On this date in 1858, Italian revolutionary Felice Orsini calmly lost his head for the nation.
Something of a celebrity revolutionary, Orsini joined the independence movement of Giuseppe Mazzini and embarked on a generation’s worth of conspiracy, covert operations and prison spells and prison breaks which he himself voluptuously recounted in hot-selling autobiographical tomes.
Orsini became convinced that French ruler Louis Napoleon* was the chief obstacle to Italian unification, and accordingly chucked a bomb at the dictator’s carriage on January 14, 1858.
Ever theatrical, the condemned Orsini addressed a letter to Louis Napoleon while awaiting execution. In it, he urged the emperor to take up the Italian cause.
Whether mindful of the prospect of another Orsini waiting for his carriage, remembering his own youthful plotting with the Italian carbonari, or simply for reasons of French statecraft, Napoleon did just that. His alliance with the Piedmont state in northwest Italy (for which France received Savoy and the French Riviera in exchange) helped it absorb most of what now constitutes the Italian state.
Within three years of Orsini’s death, only a reduced papal enclave around Rome and the Austrian holdings around Venice separated the peninsula from unification.
In life, Orsini had been a prominent advocate of the Italian cause and played to packed houses in England. In death, he was felt further afield than that.
Tacking to a moderate stance on slavery abolition ahead of his presidential campaign, Abraham Lincoln condemned the late radical abolitionist John Brown as another Orsini — “an enthusiast [who] broods over the oppression of a people till he fancies himself commissioned by Heaven to liberate them. He ventures the attempt, which ends in little else than his own execution.”
Among Lincoln’s officers in the coming Civil War would be Charles DeRudio, the anglicized name of Orsini co-conspirator Carlo di Rudio.
Di Rudio had drawn a death sentence himself for the Orsini plot but was spared (pdf) by the clemency of his intended victim. He would go on to fight in the Battle of the Little Bighorn where he once again managed to cheat death.
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.
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:
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.)
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.
Something of a celebrity revolutionary, Orsini joined the independence movement of Giuseppe Mazzini and embarked on a generation’s worth of conspiracy, covert operations and prison spells and prison breaks which he himself voluptuously recounted in hot-selling autobiographical tomes.
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