ACT I

SCENE I

An apartment of the Vatican: at the further end the door of the Treasury by which the Lord Cardinal Casanova is seated.

The Lord Alexander VI. and an Envoy from Naples.

The Pope is seated; from time to time he plunges his hands into a coffer of pearls, letting the pearls stream through his fingers.

ALEXANDER.

ENVOY.

ALEXANDER.

ENVOY.

ALEXANDER.

ENVOY.

ALEXANDER.

ENVOY.

ALEXANDER.

Enter Monsignore Gaspare Poto.

POTO.

ALEXANDER.

ENVOY.

ALEXANDER.

[The treasurer unfolds the door and discovers Donna Giulia Farnese and Donna Lucrezia Borgia in Neapolitan dressing-gowns of white silk, their golden hair untressed, choosing jewels for their nets.

{4}

GIULIA.

ALEXANDER.

ENVOY.

ALEXANDER.

LUCREZIA.

ALEXANDER.

ENVOY.

ALEXANDER.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

Re-enter Monsignore Gaspare Poto.

POTO.

ALEXANDER.

GIULIA.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

SCENE II

A Room in the Lord Cesare Borgia’s Palace of Borgo Sant’Angelo.

Messer Bernardino Betti (Pintoricchio) and Messer Ercole are waiting to deliver a ceremonial sword.

Enter Lord Bonafede, Bishop of Chiusi.

BONAFEDE.

PINTORICCHIO.

BONAFEDE.

Enter the Lord Cardinal Cesare Borgia.

CESARE.

PINTORICCHIO.

ERCOLE.

CESARE.

Enter Monsignore Gaspare Poto.

POTO.

CESARE.

POTO.

CESARE.

POTO.

CESARE.

SCENE III

The Vatican: a room overlooking the Tiber. It is twilight.

Don Joffré Borgia and Donna Sancia d’Aragon, who is weeping, look out from a distant window; near at hand the Lord Cardinals Francesco Borgia and Bartolomeo of Segovia are also looking out.

The Lord Alexander VI. is pacing backward and forward.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

[He begins to pace again, his arm in Cardinal Segovia’s.

CARDINAL SEGOVIA.

ALEXANDER.

[Stopping suddenly in the middle of the room.

CARDINAL BORGIA.

ALEXANDER.

Donna Adriana Orsini enters, supporting Donna Lucrezia Borgia. They are deeply veiled.

[Lucrezia remains before him silent, with open mouth.

LUCREZIA.

ALEXANDER.

[Joffré and Sancia go out.

[Adriana makes a gesture of appeal: Alexander waves his hand wrathfully. As the women go out, an usher meets them, closely followed by Madonna de’ Catanei.

[The usher speaks to Lucrezia. Lucrezia puts her arms round her mother’s neck.

[Vanozza, holding Lucrezia’s hand, is conducted to the Pope. She falls at his feet: he raises her.

VANOZZA.

ALEXANDER.

[He holds her face in his hands.{14}

VANOZZA.

ALEXANDER.

[Gaspare Poto approaches.

POTO.

ALEXANDER.

[Steadying himself against Vanozza.

[He moans.

POTO.

[Poto supports the Pope to where the waterman Giorgio stands with an Inquisitor at the further end of the room.

LUCREZIA.

[Suddenly coming to Vanozza.

VANOZZA.

[Watching the Pope.

LUCREZIA.

VANOZZA.

LUCREZIA.

VANOZZA.

ALEXANDER.

ADRIANA.

ALEXANDER.

CARDINAL SEGOVIA.

GIORGIO.

ALEXANDER.

GIORGIO.

ALEXANDER.

POTO.

ALEXANDER.

GIORGIO.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

POTO.

ALEXANDER.

Enter Monsignore Burchard.

BURCHARD.

ALEXANDER.

CARDINAL SEGOVIA.

BURCHARD.

CARDINAL SEGOVIA.

BURCHARD.

ALEXANDER.

