[Review] Blood & Beauty by Sarah Dunant

"The more outrage the better. That way people will fear us while we are alive and never -ever- forget us when we are dead"

I think it's a well known fact amongst my readers that I am very picky when it comes to novels about the Borgia family. Given the research I have put into this family and the absolute awe I hold for Cesare - I say again, how many have his personal motto tattooed? - I tend to avoid historical fiction about the Renaissance and in particular the Borgia family. I blame this in part for the travesty that was Kologridis' "The Borgia Bride" and whilst I thoroughly enjoyed Jean Plaidy's novels about Lucrezia, I found them to be somewhat dry towards the end. So it was somewhat hesitantly that I picked up Dunant's latest offering.

And I have to say it was one of the best decisions I have ever made.

From the outset you can tell that Dunant has really put the effort into her research. As I read, I found myself slap bang in the middle of the Borgia apartments in Rome, in the Room of Mysteries with the Pope, with Cesare as he stood before the walls of Ravaldino. And whilst I am aware that this is a work of fiction, I couldn't have been more pleased to see the placing in there of actual historical events. More so the LACK of incest in there pleased me no end. You will all know how against that theory I am, and how I am a firm believer that Cesare and Lucrezia were close, that he loved his sister more than any woman he had ever met but that they never crossed the line. I found this was portrayed excellently in this novel with stolen glances, the odd lingering touch and one kiss that may have gone a bit too far. The awkwardness between the two siblings after that kiss just seeped from the words so I felt as if I felt as physically awkward as Lucrezia did. 

The characterisation of Cesare has to be one of the best that I have ever read. It is well known that Cesare Borgia was temperamental, or "famously bipolar" as I like to call him and this comes across wonderfully in Dunant's writing. From his overly inflated ego to his need from power, to his cold and calculating manner when plotting the downfall of those who had become useless to the family. There were moments when I sat there with a knot in my stomach, hearing Cesare's rants as if I were stood there in the very same room as him. I felt his need for power, his egotistical nature. And there are not many novels that have ever made me feel like that. And if I am honest it was the same with all of the characters in this novel. Particular favourites included Lucrezia (it was SO nice to see her written as she would have been, rather than a scheming poisoning adulteress), Juan and Pope Alexander VI. The work went into the characterisation of these men and women who actually lived all of those years ago. And you could honestly tell.

The only issue I really had was how the ending of the book seemed a little rushed. It would have been nice if more time could have been spent on Cesare's military campaigns in the Romagna. Unfortunately the story ended with Lucrezia leaving to go to Ferrara. We all know that the story goes on and we see the death of Pope Alexander, Cesare's downfall and his heartbreakingly lonely death in Viana, finishing with Lucrezia's death in Ferrara. I can't help but wonder whether Dunant will be writing a follow up to cover these events? I have to say I would love to read a novelisation about Cesare's last years. That really is my only gripe if I am honest. It just left me wanting MORE!

If you are a lover of Renaissance and Borgia history then I urge you to pick up this book. Fantastically written, excellent characterisation and a complete page turner. I shall certainly be picking up more of Dunant's works!

[Looking Back] The Borgia Apartments, The Vatican

Due to a bit of writers block I thought I would share a post I did a while ago, all about my trip to the Borgia apartments at the Vatican.

The Disputation of St Catherine - Pinturicchio

After Rodrigo Borgia became Pope in 1492, he planned a whole new set of rooms for his personal use. These rooms still exist today, and in them survive a fascinating insight into the Borgia mindset. The walls are covered in frescoes of the Borgia bull, and the entire set of apartments show the Spanish roots of the new Pope - the floor tiles were imported especially from Spain, giving the rooms a completely Spanish look, and mixed in with the frescoes of the Borgia bull are are representations of the Aragonese double crown, to which they added sun rays or flames mixed in a grazing bull.

The Borgia Bull, Borgia Apartments (picture by me)

The Borgia Bull and the Aragonese Crown, Borgia Apartments (picture by me)

Spanish Tiles, Borgia Apartments (picture by me)

Borgia Coat of Arms, Borgia Apartments (picture by me)

As can be seen from the pictures above, Pope Alexander made sure the family device was everywhere - gilded Borgia bulls on the ceiling in a repeated pattern with the Aragonese arms, Spanish tiles all over the floors as well as gilded stucco frames around the frescoes. The entire space was created to reflect the pride Alexander felt in his family name, pride at their Spanish origins and the huge ambition that he had for himself and his family.

Quite possibly, the most impressive monument to the Borgia family surviving in those set of rooms hidden away in the Vatican (and used to house a contemporary art gallery, I wasn't too impressed with that!) are the frescoes that surround the walls of the main room.

The Disputation of St Catherine, Pinturicchio (Picture by me)

After his election to the Chair of St Peter in 1492, Pope Alexander hired Bernadino di Betto di Biagio (better known as Pinturicchio) to paint his new apartments. Pinturicchio was an incredibly talented artist from Sienna, and one of the most sought after artists in his day and had even assisted in the painting of the Sistine Chapel. And whilst some weren't all that impressed with his works, the Pope certainly was.

The most famous fresco is the one shown above: The Disputation of St Catherine. And it is the biggest testament to the Borgia family in the room, simply because it contains images of the Borgia family. Most are dressed in the Turkish fashion whilst St Catherine (Said to be an image of Lucrezia, and I have to say I agree wholeheartedly) argues against the Pagan emperor. 

