Anonymous, Alessandria, besieged by the French forces on 17 July 1657 with operations carried out by the Catholic and Austrian armies, the latter commanded by the Duke of Mantua, and the former by the Count of Fuensaldagna for the liberation of the said city, which took place on 19 August of the same year, etching on hand-coloured laid paper, 1657 , National Library of France, Paris.
In the summer of 1657, Alessandria was the scene of a significant siege that took place from 19 July to 18 August. It saw the military forces of France and Spain pitted against each other for continental dominance. The siege, described in multiple historical accounts as a battle of epic proportions, failed to breach the defenses of Alessandria, which remained under Lombard influence.[a]
"I sing of the arms of France and Francis, Risen and fallen to harm the Iberian Peninsula. Great things were attempted, but the boast was in vain, To expand the ambitious empire. The Alexandrian warrior turned his shame and fury into tears For the offenders; Although on his nearby slope the lily dared to take root."
—Alessandro Cassola, La briglia del furore. Ovvero Alessandria difesa; cfr. Antonio Belloni, p. 380
Historical Context
In 1657, the walls of Alessandria were the scene of a significant episode in the European wars of the 17th century, when the armies of the major powers faced each other in what was one of the final chapters of the long and bloody conflict that devastated northern Italy. The region had become a crossroads of strategic interests for the great powers and their allies, engaged in a constant struggle for European dominance.[1] In this context, the last decades had seen an intensification of hostilities on a continental scale, with France and Spain at the centre of a confrontation that also directly involved the State of Milan, under Spanish influence, and the Duchy of Savoy, by now openly siding with France. The siege took place in the final phase of the Franco-Spanish War, fought from 1635 to 1659. The initial phases arose with France's entry into the Thirty Years' War, in which Spain was already participating. The conflict between the two kingdoms continued for eleven years after the Peace of Westphalia , which ended the Thirty Years' War, and was then concluded with the Peace of the Pyrenees.[2]
The border areas, where cities and territories of crucial strategic importance were located, had been the scene of continuous clashes: prolonged sieges, conquests and reconquests had followed one another in a series of military operations that had put the local populations to the test. Previously absorbed into the sphere of Spanish influence, Alexandria is part of these border areas and became a strategic crossroads in the dispute for continental control.[3]
In this scenario, the art of military engineering took on a fundamental role: both the Savoy and Spain employed their best engineers in the design and strengthening of the fortresses. The strategic vision that guided these operations was that of creating a network of fortified cities, connected to each other like "links in a chain", according to the expression of Busca. This conception aimed to ensure an effective defence of the territory and to achieve an advantageous position with respect to the adversaries, in an era in which the control of the territory and the ability to defend it were essential for the survival and expansion of the states.[4]
In 1655 , Carlo Morello from Pavia[5], a military engineer in the service of the Duchy of Savoy, observed that many surprises have been attempted there although none have succeeded and therefore it is very difficult to attack it, since the Tanaro river passes through it and it is necessary to divide the army and therefore two bridges over the aforementioned river would be needed in case of a siege lasting two or three months[6]. Morello underlined how this characteristic required the division of the besieging forces and the need to build two bridges over the river to guarantee an effective siege lasting two or three months. However, the frequent flooding of the surrounding areas further complicated military operations, making the stability of a camp precarious and putting at risk the integrity of the temporary bridges, vulnerable to the destructive force of the waters and the debris carried by the current.
