On an uncertain date perhaps around late July of 321,* the Roman emperor Constantine the Great had his son and also his wife mysteriously put to death.
It’s mysterious because besides execution, Constantine had a damnatio memoriae passed over his former family to bury any record of their sins in Time’s obscurity. These edicts didn’t always work … but in this case, if there were any ancient who dared to record what happened, that illicit account did not survive its journey from antiquity.
But it was surely a shocking scandal in its time.
Crispus was Constantine’s first-born son and very much in the father’s favor. He was the child of a wife or concubine named Minervina. In 307, Constantine put this woman aside to make a more politically expedient marriage to Fausta, the daughter of Diocletian‘s retired-now-unretired co-emperor Maximian who with his son Maxentius held sway in Italy at that moment of the Roman Tetrarchy‘s ongoing collapse.**
Although Crispus didn’t offer his dad much in this situation by way of family alliances, Constantine kept him in his favor — by all appearances grooming him as an heir. Call it paying it forward: as a young man, Constantine himself had been in a similar position when his father Constantius dumped Constantine’s peasant mother in favor of an imperial marriage. That moment might have strangled a world-historic career before it even began, but Constantius instead chose to keep Constantine in paternal good favor.
So it went with Crispus — for a while.
In 317, Constantine, now emperor in the western part of the empire,† made Crispus Caesar; the boy ruled in Gaul and Germania for several years, thrashing barbarian tribes as he ought. Dad, meanwhile, was maneuvering towards victory over his eastern opposite number Licinius, with Crispus contributing an important naval victory in 324.
The young man (in his twenties at this time; his precise year of birth is uncertain) seemed on his way to a scintillating future.
Bronze coin from the mint of Rome depicting Crispus.
Things went pear-shaped suddenly in 326 when his father had him executed without any kind of warning that survives in the scant records available to us — and not only Crispus, but also Constantine’s own wife, that Fausta whose marriage might have threatened the boy’s status.
We don’t know why but the rumor as trafficked by the much later Byzantine historian Zosimus suggests a possible Parisina and Ugo scenario: “He put to death his son Crispus, styled Caesar, on suspicion of debauching his mother-in-law Fausta, without any regard to the ties of nature … [and] causing a bath to be heated to an extraordinary degree, he shut up Fausta in it, and a short time after took her out dead.”
It is down to conjecture what one ought to make of this nth-hand scandal-mongering; for impugning someone’s character one can hardly do better than an incest accusation. The story does appear to fit the few available facts, however, and Fausta was much closer in age to Crispus than to Constantine. It might also be noteworthy that three of Fausta’s sons went on to become Emperor and one daughter Empress but none of them ever rehabilitated mom.
Damned memory be damned, Crispus was rediscovered during the Renaissance and favored with several dramatic renditions embellishing the young man as a tragic hero, often with speculation that he was wrongly condemned to Constantine’s everlasting shame.‡ The events surrounding Crispus’s death being almost entirely obscured, writers could really go nuts with it; for example, Sir Walter Scott‘s Count Robert of Paris (set in Constantinople during the Crusades) features the story of an entirely fictitious penance built into subsequent Byzantine execution rituals by a remorseful Constantine:
But the death-blow had no sooner struck the innocent youth, than his father obtained proof of the rashness with which he had acted. He had at this period been engaged in constructing the subterranean parts of the Blacquernal palace, which his remorse appointed to contain a record of his paternal grief and contrition. At the upper part of the staircase, called the Pit of Acheron, he caused to be constructed a large chamber, still called the Hall of Judgment, for the purpose of execution. A passage through an archway in the upper wall leads from the hall to the place of misery, where the axe, or other engine, is disposed for the execution of state prisoners of consequence. Over this archway was placed a species of marble altar, surmounted by an image of the unfortunate Crispus — the materials were gold, and it bore the memorable inscription, TO MY SON, WHOM I RASHLY CONDEMNED, AND TOO HASTILY EXECUTED. When constructing this passage, Constantine made a vow, that he himself and his posterity, being reigning Emperors, would stand beside the statue of Crispus, at the time when any individual of their family should be led to execution, and before they suffered him to pass from the Hall of Judgment to the Chamber of Death, that they should themselves be personally convinced of the truth of the charge under which he suffered.
* Approximate times around the spring and summer of 326 have been proposed by various authors based on the very vague allusions of ancient sources. This author argues that we can more precisely triangulate Crispus’s fall by Constantine’s 326 journey from his new capital in the east to Rome: an imperial mint traveled with him, striking coins as it went — and some of those coins show Crispus. His presence there indicates that Crispus must have been alive as the procession reached Rome on July 21, 326, but he disappears from them immediately thereafter.
** The History of Podcast narrates this period, with Constantine’s rise into political relevance in episode 130.
† The Tetrarchy was still tetrarching along pending Constantine’s victory over all: the system featured separate senior emperors East and West each dignified Augustus, and each Augustus had a junior fellow-emperor and heir titled Caesar. Constantine was Augustus of the West, and Crispus was a Caesar.