The entire image is full of imagery - in the centre stands a triumphal arch based on the Arch of Constantine and sat atop it is the Borgia bull. The arch of Constantine is an incredible monument to Christianity - the arch itself (still standing outside the Colosseum) was built as a celebration of Constantine's victory at the Battle of the Milvian Bridge which established Christianity as the official religion of the Roman Empire. In essence, it's place in the painting is saying that the Borgia family are as important to Christianity as Constantine was - reinforced by the Borgia bull sat right on top of said arch. And not only are members of Alexander's family depicted (Lucrezia, Cesare, Juan, Joffre and Sancia) but also other members of the papal entourage and it is said, though I haven't yet found a source for this and will update as and when I do, that the man sat in the chair is actually a self portrait of Pinturicchio himself.

As for the imagery of the family, the main figure in the painting is St Catherine. She is portrayed as blonde, the known hair colour of Lucrezia Borgia, and this image has long been traditionally held as an image of Lucrezia although there is, of course, no certainty of this.

Detail of St Catherine showing the supposed figures of Lucrezia and Cesare (Picture by me)

The figure behind her, dressed in Turkish robes and glaring out, is said to be an image of Cesare Borgia while the figure on the left hand side (the right as we look at it) is traditionally held to be an image of Juan Borgia, second Duke of Gandia.

Detail of the figure said to be Juan Borgia in The Disputation of St Catherine

The two diminutive figures at the front of the painting are said to be of Joffre Borgia and his wife, Sancia of Aragon.

Figures said to be of Jofre Borgia and Sancia of Aragon from The Disputation of St Catherine

Pope Alexander himself is not shown in the Disputation of St Catherine. He is however shown in the fresco "Resurrection", in which he witnesses the Resurrection of Christ during a moment of prayer. He has his hands clasped in prayer, dressed in embroidered robes and his papal tiara on the floor before him. Pinturicchio also painted another portrait of Alexander above a doorway adoring a beautiful virgin who, according to Vasari was given the face of Giulia Farnese. This portrait however was destroyed when the room it was in, was destroyed for other building works.

The Resurrection by Pinturicchio

Detail of Pope Alexander VI, Pinturicchio

In all then, the Borgia apartments are a testament to the sheer self belief of the Borgia family, their belief in unbridled power and the pride that Alexander felt in his family origins. 

And one last picture from my visit last year, though this could have been carved at an point throughout the room's history - a gaming board carved into a windowsill which I found to be incredibly interesting. I have no idea how the game was played but it certainly looks interesting!

Random gaming board in the Borgia Apartments (Picture by me)

Further reading

Mary Hollingsworth - The Borgias: Histoy's Most Notorious Dynasty

Christopher Hibbert - The Borgias and Their Enemies

Sarah Bradford - Cesare Borgia: His Life & Times

Sarah Bradford - Lucrezia Borgia

[Review] Borgia: Faith & Fear ~ Season 2 Episode 1: "The Time Of Sweet Desires"

I'm sure you will all remember my review of Borgia: Faith & Fear's first season and that I was rather impressed with it. I found it much more riveting, and much more accurate than the equivalent Showtime series "The Borgias". And so when I had the second season of Borgia arrive through my door back in April, I couldn't help my excitement. I probably should have reviewed them all sooner, but I'm getting a bit lax with updating this blog. So, given that I have two weeks off work, I thought I would rewatch Season 2 of Borgia and do a daily (except tomorrow because it's my birthday) review of the episodes.

The first episode, named "The Time of Sweet Desires" is set in 1494. Right at the very beginning we see an event that actually happened in history (although at the moment I am unable to find an actual date, I will work on that). We see Rome in the middle of a huge storm, and a bolt of lightning strikes the statue of Michael the Archangel and it explodes into pieces. It was seen as a bad omen, pointing towards the overthrow of the Papacy of Pope Alexander VI (John Doman in this series). As the storm rages we see Pope Alexander VI praying before the alter in St Peter's basilica. As he does so he is approached by two individuals. As he turns he sees that the men are his sons Juan and Pedro-Luis. They accuse him of besmirching the name of Borgia, that he is bringing the papacy to its knees. Rodrigo ends up stabbing his sons, only to be stopped by his friend and manservant Gacet. As Rodrigo comes to his senses he sees that the two men were in fact travelling monks, and he leaves the basilica with a scream. Later on we see that he has been affected by "melancholia" or depression, which has been making him hallucinate, and he ends up being given a concoction by the name of "vitriola" which will apparently cure him. The importance of this is seen much later in the series.

This episode is set 8 months after the end of the last season, and Cesare is in the Kingdom of Naples trying to avoid being sent to Valencia and to win the heart of Carlotta D'Aragona. This is another part of Cesare's story which is true to the history. Cesare became obsessed with Carlotta and believed himself to be truly in love with her. Yet she spurned him. Even in the first episode we can see the obsession that Cesare has built up over this woman, and the jealousy that he faces over the man she is in love with Guy de Leval. Our first sight of Cesare is in a room with a lady by the name of Maria Diaz Garlon (known here as Contessa). Three guesses what they were up to...

Just when things are about to get incredibly steamy, Cesare's eyes fall upon a map of the Romagna. He picks the map up, saying that he is a poor imitation of his dead brother Juan (don't make me laugh, Cesare!) and that he wants to be King of Italy, that he doesn't simply want to be Cesare Borgia now...he wants to be Caesar! This is a nice throw forward to the motto that Cesare will eventually take for himself: "Aut Caesar, Aut Nihil" - "Either Caesar, Or Nothing". As he is studying his maps, he is burst in on by the Prince of Naples and told he is wanted at mass.

The Mass scene has to be one of my favourites in the entire episode. This is one of the first times we see Cesare's full out atheism come to the fore. The Mass is to celebrate the feast of St Valentinus, and as Cardinal Caraffa is telling the congregation the story Cesare begins to make snarky comments about how we don't even know if this Saint existed, and how the Christian church actually stole the Saints day from the Pagans, that it was originally a Pagan fertility festival and an "excuse for fucking". He then leaves the service in a huff, leaving a shocked silence behind him. In history, Cesare was the biggest atheist you could ever meet, despite growing up within the Catholic Church. And as he grows throughout the series we will see him come to believe more in the Goddess Fortuna, rather than any Christian God.