BURCHARD.

CARDINAL BORGIA.

BURCHARD.

ALEXANDER.

SCENE IV

A room in the Lord Cardinal Cesare Borgia’s Palace of Borgo Sant’ Angelo.

It is dead midnight: lights are burning. Lord Cardinal Cesare, in the black satin dress of a Spanish gentleman, with jewelled poignard, reclines on a couch. He appears to be sleeping, except that now and again he slowly rolls from hand to hand a gold ball of perfumes. His Spanish page Juanito Grasica is asleep. Behind the couch, across a table, the great ceremonial sword lies naked, and near it is a new purchase, the sleeping Cupid with broken foot of Messer Buonarotti.

Donna Lucrezia Borgia enters with Donna Adriana Orsini, whose hand she clasps: she looses it, and, after a moment’s pause, comes to her brother.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

SCENE V

The Pope’s Bedroom in the Borgia Apartments at the Vatican.

The Lord Alexander VI. is extended asleep on the bed.

The Lord Cardinal Bartolomeo of Segovia and Monsignore Gaspare Poto.

CARDINAL SEGOVIA.

POTO.

CARDINAL SEGOVIA.

POTO.

CARDINAL SEGOVIA.

POTO.

CARDINAL SEGOVIA.

POTO.

CARDINAL SEGOVIA.

POTO.

ALEXANDER.

CARDINAL SEGOVIA.

ALEXANDER.

POTO.

ALEXANDER.

POTO.

ALEXANDER.

POTO.

ALEXANDER.

POTO.

ALEXANDER.

POTO.

An Usher appears at the door.

USHER.

ALEXANDER.

GOVERNOR.

ALEXANDER.

GOVERNOR.

ALEXANDER.

Enter the Lord Francesco Borgia.

CARDINAL BORGIA.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

CARDINAL BORGIA.

ALEXANDER.

SCENE VI

The Vatican; Sala dei Pontifici.

The Lord Alexander VI. is enthroned. The Lord Cardinal Cesare Borgia stands before him, defiant.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

CESARE.

ALEXANDER.

ACT II

SCENE I

Rome: the Piazza Navona.

In the centre an antique statue stands, half-excavated, dressed up and painted to represent Proteus as an old man, one of his arms being turned into a dragon, one into a bull. This is the statue called Pasquino, and it flutters with epigrams and satires. To the left the door and steps of the Church of San Giacomo. To the right some houses: behind Pasquino, the Orsini Palace.

It is early—the market-people are beginning to arrive.

The Lord Cardinal Cesare Borgia, in the caftan and turban of a Turk, comes out of one of the houses with the Turkish Prince Djem. He stands and looks round from the centre of the Piazza, near Pasquino, and close to the adjacent stone-seat belonging to the old Stadium of Domitian.

CESARE.

Djem, Djem! let us stay here awhile. We must rest, for our night has been a busy one. How pale the morning looks, the girls unsunned, and the church chilly!

DJEM.

You do not look pale. You look very handsome, dressed as a Turk.

CESARE.

I shall never look so handsome in this dress again; it will never be so indecent. It is as if a wench were clad as generalissimo—a Cardinal in these fair war-colours. The very broideries have a courage in them. How bold they are! How they glitter!{30}

DJEM.

You should fight with us in our army.

CESARE.

[Putting his arm round Djem’s neck.] You shall fight with me in my army. We have borne such witness against ourselves, and in places where the Cardinals might recount our misdoings, that to-morrow in Consistory, when I make appeal, they will release me from my vow.

DJEM.

Then you will be no longer Christian?

CESARE.

Look there, look at those yellow-garbed Marani. To save life and limb they pay me monies—money for a journey to France. Oh, look at them! They groan, and I am the cause. [With a gay laugh.] I am a Christian. [He sits on the stone bench.] By the Holy Keys, I could bury myself in these trousers! They almost bury you, and your five daily meals with the sugared water as preamble! What an elephant you are, Djem, in your thirty thousand yards of linen! If I could walk like you! It is the measured step of the elephant and the beat of a Venetian chorus.... Then you have killed four people—Ecco!

