Showing posts with label rodrigo borgia. Show all posts
Showing posts with label rodrigo borgia. Show all posts
Wednesday, 1 January 2014
On This Day In History - Rodrigo Borgia Is Born
Starting off the year as I mean to go on, I thought I'd drop in with a little "On This Day In History" post for you all.
On 1st January 1431, Rodrigo Borgia was born in Xatvia Spain. His birth name wasn't actually "Borgia" but "Lanzol", and only took his mother's surname in 1455 after the elevation of his maternal uncle to the Papacy (Calixtus III).
As we know, Rodrigo Borgia would go down in history as one of history's most depraved Popes (Alexander VI) and as the father of history's most infamous individuals; Cesare and Lucrezia Borgia. Was he that bad? No, not really. He was simply a man of his time and actually less depraved than many of his predecessors.
Happy birthday Rodrigo Borgia. I'll be writing a lot more about you in the coming months.
Friday, 9 August 2013
[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
Labels:
borgia,
cesare borgia,
juan borgia,
looking back,
lucrezia borgia,
rodrigo borgia,
rome,
the vatican
Tuesday, 30 July 2013
[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!
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, 29 November 2012
Borgia Season 1
As I sit here this morning, I am feeling rather sorry for myself. For the past two days I've been off work with a nasty sicky bug and so am sat here wrapped up in my PJs with a massive mug of tea. It's not helping much and I feel like I should still be hugging the bowl I was hugging for the entirety of yesterday. Now, I realise that's really too much information but it has a point. As I was curled up on the sofa last night, hugging my bowl and running off to the toilet every so often to make best friends with it, I decided to finish watching Borgia. Before I started watching this series, I will admit I was a little put off by some of the reviews I'd read and the things people told me - "don't watch it Sam, it's really inaccurate", "It has Cesare and Lucrezia incest". I wish I had gone into watching the series with my eyes open as when I started watching it, I really wanted to hate it. However, after a few episodes it really did begin to grow on me and a few episodes after that I really started to enjoy it.
So, Borgia itself is a French/German production that was shown in 2011 on Channel + and stars Mark Ryder as Cesare Borgia, Stanley Weber as Juan Borgia, Isolde Dychauk as Lucrezia Borgia and John Doman as Rodrigo Borgia. The story itself is, of course obvious - it is the story of the Borgia family, from Rodrigo Borgia's election to the Papacy in 1492 and onwards (I hope in future series) to the Pope's death and Cesare's own imprisonment and death. When I first began to watch the series I was a little unsure about the casting of the show, and the first thing that really got to me was the huge mix of accents - Rodrigo was American, Cesare was English (with the odd lilt of Irish coming through), Lucrezia German and Juan was French. It was kind of off putting for a while, but a few episodes in I was able to look past it. Other than this though, after a few episodes as well I found myself really liking some of the characters and really hating others - as you would expect in such a television programme. I had exactly the same issue when I watched The Borgias and Los Borgia, and I think when actors manage to make their viewers love the characters or hate them to such an extreme, then they are doing a good job.
Mark Ryder as Cesare
Mark Ryder is the young man playing Cesare Borgia (and I'm allowed to say young because I'm a little bit older than him!) and right from the get go you can really see that Ryder has done his utmost to step into Cesare's shoes and get right into the man's psyche. A consequent conversation with Mark Ryder on twitter the other evening lead to a discussion on books about Cesare which was awesome. Anyway, even in the first episode you can see the extreme emotions that haunt Cesare - one moment he can be having a laugh and the next he can be in a murderous rage, and these extremes get even worse as the series goes on, finishing up in Cesare committing murder right in front of his father and the college of Cardinal's and claiming that his name will echo throughout history and shouting that he is "CESARE BORGIA!" whilst just moments before he had been in floods of tears with his sister. In history, Cesare was well known for these extremes of emotion, I thought that Ryder did a really excellent job of showing this side of Borgia's personality.