Not a screencap from Episode 1, I just felt like putting it in...

In the meantime, Lucrezia Borgia is holed up in Rome. She is heavily pregnant with the child of Perotto (the guy who was stabbed by Cesare at the end of Season One), grieving for Perotto and dealing with the guilt of killing her own brother. She refuses to let anyone in her room, even her own mother. When Vanozza de Cattanei can't even get Lucrezia to open the door she seeks out the help of the famous poet and musician Pietro Bembo (after randomly meeting him when she goes to see her grandson)

Well, Bembo does the trick. After being a creeper and playing his lute outside of her window, she invites him over and they begin a very strange friendship. Lucrezia seems to fall head over heels in love with him from the start, and asks him for a kiss. He refuses, saying they are better off with a platonic sort of love. Yet before he leaves, they spend their time playing music together and she grows to trust him; even going so far as to show him the daggers that were used to kill Juan. This bit of the story is way off the historical record however. Lucrezia didn't meet Bembo until she was Duchess of Ferrara many years later. It seems as if Fontana may have been struggling with ideas for Lucrezia's storyline and so pushed Bembo's part in the story forward. However, as with everything Fontana does, it really works. 

Bembo & Lucrezia

Another rather excellent story arc I found within the first episode was how the consistory was trying to make use of Pope Alexander's weakness. They all seemed to have an ultimate agenda so that they would be the power behind the papal chair, and Alexander would be a puppet Pope. Ultimately it is Giuliano della Roverre and Cardinal Riario Sansoni who are the ones heading the plot to try and find the dirty secrets behind Gacet. They end up convincing young Alessandro Farnese to help them, but in the end Farnese's loyalty to the Borgia wins him over particularly after he is given a sword lesson from General De Cordova and told that in the end, loyalty should win above all. One of the main aims of both the conspiring Cardinals AND Pope Alexander is to get De Cordova and his Spanish troops out of Rome. The Pope comes up with a very interesting approach to this, saying that he had a dream in which a lion was eaten by a green camel, yet de Cordova slew the camel and saved the lion. Farnese interprets the dream as the Turks attacking Venice (which is precisely what the Turks are planning to do) and de Cordova immediately leaves Rome with his troops. Mission accomplished for both sides. Yet the cardinals are irritated that Farnese took part in the "fine piece of theatre". 

Of course the majority of this episode circulates around Cesare in Naples. I particularly enjoyed the jealousy and hatred between him and Guy de Leval over Carlotta. Indeed it gets so bad that Cesare pulls Leval into a very clever trap, talking him into a bullfight. Of course, as a native Spaniard, Cesare was brilliant at bullfighting and never lost a fight. Leval willingly walks into it, ending up with Carlotta trying desperately to call the whole thing up, saying that if Cesare really loved her then he would back out even if it meant embarrassment for him.

Cesare & Carlotta

One of the final scenes in this episode is Cesare practising for said bullfight. After successfully stabbing the fake bull in the side, Leval appears and begins to taunt Cesare. He has heard that Cesare has withdrawn from the fight. Cesare mentions that yes, he has withdrawn for personal reasons. And Leval begins to taunt him even more, calling him a coward and half a man. Cesare warns; "careful monsieur, I have killed men for saying less". Yet Leval keeps on and we see our very first glimpse of the man who will become the famous Valentino. He proceeds to beat Leval to a bloody pulp before tearing the head from the fake bull and stabbing Leval with one of the horns. The icing on the cake is when Cesare takes hold of Leval's arm and twisting it so hard you hear the bone snap. 

I have to say I was highly impressed with the first episode of Season 2. They have really stepped up their game after Season 1, and you can tell that the cast have really grown into their roles. Stand out performances from Mark Ryder as Cesare Borgia and Diarmuid Noyes as Alessandro Farnese, although of course the entire cast did a marvellous job! Here's to episode 2!

Review: The Borgias ~ Siblings ~ And A Bit Of MythBusting

It seems that after Showtime aired the third episode of The Borgias Season 3 that this blog has had quite a few hits searching for things like "were the Borgias really incestuous?" and even odder requests searching for members of the Borgia family without any clothes on. Considering as how the searches brought people to older mythbusting posts; I thought I would take the opportunity to do another one. And thus, I shall be killing two birds with one stone today ~ a review of 3 x 03, and a Borgia mythbust! I must apologise for my lack of a review for 3 x 02; we can blame Da Vinci's Demon's for that one. However, enjoy!

Rumours have filtered down to us throughout the centuries that the Borgia family enjoyed a closer than close relationship. Anti Borgia propaganda has told us that Pope Alexander VI enjoyed incestuous relations with his daughter Lucrezia; but the rumour that has stuck is the one that Cesare Borgia was involved with his own sister. We even have tales that the famous Infans Romanus was actually the child of Cesare and Lucrezia as well as a whole heap of secret bulls stating that the father of the child is Cesare's and in another bull that it's Pope Alexander's. This episode belongs to a post entirely of its own and so I shan't go into it here in too much detail. The important thing to take from this is that the rumours stated that the child belonged to Cesare and Lucrezia. Did it? We don't know. Personally, I hold little store in the rumours and am more of the opinion that the child belonged to Cesare and an unknown woman. But again, this will be spoken about in more depth in a future post.

