side 20 galleys were destroyed and 30 were damaged so seriously that they had to be scuttled. One Venetian galley was the only prize kept by the Turks; all others were abandoned by them and recaptured.
Andreas Pedersen Brünnich (April 4, 1704 in Roskilde - 4 November 1769
The Battle of Lepanto, c.1762
National Gallery of Denmark
Andreas Pedersen Brünnich (April 4, 1704 in Roskilde - 4 November 1769 in Copenhagen) was a Danish portrait painter, active in the period called either late Baroque or early Rococo. He came to Copenhagen, where he got a job with Bendix Grodtschilling the Younger and from 1737 at Johann Salomon Wahl's workshop. As his student, he was a much sought portrait painter in the capital, but also raised customers in many other provinces. He was also influenced by baroque masters such as Andreas Møller and Balthasar Denner and by rococo style under a more mature age influenced by Johan Hörner and CG Pilo. Brünniche was a skilled colorist, his ability to convincingly reproduce the tones of the sitter's skin and individualize the people portrayed made him popular and demanded especially among the local nobility. More
Uluç Ali, who had captured the flagship of the Maltese Knights, succeeded in extricating most of his ships from the battle when defeat was certain. He cut the tow on the Maltese flagship in order to get away and sailed to Constantinople, gathering up other Ottoman ships along the way and finally arriving there with 87 vessels. He presented the huge Maltese flag to Sultan Selim II who thereupon bestowed upon him the honorary title of "kιlιç" (Sword); Uluç thus became known as Kılıç Ali Pasha.
Jan Wyck, (1645–1700)
The Battle of Lepanto, 7 October 1571
Defence Academy of the United Kingdom
Jan Wyck (also Jan Wiyck, or Jan Wick) (29 October 1652 – 17 May 1702) was a Dutch baroque painter, best known for his works on military subjects. There are still over 150 of his works known to be in existence.
In an era when French artists dominated the genre, the arrival of Wyck and other Dutch and Flemish artists in Great Britain from 1660 onwards provided the catalyst for the development of military and naval art in Britain. Like other painters from the Low Countries such as Dirk Maas, Peter Tillemans and William van de Velde, Wyck moved to England and worked there throughout his life, often under royal patronage, producing many fine works of battle paintings, portraits, hunting scenes and landscapes as well as advancing the development of British art through teaching. More
Unknown
The battle of Lepanto, October 1571
The Holy League had suffered around 7,500 or soldiers, sailors and rowers dead, but freed about as many Christian prisoners. Ottoman casualties were around 15,000, and at least 3,500 were captured.
Andries van Eertvelt (1590–1652)
The Battle of Lepanto, 7 October 1571
Oil on Canvas
1435 mm x 2210 mm
Birmingham Museums Trust
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
The engagement was a significant defeat for the Ottomans, who had not lost a major naval battle since the fifteenth century. The defeat was mourned by them as an act of Divine Will, contemporary chronicles recording that "the Imperial Fleet encountered the fleet of the wretched infidels and the will of God turned another way."[32] To half of Christendom, this event encouraged hope for the downfall of "the Turk", the Satan-like personification of the Ottoman Empire,[33] who was regarded as the "Sempiternal Enemy of the Christian". Indeed, the Empire lost all but 30 of its ships and as many as 20,000 men,[29] and some Western historians have held it to be the most decisive naval battle anywhere on the globe since the Battle of Actium of 31 BC.
Italian School
The Battle of Lepanto, circa 1600 - 1615 - 1618
Oil on canvas
2375 x 3916 mm (93 ½ x 154 in)
Ham House © National Trust
Despite the decisive defeat, the Ottoman Empire rebuilt its navy with a massive effort, by largely imitating the successful Venetian galeasses, in a very short time. By 1572, about six months after the defeat, more than 150 galleys and 8 galleasses, in total 250 ships had been built, including eight of the largest capital ships ever seen in the Mediterranean.
Tommaso Dolabella,
Battle of Lepanto. (detail), c. 1632
Oil on canvas
305 × 651 cm (120.1 × 256.3 in)
Wawel Castle, Kraków, Poland
Tommaso Dolabella (Polish: Tomasz Dolabella; 1570 – 17 January 1650) was a Baroque Italian painter from Venice, who settled in the Polish-Lithuanian Commonwealth at the royal court of King Sigismund III Vasa.