Isolde Dychauk as Lucrezia
Lucrezia is played by Isolde Dychauk. The character of Lucrezia in this was one that I started out really disliking, probably because her parts of the story were really quite inaccurate. Saying that though, by the end of the series I had begun to like her - you see Lucrezia go from this innocent young girl to a woman with her own thoughts and minds, to a woman who will do anything to protect her family. Although her story was hugely inaccurate, I really loved how the script showed her change. Plus, when you compare Isolde to the representation of Lucrezia in Pintruccio's murals, they really did a very good job in casting her.
Marta Gastini as Giulia Farnese
The character of Giulia Farnese is the character who I probably hated the most in the whole series and right from the get go. Played by Marta Gastini, Giulia was shown as a nasty, manipulative little girl who came across as obsessed with keeping Pope Alexander to herself. In all of my reading on the Borgia family, I have come across very little on Giulia but what I did read pointed out that Giulia was actually quite a nice person and friends with Lucrezia. I have also never ready that Giulia used Pantisilea to try and manipulate Lucrezia and gain more love from Rodrigo. However Gastini did a really good job as coming across as nasty and manipulative and even though I despised her character, it takes a really good actress to make a viewer hate them quite that much.
John Bradley as Giovanni de Medici
Cardinal Giovanni de Medici played by John Bradley (Sam Tarley in Game of Thrones). I loved this casting from the outset. Giovanni de Medici was the son of Lorenzo the Magnificent and made a cardinal in 1492 and was known as a man who loved the pleasures of the table. Top notch casting here, and Bradley is a top notch actor too!
Mark Ryder as Cesare and Stanley Weber as Juan
Played by French actor Stanley Weber, I absolutely despised Juan Borgia in this adaptation. And I really think I was supposed to. Whereas in The Borgias I felt quite sorry for Juan, in Borgia I hated the man with a passion and thought he was the world's biggest derp. And it was awesome. Why? Because in history, Juan Borgia 2nd Duke of Gandia was a massive derp and a bit of a failure. There is no doubt that Cesare was the better man that he, and that if anyone should have been the one in Cardinal's robes, it was Juan. However, the series dealt with Juan's death really very well and (almost) sticks to the facts - you see him ride off in search of further pleasures with another man; and he is never seen again. His horse returns with the saddles cut, and a search begins in earnest. When they find his body floating in the Tiber with 9 stabs wounds and a slit throat, Pope Alexander flies into a paroxysm of grief and investigations begin into who killed Juan. Alright so in history we won't ever know who killed Juan, but historical investigation shows that the most likely candidate was the Orsini family who Juan really managed to piss off. It wasn't likely to have been Cesare but rumours abounded due to the apparent jealousy between the siblings; and whilst I was rather pleased they did not show Cesare offing his brother I was a little shocked that they showed Lucrezia as the guilty party. Still, well done to Weber for getting into the character of Juan and in my opinion, doing a damned good job of it!
John Doman as Rodrigo Borgia and Isolde Dychauk as Lucrezia
The last character I want to discuss in a bit more detail is Rodrigo Borgia/Alexander VI played by John Doman. When I first started watching the series I was a little taken aback by their portrayal of Rodrigo, mainly because of the whole accent thing. But like with many of the other characters, I soon found myself really liking their portrayal of him. He certainly looks a lot more like Pope Alexander than Jeremy Irons (although I adore Jeremy Irons as Pope Alexander and he's become affectionately known as "Pope Irons"). Yet again, the extremes of emotion showed by Doman were second to none and I particularly loved his show of grief after the death of Juan - it was so well done that it almost moved me to tears.
The sets during the show were also top notch. I was particularly impressed with their depiction of the Sistine Chapel:
The Sistine Chapel
Having been to the Sistine Chapel I was really rather impressed in the set used here. They even got the ceiling correct, which in 1492 hadn't been worked on my Michelangelo, rather it was painted blue with stars. The detail shown in the chapel was just stupendous. In fact, the majority of the sets were done in such a way right down to the CGI of what Rome would have been like in 1492.
A brilliant CGI rendering of Rome as it would have been in 1492
The old basillica of St Peters, not the one that exists today
Beautiful set pieces
Alessandro Farnese at Orvieto
The churches and chapels were superbly done
Another brilliant CGI rendering of the approach to Rome
The Colosseum
Laocoon and His Sons - this wasn't excavated until much later (and Michelangelo was present) but I thought it interesting they put this in the show. And the copy of this amazing work is second to none!
