Coordinates: 38°15′N 21°15′E

Battle of Lepanto
The Battle of Lepanto was a naval engagement that took place
Battle of Lepanto
on 7 October 1571 when a fleet of the Holy League, led by the
Venetian Republic and the Spanish Empire, inflicted a major Part of the Fourth Ottoman-Venetian War, Ottoman-
defeat on the fleet of the Ottoman Empire in the Gulf of Patras. Habsburg wars
The Ottoman forces were sailing westward from their naval
station in Lepanto (the Venetian name of ancient Naupactus
Ναύπακτος, Ottoman İnebahtı) when they met the fleet of the
Holy League which was sailing east from Messina, Sicily. The
Holy League was a coalition of European Catholic maritime
states which was arranged by Pope Pius V and led by John of
Austria. The league was largely financed by Philip II of Spain,
and the Venetian Republic was the main contributor of ships.[11]
The Battle of Lepanto, unknown artist, late 16th
In the history of naval warfare, Lepanto marks the last major century[1]
engagement in the Western world to be fought almost entirely
Date 7 October 1571
between rowing vessels,[12] namely the galleys and galeasses
Location Gulf of Patras, Ionian Sea
which were the direct descendants of ancient trireme warships.
The battle was in essence an "infantry battle on floating
38°15′N 21°15′E
platforms".[13] It was the largest naval battle in Western history
since classical antiquity, involving more than 400 warships. Over Result Holy League victory[a][2]
the following decades, the increasing importance of the galleon Belligerents
and the line of battle tactic would displace the galley as the major
Holy League: Ottoman Empire
warship of its era, marking the beginning of the A
" ge of Sail".

The victory of the Holy League is of great importance in the

Republic of
history of Europe and of the Ottoman Empire, marking the
Venice
turning-point of Ottoman military expansion into the Spanish Empire
Mediterranean, although the Ottoman wars in Europe would Papal States
continue for another century. It has long been compared to the
Republic of
Battle of Salamis, both for tactical parallels and for its crucial
Genoa
importance in the defense of Europe against imperial
Knights of Malta
expansion.[14] It was also of great symbolic importance in a
period when Europe was torn by its own wars of religion Grand Duchy of
following the Protestant Reformation, strengthening the position Tuscany
of Philip II of Spain as the "Most Catholic King" and defender of Duchy of Savoy
Christendom against Muslim incursion.[15] Historian Paul K. Duchy of Urbino
Davis writes that, "More than a military victory, Lepanto was a
Knights of Saint
moral one. For decades, the Ottoman Turks had terrified Europe,
Lazarus
and the victories of Suleiman the Magnificent caused Christian
Europe serious concern. The defeat at Lepanto further Order of Saint
exemplified the rapid deterioration of Ottoman might under Stephen
Selim II, and Christians rejoiced at this setback for the infidels. Commanders and leaders
The mystique of Ottoman power was tarnished significantly by
Holy League Ottoman Navy:[5][6]
this battle, and Christian Europe was heartened."[16]
Navy:[3][4]
 Contents Center: Center:
Müezzinzade Ali
Background John of
Pasha †
Deployment and order of battle Austria
Right: Mahomet
Battle Sebastiano
Sirocco †
Aftermath Venier
Left: Occhiali
Legacy Marcantonio
Commemoration Colonna
Paintings
Pietro
Modern literature
Giustiniani
See also
Left:
Notes
References Agostino
Bibliography Barbarigo †
External links Right:

Gianandrea

Background Doria
Reserve:
The Christian coalition had been promoted by Pope Pius V to
rescue the Venetian colony of Famagusta on the island of Cyprus, Álvaro de
which was being besieged by the Turks in early 1571 subsequent Bazán
to the fall of Nicosia and other Venetian possessions in Cyprus in
Strength
the course of 1570. On 1 August the Venetians had surrendered
after being reassured that they could leave Cyprus freely. 212 ships[4] 278 ships
However, the Ottoman commander, Lala Kara Mustafa Pasha, 6 galleasses 222 galleys
who had lost some 50,000 men in the siege,[18] broke his word, 206 galleys 56 galliots
imprisoning the Venetians. On 17 August Marco Antonio
28,500 soldiers[7] 31,490 soldiers
Bragadin was flayed alive and his corpse hung on Mustafa's
40,000 sailors and 50,000 sailors and
galley together with the heads of the Venetian commanders,
oarsmen[4] oarsmen
Astorre Baglioni, Alvise Martinengo and Gianantonio Querini.
1,815 guns[8] 750 guns[8]
The members of the Holy League were the Republic of Venice,
Casualties and losses
the Spanish Empire (including the Kingdom of Naples, the
Habsburg Monarchy, the Kingdoms of Sicily and Sardinia as part 10,000 dead[9] 40,000 dead[9]
of the Spanish possessions), the Papal States, the Republic of 17 galleys lost[10] 200 galleys sunk, burned,
Genoa, the Duchies of Savoy, Urbino and Tuscany, the Knights or captured
Hospitaller and others.[19] 12,000 Christians freed

