Part 21 (1/2)

Another Ferrarese poet makes his appearance on this occasion, a man of whom much was expected, Ariosto, who was then twenty-seven years old, and already known at the court of the Este and in the cultivated circles of Italy as a Latinist and a writer of comedies. He also wrote an epithalamium addressed to Lucretia. It is graceful, and not burdened with mythological pedantry, but it lacks invention. The poet congratulates Ferrara,--which will henceforth be the envy of all other cities,--for having won an incomparable jewel. He sympathizes with Rome for the loss of Lucretia, saying that it has again fallen into ruins.[163] He describes the young princess as ”pulcherrima virgo,” and refers to Lucretia of ancient times.

On the conclusion of the festivities which greeted her on her arrival, the duke accompanied Lucretia to the apartments which had been prepared for her. She must have been pleased with her reception by the house of Este, and the impression made by her own personality was most favorable.

The chronicler Bernardino Zambotto speaks of her as follows: ”The bride is twenty-four years of age (this is incorrect); she has a beautiful countenance, sparkling and animated eyes; a slender figure; she is keen and intellectual, joyous and human, and possesses good reasoning powers.

She pleased the people so greatly that they are perfectly satisfied with her, and they look to her Majesty for protection and good government.

They are truly delighted, for they think that the city will greatly profit through her, especially as the Pope will refuse her nothing, as is shown by the portion he gave her, and by presenting Don Alfonso with certain cities.”

Lucretia's face, judging by the medal, must have been fascinating.

Cagnolo of Parma describes her as follows: ”She is of medium height and slender figure. Her face is long, the nose well defined and beautiful; her hair a bright gold, and her eyes blue; her mouth is somewhat large, the teeth dazzlingly white; her neck white and slender, but at the same time well rounded. She is always cheerful and good-humored.”[164]

To indicate the color of the eyes, Cagnolo uses the word ”bianco,” which in the language of the people still means blue. In the folk songs of Tuscany collected by Tigri, there is frequent mention of _occhi bianchi_,--that is, ”blue eyes.” The Florentine Firenzuola, in his work on ”the perfect beauty of woman,” says she must have blond hair and blue eyes, with the pupil not quite black, although the Greeks and Italians preferred it so. The most beautiful color for the eyes, according to this writer, is tane.[165] The poets of Ferrara, who immediately began to sing the dazzling power of the eyes of their beautiful d.u.c.h.ess, did not mention their color.

This remarkable woman charmed all beholders with her indescribable grace, to which there was added something of mystery, and not by any cla.s.sic beauty or dignity. Vivacity, gentleness, and amiability are the qualities which all Lucretia's contemporaries discovered in her.[166]

This animated and delicate face, with large blue eyes, and surrounded with golden hair, suggests the ethereal beauty of Shakespeare's Imogene.

[Ill.u.s.tration: ARIOSTO.

From a painting by t.i.tian.]

FOOTNOTES:

[156] Isabella Gonzaga, who watched the parade from a window of the palace, describes this scene to the duke. Letter to her husband, Ferrara, February 2d, in the Archivio Storico Ital. App. ii, 305. Her report excels in some particulars the picture given by Marino Sanuo (Diar. vol. iv, fol. 104, sq.). Ordine di le pompe e spectaculi di le noze de mad. Lucretia Borgia. Reprinted in Rawdon Brown's Ragguaglio sulla vita e le opere di M. Sanudo, ii, 197, sq.

[157] Letters in the archives of Modena.

[158] This is according to Isabella Gonzaga; Cagnolo's report mentioned, instead of this woman, another Adriana, the wife of Francesco Colonna of Palestrina.

[159] Ms. chronicle of Mario Equicola in the library of Ferrara, in the University, formerly the Paradiso.

[160] Paolo Zerbinati, Memorie, Ms. in the library of Ferrara, p. 3.

[161] The Ms. is in the library of Ferrara: Nicolai Marii Paniciati ferrariensis, Borgias. Ad. Excell. D. Lucretiam Borgiarm III. Alphonsi Estensis Sponsam celeber MDII. One epigram is as follows:

Tyndaridem jactant Heroica secula cujus Armavit varies forma superba Duces, Haec collata tibi, merito Luoretia cedit, Nam tuus omne Helenes lumen ob.u.mbrat honor: Illa neces populis, diuturnaque bella paravit: Tu bona tranquillae pacis opima refers.

Moribus illa suis speciem temeravit honestam: Innumeris speciem dotibus ipsa colis: Ore deam praestas: virtute venustior alma: Foeda Helenae facies aequiparata tuae.

[162] Caelii Calcagnini Ferrariensis. In Ill.u.s.triss. Divi Alphonsi Primogeniti Herculis Ducis Ferr. ac Divae Lucretiae Borgiae Nuptias Epithalamium. Laurentius de Valentia Imprimebat Ferrariae Deo Opt. Max.

Favente. Calend. Febr. MDII.

[163]

Est levis haec jactura tamen, ruat hoc quoque quicquid Est reliquum, juvet et nudis habitare sub antris, Vivere dura liceat tec.u.m pulcherrima virgo.

Ludovici Areosti Ferrariensis Epithalamion, in vol. i of Carmina Ill.u.s.trium Poetarum Italorum, p. 342-346.

[164] Di mediocre statura, gracile in aspetto, di faccia alquanto lunga, il naso profilato e bello, li capelli aurei, gli occhi bianchi, la bocca alquanto grande con li denti candidissimi; la gola schietta e bianca ornata con decente valore, ed in essere continuamente allegra e ridente.

See Lucrezia Borgia in Ferrara. Ferrara, 1867.