ExecutedToday.com

On the morning this day in 1599, the Cenci family — mother Lucrezia, son Giacomo, and immortal tragic heartthrob Beatrice — were put to death at Sant’Angelo Bridge for murdering the clan’s tyrannous father.

Francesco Cenci, the victim, was more accustomed to making victims of his own: detested around the Eternal City, he indulged his violent temper and fleshy lusts with the impunity of a wealthy cardinal’s son. By all accounts, he enjoyed pushing around his family, too.

This much is stipulated. What lies beyond is legend.

But the legend is why we’re dallying with Beatrice today, so we might as well begin there: in fear that her father would rape her, it goes, Beatrice tried to turn to the authorities, who let mean old dad walk on account of his connections. Desperate to protect herself from incest, Beatrice and family arrange to batter his gulliver and toss him over a balcony to make it look like suicide.

Slight problem: it didn’t look very much like suicide.

So the family was hauled in and tortured, and eventually Lucrezia and Beatrice (both beheaded) and Giacomo (quartered after suffering the mazzolatura of an incapacitating hammer blow to the head followed by gory lethal knifework by the executioner) all paid the price while the youngest child watched, spared death but condemned to life in the galleys.

(The papacy gobbled up the patricides’ estate, which puts a fine point on the ironically-named Pope Clement VIII’s law-and-order stance on the appeal for mercy, and his subsequent edicts to quash public comment on the affair.)

Then Beatrice’s body — the part below the neck — contrived to disrobe when fumbled by the brethren taking it away for burial.

You’ve got to admit it’s pretty romantic. Some versions even hold that the responsible executioners died violently themselves within a month, or that a ghostly Beatrice returns to the scene of her demise on this anniversary.

And not a word of Italian fluency will be necessary to catch the gist of this excerpt from this 1969 Lucio Fulci film:

It’s a little too Romantic, as in capital-R.

While the case was a true sensation Rome at the turn of the 17th century, the legend as we know it was heavily constructed in the 19th century … and specifically Percy Bysshe Shelley, who heard the story in Italy* where it had persevered as local folklore. A girl who killed her despot-father, executed by the despotic agents of the Divine Father? You don’t get into the canon without knowing what to do with that kind of material.

And he had this charming painting of her to boot:

Shelley amped up the menaced-virginal-purity theme, made the bloodshed a lot more demure, and turned it into a long poem, “The Cenci” (available on Google Books, and on Bartleby.com) which in Melville’s description proceeds from putting its protagonist between the “two most horrible crimes possible to civilized humanity — incest and parricide.”

This doesn’t all actually turn out to be well supported: at a minimum, Shelley inflated an incest allegation of doubtful lineage into accomplished fact. Beatrice’s camp did not raise this claim until just before her execution, when it needed a high card for clemency. The loutish victim eventually got his own biographer, who strongly disputed the incest charges. (Francesco also sports his own Italian Wikipedia page.)

From Shelley’s influential quill** into the DNA of western literature: Stendahl tapped the vein, as did Artaud, and risorgimento figure Francesco Domenico Guerrazzi; both Melville and Hawthorne used that painting so captivating to Shelley as plot devices (Dickens loved the painting, too). American sculptor Harriet Hosmer worked Cenci’s complex sensuality in marble.

Remarkable how the tradition in its modern incarnation proceeds root and branch from Shelley’s apprehension of a single painting, and how his reading stamped itself upon the canvas for later observers — like Hawthorne, writing in his journal:

It is the very saddest picture that ever was painted, or conceived; there is an unfathomable depth and sorrow in the eyes; the sense of it comes to you by a sort of intuition. … It is the most profoundly wrought picture in the world; no artist did it, or could do it again. Guido may have held the brush, but he painted better than he knew. I wish, however, it were possible for some spectator, of deep sensibility, to see the picture without knowing anything of the subject or history; for no doubt we bring all our knowledge of the Cenci tragedy to the interpretation of the picture.