The banner for the fleet, blessed by the Pope, reached the
Kingdom of Naples (then ruled by the Philip II of Spain) on 14 August 1571. There, in the Basilica of Santa Chiara, it was solemnly
consigned to John of Austria, who had been named leader of the coalition after long discussions among the allies. The fleet moved to
Sicily and, leaving Messina, reached (after several stops) the port of Viscardo in Cephalonia, where news arrived of the fall of
Famagusta and of the torture inflicted by the Turks on the Venetian commander of the fortress,Marco Antonio Bragadin.

All members of the alliance viewed the Ottoman navy as a significant threat, both to the security of maritime trade in the
Mediterranean Sea and to the security of continental Europe itself. Spain was the largest financial contributor, though the Spaniards
preferred to preserve most of their galleys for Spain's own wars against the nearby sultanates of the Barbary Coast rather than expend
its naval strength for the benefit of Venice.[20][21] The combined Christian fleet was placed under the command of John of Austria
(Don Juan de Austria) with Marcantonio Colonna as his principal deputy. The various Christian contingents met the main force, that
of Venice (under Sebastiano Venier, later Doge of Venice), in July and August 1571 atMessina, Sicily.[22]
Deployment and order of battle
The Christian fleet consisted of 206 galleys and six galleasses (large new galleys,
developed by the Venetians, that carried substantial artillery) and was commanded
by Spanish Adm. John of Austria, the illegitimate son of Emperor Charles V and
half-brother of King Philip II of Spain, supported by the Spanish commanders Don
Luis de Requesens y Zúñiga and Don Álvaro de Bazán, and Genoan commander
The banner of the Holy League,
Gianandrea Doria.[24][25] The Republic of Venice contributed 109 galleys and six
flown by John of Austria on his
galleasses, 49 galleys came from the Spanish Empire (including 26 from the flagship Real. It is made of blue
Kingdom of Naples, the Kingdom of Sicily and other Italian territories), 27 galleys damask interwoven with gold thread,
of the Genoese fleet, seven galleys from the Papal States, five galleys from theOrder of a length of 7.3 m and a width of
of Saint Stephen and the Grand Duchy of Tuscany, three galleys each from the 4.4 m at the hoist. It displays the
crucified Christ above the coats of
Duchy of Savoy and the Knights of Malta and some privately owned galleys in
arms of Pius V, of Venice, of Charles
Spanish service. This fleet of the Christian alliance was manned by 40,000 sailors
V, and of John of Austria. The coats
and oarsmen. In addition, it carried approximately 20,000[26][27] fighting troops: of arms are linked by chains
7,000 Spanish regular infantry of excellent quality,[28] 7,000 Germans,[29] 6,000 symbolizing the alliance.[17]
Italian mercenaries in Spanish pay, all good troops,[29] in addition to 5,000
professional Venetian soldiers.[30] Also, Venetian oarsmen were mainly free citizens
and able to bear arms, adding to the fighting power of their ship, whereas convicts
were used to row many of the galleys in other Holy League squadrons.[31] Free
oarsmen were generally acknowledged to be superior, but were gradually replaced in
all galley fleets (including those of Venice from 1549) during the 16th century by
[32]
cheaper slaves, convicts and prisoners-of-war owing to rapidly rising costs.

Ali Pasha, the Ottoman admiral

(Kapudan-i Derya), supported by
the corsairs Mehmed Siroco
(natively Mehmed Şuluk) of
Alexandria and Uluç Ali,
commanded an Ottoman force of
222 war galleys, 56 galliots and
Order of battle of the two fleets, with
some smaller vessels. The Turks an allegory of the three powers of the
had skilled and experienced crews Holy League in the foreground,
of sailors but were significantly fresco by Giorgio Vasari (1572, Sala
deficient in their elite corps of Regia).[23]
Janissaries. The number of oarsmen
was about 37,000, virtually all of
them slaves,[33] many of them Christians who had been captured in previous

Depiction of the Ottoman Navy, detail conquests and engagements.[31] The Ottoman galleys were manned by 13,000
from the painting by Tommaso experienced sailors—generally drawn from the maritime nations of the Ottoman
Dolabella (1632) Empire—mainly Berbers, Greeks, Syrians and Egyptians—and 34,000 soldiers.[34]

An advantage for the Christians was the numerical superiority in guns and cannon
aboard their ships, as well as the superior quality of the Spanish infantry.[25] It is estimated that the Christians had 1,815 guns, while
the Turks had only 750 with insufficient ammunition.[8] The Christians embarked with their much improved arquebusier and
musketeer forces, while the Ottomans trusted in their greatly fearedcomposite bowmen.[35]

The Christian fleet started from Messina on 16 September, crossing the Adriatic and creeping along the coast, arriving at the group of
rocky islets lying just north of the opening of the Gulf of Corinth on 6 October. Serious conflict had broken out between Venetian and
Spanish soldiers, and Venier enraged Don Juan by hanging a Spanish soldier for impudence.[36] Despite bad weather, the Christian
ships sailed south and, on 6 October, reached the port of Sami, Cephalonia (then also called Val d'Alessandria), where they remained
for a while.