‡ Fausta tends to get somewhat shorter shrift than her putative lover. Crispus’s presence in the literary culture would appear to make him the namesake of the Boston American Revolution martyr Crispus Attucks. African-descended men in North America often carried Roman names, though “Crispus” was by no means a common one.
About 32 at his death, the “Bon Chevalier” was a member of the prestigious (and still-extant) Order of the Golden Fleece on the strength of a remarkable 1440s ramble around European where he would theatrically stage combats with local knights and never fail to win them. Celebrity and emoluments followed in their turn.
“Above all else, he knew the business of arms,” sighs a chronicle detailing his feats, and on its evidence it would be difficult to disagree.
He achieved his fame besting great champions in Aragon, Castile, Scotland, and Flanders, then set up a pas d’armes — the Monty Python-esque open challenge/invitation to battle all comers who dared him at a set location. In Jacques’s case the challenge lasted a full year at a statue of a weeping woman from which our pugilist derived the brand the Passage of the Fountain of Tears.
These were not intended to be fatal bouts but they featured expert fighters with real weapons so life and limb certainly stood in peril; occasionally our protagonist even deliberately courted danger by suiting up in only partial armor. Some challengers managed to emerge with a satisfying draw, but none could defeat him. At his last tournament in 1452, he even jousted the young future Duke of Burgundy, Charles the Bold. (There’s an enjoyable detailed recap of Jacques’s career here.)
As this warrior par excellence was simultaneously noted for the perfection of his outside-of-armor knightly conduct — fidelity, generosity, piety, swooning ladies — Jacques de Lalaing had a fair claim on his contemporaries’ admiration as the very apex of the age of chivalry.
And his own fate poignantly embodied that of his era.
“This hero-worship of the declining Middle Ages finds its literary expression in the biography of the perfect knight,” Huizinga wrote — like our Jacques de Lalaing, “that anachronistic knight-errant” of “fantastic and useless projects.”
The realities of court life or a military career offered too little opportunity for the fine make-belief of heroism and love, which filled the soul. So they had to be acted. The staging of the tournament, therefore, had to be that of romance; that is to say, the imaginary world of Arthur,† where the fancy of a fairy-tale was enhanced by the sentimentality of courtly love.
A Passage of Arms of the fifteenth century is based on a fictitious case of chivalrous adventure, connected with an artificial scene called by a romantic name, as, for instance, the Fountain of Tears or the Tree of Charlemagne. [the latter was another famous pas d’armes defended in 1443 by another Burgundian knight, Pierre de Bauffremont -ed.] … There is an unmistakable connection between these primitive forms of warlike and erotic sport and the children’s play of forfeits. One of the rules of the “Chapters” of the Fountain of Tears runs thus: he who, in a combat, is unhorsed, will during a year wear a gold bracelet, until he finds the lady who holds the key to it and who can free him, on condition that he shall serve her.
Jacques de Lalaing and his ritual delights came to a savage end at the siege of Poucques when he had the apt misfortune to be struck by a ball from a defending veuglaire. The romantic master of the lists thereby became one of the first European elites slain by a cannon: for a junction to modernity one could do a lot worse than this moment.‡
The untimely end of Jacques happens to have hit the news in recent months when the Getty Museum acquired a precious Renaissance manuscript illustration of the event by Simon Bening, never previously exhibited.
In this extraordinarily bright and detailed miniature, our courteous doomed glances upward at the citadel, forming a sharp compositional diagonal with the fatal cannonball speeding towards him … and the fiery plume belched by the chivalry-smashing device that has hurled it.
Detail view (click for the full image) of the Bening miniature.
* The precise date on which this minor siege concluded is elusive and perhaps ambiguous; I’m basing Executed Today‘s dating on the July 13, 1453 correspondence in this archive reporting that “Poucques est tombée en son pouvoir le 5 courant; qu’il a fait démanteler ce deux places fortes et livrer au dernier supplice leurs défenseurs.”
I have one body
And to you I offer and return it.
Here is my flesh;
Here is my blood;
Let me be slain, reduced to nothing;
Let my bones be split apart
For those for whom I am praying, if such is your will.
This date in 1375 is the best data point we have for the beheading of Niccolo di Toldo.
The Sienese archives offer scant documentation of this political execution; a decree of June 4, 1375 orders his examination for “the discord sowed by him in the city of Siena, pernicious and deadly to the state of the present government” — and a couple of letters on Niccolo’s behalf from the governor of neighboring Perugia. Francis Thomas Luongo in The Saintly Politics of Catherine of Siena — we will come to Catherine presently — next points in lieu of any remaining record of Niccolo’s execution to “the necrology of the Sienese Dominican friary [which] includes an entry for one ‘Nicholaus, familiarius of the Lord Senator,’ who died and was entombed in the cloister of San Domenico on 20 June, the vigil of the feast of Corpus Christi.” It’s not certain that this is the same man but the description fits him, and the date is one week after the last known letter on his behalf from Perugia — which was an appeal for mercy.
