A little while later, at the beginning of June, Lucrezia left the Vatican and withdrew to the Convent of San Sisto, in the Appian Way, a step which immediately gave rise to speculation and to unbridled gossip, all of which, however, is too vague to be worthy of the least attention. Aretino's advices to the Cardinal Ippolito d'Este suggest that she did not leave the Vatican on good terms with her family, and it is very possible, if what the Pesaro chroniclers state is true, that her withdrawal arose out of her having warned Giovanni of his danger and enabled him to escape.
At about the same time that Lucrezia withdrew to her convent her brother Gandia was the recipient of further honours at the hands of his fond father. The Pope had raised the fief of Benevento to a dukedom, and as a dukedom conferred it upon his son, to him and to his legitimate heirs for ever. To this he added the valuable lordships of Terracina and Pontecorvo.
Cesare, meanwhile, had by no means been forgotten, and already this young cardinal was—with perhaps the sole exception of the Cardinal d'Estouteville—the richest churchman in Christendom. To his many other offices and benefices it was being proposed to add that of Chamberlain of the Holy See, Cardinal Riario, who held the office, being grievously ill and his recovery despaired of. Together with that office it was the Pope's avowed intention to bestow upon Cesare the palace of the late Cardinal of Mantua, and with it, no doubt, he would receive a proportion of the dead cardinal's benefices.
Cesare was twenty-two years of age at the time; tall, of an athletic slenderness, and exceedingly graceful in his movements, he was acknowledged to be the handsomest man of his age. His face was long and pale, his brow lofty, his nose delicately aquiline. He had long auburn hair, and his hazel eyes, large, quick in their movements, and singularly searching in their glance, were alive with the genius of the soul behind them. He inherited from his father the stupendous health and vigour for which Alexander had been remarkable in his youth, and was remarkable still in his old age. The chase had ever been Cesare's favourite pastime, and the wild boar his predilect quarry; and in the pursuit of it he had made good use of his exceptional physical endowments, cultivating them until—like his father before him—he was equal to the endurance of almost any degree of fatigue.
In the Consistory of June 8 he was appointed legate a latere to go to Naples to crown King Federigo of Aragon—for in the meanwhile another change had taken place on the Neapolitan throne by the death of young Ferdinand II, who had been succeeded by his uncle, Federigo, Prince of Altamura.
Cesare made ready for his departure upon this important mission, upon which he was to be accompanied by his brother Giovanni, Duke of Gandia. They were both to be back in Rome by September, when Gandia was to return to Spain, taking with him his sister Lucrezia.
Thus had the Pope disposed; but the Borgia family stood on the eve of the darkest tragedy associated with its name, a tragedy which was to alter all these plans.
CHAPTER IV. THE MURDER OF THE DUKE OF GANDIA
On June 14, 1497, the eve of Cesare and Giovanni Borgia's departure for Naples, their mother Vannozza gave them a farewell supper in her beautiful vineyard in Trastevere. In addition to the two guests of honour several other kinsmen and friends were present, among whom were the Cardinal of Monreale and young Giuffredo Borgia. They remained at supper until an advanced hour of the night, when Cesare and Giovanni took their departure, attended only by a few servants and a mysterious man in a mask, who had come to Giovanni whilst he was at table, and who almost every day for about a month had been in the habit of visiting him at the Vatican.
The brothers and these attendants rode together into Rome and as far as the Vice-Chancellor Ascanio Sforza's palace in the Ponte Quarter. Here Giovanni drew rein, and informed Cesare that he would not be returning to the Vatican just yet, as he was first "going elsewhere to amuse himself." With that he took his leave of Cesare, and, with one single exception—in addition to the man in the mask—dismissed his servants. The latter continued their homeward way with the cardinal, whilst the Duke, taking the man in the mask upon the crupper of his horse and followed his single attendant, turned and made off in the direction of the Jewish quarter.
