The Borgias - a musical background

Musical selections from The Borgias

by Edward C. Yong

Just as 3PP's reviews of The Borgias have focused on the art and historical events of the era, the show also contains selections of music designed to evoke the feel of the period. As a practitioner of early music, I am often asked about the accuracy of the background music used in the series, so would like to offer the following clarifications and examples. Generally speaking, there was a reasonable amount of period music, though with some distinct exceptions. The following examples are from the first season of the show, including the episode depicting Lucrezia's wedding, which receives the most interest for its musical selections.

The Borgias: The Confession

The second season finale of The Borgias ties together the main story arcs of the series so far. Lucrezia is finally married to Alphonso of Aragon, Savonarola is silenced and the poisoning attempt orchestrated by Giuliano della Rovere is delivered by his young assassin. 

The Borgias: World of Wonders

The ninth episode in the second series of The Borgias brings us two major events which actually occurred in different years, Savonarola's ordeal by fire (April 7 1498) and the death of Juan Borgia (14/15 June 1497). Meanwhile, Giuliano della Rovere's assassin takes a step closer to his target and Lucrezia's unlikely Genoese suitors are finally sent from Rome.

The Borgias: The Siege at Forli

The seventh episode in the second series of The Borgias finally delivers the infamous bonfire of the vanities, a spectacle promised since Savonarola was introduced in the first series. Juan Borgia returns from Spain, and is quickly set to the task of bringing Caterina Sforza to Rome.

The Borgias: Day of Ashes

The sixth episode in the second series of The Borgias depicts the religious fervour inspired by Savonarola in Florence. Piero dei Medici finally makes his exit from the city and Pope Alexander and Cesare plot Savonarola's demise. Despite her objections, it is decided that Lucrezia is to be re-married in the interests of securing another favourable financial and military alliance.

The Borgias: The Choice

The fifth episode in the second series of The Borgias finally brings us back to Florence, where we get a glimpse of the fervour descending on  the city, incited by Savonarola. The show offers us another look inside the Medici Palace and takes us to Caterina Sforza's fortress at Forli, where Cesare Borgia has been sent to specify the terms of her compliance to Rome.

The Borgias: Stray Dogs

The fourth episode in the second series of The Borgias is centred around the engagement known as the Battle of Fornovo which occurred on July 6 1495, an altogether bewildering skirmish between the French and the newly minted Holy League. We also see tragedy befall Cesare, who openly reveals his darkening nature and assembles a band of rogues to seek vengeance on the French. Those familiar with Renaissance history may be pleased to note the appearance of Francesco II Gonzaga and Ludovico Sforza. The episode also holds some amusing challenges for fans of art, with  glimpses of famous regal portraits by Titian and Clouet featuring the likeness of an actor in the show.

The Borgias: The Beautiful Deception

The third episode in the second series of The Borgias witnesses the exit of King Charles VIII of France from Naples, and Cesare's first steps towards being head of the Papal Army. Some breathtaking though anachronous art historical references were made, particularly noticeable to fans of Raphael. Giuliano della Rovere makes plans that promise the show will soon return to Florence, and the Sforza arrive to join Charles in a confrontation that never was.

The Borgias: Paolo

The second episode in season two of The Borgias remained firmly planted in the historical period of early 1495, with King Charles VIII of France still in Naples. The episode provides some fascinating art historical moments, including perhaps the first words uttered by artist Pinturicchio since the sixteenth century. Cesare takes some time to gently school us on the iconography of Saint Cecilia, and playful references discernible to those familiar with the history of Pope Julius II were also made. The key focus of this episode was to tragically end Lucrezia's forbidden relationship with stable boy Paolo, perhaps providing a traumatic emotional context to the impending violence suggested in Lucrezia's and Cesare's future. 

The Borgias: The Borgia Bull

The second season of the Showtime series The Borgias commenced in early April 2012, picking up shortly after the events of the first series. With the forces of King Charles VIII of France occupying Naples, the time period suggested is the first half of 1495. As per season one, 3PP will be presenting reviews focusing on the art and historical elements in the show. This first episode's title itself is a clever play on words, a reference to the bull on the Borgia family crest, and also to the controversial decree issued by Alexander in 1493, the Papal Bull known as the Inter Caetera, which effectively granted the Kingdom of Spain dominion over the new world. This legislation is still a major topic of study and debate concerning land rights issues for the native populations of the Americas.