We are as ignorant of Niccolo di Toldo’s offense as we are of the date of his death. But his position (in the household of a senator) and his Perugian affiliation suggest him an agent of papal subversion.
Siena’s centuries-long decline from the ranks of Italy’s city-state powers dates ultimately to the Black Death outbreak of 1348. The Plague devastated Siena.
The ensuing generations saw authority in the great Tuscan city furiously contested; the government turned over repeatedly in the 1360s — the Dodici (the Twelve), the Tredici, the Quindici, each an executive committee of interested parties in the coalition of the day.
From the late 1360s and through the 1370s, the Quindici held sway: reformist guild leaders* who were opposed by the the deposed (and by now proscribed) ex-Dodici, Siena’s great magnates in alliance with the papacy. (Luongo delves into Sienese politics in considerable detail in his book.) By year’s end Siena would join a city-state coalition led by Florence that fought a three-year war against the papal states with the excellent name “the War of Eight Saints”.
That coalition and that thrust of policy is likely what a “political subversive” in 1375 Siena would be subverting. And the governor of Perugia appealing to the Sienese for Toldo’s life? He was a French cardinal, kin to Pope Gregory XI.**
Little as we know of Niccolo di Toldo prior to his death, that execution is one of the most famous in all of medieval Europe.
Catherine found Niccolo angry at his impending fate, initially refusing to see any spiritual counselor: no state of mind for a soul to meet its maker. Any of the confraternities tasked at this time with succoring those about to face execution would have been charged with bringing such a person to a condition of resignation and penitence.
Catherine achieved her mission to join the doomed man to God but much, much more than that: her account of their relationship, up to the moment when she ecstatically catches his falling bloody head, is a celebration of erotic mysticism. It’s also one of the most famous episodes of the saint’s life.
Niccolo’s virgin helpmate was herself noted for her mystical “marriage to Christ”: in it, Catherine presented her heart to the phantom Savior, and he his ritually circumcised foreskin to her.
Converging religious fervor and carnality mark her interaction with Niccolo, too; at one point she implies that she has sublimated the condemned traitor’s attraction to her into piety, and (as Catherine wrote a follower),
God’s measureless and burning goodness tricked him, creating in him such an affection and love in the desire of me in God, that he did not know how to abide without God, and he said: ‘Stay with me and do not leave me. Like this I cannot but be alright, and I will die content!’ and he had his head resting on my breast. I sensed an intense joy, a fragrance of his blood, and it was not without the fragrance of my own, which I wait to shed for the sweet husband Jesus.
Catherine saw Niccolo di Toldo only twice in the days leading up to his execution. When he went to the block, she was there to meet him: in fact, she was there early and made bold to occupy the condemned’s place on the scaffold, and to stretch her own neck out over the headsman’s block that her kindred spirit would soon soak in gore. It was as if preparing his bridal bed, where she would embrace Niccolo even as the executioner struck — the two as passionately near to one in soul and body as the logistics of a heavy blade’s arc can permit.
[H]e arrived, as a meek lamb, and seeing me, he began to laugh, and he wanted me to make the sign of the cross. When he received the sign, I said, “Come on! to the nuptials, my sweet brother! for soon you will be in life without end.” He got down with great meekness, and I stretched out his neck, and leaning down, I reminded him of the blood of the Lamb. His mouth said nothing but “Jesus” and “Catherine.” And, as he was saying thus, I received his head in my hands, closing his eyes on divine goodness and saying, “I want this!” (“lo voglio”)†
She clutched to herself the lifeless head that had dropped into her lap and beheld “with the greatest envy” Niccolo’s soul ascending in the martyrdom Catherine aspired to. Afterwards, she was reluctant to wash out the clothes spattered with blood from the sacred climax of death.
The Dominican friar Caffarini, an ally of Catherine who was later to become of the principal exponents of her canonization, wrote of the tableau that Niccolo
accepted death while still at a young age, in the presence of the Virgin and with her receiving his head into her hands, with such marvelous devotion that it was like the transitus of some devout martyr and not the death of one who was condemned for a human crime. And everyone watching among whom I was only one was so moved internally and from the heart that I do not remember any previous burial accompanied with as much devotion as that one.
* Apart from the enmity of the papal party, the powerful guild leaders of the Quindici faced working-class opposition that resulted in a 1378 revolt.
** Gregory XI was the guy who moved the papacy back from Avignon to Rome.
† Translated excerpts culled from snippets and excerpts in various locations. Original Italian versions of Catherine’s poetic letters are available in public-domain Google books here; there’s also a recent English translation by Susan Noffke.
On an unknown date thought to be approximately June of 1971, American photojournalists Sean Flynn and Dana Stone were executed by Communist captors in Southeast Asia.