In the morning it was found that Giovanni had not yet returned, and his uneasy servants informed the Pope of his absence and of the circumstances of it. The Pope, however, was not at all alarmed. Explaining his son's absence in the manner so obviously suggested by Giovanni's parting words to Cesare on the previous night, he assumed that the gay young Duke was on a visit to some complacent lady and that presently he would return.
Later in the day, however, news was brought that his horse had been found loose in the streets, in the neighbourhood of the Cardinal of Parma's palace, with only one stirrup-leather, the other having clearly been cut from the saddle, and, at the same time, it was related that the servant who had accompanied him after he had separated from the rest had been found at dawn in the Piazza della Giudecca mortally wounded and beyond speech, expiring soon after his removal to a neighbouring house.
Alarm spread through the Vatican, and the anxious Pope ordered inquiries to be made in every quarter where it was possible that anything might be learned. It was in answer to these inquiries that a boatman of the Schiavoni—one Giorgio by name—came forward with the story of what he had seen on the night of Wednesday. He had passed the night on board his boat, on guard over the timber with which she was laden. She was moored along the bank that runs from the Bridge of Sant' Angelo to the Church of Santa Maria Nuova.
He related that at about the fifth hour of the night, just before daybreak, he had seen two men emerge from the narrow street alongside the Hospital of San Girolamo, and stand on the river's brink at the spot where it was usual for the scavengers to discharge their refuse carts into the water. These men had looked carefully about, as if to make sure that they were not being observed. Seeing no one astir, they made a sign, whereupon a man well mounted on a handsome white horse, his heels armed with golden spurs, rode out of that same narrow street. Behind him, on the crupper of his horse, Giorgio beheld the body of a man, the head hanging in one direction and the legs in the other. This body was supported there by two other men on foot, who walked on either side of the horseman.
Arrived at the water's edge, they turned the horse's hind-quarters to the river; then, taking the body between them, two of them swung it well out into the stream. After the splash, Giorgio had heard the horseman inquire whether they had thrown well into the middle, and had heard him receive the affirmative answer—"Signor, Si." The horseman then sat scanning the surface a while, and presently pointed out a dark object floating, which proved to be their victim's cloak. The men threw stones at it, and so sank it, whereupon they turned, and all five departed as they had come.
Such is the boatman's story, as related in the Diarium of Burchard. When the Pope had heard it, he asked the fellow why he had not immediately gone to give notice of what he had witnessed, to which this Giorgio replied that, in his time, he had seen over a hundred bodies thrown into the Tiber without ever anybody troubling to know anything about them.
This story and Gandia's continued absence threw the Pope into a frenzy of apprehension. He ordered the bed of the river to be searched foot by foot. Some hundreds of boatmen and fishermen got to work, and on that same afternoon the body of the ill-fated Duke of Gandia was brought up in one of the nets. He was not only completely dressed—as was to have been expected from Giorgio's story—but his gloves and his purse containing thirty ducats were still at his belt, as was his dagger, the only weapon he had carried; the jewels upon his person, too, were all intact, which made it abundantly clear that his assassination was not the work of thieves.
His hands were still tied, and there were from ten to fourteen wounds on his body, in addition to which his throat had been cut.
The corpse was taken in a boat to the Castle of Sant' Angelo, where it was stripped, washed, and arrayed in the garments of the Captain-General of the Church. That same night, on a bier, the bo
dy covered with a mantle of brocade, the face "looking more beautiful than in life," he was carried by torchlight from Sant' Angelo to Santa Maria del Popolo for burial, quietly and with little pomp.
The Pope's distress was terrible. As the procession was crossing the Bridge of Sant' Angelo, those who stood there heard his awful cries of anguish, as is related in the dispatches of an eye-witness quoted by Sanuto. Alexander shut himself up in his apartments with his passionate sorrow, refusing to see anybody; and it was only by insistence that the Cardinal of Segovia and some of the Pope's familiars contrived to gain admission to his presence; but even then, not for three days could they induce him to taste food, nor did he sleep.
