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LEONARDO'S SWANS is the story of the powerful Este sisters, Beatrice, Duchess of Milan, and Isabella, Marchesa of Mantua, as they compete for the affections of Italy's most influential prince, the Duke of Milan, and for the larger prize, to be immortalized in oil by his court painter and engineer, Leonardo da Vinci. Sexy, inspiring, and intelligent, her story of love, intrigue, and art is truly unforgettable.
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KAREN ESSEX is the author of Kleopatra (Warner, 2001) and its sequel Pharoah (Warner, 2002), two biographical novels about the queen of Egypt which she has adapted into a screenplay for Warner Bros. She has also adapted Anne Rice's novel The Mummy of Ramses the Damned into a screenplay for Titanic director James Cameron and 20th Century Fox, and has written a screenplay about Kamehameha, the first king of Hawaii, for Columbia/Tristar.
Essex's articles, essays and profiles have been published in Vogue, Playboy, The L.A. Weekly, L.A. Style, and many other periodicals. After being awarded highest honors from the Los Angeles Press Club for her thought-provoking cover story about the missing 1950s pinup icon Bettie Page, Essex co-authored the biography Bettie Page: Life of a Pinup Legend (Stoddart, 1996). Essex is the first and only journalist with whom the reclusive Ms. Page has ever agreed to meet and cooperate.
Essex was born and raised in New Orleans. She graduated from Tulane University, attended graduate school at Vanderbilt University, and received an MFA in Writing from Goddard College in Vermont.
X * FORTUNA (CHANCE)
FROM THE NOTEBOOK OF LEONARDO:
When Fortune comes, seize her firmly at the forelock, for I tell you, she is bald at the back.
IN THE YEAR 1489; IN THE CITY OF FERRARA
She grew up in a land of fairy tales and miracles. That is what Isabella is explaining to Francesco as they ride through Ferrara's streets. It is Christmastime, and though there is no snow on the dry stone road, the horses shoot clouds of steam into the frigid air through their nostrils.
This is the first time she has been allowed to escort her fiancé through the city on one of his visits. Francesco Gonzaga, future Marquis of Mantua, has come to Ferrara to romance his soon-to-be bride and to enjoy the city's many Christmas pageants ordered by Isabella's father, Duke Ercole d'Este, a great patron of the theater. Isabella believes that the more she tells Francesco of Ferrara's secrets and wonders, and the more she shows him of her father's spectacular building projects and improvements, the more he will realize her value.
In this very church, Isabella says, pointing to St. Mary's of the Ford, almost two hundred years ago on Easter Sunday, the priest broke the Eucharist in two, and flesh and blood came spraying forth, covering the walls of the church and splattering the entire flock.
"The parishioners watched in awe," Isabella says, eyes wide with drama. "The Bishop of Ferrara and the Archbishop of Ravenna came to see it. They instantly recognized it as the body and blood of Christ and declared it a true miracle of the Eucharist."
Francesco solemnly makes the sign of the cross as they ride past the church, but his eyebrows arch skeptically, making him look entirely out of step with the act.
Beatrice trots ahead of the pair of lovers, her long braid swinging in saucy rhythm with the horse's mane, as uninterested as her steed in their conversation.
"Isn't that right, Beatrice?" Isabella asks her sister for confirmation of her story, hoping that the odd girl does not say anything to contradict her. Beatrice is a puzzle to Isabella, a fact that the older sister blames on the girl's unsupervised upbringing in wild Naples. The girl is a feral, unformed thing, alternately shy, naive, aloof, and bold--the latter especially apparent when riding or hunting. How such a small fourteen-year-old girl, who is not particularly courageous outside of these activities, excels at all manly sport is a mystery to Isabella, but the fact of Beatrice's prowess remains, no matter how enigmatic.
"I wouldn't know. I wasn't there!" Beatrice finally answers without turning around, but they can hear her laugh at her own joke.
The animal's swaying ass taunts Isabella, who knows that her sister is dying to break away from them to test the horse's speed. Francesco has brought Drago, the pure white Spanish charger, from his family's stud farm on the island of Tejeto, as a gift for the girls' father. But Beatrice immediately took over the animal, talking to him in whispers that should be reserved for a lover, and hopping upon him and riding away, as if the painstakingly bred horse was meant to carry a little girl in a pink riding dress and not a fearsome knight in armor.
"I'll tell you a miracle that happened right here in Ferrara that is even better," Francesco says, sidling his horse right up to Isabella's so that their legs touch. She knows she should pull away, that her mother would rail against this sort of indiscriminate physical contact, even with leather riding boots providing a barrier to the couple's much-craved intimacy, but instead, she rides with slow care so that they might continue to brush against one another.
"What miracle is that?" she asks, suppressing a smile.
"That your father agreed that you should be my wife," he answers.
