Uncategorized The real history of the Borgias family and their cursed ‘black legend’ AdminNovember 25, 2024039 views Juan, on the other hand, was adored by the pope. At the request of the Catholic Monarchs, Juan was sent to Spain to be invested as Duke of Gandía and to seal the marriage arranged for him with Ferdinand II’s cousin. Alexander prepared an even more splendid future for Juan on Italian soil. He showered him with titles, honors, territories, and wealth. And Juan, though he didn’t always follow his father’s advice, knew how to talk him round. But in 1497, when Juan returned to Rome, disaster struck. He was stabbed to death by unknown assassins and thrown into the Tiber River. Alexander’s desolation was absolute: “If we had seven papacies, we would give them all to restore him to life,” he declared, weeping before the consistory. Who murdered the Duke of Gandía? A 16th-century portrait of a man believed to be Juan Borgia. Sergio Anelli/Mondadori/Album What befell the pope’s son on a summer’s night in 1497 is an enduring Renaissance murder mystery. Three years before, Juan Borgia’s father sent him to Spain, where it was hoped Juan would use the influence of his wife, a cousin of King Ferdinand II’s, to further Borgia fortunes in Spain and Aragon controlled Naples. A pleasure-seeker, Juan returned to Rome at his father’s request following the French invasion of Italy in 1496. He was appointed the Vatican’s military commander to seize the rival Orsini’s lands as punishment for their siding with the French. In June 1497, at the age of 21, Juan disappeared. His body was later pulled from the Tiber River covered in stab wounds, but his purse was intact. This was no common robbery. Had the Orsinis done the deed? Or was this the revenge of his rumor-spreading brother-in-law Giovanni Sforza, whose marriage to Juan’s sister Lucrezia had just been annulled? As cardinal, Cesare from the beginning offered the pope firm support in affairs of both Church and state. An ambassador Gianandrea Boccaccio wrote of Cesare, “He is a man of great talent and of an excellent nature; his manners are those of the son of a great prince…” Perhaps his father saw in him the potential for a third Borgia pope. In any case, Alexander did not immediately give in to Cesare’s repeated requests that he be allowed to abandon his own ecclesiastical career, for which Cesare claimed he felt no vocation. The pope only accepted Cesare’s resignation as cardinal a year after Juan’s death. Cesare recognized his father as a great master in the art of politics and the changing alliances that characterized the time. They had several shared objectives, but Cesare was aware that given his father’s age and failing health, time was running out. As commander of the papal army, Cesare conquered cities in an attempt to carve out a Borgia state. Even his allies despised his growing power, and after his father’s passing, Cesare struggled to maintain control without papal support. (He was a Founding Father. His son sided with the British.) Luxury apartments In the Room of the Saints, Pinturicchio paints this scene of court life, with a multitude of lavishly dressed figures, in the style of portraiture. Among those depicted is the architect Giuliano da Sangallo carrying a compass, in reference to the work he had undertaken for Pope Alexander VI at Rome’s Basilica di Santa Maria Maggiore. At his side is Pinturicchio himself. A monumental triumphal arch, inspired by the Arch of Constantine in Rome, dominates the composition. It is topped by a statue of a bull, the heraldic symbol of Alexander VI. The inscription pacis cultori (“he who loves peace”) also refers to the pope. Below the arch, St. Catherine of Alexandria has a strong resemblance to the pope’s daughter Lucrezia Borgia, who was in her mid-teens when the scene was painted. Finally, the model for the man wearing the white turban, to the far right, could be Djem, the brother and rival of the Ottoman sultan Bayezid II. Djem had been a prisoner of the French and used as a bargaining chip in negotiations with the Ottomans, passing into the custody of Pope Alexander VI’s predecessor, Pope Innocent VIII, in 1489. Alexander agreed to hold Djem hostage if the Ottomans left Europe. Djem became a friend of Cesare Borgia. Oronoz/Album The Borgia Apartment at the Vatican was created during the papacy of Alexander VI (r. 1492–1503). Its rooms were painted by Pinturicchio (“The little painter”), né Bernardino di Betto. The Room of the Sibyls and the Room of the Creed are in the Borgia Tower. Adjoining these are the Room of Liberal Arts; the Room of Mysteries, depicting Pope Alexander VI kneeling at the feet of the resurrected Christ; and the Room of the Saints, shown here. Likely used as the pope’s private study, the room is dedicated to seven saints, with numerous visual references to Pope Alexander VI and the Borgias. The scene here depicts the Disputation of St. Catherine of Alexandria. Refusing to make sacrifices to pagan gods, Catherine, a young Christian woman (center), defeats 50 scholars in a religious dispute. Although the governor of Egypt (enthroned), is impressed by her reasoning, he nevertheless orders Catherine to be put to death. Several figures in the painting are likenesses of people from Alexander VI’s circle, including some of his own children. Lucrezia, the most favored Among all his children, the pope most favored Lucrezia, the jewel of the family, for her beauty, sweet nature, and refinement. There was a strong bond of affection between father and daughter. Lucrezia’s first husband was Giovanni Sforza, a relative of the Duke of