At last he roused himself, partly in response to the instances of the Cardinal of Segovia, partly spurred by the desire to avenge the death of his child, and he ordered Rome to be ransacked for the assassins; but, although the search was pursued for two months, it proved utterly fruitless.
That is the oft-told story of the death of the Duke of Gandia. Those are all the facts concerning it that are known or that ever will be known. The rest is speculation, and this speculation follows the trend of malice rather than of evidence.
Suspicion fell at first upon Giovanni Sforza, who was supposed to have avenged himself thus upon the Pope for the treatment he had received. There certainly existed that reasonable motive to actuate him, but not a particle of evidence against him.
Next rumour had it that Cardinal Ascanio Sforza's was the hand that had done this work, and with this rumour Rome was busy for months. It was known that he had quarrelled violently with Gandia, who had been grossly insulted by a chamberlain of Ascanio's, and who had wiped out the insult by having the man seized and hanged.
Sanuto quotes a letter from Rome on July 21, which states that "it is certain that Ascanio murdered the Duke of Gandia." Cardinal Ascanio's numerous enemies took care to keep the accusation alive at the Vatican, and Ascanio, in fear for his life, had left Rome and fled to Grottaferrata. When summoned to Rome, he had refused to come save under safeconduct. His fears, however, appear to have been groundless, for the Pope attached no importance to the accusation against him, convinced of his innocence, as he informed him.
Thereupon public opinion looked about for some other likely person upon whom to fasten its indictment, and lighted upon Giuffredo Borgia, Gandia's youngest brother. Here, again, a motive was not wanting. Already has mention been made of the wanton ways of Giuffredo's Neapolitan wife, Doña Sancia. That she was prodigal of her favours there is no lack of evidence, and it appears that, amongst those she admitted to them, was the dead duke. Jealousy, then, it was alleged, was the spur that had driven Giuffredo to the deed; and that the rumour of this must have been insistent is clear when we find the Pope publicly exonerating his youngest son.
Thus matters stood, and thus had public opinion spoken, when in the month of August the Pope ordered the search for the murderer to cease. Bracci, the Florentine ambassador, explains this action of Alexander's. He writes that his Holiness knew who were the murderers, and that he was taking no further steps in the matter in the hope that thus, conceiving themselves to be secure, they might more completely discover themselves.
Bracci's next letter bears out the supposition that he writes from inference, and not from knowledge. He repeats that the investigations have been suspended, and that to account for this some say what already he has written, whilst others deny it; but that the truth of the matter is known to none.
Later in the year we find the popular voice denouncing Bartolomeo d'Alviano and the Orsini. Already in August the Ferrarese ambassador, Manfredi, had written that the death of the Duke of Gandia was being imputed to Bartolomeo d'Alviano, and in December we see in Sanuto a letter from Rome which announces that it is positively stated that the Orsini had caused the death of Giovanni Borgia.
These various rumours were hardly worth mentioning for their own values, but they are important as showing how public opinion fastened the crime in turn upon everybody it could think of as at all likely to have had cause to commit it, and more important still for the purpose of refuting what has since been written concerning the immediate connection of Cesare Borgia with the crime in the popular mind.
Not until February of the following year was the name of Cesare ever mentioned in connection with the deed. The first rumour of his guilt synchronized with that of his approaching renunciation of his ecclesiastical career, and there can be little doubt that the former sprang from the latter. The world conceived that it had discovered on Cesare's part a motive for the murder of his brother. That motive—of which so very much has been made—shall presently be examined. Meanwhile, to deal with the actual rumour, and its crystallization into history. The Ferrarese ambassador heard it in Venice on February 12, 1498. Capello seized upon it, and repeated it two and a half years later, stating on September 28, 1500: "etiam amazó il fratello."
And there you have the whole source of all the unbridled accusations subsequently launched against Cesare, all of which find a prominent place in Gregorovius's Geschichte der Stadt Rom, whilst the rumours accusing others, which we have mentioned here, are there slurred over.