Flynn is the big name of the pair,* literally: a former actor, he wasn’t in like his superstar father Errol Flynn. After trading on his prestigious name for a few silver screen credits, Sean grew bored of Hollywood and pivoted into a career in wanderlust — trying his hand as a safari guide and a singer before washing up in Vietnam where the action was in January 1966.
He made his name there as a man who would find a way to snatch an indelible image out of war’s hurricane, even at the risk of his own life.
One of Flynn’s photos: A captured Viet Cong being tortured. (1966)
On April 6, 1970, Flynn and fellow risk-seeking photojournalist Dana Stone hopped on rented motorbikes bound for the front lines in Cambodia. It was a last mission born of their characteristic bravado — all but bursting out of the frame astride their crotch rockets in the last photo that would become their epitaph. They were never seen again; having apparently been detained at a Viet Cong checkpoint, it’s thought that they ended up in the hands of Cambodian Khmer Rouge guerrillas and were held for over a year before they were slain by their jailers.
Flynn (left) and Stone mount the bikes for their lethal assignment. This is the last picture ever taken of them.
Sean’s mother, actress Lili Damita, spent years seeking definitive information about his fate, without success. Dana’s brother, John Thomas Stone, joined the army in 1971 reportedly with a similar end in mind; he was killed by friendly fire in Afghanistan in 2006. The prevailing conclusion about their fate arrives via the investigation of their colleague and friend, Australian journalist Tim Page — a man for whom memorializing the journalists who lost their lives during the Vietnam War has been a lifelong mission.
Though Flynn’s and Stone’s guts are undeniable, not everyone appreciated their methods. “Dana Stone and Sean Flynn [son of the Hollywood actor, Errol Flynn] were straight out of Easy Rider, riding around on motorcycles carrying pearl-handled pistols. Cowboys, really,” said fellow photog Don McCullin. “I think they did more harm than good to our profession.”
* He’s not to be confused with present-day actor Sean Flynn — that’s our Sean Flynn’s nephew. (Sean the nephew was named for Sean the uncle.)
On or around this date in 535,* the Ostrogothic queen Amalasuntha was put to death in the Italian lake island of Martana (You can also find her name rendered Amalasountha and Amalaswintha.)
The Roman-educated princess had inherited rulership of the Ostrogothic Kingdom, a successor state to the lately fallen Roman Empire, from its redoutable founder Theodoric. Technically the crown had passed to Amalasuntha’s 10-year-old kid; ruling as regent in a perilous situation, mom cultivated an alliance with the Byzantine emperor Justinian.
Her son took to boozing and carousing and died as a teenager, so Amalasuntha sought a new male imprimatur for her reign by the expedient of marrying a wealthy cousin, Theodahad. Though the nuptial deal had been for Theo to butt out of actual governance, he immediately strove to convert his power from titular to actual and became his wife’s deadliest rival — and then clapped her in prison. From the History of the Wars of Byzantine scribbler Procopius:
Theodahad, upon receiving the supreme power, began to act in all things contrary to the hopes she had entertained and to the promises he had made. And after winning the adherence of the relatives of the Goths who had been slain by her — and they were both numerous and men of very high standing among the Goths — he suddenly put to death some of the connections of Amalasuntha and imprisoned her, the envoys not having as yet reached Byzantium. Now there is a certain lake in Tuscany called Vulsina, within which rises an island, exceedingly small but having a strong fortress upon it. There Theodatus confined Amalasuntha and kept her under guard.
A Roman diplomat named Peter had already been dispatched by this time from the court of Constantinople to do some routine statecraft with the Goths, and he learned of the surprise reshuffling of power when he met Theodohad’s envoys on the road.
Procopius says — or does he? — that Byzantium tried to twist the Goths’ shaggy arms in support of their matronly ally, but could not prevail against the vengeance of the deposed queen’s foes.
When the Emperor Justinian heard these things, he formed the purpose of throwing the Goths and Theodahad into confusion; accordingly he wrote a letter to Amalasuntha, stating that he was eager to give her every possible support, and at the same time he directed Peter by no means to conceal this message, but to make it known to Theodatus himself and to all the Goths. … Now when Peter arrived in Italy, it so happened that Amalasuntha had been removed from among men. For the relatives of the Goths who had been slain by her came before Theodahad declaring that neither his life nor theirs was secure unless Amalasuntha should be put out of their way as quickly as possible. And as soon as he gave in to them, they went to the island and killed Amalasuntha, — an act which grieved exceedingly all the Italians and the Goths as well. For the woman had the strictest regard for every kind of virtue … Theodahad, such was his stupid folly, while still holding the slayers of Amalasuntha in honour and favour kept trying to persuade Peter and the emperor that this unholy deed had been committed by the Goths by no means with his approval, but decidedly against his will.
The “stupid folly” helped to trigger Justinian’s war against the Goths, which resulted in Byzantium’s conquest of Italy and (temporary) reunification of the empire. It also led Amalasuntha’s son-in-law Vitiges to depose and murder Theodahad in his own turn: just another turn of the wheel among backstabbing aristocrats.
