Part 18 (1/2)
Finally, to the din of trumpets, fifes, and horns, the cavalcade set out over the Corso, across the Campo di Fiore, for the Vatican, where it was saluted from Castle S. Angelo. Alexander stood at a window of the palace to see the procession which marked the fulfilment of the dearest wish of his house. His chamberlain met the Ferrarese at the steps of the palace and conducted them to his Holiness, who, accompanied by twelve cardinals, advanced to meet them. They kissed his feet, and he raised them up and embraced them. A few moments were spent in animated conversation, after which Caesar led the princes to his sister. Leaning on the arm of an elderly cavalier dressed in black velvet, with a golden chain about his neck, Lucretia went as far as the entrance of her palace to greet them. According to the prearranged ceremonial she did not kiss her brothers-in-law, but merely bowed to them, following the French custom. She wore a dress of some white material embroidered in gold, over which there was a garment of dark brown velvet trimmed with sable.
The sleeves were of white and gold brocade, tight, and barred in the Spanish fas.h.i.+on. Her head-dress was of a green gauze, with a fine gold band and two rows of pearls. About her neck was a heavy chain of pearls with a ruby pendant. Refreshments were served, and Lucretia distributed small gifts--the work of Roman jewelers--among those present. The princes departed highly pleased with their reception. ”This much I know,” wrote El Prete, ”that the eyes of Cardinal Ippolito sparkled, as much as to say, She is an enchanting and exceedingly gracious lady.”
The cardinal likewise wrote the same evening to his sister Isabella of Mantua to satisfy her curiosity regarding Lucretia's costume. Dress was then an important matter in the eyes of a court; in fact there never was a time when women's costumes were richer and more carefully studied than they were during the Renaissance. The Marchioness had sent an agent to Rome apparently for the sole purpose of giving her an account of the bridal festivities, and she had directed him to pay special attention to the dresses. El Prete carried out his instructions as conscientiously as a reporter for a daily paper would now do.[132] From his description an artist could paint a good portrait of the bride.
The same evening the Ferrarese amba.s.sadors paid their official visit to Donna Lucretia, and they promptly wrote the duke regarding the impression his daughter-in-law had made upon them.
ILl.u.s.tRIOUS MASTER: To-day after supper Don Gerardo Saraceni and I betook ourselves to the ill.u.s.trious Madonna Lucretia, to pay our respects in the name of your Excellency and his Majesty Don Alfonso. We had a long conversation regarding various matters. She is a most intelligent and lovely, and also exceedingly gracious lady. Your Excellency and the ill.u.s.trious Don Alfonso--so we were led to conclude--will be highly pleased with her. Besides being extremely graceful in every way, she is modest, lovable, and decorous. Moreover, she is a devout and G.o.d-fearing Christian. To-morrow she is going to confession, and during Christmas week she will receive the communion. She is very beautiful, but her charm of manner is still more striking. In short, her character is such that it is impossible to suspect anything ”sinister” of her; but, on the contrary, we look for only the best. It seems to be our duty to tell you the exact truth in this letter. I commend myself to your Highness's merciful benevolence. Rome, December 23, 1501, the sixth hour of the night.
Your Excellency's servant, JOHANNES LUCAS.
Pozzi's letter shows how anxious were the duke and his son, even up to the last. It must have been a humiliation for both of them to have to confide their suspicions to their amba.s.sador in Rome, and to ask him to find out what he could regarding the character of a lady who was to be the future d.u.c.h.ess of Ferrara. The very phrase in Pozzi's letter that there was nothing ”sinister” to be suspected of Lucretia shows how black were the rumors that circulated regarding her. His testimony, therefore, is all the more valuable, and it is one of the most important doc.u.ments for forming a judgment of Lucretia's character. Had she been afforded a chance to read it, her mortification would, no doubt, have outweighed her satisfaction.[133]
The Ferrarese princes took up their abode in the Vatican; other gentlemen occupied the Belvedere, while the majority were provided for by the citizens, who were compelled to entertain them. At that time the popes handled their private matters just as if they were affairs of state, and met expenses by taxing the court officials, who, in spite of this, made a good living, and even grew rich by the Pope's mercy. The merchants likewise were required to bear a part of the expense of these ecclesiastical functions. Many of the officials grumbled over entertaining the Ferrarese, and provided for them so badly that the Pope was compelled to interfere.[134]
During the Christmas festivities the Pope read ma.s.s in S. Peter's. The princes were present, and the duke's amba.s.sador described Alexander's magnificent and also ”saintly” bearing in terms more fitting to depict the appearance of an accomplished actor.[135]
The Pope now gave orders for the carnival to begin, and there were daily banquets and festivities in the Vatican.
