Leonardo's Swans: A Novel | Karen Essex | "When Fortune comes, seize her firmly by the forelock,...

Leonardo's Swans: A Novel | Karen Essex | Leonardo's Swans: Surprisingly fast read

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	Leonardo's Swans: A Novel Karen Essex Broadway, 2007 - 384 pages average customer review:based on 44 reviews view larger image
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highly recommended

"When Fortune comes, seize her firmly by the forelock, for I tell you she is bald in back."

Sisters Isabella and Beatrice d'Este, daughters of the Duke of Ferrara, are Leonardo da Vinci's "Swans," in this fascinating historical novel by Karen Essex. The two sisters, who competed fiercely with each other, were often rivals in love, as well as for position, power, and for Leonardo da Vinci's work. They were both Renaissance women long before the term "Renaissance man" was coined. Each ruled with grace and much intrigue over two of the most cultured courts in Europe - courts, which under their influence came to epitomize the Renaissance - the rebirth in the arts, science and religion - thus advancing the movement, which began in Italy, and eventually became a crucial bridge between the Middle Ages and the modern world.

Both Isabella and Beatrice were betrothed to powerful men. They had been taught since childhood 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 the juncture in time in which they lived." The young women were considered "ambassadors of Ferrara and protectors of Ferrara's welfare."

Isabella, the d'Este family beauty, had spent her childhood with her parents, tutored by her illustrious mother, Leonora of Naples (a descendent of the House of Aragon). Thus she had been educated well beyond the norm, even for most men of the period. This elder d'Este sister read and spoke Latin impeccably, danced beautifully, sang like a nightingale, played various instruments, read avidly and, although only sixteen, was considered a connoisseur of the arts. How could she not be when she was constantly exposed to the works of Pisanello, Piero della Francesca, the Venetian Jacopo Bellini and Cosimo Tura? With her blonde hair and dark eyes, Isabella was also stunning. Fortunate in her fate, she was engaged to marry a man she loved who was also the appropriate candidate in terms of furthering her parents' political interests. Francesco Gonzaga, the Marquis of Mantua would wed young Isabella as soon as she turned sixteen.

Beatrice, only a year younger than her sister, had yet to meet her fiance who was twenty-three years her senior. She spent her early years in her grandfather's court at Naples for political reasons. There she was unsupervised and ran wild. Her biggest interest by far was horses and she rode superbly. She was also not adverse to taking risks, as opposed to her more ladylike, intellectual sister. Beatrice was as dark as Isabella was fair, but she was not unattractive. When she returned to her family in Ferrara, she studied hard to catch up with her education, as befitted her station, although she would remain a tomboy for a while yet. Beatrice had been engaged to marry Ludovico Sforza since she was five years-old.

The charismatic Sforza, called "Il Moro" because of his swarthiness, would become Duke of Milan and was one of the wealthiest and most powerful princes of Renaissance Italy. He came to power as regent for his young nephew Gian Galleazzo Sforza. And he showed absolutely no interest in his alliance with Beatrice and the d'Este family, even after his marriage to the teenage girl, flaunting his mistress all over Milan.

The Renaissance thrived during this period, bringing about artistic and religious transformation. Florentine painter, sculptor, draughtsman, Leonardo da Vinci, a universal genius who typified the Renaissance man, was also an architect, town planner, inventor, scientist, writer and musician who was in his prime. He came under the patronage of Lorenzo de' Medici and then, in 1482, he entered the service of Ludovico Sforza, where he was active as artist, architect and military engineer. Leonardo is a character in the novel, and Isabella desperately wanted to be immortalized in oil by the great "master of masters." However, Ludovico realized that he could only allow Leonardo to paint his sister-in-law after he painted Beatrice, who had no desire to sit for her portrait - especially for an artist who dissected cadavers. Both sisters vied to be Leonardo's patron. Excerpts from da Vinci's notebooks are interspersed with the narrative - an interesting literary device which enriches the plot.

As Beatrice and Isabella matured their petty rivalries diminished. Beatrice finally won the affection and allegiance of her powerful husband. With children came wisdom and serenity which allowed her, before she reached the age of twenty, to become an astute politician, an effective stateswoman and patron of the arts. Isabella, who had been jealous of her sister's powerful alliance and prosperous kingdom, accepted her own lot in life - one that was also enviable. After all, Isabella was to become known eventually as "The First Lady Of The Renaissance."

But the story doesn't end here - it only begins, really. Sixteenth century Italy was not a unified country but an area of powerful and independent city-states, especially Milan, Genoa, Venice, Florence, and Pisa. Milan, the greatest city in Lombardy, was widely regarded as the Mecca of Italian commerce, culture and fashion at that time. It is here that Beatrice presided over her court. Political strife was also rampant, especially the alliances, counteralliances, and regular betrayals surrounding the Italian Wars, which involved all the major states of western Europe and arose over a dynastic dispute concerning Naples.

