An Italian Ambassador Returns to Bellesguard 

By: Ferran Garcés 

Last Saturday, January 18, we had the pleasure and honor of welcoming Mr. Giuseppe Buccino Grimaldi, the Italian Ambassador to Spain, accompanied by his wife, Monica Moschitti. Also present were Chiara Curti, architect and author of the book La Sagrada Familia: Cathedral of Light, and Galdric Santana, architect, Director of the Gaudí Chair at UPC, Director of the Bellesguard Research Group, and Commissioner for the Year 2026. 

Giuseppe Buccino Grimaldi, Monica Moschitti, Chiara Curti, Ferran Garcés i Galdric Santana

More than a typical tourist visit, it was an incredibly engaging conversation about art, history, and, of course, Gaudí’s work. 

The relationship between Italy and Bellesguard’s past, dating back to the time of the old palace of Martin I the Humane, was quickly highlighted. This connection was well understood by Gaudí and his assistant, Domènec Sugrañes, when designing the current tower. One of the most remarkable links is that, in 1410, the palace received the visit of ambassadors from Sicily. Hence, it was doubly satisfying to welcome another Italian ambassador six centuries later. Below, we’ll briefly explore the relationship with our Mediterranean neighbor. 

Queens and Soldiers 

If we examine the family tree of the House of Barcelona, the dynasty of Martin I the Humane, we see that, starting with Peter the Great, the names of Italian queens repeatedly appear, beginning with Constance of Sicily, the wife of this monarch, who initiated the occupation of her island. Following this trend, Martin I the Humane’s mother was Eleanor of Sicily, and the first wife of his son, Martin the Younger, was Blanche of Sicily. 

These marriages represent the growing ties resulting from the expansion of the Crown of Aragon throughout the Mediterranean. These ties included not only queens but also a wide range of collaborators. The most famous example is likely Roger de Lauria, the most renowned admiral of the Royal Navy. He was the son of Bella d’Amichi, lady-in-waiting to Queen Constance of Sicily. 

Humanists and Artists 

In addition to queens and soldiers, or public officials, the bridge between Italy and the Crown of Aragon also brought about a crucial influx of literary and artistic figures. This was the golden age of Humanism, a cultural movement that began in Italy and, during the reign of Martin I the Humane, spread to Catalonia and other territories of the Crown. Bernat Metge, his chief advisor during the king’s stay at the Bellesguard palace, was the one who best assimilated this movement. Furthermore, some scholars suggest that the king’s nickname, “the Humane,” may be explained by his adherence to humanist ideals. 

The Sicilian Ambassadors 

The wheel of fortune brought significant issues to the forefront during Martin I’s stay at Bellesguard. As a result, prominent figures of the time visited the palace, including the Sicilian ambassadors mentioned earlier. 

A few years after the monarch’s passing, it was in Naples – the birthplace of Ambassador Giuseppe Buccino Grimaldi – that the notable Italian humanist Lorenzo Valla documented the possible causes of his death in a book that remains the primary reference for understanding Martin I’s final moments at his Bellesguard palace. 

A Musical Epilogue 

The list is long, but we’ll conclude with a musical epilogue. Two operas by the renowned Italian composer Giuseppe Verdi evoke the ties we’ve been discussing. Both are, in some way, reflected in the ceramic bench at the entrance of the Bellesguard Tower. 

1. I vespri siciliani (The Sicilian Vespers), an opera inspired by the period when Peter the Great began the annexation of his wife Constance of Sicily’s island. During the battles sparked by this annexation, Roger de Lauria famously declared that no fish would dare rise in the Mediterranean unless it bore the royal shield with the four bars on its tail. 

2. Il Trovatore (The Troubadour), an opera set during the struggles between James of Urgell and Ferdinand I of Antequera following the Compromise of Caspe, which occurred after the death of Martin I the Humane without legitimate heirs. This moment, associated with the beginning of Catalonia’s decline, is allegorically represented on the Bellesguard bench with an image of Montserrat, a symbol of Catalonia, under a cloudy setting sun and the date 1410, the year of Martin I’s death. Interestingly, the opera’s main librettist, Salvatore Cammarano, was a celebrated poet born in Naples, like Ambassador Giuseppe Buccino Grimaldi. 

In summary, there are many reasons why the visit of this ambassador to such a Gaudí masterpiece, so deeply linked to the shared history of his country and ours, brought us such joy.