El Prete has left a naive account of an evening's entertainment in Lucretia's palace, in which he gives us a vivid picture of the customs of the day. ”The ill.u.s.trious Madonna,” so wrote the reporter, ”appears in public but little, because she is busy preparing for her departure.
Sunday evening, S. Stephen's Day, December 26th, I went unexpectedly to her residence. Her Majesty was in her chamber, seated by the bed. In a corner of the room were about twenty Roman women dressed _a la romanesca_, 'wearing certain cloths on their heads'; the ladies of her court, to the number of ten, were also present. A n.o.bleman from Valencia and a lady of the court, Niccola, led the dance. They were followed by Don Ferrante and Madonna, who danced with extreme grace and animation.
She wore a camorra of black velvet with gold borders and black sleeves; the cuffs were tight; the sleeves were slashed at the shoulders; her breast was covered up to the neck with a veil made of gold thread. About her neck she wore a string of pearls, and on her head a green net and a chain of rubies. She had an overskirt of black velvet trimmed with fur, colored, and very beautiful. The trousseaux of her ladies-in-waiting are not yet ready. Two or three of the women are pretty; one, Catalina, a native of Valencia, dances well, and another, Angela, is charming.
Without telling her, I picked her out as my favorite. Yesterday evening (28th) the cardinal, the duke, and Don Ferrante walked about the city masked, and afterwards we went to the d.u.c.h.ess's house, where there was dancing. Everywhere in Rome, from morning till night, one sees nothing but courtesans wearing masks, for after the clock strikes the twenty-fourth hour they are not permitted to show themselves abroad.”
Although the marriage had been performed in Ferrara by proxy, Alexander wished the service to be said again in Rome. To prevent repet.i.tion, the ceremony in Ferrara had been performed only _vis volo_, the exchange of rings having been deferred.
On the evening of December 30th, the Ferrarese escorted Madonna Lucretia to the Vatican. When Alfonso's bride left her palace she was accompanied by her entire court and fifty maids of honor. She was dressed in gold brocade and crimson velvet trimmed with ermine; the sleeves of her gown reached to the floor; her train was borne by some of her ladies; her golden hair was confined by a black ribbon, and about her neck she wore a string of pearls with a pendant consisting of an emerald, a ruby, and a large pearl.
Don Ferrante and Sigismondo led her by the hands; when the train set forth a body of musicians stationed on the steps of S. Peter's began to play. The Pope, on the throne in the Sala Paolina, surrounded by thirteen cardinals and his son Caesar, awaited her. Among the foreign representatives present were the amba.s.sadors of France, Spain, and Venice; the German envoy was absent. The ceremony began with the reading of the mandate of the Duke of Ferrara, after which the Bishop of Adria delivered the wedding sermon, which the Pope, however, commanded to be cut short.[136] A table was placed before him, and by it stood Don Ferrante--as his brother's representative--and Donna Lucretia. Ferrante addressed the formal question to her, and on her answering in the affirmative, he placed the ring on her finger with the following words: ”This ring, ill.u.s.trious Donna Lucretia, the n.o.ble Don Alfonso sends thee of his own free will, and in his name I give it thee”; whereupon she replied, ”And I, of my own free will, thus accept it.”
The performance of the ceremony was attested by a notary. Then followed the presentation of the jewels to Lucretia by Cardinal Ippolito. The duke, who sent her a costly present worth no less than seventy thousand ducats, attached special weight to the manner in which it was to be given her. On December 21st he wrote his son that in presenting the jewels he should use certain words which his amba.s.sador Pozzi would give him, and he was told that this was done as a precautionary measure, so that, in case Donna Lucretia should prove untrue to Alfonso, the jewels would not be lost.[137] Until the very last, the duke handled the Borgias with the misgivings of a man who feared he might be cheated. On December 30th Pozzi wrote him: ”There is a doc.u.ment regarding this marriage which simply states that Donna Lucretia will be given, for a present, the bridal ring, but nothing is said of any other gift. Your Excellency's intention, therefore, was carried out exactly. There was no mention of any present, and your Excellency need have no anxiety.”
