The Ladies of Milan.

“CHERCHEZ LA FEMME.”

When Galeazzo Maria, Duke of Milan, was murdered in church at Christmas by a band of heroes, his brothers, the Duke of Bari and Lodovico il Moro, were absent on an embassy in France. The head of affairs was Cecco Simonetta, since many years the secretary and minister, first of Count Francesco, and later of his son. Having lived so long in the family, Simonetta was aware how much his dead master’s children had to fear from their uncles. With one stroke of the pen he banished the Duke of Bari and Lodovico il Moro.

This was in 1476. For three years all went well in Milan. Simonetta had so long guided the course of affairs that the death of the Duke made little difference to the external policy of the state. Galeazzo Maria had called himself a Ghibelline, Cecco Simonetta dared at last to avow himself a Guelf; but under one as under the other, the course of Milan continued Liberal and French. Inside the city there were a few less murders,—less ominous stories than were told in the lifetime of the handsome, cruel,dilettante Duke. His widow, the Duchesse Bonne, had the wardship of her children, and lived a pleasant life in her beautiful palace, where Commines remembered to have seen her in great authority. She had two little boys and a girl; she had excellent counsellors, a court full of admirers, beautiful clothes, and a devoted lover.

Yet the Duchess was not satisfied. Bonne de Savoie was an empty pate, vain and restless, as was the temper of her house. There was in the palace a young man who carved before her at table, Antonio Tassino, an adventurer from Ferrara, “of very mean parentage,” not handsome, but with a certain grace and air in the way he wore his cloak. This was the Duchess’s lover, and there was no matter of state (says Corio) but she consulted her carver before she allowed it to pass. It is not surprising that Simonetta—an old statesman, tenacious of dignity, in spite of his Liberalism, was scandalized at the importance of Tassino. It is equally easy to imagine how the successful Ferrarese was irritated by the disdain of Simonetta. So it fell out; and rather out of spite than from conviction, Tassino constituted himself the chief of the Ghibellines in Milan, merely intending to procure the fall of Simonetta. So great was his influence over the Duchess, that he persuaded her at last to privily recall her husband’s brother, Il Moro—a Sforza, and therefore presumably a Ghibelline—who was at that moment engaged in the war at Genoa.

All that follows sound like a passage in some ancient novel of adventure. The Duchess sends to Genoa to Il Moro, who, coming at night to Milan,is secretly admitted by the Duchess and her lover through the garden gate of the palace. Lodovico returns not alone; Bari is dead but, in place of the lost brother, Roberto di Sanseverino a great captain, dare-devil, incorrigible, comes at his heels: a man whom Simonetta had exiled with the sons of Francesco Sforza, a Ghibellineà l’outrance, a personal enemy of Cecco. These were the men whom Bonne, weary of her ancient counsellor’s respectability, called home, “through great simplicity,” as Commines declares, “supposing they would do the said Cecco no harm, and the truth is that so they had both of them sworn and promised.”

When Sanseverino and Il Moro were safe in the palace, the Duchess sent for Simonetta and told him all she had done. She must have been alarmed to see the horror and consternation on the faithful secretary.[111]“Duchessa Illustrissima,”said the man, with the quiet of despair, “he will cut off my head, that is all; a little time more and he will send you packing!” The Duchess probably remembered these words when, the third day after their return, Il Moro and Sanseverino caused the man who had signed their exile to be carried through the streets of Milan in a wine barrel, and then—still in this ridiculous tumbril—taken to the fortress at Pavia. There was Simonetta imprisoned; but once inside the gates his lot appeared to mend. Lodovico il Moro frequently rode across to Pavia to take counsel with the wise oldstatesmanstatesmanand learn his views of the world. He wentindeed so often that the people of Milan began to murmur and to say that Lodovico, recalled by a Ghibellinecoup d’étât, was a Guelf in disguise. To reassure them on that head, in the month of October, 1480, Lodovico intimated to Simonetta—not without many apologies—that, in deference to popular prejudice, he must even consent to lose his head. And in that very month, the first part of the secretary’s prophecy came true.

The second half was for a while delayed. Duchess Bonne found no reason to regret the step which had relieved her of an inconvenient old servant. “They used the lady very honourably in her judgment, seeking to content her humour in all things,” said Commines, who knew them all.