Speaking of which: despite the pious good faith Procopius presents for Byzantium in his history above, his gossipy Secret History rewrites the story to attribute Amalsuntha’s fall not to the Ostrogoths’ internal political rivalries but to a catty assassination by Byzantine empress Theodora, whose low-born origin shows through here in murderous insecurity:
At the time when Amalasuntha, desiring to leave the company of the Goths, decided to transform her life and to take the road to Byzantium, as has been stated in the previous narrative, Theodora, considering that the woman was of noble birth and a queen, and very comely to look upon and exceedingly quick at contriving ways and means for whatever she wanted, but feeling suspicious of her magnificent bearing and exceptionally virile manner, and at the same time fearing the fickleness of her husband Justinian, expressed her jealousy in no trivial way, but she schemed to lie in wait for the woman even unto her death. Straightway, then, she persuaded her husband to send Peter, unaccompanied by others, to be his ambassador to Italy. And as he was setting out, the Emperor gave him such instructions as have been set forth in the appropriate passage, where, however, it was impossible for me, through fear of the Empress, to reveal the truth of what took place. She herself, however, gave him one command only, namely, to put the woman out of the world as quickly as possible, causing the man to be carried away by the hope of great rewards if he should execute her commands. So as soon as he arrived in Italy — and indeed man’s nature knows not how to proceed in a hesitant, shrinking way to a foul murder when some office, perhaps, or a large sum of money is to be hoped for — he persuaded Theodahad, by what kind of exhortation I do not know, to destroy Amalasuntha. And as a reward for this he attained the rank of Magister, and acquired great power and a hatred surpassed by none.
On an unknown date about the spring of 316 BCE, Alexander the Great’s snake-worshipping mother Olympias surrendered to the siege of the former regent’s ambitious son — whereupon she was put to summary death.
Olympias was famed for her snake-handlin: Plutarch says that Philip’s interest in her waned when he beheld “a serpent … lying stretched out by the side of Olympias as she slept,” which led him to fear “that she was the partner of a superior being.” Sigmund Freud, eat your heart out.
Sired by the gods or no, Olympias’s son certainly outstripped his father — but once Alexander’s coruscating star burned itself out, Olympias had another kind of snakepit to contend with: the conqueror’s former generals jockeying for preeminence in their engorged empire.
The patina of dynastic legitimacy Olympias maintained as Alexander’s kin was not sufficient to prevent the situation collapsing into war; indeed, we have met this this civil strife previously in these pages, when Olympias had the upper hand in a battle in 317 BCE and ordered the execution of Alexander’s mentally disabled half-brother. Olympias gets her share of stick as old time Macedonia’s deadly ophiomormous femme fatale, but this was cruelty with a purpose: the addled king was the catspaw in whose name her foe Cassander (as his father Antipater before him) claimed power as “regent”.
Cassander, a mate of Alexander dating back to their Aristotle study group days, was not captured in this affair, nor was he driven from the field by it. Soon thereafter he turned the tables and trapped Olympias in Pydna, where she was obliged to surrender to his discretion. That same logic of murder in statecraft turned now against the queen. First century (BCE) Greek historian Diodorus Siculus:
Although Cassander had shut Olympias into Pydna in Macedonia, he was not able to assault the walls because of the winter storms, but by encamping about the city, throwing up a palisade from sea to sea, and blockading the port, he prevented any who might wish to aid the queen from doing so. And as supplies were rapidly exhausted, he created such famine among those within that they were completely incapacitated. In truth, they were brought to such extreme need that they gave each soldier five choenices of grain per month, sawed up wood and fed the sawdust to the imprisoned elephants, and slaughtered the pack animals and horses for food. While the situation of the city was so serious and while Olympias was still clinging to hopes of rescue from outside, the elephants died from lack of nourishment, the horsemen that were not in the ranks and did not receive any food whatever nearly all perished, and no small number of the soldiers also met the same fate. Some of the non-Greeks, their natural needs overcoming their scruples, found flesh to eat by collecting the bodies of the dead. Since the city was being quickly filled with corpses, those in charge of the queen’s company, though they buried some of the bodies, threw others over the city wall. The sight of these was horrible, and their stench was unbearable, not merely to ladies who were of the queen’s court and addicted to luxury, but also to those of the soldiers who were habituated to hardship.