Ippolito performed his part so gracefully that the Pope told him he had heightened the beauty of the present. The jewels were in a small box which the cardinal first placed before the Pope and then opened. One of the keepers of the jewels from Ferrara helped him to display the gems to the best advantage. The Pope took the box in his own hand and showed it to his daughter. There were chains, rings, earrings, and precious stones beautifully set. Especially magnificent was a string of pearls--Lucretia's favorite gem. Ippolito also presented his sister-in-law with his gifts, among which were four beautifully chased crosses. The cardinals sent similar presents.
After this the guests went to the windows of the salon to watch the games in the Piazza of S. Peter; these consisted of races and a mimic battle for a s.h.i.+p. Eight n.o.blemen defended the vessel against an equal number of opponents. They fought with sharp weapons, and five people were wounded.
This over, the company repaired to the Chamber of the Parrots, where the Pope took his position upon the throne, with the cardinals on his left, and Ippolito, Donna Lucretia, and Caesar on his right. El Prete says: ”Alexander asked Caesar to lead the dance with Donna Lucretia, which he did very gracefully. His Holiness was in continual laughter. The ladies of the court danced in couples, and extremely well. The dance, which lasted more than an hour, was followed by the comedies. The first was not finished, as it was too long; the second, which was in Latin verse, and in which a shepherd and several children appeared, was very beautiful, but I have forgotten what it represented. When the comedies were finished all departed except his Holiness, the bride, and her brother-in-law. In the evening the Pope gave the wedding banquet, but of this I am unable to send any account, as it was a family affair.”
The festivities continued for days, and all Rome resounded with the noise of the carnival. During the closing days of the year Cardinal Sanseverino and Caesar presented some plays. The one given by Caesar was an eclogue, with rustic scenery, in which the shepherd sang the praises of the young pair, and of Duke Ercole, and the Pope as Ferrara's protector.[138]
The first day of the new year (1502) was celebrated with great pomp. The various quarters of Rome organized a parade in which were thirteen floats led by the gonfalonier of the city and the magistrates, which pa.s.sed from the Piazza Navona to the Vatican, accompanied by the strains of music. The first car represented the triumph of Hercules, another Julius Caesar, and others various Roman heroes. They stopped before the Vatican to enable the Pope and his guests to admire the spectacle from the windows. Poems in honor of the young couple were declaimed, and four hours were thus pa.s.sed.
Then followed comedies in the Chamber of the Parrots. Subsequently a _moresca_ or ballet was performed in the ”sala of the Pope,” whose walls were decorated with beautiful tapestries which had been executed by order of Innocent VIII. Here was erected a low stage decorated with foliage and illuminated by torches. The lookers-on took their places on benches and on the floor, as they preferred. After a short eclogue, a _jongleur_ dressed as a woman danced the _moresca_ to the accompaniment of tamborines, and Caesar also took part in it, and was recognized in spite of his disguise. Trumpets announced a second performance. A tree appeared upon whose top was a Genius who recited verses; these over, he dropped down the ends of nine silk ribbons which were taken by nine maskers who danced a ballet about the tree. This _moresca_ was loudly applauded. In conclusion the Pope asked his daughter to dance, which she did with one of her women, a native of Valencia, and they were followed by all the men and women who had taken part in the ballet.[139]
Comedies and _moresche_ were in great favor on festal occasions. The poets of Rome, the Porcaro, the Mellini, Inghirami, and Evangelista Maddaleni, probably composed these pieces, and they may also have taken part in them, for it was many years since Rome had been given such a brilliant opportunity to show her progress in histrionics. Lucretia was showered with sonnets and epithalamia. It is strange that not one of these has been preserved, and also that not a single Roman poet of the day is mentioned as the author of any of these comedies. On January 2d a bull fight was given in the Piazza of S. Peter's. The Spanish bull fight was introduced into Italy in the fourteenth century, but not until the fifteenth had it become general. The Aragonese brought it to Naples, and the Borgias to Rome. Hitherto the only thing of the sort which had been seen was the bull-baiting in the Piazza Navona or on the Testaccio.
Caesar was fond of displaying his agility and strength in this barbarous sport. During the jubilee year he excited the wonder of all Rome by decapitating a bull with a single stroke in one of these contests. On January 2d he and nine other Spaniards, who probably were professional matadors, entered the enclosure with two loose bulls, where he mounted his horse and with his lance attacked the more ferocious one single-handed; then he dismounted, and with the other Spaniards continued to goad the animals. After this heroic performance the duke left the arena to the matadors. Ten bulls and one buffalo were slaughtered.
In the evening the _Menaechmi_ of Plautus and other pieces were produced in which was celebrated the majesty of Caesar and Ercole. The Ferrarese amba.s.sador sent his master an account of these performances which is a valuable picture of the day.