Milan. That marriage failed on not only a personal level but also a political one. The marriage ended in annulment, and for Lucrezia there was a bitter epilogue. Sforza insinuated that she had engaged in an incestuous relationship with her father. Rumors spread to implicate her brothers too. Although the claim was refuted time and again, it still lingered. The black legend of the Borgias Milan’s Castello Sforzesco was the residence of the Sforza dukes of Milan. Lucrezia Borgia’s first husband, Giovanni Sforza, was from a parallel line of the Sforza family. Buena Vista Images/Getty Images The great Italian families were accustomed to holding the papacy and railed against the “intrusion” of the Borgias, whom they saw as outsiders. Two years after Rodrigo’s accession to the papacy, France and Spain invaded Italy. Blaming the native of Valencia, Spain, for this aggression was a way for the pope’s rivals to undermine his authority. Many accusations were pure invention, including the claim that he used poison to gain the papacy. The Borgias could certainly be ruthless in their quest for power, but this ferocity was normal for the Renaissance and exaggerated by their enemies. The most scandalous defamation—incest between daughter Lucrezia and her father or her brothers—was propagated by Lucrezia’s first husband, Giovanni Sforza, following the pope’s annulment of their marriage. The arrival of a mystery baby at the Borgia household fueled the rumors. The child’s parentage was veiled in secrecy. Legitimized as the son of Cesare and then, in a secret bull, as the offspring of the pope himself, the child could have been a natural son of Lucrezia’s. Perhaps the family wanted to protect her by integrating the child with the Borgia surname. Despite their familial affection, Lucrezia soon discovered that her father had as much capacity to hurt her as he had to love her, and it would be impossible to find peace so long as he could interfere in her life. So, after the murder of her second husband, Alfonso of Aragon, she married for a third time, to Alfonso d’Este, heir to the duchies of Ferrara, Modena, and Reggio. This allowed her to move far from Rome. Aware of her reasons for leaving, and of the union’s convenience for the entire family, her father accepted the separation. Of the pope’s regard for his daughter, the Duke of Ferrara’s secretary remarked, “His Holiness loves her more than any other person of his blood.” (While Napoleon conquered nations, his sister conquered hearts.) Husband and wifeAround 1510, Bartolomeo Veneto painted this portrait of Beatrice d’Este, a pious 13th century ancestor of Alfonso d’Este, Duke of Ferrara, who was Lucrezia’s third husband, shown in the second portrait. Art historians still debate whether Veneto used the likeness of Lucrezia for this and at least one other of his portraits. Snite Museum of Art, University of Notre Dame (Top) (Left) and DEA/Album (Bottom) (Right) Sibling rivalries Wherever the Borgia-Cattanei met, laughter, gallantry, wit, and music abounded. But it wasn’t all smooth sailing. Some of the natural squabbles among siblings hardened into bitterness. Lucrezia was, in a way, the one who held them together. Goffredo was particularly close to Lucrezia: They went everywhere together, and she was protective of him. They grew even closer when Lucrezia married Alfonso of Aragon, the brother of Goffredo’s wife, Sancha. Lucrezia and Sancha were great friends and neither the failure of Sancha and Goffredo’s marriage nor the death of Alfonso broke the bond of friendship between the two sisters-in-law. It was Goffredo who protected Lucrezia and Alfonso’s two-year-old son, Rodrigo, during the violent acts unleashed in Rome after the death of the pope. Little Rodrigo’s father, Alfonso of Aragon, was already dead by this point. As Duchess of Ferrara, Lucrezia Borgia gave a lock of her hair to the humanist and cardinal Pietro Bembo, with whom she kept a close friendship. Marco Ansaloni But the brother for whom Lucrezia had the most affinity was Juan. Between Juan and Cesare, however, the relationship was strained. Alexander had maneuvered for Juan to receive all sorts of titles and territories, believing that this was in the best interest of the wider family. Meanwhile, Cesare, despite outshining his brother intellectually, had been forced to follow an ecclesiastical path that he hated. Perhaps Cesare considered himself more qualified than his brother to become a great prince. That perception was emphasized when Juan returned to Rome and demonstrated mediocre skills on the battlefield. Though Cesare lacked Juan’s titles, his influence in the political and ecclesiastical realms went beyond that of the duke’s power. In fact, as the pope’s cardinal legate, Cesare was preparing to crown the new king of Naples, Frederick II. It was a level of authority that was difficult to surpass. Malicious rumors circulated that both Cesare and Juan were vying for their sister-in-law, Sancha of Aragon. It is impossible to know whether or not there was any truth to the gossip. Juan did have a reputation for being a womanizer, but the story could also have been an invention of the so-called black legend. The later accusations that Cesare murdered Juan because of sexual jealousy over Sancha are also hard to prove. Such gossip, however, worked to obscure an obvious political motive for the crime. Juan had achieved enormous power on Italian soil, and his death dealt a severe blow to the power of the House the Borgia in Italy and the kingdom of Valencia. Juan’s heir was not yet three years old, showing the vulnerability of the pontiff. Source link