As spring came on and their want increased from day to day, many of the soldiers gathered together and appealed to Olympias to let them go because of the lack of supplies. Since she could neither issue any food at all nor break the siege, she permitted them to withdraw. Cassander, after welcoming all the deserters and treating them in most friendly fashion, sent them to the various cities; for he hoped that when the Macedonians learned from them how weak Olympias was, they would despair of her cause. And he was not mistaken in his surmise about what would happen: those who had resolved to fight on the side of the besieged forces changed their minds and went over to Cassander; and the only men in Macedonia to preserve their loyalty were Aristonoüs and Monimus, of whom Aristonoüs was ruler of Amphipolis and Monimus of Pella. But Olympias, when she saw that most of her friends had gone over to Cassander and that those who remained were not strong enough to come to her aid, attempted to launch a quinquereme and by this means to save herself and her friends. When, however, a deserter brought news of this attempt to the enemy and Cassander sailed up and took the ship, Olympias, recognizing that her situation was beyond hope, sent envoys to treat of terms. When Cassander gave his opinion that she must put all her interests into his hands, she with difficulty persuaded him to grant the single exception that he guarantee her personal safety. As soon as he had gained possession of the city, he sent men to take over Pella and Amphipolis. Now Monimus, the ruler of Pella, on hearing the fate of Olympias, surrendered his city; but Aristonoüs at first was minded to cling to his position … [until] Olympias wrote to him demanding his loyalty and ordering him to surrender, he perceived that it was necessary to do as ordered and delivered the city to Cassander, receiving pledges for his own safety.
Cassander, seeing that Aristonoüs was respected because of the preferment he had received from Alexander, and being anxious to put out of the way any who were able to lead a revolt, caused his death through the agency of the kinsfolk of Cratevas. He also urged the relatives of those whom Olympias had slain to accuse the aforesaid woman in the general assembly of the Macedonians. They did as he had ordered; and, although Olympias was not present and had none to speak in her defence, the Macedonians condemned her to death. Cassander, however, sent some of his friends to Olympias advising her to escape secretly, promising to provide a ship for her and to carry her to Athens. He acted thus, not for the purpose of securing her safety, but in order that she, condemning herself to exile and meeting death on the voyage, might seem to have met a punishment that was deserved; for he was acting with caution both because of her rank and because of the fickleness of the Macedonians. As Olympias, however, refused to flee but on the contrary was ready to be judged before all the Macedonians, Cassander, fearing that the crowd might change its mind if it heard the queen defend herself and was reminded of all the benefits conferred on the entire nation by Alexander and Philip, sent to her two hundred soldiers who were best fitted for such a task, ordering them to slay her as soon as possible. They, accordingly, broke into the royal house, but when they beheld Olympias, overawed by her exalted rank, they withdrew with their task unfulfilled. But the relatives of her victims, wishing to curry favour with Cassander as well as to avenge their dead, murdered the queen, who uttered no ignoble or womanish plea.
Such was the end of Olympias, who had attained to the highest dignity of the women of her day, having been daughter of Neoptolemus, king of the Epirotes, sister of the Alexander who made a campaign into Italy, and also wife of Philip, who was the mightiest of all who down to this time had ruled in Europe, and mother of Alexander, whose deeds were the greatest and most glorious.
Cassander would emerge from all this mess in a sturdy enough position to declare himself king. His sons, however, were unable to sustain the family in power and this particular general proved merely the precursor of a different general‘s more successful post-Alexander dynasty.
A monumental tomb recently discovered in the Kasta burial mound at Amphipolis — said to beggar the gorgeous Vergina tomb in scale and grandeur — has been speculatively associated with Olympias and/or Alexander. (“Hopefully” might be the better word, since the bare hint of such a link would be a boon for the tourism sector.) The site is still being excavated, and is not yet open to the public.
Masuccio’s tale is itself an Italian Renaissance gloss on an old Ovid story; its outline will be instantly recognizable to devotees of the Capulets and Montagues. But instead of dueling suicides, Masuccio ends one of the star-crossed lovers with an executioner’s blade.
In Mariotto and Ganozza, which can be enjoyed for free in the original Italian here or here, the young lovers secretly wed only to find “that wicked and hostile fortune reversed all their present and future desires.”
These violent delights have violent ends
And in their triumph die, like fire and powder …
“Fortune’s” inscrutable hand turns out to be that of Mariotto himself, who gets into a fight with some other nobleman and, slaying him, must flee into exile. Posterity must excuse Mariotto/Romeo his hotheadedness, for were he not the type to wreck his own life by murdering a guy in a street fight he also wouldn’t be the type to pursue forbidden tragic romance. That’s art.
Fortune’s fool …
“How great was the supreme grief of the two most wretched lovers, so lately wed, and how bitter their tears at the thought of what they believed to be their endless separation, he alone who has been pricked by such wounds can truly tell.” (Translation source.)
“So deep and bitter it was, that at their last parting, they seemed for a long while to have died in each other’s arms.”
It next comes to pass that Gianozza’s father, ignorant of her secret marriage to the town fugitive, arranges a match for her. This development leads our Juliet figure to seek out the aid of the friar who has secretly wed them in a scheme that is precisely Shakespearean.
The friar “made up a certain water with certain concoctions of various powders that, when the draught was ready and she had drunk it, it would not only make her sleep for three days, but seem to be really dead.” With this potion they stage Gianozza’s death; then, the friar secretly steals her hibernating “corpse” from its tomb, revives her, and packs her off to find her beloved.
He, of course, has separately received word of Gianozza’s death — and (also of course) the courier that had been dispatched pre-death elixir to clue him into the plan has been waylaid by pirates and left his essential plot spoilers at the bottom of the sea.