To further contextualize the siege of Alessandria, it is worth remembering that Francesco I d'Este, Duke of Modena, recognized as one of the most skilled commanders of his period and general of the Sun King, agreed with the Duke of Savoy to lead the Franco-Savoyard forces in a campaign aimed at inflicting a decisive blow to the Spanish and expelling them from Italy. Before reaching the Alessandria area, he advanced through the territory, his troops successively occupying several localities in the areas of Valsesia, Vercellese and Lomellina. Finally, they proceeded towards the Tanaro valley, where they managed to take control of Castello di Annone and Valenza.[7]
These conditions led the Alexandrians to zealously prepare the entire defensive system. Count Alfonso Perez de Vivero, commander of the Spanish army, carefully visited the city's fortifications, carrying out the necessary work to resist enemy assaults; the governor of Alexandria, Don Ferdinando Garcia Ravanal, promptly and abundantly provided for the city's provisions.[8]
Cartography
The graphic representation of the city of Alessandria, and of the borough of Bergoglio (or Borgoglio), enclosed within its own fortifications capable of withstanding intense assaults, is described in detail by Pert through the outlining of its most characteristic elements
A
B
C
D
E
F
G
H
I
L
M
N
O
✶
P
Q
R
S
T
U
V
W
X
✠c
✠h
Γ
Δ
Θ
Λ
Σ
Φ
Ψ
Ω
‖
‖
⊠
Π
ALESSANDRIA
A fortified citadel; B Porta Marengo; C Bastion of San Bernardino; D Porta Stopa; E Bastion of San Francesco; FLadies’ post; G Porta degli Horti; H rocchetta; I Porta Sotella; L Baratta tower; M Bastion of San Martino; NHebrews’ post; O Porta Genovese; ✶ covered bridge over the Tanaro
BERGOGLIO
P Bastion of Sant’Antonio; Q Bastion of San Pietro; R Bastion of Santa Caterina; S Bastion of San Barnaba; T Bastion of Santa Giuliana; U Bastion of San Michele; V rocchetta; W Porta delle Vigne; X Porta d’Asti;
SIEGE
✠c Church of the Crucifix; ✠h Church of the Horti;
France
ΓMonsù d’Iclara; ‖ pontoon bridges; Δ Panizzona farmstead; Θ French fort; ΛMonsù of Sant’Andrea; Σ Vescova and Moisa farmsteads; Φ Boida and Boidina farmsteads; Ψ Chiapona farmstead; Ω Rocche farmstead;
Spain
⊠ Gambarina farmstead; Π Stampina farmstead;
This work is not configured as a technical drawing or survey, like other examples of representations of Alexandria between the 16th and 18th centuries, but rather as a real war scenography[b], where the emphasis is placed on the representation of battalions, camps and war devices, with the aim of fixing in memory an era of significant historical tension.[c]
Siege
Fernando Garcia Ravanal, Governor of Alexandria.Gian Galeazzo Trotti , Master of the Field General and head of the Spanish armed forces.Count of Fuensaldaña Alfonso Perez de Vivero , commander of the Spanish army.Armand de Bourbon, Prince of Conti.Francesco I d'Este.
Forces in the field
The forces in the field were clearly delineated: on one side, the alliance composed of the Spanish-Lombard army, which had come to the aid of the besieged in Alessandria, was supported by the Swiss troops of the Grisons, the Austrians, and the Duke of Mantua. On the other, the Franco-Savoyard army could count on the support of the Duke of Modena.[9] The Franco-Savoyard front saw the use of a contingent of 15,500 soldiers, led by Armando di Borbone-Conti, Prince of Conti and the Marquis Gianfranco Villa, with the support of Francesco I d'Este, from Modena.[10]
Attempted conspiracy
While preparations were being made, an unexpected event provided the inhabitants of Alexandria and the Spanish with the opportunity to strengthen their defenses. A Jewish individual[11], whose identity has been omitted by the annalists, had perfected the process of refining gunpowder, leading to significant savings. This innovation attracted the attention of the Alexandrians, who invited the Jew from Pavia to help safeguard the city. However, the Duke of Modena, learning of the situation, paired the Jew with Count Montecuccoli, who attempted to persuade the inventor, through seduction and intimidation, to reveal his secret. A reward of 1,500 pistoles was offered for burning the city's arsenals and an even more considerable sum for opening one of the city gates.
