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 Cæsar, awaited her. Among the foreign representatives present were the ambassadors 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, illustrious Donna Lucretia, the noble 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 ambassador 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 document 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 ship. Eight noblemen 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 Cæsar on his right. El Prete says: "Alexander asked Cæsar 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 Cæsar presented some plays. The one given by Cæsar 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 passed from the Piazza Navona to the Vatican, accompanied by the strains of music. The first car represented the triumph of Hercules, another Julius Cæsar, 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 passed.
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 Cæsar 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. Cæsar 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.