Disconsolate, Mariotto returns to Siena with the unproductive object of mooning over Gianozza’s grave and “weep[ing] as if their lives were ended.” Don’t worry, he has a backup plan! “If by misfortune he was recognized, he thought he would gladly be condemned as a murderer, knowing that she was already dead whom he loved more than himself and who loved him with equal love.”
This works as well as you expect, albeit with less panache than Shakespeare’s crypt climax: Mariotto gets caught in a transport of the macabre trying to break into Gianozza’s sepulcher, and is recognized as a condemned outlaw.
Before dawn, all Siena was full of the news, which reached the ears of the Court, who ordered the mayor to go and arrest him and quickly do that which the laws and the State commanded.
So, a prisoner in fetters, Mariotto was led to the palace of the mayor. When he was flogged, without needing long tortures, he faithfully confessed the cause of his desperate return. Though all alike had the greatest pity for him, and amongst the women he was bitterly wept for and thought the only perfect lover in the world, and each of them would have willingly redeemed him with her own life, yet he was at once condemned by the law to be beheaded. When the time arrived, without his friends or parents being able to aid him, the sentence was carried out.
Three days later, Gianozza — having reached Mariotto’s former refuge of exile and there learned of his misapprehension — turns up in Siena again only to discover that she is too late. Rather than stabbing herself to death right then and there as the Bard’s heroine would do, she shuts herself up in a convent “with intense grief and tears of blood and little food and no sleep, continually calling for her dear Mariotto, [and] in a very short time ended her wretched days.”
Thomas P. Lewis, master of the ship Adelaide, loading guano at Elide Island, off the coast of Lower California, was killed there on the 12th ult. by Wm. Williams, colored cook off that vessel. Three other vessels happened to be there at the time, and the officers united to hold a court, taking six sailors as part of the jury, and tried Williams, convicted him of murder, and then hanged him on the island.
Elide Island is a “naked rock, one mile in circumference” off the coast of Mexico’s Baja California which for a few years in the mid-19th century was heavily exploited for its guano supplies. 28,000 tons of bird crap later, the supply was tapped out.
Jacob Bonfadius, a man otherwise not in the last place among the erudite, because of copulation with boys (a most vile and sordid thing), was beheaded in prison and publically burned. The French Dominique Phinot, a distinguished musician, was also killed in the same way for a very similar folly.
This throwaway remark by the Italian Renaissance man Cardano is our only clue to the fate — indeed, to the very biography — of the composer Dominique Phinot. Based on the volume’s publication in 1561, it is thought that Phinot suffered for his folly around 1557-1560. We don’t even know the place.
Whatever damnatio memoriae obscured him in death, Phinot (English Wikipedia entry | French) was a prominent and highly regarded musician in his working life, acclaimed an expert in polychoral motets. Some 90 exemplars, and dozens of other compositions, survive; the 17th century Italian musicologist Pietro Cerone credited Phinot’s innovations with opening the way for Palestrina.
He emerges for posterity through those compositions; the earliest surviving date to 1538 and his publication locales (and the powerful men to whom they were dedicated) suggest a man for whom patrons in northern Italy (and across the Alps in Lyons) eagerly competed in the 1540s and 1550s. It is known that Phinot was retained by the Duke of Urbino for a period.
It is surely topical to notice that our correspondent Cardano was himself widely whispered to enjoy the same folly, too: a Venetian whose deep interest in music led him to “adopt” into his wifeless** household a number of boys with musical gifts, Cardano could hardly fail to court suspicion. “The rumor was being circulated everywhere that I was using my boys for immoral purposes,” Cardano reports autobiographically of one instance where he was threatened with exposure. Cardano appears never to have been formally charged as a sodomite, but it is remarkable — and even, he admits, “foolishness” — that his brushes with danger never caused him to reconsider the boy-keeping policy.†
As a proper Renaissance man, Cardano’s interests stretched far beyond pederasty and a good tune. He was, in the backhanded compliment of Sir Thomas Browne, “a great Enquirer of Truth, but too greedy a Receiver of it” and treatised profusely on philosophy, law, geology, astronomy, pedagogy, medicine, and mathematics. The latter two fields brought him his fame, but his musings flashed intermittent prescience across disciplines. Cardano argued for the full mental capacity of the deaf, and correctly inferred that mountains had once been underwater from the presence of seashell fossils upon them. A cryptographic technique, a puzzle, and a gear mechanism all bear the Cardano name. His mathematician’s sure grasp on probability also made him a deft gambler — and he published yet another volume on this subject as a young man.
Cardano the physician’s most famous patient was the Archbishop of St. Andrews, whom Cardano in 1553 cured of a debilitating asthma that had stricken the prelate speechless and was thought untreatable by contemporaries. Thanks to Cardano, Archbishop Hamilton became spry enough to get hanged for murder in 1571.
