Showing posts with label joffre borgia. Show all posts
Showing posts with label joffre borgia. Show all posts

Wednesday, 20 February 2013

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

Thursday, 31 January 2013

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