Early on 7 October they sailed toward the Gulf of Patras, where they encountered the Ottoman fleet. While neither fleet had
immediate strategic resources or objectives in the gulf, both chose to engage. The Ottoman fleet had an express order from the Sultan
to fight, and John of Austria found it necessary to attack in order to maintain the integrity of the expedition in the face of personal and
political disagreements within the Holy League.[37] On the morning of 7 October, after the decision to offer battle was made, the
Christian fleet formed up in four divisions in a north-south line:

At the northern end, closest to the coast, was the Left Division of 53 galleys, mainlyenetian,
V led by Agostino
Barbarigo (admiral), with Marco Querini and Antonio da Canale in support.
The Centre Division consisted of 62 galleys under John of Austria himself in his Real, along with Marcantonio
Colonna commanding the papal flagship, Venier commanding the Venetian flagship, Paolo Giordano I Orsiniand
Pietro Giustiniani, prior of Messina, commanding the flagship of theKnights of Malta.
The Right Division to the south consisted of another 53 galleys under the Genoese Giovanni Andrea Doria, great-
nephew of admiral Andrea Doria.
A Reserve Division was stationed behind (that is, to the west of) the main fleet, to lend support wherever it might be
needed, commanded byÁlvaro de Bazán.
Two galleasses, which had side-mounted cannon, were positioned in front of each
main division for the purpose, according to Miguel de Cervantes (who served on the
galley Marquesa during the battle), of preventing the Turks from sneaking in small
boats and sapping, sabotaging or boarding the Christian vessels. This reserve
division consisted of 38 galleys—30 behind the Centre Division and four behind
each wing. A scouting group was formed, from two Right Wing and six Reserve
Division galleys. As the Christian fleet was slowly turning around Point Scropha,
Doria's Right Division, at the offshore side, was delayed at the start of the battle and One of the Venetian Galleasses at
the Right's galleasses did not get into position. Lepanto (1851 drawing, after a
1570s painting).
The Ottoman fleet consisted of 57 galleys and two galliots on its right under
Mehmed Siroco, 61 galleys and 32 galliots in the center under Ali Pasha in the
Sultana and about 63 galleys and 30 galliots in the south offshore under Uluç Ali. A small reserve consisted of eight galleys, 22
galliots and 64 fustas, behind the center body. Ali Pasha is supposed to have told his Christian galley slaves, "If I win the battle, I
promise you your liberty. If the day is yours, then God has given it to you." John of Austria, more laconically, warned his crew,
"There is no paradise for cowards."[38]

Battle
The lookout on the Real sighted the Turkish van at dawn of 7 October. Don Juan called a council of war and decided to offer battle.
He travelled through his fleet in a swift sailing vessel, exhorting his officers and men to do their utmost. The Sacrament was
administered to all, the galley slaves were freed from their chains, and the standard of the Holy League was raised to the truck of the
flagship.[36]

The wind was at first against the Christians, and it was feared that the Turks would be able to make contact before a line of battle
could be formed. But around noon, shortly before contact, the wind shifted to favour the Christians, enabling most of the squadrons
to reach their assigned position before contact. Four galeasses stationed in front of the Christian battle line opened fire at close
quarters at the foremost Turkish galleys, confusing their battle array in the crucial moment of contact. Around noon, first contact was
made between the squadrons of Barbarigo's and Sirocco, close to the northern shore of the Gulf. Barbarigo had attempted to stay so
close to the shore as to prevent Sirocco from surrounding him, but Sirocco, knowing the depth of the waters, managed to still insert
galleys between Barbarigo's line and the coast. In the ensuing mêlée, the ships came so close to each other as to form an almost
continuous platform of hand-to-hand fighting in which both leaders were killed. The Christian galley slaves freed from the Turkish
[40]
ships were supplied with arms and joined in the fighting, turning the battle in favour of the Christian side.
 Meanwhile, the
centers clashed with
such force that Ali
Pasha's galley drove
into the Real as far
as the fourth rowing
bench, and hand-to-
hand fighting
commenced around
the two flagships,
Fresco in the Vatican's Gallery of
between the Spanish
Maps
tercio infantry and Plan of the Battle (formation of the fleets just
before contact)[39]
the Turkish
janissaries. When the Real was nearly taken, Colonna came
alongside with the bow of his galley and mounted a counter-attack. With the help of Colonna, the Turks were pushed off the Real and
the Turkish flagship was boarded and swept. The entire crew of Ali Pasha's flagship was killed, including Ali Pasha himself. The
banner of the Holy League was hoisted on the captured ship, breaking the morale of the Turkish galleys nearby. After two hours of
fighting, the Turks were beaten left and center, although fighting continued for another two hours.[41] A flag taken at Lepanto by the
Knights of Saint Stephen, said to be the standard of the Turkish commander, is still on display, in the Church of the seat of the Order
in Pisa.[42]

