Annibale Cogliano
Carlo Gesualdo. Il
Principe, lamante, la strega
The time and place:
1603 in Gesualdo, a little agricultural and
market town in Southern Italy
The protagonists: the mistress, the witch, the
sorcerer, and the wife of the bewitched
The witchcraft for love: the spell and the poisoning
The victim: Carlo Gesualdo,
the Prince of the Musicians, the last descendant of Robert the Guiscardo, first Norman King of Sicily
The trial: the triumph of secular power, both
baronial and viceroyal
The defeated ones at the time, and the winners in the
long run: the einlightened Church and the Holy Office
Magic as
an emotional, cultural, and practical answer to suffering and to aristocratic
contradictions in a society in transition
The problem of the lack of
efficacy of medicine among physicians, barbers, exorcists, and strioni (popular healers)
Unfortunately the documents about the trial for witchcraft or
maleficium
against Prince Carlo Gesualdo, the famous musician,
are very poor: there are only a series of reports or correspondences among the baronal judge, the Viceroy and the
episcopal
Court. But this limitation has been lucky for my research, because I have been
obliged to shift my reserach toward the rich
correspondence by relatives of Carlo Gesualdo and
toward material in numerous other Italian and European archives. The inquiry on
the fate of the witch, Aurelia, and her accomplices has ballooned into an
inquiry on the mentality, the magic, the Church, the official medicine, popular ritual healings, and aristocratic
man-women relationships of the late 16th and early 17th century in Italian
Courts.
The time and place
The case of witchcraft (spell and the
poisoning) we are dealing with occurred in 1603, in a little (2,000 inhabitants)
agricultural and mercantile town in the
Naples Kingdom, a Spanish province. Lets say at the outset:
in this period, there is no difference between popular culture and learned
culture regarding views on magic, either in cities or the countryside.
The town of Gesualdo (the name of the town is the same
of the Prince, or better the town gave its name to the family Gesualdo) is not distinctive. Situated on a lovely,
dolce,
hill (altitude 600 metres), it was exposed to traders and to all of the cultural
influences coming from Naples and other cities. Its crowded fairs, held
several times a year, assured that there were exchanges of ideas and goods of
all kinds. The population is not
stagnant: new weddings and other newcomers followed a series of plagues,
famines, and wars. Witchcraft is
practiced by many people: the most skillful are
professional men and women, often older, wise women and healers, experts in
herbal medicine, the manipulation of bones, and in childbirth. Everyone believes in magic: spells,
incantations, conjurations, manipulations, etc. This magic is no different from
that of the saints, God, the Mass, Holy Water, the Host, devotions, processions,
and so forth.
On the other hand, what is so different about
exorcism, the declaration of anathema or excommunication by the Church, on the
one hand, and conjurations and maledictions by the common people? Above all, nobody thinks that the resort to
supernatural powers (whether divine or diabolical) is a transgression or a
mortal sin. After the Council of Trent, the Church is a greater presence with more relics,
devotions, masses, processions, the building of churches and monasteries,
pastoral visits; but the spiritual religious life never changes. The Divinity is
present only if his face is visible and the Saints are only the sacred in an
accessible form, indipendent of any clerical
intervention. St. Rocco is the protector against the plague, St. Margaret for
pregnancy, St. Lucy for the eyes, St. Barbara against fire. Also God and the
Madonna are saints: the heathen gods
never disappear, they have only been replaced. Popular beliefs and
religion overlap, sometimes in competition, but always also complementary to
each other. A new bishop never tries to disrupt this balance: if he is radical,
he is immediately refuted. Each reform can pass only if it is able to build a
bridge between the Church and popular
culture.
The mistress, the witch, the sorcerer, and the wife
of the bewiched
Leonora dEste, the second
wife of Carlo Gesualdo, tired of his continous betrayal and also because of his occasional
physical violence--, and no less because of the consumation
of his betrayal under her own eyes in the castle where he held court--threatens
to expose the scandal. Yet her two brothers, Cardinal Alessandro and Cesare, Duke of Modena, are
watching: there is the real possibility
of a divorce, which will involve Pope Clement VIII. Carlo has just lost his uncle, Alfonso, Dean
of the College of Cardinals in Rome, who had died a few months before. The musician-prince cannot stand another
scandal after his murder of his first wife, the beatiful
Maria dAvalos, and her lover, Duke Fabrizio Carafa, killed by him and
his bodyguard 13 years before in an alcove of his palace in
Naples. The memory of that crime travels throughout Europe in prose, poetry, and the tears of lovers.
