Caterina Sforza

Author(s):  
Joyce de Vries

Caterina Sforza (b. 1462/63–d. 1509) was the daughter of Galeazzo Maria Sforza (b. 1444–d. 1476), duke of Milan (r. 1467–1476), and his mistress Lucrezia Landriani (b. 1440/45–d. 1507). In 1477, she married Girolamo Riario (b. 1443–d. 1488), nephew of Pope Sixtus IV and ruler of Imola since 1473. He gained possession of Forlì in 1480. Sforza bore at least eight children with Riario, six of whom survived infancy, and she became regent for her son Ottaviano (b. 1479–d. 1533) when Riario was assassinated in 1488. She survived several conspiracies against her rule of Imola and Forlì in the 1490s, and she was deposed only when Cesare Borgia (b. 1475/76–d. 1507) invaded the Romagna region in late 1499. Taken prisoner in early 1500, she was released in July 1501. Sforza moved to Florence, where she plotted to retake the family territories. Neither she nor the Riario family ever resumed power and she died after a long illness in 1509. She was buried in the Murate convent, where she had maintained a cell for spiritual retreat. Sforza’s political cunning and forceful rule fascinated many in early modern Italy, including Niccolò Machiavelli, who came to Forlì in 1499 to negotiate her son Ottaviano’s military contract with Florence. In The Prince, Machiavelli highlights Sforza’s use of fortresses for protection. His version of her actions after Riario’s assassination in 1488 did much to promote her reputation as a sexually bold and merciless ruler. By all accounts, when Sforza entered the Rocca di Ravaldino to facilitate its surrender to the rebels, she instead mounted the ramparts with the intention to rule and challenged her enemies to kill her children, who were hostages. According to Machiavelli, in the Discourses, she then lifted her skirts to reveal her genitals, a gesture meant to emphasize her claim that she could bear more children, who would eventually avenge Riario’s murder. This purported act is an exaggeration of her actions, but this version of the events remains influential as part of her legend. Sforza has often been cast as an exceptional woman not only because of her long regency, but also because of her sexual independence during her widowhood and regency. Without a husband or father to patrol her sexuality, Sforza inspired many rumors about possible sexual partners. During her widowhood, she did indeed maintain relationships with at least two men, whom she claimed after their deaths to have married. Giacomo Feo (b. 1470–d. 1495) achieved much power in her court and was assassinated. They had a son, Carlo (b. 1490–d. 1550s). The second, Giovanni di Pierfrancesco de’ Medici (b. 1467–d. 1498), of the cadet branch of the Florentine family, did not gain political power and died of natural causes. During her final years in Florence, Sforza won custody of their son, Giovanni (b. 1498–d. 1526). She then oversaw his education and estates, and he grew up to became a famous military commander in Italy, known as Giovanni dalle Bande Nere, and father of the future duke of Florence, Cosimo I de’ Medici (b. 1519–d. 1574). Sforza’s Medici connections augmented her fame after her death.

2010 ◽  
Vol 63 (3) ◽  
pp. 807-849 ◽  
Author(s):  
Erin J. Campbell

AbstractThis essay examines portraits of old women that were produced for the households of the professional and elite classes in Emilia-Romagna, Lombardy, and the Veneto during the second half of the sixteenth century, when, as a result of religious and social reform, women's lives came under increasing scrutiny. By interpreting the portraits within the context of prescriptive texts on the stages of women's lives, this study argues that the portraits provide evidence for the pivotal role of old women within the moral and symbolic order of the family, as well as in the wider community beyond the home.


Born to Write ◽  
2020 ◽  
pp. 177-178
Author(s):  
Neil Kenny

Many early modern French works, ranging from individual poems to large-scale histories, were produced with a sense that they emanated not just from individuals but from families. Such works, which I call family literature, played a big part in the attempts by families and individuals to rise, or at least to avoid falling, within the social hierarchy. Their production became part of what some families were socially or of a new direction in which some members wished to push the family. Literature could be presented as the voice of a lineage as much as of an individual. It was often designed to pin down the image of a family that circulated among readers rather than to open it up. But, through its orientation towards the future, family literature offered descendants and other future readers affordances, including as yet undetermined ways of renewing that image, and sometimes of questioning or disrupting it.


Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 880-885
Author(s):  
K.P. Bhavatharini ◽  
Ms Dr. Anita Albert

Manju Kapur exposes the disparity and how modernity plays a major role in our society and also the hollowness modern life through her novel Custody. The present paper deals with the key aspects of custody, like extra marital affair, exploration of children and the law system of India. Manju Kapur has published five novels and all her novels dealt with postmodern era, which became sensational in the literary world. She talks about the life of people in Metropolitan cities and how it changes the attitude of theirs and makes them to be victims of modernity through her novel Custody. She manages to disclose the atmosphere which revolves around the family and how it destroys their peace. Here the author portrays how her female protagonist goes to an extent to fulfill her need even breaking her marital relationship with her husband and lack of concern with her children. She portrays the unimaginable incident of broken marriage and illustrates how it causes their children to yearning for their custody from their parents. The children are mentally affected because of the conflict between their egoistic parents to take back their custody only to win the battle not having the real concern over the future of their children. The author manages to create an excellent atmosphere that reveals the various disasters roaming around the family. The future of the children is also hazard. This novel proves that Manju Kapur is a great curator of the modern Indian family.


1998 ◽  
Vol 34 (1) ◽  
pp. 215-231
Author(s):  
Charles Penglase
Keyword(s):  

Author(s):  
Daniel M. Weinstock

This chapter argues that parents have a right to raise their children according to the tenets of the religions that they profess. That right can be seen as grounded in the interest that children have in enjoying the kind of intimacy within the family context that is facilitated by participation in practices and rituals rooted in comprehensive conceptions of the good. It also argues, however, that children have a right to be raised in a manner that does not foreclose their future autonomy. These two rights can be reconciled if we distinguish acceptable and unacceptably asymmetrical upbringings. Parents can incline their children toward certain values and practices in accordance with their comprehensive conceptions, on condition that they also provide children with the conditions that will allow them to make autonomous decisions in the future.


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