Whilst the historical accuracy of parts of this series leaves a lot to be desired, I have to say that I am very pleased that they got the chronology of what happened mostly correct. Of course, you need to leave room for dramatic license and I can understand this there were a couple of parts that made me shake my head. First of all, and probably the biggest crunch for me was Cesare leaving his young son on a mountainside to die - dramatic license yes, but I have no idea where the writers got this idea from. Secondly, Cesare being raped by Marc Antonio Colonna. Well done yes, and done for dramatic license but again, I have no idea where they got this from. In my opinion, it added nothing to the story as this never happened. In the same way, although this is a tad more understandable, they have Juan's death in 1493. This actually happened in 1497. I can however understand why they have done this and at least they didn't have it happen after events that Juan was never at anyway. Such as the Siege of Forli which happened in 1498 - although The Borgias had it happen much earlier with Juan at the head of the army. Didn't happen. These little things however are easily able to be overlooked and I am really glad that I decided to watch this show. I was rather disappointed by the make-out session between Cesare and Lucrezia though - although the script makes it clear that this is based on rumours so they might as well prove everyone right. Thankfully it didn't go very far but I was cringing throughout that entire scene (and as you will know I have fought the NO BORGIA INCEST fight for a while, so anything that shows it just makes me go all fhjsdkhfjsdfhsdkfdsk).
Excellent casting, beautiful costumes and a story that tries as best it can to stick to the historiography. I will most definitely be watching Season 2 when it comes out. If you're interested in the Borgia family and looking at watching something on the family for a bit of drama, then I would highly recommend this. It's not perfect of course, but they give it a damned good go. 7/10.
Friday, 5 October 2012
Caterina Sforza Part 2 - The Rome Years
Gina McKee as Caterina Sforza in The Borgias
As Caterina left her childhood home of Milan, she was accompanied on her way to Rome by a lavish parade. Caterina had brought with her 40 relatives and servants, and her new husband Giralomo Riaro added a considerable number of his own retainers to the parade. The archbishop of Cesena also joined them, bringing with him 13 of his own servants, the Governor of Imola with 12 men along with other local nobles, various musicians and ladies in waiting. The cavalcade wound its way through the Italian countryside, waving the flags of the Sforza viper along with various other livery and colours. This brilliant parade would have proven to be such a spectacle as it wound its way through the small villages. Along the way, the party were joined by more and more members including Gian Luigi Bossi, who came carrying specific instructions from Caterina's step mother Bona of Savoy. It seems like Bossi was to accompany Caterina all the way to Rome and make sure that the young Countess conducted herself properly. It really seems as though Bona cared for her stepdaughter's welfare - not only did she send Bossi to watch over the young Countess, but she also wrote ahead to each town that the parade would pass through to make sure that Caterina was made welcome. Only one town did not to do this because the party arrived much earlier than expected and so Caterina stayed in an inn which described as "pleasant". Everywhere that Caterina went, she was greeted with massive enthusiasm and huge affection. Caterina was certainly making a fantastic impression.
On the 1st May 1477, Caterina arrived in Imola where upon her arrival she was presented with the keys to the City. She and her husband were now the rulers of Imola, although at this stage her husband was still in Rome, and during her stay in her new City she was treated to a constant celebration. However, underneath all of the celebrations, Imola was at the centre of attention politically - Bossi had orders from Bona of Savoy to inform the city elders of the Sforza position on Taddeo Manfredi. Manfredi had previously been Lord of Imola until 1471 when he started to lose his grip on his subjects. He was too busy fighting with the rest of his family in Faenza and the city was just waiting to be taken over. Galeazzo Maria was the man who took over, despite the fact that both Florence and Venice were showing an interest, and he tried to get Manfredi out gently at first. Galeazzo extended Manfredi an invitation to Milan and then (after filling the man's belly with good wine and good food) offered him rather a lot of money if he would just simply give up his Imolese territory. By the time Caterina entered the picture as new ruler of the city, Manfredi was holed away in Milan but was constantly in the minds of the Imolese. And he would often become the centrepiece of revolt. One such example was following the death of Galeazzo when whispers and rumours began to spread that Manfredi would soon be back in his seat of power. The rumours reached the sharp ears of Bona of Savoy who swiftly dispatched messengers to the leading families in Imola, informing them that Giralomo Riaro had the entire support of the Sforza clan, and that it wouldn't be a good idea to reinstate Manfredi. They didn't want the Sforza family as their enemies after all.