Carlo Gesualdo must
eliminate his wife. The reasons are the same as those in place over hundreds of
years: his honor is in danger. Now only the roles are
reversed: as a man, he may betray; but he must not offend the honor of the Este family in
public. This is not a matter of love, but
only of etiquette. At this time, in
aristocratic Italian society, laws regarding etiquette and
honor
were more valued than any other kind.
But the mistress, Aurelia dErrico,
young and beatiful women, doesnt agree. After 10 years
of concubinate (it seems she was lady companion of
Leonora), she could be a lost women, there it would be not a future without her
Prince. She hasnt cards to play and trays that possible one of the magic. An old
and famous witch (fattocchiara) of the village,
Polisandra Pezzella, called upon goes in her
aid with an apprendice, Totia. The witch, daughter of a priest, yet processed from episcopal court of blasphemy, and condemned to perforate the
tongue, believes that her power is insufficient. She cannot miss the oppertunity. The spell must be adequate to the powerfull victime. She look for
the aid of another sorcerer, Antony Paulella, a priest, who, is also a living laical Saint, resides in a mountanuos
village and gives advices and magic to people who go in pilgrimage to him. His
town, Montemarano, is center
of another bishop, and his house isnt far from a cathedral, but nobody thinks
that magic is heresy or sin for the post-tridentine
Church.
The spell for love: incantations and the poisoning
The magic paraphernalia used for capturing the love
of the Prince is frightening: incantations, conjurations, the Eucharist, holy
water, crucifix, and homeopathic magic (wax, key, lock, menstrual blood).
Aurelia is frequently threatening the Prince: The
Prince left me, and Ill make him something by which Ill keep him for eternity,
and if is not mine, he will also not be with any other woman. This is a threat
of creating a bond of love (fattura ) and, if it
fails, the Prince will still be impotent.
The main element of the homeopathic magic is the
menstrual blood and the humors of the vagina. If you
want to cheat a women, use sperm, and if you want to cheat a man, use the menstrual blood and the humors of the vagina, recepies
prescribed a few years before by Giovanni Battista della
Porta, who was one of the more learned and careful of
the natual philosophers of Naples. Down through the centuries, menstrual blood
has always had ambivalent meanings: both impurity and fertility, or, as in our
case, binding love (more effective if from a virgin).
And so the sorcerer Antonio
Paulella
raised the dose: he advised Aurelia, with
whom he spent a few days together, that during her embrace with Gesualdo, she should take a slice of bread (prepared by
him), lubricate it with her vaginal humors and the
sperm of the Prince, and, together with sauce and her menstrual blood, she
should give it to th Prince to eat.
In the report by the baronal
judge, Cesare Staibano,
Aurelia says that whe will boast to the village that
the Princess is served: the Prince will be only mine from waist down, and from
waist up he will belong to the Princess, who can only be served by kisses.
But the homeopathic magic doesnt end with the menstrual blood. There are
other ligatures: two little statues (Carlo Gesualdo
and Aurelia) transfixed by nails and pins; a key and a lock buried under a
passageway frequented by the Prince; hair and toenails of dead persons placed in
a lock; coins place into a few holes in the castle; a
crucefix
and a large loaf of bread also buried under a passageway used by the Prince.
Finally, there was a spirit, captured by the
sorcerer Paulella and put into a carafe and given to
Aurelia so that she could find out what the Prince was doing through her
understanding of falsetto in Greek.
The victim: Carlo Gesualdo, the Prince of Musicians
Who is the victim of the ligation and of the
spell? A man among the most powerful in the Kingdom of Naples. The Gesualdo is
among the most ancient royal families of Naples. The ancestor of Carlo
Gesualdo
and the first lord of the castle at Gesualdo is Guglielmo dHauteville, a
Norman knight who is the natural son of Ruggero Borsa, whose father is
Robert the Guiscardo, the founder of the Norman
Kingdom of Sicily and Naples.