Active in the historical capital city of Kraków, where his huge canvas paintings were displayed in Gothic churches around the central districts, including the historical suburb of Kazimierz near the Vistula River. Only a few of them have survived, most notably in the local Dominican church and the Corpus Christi Basilica. He was later supported by Sigismund's son, Władysław IV Vasa. In Warsaw he opened a workshop for artists. Some of his paintings glorifying Poland over Russia, after Sigismund's successful military campaigns in Muscovy, were destroyed on the orders of Tsar Peter the Great. Most notably one of those paintings depicted Polish commander and Hetman, Stanisław Żółkiewski, leading a line of left over Russian prisoners after the Battle of Klushino, where the Polish army completely annihilated the enemy. More
With this new fleet the Ottoman Empire was able to reassert its supremacy in the Eastern Mediterranean. On 7 March 1573 the Venetians thus recognized by treaty the Ottoman possession of Cyprus, whose last Venetian possession, Famagosta, had fallen to the Turks under Piyale Pasha on 3 August 1571, just two months before Lepanto, and remained Turkish for the next three centuries, and that summer the Ottoman Navy attacked the geographically vulnerable coasts of Sicily and southern Italy.
Anonymous 17th century painting
The Battle of Lepanto , victory of the Holy League against the turkish fleet
Oil on canvas
depth 100 height 66 cm
E-museum, Furnish Your Castle
Sultan Selim II's Chief Minister, the Grand Vizier Mehmed Sokullu, argued to the Venetian emissary Marcantonio Barbaro that the Christian triumph at Lepanto caused no lasting harm to the Ottoman Empire, while the capture of Cyprus by the Ottomans in the same year was a significant blow, saying that: You come to see how we bear our misfortune. But I would have you know the difference between your loss and ours. In wresting Cyprus from you, we deprived you of an arm; in defeating our fleet, you have only shaved our beard. An arm when cut off cannot grow again; but a shorn beard will grow all the better for the razor.
Andries Van Eertvelt (Anvers, 1590 - 1652)
Combat naval de Lépante, 1623
Oil on canvas
Andries van Eertvelt (1590, Antwerp – 1652, Antwerp), see above
Numerous historians pointed out the historical importance of the battle and how it served as a turning point in history. For instance, it is argued that while the ships were relatively easily replaced, it proved much harder to man them, since so many experienced sailors, oarsmen and soldiers had been lost. The loss of so many of its experienced sailors at Lepanto sapped the fighting effectiveness of the Ottoman navy, a fact emphasized by its avoidance of major confrontations with Christian navies in the years following the battle. Other historians have suggested that the reason for the Turks being contained at the time had less to do with the battle of Lepanto than the fact that they had to contend with a series of wars with Persia, a strong military power at the time.
Johannes Lingelbach, (1622–1674)
A Sea Battle
It is thought that the painting represents the naval battle of Lepanto (07 Sep 1571)
Oil on canvas
Height: 31 cm (12.2 in). Width: 40 cm (15.7 in).
Private collection
Johannes (or Johann) Lingelbach (1622–1674) was a Dutch Golden Age painter, associated with the second generation of Bambocciate, a group of genre painters working in Rome from 1625 - 1700. Lingelbach was born in Frankfurt, and in 1634 settled in Amsterdam. In the late 40s Johannes travelled to France and Italy. After returning to Amsterdam, around 1653, Johannes married. Around 1662 Lingelbach lived in Reestraat, a small street near Prinsengracht; he became a close friend of Jurriaen Ovens.
His work began to show an influence from Philips Wouwermans' landscapes. His skill in painting genre figures is no less accomplished in his depictions of architectural and natural objects. He was often invited to paint the figures and animals within other artists landscape pieces, such as the Dutch master landscape painter, Meindert Hobbema and Jan van der Heyden. His study of architectural forms came from observing the paintings of another Bamboccianti, Viviano Codazzi, an Architectural Vedutisti, or view painter.
