Beatrice Cenci

“ In the whole mien there are simplicity and dignity which, united with her exquisite loveliness and deep sorrow, are inexpressibly pathetic. Beatrice Cenci appears to have been one of those rare persons in whom energy and gentleness dwell together without destroying one another ”

“ Beautiful Parricide (The) , Beatrice Cenci, daughter of a Roman nobleman, who plotted the death of her father because he violently defiled her. She was executed in 1605. Shelley has a tragedy on the subject, entitled The Cenci. Guido Reni's portrait of Beatrice is well known through its numberless reproductions.
Beauty (Queen of) . So the daughter of Schems'edeen' Mohammed, vizier of Egypt, was called. She married her cousin, Bed'redeen' Hassan, son of Nour'edeen' Ali, vizier of Basora.—Arabian Nights ("Nouredeen Ali," etc.) . ”

“ But we passed hastily by this, and almost all others, being eager to see the two which chiefly make the collection famous,—Raphael's Fornarina, and Guido's portrait of Beatrice Cenci. These were found in the last of the three rooms, and as regards Beatrice Cenci, I might as well not try to say anything; for its spell is indefinable, and the painter has wrought it in a way more like magic than anything else. . . . .
It is the most profoundly wrought picture in the world; no artist did it, nor could do it, again. Guido may have held the brush, but he painted "better than he knew." ”

“ Orate; under this gravestone is buried Beatrice Cenci, whose tragical story cannot but impress you profoundly.
She was the daughter of Francesco Cenci. Whether or not it be true that men are born in harmony with their epoch, and that some embody its good qualities and others its bad ones, it may nevertheless interest our readers to cast a rapid glance over the period which had just passed when the events which we are about to relate took place. Francesco Cenci will then appear to them as the diabolical incarnation of his time. ”

“ Shifting the scene to Rome, we light upon a group of notable misdeeds enacted in the last half of the sixteenth century, each of which is well calculated to illustrate the conditions of society and manners at that epoch. It may be well to begin with the Cenci tragedy. In Shelley's powerful drama, in Guerrazzi's tedious novel, and Scolari's digest, the legend of Beatrice Cenci has long appealed to modern sympathy. The real facts, extracted from legal documents and public registers, reduce its poetry of {346} horror to comparatively squalid prose. ”

“ The love of teasing is, of course, only a base form of the love of power. Mr. Harness and I had a long discussion the other night about the Cenci; he maintains your opinion, that the wicked old nobleman was absolutely mad; but I argued the point stoutly for his sanity, and very nearly fell into the fire with dismay when I was obliged to confess that if he was not mad, then his actuating motive was simply the love of power. Do you know that that play was sent over by Shelley to England with a view to Miss O'Neill acting Beatrice Cenci? ”

“ To make sure of her custody, Francesco kept her shut up in a remote apartment of his palace, the key of which he kept in his own possession. There, her unnatural and inflexible gaoler daily brought her some food. Up to the age of thirteen, which she had now reached, he had behaved to her with the most extreme harshness and severity; but now, to poor Beatrice’s great astonishment, he all at once became gentle and even tender. Beatrice was a child no longer; her beauty expanded like a flower; and Francesco, a stranger to no crime, however heinous, had marked her for his own. ”

“ Harefield’s death was a very mysterious affair—that a great deal more would come out at the next inquiry—that the butler and Bella Scratchell were both keeping back a great deal—that Beatrix and her father had lived much more unhappily together than anybody had hitherto suspected—that Beatrix, being of Italian origin on the mother’s side, was likely to do strange things. In support of which sweeping conclusion the better informed gossips cited the examples of Lucretia Borgia, Beatrice Cenci, and a young woman christened Bianca, whose surname nobody was able to remember. ”

“ Beatrice, above all, displayed the greatest assurance, demanding to be the first to be confronted with Marzio; whose mendacity she affirmed with such calm dignity, that he, more than ever smitten by her beauty, determined, since he could not live for her, to save her by his death. ”