Holliday Grainger doing her best lion impression

"It seems only a Borgia, can truly love a Borgia"

The main origin of the incest myth is really rather simple. In 1493, Lucrezia married Giovanni Sforza - it was a marriage of politics, Pope Alexander VI believed that having the Sforza's as his allies would help him in his political endeavours and it was a way of thanking the Sforza family for their help in electing him as pope. However, Pope Alexander soon grew tired of the Borgia/Sforza alliance, it was doing nothing for him politically and he needed more powerful allies. Annulment proceedings began and of course, Giovanni Sforza refused. Lucrezia was sent to a convent, and it is said that Giovanni begged the Pope to have his wife returned to him. Alexander refused on the basis that the marriage had never been consummated. Sforza was asked whether this was true or not, and he of course replied that this was untrue; that he had known his wife an infinite number of times and that the only reason a divorce was on the cards was so the Pope could keep his daughter for himself. Add this onto how obviously close Lucrezia and her brother were; and the flames began to spread. 

There are stories throughout the Borgia history of how close Cesare and Lucrezia were. One of my personal favourites is when he rode to Ferrara when she was sick and sat talking to her, holding onto her foot. 

There are thousand other anecdotes I could quote from the smallest up to the moment of Cesare's death where Lucrezia locked herself in a room, crying out her brother's name. But again, this could take up a whole post on its own or even a series of posts (there's an idea!) and so that will have to wait. At any rate, I hope from a brief overview I have managed to put across that the whole "borgiacest" anomaly is based entirely on rumour with no substantial evidence to back it up. And indeed in all my years of researching the family, I have never read a credible report of any such rumours; just propaganda from anti-Borgia factions. Were the stories true? We will never know, not without being handed a hand written note from either Cesare or Lucrezia stating that this actually happened. And what's the likelihood of that? It is down to us as researchers and historians to draw our own conclusions...

Francois Arnaud making Cesare look all broody again.

These two are big fans are the sex eyes. Have been since season 1

And this is where I come onto the latest episode of The Borgias. This episode has been the talk of the "fandom" ever since it was announced that Neil Jordan was going down the incest route and I have to say, I really didn't want to watch it. I will say now though, that the actual incesty bit is very short and actually very well done, not seedy at all. That whole part of the storyline, whilst based on little more than rumour, actually ended up being very interesting and I felt ever so sorry for poor Alfonso D'Aragona. He discovers that his marriage into the Borgia family isn't going to go as well as was first planned, and after discovering Cesare's political manoeuvres already coming into play he abandons his new wife on their wedding night. Already finding that her love for her brother is getting more and more intense, she finds herself drawn to his chambers where the two of them spend the night together. Lucrezia echoes the words she spoke to him in the first season, "I shall never love a husband as I love you, Cesare", by telling him that for that night at least he will be her husband.  

........

Poor Lucrezia; she believes that everyone is out to get her. Then her brother comes in and snogs her face off.

Can I see why Jordan went down this route? Yes, I certainly can. It certainly makes for riveting viewing and a story arc that is quite frankly, rather mind blowing. Mix that in with stellar acting from the amazing cast, beautiful costumes and the most mind blowing sets I've ever seen; The Borgias is certainly one of the best shows on television at the moment. What I can't quite forgive however, despite the fact that this is a historical fantasy, is the complete mess that the script makes of the history. In the first episodes alone I counted more inaccuracies than I could shake a stick at; but when the incest angle was brought into play I honestly felt physically unwell. Neil Jordan always said that he would never go down that route because it wasn't a story about incest. But it seems he caved and went down the routes that the fans of the show wanted. What makes it worse as well is that there are those fans of the show who honestly believe that the history is true, and refuse to pick up a book because they believe everything that they have seen on The Borgias. I've lost count of the amount of snotty emails and comments I've had because the things I write on the family aren't what are on The Borgias. 

So therefore I must be lying...

It's my hope that the latest episode brings more people here so that they can find out a little bit of background to what the actual Borgia family were like and the history that inspired the show. Because if I'm honest the real history is much more juicy than what's shown on the series. At any rate, I shall keep watching Season 3 as I'm intrigued to see where they'll go with the story arc; and I'm always impressed by the dynamics of the actors. Is it worth a watch if you're new to the history of the Borgia family? Yes. But I'd recommend reading a good biography of the family first of all.

It's that broody face again

Caterina Sforza and Cesare Borgia. Enemies until the end.

Arnaud is a REALLY big fan of the smoldering broody look.

Having just been abandoned on her wedding night, Lucrezia makes her way towards her brother's chambers.

"You shall be my husband tonight, Cesare"

Further Reading

Sarah Bradford - Lucrezia Borgia: Life, Love and Death in Renaissance Italy

Sarah Bradford - Cesare Borgia: His Life and Times

Christopher Hibbert - The Borgias and Their Enemies

Mary Hollingsworth - The Borgias: History's Most Notorious Dynasty

Paul Strathern - The Artist, The Philosopher and The Warrior

Raphael Sabatini - The Life of Cesare Borgia

The Big Question: Was Rodrigo Borgia Really The Father of Cesare, Juan & Lucrezia Borgia?

As I mentioned in my review yesterday, G.J Meyer has presented some very interesting arguments over the paternity of Cesare, Lucrezia and Juan Borgia. It has long been accepted that Rodrigo Borgia, Pope Alexander VI, was their father and legitimised them after he became Pope. However, it seems that logic says something different - although over 500 years later it's not possible to prove it beyond doubt. In his book, Meyer looks at various source materials that point to the possibility that actually Rodrigo couldn't have been their father. Today, I'm going to very briefly summarise Meyer's findings (I won't go into too much detail, you'll have to buy the book when it comes out in April to find out more!) in bullet point format, and I shall leave it to you to form your own opinions on the matter.