On the Christian right, the situation was different, as Doria continued sailing towards the south instead of taking his assigned
position. He would explain his conduct after the battle by saying that he was trying to prevent an enveloping maneuver by theurkish
T
left. But Doria's captains were enraged, interpreting their commander's signals as a sign of treachery. When Doria had opened a wide
gap with the Christian center, Uluç Ali swung around and fell on Colonna's southern flank, with Doria too far away to interfere. Ali
attacked a group of some fifteen galleys around the flagship of the Knights of Malta, threatening to break into the Christian center
and still turn the tide of the battle. This was prevented by the arrival of the reserve squadron of Santa Cruz. Uluç Ali was forced to
[43]
retreat, escaping the battle with the captured flag of the Knights of Malta.

Isolated fighting continued until the evening. Even after the battle had clearly turned against the Turks, groups of janissaries kept
fighting to the last. 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.[8] At the end of the battle, the
Christians had taken 117 galleys and 20 galliots, and sunk or destroyed some 50 other ships. Around ten thousand Turks were taken
prisoner, and many thousands of Christian slaves were rescued. The Christian side suffered around 7,500 deaths, the Turkish side
about 30,000.[44]

Aftermath
The engagement was a significant defeat for the Ottomans, who had not lost a major naval battle since the fifteenth century.[45]
However, the Holy League failed to capitalize on the victory, and while the Ottoman defeat has often been cited as the historical
turning-point initiating the eventual stagnation of Ottoman territorial expansion, this was by no means an immediate consequence;
even though the Christian victory at Lepanto confirmed the de facto division of the Mediterranean, with the eastern half under firm
Ottoman control and the western under the Habsburgs and their Italian allies, halting the Ottoman encroachment on Italian territories,
the Holy League did not regain any territories that had been lost to the Ottomans prior to Lepanto.[46] Historian Paul K. Davis
synopsizes the importance of Lepanto this way: "This Turkish defeat stopped Ottomans' expansion into the Mediterranean, thus
T previously unstoppable, could be beaten"[47]
maintaining western dominance, and confidence grew in the west that urks,

The Ottomans were quick to rebuild their navy.[48] By 1572, about six months after the defeat, more than 150 galleys, 8 galleasses,
and in total 250 ships had been built, including eight of the largest capital ships ever seen in the Mediterranean.[49] With this new
fleet the Ottoman Empire was able to reassert its supremacy in the Eastern Mediterranean.[50] Sultan Selim II's Chief Minister, the
Grand Vizier Mehmed Sokullu, even boasted 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.[51]

The Victors of Lepanto, John of Austria,

In 1572, the allied Christian fleet resumed operations and faced a Marcantonio Colonna and Sebastiano Venier
renewed Ottoman navy of 200 vessels under Kılıç Ali Pasha, but the (anonymous oil painting, c. 1575, formerly in
Ottoman commander actively avoided engaging the allied fleet and Ambras Castle, now Kunsthistorisches Museum,
Vienna)
headed for the safety of the fortress of Modon. The arrival of the
Spanish squadron of 55 ships evened the numbers on both sides and
opened the opportunity for a decisive blow, but friction among the Christian leaders and the reluctance of Don Juan squandered the
opportunity.[52]

Pius V died on 1 May 1572. The diverging interests of the League members began to show, and the alliance began to unravel. In
1573, the Holy League fleet failed to sail altogether; instead, Don Juan attacked and took Tunis, only for it to be retaken by the
Ottomans in 1574. Venice, fearing the loss of her Dalmatian possessions and a possible invasion of Friuli, and eager to cut her losses
Porte.[53]
and resume the trade with the Ottoman Empire, initiated unilateral negotiations with the

The Holy League was disbanded with the peace treaty of 7 March 1573, which
concluded the War of Cyprus. Venice was forced to accept loser's terms in spite of
the victory at Lepanto. Cyprus was formally ceded to the Ottoman Empire, and
Venice agreed to pay an indemnity of 300,000 ducats. In addition, the border
between the two powers in Dalmatia was modified by the Turkish occupation of
small but important parts of the hinterland that included the most fertile agricultural
areas near the cities, with adverse effects on the economy of the Venetian cities in
Dalmatia.[54] Peace would hold between the two states until the Cretan War of
Jacopo Ligozzi, The Return of the
1645.[55]
Knights of Saint Stephenfrom the
In 1574, the Ottomans retook the strategic city of Tunis from the Spanish-supported Battle of Lepanto (c. 1610, Santo
Stefano dei Cavalieri, Pisa)
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. But after 1580, the Ottoman Empire could no longer compete with the advances in
European naval technology, especially the development of the galleon and line of battle tactics used in the Spanish Navy.[56] 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 (although Larache and La Mamora were lost again
later in the 17th century). Ottoman expansion in the 17th century shifted to land war with Austria on one hand, culminating in the
Great Turkish War of 1683–1699, and to thewar with Safavid Persiaon the other.
Legacy