All the while she was in Imola, Caterina heard no word from her husband. He was still in Rome, and Caterina spent her days waiting for the summons to arrive. Even Bossi noted her impatience and remarked to the countess of Milan that she was "desirous to find herself in the presence of His Holiness and to her her count Giralomo". Yet the summons did not arrive, and she found herself being delayed over and over. But why was this? Why did the summons not arrive?
An attempt had been made to assassinate Giralomo, the Pope's favourite nephew. It should be noted that Giralomo Riaro was rather adept at making enemies for himself including men of his own family (Giuliano Della Rovere being just one example!). Two men were arrested and confessed that they had been approached by a man on behalf of Della Rovere who offered a huge payment if they would assassinate Giralomo. Yet they also admitted that they never received the orders directly from Cardinal Della Rovere. The Pope, worried for his favourite nephew's safety, would not allow Giralomo to travel and also deemed that Rome was also too dangerous for Caterina. It seems though that Caterina was never given the true reason for this delay and was instead fed excuse after excuse by the Pope. He wrote to her and tries to blame bad air and plague, he blamed the fact that people would say he brought her to Rome to kill her, He blamed the heat of Rome and He said that he would not be able to put on a ceremony lavish enough for her out of respect for her murdered father. He then made promises to her that he would send her husband to her in Imola at the start of June.
Caterina, however, never received the letter from the Pope and instead took it upon herself to set out from Imola to Rome. And on24th May she arrived at Castel Novo outside the City. When news reached the Vatican, the Pope rushed to make sure everything was ready for her arrival. Gifts were prepared and the beautiiful halls of the Vatican were decorated with the Riaro and Sforza colours, in homage to the union of these two houses. On 25th, Caterina left Castel Novo, and was met outside the city by a group of horsemen, one of whom being Caterina's husband Giralomo. It would be the first time the couple had seen each other in four years. Giralomo had last seen Caterina when she was just ten years old. Now, four years later, he himself was ageing quickly and had ill health. Yet the couple dismounted their horses and embraced each other. Following lunch, the party moved onto the villa of the Cardinal of Urbino which sat on top of a hill just north of Rome. There, Giralomo presented his wife with a pearl necklace. But he did not stay with her that night as he was under strict instruction from the Pope that he was to return to the Vatican that evening, and that he must wait until the marriage had been formalised before he took Caterina to the marriage bed. The next day, Caterina began to prepare herself to walk into the City of Rome and see it for the first time. She was dressed in gold brocade and dark silk and her sleeves were covered in jewels. At the gates of Rome, she was greeted by a party of six thousand horsemen who accompanied her to St Peter's Basilica, and once there was shown to a place of honour as the Pope entered with the College of Cardinals.There, following the Mass of Pentecost, Pope Sixtus had Caterina and Giralomi brought before him and repeated their marriage ceremony. This was a marriage ceremony that no one could break, for it was solemnised before the head of the Catholic church. Following the ceremony, Caterina was then presented with a gift of pure white pearls from the Pope's own treasury. Following the marriage, Caterina and Giralomo took their leave of the Pope and the Cardinals and made their way to their new home in the Campo dei Fiori.
The Campo Del Fiore in Rome
Caterina Sforza was in Rome, her new home. And.. there, in her first few days in the city she was treated to splendours she could never have imagined. The courtyard of her new home was filled with guests and well-wishers, and gifts were piled high. Her wedding feats held at her new home was so spectacular that before each course a child dressed as an angel rode in on a chariot. She was now officially Giralomo Riaro's Countess, and would spend the next few years flitting between Rome and her lands in Forli and Imola. And most of all, she would grow into a young woman to be reckoned with.