• How did Rodrigo maintain a relationship with Vanozza Cattanei and maintain such a large family without anyone taking  much notice, even in gossipy chronicles of the time?
• All of Vanozza's children were born in Spain, while Rodrigo was in Italy - they were also incredibly likely to have been conceived in Spain too. How could Rodrigo flit so easily between the two countries when travel took so long?
• There is no concrete evidence that at any point before or after his election that he fathered a child or even had a mistress or indeed any brief sexual involvement with anyone except for with Giulia Farnese.
• De Roos, who completed a huge five volume work on the Borgia family is almost completely at odds with everything we know about the Borgia myth - having compiled a ton of documents that go some way to show that Rodrigo wasn't actually the father of the Borgia children. In his first volume he publishes a huge revision of the Borgia family tree!
• Meyer states that the four Borgia children (including Joffre) had the same mother and father, and at least three other older siblings by the same parents. Included in this is Pedro Luis, who inherited massive wealth upon his fathers death (long before Rodrigo became Pope) as well as two other daughters.
• At least 5 of the children, if not all 7, were born in Spain - Meyer mentions that this is likely although more source material is needed. Pedro Luis is never known to have been outside of Spain and there is no record of Cesare being in Spain before 1488 - indeed he says later to the Viceroy of Naples that he and his siblings were Spanish by birth. Burchard also speaks of Cesare as a native of Valencia. Rodrigo Borgia left Spain in around 1455 (around 5 years before the birth of Pedro Luis) and returned just the once, staying between June 1472 and September 1473. That was way too late to impregnate the mother of Isabella and Girolama Borgia, and way too soon to be responsible for Cesare or Juan. And so, how could he be the father of the seven, unless he was constantly flicking backwards and forwards between Spain and Italy? Travel in those days was slow, and to do it at such a frequency isn't quite believable.
• It is much more likely that the father of the children was Rodrigo's nephew - Guillen Ramon Lanzol y de Borja, which makes them Rodrigo's grand-nephew's.nieces.
• When Vanozza was pregnant with Joffre in or around 1481, Guillen died and Vanozza made her way to Rome with her children and came under the protection of Rodrigo. She never lived with Rodrigo but both before and after his reign as Pope she maintained her own household.
• Documents stating that Rodrigo was the father of the children are quite suspect for instance, a bull legitimising a child with the name of Cesare de Boria and Cesare de Borja states that the child is the son of a cardinal and an unmarried woman - neither of the parents are named. If the bull were authentic, it is unlikely that it would have used the Spanish form of the Borgia name. There is also no mention of the bull in the Vatican's records, which is odd as all authentic bulls were entered into a registry before they were sent off. It should also be mentioned that as the second son, Cesare had no need to be legitimised as he stood to inherit nothing.
• While Rodrigo often called the children his "beloved son/daughter", he also called everyone else the same - in letters he referred to reigning monarchs as his "beloved son/daughter", and he called pretty much everyone he had dealings with by the same title. He also refers to Lucrezia as his "beloved daughter in Christ". Such titles mean nothing, especially when the reigning pontiff calls everyone the same thing.
• Vanozza Cattanei is never known to have stepped foot inside the Vatican and none of Rodrigo/Alexander's enemies accuse him of sexual immorality - even Savonarola who hated Pope Alexander ever mentioned such things! Had he been accused of such things, Savonarola would certainly have said something in his famous sermons!
• Rodrigo did not buy the dukedom of Gandia for Pedro Luis - he inherited much lands in Gandia upon the death of Guillen which later became the centre of the duchy. Pedro also lent Rodrigo a substantial sum of money in 1483, rather than being dependant on the Cardinal.
• A Spanish royal brief has the name of Juan Borgia's father omitted. All that can be seen is the words "The late illustrious" - were his father a cardinal, it would have been worded "most reverend". This points to the fact that his father was a layman, rather than a churchman - and the deletion of the name suggests deliberate tampering.

And thus, Meyer comes to the conclusion that Rodrigo Borgia can't have been the father of Cesare, Juan and Lucrezia (And Joffre, but everyone forgets about him). Although a brief overview, I haven't gone into too much detail so as not to spoil the book for you all but rest assured the chapter itself is an eye opener. It has certainly made me question the age old assumption that Rodrigo was indeed the father of the three most famous Borgia children in history. It's my next aim to get hold of a copy of De Roos and study it closely, comparing it to the conclusions made by Meyer. It will certainly be a very interesting thing to look at closer, albeit a lot of work as I would imagine much of the documentation is held within the papal archives.

This could certainly be a very interesting mission indeed....

Further Reading

The Borgias - G.J. Meyer (released April 2nd)

Review: The Borgias - The Hidden History by G.J. Meyer

They burst out of obscurity in Spain not only to capture the great prize of the papacy, but to do so twice. Throughout a tumultuous half-century—as popes, statesmen, warriors, lovers, and breathtakingly ambitious political adventurers—they held centre stage in the glorious and blood-drenched pageant known to us as the Italian Renaissance, standing at the epicentre of the power games in which Europe’s kings and Italy’s warlords gambled for life-and-death stakes. Five centuries after their fall—a fall even more sudden than their rise to the heights of power—they remain immutable symbols of the depths to which humanity can descend: Rodrigo, the Borgia who bought the papal crown and prostituted the Roman Church; Cesare, the Borgia who became first a teenage cardinal and then the most treacherous cutthroat of a violent time; Lucrezia, the Borgia as shockingly immoral as she was beautiful. These have long been stock figures in the dark chronicle of European villainy, their name synonymous with unspeakable evil. But did these Borgias of legend actually exist? Grounding his narrative in exhaustive research and drawing from rarely examined key sources, Meyer brings fascinating new insight to the real people within the age-encrusted myth. Equally illuminating is the light he shines on the brilliant circles in which the Borgias moved and the thrilling era they helped to shape, a time of wars and political convulsions that reverberate to the present day, when Western civilisation simultaneously wallowed in appalling brutality and soared to extraordinary heights.