“But all matters of importance they two despatched alone, making her privy but to what pleased them; and no greater pleasure could they do her than to communicate nothing with her. For they permitted her to give this Anthony Tassino what she would; they lodged him hard by her chamber; he carried her on horseback behind him in the town; and in her house was nothing but feasting and dancing.” The Duchess had never led a happier life; but all that jollity endured but half a year. One day Lodovico took out his little nephews to walk in Milan; children are ever interested in things of warfare; he took them to the Rocca—the impregnable fortress—he took them inside; he did not bring them home.

English readers know what to expect when an ambitious uncle, in the Middle Ages, leaves two little Princes in the Tower. But no midnight assassin cutshort the days of Giangaleazzo and his brother Ermes. They were more useful to their uncle, living—at least until he had made his own position surer: for at present he only ruled in Milan as Tutor and Regent of the little Duke. But, by whatever title, he ruled effectually, and soon he rid his palace of the tearful and frivolous presence of Madame Bonne, whom he exiled from her duchy “for immorality,” and who carried her inept remonstrances and her tarnished honour to find a none too chivalrous asylum at the court of her brother-in-law, Louis XI. of France, a man impatient of unsuccessful women.

Meanwhile Lodovico il Moro flourished in Milan. Under his cultured and dignified rule it became a magical city, a capital of masterpieces. There in 1483, Leonardo da Vinci took up his abode, cast his bronze statue of Francesco Sforza, painted pictures, and founded a school of Lombard painters, little less exquisite, mysterious, and sensual than himself. The Choir of Singers, whom Galeazzo Maria Sforza had brought across the Alps, increased, and the singing and playing of Milan became a thing of note. Temples and palaces sprang up as by enchantment; and learned humanists—grave Romans, bearded Greeks, astute Orientals—from all the centres of knowledge in the world, came to lecture on law, science, and the classics, in brilliant Milan. Nor was the Court of Venus, says Corio, less distinguished than the Court of Minerva. “All were willing to concede their best and fairest to the Court of Cupid; fathers their daughters, husbands their wives, brothers their sisters.” And the laxity of Lombardmanners which had scandalized the very Court of Lorenzo de’ Medici, in 1471, was not less abandoned, not less luxurious, although more natural and freer from cruelty under the sceptre of the Regent Lodovico who appears at the head of this princely retinue, a man majestic, suave, omniscient, as any Duke of Shakespeare’s plays.

And yet the real Duke was seldom seen, seldom heard. It was polite to suppose him still a child. None the less every one knew he had been born in the year 1469, amid incredible rejoicings; and many had seen the great Lorenzo de’ Medici when he came to the christening, and had looked on the magnificent necklace of diamonds which he had given the Duchess. “Ah, you shall be godfather to all my children!” the Duke Galeazzo Maria had cried with cordialnaïveté. And now—ah, Time’s revenges!—the Duke was murdered, the Duchess in exile, and the babe whom all men had welcomed—a prisoner rather than a ward in the hands of the ambitious Regent!

Men began to murmur, and when Giangaleazzo was about eighteen his uncle found himself unable any longer to defer his marriage. Years ago the child had been betrothed to Isabel of Arragon, the granddaughter of the King of Naples. She came to Milan in 1487. A little later Lodovico himself married a young wife, Beatrice, daughter of Ercole d’Este, Duke of Ferrara.

So long as there had been no woman at the head of the Court of Milan, there had been no discord. The young Duke, half a captive, had a doglike docile affection for his tyrant; he was content to yield his placeand keep his title; and Lodovico was satisfied to have the place without the name. But Isabel of Arragon was a Neapolitan and a Spaniard—a nature passionate, arrogant, intense. In vain she urged her husband to assert his rights. He promised what she would, and then confessed their conversation to his uncle. When her child was born, and still the bride of Lodovico sat on the throne which should have been her throne—Isabel would no longer possess her soul in patience. This time she did not appeal to her husband—a beautiful youth, soft as silk, innocent as flowers, incapable of revenge or determination; she wrote to her father and her grandfather at Naples, men as different from him as men can be. She asserted her rights (“essendo giovane di grand’ animo”); she told them of the intolerable yoke of Lodovico—of her husband, a grown man and a father, yet kept in tutelage. She told them doubtless by her messenger (no word of personal complaint appears in her letter) what Corio tells us: that amid all the luxury of Milan, the Duke and the Duchess procured with difficulty the bare necessities of life. There was much indignation in her old home, and Alfonso wrote to Il Moro demanding the throne and government of Milan for his son-in-law. “You make a laughing-stock of my daughter—shall we endure to see our blood despised?”[112]Lodovico, as his manner was, returned a soft answer. And a year or two went by in procrastination and recrimination; but in 1493 the house of Naples, in defence of the young Duke, declared war upon the Regent of Milan.

