The Albany register. [volume] (Albany, Or.) 1868-18??, 1874-12-18
BRATRICE CENcr,

THE BEAUTIFUL AND ARIsToCRATIC ROMAN |
MAIDEN-A SAD STORY OF DEGENERATE AND
LICENTIoUs ITALY.
Italy has always been prolific of wonderful
women. Numa Pompilius worshipping at the
rural shrine of Egeria, and Nine. De Stael,
evolving the creator of Corinne, are two Incl
dents separated by centuries of time and a
long succession of extraordinary events, yet
plainly indicative of q marked characteristic
of the land of purple skies and fascinating his
tory. Italian atmosphere favors the highest
development of the Singularities of feminine
nature. The line of wonderful Italian women
has been almost unbroken for nearly three
thousand years. Under rude republic and
under powerful empire, under polytheisn
and under Christianity, in blaze of political
glory and in the depths of social degradation,
Italian femininity has always been the same
presenting to the Imagination most charming
pictures, and to the reason most perplexing
puzzles. History, associated with Italian
women, it becomes fascination.
Thus, with the story of the Cenci 1t has
enraptured the painter, the poet, the historian,
and the novelist. Guido aided himself to inn
mortality, immortalizingtthe beauty OF Bea-
trice; Shelley paid his tribute in a tragedy,
a fond apology for one whose story had capti-
waited him, and Guerrazzi has gsrlanded her
memory with some of his most enchanting
word bouquets Historians have warped facts
in order to preserve her. and travellers made
the scene of her crimes a shrine of martyred
innocence. Byron alone was just. His gen.
ius was always true, and never more accurate
then when he told Shelley that the tale of
horror, upon which he had founded his
tragedy, was essentially unCraEuaLlc, because
none of the actors command full sympathy.
The fate of De .Custine's drama and ShelIey's
tragedy justifies Byron's criticism.
The painter, however is the one to whom
the heroine of this tale of horror is largely in
debted for her popularity. Few old paintings
have been copied as often as Guido's portrait
of Beatrice Cenci. Since the days of chromos
the face is familiar TO all. Shelley speaks of
the original petrait "a just representation of
one of the loveliest specimens of the work
manship of nature" Guido represents her
head bound with folds of white drapery, from
which her golden hair escapes and falls about
her neck The head-dress is historical, al
though the tradition, that accepted by Shelley,
that the artist painted the portrait from nature,
denying the Imprisonment of the original is
not true. Guido Reni did not remove to Rome
until some years had elapsed after death OF
Beatrice. The portrait, therefore, is ideal in
part at least although probably not unlike the
original, since the artist may have been guided
in his representation by the ueScript of per
sons who had seen her.
The story of Beatrice Cenci has been told by
writers, and varied judgments have been
passed upon her. She was condemned and
suffered death for the murder of her father, yet
she has never been wanting of defenders. To
some she appeared an angel OF beauty and in
nocence, while others have been content to
urge sufficient proyocation to justify the act
of killing. GnerrazZi is one of the former and
Shelley one of the latter. The novelist insists
upon her entire innocence and purity, while
the dramatist maintains his plot by suppoSing
that the daughter compits parricide to pre-
vent her fathers incestuouS purposes. Neither
of the trial have been consulted, and the facts
gathered theretrom are sufficient to guide the
Intelligent inquirer to a fair judgment
The Cenci family was one of the oldest and
It's head during the latter part of the sixteenth
century was Count Francisco Cenci the father
of Beatrice. Whatever difference of opinion
may exist in reference to the daughter, there is
none in reference to tire father. He was
depraved and demoniacal beyond anything
that we can comprehend in these days. He
of md fal aid
ability was directed to the commission of
crimes. His victims were many, but the prin-
cipal ones were members of his own family.
At that time the laws of ancient Rome, giving
to the father the complete power over the rest
of the family, were still practically in force at
least SO far as the nobility were concerned.
Count Cenci exercised the authority of this
psrental dcspotism in the cruelist manner pos
sible. He had numerous family of sons, all
but two of whom were sent to there graves
through his instrumentality. He frequently
expressed his happiness over his success in
this direction, and the prospect Vi the early
determination of all his children. His crimes
outrageous that notwithstanding his
high rank he was constantly entangled in the
meshes of the law; and was obliged to extricate
himself by the payment of heavy fines. 1t is
related that these fines formed so considerable
part of the revenue of the government that
the authorities were in no hurry to get rid
of the old villain.
In 1898 his family consisted of his second
WIFE, Madonna Lucrezla, two sons, GiocOmo
and Bernardo. and his daughter Beatrice.
Another daughter was still living, but had
been released from imprisonment to
which her father had consigned her, through
the intervention of the Pope, and under his
prott ction had married a provincial noble.
The two sons were not allowed to enter the
paternal home. where the Count resided with
his wife and Beatrice. The latter was treated
more like prisoner than daughter. She
was at this time between seventeen and TWEEN
ty years of age. She had inherited large for
tune from her mother, but, fearing that she
would escape his authority by marriage, her
father guarded her with the utmost Jealousy
Her life alternated between u paIaee in Rome
and suburban villa belonging to the estate
and in zach she was surrounded by spies OF
immured in dungeon. Her father fell 1es-
perately in love with her, and the only kind.
ness she experienced from him was during the
fever of his unholy passion.
But all his precautions were unavailing
Beatrice $ marvellous beauty had attracted the
notice of q yOnng man of noble family who
was about entering the priesthood Guide
Guerro is described as being the handsomes
complexion, and noble bearing He was
very wealthy, and the only son of widowed
mother. He was peculiarly gifted mentally a.
well as physically. He had fine talents anC
was skiilful cultivator of the fine arts Hi.
passion for Beatrice was reciprocated and tn,
lovers were encouraged by Lady Lucrezia
The count sooa1 discoVered the affair and for
bade Guido to enter tho house. Clandestin,
meetings followed. and the amour progressed
The vigilance of the count, intensified by hi
jealousy of his successful rival soon reduce
was removed to the suburban castle and close
ly guarded. Through the treachery of som,
OF the counts spies and the assistance Of tn
ladies, the lover Was enabled to gain access {,
this retreat Here plan was concerted be
tween the wife, daughter and lover for thei
release through the death of the count. Tw,
bravos named Mario and Olimpio were hire,
70 intercept him on the road, and dispatch him
The lovers, waiting anxiously for the return q
the assassins, were dismayed at seeing the in
tended victim return instead.
a second plan was arranged. 1t was de