Commemoration
The Holy League credited the victory to the Virgin Mary, whose
intercession with God they had implored for victory through the use
of the Rosary. Andrea Doria had kept a copy of the miraculous image
of Our Lady of Guadalupe given to him by King Philip II of Spain in
his ship's state room.[57] Pope Pius V instituted a new Catholic feast
day of Our Lady of Victory to commemorate the battle, which is now
celebrated by the Catholic Church as the feast of Our Lady of the
Rosary.[58] Dominican friar Juan Lopez in his 1584 book on the
rosary states that the feast of the rosary was offered "in memory and
in perpetual gratitude of the miraculous victory that the Lord gave to
his Christian people that day against the Turkish armada".[59] Battle of Lepanto by Martin Rota, 1572 print,
Venice
A piece of commemorative music composed after the victory is the
motet Canticum Moysis (Song of Moses Exodus 15) Pro victoria
navali contra Turcas by the Spanish composer based in Rome Fernando de las Infantas.[60] The other piece of music is Jacobus de
Kerle "Cantio octo vocum de sacro foedere contra Turcas" 1572 (Song in Eight Voices on the Holy League Against the Turks), in the
opinion of Pettitt (2006) an "exuberantly militaristic" piece celebrating the victory.[61] There were celebrations and festivities with
triumphs and pageants at Rome and Venice with Turkish slaves in chains.[62]

Spanish poet Fernando de Herrera wrote the poem "Canción en alabanza de la divina majestad por la victoria del Señor Don Juan" in
.[63]
1572. King James VI of Scotland published in 1591 a poem of about 1,000 lines celebrating this Christian victory

Paintings
There are many pictorial representations of the battle. Prints of the order of battle
appeared in Venice and Rome in 1571,[64] and numerous paintings were
commissioned, including one in the Doge's Palace, Venice, by Andrea Vicentino on
the walls of the Sala dello Scrutinio, which replaced Tintoretto's Victory of Lepanto,
destroyed by fire in 1577. Titian painted the battle in the background of an
allegorical work showing Philip II of Spain holding his infant son, Don Fernando,
his male heir born shortly after the victory, on 4 December 1571. An angel descends
from heaven bearing a palm branch with a motto for Fernando, who is held up by
Philip: "Majora tibi" (may you achieve greater deeds; Fernando died as a child, in
1578).[65]

The Allegory of the Battle of Lepanto(c. 1572, oil on canvas, 169 x 137 cm, Gallerie
dell'Accademia, Venice) is a painting by Paolo Veronese. The lower half of the
painting shows the events of the battle, whilst at the top a female personification of
Felipe II offers Prince Fernando to
Venice is presented to the Virgin Mary, with Saint Roch, Saint Peter, Saint Justina,
Victory by Titian, c. 1572–1575,
Saint Mark and a group of angels in attendance. Museo del Prado, Madrid

A painting by Wenceslas Cobergher, dated to the end of the 16th century, now in San
Domenico Maggiore, shows what is interpreted as a victory procession in Rome on the return of admiral Colonna. On the stairs of
Saint Peter's Basilica, Pius V is visible in front of a kneeling figure, identified as Marcantonio Colonna returning the standard of the
[66]
Holy League to the pope. On high is the Madonna and child with victory palms.
Tommaso Dolabella painted his The Battle of Lepanto in c. 1625–1630 on the commission of Stanisław Lubomirski, commander of
the Polish left wing in the Battle of Khotyn (1621). The monumental painting (3.05 m × 6.35 m) combines the Polish victory
procession following this battle with the backdrop of the Battle of Lepanto. It was later owned by the Dominicans of Poznań and
since 1927 has been on display inWawel Castle, Cracow.[67]

The Battle of Lepanto by Juan Luna (1887) is displayed at the Spanish Senate in Madrid.