I received this book as a pre-release copy, for review purposed and so as a first port of call I would like to let you all know that when this book becomes available on 2nd April, if you are interested in the history of the Borgia family, you all need to purchase it. If I'm honest, my whole review could be summed up in those first few lines. This book is utterly fantastic, and offers a brand new approach to much of what we thought we knew about the Borgia family. In fact, it really makes you rethink much of what we have come to know and trust about the family's history.

Of course, as a pre-release copy, I was expecting to find a few mistakes and I would like to get these out of the way before I launch into how amazing I thought the book was. But to be honest, there really wasn't that many mistakes - the only mistakes I really noticed were a few date discrepancies at around the 6% mark (I had a kindle copy) in which instead of dates reading "14xx" when speaking about Alonso De Borja, they read "15xx". Easily fixed, but could easily be fixed with a bit of proof reading. There were also a couple of grammatical errors that made me have to reread a few sentences a couple of times, but for the most part this can be easily looked over as a reader and doesn't deviate much from the reading experience.

For the most part though, Meyer's writing is fluid and provides a very easy read. As I was reading, it really didn't feel like a non fiction book to me. But then, I have read much heavier tomes than this. Meyers writing is so fluid that at times it really did read like a novel to me, but at the same time I could really see the amount of research that he did into his work. His writing style really did make the story of the Borgia family - from Alonso De Borja right up until the fantastic Saint Francis Borgia - utterly accessible. Easy reading, and doesn't overload the reader with too much politics - although given the era, politics is really a given.

The book itself concentrates on the history of the Borgia family, history's most notorious dynasty, and works its way up from the first Borgia Pope - Pope Calixtus III - right up until the end of the dynasty proper with Lucrezia. As a history that spans well over a century, if not longer (taking into account the varied relatives, particularly of Juan Borgia) it can get quite confusing but thankfully Meyer splits it into very easy sections. You have chapters relating to each family member and what they did, followed by mini chapters which give a great background to what else was going on at the time. I thought this was a really good idea, and gives the reader a bit of context into the political background of the era. There was one sub chapter in particular that really grabbed my attention, and it addressed the apparently paternity of Cesare, Juan and Lucrezia Borgia - I won't go too much into it here as there will be a separate blog post coming but let's just say Meyer's findings are incredibly interesting, and very convincing!

In all then an incredibly interesting and quite frankly brilliant read, and one I would wholeheartedly recommend to anyone interested in learning about the history of this fascinating family. An inherently interesting read that offers a brand new insight into this wonderful family, and one that discusses (and quite frankly, disinherits) most of the disgusting rumours of this brilliant family! A must read for anyone interested!

The Borgias: The Hidden History is available right now for pre-order from Amazon UK and Amazon US - Please do pick it up if you can!

The Borgia Apartments In The Vatican

The Disputation of St Catherine - Pinturicchio

After Rodrigo Borgia became Pope in 1492, he planned a whole new set of rooms for his personal use. These rooms still exist today, and in them survive a fascinating insight into the Borgia mindset. The walls are covered in frescoes of the Borgia bull, and the entire set of apartments show the Spanish roots of the new Pope - the floor tiles were imported especially from Spain, giving the rooms a completely Spanish look, and mixed in with the frescoes of the Borgia bull are are representations of the Aragonese double crown, to which they added sun rays or flames mixed in a grazing bull.

The Borgia Bull, Borgia Apartments (picture by me)

The Borgia Bull and the Aragonese Crown, Borgia Apartments (picture by me)

Spanish Tiles, Borgia Apartments (picture by me)

Borgia Coat of Arms, Borgia Apartments (picture by me)

As can be seen from the pictures above, Pope Alexander made sure the family device was everywhere - gilded Borgia bulls on the ceiling in a repeated pattern with the Aragonese arms, Spanish tiles all over the floors as well as gilded stucco frames around the frescoes. The entire space was created to reflect the pride Alexander felt in his family name, pride at their Spanish origins and the huge ambition that he had for himself and his family.

Quite possibly, the most impressive monument to the Borgia family surviving in those set of rooms hidden away in the Vatican (and used to house a contemporary art gallery, I wasn't too impressed with that!) are the frescoes that surround the walls of the main room.

The Disputation of St Catherine, Pinturicchio (Picture by me)

After his election to the Chair of St Peter in 1492, Pope Alexander hired Bernadino di Betto di Biagio (better known as Pinturicchio) to paint his new apartments. Pinturicchio was an incredibly talented artist from Sienna, and one of the most sought after artists in his day and had even assisted in the painting of the Sistine Chapel. And whilst some weren't all that impressed with his works, the Pope certainly was.

The most famous fresco is the one shown above: The Disputation of St Catherine. And it is the biggest testament to the Borgia family in the room, simply because it contains images of the Borgia family. Most are dressed in the Turkish fashion whilst St Catherine (Said to be an image of Lucrezia, and I have to say I agree wholeheartedly) argues against the Pagan emperor. 

The entire image is full of imagery - in the centre stands a triumphal arch based on the Arch of Constantine and sat atop it is the Borgia bull. The arch of Constantine is an incredible monument to Christianity - the arch itself (still standing outside the Colosseum) was built as a celebration of Constantine's victory at the Battle of the Milvian Bridge which established Christianity as the official religion of the Roman Empire. In essence, it's place in the painting is saying that the Borgia family are as important to Christianity as Constantine was - reinforced by the Borgia bull sat right on top of said arch. And not only are members of Alexander's family depicted (Lucrezia, Cesare, Juan, Joffre and Sancia) but also other members of the papal entourage and it is said, though I haven't yet found a source for this and will update as and when I do, that the man sat in the chair is actually a self portrait of Pinturicchio himself.