DJEM.

Ha, ha, ha!

CESARE.

Your eyes are half-closed, but I can see a bluish, glistening sword.... Four victims!

DJEM.

Will you take me into your church? They are staring at you, these little girls. You go far.

CESARE.

[To a girl.] My little love, your name?

GIRL.

Virgilia.{31}

CESARE.

You find me beautiful? While the Piazza is still empty....

DJEM.

This may not be in the Piazza.

CESARE.

[Sitting down again.] You shall see what may be in the Church. Virgilia, you should kiss the Captain.

GIRL.

Not that one.

CESARE.

[Resting his elbows on his knees and extending his hands to her.] But who is the Captain?

GIRL.

You, you are the beautiful Captain.

CESARE.

And he has kissed you, remember!

GIRL.

I will bring you melons.

CESARE.

[To Virgilia’s companion.] What have you for your soldier?

DJEM.

I will give you gems from this chain, little lady, if you will so honour me. Ha, a kiss!

CESARE.

Bought, bought! You are shedding your great clusters.

Enter the Lord Cardinal Ippolito d’Este and Princess Sancia of Squillace. Cesare lightly greets the Princess, but bows profoundly to the Cardinal.

Matutinal, fair lady?{32}

SANCIA.

As you.

CESARE.

As I. Matutinal, fresh from the couch, and conducted by divinity to your prayers!

SANCIA.

We do not come from Mass.

CESARE.

Lord Cardinal, I must deliver you from the burthen of your sins. [Drawing Sancia to his side.] A Paynim to a Paynim.

CARDINAL IPPOLITO.

I was conducting the fair Princess home from a masquerade.

CESARE.

Let her join the masqueraders.

Djem, is not the devil in her eyes? Your captives gleam so when they are taken.

SANCIA.

You conduct me to Mass—is that your pleasure?

CESARE.

It is my pleasure to conduct you.

SANCIA.

An infidel, a bastard Paynim! The true breed does not flaunt it so licentiously. Sultan Djem, are you curious in our worship?

DJEM.

I am curious, Madonna, to watch you.

SANCIA.

I am veiled.{33}

DJEM.

Ah, you are not carnal enough to be veiled. Some of our treasure is in caskets, some exposed. To some men it is the knowledge of what is hidden that animates; to others—

SANCIA.

See, I unveil.

DJEM.

It is useless, Madonna; you are a spot....

CESARE.

A spot, a temptress, a devil! How we gather our escort, proceeding!

A ROMAN PEASANT WOMAN.

Who is it, Virgilia?

VOICES.

SANCIA.

Do you hear? There is another brother. I am between two, and attended.

CESARE.

VOICES.

A FAR-OFF VOICE.

A BOY.

OTHER VOICES.

CESARE.

Lord of the feast, lord of all revels, lord of Rome! Now read Pasquino’s libels—then follow to church.

VOICES.

NOTARY.

AN ONION-SELLER.

NOTARY.

An old prophet who changes shape a hundred times and as swiftly as our Pope. Now for the ways of the world, now for the ways of God, and back to old ways once more!

A WOMAN.

Why are Pasquino’s arms made creatures? See, a bull....

NOTARY.

The arms of the Borgia. Our Pasquin loves to bait that beast.

ANOTHER WOMAN.

And the snake?

NOTARY.

Hush! Am I Pasquino? The old prophet shall speak.

VOICES.

Oh, oh, oh!

A FRIAR.

Rome were favoured, indeed, if Tiber had his glut.

A GERMAN PILGRIM.

To think the Pope could promise such good things, and not be able to hold for the space of half a year.

MERCHANT.

Alexander Sixtus! A quivering reed after the breeze, valiant in power of recovery. Vivat diu bos, vivat Alexander!

WOMAN.