Yet Cardano the man had a still closer acquaintance with the executioner’s office through the person of his firstborn son … a topic for another day’s post.
* Opera Omnia, vol. 2, p. 354 (Theonoston seu de tranquilitate) Translation via Clement Miller in “Jerome Cardan on Gombert, Phinot, and Carpentras,” The Musical Quarterly, July 1972. The aforementioned Gombert was another composer who got busted for same-sex contact; he caught a term in the galleys.
** Cardano’s wife Lucia died in 1546.
† For more see Guido Giglioni, “Musicus Puer. A note on Cardano’s household and the dangers of music,” Bruniana & Campanelliana, vol. 11, no. 1 (2005).
While we have many examples of martyrs attributed to Diocletian‘s persecution, Gordius belongs to the subsequent, transitional era. His purported death in 320 would have been a mere five years before the Council of Nicaea convened by the empire’s Christian ruler Constantine.
But in Gordius’s time, Constantine only ruled half the Roman world — the western half. The eastern half, where Gordius munched his insects, was in the hands of the empire’s last pagan baddie,* Licinius.
Gordius is said to have tied a knot in some games being staged in the Anatolian city of Caesarea to honor “a war-loving deity” (presumably Mars). “The whole people were collected above the hippodrome, and not a Gentile or a Jew was absent. No small portion of the Christians was mingled with them, who guarded not their lives from sin, but sat in the assemblies of vanity.”
We are quoting here from one of our primary sources on the life of Gordius, or at least of how it was understood just a few generations distant: it is a homily on the martyr delivered by St. Basil in the late fourth century — a native son of Caesarea, and then its bishop, who says of Gordius that “we are the more attached to him, inasmuch as he is our peculiar ornament … having grown up in our native soil, and attained the very height of glory.”
Per Basil, his late countryman, “mighty in soul, sublime in resolution, descended from the mountains upon the theatre” to harangue the impious spectators — and to solicit his own martyrdom.
The eyes of the whole theatre were instantaneously fixed on the unwonted prodigy. They beheld a man of aspect wild, and savage, through his long abiding in the mountains: his hair was matted, his beard bushy, his garments squallid, his whole body parched and shrivelled: he bore in his hand a staff; a wallet was suspended by his side; and beaming around him from an unknown source, a certain grace ineffable threw a charm upon the whole.
As soon as he was recognized, a loud and commingled shout was raised by all; those who were allied to him in faith, crying out for joy; and those who were enemies to the truth, exciting the judge to murder him, and before his trial, condemning him to death …
Being immediately apprehended, he was dragged before the governour, who sat in the theatre, and directed the contention of the chariots. At first, he addressed the prisoner in a gentle, and benignant tone … [Gordius] said, I am present here, by deeds to attest at once, my disregard of thine imperial mandate, and my faith in that God upon whom my hopes repose. Having heard that thou art eminent in harshness and severity, I have chosen this, as the fittest season for accomplishing my desire.
When he thus spake, his words lighted up the fury of the ruler, and drew upon himself his accumulated rage. Call the Lichtors hither. Where are the leaden weights? Where are the scourges? Let him be stretched on the wheel; let his limbs be racked: let all modes of punishment be prepared: the wild beasts; the fire; the sword; the cross; the pit …
While the tyrant thus felt, and purposed, the saint, looking unto God, was weaving round his heart, the enchantment of a holy psalm. “The Lord,” he exclaimed, “is my helper. I will not be affrighted at what man shall do unto me. I will not e affrighted at evil things, for thou art with me.” Other passages akin to these, and inspiring courage, he repeated; such as ye may imagine him to have been deeply imbued with; him, who was so far from trembling at the threatened evils, that he even provoked and challenged them. Wherefore do ye linger? he exclaimed. Wherefore do ye stand inactive? Let my body be torn: let my limbs be racked: torture them as much as ye desire: do not envy me the blessed hope I cherish; for in proportion as ye extend my sufferings, ye acquire for me a brighter retribution.
He spake: he signed himself with the symbol of the cross, and went forward to receive the blow. No fear blanched the hue of his complexion, or dimned the glory of his countenance. He seemed, not as if he were delivering himself to the Lictors, but as if consigning himself to the hands of angels; those angels, who in the moment of his liberation, wafted him to the blessed life, as once they wafted Lazarus. — But oh! who can describe the terrific shout, which arose from the assembled multitude? What thunder, pealing from the clouds, ever transmitted such a sound to earth, as then thundred from earth to heaven? This is the very stadidum in which he was enwreathed. This very day beheld that wonrous spectacle; whose impression, no time can obliterate; no familiarity can weaken; no future achievements can surpass. For as we ever behold the sun, and ever admire his brightness; even so, will the memory of the Martyr be ever blooming and efflorescent. “The just man is for an everlasting memorial;” a memorial with the inhabitants of earth, as long as the earth endureth; a memorial with the Saints in Heaven; a memorial with the all-righteous Judge; unto whom be ascribed glory, and dominion, through eternity.