Summary

John Bond In the Pillory: The Tale of the Borgia Pope… (1929)

A head of intoxicating beauty but altogether sensual; the limbs perfect in their rounded symmetry. What a mockery to label this figure as the symbol of Justice. The flame in her right hand is well placed, she holds it daintily as if it were a bouquet of flowers, but the emblem of Justice seems to fall from her grasp because so shockingly misplaced. No other figure of Justice in all the allegorical sculpture of the world lies thus languidly and longingly on a couch. Thus she probably lay in Borgia's bed—one cannot help thinking that this was the picture in the artist's mind.
Source: Wikisource

John Bond In the Pillory: The Tale of the Borgia Pope… (1929)

In that he failed, nor could any artist have succeeded. Being honest with his artistic conscience he produced the finest type of Venus to be found in Rome to this day, the many classic creations all included. Had he done nothing else, this speaking statue of Borgia's last and most beautiful concubine would entitle him to rank high among the sculptors of any age. He has made the "Venus of the Vatican" breathe and live and cast her spell on every beholder, even the pious pilgrims who gaze at the sight in wonder and in absolute, if blessed, ignorance of the facts.
Source: Wikisource

John Bond In the Pillory: The Tale of the Borgia Pope… (1929)

Until the beginning of last century masses were still being said in this church for the repose of her soul and that of her ill-starred son Juan Borgia, buried with her under one tombstone.
I may remark in passing that tradition by word of mouth lives long in the Eternal City, almost as long as in the countries of the East. Much of it may be gossip but there is always a vein of truth. The men who deal in books and pictures, following in the footsteps of remote ancestors, preserve many a curious and interesting fact which is not found in formal chronicles.
Source: Wikisource

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