As Caterina began to get used to Rome, she became more and more aware of all the dangers that the city had to offer. Each and every time she left her house she would have noticed groups of armed men wandering around the city. These men were hired retainers in the pay of a wealthy family, and paid to protect the family as they went about Rome on their daily business. Indeed, Caterina would have experienced this first hand and been accompanied throughout the city with her own band of guards. Yet she did not let this stop her and spent her time wandering the city, seeing the improvements that the Pope had made and getting to know her new extended family. She was also constantly partying and feasting, and became one of the most admired women in Rome. During this time her stepmother, Bona of Savoy became not only her mentor but also her source of fashion, and Bona often sent her gifts of jewellery and hairnets. With these Caterina became a style icon. However, despite her busy schedule of feasts and parties, Caterina still thoroughly enjoyed her riding and hunting, and Bona sent her and her husband a gift of hunting dogs. And Caterina spent much of her free time hunting outside the city, which she accessed across the Ponte Sisto. Her hunting grounds were in the forests of the Janiculum Hill, a place where she could escape the crowded city streets of Rome.
The Ponte Sisto (image credit)
Caterina had arrived in Rome by the time that Lorenzo De Medici (Lorenzo the Magnificent) had earned the displeasure of the Pope. The Medici, a famous Florentine banking family had been bankers to the Papal Court yet had earned the displeasure of the Pope by refusing to underwrite a loan for His Holiness. Thus Sixtus turned to the other great banking family in Florence; the Pazzi who immediately provided three quarters of the money the Pope needed for the sale of Imola. The Pope and Giralomo Riaro also had a plan to make a brand new state in the Romagna, yet Lorenzo provided soldiers to the towns in the Romagna who were trying to defend against Giralomo. And during the years that Caterina spent in Rome, her husband became involved in one of the most famous plots to ever effect Renaissance Italy - the Pazzi Conspiracy. The plot as hatched in 1478 as the Pazzi realised that Lorenzo de Medici was trying to use his power to block their work, and that the only way they could sort out this problem would be to murder Lorenzo and his brother Giuliano. The Pazzio recruited a number of conspirators including Giralomo himself. The plan was thus: the Pazzi family would take care of the Medici brothers while Giralomo would muster an army to help stop any rising that would happen against them. The plan also needed the go ahead from the Pope himself. Sixtus said that he desired a change in the rulers of Florence, yet flew into a rage when Giralomo even suggested murder. He was quite clear in his stance: He did not wish anyone to be killed, just a change in government. But for some reason, this was taken as papal consent, and this so called consent convinced the ruler of the Pazzi family, Jacopo de Pazzi that it was the right thing to do. The next phase was then worked out. Giralomo's nephew, Cardinal Rafaello Riaro, was invited to Florence - and with such an important man visiting Florence, the Medici would deliberately take pains to look after their guest. It was agreed by Lorenzo that Cardinal Rafaello would arrive in Florence on April 26 1478 and there would attend Mass in the Duomo. This was when the assassination would take place.
The Santa Maria Del Fiore, aka The Duomo, Florence
The plot failed, and the majority of the conspirators were hunted down and executed. Sandro Boticelli painted the executed men as they hung on public display. Leonardo Da Vinci also sketched a few of the corpses.
Bernardi di Bandido Baroncelli, one of the Pazzi Conspirators by Leonardo Da Vinci
Cardinal Raffaello managed to get away with it, the Medici family making out he was but a hapless pawn in the whole affair. The Medici still kept him as a hostage, which was rather a good way to stop Rome from exacting revenge on the Florentines. He was held for 6 weeks and upon release, Caterina wrote to her stepmother requesting that Riaro be given the income of the Abbey of Chiaravalle near Milan. But was Caterina at her husbands side during these torrid times? She was very close to Lorenzo having spent time in his company in her younger years and grieved deeply for him when he died. And would her husband have shared such plans with his fifteen year old bride.
Following the confession of one of the conspirators, a man by the name of Montesecco, Giralomo's part in the conspiracy became publicly known.. Of course, Sixtus would have been furious with his nephew. And with the ridicule that now haunted the steps of Giralomo, Caterina found herself bound to a murderer and included in the jokes of the Roman's. It was from this moment on that something changed within Caterina, and in the years to come would prove time and again that she would no longer stand by as such important events passed her by. Indeed, she would become a part of them.