Lingelbach followed the style of the original Bamboccianti, Pieter van Laer, called Il Bamboccio, bringing his own Italianate style into influence of Northern European painters. He is one of the few Dutch painters of the Bamboccianti, whose works are documented in depth, making his influence greater in the progression of the style. Some of his works in Rome were once attributed to Pieter van Laer, but are now rightfully claimed to be Lingelbach’s, such as his, Roman Street Scene with Card Players, (National Gallery). These works show the Italian influence of Caravaggio in their realism and refined chiaroscuro effect, also seen in works such as Lingelbach's, A mounteback and other figures before a locanda with a capriccio view of the Piazza del Popolo, Rome, (Royal Collection). Lingelbach died in Amsterdam. More
After 1580, the discouraged Ottomans left the fleet to rot in the waters of the Golden Horn. Especially critical was the loss of most of the caliphate's composite bowmen, which, far beyond ship rams and early firearms, were the Ottomans' main embarked weapon. US historian John F. Guilmartin noted that the losses in this highly specialized class of warrior were irreplaceable in a generation. Paul K. Davis has also stated that: This Turkish defeat stopped Ottomans' expansion into the Mediterranean, thus maintaining western dominance, and confidence grew in the west that Turks, previously unstoppable, could be beaten.
Wolfgang Zächenberger
The Battle of Lepanto
The victory for the Holy League was historically important not only because the Turks lost over 200 ships and 20,000 men killed (not including 12,000 Christian galley slaves who were freed), but because the victory heralded the end of Turkish supremacy in the Mediterranean.
The news reached Pius V early on October 22, and that morning he offered thanksgiving in St. Peter’s Basilica and spoke of his hopes of further success. Quarrels among the allies frustrated his ambitions, however. Pius V died in 1572, and Venice made peace in 1573, surrendering Cyprus to the Turks. Thus, the battle had little lasting impact on Ottoman expansion, but it exerted a great effect on European morale.
Unknown painter
The Battle of Lepanto on October 7, 1571
Saint Pauls church, ANTWERP, BELGIUM
However, in 1574, the Ottomans retook the strategic city of Tunis from the Spanish-supported Hafsid dynasty, which had been re-installed after John of Austria's forces reconquered the city from the Ottomans the year before. Thanks to the long-standing Franco-Ottoman alliance, the Ottomans were able to resume naval activity in the western Mediterranean. In 1576, the Ottomans assisted in Abdul Malik's capture of Fez – this reinforced the Ottoman indirect conquests in Morocco that had begun under Suleiman the Magnificent. The establishment of Ottoman suzerainty over the area placed the entire southern coast of the Mediterranean from the Straits of Gibraltar to Greece under Ottoman authority, with the exceptions of the Spanish-controlled trading city of Oran and strategic settlements such as Melilla and Ceuta.
Tiziano Vecelli or Tiziano Vecellio, or Titian (1488/1490 – 27 August 1576)
Philip II offering the Infante don Fernando to the Heavens, c. 1573 - 1575
ALLEGORY OF THE BATTLE OF LEPANTO
Oil on canvas
335 x 274 cm
Museo Nacional del Prado, Madrid
Tiziano Vecelli or Tiziano Vecellio, or Titian (1488/1490 – 27 August 1576), see above
This painting commemorates events that took place in 1571: the defeat of the Turkish armada at Lepanto on October 7, and the birth of the infante Fernando, heir to the throne, on December 5th. The proximity of these two events led them to be viewed repeatedly as gifts from Heaven in circles close to the monarch.
Towards the top of the composition, a foreshortened angel offers a palm leaf and a ribbon with the inscription MAIORA TIBI (Greater triumphs await you) to the newborn child in his father’s arms. The Battle of Lepanto appears in the background, and a bound Turk is depicted alongside the spoils of victory to the left. More
Nonetheless, Spanish success in the Mediterranean continued into the first half of the 17th century. Spanish ships attacked the Anatolian coast, defeating larger Ottoman fleets at the Battle of Cape Celidonia and the Battle of Cape Corvo. Larache and La Mamora, in the Moroccan Atlantic coast, and the island of Alhucemas, in the Mediterranean, were taken, but during the second half of the 17th century, Larache and La Mamora were also lost.
Medal commemorating the Battle of Lepanto, 1571. Obverse: Bust of Don John of Austria in armour and ruff and order (left). 'IOANNES . AVSTRIA . CAROLI . V . FIL . AET . SV . ANN . XXIIII' (John of Austria, son of Charles V, being then twenty-four years of age). National Maritime Museum, Greenwich, London
Spain retains cities and other possessions on the North African coast to this day.
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