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First Published:
Sep 2022, 352 pages
Paperback:
Jul 2023, 352 pages
Book Reviewed by:
Rose Rankin
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The author of Hamnet - New York Times bestseller and National Book Award winner - brings the world of Renaissance Italy to jewel-bright life in this unforgettable portrait of the captivating young duchess Lucrezia de' Medici as she makes her way in a troubled court.
Florence, the 1550s. Lucrezia, third daughter of the grand duke, is comfortable with her obscure place in the palazzo: free to wonder at its treasures, observe its clandestine workings, and devote herself to her own artistic pursuits. But when her older sister dies on the eve of her wedding to the ruler of Ferrara, Modena and Reggio, Lucrezia is thrust unwittingly into the limelight: the duke is quick to request her hand in marriage, and her father just as quick to accept on her behalf.
Having barely left girlhood behind, Lucrezia must now enter an unfamiliar court whose customs are opaque and where her arrival is not universally welcomed. Perhaps most mystifying of all is her new husband himself, Alfonso. Is he the playful sophisticate he appeared to be before their wedding, the aesthete happiest in the company of artists and musicians, or the ruthless politician before whom even his formidable sisters seem to tremble?
As Lucrezia sits in constricting finery for a painting intended to preserve her image for centuries to come, one thing becomes worryingly clear. In the court's eyes, she has one duty: to provide the heir who will shore up the future of the Ferranese dynasty. Until then, for all of her rank and nobility, the new duchess's future hangs entirely in the balance.
Full of the beauty and emotion with which she illuminated the Shakespearean canvas of Hamnet, Maggie O'Farrell turns her talents to Renaissance Italy in an extraordinary portrait of a resilient young woman's battle for her very survival.
A Wild and Lonely Place
Fortezza, near Bondeno, 1561
Lucrezia is taking her seat at the long dining table, which is polished to a watery gleam and spread with dishes, inverted cups, a woven circlet of fir. Her husband is sitting down, not in his customary place at the opposite end but next to her, close enough that she could rest her head on his shoulder, should she wish; he is unfolding his napkin and straightening a knife and moving the candle towards them both when it comes to her with a peculiar clarity, as if some coloured glass has been put in front of her eyes, or perhaps removed from them, that he intends to kill her.
She is sixteen years old, not quite a year into her marriage. They have travelled for most of the day, using what little daylight the season offers, leaving Ferrara at dawn and riding out to what he had told her was a hunting lodge, far in the north-west of the province.
But this is no hunting lodge, is what Lucrezia had wanted to say when they reached their ...
The structure gives the book the feel of a murder mystery — Will he or won't he do it? What is he capable of? — and the simmering undercurrents of danger draw the reader in, enveloping us in Lucrezia's fear and confusion, but also her intelligence and bravery. By shortening the distance between Lucrezia's lifetime and our own, O'Farrell also makes the risks of succession and reproduction patently clear for modern readers. She provides a glimpse of the terror, pride, hope, danger and sometimes affection that marriage entailed for early modern women, all within an exciting and fast-paced tale...continued
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(Reviewed by Rose Rankin).
In The Marriage Portrait, Maggie O'Farrell captures the dark personality of Alfonso II d'Este, Duke of Ferrara (a region in northern Italy), who lived from 1533 to 1597. Alfonso was the last in his family lineage, which stretched back to the 13th century. As monarchs around the world have experienced throughout history, a lack of male heirs doomed the Este dynasty — despite marrying three times, Alfonso fathered no children. Prior to the end of the line, however, the Este family produced some of the most colorful characters and generous art patrons of the Italian Renaissance.
The most notable members of the family include Ercole I (d. 1505), who became a leading patron by bringing artists to the court at Ferrara — he had a ...
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