You have no idea just how miraculous, she thinks. If the timing had been slightly different, he would be marrying the jaunty girl riding ahead of them, but this, he does not know. When the marriage agreements were made nine years ago, Isabella was only six and Beatrice five. Who could have cared at that time which sister married what man, as long as both marriages were politically expedient for the city-state of Ferrara? Isabella wants to tell him the story but she would need him to say that if things had worked out differently, his life would have been a ruin. And he cannot possibly say that in front of Beatrice.
Duchess Leonora had long ago drummed into her daughters' heads that marriage between noble houses was no whimsical arrangement based on ephemeral qualities of preference or attraction. The peace of Italy depended on these unions, especially at this juncture. The Venetians had become doubly aggressive since the Turks pushed them out of Constantinople. They began to push farther and farther inland into Italy because they needed land for their farms and their citizens. They hired condottieri to take over towns--Verona, Padua, and Vincenza, all near Ferrara. The Venetians wanted complete control over the trade routes and the rivers, as well as the land. Ferrara was venerable and strong, but small. For her to remain independent, she must have strong alliances with the city-states of Mantua and Milan.
"You girls are ambassadors of Ferrara. Its welfare depends upon the success of your marriages. Therefore, you must do nothing, nothing, to endanger these alliances. You must do nothing prior to the marriages that may cause the families to renege on the commitments. Your behavior must be impeccable. You are as much the protectors of Ferrara's welfare as our army or our treasury. You are, in fact, its greatest treasures. And when you enter your husbands' houses, I expect you to act like it. Your bodies are the very bindings that will hold us all together and stave off conflicts and wars. Do not think that you can behave like the women in fairy tales and poetry. The duke and I will not tolerate it."
Looking at Francesco now, Isabella thinks that she must be the most fortunate of women. Her fiance is not handsome, but has a rugged quality that gives an ugly man appeal. Already three and twenty, he will never be tall, and his eyes bulge, a condition that she knows will worsen over time, because she has seen old men with this affliction, and they look like reptiles. Yet he is as solidly built as any man alive, and his courtly manners contrast so thrillingly with the wicked look in his protruding brown eyes. Besides being from one of the oldest noble families in Italy, he already is considered a brilliant student of warfare, destined for an illustrious career in the military arts. Undoubtedly he will lead one of Italy's great armies to many victories. Isabella feels that Francesco is the perfect man to help her realize her destiny--which is to have a powerful husband and reign with him over a great and enlightened realm.
Beatrice, riding three lengths in front of them, begins to pick up speed. She turns her head to the side, giving the lovers a sprightly profile, before dashing off with the horse.
"We had better follow her," Francesco says, a look of grave concern coming over his face.
"That will not be easy," Isabella replies.
Isabella does not like to see any interest in her sister from her betrothed, though she cannot imagine why. With her exceptional qualities, she should not worry one bit. But worry she does. Francesco is from a family famous for breeding horses. Nothing arouses the passions of the Gonzagas of Mantua like a great horse, or a rider who can handle one. Beatrice looks back one more time before guiding Drago through one of the city's grand arched portals to a road where she can ride faster. Francesco takes up the challenge and speeds after her on his dark stallion, the jewels in his silver saddle catching just enough of the winter sun to sparkle.
Isabella follows, but at a slower pace. It would be extremely unladylike for her to compete with her boyish sister in this game for Francesco's attention. Besides, she does not want to sweat so badly under her new habit that she will be embarrassed later, when, helping her descend from the steed, Francesco will take her small hand and slyly raise it to his lips. Let Beatrice dismount in her typical disheveled state--damp, stringy hairs hanging about her face, and oozing sweat like the horses she rides into the ground. Isabella settles into a steady canter as the two race ahead of her, first Francesco taking the lead, then Beatrice gaining on him, so close that it looks from this distance as if she is trying to make her horse bite his stallion's rear end.
If one is to look upon the two sisters objectively, as Isabella prays Francesco does, one has to observe Isabella's advantages. Isabella has spent all her life at her distinguished mother's knee, while Beatrice, from the ages of two to ten, was left behind at the court of Naples all the way on the other side of Italy as a peace offering to their grandfather, King Ferrante, whom everyone feared and hated, but who had taken an instant liking to Beatrice. Isabella reads Latin impeccably and can recite Virgil's Eclogues to the satisfaction of her tutors and her father's eminent guests. Beatrice, on the other hand, has spent the four years since her return to Ferrara being pushed to catch up with her sister in their studies. She can barely spell. She can recite a poem or two in Latin, but Isabella doubts that she has any idea of what she is saying. Isabella plays musical instruments and sings like an angel. Beatrice loves music, but must be sung to. Isabella has studied rhetoric and mathematics and can take either side in an argument over at least one Platonic dialogue. Beatrice enjoys poetry, but prefers that others read it to her. Isabella is the loveliest dancer in all of Ferrara, turning her head elegantly this way and that. Not only does she have the correct timing, style, and balance necessary for the art, she also knows just where to pl...
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Book Description Condition: New. New. Seller Inventory # STRM-0739325787
Book Description Random House, 2006. Hardcover. Condition: New. Seller Inventory # DADAX0739325787
Book Description Random House, 2006. Condition: New. book. Seller Inventory # M0739325787