Other ancestors down through the centuries had contributed to the history of the
Kingdom by fighting with or against the Kingdom as knights and by participating
in government as a minister to Sweden, and the Angevin
and Aragon Kings. Charles great-grandfather had the privilege of appearing in
front of the Emperor Charles V with his head uncovered, and his grandfather was
a Councillor for Philip II. Pope Pius IV
was his great-uncle; his mother was the sister of Saint Carlo Borromeo, the powerful and famous reformer of the post-tridentine Church. Carlo Gesualdo
was also the nephew of Alfonso Gesualdo, Dean of the
College of Cardinals at the Vatican Court and Archbishop of Naples, the second most powerful individual
in the Kingdom; and a relative of Federico Borromeo,
Archbishop of Milan. The sisters of his mother Geronima
Borromeo are wives of the dukes of Gonzaga and Colonna. His aunts, uncles, and sister are
related to main families of the Kingdom of Naples. The second marriage of Carlo with
Leonora dEste, whose family was among the most famous
in Italy and Europe for its renaissance court, gives the
Gesualdos further power and status.
Moreover, the wealth and political power of Carlo Gesualdo
are immeasurable: great influence at Court; more than 21 fiefs in three
provinces; the privilege of a private company of soldiers; an annual income of
40,000; 400,000 ducats of real property
and jewelery (or 15% of the entire income of the state
of Naples) .
Finally, Carlo Gesualdo, even while he was living, is
compared to a new Apollo and is a famous composer of sacred and secular music as
well as a patron of the best musicians in Italy. His Court in Gesualdo
is a jewel which produces new and daring compositions and even musical scores
widely distributed throughout Italy.
It
may seem paradoxical that this powerful Prince could die from the jealousy and
feeling of abandonment of a poor concubine.
Her spell and her potion threaten him, particularly because his health
has usually been very poor. His physicians four of the best ones of the time
say that they are impotent to help: The
menstrual blood is a kind of poison, and carries the victim step by step to
death; and because the numerous and frequent medical cures were of no help,
therefore, the illness is supernatural and is caused by magical potions.
The
lives of Aurelia, Polisandra and
Totia
dont have the least value. Cesar Staibano, the baronal judge who holds the first and second trials in the
town of Gesualdo, would like to send Aurelia
and the witches to their deaths.
The trial, the political power and the Italian
society of 16th and 17th century
The
death of Aurelia and the witch, Polisandra, meets a
major obstacle: the Church, through the episcopal
court of the diocese of Avellino, and the Holy Office of
Rome. And the community of Gesualdo sides with them.
The bishop, with support from the Holy Office, would like to judge the witch and
Aurelia dErrico. While he waits and fights the
decisions of Viceroy, he threatens Staibano with excomunication. But powerful Prince cannot stand the scandal
of a public trial and looks for the intervention of the Viceroy to take the
trial on himself. The case belongs to
mixed jurisdiction, secular and ecclesiastic. It explodes in a violent conflict between the
State and the Church, while Carlo vascillates between
life and death until the autumn of 1603. Carlo Gesualdo
wins, but he must renounce his proposal of vengeance: the hanging of two women.
Regarding Totia, we know nothing; she probably escaped
or was killed. The Prince can only imprison Aurelia and Polisandra. His baronal judge, Staibano, has tortured the poor women, but they have
survived: the use and intensity of torture by the rope has been limited by the
presence of the Church. Moreover, we know
that the mistress and the witch were in the prisons of the castle until 1607, as
Leonora and her chaplain, who wished them dead, inform us. Probably they died a few years after of
illness or suffering in the castle, but this only a likely supposition.