As for the imagery of the family, the main figure in the painting is St Catherine. She is portrayed as blonde, the known hair colour of Lucrezia Borgia, and this image has long been traditionally held as an image of Lucrezia although there is, of course, no certainty of this.

Detail of St Catherine showing the supposed figures of Lucrezia and Cesare (Picture by me)

The figure behind her, dressed in Turkish robes and glaring out, is said to be an image of Cesare Borgia while the figure on the left hand side (the right as we look at it) is traditionally held to be an image of Juan Borgia, second Duke of Gandia.

Detail of the figure said to be Juan Borgia in The Disputation of St Catherine

The two diminutive figures at the front of the painting are said to be of Joffre Borgia and his wife, Sancia of Aragon.

Figures said to be of Jofre Borgia and Sancia of Aragon from The Disputation of St Catherine

Pope Alexander himself is not shown in the Disputation of St Catherine. He is however shown in the fresco "Resurrection", in which he witnesses the Resurrection of Christ during a moment of prayer. He has his hands clasped in prayer, dressed in embroidered robes and his papal tiara on the floor before him. Pinturicchio also painted another portrait of Alexander above a doorway adoring a beautiful virgin who, according to Vasari was given the face of Giulia Farnese. This portrait however was destroyed when the room it was in, was destroyed for other building works.

The Resurrection by Pinturicchio

Detail of Pope Alexander VI, Pinturicchio

In all then, the Borgia apartments are a testament to the sheer self belief of the Borgia family, their belief in unbridled power and the pride that Alexander felt in his family origins. 

And one last picture from my visit last year, though this could have been carved at an point throughout the room's history - a gaming board carved into a windowsill which I found to be incredibly interesting. I have no idea how the game was played but it certainly looks interesting!

Random gaming board in the Borgia Apartments (Picture by me)

Further reading

Mary Hollingsworth - The Borgias: Histoy's Most Notorious Dynasty

Christopher Hibbert - The Borgias and Their Enemies

Sarah Bradford - Cesare Borgia: His Life & Times

Sarah Bradford - Lucrezia Borgia

The Marriage of Lucrezia Borgia and Alfonso of Aragon

Holliday Grainger and Sebastian De Souza as Lucrezia and Alfonso in Showtime's The Borgias

Think of Lucrezia Borgia, and the majority of people will say that she was a seductress who had a ring filled with deadly poison and committed incest with her brother. They certainly would not think of an innocent young lady in love. But that is exactly what happened to Lucrezia Borgia in 1498 when she married the handsome young Alfonso of Aragon. The match was, of course, a political one but it was soon very clear that the couple were very much in love with each other. Few could have realised that this seemingly perfect marriage would soon end in tragedy for Lucrezia.

At the end of 1497, Lucrezia was divorced from her first husband Giovanni Sforza. The two had been married since 1493 as a political arrangement between the Borgia and Sforza families but Pope Alexander VI soon tired of the match between them and began to look for other avenues that would help bring the Borgia family more power. The Sforza match had been one big let down for him from the start. And so, the marriage was dissolved on the grounds of Sforza's apparent impotence. The news was unwelcome throughout Italy, everyone knew that the alleged impotence was a falsehood conducted by Alexander so he could dissolve his daughters marriage. And besides how could Sforza be impotent when his previous wife had died in childbirth? And as previously mentioned, Sforza was so angry at the allegations that he said the only reason Alexander was dissolving the marriage was so he could sleep with his daughter himself! According to Bradford, the Italian chronicler Matarazzo wrote that the idea of Lucrezia being a Virgin was:

"a conclusion that set all Italy laughing...it was common knowledge that she had been and was then the greatest whore there ever was in Rome."

Not exactly the most favourable of assessments on the situation, but Matarazzo was hugely anti-Borgia. At any rate, the marriage was annulled on the basis of impotence and non consummation, leaving Lucrezia free to marry again. The only problem with that was that Lucrezia managed to bring her reputation into disrepute not long afterwards - she became involved with a handsome young groom in the Papal household by the name of Pedro Calderon (more commonly known to history as Perotto). On the 14th February 1498, his body was pulled from the Tiber and according to Johannes Burchard he "fell, not of his own will, into the Tiber". It is said that the body of one of Lucrezia's serving girls called Pantisilea was found with Perotto. Shortly before his body was found, Perotto's disappearance was muttered to be because he had been locked up for getting Lucrezia pregnant and it seems likely that this could be why Lucrezia went into seclusion at the convent of San Sisto. Many associate Cesare's name with the murders of Perotto and Pantisilea and if I'm honest (in this case at least) he does seem the most likely to have done it. The affair would get in the way of the plans he and his father had for Lucrezia, and anyone with knowledge of the affair had to go.

Following the affair with Perotto, Alexander began looking into getting a new husband for his daughter and his eyes fell on the Kingdom of Naples, and in particular the illegitimate son of the Duke of Calabria. Alfonso was also the brother of Sancia, Princess of Squillace who was married to the youngest Borgia son - Jofre. King Federigo of Naples began making life difficult having gotten what he wanted out of the Pope and wasn't exactly all that eager for any more Borgia marriages. The Pope decided to pretend that Lucrezia would be marrying an Orsini and then, Federigo capitulated. On 15th July 1498, Alfonso of Aragon arrived in Rome. The visit was supposed to be a secret but everyone knew he was there. On the 16th, Cesare Borgia invited his future brother in law up to his apartments and greeted him affectionately with a meeting on the 17th between Alfonso, Pope Alexander, Cesare and Lucrezia. Four days later, the two were married in a private ceremony and the marriage was consummated that very night, with celebrations continuing on for days afterwards. During one of the celebrations, held in the Borgia apartments, seven dancers walked in dressed as different animals and danced about the room. One of them was Cesare, dressed as a Unicorn - the symbol of chastity. The other celebrations included dancing and bullfights.

