The General Council, to whom the results of these proceedings were communicated, published an edict of outlawry against Massimiliano and his three bravi. A price of 500 crowns was put upon the head of each, wherever he should be killed; and 1,000 crowns were offered to any one who should kill Massimiliano within the city or state of Lucca. At the same time they sent an envoy to Rome requesting the Pope's permission to arrest Umilia, on the ground that she was gravely suspected of being privy to the murder, and of entering the convent to escape justice. A few days afterwards, the miserable witnesses, Carli and Coreglia, were beheaded in their prison.
The Chancellor, Vincenzo Petrucci, left Lucca on June 12, and reached Rome on the 14th. He obtained an audience from Clement VIII. upon the 15th. When the Pope had read the letter of the Republic, he struck his palm down on his chair, and cried: 'Jesus! This is a grave case! It seems hardly possible that a woman of her birth should have been induced to take share in the murder of her husband.' After some conversation with the envoy, he added: 'It is certainly an ugly business. But what can we do now that she has taken the veil?' Then he promised to deliberate upon the matter, and return an answer later. Petrucci soon perceived that the Church did not mean to relinquish its privileges, and that Umilia was supported by powerful friends at court. Cardinal Castrucci remarked in casual conversation: 'She is surely punished enough for her sins by the life of the cloister.' A second interview with Clement on June 21 confirmed him in the opinion that the Republic would not obtain the dispensation they requested. Meanwhile the Signory of Lucca prepared a schedule of the suspicions against Umilia, grounded upon her confused evidence, her correspondence with Massimiliano, the fact that she had done nothing to rescue Lelio by calling out, and her sudden resort to the convent. This paper reached the Pope, who, on July 8, expressed his view that the Republic ought to be content with leaving Umilia immured in her monastery; and again, upon the 23rd, he pronounced his final decision that 'the lady, being a nun, and tonsured and prepared for the perfect life, is not within the jurisdiction of your Signory. It is further clear that, finding herself exposed to the calumnies of those two witnesses, and injured in her reputation, she took the veil to screen her honor.' On August 13, Petrucci returned to Lucca.
Clement conceded one point. He gave commission to the Bishop of Lucca to inquire into Umilia's conduct within the precincts of the monastery. But the council refused this intervention, for they were on bad terms with the Bishop, and resented ecclesiastical interference in secular causes. Moreover, they judged that such an inquisition without torture used, and in a place of safety, would prove worse than useless. Thus the affair dropped.
Meanwhile we may relate what happened to Massimiliano and his bravi. They escaped, through Garfagnana and Massa, into the territory of Alfonso Malaspina, Marquis of Villafranca and Tresana. This nobleman, who delighted in protecting outlaws, placed the four men in security in his stronghold of Tresana. Pietro da Castelnuovo was an outlaw from Tuscany for the murder of a Carmelite friar, which he had committed at Pietrasanta a few days before the assassination of Lelio. Seventeen years after these events he was still alive, and wanted for grave crimes committed in the Duchy of Modena. History knows no more about him, except that he had a wife and family. Of Niccolo da Pariana nothing has to be related. Ottavio da Trapani was caught at Milan, brought back to Lucca, and hanged there on June 13, 1604, after being torn with pincers. Massimiliano is said to have made his way to Flanders, where the Lucchese enjoyed many privileges, and where his family had probably hereditary connections.[193] Like all outlaws he lived in perpetual peril of assassination. Remorse and shame invaded him, especially when news arrived that the mistress, for whom he had risked all, was turning to a dissolute life (as we shall shortly read) in her monastery. His reason gave way; and, after twenty-two years of wandering, he returned to Lucca and was caught. Instead of executing the capital sentence which had been pronounced upon him, the Signory consigned him to perpetual prison in the tower of Viareggio, which was then an insalubrious and fever-stricken village on the coast. Here, walled up in a little room, alone, deprived of light and air and physical decency, he remained forgotten for ten years from 1615 to 1625. At the latter date report was made that he had refused food for three days and was suffering from a dangerous hemorrhage. When the authorities proposed to break the wall of his dungeon and send a priest and surgeon to relieve him, he declared that he would kill himself if they intruded on his misery. Nothing more was heard of him until 1629, when he was again reported to be at the point of death. This time he requested the assistance of a priest; and it is probable that he then died at the age of sixty-nine, having survived the other actors in this tragedy, and expiated the passion of his youth by life-long sufferings.
