“Yes; it was a ‘scutcheon invented by some king-at-arms or other, a symbol of ferocity and strength.”
“Were they of a noble family, these Borgias?”
“No, probably not. Though I believe some people suppose that they were descended from the Aragonese family of Atares. Now that we know Alexander VI, let us take a glance at his court. It has often been said, and is no doubt taken from Vasari’s book, that in the Borgia Apartment Pinturicchio painted Pope Alexander VI adoring the Virgin represented under the likeness of his beloved, Julia Farnese. The critic must have been confused, because none of these madonnas recalls the face of Giulia la bella, whom people used to call the Bride of Christ. The picture that Vasari refers to must be one in the museum at Valencia.”
THE HALL OF THE SAINTS
They went into another room, the Hall of the Saints, and Kennedy took Cæsar in front of the fresco called, The Dispute of Saint Catherine with the Emperor Maximian.
“The place of this scene,” said Kennedy, “Pinturicchio has set in front of the Arch of Constantine. The artist has added the inscription Pacis Cultori, and below he has embossed the Borgia bull. The subject is the discussion between the Emperor and the saint. Maximian, seated on a throne under a canopy, is listening to Saint Catherine, who counts on her fingers the arguments she has been using in the dispute. Who was it served as model for the figure of Maximian? At first they imagined it was Cæsar Borgia; but as you may observe, the appearance of the Emperor is that of a man of twenty odd years, and when Pinturicchio painted this, Cæsar was about seventeen. So it is more logical to suppose that the model must have been the Pope’s eldest son, the Duke of Gandia. A chronicler of the period says that this Duke of Gandia was good among the great, as his brother Cæsar was great among the wicked. Also, legend or history, whichever it be, says that Cæsar procured his elder brother’s murder in a corner of the Ghetto, and that the Pope on learning of it, became as if crazy, and went into the full Consistory with his garments torn and ashes on his head.”
“What love for traditional symbolism!” said Cæsar.
“Everybody is not so anti-traditional as you. I will go on with my explanation,” added Kennedy. “Saint Catherine has Lucrezia’s features. She is small and slender. She wears her hair down, a little cap with a pearl cross which hangs on her forehead, and a collar also of pearls. She has large eyes, a candid expression. Cagnolo da Parma will say of her, when she goes to Ferrara, that she has ‘il naso profilato e bello, li capelli aurei, gli occhi bianchi, la bocea alquanto grande con li denti candiaissimi.’ Literature will portray this sweet-faced little blond girl as a Messalina, a poisoner, and incestuous with her brothers and her father. At this time Lucrezia had just married Giovanni Sforza, although as a matter of fact the two never lived together. Giovanni Sforza is the little young man who appears there in the back of the picture riding a spirited horse. Sforza wears his hair like a woman, and has a broad-brimmed hat and a red mantle. A little later Cæsar Borgia will try several times to assassinate him.”
“What for?” asked Cæsar.
“No doubt he found him in the way. The man who is in the foreground, next to the Emperor’s throne, is Andrew Paleologos,” Kennedy continued. “He is the one wearing a pale purple cloak and looking so melancholy. It used to be supposed that he was Giovanni Borgia. Now they say that it is Paleologos, whom the death of the Emperor Constantine XIII, about this time, had caused to lose the crown of Byzance.