One hesitates to attack the arguments and conclusions of the very eminent author of that mighty History of Rome in the Middle Ages, but conscience and justice demand that his chapter upon this subject be dealt with as it deserves.
The striking talents of Gregorovius are occasionally marred by the egotism and pedantry sometimes characteristic of the scholars of his nation. He is too positive; he seldom opines; he asserts with finality the things that only God can know; occasionally his knowledge, transcending the possible, quits the realm of the historian for that of the romancer, as for instance—to cite one amid a thousand—when he actually tells us what passes in Cesare Borgia's mind at the coronation of the King of Naples. In the matter of authorities, he follows a dangerous and insidious eclecticism, preferring those who support the point of view which he has chosen, without a proper regard for their intrinsic values.
He tells us definitely that, if Alexander had not positive knowledge, he had at least moral conviction that it was Cesare who had killed the Duke of Gandia. In that, again, you see the God-like knowledge which he usurps; you see him clairvoyant rather than historical. Starting out with the positive assertion that Cesare Borgia was the murderer, he sets himself to prove it by piling up a mass of worthless evidence, whose worthlessness it is unthinkable he should not have realized.
"According to the general opinion of the day, which in all probability was correct, Cesare was the murderer of his brother."
Thus Gregorovius in his Lucrezia Borgia. A deliberate misstatement! For, as we have been at pains to show, not until the crime had been fastened upon everybody whom public opinion could conceive to be a possible assassin, not until nearly a year after Gandia's death did rumour for the first time connect Cesare with the deed. Until then the ambassadors' letters from Rome in dealing with the murder and reporting speculation upon possible murderers never make a single allusion to Cesare as the guilty person.
Later, when once it had been bruited, it found its way into the writings of every defamer of the Borgias, and from several of these it is taken by Gregorovius to help him uphold that theory.
Two motives were urged for the crime. One was Cesare's envy of his brother, whom he desired to supplant as a secular prince, fretting in the cassock imposed upon himself which restrained his unbounded ambition. The other—and no epoch but this one under consideration, in its reaction from the age of chivalry, could have dared to level it without a careful examination of its sources—was Cesare's jealousy, springing from the incestuous love for their sister Lucrezia, which he is alleged to have disputed with his brother. Thus, as l'Espinois has pointed out, to convict Cesare Borgia of a crime which cannot absolutely be proved against him, all that is necessary is that he should be charged with another crime still more horrible of which even less proof exists.
This lat
ter motive, it is true, is rejected by Gregorovius. "Our sense of honesty," he writes, "repels us from attaching faith to the belief spread in that most corrupt age." Yet the authorities urging one motive are commonly those urging the other, and Gregorovius quotes those that suit him, without considering that, if he is convinced they lie in one connection, he has not the right to assume them truthful in another.
The contemporary, or quasi-contemporary writers upon whose "authority" it is usual to show that Cesare Borgia was guilty of both those revolting crimes are: Sanazzaro, Capello, Macchiavelli, Matarazzo, Sanuto, Pietro Martire d'Anghiera, Guicciardini, and Panvinio.
A formidable array! But consider them, one by one, at close quarters, and take a critical look at what they actually wrote:
SANAZZARO was a Neapolitan poet and epigrammatist, who could not—his times being what they were—be expected to overlook the fact that in these slanderous rumours of incest was excellent matter for epigrammatical verse. Therefore, he crystallized them into lines which, whilst doing credit to his wit, reveal his brutal cruelty. No one will seriously suppose that such a man would be concerned with the veracity of the matter of his verses—even leaving out of the question his enmity towards the House of Borgia, which will transpire later. For him a ben trovato was as good matter as a truth, or better. He measured its value by its piquancy, by its adaptability to epigrammatic rhymes.
Conceive the heartlessness of the man who, at the moment of Alexander's awful grief at the murder of his son—a grief which so moved even his enemies that the bitter Savonarola, and the scarcely less bitter Cardinal della Rovere, wrote to condole with him—could pen that terrible epigram:
The Life of Cesare Borgia Page 11