Hauntings | Page 6

and who was betrothed to one of the most
beautiful girls of Urbania. He immediately broke off his engagement,
and, shortly afterwards, attempted to shoot Duke Robert with a
holster-pistol as he knelt at mass on the festival of Easter Day. This
time Duke Robert was determined to obtain proofs against Medea.
Prinzivalle degli Ordelaffi was kept some days without food, then
submitted to the most violent tortures, and finally condemned. When he
was going to be flayed with red-hot pincers and quartered by horses, he
was told that he might obtain the grace of immediate death by
confessing the complicity of the Duchess; and the confessor and nuns

of the convent, which stood in the place of execution outside Porta San
Romano, pressed Medea to save the wretch, whose screams reached her,
by confessing her own guilt. Medea asked permission to go to a
balcony, where she could see Prinzivalle and be seen by him. She
looked on coldly, then threw down her embroidered kerchief to the
poor mangled creature. He asked the executioner to wipe his mouth
with it, kissed it, and cried out that Medea was innocent. Then, after
several hours of torments, he died. This was too much for the patience
even of Duke Robert. Seeing that as long as Medea lived his life would
be in perpetual danger, but unwilling to cause a scandal (somewhat of
the priest-nature remaining), he had Medea strangled in the convent,
and, what is remarkable, insisted that only women--two infanticides to
whom he remitted their sentence--should be employed for the deed.
"This clement prince," writes Don Arcangelo Zappi in his life of him,
published in 1725, "can be blamed only for one act of cruelty, the more
odious as he had himself, until released from his vows by the Pope,
been in holy orders. It is said that when he caused the death of the
infamous Medea da Carpi, his fear lest her extraordinary charms should
seduce any man was such, that he not only employed women as
executioners, but refused to permit her a priest or monk, thus forcing
her to die unshriven, and refusing her the benefit of any penitence that
may have lurked in her adamantine heart."
Such is the story of Medea da Carpi, Duchess of Stimigliano Orsini,
and then wife of Duke Guidalfonso II. of Urbania. She was put to death
just two hundred and ninety-seven years ago, December 1582, at the
age of barely seven-and twenty, and having, in the course of her short
life, brought to a violent end five of her lovers, from Giovanfrancesco
Pico to Prinzivalle degli Ordelaffi.
Sept. 20th.--
A grand illumination of the town in honor of the taking of Rome fifteen
years ago. Except Sor Asdrubale, my landlord, who shakes his head at
the Piedmontese, as he calls them, the people here are all Italianissimi.
The Popes kept them very much down since Urbania lapsed to the Holy
See in 1645.

Sept. 28th.--
I have for some time been hunting for portraits of the Duchess Medea.
Most of them, I imagine, must have been destroyed, perhaps by Duke
Robert II.'s fear lest even after her death this terrible beauty should play
him a trick. Three or four I have, however, been able to find--one a
miniature in the Archives, said to be that which she sent to poor
Prinzivalle degli Ordelaffi in order to turn his head; one a marble bust
in the palace lumber-room; one in a large composition, possibly by
Baroccio, representing Cleopatra at the feet of Augustus. Augustus is
the idealized portrait of Robert II., round cropped head, nose a little
awry, clipped beard and scar as usual, but in Roman dress. Cleopatra
seems to me, for all her Oriental dress, and although she wears a black
wig, to be meant for Medea da Carpi; she is kneeling, baring her breast
for the victor to strike, but in reality to captivate him, and he turns away
with an awkward gesture of loathing. None of these portraits seem very
good, save the miniature, but that is an exquisite work, and with it, and
the suggestions of the bust, it is easy to reconstruct the beauty of this
terrible being. The type is that most admired by the late Renaissance,
and, in some measure, immortalized by Jean Goujon and the French.
The face is a perfect oval, the forehead somewhat over-round, with
minute curls, like a fleece, of bright auburn hair; the nose a trifle
over-aquiline, and the cheek-bones a trifle too low; the eyes grey, large,
prominent, beneath exquisitely curved brows and lids just a little too
tight at the corners; the mouth also, brilliantly red and most delicately
designed, is a little too tight, the lips strained a trifle over the teeth.
Tight eyelids and tight lips