“ If Cenci should be murdered?—Yet, if murdered,
Wherefore by me? And what if I could take
The profit, yet omit the sin and peril
In such an action? Of all earthly things
I fear a man whose blows outspeed his words _125
And such is Cenci: and while Cenci lives
His daughter's dowry were a secret grave
If a priest wins her.—Oh, fair Beatrice!
Would that I loved thee not, or loving thee,
Could but despise danger and gold and all _130
That frowns between my wish and its effect.
Or smiles beyond it! There is no escape... ”

“ In Rome, people with fine sympathetic natures stand up and weep in front of the celebrated 'Beatrice Cenci the Day before her Execution.' It shows what a label can do. If they did not know the picture, they would inspect it unmoved, and say, 'Young girl with hay fever; young girl with her head in a bag.'
I found the half-forgotten Southern intonations and elisions as pleasing to my ear as they had formerly been. ”

“ I had a copy of Guido's picture of Beatrice which is preserved in the Colonna Palace, and my servant instantly recognized it as the portrait of La Cenci.
This national and universal interest which the story produces and has produced for two centuries and among all ranks of people in a great City, where the imagination is kept for ever active and awake, first suggested to me the conception of its fitness for a dramatic purpose. In fact it is a tragedy which has already received, from its capacity of awakening and sustaining the sympathy of men, approbation and success. ”

“ At this time Francesco was obliged to make a journey, and leave the women alone and free. The first thing Lucrezia did was to enlighten Beatrice an the infamy of the life they were leading; they then together prepared a memorial to the pope, in which they laid before him a statement of all the blows and outrages they had suffered. But, before leaving, Francesco Cenci had taken precautions; every person about the pope was in his pay, or hoped to be. ”

“ Such is the human mind, and so it peoples with its wishes vacancy and oblivion."
Escaping from the scene of so much sorrow, they established themselves at the Villa Valsovano, near Leghorn. Here Shelley began and finished "The Cenci" at the instance of his wife, who rightly thought that he undervalued his own powers as a dramatic poet. The supposed portrait of Beatrice in the Barberini Palace had powerfully affected his imagination, and he fancied that her story would form the fitting subject for a tragedy. ”

“ Henceforth the doom of Francesco was irrevocably pronounced.
As we have said, the mind of Beatrice was susceptible to the best and the worst influences: it could attain excellence, and descend to guilt. She went and told her mother of the fresh outrage she had undergone; this roused in the heart of the other woman the sting of her own wrongs; and, stimulating each other’s desire for revenge, they, decided upon the murder of Francesco.
Guerra was called in to this council of death. His heart was a prey to hatred and revenge. ”

“ Then Beatrice disdainfully raised her head, and in a deep firm voice thus reproached them.
“Is it possible that you, who pretend to be brave and strong, have not courage enough to kill a sleeping old man? ”

“ People were surprised to see such a rich cloak in the possession of the executioner, but were told that it was the one given by Beatrice to Marzio to pledge him to the murder of her father, which fell to the executioner as a perquisite after the execution of the assassin. The sight of the great assemblage of people produced such an effect upon the boy that he fainted. ”

“ Then Beatrice, who was still on her knees, rose with a tranquil and almost joyful countenance. “Mother,” said she, “the moment of our suffering is impending; I think we had better dress in these clothes, and help one another at our toilet for the last time.” They then put on the dresses provided, girt themselves with the cords; Beatrice placed her turban on her head, and they awaited the last summons.
In the meantime, Giacomo and Bernardo, whose sentences had been read to them, awaited also the moment of their death. ”

“ Lucrezia heard the tidings with more firmness, and proceeded to dress herself to go to the chapel, exhorting Beatrice to resignation; but she, raving, wrung her, hands and struck her head against the wall, shrieking, “To die! to die! Am I to die unprepared, on a scaffold! ”

“ Having now seen the tomb, if you desire to form a more vivid impression of the principal actors in this tragedy than can be derived from a narrative, pay a visit to the Barberini Gallery, where you will see, with five other masterpieces by Guido, the portrait of Beatrice, taken, some say the night before her execution, others during her progress to the scaffold; it is the head of a lovely girl, wearing a headdress composed of a turban with a lappet. The hair is of a rich fair chestnut hue; the dark eyes are moistened with recent tears; a perfectly farmed nose surmounts an infantile mouth ”

