href="#ulink_8ebeed13-5355-584d-89e3-f8461897e168">[2] Her brother Alexander, afterwards Paul III., owed his promotion to the purple to this liaison, which was, therefore, the origin of the greatness of the Farnesi. The tomb of Paul III. in the Tribune of S. Peter's has three notable family portraits—the Pope himself in bronze; his sister Giulia, naked in marble, as Justice; and their old mother, Giovanna Gaetani, the bawd, as Prudence.
The nepotism of Sixtus was like water to the strong wine of Alexander's paternal ambition. The passion of paternity, exaggerated beyond the bounds of natural affection, and scandalous in a Roman Pontiff, was the main motive of the Borgia's action. Of his children by Vannozza, he caused the eldest son to be created Duke of Gandia; the youngest he married to Donna Sancia, a daughter of Alfonso of Aragon, by whom the boy was honored with the Dukedom of Squillace. Cesare, the second of this family, was appointed Bishop of Valentia, and Cardinal. The Dukedoms of Camerino and Nepi were given to another John, whom Alexander first declared to be his grandson through Cesare, and afterwards acknowledged as his son. This John may possibly have been Lucrezia's child. The Dukedom of Sermoneta, wrenched for a moment from the hands of the Gaetani family, who still own it, was conferred upon Lucrezia's son, Roderigo. Lucrezia, the only daughter of Alexander by Vannozza, took three husbands in succession, after having been formally betrothed to two Spanish nobles, Don Cherubino Juan de Centelles, and Don Gasparo da Procida, son of the Count of Aversa. These contracts, made before her father became Pope, were annulled as not magnificent enough for the Pontiff's daughter. In 1492 she was married to Giovanni Sforza, Lord of Pesaro. But in 1497 the pretensions of the Borgias had outgrown this alliance, and their public policy was inclining to relations with the Southern Courts of Italy. Accordingly she was divorced and given to Alfonso, Prince of Biseglia, a natural son of the King of Naples. When this man's father lost his crown, the Borgias, not caring to be connected with an ex-royal family, caused Alfonso to be stabbed on the steps of S. Peter's in 1501; and while he lingered between life and death, they had him strangled in his sick-bed, by Michellozzo, Cesare's assassin in chief. Finally Lucrezia was wedded to Alfonso, crown-prince of Ferrara, in 1502.[1] The proud heir of the Este dynasty was forced by policy, against his inclination, to take to his board and bed a Pope's bastard, twice divorced, once severed from her husband by murder, and soiled, whether justly or not, by atrocious rumors, to which her father's and her brother's conduct gave but too much color. She proved a model princess after all, and died at last in childbirth, after having been praised by Ariosto as a second Lucrece, brighter for her virtues than the star of regal Rome.
[1] Her dowry was 300,000 ducats, besides wedding presents, and certain important immunities and privileges granted to Ferrara by the Pope.
History has at last done justice to the memory of this woman, whose long yellow hair was so beautiful, and whose character was so colorless. The legend which made her a poison-brewing Mænad has been proved a lie—but only at the expense of the whole society in which she lived. The simple northern folk, familiar with the tales of Chriemhild, Brynhild, and Gudrun, who helped to forge this legend, could not understand that a woman should be irresponsible for all the crimes and scandals perpetrated in her name. Yet it seems now clear enough that not hers, but her father's and her brother's, were the atrocities which made her married life in Rome a byword. She sat and smiled through all the tempests which tossed her to and fro, until she found at last a fair port in the Duchy of Ferrara. Nursed in the corruption of Papal Rome, which Lorenzo de' Medici described to his son Giovanni as 'a sink of all the vices,' consorting habitually with her father's concubines, and conscious that her own mother had been married for show to two successive husbands, it is not possible that Lucrezia ruled her conduct at any time with propriety. It is even probable that the darkest tales about her are true. The Lord of Pesaro, we must remember, told his kinsman, the Duke of Milan, that the assigned reasons for his divorce were false, and that the fact was what can scarcely be recorded.[1] Still, there is no ground for supposing that, in the matter of her first husband's divorce and the second's murder, she was more than a passive agent in the hands of Alexander and Cesare. The pleasure-loving, careless woman of the Renaissance is very different from the Medea of Victor Hugo's romance; and what remains most revolting to the modern conscience in her conduct is complacent acquiescence in scenes of debauchery devised for her amusement.[2] Instead of viewing her with dread as a potent and malignant witch, we have to regard her with contempt as a feeble woman, soiled with sensual foulness from the cradle. It is also due to truth to remember that at Ferrara she won the esteem of a husband who had married her unwillingly, attached the whole state to her by her sweetness of temper, and received the panegyrics of the two Strozzi, Bembo, Ariosto, Aldo Manuzio, and many other men of note. Foreigners who saw her surrounded by her brilliant Court exclaimed, like the French biographer of Bayard: 'J'ose bien dire que, de son temps, ni beau coup avant, il ne s'est point trouvé de plus triomphante princesse; car elle était belle, bonne douce, et courtoise à toutes gens.'