During Christmas in 1478, Caterina became pregnant with her first child. At the time her husband was frequently away fighting for his uncle and striking back at the Florentines, yet upon hearing the news that his young wife was pregnant purchased a new family home for them. The new home was located in the Piazza Navona.
The Piazza Navona as it appears today (image credit)
The child was born on 31st August 1479, and christened Ottaviano. His christening was an incredibly lavish affair, and attended by only the most high ranking Roman citizens, including Rodrigo Borgia - a man who would prove to be a thorn in Caterina's side as the years went on. Caterina recovered from the birth of her son quickly and was desperate to show off her little boy to her family in Milan. Yet bad news came back from Milan; it was said that Bona of Savoy had taken a young lover, a man by the name of Antonio Tassino who was a footman in her household. Bona shared the secrets of the Milanese court with her new lover and due to this Bona found herself in the centre of a bitter rivalry in her court, and her brother in law Ludovico (The Moor - due to his dark colouring) thought it a good time to introduce himself into the court of Milan. Ludovico used Antonio as a path to Bona, making out he wished to make peace with his sister in law. And on September 7th, Bona agreed to meet with her brother in law. Almost a year later, Bona was ousted from her place in authority and power was taken over by Ludovico, where he acted as regent for the young Duke of Milan, Gian Galeazzo. By the time that Ludovico had taken the reins of power, Caterina was pregnant again and just three months after she had given birth to her son! During her pregnancy this time though, she had more responsibilities. The new palace in the Piazza Navona was almost complete and she had to oversee the sumptuous decorations that her husband was so instant on.
On August 23, 1480, Pope Sixtus formally gave the city of Forli to Giralomo. Forli was a little town just south of Imola and thus doubled the Riario lands. And on August 24th, Caterina gave birth to her second son whom as christened Cesare.
Caterina Riario Sforza was now Countess of Forli, wife to the Pope's favourite nephew and mother to two sons. She was also becoming a woman to be reckoned with, and as she took her place as Countess of Forli she would prove to be an incredibly popular lady in her new town, and a woman who would prove to be one of the toughest women in Italy at the time. She was becoming a force to be reckoned with, and in the next few years would prove this beyond a shadow of a doubt.
Further Reading
Elizabeth Lev, The Tigress of Forli, Niccolo Machiavelli, The Prince
Paul Strathern, The Artist, The Philosopher and the Warrior
Ernst Breisach, Caterina Sforza: A Renaissance Virago
Christopher Hibbert, The Borgias and Their Enemies
Jacob Burckhardt, The Civilisation of the Renaissance In Italy
Christopher Hare, The Most Illustrious Ladies of the Italian Renaissance
Jacob Burckhardt, The Civilization of the Renaissance in Italy
Will Durant, The Renaissance: A History of Civilization in Italy from 1304-1576 AD
Sunday, 9 September 2012
Rodrigo Borgia Part 5 - Death
Jeremy Irons as Pope Alexander VI in "The Borgias"
In the years leading up to Pope Alexander's death, there were many events including war with France, the death of his beloved son, Juan Duke of Gandia; Alexander's row with Savanarola, the resignation of his son Cesare from the College of Cardinals, Alexander joining with Venice and France against the Sforza family, Cesare taking over the Romagna and Alexander issuing Papal Bulls following Christopher Columbus' trip to the new world making slavery of the native people legal. It must be noted also that all the while rumours flew of poisoning and murder as a method of furthering his schemes yet there is no solid evidence that this happened. In much the same way that it can never be proven that Cesare Borgia killed his brother, the same can be said of the rumours that Alexander resorted to poison. The only "evidence" came after Alexander's death when his successor Julius II tortured Alexander's servants.
As I'm sure you can see from the list above, there is still so much of Alexander's life to write about. So much so that he really does deserve his own biography. Today however, instead of launching into each of these events, I will be writing of Alexander's final years and his death.