In another place I have spoken of the dismay and terror of that hour; the still rage of Lodovico—a rage not unmixed with joy and with the presentiment of success; the anger of his young wife, determined not to quit her throne, determined to take at last from the detested Isabel that one fine thing which as yet she had not dared to take from her: the title of Duchess. My readers know how, on the one hand, Lodovico sent to the Emperor admitting the illegal nature of the Sforza claim, and entreating him (for a consideration) to bestow it on him anew; how, on the other hand, he sent into France reminding Charles VIII. of the French claim to Naples; and how the French crossed the Alps in September; and how, in September also, very secretly, the Emperor’s Investiture arrived in Milan; and how on the morrow after the French left Milan the young Duke died (Teodoro di Pavia discovering in his body the evident signs of poison); and how the people, overawed by the neighbourhood of the French, were taught to acclaim Lodovico, consecrated thus alike by Imperial privilege and popular voice; so that he ruled at last as Duke in Milan.

Meanwhile Isabel and her little son had wandered about in exile, vainly seeking supporters. Success smiled on her rival, Beatrice, the mother of two sons who each, after many adventures, should rule as Duke of Milan. In September, 1496, while Isabel, her child in her arms, was discovering the futility of resistance, Beatrice at Vigevano was entertaining Maximilian. The great Emperor was at that time a man of thirty-seven, with long whitening hair, dressedin a long black velvet coat, a black woollen French cap, black stockings and sleeves; he wore no ornament save a little gold chain with the order of the Golden Fleece. He was under a vow to wear nothing but black until he could boast a Turkish victory. But, melancholy and grizzled Don Quixote as he appeared, Maximilian was no less an Emperor; and the Diary of Marino Sanuto shows us the splendour with which the Duke and Duchess of Milan made him welcome.

That splendour was very costly. Not only did it compel the Duke to levy grievous taxes (grandissime exstrusione a li so populi) on his subjects, so that they were like desperate men, desiring any change. If the expense of this entertainment was paid in tears, no less a price should be exacted for its fatigue. In September the Duchess Beatrice was pregnant: Marino Sanuto will conclude the story.[113]

“News of the month of January, 1496 (Old Style).

“How at Milan, in the castle, on the third day of the month, the Duchess, wife of the reigning Duke Lodovico, Beatrice by name, daughter of the Duke of Ferrara, was delivered of a still-born son;etiamshe herself was dead five hours after the child. And the said death hath plunged the Duke in heavy sorrow, so that he keepeth his room, the shutters closed and candles lit in daytime. And ’tis also reported—as I saw it set down in another letter—that the said Duchess died on the second day of the month, at six o’clock after noon; and that very day she had gone riding in her carriage through the streets of Milan, and had held a ball at the castle until two o’clock after dinner. And she hath left only two children behind her, boys—the one, Maximilian, Count of Pavey; the other, Sforza, three years of age. And the Duke cannot suffer the sorrow of this loss, for the great love he bore to his wife; and he saith he hath no heart for his children, nor his State nor for aught under the sun; so that almost is he weary of hislife.life.And, out of sadness, he keepeth his chamber, which is hung all in black; and there for a fortnight he hath shut himself in. And ’tis said that, in the selfsame night the Duchess died, the walls of her garden fell crashing to the ground, and yet was there neither tempest, wind nor earthquake; which thing was held by many for a sign of very evil omen.”