His sorrow was too great.

A BANKER.

There is festa about him. All Lent—that is not our Pope. And there is {36}festa about the Bull-calves ... Vituli ... the same race!

A MELON-SELLER.

Melons, ripe melons!

[The Notary turns and reads to the people behind Pasquino. Laughter and murmurs. The market begins. Cesare and Sancia come out together from the church. Djem lingers in the porch, which gradually fills with people from inside the church.

SANCIA.

But you will lose her, Sultan Cesare, you will lose her. I am irresistible; and Lucrezia’s husband is my brother.

CESARE.

You knew your destiny. You saved me the tedium of a siege.

[To Djem, pointing to the sellers of melons, peaches, grapes, and almonds, who clamour round.

Djem, they are too forward. Can you not beat them off?

DJEM.

A nut, a nut! But, my gentle ones, a nut! A pistacchio for these teeth. I bite the nut; then I bite you.

SANCIA.

You are bold—a Turk at mass! But I adore the purple. Young Cardinal d’Este grows in my favour. He has eyes.... [In a sudden fawning voice.] But his eyes are not silver, they are brown, brown as Giovanni’s.

CESARE.

Then to be extinguished.

SANCIA.

You will not hurt my little Cardinal—you will not? Ah, Paynim, had you been chosen for me instead of Joffré!

CESARE.

You have chosen me instead of Joffré.{37}

SANCIA.

My little Joffré is no more to me than the pet foal of the stables. If His Holiness would grant divorce....

CESARE.

What may not His Holiness grant at my suggestion! Commend me by letter to your cousin Carlotta. I shall meet her in France; persuade her to desire me, and your Ippolito shall be safe. I would marry Naples, the rightful line.

SANCIA.

For this you have flaunted me through the stone-staring church! You Borgia! Always the trap in your mighty simpleness. A gull!—I hate you. [Djem sidles up.

DJEM.

Sweets, comfits of coriander. They are welcome? Madonna, you pick! [Sancia turns from Cesare.

[Donna Lucrezia Borgia d’Aragon, with Donna Vanozza de’ Catanei, comes up the church-steps from the back. They are in mourning. The Spanish Gentlemen of Cesare’s train approach. Instinctively Lucrezia lets her veil fall aside. Groups stand round her, admiringly.

LUCREZIA.

VANOZZA.

DJEM.

[They bow. As Lucrezia turns from her mother the Spaniards engage her in talk. Cesare stands a little aloof, his eyes on his mother.

DJEM.

CESARE.

DJEM.

LUCREZIA.

DJEM.

VANOZZA.

CESARE.

VANOZZA.

CESARE.

VANOZZA.

SANCIA.

LUCREZIA.

DJEM.

CESARE.

VANOZZA

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

[They plunge down into the market-place; the people gather and follow them like a train.

CONFUSED VOICES.

SCENE II

The Vatican; Sala dei Pontifici.

A secret Consistory. The Lord Alexander VI. surrounded by his Cardinals in their purple. Don Garcilaso de la Vega, Spanish Ambassador, and other Ambassadors.

The Lord Cardinal Cesare Borgia is in the midst of an appeal to the Cardinals. The Pope is watching him, breathless.

CESARE.

CARDINAL BORGIA.

CESARE.

DON GARCILASO.

CESARE.

DON GARCILASO.

CESARE.

CARDINAL LOPEZ (Spanish).

DON GARCILASO.

CARDINAL BORGIA.

DON GARCILASO.

CARDINAL SEGOVIA.

CARDINAL OF LISBON.

ALEXANDER.

CESARE.

[There is low discussion for a space. Don Garcilaso’s voice is heard—“Bought; I protest, I will protest till death.” Cardinal Segovia advances.

CARDINAL SEGOVIA.

FRENCH AMBASSADOR.

[The Cardinals and Ambassadors press round Cesare to congratulate; he smiles and bows. Then they break into groups and disperse.

{45}

CESARE.