[1] The whole question of Lucrezia's guilt has been ably investigated by Gregorovius (Lucrezia Borgia, pp. 101, 159–64). Charity suggests that the dreadful tradition of her relation to her father and brothers is founded less upon fact than upon the scandals current after her divorce. What Giovanni Sforza said was this: 'anzi haverla conosciuta infinite volte, ma chel Papa non gelha tolta per altro se non per usare con lei.' This confession of the injured husband went the round of all the Courts of Italy, was repeated by Malipiero and Paolo Capello, formed the substance of the satires of Sannazaro and Pontano, crept into the chronicle of Matarazzo, and survived in the histories of Machiavelli and Guicciardini. There was nothing in his words to astonish men who were cognizant of the acts of Gianpaolo Baglioni and Sigismondo Malatesta; while the frantic passion of Alexander for his children, closely allied as this feeling was in him to excessive sensuality, gave them confirmation. Were they, however, true; or were they a malevolent lie? That is the real point at issue. Psychological speculation will help but little here. It is true that Lucrezia in after-life showed all the signs of a clear conscience. But so also did Alexander, whose buoyancy of spirits lasted till the very day of his death. Yet he was stained with crimes foul enough to darken the conscience of any man, at any period of life, and in any position.
[2] See Burchard, ed. Leibnitz, pp. 77 and 78.
Yet even at Ferrara tragedies which might remind her of the Vatican continued to surround her path. Alfonso, rude in manners and devoted to gun-foundry, interfered but little with the life she led among the wits and scholars who surrounded her. One day, however, in 1508, the poet Ercole Strozzi, who had sung her praises, was found dead, wrapped in his mantle, and pierced with two-and-twenty wounds. No judicial inquiry into this murder was made. Rumor credited both Alfonso and Lucrezia with the deed—Alfonso, because he might be jealous of his wife—Lucrezia, because her poet had recently married Barbara Torelli. Two years earlier another dark crime at Ferrara brought the name of Borgia before the public. One of Lucrezia's ladies, Angela Borgia, was courted by both Giulio d' Este and the Cardinal Ippolito. The girl praised the eyes of Giulio in the hearing of the Cardinal, who forthwith hired assassins to mutilate his brother's face. Giulio escaped from their hands with the loss of one of his eyes, and sought justice from the Duke against the Cardinal in vain. Thereupon he vowed to be revenged on both Ippolito and Alfonso. His plot was to murder them, and to place Ferdinand of Este on the throne. The treason was discovered; the conspirators appeared before Alfonso: he rushed upon Ferdinand, and with his dagger stabbed him in the face. Both Giulio and Ferdinand were thrown into the dungeons of the palace at Ferrara, where they languished for years, while the Duke and Lucrezia enjoyed themselves in its spacious halls and su ny loggie among their courtiers. Ferdinand died in prison, aged sixty-three, in 1540. Giulio was released in 1559 and died, aged eighty-three, in 1561. These facts deserve to be recorded in connection with Lucrezia's married life at Ferrara, lest we should pay too much attention to the flatteries of Ariosto. At the same time her history as Duchess consists, for the most part, in the record of the birth of children. Like