Last year I was in Lombardy, and, as a faithful adherent of the Viscontis, I stayed a little in Pavia. I found it a rather gloomy little Lombard town, white-washedand paven. Here and there a wine-coloured wall or tower broke the pallid monotony of the streets. The famous fortress, where Isabel of Arragon eat her heart in bitterness so many years, still exists, much rebuilt and altered indeed, but always a mass of fine red colour. In Pavia, however, there was nothing so interesting to me as those phantoms of vanished Viscontis and long-supplanted Sforzas that seemed so strangely out of place in this sad little sordid university town. And among these ranks of tragic shadows, the least forgiven, the least beloved, was always the Duchess Beatrice.

I had known her too long, the youthful and charming Lady Macbeth of Lombardy. I knew her as well as one can know a person, familiar through the gossip of acquaintance, although unseen and distant. I had heard of her as a haughty and ambitious woman, accepting with a smile the crimes that placed the crown of Milan on her head. She appeared as some Herodias of Luini’s, exquisite and sinister. And yet I knew she had been dearly worshipped in her lifetime and long lamented in her tomb. There are such Sirens, heartless and chill themselves, but capable of seizing an honest love with the same hands that grasp at a blood-stained treasure. Such, in my eyes, was the adored and evil wife of Lodovico il Moro.

It was Christmas-time and cold; with difficulty I roused myself to visit the Certosa. It is six miles, I suppose, from Pavia. The wretched carriage slowly dragged along through the muddy country; and from the whitened window one felt rather than saw the immense desolation of the view. On either hand of theraised road, a sluggish canal, and beyond a monotonous landscape of brown marshy pastures and bright green rice fields flecked with water, across which the scant snow drifted. The road seemed to extend for ever in front, unbroken, unturning. Suddenly in the middle of the country the carriage stopped; I walked a few steps up a muddy lane. To the right over a wall there appeared a great dome, with rose-red minarets, with spires of pale red, ivory and marble, among innumerable shaft-like towers tipped with cream-white columns. It is the Certosa.

At another season and in better health I should have found much to linger over in the great façade of the Certosa, fantastic, incoherent as a Midsummer Night’s Dream. Every inch of the front is covered thickly with ornament in high relief—Roman emperors and paladins of chivalry, eagles with praying angels on their outspread pinions, exquisite maidens floating full-length on a dolphin’s back, Sirens suckling their unearthly babes, hippogriffs, Prophets of Israel: strange, unexpected as the visions of delirium, they are assembled there. But, alone, in the bitter wind, I glanced at it all for a moment and entered the vast foundation of Giangaleazzo Visconti. Great halls, enormous, cold, spoiled as much as may be by the seventeenth century; a few good pictures by Borgognone, many bad ones; posthumous portraits of the great Viscontis: it was not so interesting as I had supposed.

Still I wandered on, making reflections on the difference of type in the Sforza and Visconti heads: the older tyrants keen-faced, refined with delicate,bone-less oval faces, and thin firm lips ridged out in a narrow line. There is something wolf-like in the long pointed noses, the pointed chins, low foreheads, as well as in the keen eyes, narrow and high in the head; altogether an interesting type, subtle, cruel, intellectual, and fierce. The Sforzas with their Wellington noses, their strongly marked eyebrows, prim-pursed lips and rounded chins, seem a square-faced kindly race of captains. Lodovico il Moro himself is there, with the fat face and fine chin of the elderly Napoleon, the delicate beak-like nose of Wellington; a small querulous neat-lipped mouth, and immense eyebrows, stretched like the talons of an eagle across the low forehead, complete the odd, refined physiognomy of the man. I looked at him with interest for a moment. But there, straight before me, stood the tomb of the wife he lost so young, the Duchess Beatrice.

To think that she is dead, and to think she was a woman! Impossible. She is a lively child, fallen asleep in playtime: motionless, but full of a contained vivacity. Her tumbled curls hang loosely round her shoulders, and stand up in a little frizz above the rounded childish forehead. As she lies there, a look of infantine candour is diffused over the soft, adorable, irregular features. She has straight, brief eyebrows like a little girl, but her closed eyelids are rounded like the petals of a thick white flower, and richly fringed with lashes. The little nose is of no particular shape—not quite a straight nose, but certainly not a snub; it is the prettiest nose at Court, with a rounded end like a child’s. The cheeks,too, are round apple-cheeks, not in the least like the Herodias of Luini; and round is the neat bewitching chin. But her chief beauty is her mouth—a mouth with the soft-closed lips of a dear child pretending to be asleep, yet smiling as if to say, “Soon I shall jump up and throw my arms round your neck, and you will be so surprised!”