The Jew, fearing for his safety, pretended to accept, spent a short time with the enemy in Acqui and subsequently fled to Alessandria, taking with him extremely valuable information regarding the strategies and movements of the opposing army. The Count of Fuensaldaña , exploiting this knowledge, confidently prepared for the arrival of the Duke of Modena by developing an effective defensive strategy.[12]
The Attacks
Despite the delay of the Gallo-Subalpine forces in launching a decisive attack, in July 1657, the population of Alessandria, exasperated by the continuous skirmishes, began to launch offensives from the bastion of San Michele di Bergoglio.[13] The enemy's reaction was initially timid; however, as the night progressed, they managed to conquer the bastion. Despite the courage shown by the Spanish and Alessandrian troops, they were forced to retreat within the city walls, leaving the commanders Giorgio Guasco and Francesco Straneo on the ground. This victory encouraged the Duke of Modena to intensify the pressure on Alessandria, without allowing any further respite.[12]
The Knight of the Ladies
During the siege of Alessandria, the city community demonstrated notable resistance: Ghilini deals with the siege in detail[14], citing the courage of many Alexandrians, Lodovico Ghilini, Lorenzo Cuttica di Cassine, Gian Galeazzo Trotti and his son Carlo Gerolamo, Giacomo Ottaviano Ghilini, Giovanni Tomaso Ghilini , Guarnerio Guasco, Biagio Panza, Antonio Bagliani, and many other citizens.[15]
But the most admirable act of heroism (and this memorable siege recorded many of them) was accomplished by a group of brave Alexandrian women. This story, although permeated by elements of a legendary nature, finds a sort of confirmation in the descriptions of historians, who attest to the female involvement in the defensive operations.[16]
Countess Francesca Trotti, a historical figure whose marital identity remains a matter of debate among historians, some of whom associate her with the valiant Alexandrian captain Gian Galeazzo Trotti, while others believe she was married to the governor Ravanal, assumed a prominent role during a critical period for the defense of the city of Alessandria. In a context in which the defensive forces suffered significant losses, Francesca Trotti mobilized a group of about three hundred women, deciding to arm this contingent with sabres, muskets and halberds.[17]
This female battalion[d], once equipped, crossed the city shouting encouragement and victory, with the aim of further motivating the soldiers. Subsequently, the group took up position on a bastion located near the area in front of the Horti. Here, the women, entrenched, managed to repel repeated enemy assaults. Francesca Trotti, who stood out for her courageous appearance, described as having blond hair disheveled by the wind and clothing reminiscent of that of the Amazons, alternated the use of the halberd with the arquebus, always placing herself in the front line to inspire her companions with actions and words. Their courage culminated in the repulsion of the last offensive of the enemy, who, defeated, was forced to retreat beyond the Tanaro river.[17]
The bastion, successfully defended by the ladies, was later called the "knight of the ladies". Although the deeds of these three hundred women have been praised by historians and poets, their names have not been handed down. Despite the importance of their contribution to the defense of the city, when it came to the commemoration of the fallen after the war, with the creation of monuments in their honor, neither Francesca Trotti nor her brave companions were remembered in such celebrations, leaving a void in the collective memory regarding their heroism.[17]
Military engineers
In the context of the siege, the figures of Pompeo Robutti emerge, as already mentioned engaged alongside the defenders of Alessandria, and Gaspare Beretta , operating under the banner of the Lombard-Spanish forces. Both were responsible for conducting defensive maneuvers, the construction of temporary fortifications, and the organization of troops and the positioning of war devices. These military engineers combined theory with practice in the construction of defensive structures, which were crucial in determining the outcome of the battle.
Pompeo Robutti, son of the Alexandrians Marc'Antonio and Margherita Inviziati, a member of the city 's elite, distinguished himself in various military operations, including the sieges of Vercelli in 1638 and of Tortona in 1642.[18] His reputation was based both on family prestige and on a solid cultural education acquired in the Milanese environment, enriched by a vast experience in military tactics. Author of the treatise "L'Architettura Militare", written in 1650 and preserved in the State Archives of Alessandria, Robutti obtained recognition and privileges for the merits acquired during his career. On 18 December 1650, Philip IV, King of Spain ,officially recognised his services and efforts, conferring on him the title of "Professor of Military Architecture and Chief Engineer in the necessary Wars of Lombardy, and especially in the Province of Alessandria". This was the achievement of a result resulting from many years of projects and field work which always gave excellent results. For example, in 1644 we remember the design of the bastions of San Barnaba and Santa Giuliana di Bergoglio in the aftermath of an attack by combined French and Savoy forces. Robutti managed to thwart the attack, but the urgent need to strengthen the urban defences was highlighted.[19]