What would have happened if Aurelia and the witch had been tried by the
Episcopal Court, under the direction of the Holy Office? First of all, they
wouldnt have been tortured. The Holy Office has abandoned the easy application
of torture at the end of 16th century and forbids torture in trials of
witchcraft for love. Further, it sees torture as an instrument of punishment,
not of learning the truth. In second place, this kind of magic, according to
this new outlook, is only superstition, which must be fought by new and more
efficacious practices of the Church. In third place, the trial by this
baronal
Court (and the proxy given from Viceroyal Power) would
have been considered to be without legal guarantees by the Church. What rights to a defense
would have been given to Aurelia and Polisandra? What
knowledge is there as to the basis for the accusations? The report of Judge Staibano is founded on secret tortures, witnesses, and
records. In fourth place, regarding the use of the Holy Host and Crucifix in
magical practices, the Church of Rome, since the 1580s and 1590s, has abandoned the idea of heresy on these
matters; they are only considered blasphemy. If they had been condemned by the
Episcopal Court, the witch Polisandra and the mistress
Aurelia would have been given only healing penances (rosaries, prayers, fasting,
and so forth) or, at the most, have been condemned to give a private abjuration.
Last but not least, the Church would had rejected the medical report of the
Princes illness which stated that it was of a diabolical nature. If the
diagnostic and therapeutic knoweledge
of physicians is inadequate, why attribute this to the devil, rather than to the
failings of ignorant physicians? This is another great contribution of the
Church to the development of the natural sciences in the early 17th century.
If the causes of sickness are not due to diabolical influences or the
supranatural, and if the official medicine is inadequate to diagnose and
cure, then physicians must turn to asking, what are the exact causal agents of
illness?
Why and how did these new ideas come about? The Church of the Roman Inquisition,
directed by Pope Clement VIII and Cardinal Julius Antony
Santori, Dean of the Holy Office, abandoned the belief
in the devil and in the pact between him and sorcerers and
witchs
(more precisely, the concept of the witch's sabbath
of Malleus maleficarum)
and, furthermore, abandoned the strategy of repression which had persisted from
the first decades of its establishment. A new politics is evolving based on a
pastorate of education and of social and religious control through mutual
consent. It is a shift which we can summarize in this way: from the external
judicial forum of the tribunal to the internal forum of the conscience,
including confession, in which the soul of the sinner and, by means of the
self--the internal society--passes through the scrutiny of the judge who
confesses and absolves. For the
criminal-sinner, redemption shifts from defeat at the stake
with the collaboration of the secular arm,
to sin--an inevitable aspect of man in his weakness--which is responded
to with persuasion, admonition, abstinence and privation, prayer, and the
sacraments.
For public
condemnation, for abjuration de levi (private and light) and de
vehementi
(strong and public in the auto da f), grave
and dangerous, are progressively substituted confession, absolution, salutary
penitence, and the "tribunal of
conscience" to use an expression by A. Prosperi and, before him, of the Protestant historian, H. C.
Lea. The central figure is, then, no
longer the executioner representing the secular arm, but the confessor, with his
power to liberate and to imprison.
The theater is no longer the public square or
the packed cathedral, but the secrecy of the confessional, in which, the
confessor, separated from the sinner by a grate, inquires, interrogates, discerns, selects,
judges, pardons, imposes penance, and absolves.
This achievement, which would be formally expressed a
few decades later, was a new manual which was circulated through all corners of
Europe, the last of which was the famous Instructio pro formandis processibus
in causis strigum, sortilegiorum et maleficiorum, which was an indication of the ultimate
abandonment of the witch-hunt by ecclesiastical tribunals under the control of
the Holy Office, and a cultural trigger for a slower and more tortuous
abandonment on the part of the lay tribunes in the more advanced states and
cultures.
This shift by the Holy Office constitutes a real
cultural revolution in the bosom of the Church, which, with time, and in
different ways, reverberated throughout society generally, not only through the
pontifical states, but also through the nascent modern states of the west. The instrument of the Congregation is born in
order to combat "l'eretica pravit"
(depraved heretics) in the face of the destructive threat of the Protestant
Reformation, which changed--in a little less than fifty years--into the key
instrument of the moral reform of the Church,
pur conserving the treatment of a military
corps and also accompanying the development of the shift, with repressive
measures with a strong symbolic valence which, even today obscures it.
Furthermore, in the Kingdom of Naples, the revengeful will of Carlo
Gesualdo
is out of bounds. Here, there had never been a witch-hunt, because both the
learned and popular cultures believe that the aid of supernatural power can be
requested in many ways, and the devil has never been considered an absolute and
omnipotent force in opposition to God, but was considered only another saint.
