“Lucrezia di Cosimo de' Medici, married at fifteen to the Duke of Ferrara, recognizes within months of her arrival at the Ferrarese court that her husband intends to kill her.”
What's in this book
- Maggie O'Farrell's 2022 novel — Lucrezia di Cosimo de' Medici, married to the Duke of Ferrara, recognizes he means to kill her
- O'Farrell's structural follow-up to Hamnet (2020, Women's Prize)
- 352 pages cross-cutting first year of marriage at the Ferrarese court with a single Bondeno hunting-villa day
- Based on Robert Browning's My Last Duchess (1842)
- Genevieve Gaunt audiobook is the definitive audio production
- For readers of Hamnet, Bring Up the Bodies, The Mirror & the Light, and contemporary literary historical fiction
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The Marriage Portrait is Maggie O'Farrell's 2022 novel, the structural follow-up to Hamnet (2020, Women's Prize) and O'Farrell's deeper move into Italian Renaissance literary historical fiction. The structural premise is Lucrezia di Cosimo de' Medici, the third daughter of Cosimo de' Medici and Eleonora di Toledo of the Florentine ducal court, who is married at fifteen to Alfonso II d'Este, Duke of Ferrara, after her older sister Maria's death from typhus has freed her from the eight-year engagement to him. The novel runs the first year of her marriage at the Ferrarese court, intercut with present-tense chapters at the Ducal hunting villa Bondeno across a single day in the second year of the marriage during which Lucrezia has recognized that her husband intends to poison her. The novel is structurally based on the Robert Browning poem My Last Duchess (1842).
O'Farrell's structural method is the patient Renaissance-Italian texture across both the chronological-Ferrarese-court chapters and the present-tense Bondeno-villa chapters. The Lucrezia close-third-person interiority is the work's structural achievement; O'Farrell renders the consciousness of a fifteen-year-old daughter of a Renaissance court who has been raised to recognize the political-and-violent operational interior of every adult around her with the kind of patient psychological specificity contemporary American historical fiction rarely commits to. The painterly material (Lucrezia's actual portrait by Alessandro Allori that survives, the portrait of her by Bronzino that the novel reconstructs) is rendered with the kind of art-historical care that lifts the novel above its commercial-historical-fiction shelf. The Ferrarese-court ensemble (Alfonso, the duchess-mother Renee, the mistress Elisabetta) carries the structural antagonist weight.
Recommended as required contemporary literary historical fiction reading, as the natural follow-up to Hamnet, and for fans of Bring Up the Bodies, The Mirror & the Light, and the broader contemporary literary historical-fiction shelf. The Genevieve Gaunt audiobook is the definitive audio production. Five stars without reservation.
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