The Allegory of the Battle The Battle of Lepanto by The Battle of Lepanto by The Battle of Lepanto by
of Lepanto by Paolo Andrea Vicentino (c. Tommaso Dolabella (c. Andries van Eertvelt
Veronese (c. 1572, 1600, Doge's Palace, 1625–1630, Wawel (1640)
Gallerie dell'Accademia, Venice) Castle, Cracow)
Venice)

The Battle of Lepanto by

Juan Luna (1887,
Spanish Senate, Madrid)

Modern literature
The English author G. K. Chesterton wrote a poem Lepanto, first published in 1911 and republished many times since. It provides a
series of poetic visions of the major characters in the battle, particularly the leader of the Christian forces, Don Juan of Austria. It
closes with verses linking Miguel de Cervantes, who fought in the battle, with the "lean and foolish knight" he would later
immortalize in Don Quixote. Miguel de Cervantes lost the use of an arm in this battle and therefore he is known as el manco de
Lepanto (the one-armed man of Lepanto) in the Hispanic world.

Emilio Salgari devoted two of his historical novels, Capitan Tempesta ("Captain Tempest", 1905) and Il Leone di Damasco ("The
Lion of Damascus", 1910), to the siege of Famagusta and the Battle of Lepanto. The novels were adapted in two films by Corrado
D'Errico in 1942.[68]

See also
Battle of Ponza (1300)
Battle of Ponza (1425)
Battle of Zonchio (1499)
 Battle of Capo d'Orso (1528)
Battle of Preveza (1538)
Battle of Djerba (1560)
Siege of Malta (1565)
Battle of Gangut (1714)
Battle of Chesma (1770)
Battle of Navarino (1827)

Notes
a. The 16th century saw only three such large battle: Preveza in 1538, Djerba in 1560 and Lepanto in 1571. These
battles were spectacular[...]. Nevertheless, they were not really decisive; a galley fleet can be built in a few months
.[2]
and the logistical limitations of galleys prohibit the strategic exploitation of victory