By the time Cesare renounced his cardinal's vows in 1498 and left to go to Spain for his own marriage, Lucrezia was pregnant. In February 1499 she miscarried and although she was pregnant again soon after she had no idea that the internal goings on in her family would stop her from living a long and happy life with the husband whom she was so in love with. News came to Rome from France that Cesare had consummated his marriage with his wife (six times!) and was on his way back...and he would be accompanying King Louis of France. This was the start of a new pro-french alliance that sent those who were more of a Spanish mindset fleeing from the city of Rome. This alliance could also seriously affect the Kingdom of Naples, the French King believing he was the rightful heir. In a panic, Alfonso fled the city leaving Lucrezia heavily pregnant and it is said, in floods of tears. He wrote her letters from his exile, but these fell into the Pope's hands and he forced Lucrezia to write back, demanding Alfonso's return. He also sent spies and emissaries to try and convince the King of Naples to send his son in law back to Rome. In September the young couple were reunited and joined the rest of the family at Nepi, returning to Rome in the October. All of this was conducted in the background of some huge political manoeuvres in Italy, particularly King Louis of France and his taking over of Milan.

On the 1st November, Lucrezia gave birth to a little boy whom she named Rodrigo. And at this point, her husband was still held in high favour by the Pope and Cesare was too busy in the Romagna. But throughout the first half of 1500, something obviously changed. Cesare had started to become successful in his Romagna campaign and had helped bring about a French alliance, and it was something that would have made Alfonso and his Aragonese family and sympathies somewhat unwelcome. Could it be that, like with Giovanni Sforza, Alfonso had 'outstayed his welcome'?

On Wednesday 15th July, Alfonso was attacked on the steps of St Peter's by an unknown group of people. According to a report sent back to Florence he was stabbed three times. Burcard reported that as the men attacking Alfonso fled, they were surprised by the city guards, and other reports state that they were caught trying to drag Alfonso's body to the Tiber. The wounded Alfonso was taken to apartments above the Pope's own where he was nursed, and by all reports Lucrezia found herself with a fever the next day thanks to the worry. Rumours once more flooded the city, as they had when Juan had been found murdered and yet again Cesare's name was mentioned. Thankfully, Alfonso began to recover and within a few days he was sat up in bed. Still, Cesare's name kept being mentioned and he apparently said:

"I did not wound the Duke, but if I had, it would have been no more than he deserved."

If these words were true, then it seems somewhat obvious that Cesare had some sort of ill feeling against his brother in law. However, had Cesare himself ordered this attack then it is likely that Alfonso would be already dead. His men, and particularly Micheletto, did not fail. Lucrezia was leaving nothing to chance however - she made his food herself in case his food was laced with poison, and allowed only the doctor sent from Naples to attend him. Just one month after the initial attack he was almost fully recovered and as he was sat up talking to his wife and sister, the doors to his rooms burst open and a group of men entered headed by the infamous Micheletto de Corella. Lucrezia and Sancia demanded to know from Micheletto what on earth he was playing at and Micheletto responded by saying that he was only obeying the will of others and if they wanted an answer then they should go to the Pope to get a reprieve for Alfonso and the others who had been arrested. The two of them rushed to the Pope, but when they returned to the apartment they found armed guards outside the doors who refused to let them in, stating that Alfonso was dead. There was no doubt who had committed the deed - Micheletto, Cesare's finest executioner. And there is really no doubt at all who ordered the murder...Cesare himself, determined that the Aragonese faction within the Vatican should be dealt with as it would affect his own plans with France. Not only that but Cesare was exceptionally close to his sister (one of the reasons it is said they were involved incestuously) and never seemed to love as a woman as much as he loved his sister. Was it jealousy that drove him to it? Did he see how in love the couple were and want it stopped?

The Funeral of Alfonso - Los Borgia

The excuse was given that Alfonso died because he had tried to shoot Cesare with a crossbow and it was the excuse used to persuade the Pope that Alfonso had to be gotten rid of. Alexander had initially been very upset when Alfonso was attacked, yet accepted this excuse when no one else in the family, or even the city did.

Lucrezia went into deep mourning for the handsome husband whom she doted on, and disbelieved her father and brother when they told her the reason for the killing of Alfonso. Her grief and upset against them irritated her father and he packed her off to the castle at Nepi, Alfonso was buried with almost indecent haste and following the funeral (at which Lucrezia was not present), Cesare visited his sister at Nepi. Did she forgive him straight away? Whatever the case, the two still remained exceptionally close for the rest of their lives.

For me, the marriage of Lucrezia and Alfonso is one of the saddest parts of Lucrezia's life. It is obvious that she doted on him, and he on her. That her brother could not see past this, caring only for his politics and his own jealousy is utterly heartbreaking. Whilst he may have loved his sister unequivocally, I honestly believe that the fact he could hurt his beloved sister so much shows that he believed politics and his own path to power was more important than her happiness. Whatever the case though, the murder of Alfonso only cemented the belief that Cesare Borgia was well on his way to becoming the most feared man in the whole of Italy.

Further Reading

Sarah Bradford - Lucrezia Borgia: Life, Love & Death in Renaissance Italy
Sarah Bradford - Cesare Borgia: His Life & Times
Johannes Burchard - At The Court Of The Borgia
Mary Hollingsworth - The Borgias: History's Most Notorious Dynasty
Christopher Hibbert - The Borgias & Their Enemies