palace According to journalist and author Stefano Lorenzetto in his 2013 book
Hic sunt leones, Pipino has committed over 3,000 robberies at museums, galleries, banks, and private residences in his lifetime, many of which were of palaces along the
Grand Canal or around Piazza San Marco. He also committed 50 thefts of jewelry shops, and stole about 3,000 kilograms of gold throughout Europe. He never stole watches or other items being repaired, as he did not want to affect the income and livelihood of those from whom he stole. He had a personal
code of conduct by which he would not use violence or
blackmail. He was a careful and considerate thief, ensuring not to damage the items he stole, and to not leave a mess for his victims; for example, he would empty
sugar bowls onto a kitchen towel instead of simply dumping its contents.
Art theft was his specialty, and he ensured that none of the works left Venice and that they would be returned to their owner for a
ransom or other considerations. He would also steal objects of personal value to the family, such as
heirlooms, which would also be ransomed to the owners, and clothing he found appealing, particularly
cashmere. Because of his fear of the dark, most of his thefts were committed during the day, to the discomfort of his accomplices. Pipino had a relationship with the Venetian police as a result of his heists, including with the chief of the special investigation unit Antonio Palmosi, who would often request to meet Pipino for coffee after a notable theft. Pipino offered to recover important items as a civic duty, accepting tokens of appreciation offered by the victims via negotiation with Palmosi and the police. He has said that there is reciprocal respect between him and the police, but that there are no favours if he is caught. In 1992, he was commissioned for the equivalent of 200 million Italian lire to steal all
Giovanni Bellini paintings from the
Museo Correr. During the heist, he asked his accomplice who had contracted them, and was told "Arkan", a
pseudonym he recognized as that of
Željko Ražnatović. Certain that Ražnatović would not return the artworks to the museum, he told the accomplice he had to make an urgent phone call, and called the police. He stole the 1730
Canaletto painting
Il fonteghetto della farina from the
Giustiniani palace in 1998. It was property of the Falck family, descendants of the founders of the
Lombardy company Falck Industries. He infamously stole from the
Peggy Guggenheim Collection twice in 1971.
Doge's Palace , where Pipino waited until night to steal the painting
Madonna col bambino He is the first person to successfully steal from the
Doge's Palace, once the residence of the
Doge of Venice and since 1923 a museum operated by
Fondazione Musei Civici di Venezia. One day in 1991 while reading manuscripts at the
Biblioteca Marciana to learn about art commissioned by Venetian aristocracy in the past, and to identify potential targets for theft, he encountered Andrea Zammattio, a member of the
Mala del Brenta, who told Pipino "the president" had sent him to request a favour of him. The violent
organized crime group was headed by
Felice Maniero, known by the moniker ''Faccia d'angelo'' ("Angel face"). Maniero, under constant police surveillance and seeking leverage against them, wanted to steal
fine art from
Ca' Rezzonico to ransom in exchange for reduced surveillance and the release of his cousin from prison. Pipino's role was to identify target paintings and to organize the heist. Worried that Venetian museums and galleries would respond to such a heist with increased security, making future thefts more difficult for him, two days later he proposed an alternate plan to one of Maniero's henchman in which Pipino would steal an artwork alone. When asked which piece he would steal, he replied "Just read the newspapers", and convinced the henchman by stating that "the news will be heard worldwide". On 9 October, Pipino entered the Doge's Palace and joined a tour group. As they passed over the
Bridge of Sighs into the dark halls of the "New Prisons", Pipino intentionally lagged behind the group, and entered undetected into one of the cells and closed its door, where he waited until night. He timed the rounds of the night guards, who passed by the cell in 45-minute intervals, and soon after the guard passed his cell at 2:00 in the morning he left his cell and returned to the palace via the bridge, entering the "Sala di Censori". In that room was the
Madonna col bambino, a work symbolic of "the power of the Venetian state" painted in the early 1500s by a member of the
Vivarini. Pipino took the painting, covered it with a blanket, and left the palace by a side door. The lead story in the local newspaper was
Colpo a Palazzo Ducale: Un furto facile, facile ("Shock at Doge's Palace: An easy, easy theft"). By this time, the painting was already in the possession of the Mala del Brenta, who also stole the jaw bone of
Anthony of Padua from the
Basilica of Saint Anthony of Padua. When summoned by Palmosi, he was threatened with special surveillance, which would prevent Pipino from associating with anyone having a criminal record, including most of his friends and accomplices. Pipino told Palmosi the painting would be returned within 20 days. There are inconsistent stories about subsequent events, but the painting was recovered and the police held a
press conference on 7 November announcing that an
anonymous tip led to its recovery. Maniero negotiated the return of St. Anthony's jaw bone to the basilica in exchange for the release of his cousin. ==Informant==