When we return to Sister Umilia, and inquire how the years had worn with her, a new chapter in the story opens. In 1606 she was still cloistered in S. Chiara, which indeed remained her home until her death. She had now reached the age of thirty-four. Suspicion meanwhile fell upon the conduct of the nuns of S. Chiara; and on January 9, in that year, a rope-ladder was discovered hanging from the garden wall of the convent. Upon inquiry, it appeared that certain men were in the habit of entering the house and holding secret correspondence with the sisters. Among these the most notorious were Piero Passari, a painter, infamous for vulgar profligacy, and a young nobleman of Lucca, Tommaso Samminiati. Both of them contrived to evade justice, and were proclaimed, as usual, outlaws. In the further course of investigation the strongest proofs were brought to light, from which it appeared that the chief promoter of these scandals was a man of high position in the state, advanced in years, married to a second wife, and holding office of trust as Protector of the Nunnery of S. Chiara. He was named Giovanbattista Dati, and represented an ancient Lucchese family mentioned by Dante. While Dati carried on his own intrigue with Sister Cherubina Mei, he did his best to encourage the painter in promiscuous debauchery, and to foster the passion which Samminiati entertained for Sister Umilia Malpigli. Dati was taken prisoner and banished for life to the island of Sardinia; but his papers fell into the hands of the Signory, who extracted from them the evidence which follows, touching Umilia and Samminiati. This young man was ten years her junior; yet the quiet life of the cloister had preserved Umilia's beauty, and she was still capable of inspiring enthusiastic adoration. This transpires in the letters which Samminiati addressed to her through Dati from his asylum in Venice. They reveal, says Signor Bonghi, a strange confusion of madness, crime, and love.[194]
Their style is that of a delirious rhetorician. One might fancy they had been composed as exercises, except for certain traits which mark the frenzy of genuine exaltation. Threats, imprecations, and blasphemies alternate with prayers, vows of fidelity and reminiscences of past delights in love. Samminiati bends before 'his lady' in an attitude of respectful homage, offering upon his knees the service of awe-struck devotion. At one time he calls her 'his most beauteous angel,' at another 'his most lovely and adored enchantress.' He does not conceal his firm belief that she has laid him under some spell of sorcery; but entreats her to have mercy and to liberate him, reminding her how a certain Florentine lady restored Giovan Lorenzo Malpigli to health after keeping him in magic bondage till his life was in danger.[195] Then he swears unalterable fealty; heaven and fortune shall not change his love. It is untrue that at Florence, or at Venice, he has cast one glance on any other woman. Let lightning strike him, if he deserts Umilia. But she has caused him jealousy by stooping to a base amour. To this point he returns with some persistence. Then he entreats her to send him her portrait, painted in the character of S. Ursula. At another time he gossips about the nuns, forwarding messages, alluding to their several love-affairs, and condoling with them on the loss of a compliant confessor. This was a priest, who, when the indescribable corruptions of S. Chiara had been clearly proved, calmly remarked that there was no reason to make such a fuss—they were only affairs of gentlefolk, cose di gentilhuomini. The rival of whom Samminiati was jealous seems to have been the painter Pietro, who held the key to all the scandals of the convent in his hand. Umilia, Dati, and Samminiati at last agreed 'to rid their neighborhood of that pest.' The man had escaped to Rovigo, whither Samminiati repaired from Venice, 'attended by two good fellows thoroughly acquainted with the district.'
But Pietro got away to Ferrara, his enemy following and again missing him. Samminiati writes that he is resolved to hunt 'that rascal' out, and make an end of him. Meanwhile Umilia is commissioned to do for Calidonia Burlamacchi, a nun who had withdrawn from the company of her guilty sisters, and knew too many of their secrets. Samminiati sends a white powder, and a little phial containing a liquid, both of which, he informs Umilia, are potent poisons, with instructions how to use them and how to get Calidonia to swallow the ingredients. Then 'if the devil does not help her, she will pass from this life in half a night's time, and without the slightest sign of violence.'
It may be imagined what disturbance was caused in the General Council by the reading of this correspondence. Nearly all the noble families of Lucca were connected by ties of blood or marriage with one or other of the culprits; and when the relatives of the accused had been excluded from the session, only sixty members were left to debate on further measures. I will briefly relate what happened to the three outlaws. Venice refused to give up Samminiati at the request of the Lucchese, saying that 'the Republic of S. Mark would not initiate a course of action prejudicial to the hospitality which every sort of person was wont to enjoy there.' But the young man was banished to Candia, whither he obediently retired. Pietro, the painter, was eventually permitted to return to the territory but not the town of Lucca. Dati surrounded himself with armed men, as was the custom of rich criminals on whose head a price was set. After wandering some time, he submitted, and took up his abode in Sardinia, whence he afterwards removed, by permission of the Signory, to France. There he died. With regard to the nuns, it seemed at first that the ends of justice would be defeated through the jealousies which divided the civil and ecclesiastical authorities in Lucca. The Bishop was absent, and his Vicar refused to institute a criminal process. Umilia remained at large in the convent, and even began a new intrigue with one Simo Menocchi. At last, in 1609, the Vicar prepared his indictment against the guilty nuns, and forwarded it to Rome. Their sentence was as follows: Sister Orizia condemned to incarceration for life, and loss of all her privileges; Sister Umilia, to the same penalties for a term of seven years; Sisters Paola, Cherubina, and Dionea, received a lighter punishment. Orizia, it may be mentioned, had written a letter with her own blood to some lover; but nothing leads us to suppose that she was equally guilty with Umilia, who had entered into the plot to poison Sister Calidonia.
Umilia was duly immured, and bore her punishment until the year 1616, at which time the sentence expired. But she was not released for another two years; for she persistently refused to humble herself, or to request that liberation as a grace which was her due in justice. Nor would she submit to the shame of being seen about the convent without her monastic habit. Finally, in 1618, she obtained freedom and restoration to her privileges as a nun of S. Chiara. It may be added, as a last remark, that, when the convent was being set to rights, Umilia's portrait in the character of S. Ursula was ordered to be destroyed, or rendered fit for devout uses by alterations. Any nun who kept it in her cell incurred the penalty of excommunication. In what year Umilia died remains unknown.