“ These voices were those of Giacomo, Bernardo, and Lucrezia Petroni. The judges, perceiving the obstinacy of Beatrice, had ordered that the accused, who had been separated for five months, should be confronted.
They advanced into the torture chamber, and seeing Beatrice hanging by the wrists, her arms disjointed, and covered with blood, Giacomo cried out:—
“The sin is committed; nothing further remains but to save our souls by repentance, undergo death courageously, and not suffer you to be thus tortured.” ”

“ He was put to the torture, and confessed everything. His deposition was sent to Rome, whither he shortly afterwards followed it, to be confronted with the accused. Warrants were immediately issued for the arrest of Giacomo, Bernardo, Lucrezia, and Beatrice; they were at first confined in the Cenci palace under a strong guard, but the proofs against them becoming stronger and stronger, they were removed to the castle of Corte Savella, where they were confronted with Marzio; but they obstinately denied both any complicity in the crime and any knowledge of the assassin. ”

“ During the night a lofty scaffold had been erected on the bridge of Sant’ Angelo, and the plank and block were placed thereon. Above the block was hung, from a large cross beam, a ponderous axe, which, guided by two grooves, fell with its whole weight at the touch of a spring.
In this formation the procession wended its way towards the bridge of Sant’ Angela. Lucrezia, the more broken down of the two, wept bitterly; but Beatrice was firm and unmoved. On arriving at the open space before the bridge, the women were led into a chapel, where they were shortly joined by Giacomo and Bernardo ”

“ Towards midnight, Beatrice fetched them out of their hiding-place, and took them to her father’s chamber, the door of which she herself opened. The assassins entered, and the two women awaited the issue in the room adjoining.
After a moment, seeing the sbirri reappear pale and nerveless, shaking their heads without speaking, they at once inferred that nothing had been done.
“What is the matter?” cried Beatrice; “and what hinders you?”
“It is a cowardly act,” replied the assassins, “to kill a poor old man in his sleep. ”

“ Rich, young, noble, and handsome, everything would seem to promise him success; yet he was rudely dismissed by Francesco. The first refusal did not daunt him; he returned to the charge a second time and yet a third, insisting upon the suitableness of such a union. At length Francesco, losing patience, told this obstinate lover that a reason existed why Beatrice could be neither his wife nor any other man’s. Guerra demanded what this reason was. ”

“ But her precautions to shorten the bitterness of death were of no avail, for the pope, knowing her impetuous disposition, and fearing lest she might be led into the commission of some sin between absolution and death, had given orders that the moment Beatrice was extended on the scaffold a signal gun should be fired from the castle of Sant’ Angelo ”

“ It will be remembered what he had formerly suffered from his father; since that time he had married, and the close-fisted old man had left him, with his wife and children, to languish in poverty. Guerra’s house was selected to meet in and concert matters.
Giacomo hired a sbirro named Marzio, and Guerra a second named Olympio.
Both these men had private reasons for committing the crime—one being actuated by love, the other by hatred. Marzio, who was in the service of Giacomo, had often seen Beatrice, and loved her, but with that silent and hopeless love which devours the soul. ”

“ The notion that Beatrice is but an abstraction is utterly refuted, to adduce no other testimony, by Cino's consolatory poem on her death, quoted in the preceding chapter, and can only be entertained by those who know little of love, or are entirely possessed by the passion for allegorising. If ever intense affection was conveyed in intense language it is here, while at the same time the passion is purely Platonic, and there is no proof that it was in any degree shared by its object, who appears to have been already married. ”

“ Nor are the principals in that domestic scene wholly unfamiliar to us, for in the mild eyes and Madonna-like countenance of the one, and in the well-known face and embrowned features of the other, we recognize two of those who have figured as the chief personages in our story. Years have not impaired the beauty of Beatrice, for they have fallen as light on her as blossoms. But she is not now alone in her loveliness, for at her knee is one, like and yet unlike her, younger but not more beautiful, gayer but with scarcely less sweetness. ”