She Stands Accused | Page 4

much foundation for the charge as there is for the other, that Lucretia was a poisoner. The answer to the latter accusation, says my same authority, may take the form of a question: WHOM DID LUCRETIA POISON? As far as history goes, even that written by the Borgia enemies, the reply is, NOBODY!
Were one content, like Gibbon, to take one's history like snuff there would be to hand a mass of caliginous detail with which to cause shuddering in the unsuspecting reader. But in mere honesty, if in nothing else, it behoves the conscientious writer to examine the sources of his information. The sources may be--they too frequently are--contaminated by political rancour and bias, and calumnious accusation against historical figures too often is founded on mere envy. And then the rechauffeurs, especially where rechauffage is made from one language to another, have been apt (with a mercenary desire to give their readers as strong a brew as possible) to attach the darkest meanings to the words they translate. In this regard, and still apropos the Borgias, I draw once again on Rafael Sabatini for an example of what I mean. Touching the festivities celebrating Lucretia's wedding in the Vatican, the one eyewitness whose writing remains, Gianandrea Boccaccio, Ferrarese ambassador, in a letter to his master says that amid singing and dancing, as an interlude, a ``worthy'' comedy was performed. The diarist Infessura, who was not there, takes it upon himself to describe the comedy as ``lascivious.'' Lascivious the comedies of the time commonly were, but later writers, instead of drawing their ideas from the eyewitness, prefer the dark hints of Infessura, and are persuaded that the comedy, the whole festivity, was ``obscene.'' Hence arises the notion, so popular, that the second Borgia Pope delighted in shows which anticipated those of the Folies Bergere, or which surpassed the danse du ventre in lust-excitation.
A statue was made by Guglielmo della Porta of Julia Farnese, Alexander's beautiful second mistress. It was placed on the tomb of her brother Alessandro (Pope Paul III). A Pope at a later date provided the lady, portrayed in `a state of nature,' with a silver robe--because, say the gossips, the statue was indecent. Not at all: it was to prevent recurrence of an incident in which the sculptured Julia took a static part with a German student afflicted with sex-mania.
I become, however, a trifle excursive, I think. If I do the blame lies on those partisan writers to whom I have alluded. They have a way of leading their incautious latter-day brethren up the garden. They hint at flesh-eating lilies by the pond at the path's end, and you find nothing more prone to sarcophagy than harmless primulas. In other words, the beetle-browed Lucretia, with the handy poison-ring, whom they promise you turns out to be a blue-eyed, fair-haired, rather yielding little darling, ultimately an excellent wife and mother, given to piety and good works, used in her earlier years as a political instrument by father and brother, and these two no worse than masterful and ambitious men employing the political technique common to their day and age.

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Messalina, Locusta, Lucretia, Theodora, they step aside in this particular review of peccant women. Cleopatra, supposed to have poisoned slaves in the spirit of scientific research, or perhaps as punishment for having handed her the wrong lipstick, also is set aside. It were supererogatory to attempt dealing with the ladies mentioned in the Bible and the Apocrypha, such as Jael, who drove the nail into the head of Sisera, or Judith, who cut off the head of Holofernes. Their stories are plainly and excellently told in the Scriptural manner, and the adding of detail would be mere fictional exercise. Something, perhaps, might be done for them by way of deducing their characters and physical shortcomings through examination of their deeds and motives--but this may be left to psychiatrists. There is room here merely for a soupcon of psychology--just as much, in fact, as may afford the writer an easy turn from one plain narrative to another. You will have no more of it than amounts, say, to the pinch of fennel that should go into the sauce for mackerel.
Toffana, who in Italy supplied poison to wives aweary of their husbands and to ladies beginning to find their lovers inconvenient, and who thus at second hand murdered some six hundred persons, has her attractions for the criminological writer. The bother is that so many of them have found it out. The scanty material regarding her has been turned over so often that it has become somewhat tattered, and has worn rather thin for refashioning. The same may be said for Hieronyma Spara, a direct poisoner and Toffana's contemporary.
The fashion they set passed to the Marquise de Brinvilliers, and she, with La