References
1. National Maritime MuseumBHC0261 (http://collections.rmg.co.uk/collections/objects/11753.html)
, based on a 1572
print by Martino Rota.
2. Hattendorf & King 2013, p. 32.
3. Drane, Augusta Theodosia (1858).The Knights of St. John: with the battle of Lepanto and Siege of iV
enna. London.
4. Konstam, Angus (2003). Lepanto 1571: The Greatest Naval Battle of the Renaissance(https://books.google.com/bo
oks?id=xloOS43F-X8C&pg=PA23). United Kingdom: Osprey Publishing. pp. 20–23.ISBN 1-84176-409-4. Retrieved
August 29, 2012.
5. George Ripley and Charles A. Dana (1867).The new American cyclopaedia: Volume 10. New York.
6. Setton, Kenneth Meyer (1984).The Papacy and the Levant, 1204–1571, V
olume 161. Philadelphia.
7. Rodgers, William Ledyard (1939).Naval Warfare Under Oars, 4th to 16th Centuries: A Study of Strategy, Tactics and
Ship Design (https://books.google.com/books?id=PmZMxsbPt7gC&pg=P A175). United States: Naval Institute Press.
p. 175. ISBN 978-0-87021-487-5.
8. Geoffrey Parker, The Military Revolution, pp. 87 – 88
9. Nolan, Cathal (2006). The Age of Wars of Religion, 1000–1650: Encyclopedia of Global Warfare and Civilization,
Volume 2. Greenwood Publishing Group. p. 529.
10. Confrontation at Lepantoby T. C. F. Hopkins, intro
11. Davis 1999, p. 195.
12. Hanson 2010, p. 96.
13. William Stevens, History of Sea Power (1920), p. 83 (https://books.google.com/books?id=bN11UKPT
ew0C&pg=PA8
3).
14. See e.g. William Stevens,History of Sea Power (1920), p. 83 (https://books.google.com/books?id=bN11UKPT ew0C
&pg=PA83); Frederick A. de Armas,Cervantes, Raphael and the Classics(1998), p. 87 (https://books.google.com/bo
oks?id=hVUCz-BNWHUC&pg=PA87).
15. His efforts to finance the Holy League against the Ottomans earned Philip II, the "Most Catholic King", his place as
"champion of Catholicism throughout Europe, a role that led him to spectacular victories and equally spectacular
defeats. Spain's leadership of a 'holy league' against u Trkish enroachments in the Mediterranean resulted in a
stunning victory over the Turkish fleet in the Battle of Lepanto in 1571. Philip's greatest misfortunes came from his
attempts to crush the revolt in the Netherlands and his tortured relations with Queen Elizabeth of England."Jackson
J. Spielvogel (2012). Western Civilization: A Brief History, Volume II: Since 1500 (https://books.google.com/books?id
=APlvG4Ur6TwC&pg=PA293) (8th ed.). Cengage Learning. p. 253.
16. Davis 1999, p. 199.
17. The image shown is a reproduction of an 1888 watercolor drawn from a copy of the banner in the Museo Naval in
Madrid. The original is kept in the Museo de Santa Cruz in oledo.
T The banner was given toToledo Cathedral in
1616. It was moved to the Museo de Santa Cruz in 1961.F. Javier Campos y Fernández de Sevilla, "CERVANTES,
LEPANTO Y EL ESCORIAL" (http://cvc.cervantes.es/literatura/cervantistas/congresos/cg_IV/cg_IV_04.pdf)
18. Goffman (2002), p. 158
19. Hopkins 2006, pp. 59–60.
20. Stevens (1942), p. 61
21. Setton (1984), p. 1047. Meyer Setton, Kenneth:The Papacy and the Levant, 1204–1571, Vol. IV. Philadelphia:
American Philosophical Society, 1984. ISBN 978-0-87169-162-0, p. 1047.
22. Archer et al. 2002, p. 258.
23. Rick Scorza, "Vasari's Lepanto Frescoes:Apparati, Medals, Prints and the Celebration of Victory", Journal of the
Warburg and Courtauld Institutes75 (2012), 141–200
24. Konstam, Angus (2003). Lepanto 1571: The Greatest Naval Battle Of The Renaissance(https://books.google.com/b
ooks?id=xloOS43F-X8C&pg=PA23). United Kingdom: Osprey Publishing. p. 23. ISBN 1-84176-409-4. Retrieved
August 29, 2012.
25. Stevens (1942), pp. 66–69
26. ISBN 1861899467, p. 70
27. ISBN 0-306-81544-3, p. 225
28. Stevens (1942), p. 67
29. Setton (1984), p. 1026
30. Konstam (2003), p. 20
31. John F. Guilmartin (1974), pp. 222–25
32. The first regularly sanctioned use of convicts as oarsmen on eVnetian galleys did not occur until 1549. re T
enenti,
Cristoforo da Canal, pp. 83, 85. See Tenenti, Piracy and the Decline of Venice (Berkeley, 1967), pp. 124–25, for
Cristoforo da Canal's comments on the tactical ef fectiveness of free oarsmen c. 1587 though he was mainly
concerned with their higher cost. Ismail Uzuncarsili,Osmanli Devletenin Merkez ve Bahriye T eskilati (Ankara, 1948),
p. 482, cites a squadron of 41 Ottoman galleys in 1556 of which the flagship and two others were rowed by Azabs,
salaried volunteer light infantrymen, three were rowed by slaves and the remaining 36 were rowed by salaried
mercenary Greek oarsmen.
33. Konstam (2003), pp. 20–21
34. Stevens (1942), p. 63
35. John Keegan, A History of Warfare (1993), p. 337.
36. William Oliver Stevens and Allan F. Westcott, A History of Sea Power, 1920, p. 103.
37. Glete, Jan: Warfare at Sea, 1500–1650: Maritime Conflicts and the Transformation of Europe. Routledge. 2000. p.
105. Retrieved from Ebrary.
38. Stevens (1942), p. 64
39. after a figure from William Oliver Stevens and Allan F
. Westcott, A History of Sea Power, 1920, p. 106.
40. William Oliver Stevens and Allan F. Westcott, A History of Sea Power, 1920, p. 104.
41. William Oliver Stevens and Allan F. Westcott, A History of Sea Power, 1920, pp. 105–06.
42. [1] (http://www.fondazionecaripisa.it/index.php?id=20&lang=it), "Archived copy" (https://web.archive.org/web/200901