Upon his death in 1668, without a will, part of his estate, including a rich library, was identified as belonging to his brother Vespasiano. He was buried in the family chapel in the church of Santa Maria di Castello. The city, frequently the object of comprehensive study by military engineers, is often represented holistically, although sometimes with significant omissions, such as the internal structure of the urban fabric. These specialists, through careful, sometimes clandestine, observation, analyze and document urban features, producing reports and drawings that, while detailed, may contain strategic omissions or particular emphases. Military engineers act as critical analysts of structural vulnerabilities and obsolescence, proposing innovative projects aimed both at improving existing infrastructure and at creating new, autonomous structures. In this process of reflection and reconfiguration, the historic city is reconsidered and transformed to adapt to the needs of war. The military engineer emerges as a key figure, a true deus ex machina of the urban war landscape: not simply a technician, but a professional who combines mathematical and artistic skills with an intimate understanding of war. Equipped with the ability to navigate and interpret the landscape, the military engineer rarely limits himself to desk work, but immerses himself directly in the context of intervention.[20][21]
Literature
The figure of Alessandro Cassola emerges in the literature of the time for his poem " La briglia del furore, ossia Alessandria difesa ", which celebrates the siege and in particular the role of women, comparing Francesca Trotti to Tasso's Clorinda , symbol of the warrior woman. This literary reference, although rooted in tradition, reflects the admiration and recognition of the virtues of courage and determination attributed to Alexandrian women. Alessandro Cassola demonstrated a notable inventive ability and enriched his work with pertinent and lively descriptions. Cantos II and V stand out in particular, in which one of the bastions surrounding Alessandria is illustrated, called, as previously mentioned, the knight of the ladies. Cassola describes the bastion in this way:[22]
The Knight towers, and on high he raises
a parapet faithful to the Warriors. It appears to be a delightful hill from within; and on the outside it dresses its impenetrable foot with haughty walls. The Tanaro irrigates the rivers
with its soft wave; the breadth of the City, and in one glance he dominates the Bridge, the Village, and the Gardens[23]
Particularly noteworthy is the episode of Doralba, a young warrior, through which the author has succeeded in embellishing the poem with a narration that exudes charm and grace. The language used is mostly impeccable, the ideas are well-crafted, and only occasionally can the reader come across some traces typical of that era.[24]
The bishop of Alessandria, Deodato Scaglia , played the part no more of a prelate and shepherd than of a warrior; and since he wanted his own clergy to work for the defense of the fatherland, he himself encouraged it with his presence. He therefore obliged Alessandro Cassola to give him particular praise in the third canto of his poem on this siege, published the following year 1658, from stanzas 13 to 21.[25][26]
Notes
↑A contemporary map, also reported in this entry, illustrates the events and the positions of the forces during the siege, and is kept at the State Archives of Alessandria, in the collection of the Historical Archives of the Municipality of Alessandria (see ASAl, ASCAl, series III, cart. 2262/2), testifying to the historical and strategic importance of this conflict.
↑The sixteenth century saw the rise of the theme of warfare, a phenomenon that became particularly consolidated and widespread between the seventeenth and eighteenth centuries , especially in Germany and France . The focus of urban portraits extended beyond the defensive apparatus, also embracing the celebration of battles and the representation of the deployment of military forces. These subjects began to characterize prints and loose sheets, contributing to the creation of true atlases through the reworking of once-confidential but now obsolete documents, which were standardized in format and representational technique. The siege emerged as a particularly relevant iconographic motif, offering insights into strategic aspects, military engineering, the architecture of fortifications, urban configuration, and defensive strategies. The impact of the siege on the surrounding territory became a crucial element of analysis, highlighting how war operations, often protracted and cyclically repeated, profoundly altered the environment, transforming cultivated fields, pastures, and communication routes into militarized spaces, with dramatic consequences for daily life. Artistic representations of sieges ranging from tapestries, frescoes, and bas-reliefs to watercolors, engravings, and prints often originate in the technical drawings of military engineers, transforming defensive schemes and tactical deployments into visual testimonies of epic episodes. In the 17th century, sieges assumed a central role in warfare, marking a clear evolution from the heroic conception of combat typical of the Middle Ages, based primarily on direct confrontation. This transformation radically influenced the art of war and, consequently, the morphology of urban fortifications.
↑Artillery in action symbolizes the heated moments of conflict, while the map is animated by detailed figures depicting soldiers, camps, and small fortifications. The presence of a gallows with a condemned man also evokes the harshness and brutality of war.
↑Divided into six Companies, each with its own Captain. Some Officers had them practice musket shooting: They wore short dresses (with trousers underneath) very well dressed, but without any pomp.
Lusso, Enrico, ed. (2013). "Età moderna. La città nel XVII secolo: Alessandria". Atlante storico dell'Alessandrino. Scientific direction by Valerio Castronovo. Alessandria: Fondazione Cassa di Risparmio di Alessandria. ISBN978-8841897867.
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Prince of Conti 
Francesco I d'Este 
Gianfranco Villa 
Charles II Gonzaga 
Alfonso Pérez de Vivero 