Ludovico Sforza sought an ally against the Republic of Venice, and encouraged Charles VIII of France to invade Italy, using the Angevin claim to the throne of Naples, then under Aragonese control, (his wife's beloved grandfather), as a pretext. And so began the Italian Wars, along with family estrangements and animosities, betrayals, intrigues, assassinations, invasions, etc.. And Beatrice and Isabella, in the middle of this historical drama, sometimes contributing to it, tried to survive with their children. Even in the midst of war, the women continued to encourage Leonardo and other artists of the period to produce and illuminate beauty for posterity.

Karen Essex breathes life into her characters, especially the two sisters d'Este and Ludovico. Her insight into the great Leonardo and his work, especially through the notebook entries, is extraordinary. The details about the painting of "The Last Supper" are alone worth the read. The author paints a vivid portrait, herself, of the lavish life at the courts of Milan and Mantua.

Intelligently written historical fiction and a terrific read!
JANA

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Leonardo's Swans: Surprisingly fast read

The first chapter of the book is what hooks you. You know that interesting and compelling things are going to happen. The relationship between the two sisters and their spouses are intriguing and at times repellent. Leonardo is made human and the descriptions of his paintings make you want to jump the first plane to France and Italy. I eagerly await the author's next offering.

A Fascinating Glimpse into Renaissance Italy

Some sisters just can't leave each other alone. Isabella and Beatrice d'Este, daughters of the Duke of Ferrara, are certainly among their number. They've competed against each other all their lives --- for husbands, status, power, and, above all, to have their portrait painted by Italy's greatest painter, Leonardo da Vinci. Da Vinci is at the mercy of his powerful patrons, yet he has a way of squirming out of assignments and a reputation for leaving work unfinished. How can either woman coerce da Vinci into painting her portrait while ensuring that her sister is unsuccessful?

It seems as if Isabella d'Este has all the advantages. She's both the pretty one and the smart one, and her marriage quickly blooms from a political arrangement into a true love match. On the other hand, Beatrice, whose only real skills are her horsemanship and her ability to annoy her sister, is betrothed to Ludovico Sforza, also known as Il Moro. As Beatrice's husband is twice her age and openly devoted to his mistress, Cecilia Gallerani, no one has any reason to think Beatrice is destined for any particular happiness. Worse yet, Il Moro takes an immediate liking to Isabella, impressed by her beauty, her intelligence, and their shared interests in art and collecting.

However, Beatrice has a formidable will. She wins her husband's love, gets him to renounce his mistress, and proves a worthy match for Il Moro as he fulfills his ambitions, accruing incredible wealth and power and collecting enemies at the same rate.

Politics was a rough game in Renaissance Italy. Karen Essex must do a little explaining in order to convey the volatile nature of the Italian city-states where pretty much any duchy could go to war with any other at the drop of a hat, and the one sure thing everyone knew was that those Borgias were up to no good.

Fortune's wheel was a popular concept during the d'Este sisters' time and the reader sees how it spins, triumph and tragedy constantly chasing each other through tumultuous times. LEONARDO'S SWANS is a fascinating glimpse into that time, with the added bonus of insights into relationships between sisters and between artists and their patrons.

And who won? Which sister bent Leonardo da Vinci to her will? Neither, really. He got as far as a sketch of Isabella, and Beatrice was a background figure in one of his less permanent frescos. Cecilia Gallerani, Il Moro's beloved mistress, got the complete oil painting.

--- Reviewed by Colleen Quinn

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Leonardo's Swans

Makes you feel like you've actually seen the artwork in person. Interesting insights on what people might have been like in this exciting time period. Loved it!

Surprising depth

What appears to be a cliché sketch of two young girls develops into a meaningful tale in which the young women must come to terms with the role of fate, the duplicity of the man they love, the nature of love, and ultimately, the finality of death. Although Isabella's craving for art might be interpreted as shallow, one must recognize that people such as herself were the driving force behind the Renaissance. The characters are well-defined, especially Leonardo whose capricious enthusiasm for his artistic and scientific projects form the basis of a very convincing characterization of the genius. Excerpts from Leonardo's writings, though at times awkwardly placed, also add credibility to his character. Although Leonardo's tie to the sisters appears to me to be weaker than the author may have intended, his presence adds interest to the plot. There is much to be learned here about 15th-century Italy but the historical events are so intricately woven into the story that the details of military skirmishes or political machinations never become tedious and dull. I was not fond of the use of the present tense in telling the story but the narration nevertheless allows the reader become intimately acquainted with the characters. Be sure to check out the back of the book to find references to paintings that exist of these very real people. Overall, I recommend Leonardo's Swans as an excellent choice for learning about this period in Italian history through the eyes of two real-life characters whose fortunes are shaped by the world in which they live.

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