Gesualdos revengeful wishes are similar to the attitudes of
Carlo Borromeo,
his uncle, who operated in the extensive archdiocese of Milan, and whose politics against witches and the world of
magicians was terrible and lethal, but were also alien to the world of the Roman
and Italian
Church.
In addition, Carlos other uncle, Alfonso, Archbishop
of Naples during the last years of his life, also wanted to take a severe stand
against magic and popular devotions. But the Church of Rome watches and
represses his pastorate. The old, almost
pagan world of the people must be corrected, integrated, but never expelled from
the Holy Mother Church.
Carlo Gesualdo,
paradoxically, also belongs to a family of Christian transgressors: Giulio Gesualdo, another uncle, was a necromancer in
Naples during the 1560s, and even though he was the leader
of a team of sorcerers, his name cannot be found among the accused and condemned
(in 1571). Maria Gesualdo, his aunt, was the wife and
mother of two followers of the Protestant Reformation in
Caserta. Their lives were miraculously saved while other
nobles were burned in the market square in Naples in 1564.
Magic as an Easy Answer to
Suffering and to Aristocratic Contradictions in a Society in Transition
In the face of an enlightened Roman Church and of a
pluralism of cultures, we find a series of unresolvable
contradictions in an aristocratic society in its waning days.
The eternal presence of the irrational and the fear
or the illusions of occult power are only the sublimated materials by which the
conditions of great suffering and subordination of women and the irresolvable
tensions between the sexes--especially between aristocratic men and women, wives
and concubines are concealed. The
aristocratic ladies are only instruments for the preservation of the fiefdoms
and the courts, the inheritances from both maternal and paternal sides, kingdoms
and dukedoms. The world of magic is often
the only way out to avoid confronting a personal, family, or social
crisis in the face of the impossibility of changing it.
And for men and women of the lower classes, it is the only way to live with the
feeling of impotence in the face of sickness, natural catastrophes, and the
power of the upper classes.
We can start with an historical concept, conjugal fidelity (not love:
this is a value and a concept of the nineteenth and twentieth centuries in the
West): this concept applies only to the woman, not the man, and still less, a
Prince, as demonstrated by the life of Carlo Gesualdo
and the lives of the relatives of Leonora d'Este, from
the cousin of Alfonso II d'Este, to her father or to
her brother, Duke Cesare. If they are attentive to their honor and that of their household, it is not a crime to
murder a wife, it is only an act of duty.
Physical maltreatment and continual humiliation are the price that
Leonora d'Este, sister of the Duke of Modena, had to pay for marrying, at the instigation of her
brother, a man whom she had first met on the day of the wedding. Her marriage was nothing more than a business
deal; her life was as a continual hostage of the house she came from and the one
she joined.
After returning to Rome from a private visit with
Leonora, his sister, he reports to Duke Cesare, "The
principle reason for her unhappiness is that she suffers greatly because the
Prince has immersed himself in sordid greediness which is an unbearable thing
for her; and moreover, we cannot tell how she is offended and ridiculed by him:
it is enough that she never opens her mouth but that he causes injury and
crucifies her. Sometimes he grabs her arm violently and has thrown her to the
ground. And she suffers very much because when the Prince speaks about us,
whether it is Your Highness, or me, or our family, he does so with impertinence
and dishonor and it is very true that these acts have
been clear from the beginning, but from a certain time until now, it has become
worse and precisely since he fell in love with one of the two young women whom
our sister--through bad luck--took with her. He has done so much with importunity and with
gifts, that he has corrupted one to be a procuress to obtain what carnal
property he wants. And now he enjoys his mistress under the eyes of the
Princess, and all others in the castle without regard and without temperance.
[...] And in addition to these bad things, we can see that the unlucky Princess
has never become accustomed to the sharp and very cold air of Gesualdo, having such a serious illness and being in such a
distemper in head that all of her teeth rattle in her mouth. Moreover of all of
the travails, she has been advised to be very careful and vigilant if she wants
to avoid being poisoned."
The Cardinal proposes either a divorce or a
separation from Prince Carlo, but neither his brother, Duke
Cesare, nor Leonora want to take up a measure that would throw a shadow
over the house of the Este.
Previously, Lucrezia d'Este,
the sister of Alfonso II, had separated from the Duke of
Urbino, creating a great scandal and dishonor
to the Este house.