In 1503, Cesare Borgia was preparing for another military operation in the Romagna. He had already taken the cities of the Romagna and deposed its leaders. During the early part of 1503, Cesare and his father weren't exactly seeing eye to eye - Cesare wanted his Independence and had begun to make decisions on his own, and Alexander was getting more than a little annoyed with his sons bold moves. Cesare supported the French King Louis XIII, successor to Charles VIII and believed that the French would make better allies than the Spaniards. Plus, Louis supported Cesare's work in the Romagna. Alexander, as a Spaniard himself, had always veered more towards King Ferdinand (father of Catherine of Aragon) and kept trying to convince Cesare that Ferdinand was the best ally for him. Yet at the same time he still desperately tried to raise money for his sons military endeavours by selling offices, and consequently due to this had another 5 Spanish cardinals created in May 1503.
Yet before Cesare could even start out on his latest venture into the Romagna, events took a turn for the worse. Both he and his father fell incredibly ill.
On the evening of 6th August 1503, Alexander and Cesare attended a dinner party held by Cardinal Adriano Castellesi, one of the cardinals created by Alexander in May of the same year. Castellesi was also bishop of Hereford, bishop of Bath and Wells and had also served as ambassador to the Papal Court for Henry VII.
The signature of Cardinal Castellesi
On 12th August however, Alexander started to feel unwell and spent that night constantly vomiting. The 12th was also the day that Cesare had planned to set out on his military venture, yet he too was taken ill. The following day Castellesi was also taken sick, and it was assumed that due to three people being taken ill of the same thing it was unlikely to have been poison. It is said that the Pope seemed to recover over the next few days, but on 16th Cesare worsened and was given an ice bath to try and reduce his fever. Cesare was reported to be slightly better on 18th, but during that day the Pope worsened. Burchard reports in his diaries that on the morning of 18th that Alexander made his confession to Don Pietro Gamboa, the bishop of Carinola. Don Pietro also celebrated Mass in the Pope's presence but the Pope suddenly stated that he felt unwell:
"The service was also attended by five cardinals - Serra, Francesco Borgia, Giovanni Castelar, Casanova and de Loris of Constantinople - to whom His Holiness stated that he felt ill. At the hour of Vespers, he was given the Extreme Unction by the Bishop of Carinola, and he expired in the presence of the datary, the bishop and the attendants standing by."
According to Burchard, Cesare did not visit his father before his death. But this can be attributed to the fact that Cesare was suffering from the same illness that killed his father. Burchard also mentions that even after Alexander's death, Cesare did not visit his fathers body. It was written also that Alexander did not even mention Cesare or Lucrezia during his illness.
However, upon learning about his fathers death, Cesare sent "Micheletto with a large number of retainers to close all the doors that gave access to the Popes room. One of the men took out a dagger and threatened to cut Cardinal Casanova's throat...unless he handed over the keys to all the Pope's treasure".
Micheletto and his men then entered the rooms and seized all of the silver that they could get their hands on as well as two coffers containing around one hundred thousand ducats. At about four o clock that day, they then opened the doors and announced that Pope Alexander VI had passed away. Valets then gutted the Papal rooms of everything left of value, leaving just the papal chairs and the tapestries that hung on the walls.
The Pope was then prepared by his Master of Ceremonies for his lying in state, where he lay until his funeral which took place on Monday 4th September.
Meanwhile however, rumours of poison began to spread and it was widely believed in Ferrara where Louis XII advised Duke Ercole II to have Lucrezia's marriage to Alfonso D'Este annulled - the prospect of paying back her huge dowry daunted the French king. And as preparations were begun for Alexander's funeral, the following was written by a man named Bartolomeo Masi in his work Ricordanze:
"As pleases Almighty God, on 18th August Pope Alexander VI died; he was Spanish and been pope for eleven years. They say he was poisoned and also that Duke Cesare, his son, was the cause of his death. The said duke had held a great feast to which he invited several cardinals he wished to poison and he ordered two flasks of a special wine, which he secretly poisoned, telling no one, and gave them to a trusted servant telling him not to serve them to anyone...because he wanted them for himself. When the pope arrived he asked for the best wine...and the servant brought one of the flasks which the pope tasted".
As can be gathered from Masi's writing, he is basing his theory completely on hearsay. In fact we know that Cesare and Alexander attended a party at the house of Adriano Castellesi, and so not put on by Cesare. The rumours have come down to us today, so much so that Tour Guides of the Vatican tell their tours that Cesare Borgia poisoned his own father. We have no evidence for this other than snippets of writing written by third parties and written many years after the actual event.
