Tag Archives: eugene delacroix

1485: William de La Marck, the Wild Boar of the Ardennes

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On this date in 1485, the German warrior William de La Marck was beheaded at Maastricht.

“There is, moreover, in the land, a nobleman of good descent, and fame in warlike affairs, but otherwise, so to speak, Lapis offensionis et petra scandali — and a stumbling block of offence to the countries of Burgundy and Flanders. His name is William de la Marck.”

“Called William with the Beard,” said the young Scot, “or the Wild Boar of Ardennes?”

“And rightly so called, my son,” said the Prior, “because he is as the wild boar of the forest, which treadeth down with his hoofs and rendeth with his tusks. And he hath formed to himself a band of more than a thousand men, all, like himself, contemners of civil and ecclesiastical authority, and holds himself independent of the Duke of Burgundy, and maintains himself and his followers by rapine and wrong, wrought without distinction upon churchmen and laymen.”

–Sir Walter Scott, Quentin Durward. The boar is a major antagonist in this novel, but Scott has him killed, ahistorically, in melee.

Le Sanglier des Ardennes — The Wild Boar of the Ardennes, so christened for his resemblance to that ferocious beast; “he affected to delight in this surname, and endeavoured to deserve it by the unvarying cruelty and ferocity of his life” — tusked his way onto history’s stage in the power vacuum following the collapse of Burgundy as an independent power.

Among other effects, Burgundy’s fall greatly widened the local autonomy of the city of Liege, in present-day Belgium — a city that Burgundy in its recent heyday had violently brought to heel.

And not merely the city, but the entire Prince-Bishopric of Liege.

A tasty truffle for the snuffling, to porcine eyes.

In 1482, the Wild Boar assassinated the sitting Prince-Bishop of Liege, Louis de Bourbon. It’s a scene captured in dark melodrama by Executed Today‘s court painter Eugene Delacroix.

He intended by this stroke to set up his son Jean de La Marck as the Prince-Bishop. Instead he kicked off a civil war and in lieu of the mitre he obtained a payoff from the Prince-Bishopric as Liege turned to resisting the inroads of the Austrian Empire. The Boar now allying with Liege in this endeavor, he was ingloriously ambushed by imperial forces and brought in for butchering.

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1355: Marino Faliero, Doge of Venice

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On this date in 1355, Marino Faliero* was escorted to the spot where he had been crowned Doge of Venice scant months before. There, he was ceremoniously relieved of his robes of state … and then his head.


The Execution of Marino Faliero, by Eugene Delacroix (1827).

Some fog surrounds the day’s proceedings, product not only of time but of the Doge’s executioners’ damnatio memoriae upon their victim. What was written was circumspect; even Faliero‘s portrait in the great hall of the Doge’s Palace was veiled.

What is known — or at any rate, was admitted by the elderly first citizen — is that the ruler attempted a coup against the overweening power of Venice’s great families.

The putsch was supposed to occur on April 15, with the bell of St. Mark’s Cathedral tolling on a fabricated hue and cry. In the tumult, the Doge’s supporters meant to cut down the nobles who flexed the real political muscle in the maritime republic and consolidate ducal power.

Why?

The salacious version has the old goat in a tiff with a noble, who made fun of his May-December marriage —

Marino Faliero of the beautiful wife,
Others enjoy her while he maintains her

A tribunal of fellow-nobles let the rascal off with a slap on the wrist.

Power being what it is, and princes and nobilities being born for conflict with one another across the centuries in Europe, one may as well discern a straightforward political intent — heightened, perhaps, by the then-dire state of Venice’s naval contest with Genoa.

Downright Byronic under either scenario … and Byron wrote a play about Faliero. The doomed ruler gives throat to quite a magnificent curse upon his city, with all the foresight of Byron’s half-millennium of hindsight:

I perish, but not unavenged; far ages
Float up from the abyss of time to be,
And show these eyes, before they close, the doom
Of this proud city, and I leave my curse
On her and hers for ever! —

…

          — She shall be bought
And sold, and be an appanage to those
Who shall despise her! — She shall stoop to be
A province for an empire, petty town
In lieu of capital, with slaves for senates,
Beggars for nobles, panders for a people!

…

Amidst thy many murders, think of mine!
Thou den of drunkards with the blood of princes!
Gehenna of the waters! thou sea Sodom!
Thus I devote thee to the infernal gods!
Thee and thy serpent seed!
[Here the Doge turns, and addresses the executioner.]
          Slave, do thine office!
Strike as I struck the foe! Strike as I would
Have struck those tyrants! Strike deep as my curse!
Strike — and but once!

This sort of thing knocking about among litterateurs in the 19th century practically guarantees an opera.

* Or simply “Marin Falier”, in the Venetian dialect.

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