[He turns towards the Pope, who, unnoticed, has remained sitting on his throne, his hands stretched on his knees. Cesare steals quietly to his father.

ALEXANDER.

SCENE III

A room in the Palace of Santa Maria in Porticu belonging to Donna Lucrezia Borgia d’Aragon. Donna Lucrezia sits at the head of a couch; Duke Cesare de Valentinois lies along it. They are both dressed in white satin, embroidered with gold and pearls.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

[Springing up, he lightly takes her hand, and, looking into each other’s eyes, they dance a slow measure.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

SCENE IV

The French Court at Chinon.

King Louis XII. and the Lord Cardinal Giuliano della Rovere (afterwards Pope Julius II.)

LOUIS.

GIULIANO.

LOUIS.

GIULIANO.

LOUIS.

GIULIANO.

Enter Duke Cesare de Valentinois.

CESARE.

GIULIANO.

CESARE.

GIULIANO.

CESARE.

GIULIANO.

CESARE.

GIULIANO.

Re-enter King Louis with Mademoiselle Charlotte d’Albret.

LOUIS.

[Cesare kisses her hand and leads her to a couch, sitting by her.

CESARE.

LOUIS.

[They withdraw, leaving Cesare and Charlotte d’Albret together. Cesare remains passive: he holds a golden ball of perfume, snuffs, and plays with it.

CESARE.

CHARLOTTE.

CESARE.

CHARLOTTE.

CESARE.

CHARLOTTE.

CESARE.

SCENE V

A Hall of the Vatican with a Loggia at the back overlooking the Via just opened to Sant’ Angelo, that is seen in the distance dressed with flags.

In the Loggia several Cardinals, the Lords Francesco Borgia, Bartolomeo of Segovia, Giovanni Michele, Gianstefano Ferreri and Giambattista Orsini.

In the Hall are Donna Adriana Orsini, Donna Lucrezia Borgia d’Aragon, Donna Sancia Borgia, Donna Giulia Farnese and Don Alfonso, Prince Duke of Bisceglia.

DONNA ADRIANA.

GIULIA.

SANCIA.

GIULIA.

ALFONSO.

LUCREZIA.

ALFONSO.

LUCREZIA.

SANCIA.

ALFONSO.

ADRIANA.

SANCIA.

ADRIANA.

SANCIA.

LUCREZIA.

[The Lord Alexander VI. enters with Don Joffré Borgia. They rise and do him reverence. Lucrezia at once goes up to him.

ALEXANDER.

ADRIANA.

ALEXANDER.

SANCIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

ALFONSO.

ALEXANDER.

ALFONSO.

ALEXANDER.

ADRIANA.

ALEXANDER.

GIULIA.

ALEXANDER.

GIULIA.

ALEXANDER.

CARDINAL MICHELE.

ALEXANDER.

ALFONSO.

ALEXANDER.

ALFONSO.

LUCREZIA.

SANCIA.

ALEXANDER.

SANCIA.

ALEXANDER.

CARDINAL BORGIA.

CARDINAL SEGOVIA.

CARDINAL MICHELE.

[The Pope sinks down exhausted in his chair and closes his eyes.

ALEXANDER.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

[The door is thrown open, Duke Cesare de Valentinois stands gravely on the threshold and makes a deep reverence. He is presented by Monsignore Burchard and followed by Prince Don Joffré and Prince Don Alfonso, the Generals of his staff, and the accompanying Cardinals and Ambassadors.

CESARE.

ALEXANDER.

[As Cesare bends to kiss the Pope’s foot, Alexander, with a passionate gesture, catches him in his arms.

CESARE.

ALEXANDER.

[Prince Alfonso has come to her and holds her by the hand.

CESARE.

[She drops Alfonso’s hand and goes quickly up to Cesare.

ACT III

SCENE I

The Vatican—Sala dei Pontifici.

The Lord Alexander VI. and Monsignore Gaspare Poto.