The round head rises from a long plump throat. The small figure too is slender and plump at once, and very small, full of life still, it seems, under the pretty tight silk dress, with the slashed and purfled sleeves, and the long train of brocade, so lovingly, so carefully arranged not to encumber nor hide those little pattened feet, that were so fain of dancing and seem so ready to awake and dance again. This, then, is the famous Beatrice!—I looked and looked, at last I understood not only her, but the love of Lodovico: “And so, dear child, thou canst not live without a crown?—Ah well! What shouldst thou know of murder, dishonour, and the ruin of great states? Thou wilt never understand these gloomy things, and I shall pay the price—Ah God in heaven, I thank Thee for the gift of an immortal soul, since I may lose it for the pleasure of this child!”

Perhaps it was in this way that Lodovico reasoned; or perhaps it may be that at heart Macbeth is no less ambitious than his wife. Who knows? The wife, at least, must stand for something. At least, some share in the ruin of their country must be accorded to these three women—Bonne, who recalled Lodovico to Milan; Isabel, who inspired the war of Arragon and Sforza; and Beatrice, whose ambition urged her husband to invite the French to Italy.

111.“Cecco ed i suoi colleghi oltra modo d’animo furono consternati” (Corio, book vii.).

112. Corio, book vii.

113.“Nuove del mexe de Zener. 1497 O.S.“Chome a Milano nel Castello a dì 3, la duchessa, moglie dil ducha presente Lodovico, chiamata Beatrice, figlia dil ducha di Ferrara, poi parturido uno fiol morto; etiam la era morta 5 hore dopo el puto. Di la qual morte el ducha steva in gran mesticia, serade le fenestre in una camera a lume di candela. Et è da saper, come vidi una lettera, che detta Duchessa morite a dì 2 zener, a hora 6 di note, et che in quel zorno era stada di bona voglia in carretta per Milano, et fatto ballar in Castello fin hore 2 di note. Et lassò do soli figlioli, uno chiamato Maximiliano ch’è Conte di Pavia e l’altro, Sforza, di anni 3. La qual morte el Ducha non poteva tolerar, per il grande amor le portava et diceva non si vollerpiùpiùcurar ne de figlioli, ne di Stato, ne di cossa mondana; et apena voleva viver. Stava in una camera per mesticia tutta di panni negri, et cussi stete per 15 zorni. Et che in questa notte instessa in che la Duchessa morite, caschò a terra li muri dil suo zardin, non essendo sta ni vento ni terra moto; el qual da alcuni fu tolto per mal augurio.”“Diarii di Marino Sanudo, January 9, 1496.”

113.

“Nuove del mexe de Zener. 1497 O.S.

“Chome a Milano nel Castello a dì 3, la duchessa, moglie dil ducha presente Lodovico, chiamata Beatrice, figlia dil ducha di Ferrara, poi parturido uno fiol morto; etiam la era morta 5 hore dopo el puto. Di la qual morte el ducha steva in gran mesticia, serade le fenestre in una camera a lume di candela. Et è da saper, come vidi una lettera, che detta Duchessa morite a dì 2 zener, a hora 6 di note, et che in quel zorno era stada di bona voglia in carretta per Milano, et fatto ballar in Castello fin hore 2 di note. Et lassò do soli figlioli, uno chiamato Maximiliano ch’è Conte di Pavia e l’altro, Sforza, di anni 3. La qual morte el Ducha non poteva tolerar, per il grande amor le portava et diceva non si vollerpiùpiùcurar ne de figlioli, ne di Stato, ne di cossa mondana; et apena voleva viver. Stava in una camera per mesticia tutta di panni negri, et cussi stete per 15 zorni. Et che in questa notte instessa in che la Duchessa morite, caschò a terra li muri dil suo zardin, non essendo sta ni vento ni terra moto; el qual da alcuni fu tolto per mal augurio.”

“Diarii di Marino Sanudo, January 9, 1496.”

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