The Cardinal wanted at least to visit her in
Naples, but Prince Carlo opposed the visit, and succeded in stopping it.
Diplomatic considerations were more important than those of the heart,
and Cardinal Alessandro was prevented from visiting his sister without Gesualdo's permission.
Leonora's only
son, Alfonsino, died at the age of five, in 1600. For
her, it opened a path without relief from sorrow. The death of her son robbed her of all power
and consideration as a married woman, as if she had never had a son--since the
sole reason for conjugal fidelity was to continue the hereditary line and to
transmit its power and inheritance. For years after
Alfonsino's
death, whenever she was able to talk
about it, she always maintained that his death was caused by a "spell" produced
by the Prince's lover. She continually referred to the death of the ladies
imprisoned in the castle who, in death, had continued to cast spells over human
justice, just as they had during her life.
The sorrow of this offended lady and this deprived
mother was transformed into a sickness without a face and without hope. The same
condition had already led her sisten-in-law, Virginia
de Medici, Cesare's wife, and their daughter, to
become mad in response to their husbands behavior. Many times Leonora was at the point of death,
and all of the doctors and attendants gave her just a few hours to live. She had
frequent hysterical crises in the form of epilepsy from which she was partially
freed only when she left Gesualdo and returned to her
home in Modena.
Official medicine diagnosed her condition as "black humor" or melancholy, caused by an excess secretion of black
bile from her liver. Hippocrates and
Galen had never died in traditional medicine.
Some new doctors prescribed an infusion of an extract of china china, an extract of the Peruvian quinine shrub. The Jesuits were responsible for this
innovation. But the side effects and
erroneous dosage quickly discouraged any repeat of this intervention. So the barber-surgeons and physical
doctors--who practiced bloodletting and suggested therapies which made her
illness worse.
Her sickness is called Carlo
Gesualdo
and the marriage contract, but it cannot be either acknowledged nor spoken
about. There was nothing left for Leonora
but to use her sickness to her advantage. The physicians prescribed a "change of air,"
which led to her returning to her native Modena
several times; it was a justification
that allowed her to leave Gesulado with the consent of
both her brother and her husband without causing a scandal. It is the only therapy which has any sort of
efficacy, but only before her leaving and during her absence from Gesualdo and from the Prince.
The days pass interminably in the castle at Gesualdo. Her butler and servants try to relieve her
profound loneliness. Her present is
solely the memory of her past life. The
one who lived in a lavish court before her marriage, and who sang and played
with the greatest poets and musicians of Ferrara, is now silent, cut off from the musical court
which Carlo held in the rooms of his castle. Her countenance only lights up when she
receives a letter from the court of the Este or when
he writes to her brothers. But she must
be careful; her letters could be intercepted, and her correspondence could be
turned over to Carlo.
The magic which relieves sickness is the ultimate scape-goat for those who are not driven mad. The castle of Gesualdo becomes a favorite
destination for exorcists, witches, charlatans, who draw excessively on the
credibility and pocketbook of Leonora and Carlo.
Carlo--My Lordship", as she calls him to indicate who has jurisdiction
over her--is no less sick than she is. After his poisoning in 1603, the long-standing
asthma and chronic constipation grew worse. Those who visited him frequently comment that
the Prince is always afflicted with melancholy.
His melancholy, however, is different from hers, and different from that
of the depression of the Medieval period which was associated with demons and
sin. His melancholy is that of the man of
genius, of the creative artist blessed by Saturn. It is the occult philosophy of the Renaissance
which sustains him, encompassing a pseudo-Aristoteleanism
and importing the Jewish Kabbala from Spain.
Carlo continues to compose and to publish both sacred and secular music
which is still today--even moreso than in previous
centuries--admired and praised. Meanwhile, the door of the castle is never
closed to physicians, famous exorcists (Basiliani,
Jesuits, famous istrioni, and necromancers).
The procession of many diverse cures goes on without interruption between
Naples and Gesualdo, within
daily life and musical splendor. From
Ferrara, Gesualdo obtained
"Unicorn Powder", commonly extracted from the horns of cows, but sold by
charlatans as derived from the horns of the unicorn--a mythological animal from Africa or Asia. It was considered the panacea of European courts
(including the Papal court) which spent enormous sums. Gesualdo felt better
when he used this potion: the placebo effect is not a modern invention.
