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. 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.Alban Butler, Butler's Lives Of The Saints (1999), p. 222. See also EWTN on Battle of Lepanto (1571) . 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".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. 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.Stevenson, R. Chapter 'Other church masters' section 14. 'Infantas' in Spanish Cathedral Music in the Golden Age pp. 316–318. The other piece of music is Jacobus de Kerle's "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.Stephen Pettitt, "Classical: New Releases: Jacobus De Kerle: Da Pacem Domine", Sunday Times, Jan 2006. There were celebrations and festivities with triumphs and pageants at Rome and Venice with Turkish slaves in chains.See Rick Scorza's article in The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, ed. Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.
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. 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.Alban Butler, Butler's Lives Of The Saints (1999), p. 222. See also EWTN on Battle of Lepanto (1571) . 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".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. 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.Stevenson, R. Chapter 'Other church masters' section 14. 'Infantas' in Spanish Cathedral Music in the Golden Age pp. 316–318. The other piece of music is Jacobus de Kerle's "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.Stephen Pettitt, "Classical: New Releases: Jacobus De Kerle: Da Pacem Domine", Sunday Times, Jan 2006. There were celebrations and festivities with triumphs and pageants at Rome and Venice with Turkish slaves in chains.See Rick Scorza's article in The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, ed. Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.