The Borgias: Nessuno (Nobody)

 Francesco Francia. The Burial of Saint Cecilia. c.1504-06. Oratorio di Santa Cecilia, Bologna

The series one finale of The Borgias continued its liberal but intriguing mix of fact versus fiction. Sticklers for historical accuracy will likely find this episode the most challenging of all - with the introduction of a child for Lucrezia. Those more into an entertaining story may find this episode less rewarding as well, which for want of a better description could be best described as anticlimactic for a series finale. For fans of the period's art, there was a clearer glimpse at the elusive painting at the convent, allowing its accurate identification as a fresco created in Bologna some 10 years after the show's setting 

Diary of a Borgia Pope - The Tale of Johannes Burchardus

The Diary Keeper of the Borgia Pope

by Mary Jo Gibson

Let writers of history remember never to dare to tell a lie nor fear to tell the truth. 
Pope Leo XIII

Johannes Burchardus (or Burchard, Burckhart) would perhaps only be a footnote in the history of the Catholic Church save for his contribution to the annals of history with a diary - the Liber Notarum -  invaluable for anyone studying the papacy of Alexander VI, Rodrigo Borgia. Serving as master of ceremonies for five pontiffs, Burchardus’ meticulous knowledge of law and diplomatic protocol made him indispensable within the papal court. Lapses of etiquette causing him acute annoyance, Burchardus controlled all placements of visiting dignitaries, cardinals, and wayward offspring such as Cesare, Lucrezia and Juan Borgia.

The Borgias: The Art of War

The eighth episode of The Borgias continues the story of French expedition into Italy, just stopping short of the entry into Rome. Comparing events with the historical record, we find what is depicted on screen more congruent with overall themes of 1494-5, rather than a recreation of specific events, with a fair amount of dramatic license thrown in to keep the characters busy. On an art historical note, a Fra Angelico is transported from Florence to make a very brief cameo, along with a glimpse of another more elusive piece. It was another episode with great action sequences, as French cannon are turned on the Papal forces.

The Borgias: Death on a Pale Horse

The seventh episode of The Borgias was an action packed affair, depicting the forces of Charles VIII arriving in Italy, accompanied by Cardinal della Rovere. Whilst there were no new glimpses of artworks or artists in this episode, we again get to see the inverted Battle of San Romano in the background of Palazzo Medici, and get another taste of Savonarola spewing bile at the Florentines as news of the brutality of the French forces spread. As shall be outlined, the reality of the events of 1494 were somewhat different.

The Borgias: The French King

The sixth episode in the first season of the Showtime series The Borgias introduces one of the key political players of the era, as well as gives insights into how future allegiances will be shaped. On its own it contains perhaps the least historical detail of episodes to date, though this does not detract from the overall enjoyment of the episode. The introduction of the fiery Sancia of Naples, and the nod to Echo and Narcissus were two very subtle, but intriguing art historical references.  

The Borgias: The Borgias in Love

The fifth installment in the first season of the Showtime series The Borgias contained some interesting moments, some of them resonating in the historical record, others not. We take a trip back to Florence and get another glimpse of Savonarola, and travel north to Milan to visit the infamous Ludovico Sforza. The art historical references are short and sharp, and a little less obvious than in previous episodes, but are an interesting challenge for Renaissance art and history fans keenly following the show.

The Borgias: Lucrezia's Wedding

The fourth episode in the Showtime series The Borgias is a treat for fans of Renaissance history. The art historical references are not verbalised, but are still fantastic to behold and contemplate. Further liberties are taken with the story, particularly the arc following Cardinal della Rovere, but it was still remarkably enjoyable to watch. The music in the wedding scene will also ring familiar to lovers of Renaissance and early music. This is also the episode where we are first given a glimpse of Renaissance Florence, presently under the spell of Dominican friar Girolamo Savonarola. 

The Borgias: The Moor

Continuing the art and history focused review of the Showtime series The Borgias, this week's episode continues on from the events of the first double length episode which was set in 1492, the year of Rodrigo's accession to Pope. Students of Renaissance and Ottoman history will find this episode a bit disappointing from the perspective of historical accuracy, but there is still much that is interesting to make it worth watching, including a nice helping of art history references.

The Borgias: The Poisoned Chalice/The Assassin

This is the first in a series of reviews of the new Showtime series The Borgias. After receiving numerous requests to discuss this series, I have been pondering how to approach it in a way that wouldn't make it a chore or read like a dry synopsis. Watching the first episode provided me with the solution - I will comment on the general history of events depicted, but also focus on the art historical elements in each episode - which is a fascinating layer to the show that can best be appreciated with a knowledge of Renaissance art and architecture.