Alexander VI's funeral was held on Monday 4th September. The corpse having been dressed, it was carried in procession from the Sistine Chapel to the Basilica of St Peters with an escort of cardinals, clerics and canons. Members of Alexander's household carried the 140 wax tapers that accompanied the procession. The pope's bier was carried by paupers who acted with much more respect to the dead Pope than what was being exhibited by the clerics who acted with much disorder. And when inside the basilica, the guards attacked the procession and seized the wax tapers. This led to the members of the clergy running from the basilica in fright, thus abandoning the body of Alexander. It was Burchard, with the help of three others, that moved the Pope's bier into position behind the high altar. But even here it was realised that the body would not be safe, and so to protect it from those who wished to get revenge on the Borgia Pope, the body was moved behind the iron grille of the chapel. Burchard then left, and that the chapel to take care of some business and when he returned noticed the change in the Pope's body. His face had changed:
"To the colour of the blackest cloth, and covered in blue-black spots; the nose was swollen, the mouth distended, the tongue bent back double, the lips seemed to fill everything and the appearance of the face was more horrifying than anything ever seen."
When it came to the Pope's burial, the coffin had been made too small and the Porters made gruesome jokes as they struggled to squash the swollen body inside. Burchard again describes what happened:
"Six labourers or porters, making blasphemous jokes about the Pope or in contempt of his corpse, together with two master carpenters, performed this task. The carpenters had made the coffin too narrow and short, and so they placed the pope's mitre at his side, rolled his body in an old carpet, and pummelled and pushed it into the coffin with their fists. No wax tapers or lights were used, and no priests or any other persons attended to his body."
What a horrible thing to happen to a man who had been the most powerful man in Christendom. Of course, the day after the burial, rumours spread around the city of Rome like wildfire:
- He had been heard talking to Satan
- He brought the Papacy by selling his soul to Satan
- He had struck a deal with Satan that he would wear the Papal crown for eleven years. He had done that, with just seven days added on top.
- As he died, water boiled in his mouth and filled the room with steam
- When Rigor Mortis set in, his penis was erect.
Alexander's tomb at Santa Maria in Monseratto delgi Spagnoli
Pope Alexander VI really did lead a remarkable life. Despite buying his way into the seat of St Peter's and the rumours of corruption, poisoning and murder; he was incredibly close to his sons and daughters and loved them deeply. Even though he loved his women, he was loyal to each of them in his own way, particularly towards Vanozza (whom he stayed friends with even after they stopped being in a relationship with each other) and La Bella Farnese. He also was an avid patron of the arts and had works commissioned by Pintruccio, who painted the fresco in the Borgia apartments. He also commissioned works from Michelangelo and Raphael. He was also an avid supporter of education and issued a papal bull in 1495 allowing the founding of Kings College in Aberdeen! As well as this, despite the huge dislike of the Jews at the time, he allowed Jews exiled from Spain to live in Rome and let them live free from the persecution of Christians. All in all then, not a bad bloke and he was certainly little different to the pope's who came before and after him. I for one admire Rodrigo Borgia, Pope Alexander VI, for his remarkable life, for continuing on despite the rumours that plagued his reign, for the love and loyalty he showed his children and to his mistresses. He has to be one of my favourite historical pope's and I certainly don't believe the rumours that many still believe today (I'm looking at you Vatican Tour Guide!)
Further Reading
Burchard, J, 1963 (translated from original), At the Court of the Borgia, The Folio Society: London
Bradford, S,1976, Cesare Borgia: His Life and Times, Weidenfeld and Nicholson: London
Bradford, S, 2004, Lucrezia Borgia, Penguin: London
De Roos, 1924, Material for a history of Pope Alexander VI:
Hibbert, C, 2009, The Borgias & Their Enemies, Mariner Books: Boston
Hollingsworth, M, 2011, The Borgias: Histories Most Notorious Dynasty, Quercus: London
Subscribe to:
Posts (Atom)





.jpg)

