Following a fall from a horse, Carlo Gesualdo's first son by his murdered first wife, Emanuele, died after a few days. Carlo retired to his music room and waited to
die. Death came soon, on
September 8, 1613.
It is the pleasure of God to call..." is the ritual formula used in the
communication of the death of a relative. In truth, death knocked often, and without
regard for the age or status of the House of Gesualdo. Gesualdo's mother
died in childbirth at the age of 25, when Carlo was seven. His older brother Luigi died at the age of 21,
leaving Carlo in the role of the first-born son. In the same year, his maternal uncle, Carlo Borromeo (later canonized) died. His first wife died at his hands after just
four years of marriage. His other son, Alfonsino died at the age of five, when he was still playing
in his arms. His father, Fabrizio died at the age of 53, while still exercising his
feudal responsibilities. And now, after
the death of Emanuele, he could only redraw his last
will and testament, hoping that Polissena
Furstenberg-Pernestein, Emanuele's
wife, recently having become pregnant, could give birth to a son so that the
family line would not become extinguished.
Polissena had already given birth to a baby boy
in 1610 who had died after a few days of life, and later, in 1612, she gave
birth to a daughter, Isabella. Another
daughter, Eleanora, would be born just two months
before Carlo's death. Eleanora would write to her brother,
Cesare, that "the entire Kingdom
weeps at the birth of a girl, and that a house so illustrious and ancient has
disappeared."
Eleanora returned for the last time to Modena, and would live for another 20 years, to the
venerable age of 76. Regarding demons, maleficence, and witchcraft, needless to say, there is not
even a hint.
ARCHIVES CONSULTED
ARCHIVIO ARCIVESCOVILE DI MILANO, Archivio Spirituale
ARCHIVIO ABBAZIA MONTEVERGINE, MERCOGLIANO,
Ordini religiosi soppressi; Archivio Storico
ARCHIVIO COMUNALE MODENA
ARCHIVO GENERAL DE SIMANCAS, Estado, Secreterias provinciales
ARCHIVIO DI STATO DI AVELLINO, Protocolli
notarili
ARCHIVIO STORICO DIOCESANO NAPOLI, Santo
Officio; Arcivescovi
ARCHIVIO STORICO COMUNALE DI GESUALDO
ARCHIVIO DI STATO DI MODENA, Archivio segreto estense,Casa e Stato
Cancelleria ducale, Principi
esteri; Cancelleria ducale, Ambasciatori Napoli; Cancelleria ducale, Principi
non regnanti; Inquisizione; Archivio per materie, Medici e Medicina
ARCHIVIO STORICO COMUNALE DI VENOSA
ARCHIVIO DI STATO DI NAPOLI, Collaterale, Diversi II serie, Segreteria; R.
Camera della Sommaria, Significatoriarum; R. Camera della Sommaria, Relevi; R.
Camera della Sommaria, Diversorum; R. Camera della Sommaria, Catasti Onciari; R.
Camera della Sommaria, Attuari diversi; Tribunale Misto, Processi; Archivio
privato Caracciolo di Torella
ARCHIVIO DELLA CONGREGAZIONE PER LA DOTTRINA DELLA
FEDE; Archivio Santo Officio, Stanza
Storica, Decreta
ARCHIVIO DI STATO DI POTENZA, Protocolli
notarili
ARCHIVIO SEGRETO VATICANO, Archivio Boncompagni-Ludovisi; Relationes
ad limina; Visita Apostolica; Nunziatura; Archivio Concistoriale, Acta
Cameraria
BIBIOTECA AMBROSIANA MILANO
BIBLIOTECA APOSTOLICA VATICANA, Barberini
Latino; Vaticano Latino
BIBLIOTECA ESTENSE MODENA, fondo
manoscritti
BIBLIOTECA NAZIONALE NAPOLI,
Manoscritti; Brancacciana Manoscritti; Manoscritti
Alfani
BIBLIOTECA PROVINCIALE AVELLINO, manoscritti
fondo Capone; fondo Modestino
BIBLIOTECA STORICA NAPOLETANA DI STORIA PATRIA
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