ALEXANDER.

POTO.

ALEXANDER.

CARDINAL PALLAVICINI.

ALEXANDER.

CARDINAL PALLAVICINI.

ALEXANDER.

CARDINAL PALLAVICINI.

POTO.

CARDINAL PALLAVICINI.

[They rush out to the Guard—a cry down the galleries “The Pope is dead!”

POTO.

Re-enter the Lord Cardinal Antoniotto Pallavicini and the Papal Guard. The vesper bell begins to ring.

CARDINAL PALLAVICINI.

POTO.

CARDINAL PALLAVICINI.

ALEXANDER.

CARDINAL PALLAVICINI.

Enter Duke Cesare de Valentinois Della Romagna.

CESARE.

CARDINAL PALLAVICINI.

CESARE.

[Cardinal Pallavicini goes out, as Cardinals and Physicians pass in.

After a while Donna Lucrezia Borgia d’Aragon enters and stands waiting till some one passes out of the bed-chamber.

CARDINAL SEGOVIA.

LUCREZIA.

BISHOP OF VENOSA.

LUCREZIA.

BISHOP OF VENOSA.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

SCENE II

The Vatican—a Loggia. Don Alfonso and Donna Lucrezia Borgia d’Aragon are seated together. There are peaches on a golden dish by them, a golden wine-jug and goblet. Two quails and a peacock sun themselves on the ground. A monkey plays with the ribbons of the Duchess’s dress; she wears white, with a green and gold veil twisted in her long hair.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

ALFONSO.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALEXANDER.

LUCREZIA.

ALFONSO.

LUCREZIA.

ALFONSO.

SCENE III

An apartment next to the Borgia Tower, which is reached by a passage on which the door gives. Don Michelotto Corella stands in the centre, the door being open. Suddenly Duke Cesare de Valentinois della Romagna comes to him in a blaze of passion.

CESARE.

MICHELOTTO.

CESARE.

MICHELOTTO.

CESARE.

[Re-enter Michelotto. Cesare opens his hands for the dagger and cord.

MICHELOTTO.

CESARE.

MICHELOTTO.

[He thrusts the door wide open into the passage and hides behind it.

Duke Cesare re-enters, his right arm round Donna Lucrezia Borgia d’Aragon, while his left hand grips Donna Sancia Borgia, Princess of Squillace. The door is fastened behind them by Michelotto.

SANCIA.

LUCREZIA.

SANCIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

LUCREZIA.

CESARE.

SANCIA.

LUCREZIA.

SANCIA.

CESARE.

[Lucrezia, who has been looking up into Cesare’s face, falls into a swoon.

Donna Angela Borgia and Donna Catilena de Valence rush in, pressing the bolt aside: there is blood on the skirt of one of them. Awed by Cesare’s aspect, they remain without speaking. Sancia springs through the open door with a cry.

LUCREZIA.

CESARE.

LUCREZIA.

ANGELA.

CESARE.

LUCREZIA.

[He turns away as she almost touches him and quickly leaves her.

ANGELA.

CATILENA.

LUCREZIA.

SCENE IV

The Stanze, Duke Cesare de Valentinois della Romagna’s new apartments in the Vatican.

The Lord Alexander VI. has penetrated into them and looks round.

ALEXANDER.

At last I have lodged him in the Vatican! But this is pleasure!... There is perfume in the rooms—the first scent of jasmine? No, but his balls of perfume ranged already in their order....

[Laughing as a two-year-old child crawls up to him from a tapestry.

[The Pope sits down and sighs twice or thrice heavily, drumming with his fingers on the table: then he catches sight of a design for Cesare’s new scutcheon. He speaks in gasps.

Enter Donna Fiammetta: she is a tall, perfectly fair young creature, of great dignity. She kneels.

FIAMMETTA.

[The Child cries. Fiammetta, looking for consent to the Pope, lifts the little Prince in her arms.

ALEXANDER.

FIAMMETTA.