07055534/http://www.navigationdusavoir.net/PortalPisa/PercorsiDidattici/percorso6/sched a_predediguerra.html).
Archived from the original (http://www.navigationdusavoir.net/PortalPisa/PercorsiDidattici/percorso6/scheda_prededi
guerra.html) on 2009-01-07. Retrieved 2009-03-19.
43. Davis 2009, p. 94.
44. William Oliver Stevens and Allan F. Westcott, A History of Sea Power, 1920, p. 107.
45. Wheatcroft 2004, pp. 33–34
46. Abulafia 2012, p. 451.
47. Davis 1999, p. 194.
48. Keegan, A History of Warfare (1993), p. 337.
49. J. Norwich, A History of Venice, 490
50. L. Kinross, The Ottoman Centuries: The Rise and Fall of the u
Trkish Empire, 272
51. Wheatcroft 2004, p. 34
52. * Guilmartin, John F. (2003). Galleons and Galleys: Gunpowder and the Changing Face of W
arfare at Sea, 1300–
1650. Cassell. pp. 149–50.
53. Finkel, Caroline (2006).Osman's Dream: The Story of the Ottoman Empire 1300–1923 . London: John Murray.
p. 161. Setton, Kenneth M. (1984).The Papacy and the Levant (1204–1571), Vol. IV: The Sixteenth Century(https://
archive.org/stream/bub_gb_DUwLAAAAIAAJ#page/n537/mode/2up) . Memoirs of the American Philosophical
Society. pp. 1093–95.
54. Raukar, Tomislav (November 1977)."Venecija i ekonomski razvoj Dalmacije u XVi XVI stoljeću" (http://hrcak.srce.hr/
index.php?show=clanak&id_clanak_jezik=86538&lang=en) . Journal – Institute of Croatian History(in Croatian).
Zagreb, Croatia: Faculty of Philosophy, Zagreb. 10 (1): 221. ISSN 0353-295X (https://www.worldcat.org/issn/0353-29
5X). Retrieved 2012-07-08.
55. Finkel (2006), p. 222
56. "After 1580, there was a growing distaste for maritime ventures; the Ottoman fleet lay rotting in the still waters of the
Horn." Roger Crowley, "Empires of the Sea: The siege of Malta, the battle of Lepanto and the contest for the center
of the world", publisher Random House, 2008, p. 287.
57. Badde, Paul. Maria von Guadalupe. Wie das Erscheinen der Jungfrau Weltgeschichte schrieb. ISBN 3-548-60561-3.
58. Alban Butler, Butler's Lives Of The Saints(1999), p. 222. See alsoEWTN on Battle of Lepanto (1571)[2] (http://ww
w.ewtn.com/library/mary/olislam.htm).
59. Libro en que se tratea de la importancia y exercicio del santo rosario
, Zaragoza: Domingo Portonariis y Ursino
(1584), cited after Lorenzo F. Candelaria, The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early
Renaissance Toledo, University Rochester Press (2008),p. 109 (https://books.google.com/books?id=O73QaLuBuHk
C&pg=PA109).
60. Stevenson, R. Chapter 'Other church masters' section 14. 'Infantas' in Spanish Cathedral Music in the Golden Age
pp. 316–18.
61. Stephen Pettitt, 'Classical: New Releases: Jacobus De Kerle: Da Pacem Domine', Sundayimes,
T Jan 2006.
62. See Rick Scorza's article inThe Slave in European Art: From Renaissance T rophy to Abolitionist Emblem, ed
Elizabeth McGrath and Jean Michel Massing, London (The W arburg Institute) and Turin 2012.
63. "War and Peace in 'The Lepanto' of James VI and I", Robert Appelbaum,Modern Philology, Vol. 97, No. 3 (Feb,
2000), pp. 333–63
64. anonymous chalcography, 1571, Museo Civico Correr, Museo di Storia Navale, Venice; Vero retratto del armata
Christiana et Turchesca in ordinanza [...] dove li nostri ebero la gloriosa vitoria tra Lepanto [...]
, 1571; Il vero ordine et
modo tenuto dalle Chistiana et turchescha nella bataglia, che fu all. 7. Ottobrio [...] , Venice 1571, Museo di Storia
Navale, Venice; Agostino Barberigo,L' ultimo Et vero Ritrato Di la vitoria de L'armata Cristiana de la santissima liga
Contre a L'armata Turcheschà [...], 1571. Antonio Lafreri,L’ordine tenuto dall’armata della santa Lega Christiana
contro il Turcho [...], n'e seguita la felicissimaVittoria li sette d'Ottobre MDLXXI [...], Rome, 1571 (bnf.fr (http://gallica.
bnf.fr/ark:/12148/btv1b550003230)). Bernhard Jobin, Mercklicher Schiffstreit /und Schlachtordnung beyder
Christlichjen / und Türckischen Armada / wie sich die jüngst den 7. Oktob. 71. Jar verloffen / eigentlich fürgerissen /
und warhafftig beschrieben, Strasbourg, 1572; cited after Rudolph (2012).
65. Robert Enggass and Jonathan Brown,Italian and Spanish Art, 1600–1750: Sources and Documents(1992), p. 213.
66. Flemish Masters and Other Artists: Foreign Artists from the Heritage of the Fondo Edifici Di Culto Del Ministero
Dell'interno (2008), p. 83 (https://books.google.com/books?id=-5T91jgvbUMC&pg=P A83).
67. Anna Misiag-Bochenska,Historia obrazu Tomasza Dolabelli " Bitwa pod Lepanto " ", Nautologia 3.1/2 (1968/9), 64–
65. Krystyna Fabijańska-Przybytko,Morze w malarstwie polskim(1990), p. 104. Gino Benzoni,Il Mediterraneo Nella
Seconda Metà Del '500 Alla Luce Di Lepanto(1974), p. 31.
68. D'Errico, Corrado. "Capitan Tempesta" (https://www.imdb.com/title/tt0033449/). www.imdb.com. Internet Movie
Database. Retrieved 8 October 2014. D'Errico, Corrado. "Il Leone Di Damasco"(https://www.imdb.com/title/tt003382
5/). www.imdb.com. Internet Movie Database. Retrieved 8 October 2014.

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External links
(in Spanish) Julián Jaramillo, La batalla de Lepanto (historia-maritima.blogspot.com, 2012).
Henry Zaidan, 57 Paintings of The Naval Battle of Lepanto, 1571. Christian forces of the Holy League and the
Ottoman Turks (myartblogcollection.blogspot.com, 2016)

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