He wrote better than he knew: the painting is no longer attributed to Guido Reni, and it’s doubtful whether it’s a portrait of Beatrice at all. One wonders if it would retain its place in Hawthorne’s estimation as a local washer-woman modeling for an allegory.

* Apparently you can still crash at the same place Shelley first got hep to Cenci.

** Kick back with some polysyllabic literary analysis of Shelley’s Cenci stuff.

On this date in 1425, the Marquess of Ferrara had his wife and son beheaded for an incestuous affair, along with a courtier who had kept their secret.

The “incest” was social rather than sanguinary: the lovers were not related. Like many a Renaissance despot, Niccolò III d’Este produced a multitudinous assortment of illegitimate children and underaged dynastic wives. Small wonder, one might think, that the 14-year-old (at her marriage) Parisina Malatesta (the link is to her Italian Wikipedia page) should come to prefer the attentions of the Duke’s eldest bastard Ugo (one year her junior) to those of a spouse more than twenty years older.

Still, the affair has its curious aspect, apart from the obvious. The Duke was on that timeless monarchical quest for legitimate male issue; Parisina Malatesta would bear him two surviving daughters and a son who died in infancy during her teenage years.

One can hardly fail to think of that more renowned decapitated queen of the next century Anne Boleyn. Like Anne, Parisina lost her head to an incest allegation after a few years’ failure to give her husband an heir.

The need for specifically legitimate succession, however, was somewhat less pressing in tightly run Ferrara than early Tudor England. As the oldest illegitimate son, Ugo himself had a chance to succeed by his father’s appointment — in fact, the second illegitimate son Leonello ultimately did just that. For this reason, Ugo and Parisina — the latter threatening to supplant the former with a legitimate child of her own — might have been natural rivals, and there is some hint of initial enmity between the two. One wonders if there might not have been a twist of obscured courtly skullduggery about this day’s bloody climax.

In any event, interlocutors have preferred the personal aspect, and little wonder. The Marquess played his part by being stricken with anguish and remorse for his ruthless treatment of a favored son, possibly aided by a general reaction of horror among most contemporaries.*

Retold in later years as scandal (though never with much sympathy for the marquess**) its Byronic potential as tragic love story was eventually seized by, well, Lord Byron. His “Parisina” gives us two true hearts in the flower of youth crushed by the cruel weight of their unjust world … although he found it more apt to conclude with only the boy losing his head while the wail of his lover signals a more ambiguous fate.

With all the consciousness that he
Had only passed a just decree;
That they had wrought their doom of ill;
Yet Azo’s† age was wretched still.
The tainted branches of the tree,
If lopped with care, a strength may give,
By which the rest shall bloom and live
All greenly fresh and wildly free:
But if the lightning, in its wrath,
The waving boughs with fury scathe,
The massy trunk the ruin feels,
And never more a leaf reveals.

Mascagni also adapted it for the opera in 1913 — a legendarily tiresome four-hour affair. One review’s famous recommendation (apt enough for the subject as well as the performance) was “Cut, cut, cut!”

* The Marquess was less troubled about his wife, and promulgated a decree imposing like punishment for any other wife guilty of such a crime. The sentence was actually carried out upon a magistrate’s wife.

** Gibbon tut-tutted the affair, simultaneously helping circulate it anew:

Under the reign of Nicholas III, Ferrara was polluted with a domestic tragedy. By the testimony of a maid, and his own observation, the Marquis of Este discovered the incestuous loves of his wife Parisina, and Hugo his bastard son, a beautiful and valiant youth. They were beheaded in the castle by the sentence of a father and husband, who published his shame, and survived their execution. He was unfortunate, if they were guilty: if they were innocent, he was still more unfortunate; nor is there any possible situation in which I can sincerely approve the last act of the justice of a parent.

† Niccolo is “Azo” in the poem, for metric convenience.