Through a little less than twenty years, the daring women that are Da Vinci’s Disciples strive, thrive, and survive one of the most tumultuous periods in Florentine history. In PORTRAIT OF A CONSPIRACY, their very lives are threatened in the repercussions of one of the greatest assassination conspiracies in all of history. In THE COMPETITION, the strict social mores of the time are shattered, and once more, the women find themselves in physical danger. In the conclusion of the trilogy, THE BONFIRE OF THE VANITIES, the Disciples will again put their lives on the line to save not just their art, but art itself. Come to think of it, much of Florence’s history was rife with strife.
But first I must tell of my own connection, one I didn’t know existed until after I started writing books set in Florence. Yes, in that glorious small speck of time between completing one book and starting another, I sent out a query to an organization that researches surnames. It took them a while to complete the appropriate investigation, during which time I developed the basic idea for the Da Vinci’s Disciples trilogy. It would seem as if my fascination for the ancient city was firmly entrenched in my psyche. The information, when it came from the research institute, wonderfully illustrated with my family crest on parchment looking paper, declared that the origin of my family was, most probably… Florence. My ancestors have been calling, and I am answering that call as best I can.
Julius Caesar named the city ‘Florentina’ (meaning ‘flourishing’) when founded in 59 BC as a military retirement haven. How portentous the name would come to be. Yet there is evidence of occupation dating back to prehistoric times. Caesar developed the city, true, with the assistance of the great Roman general and statesman, Lucius Cornelius Sulla, from a military state of mind, one that is still in evidence even today. Situated on a major artery leading to Rome, the Via Cassia (still known by that name in the heart of Rome, as the A1 for hundreds of miles leading throughout the country) it was rich with fertile farmland. The combination proved successful and it soon grew from a small Roman settlement to a lively commercial epicenter.
Enclosed in a wall approximately 1800 meters long, the city is rectangular in shape, and developed, as did most cities initially Roman, with straight roads and right angles. The main roads led to four towered gates and the Arno—a major river flowing in from the west coast—at first lay outside its gates. Located at the apex of main roads and a large river, found Florence growing rapidly, commercial activity and trade thrived, as did the city.
Christianity made its way to Florence in the second century and by the next, churches began to spring up like the shoots of spring flowers. Today there are close to forty churches and these religious houses are partially responsible for the birth of the Renaissance.
Like so many other locations in Italy, Florence was prey to the pillaging of the Barbarian invasions of the Dark Ages. Though the city built more interior city walls, they too fell to the Lombards, the dark period of the city’s history.
But from out of the darkness, came the light.
By the 8th century, a feudal system was established in Florence, in truth throughout Tuscany, and the city became a county of the Holy Roman Empire, changes that were both a blessing and curse. More city walls were constructed, more gates for protection and grandiosity, and over the next few centuries Florence continued to prosper and its population to grow exponential; a flurry of activity leading to one of human evolution’s greatest eras, the Renaissance.
Any great accomplishment, movement, or change in the direction of humankind, does not come about because of one circumstance or the efforts of one human, but from a conglomeration of magnificent events…the perfect storm. Such was the Renaissance and its birth in a city named Florence.
Its inception can be found, in part, in the politics of the city. A strife-ridden communal system gave way to an oligarchy, a system that would rule the city on and off for hundreds of years. The greatest of all the oligarchies belong to the Medici family (major players in the Da Vinci’s Disciples trilogy). Yes, these were men who had undeniable—dare I say obnoxious—certainty in their superiority, but they were also gifted with open, curious minds whose craving for knowledge and truth and beauty brought new and enlightening concepts to within the city walls. Harking back to the teachings of the Greeks and the Romans, they revived the value of the human being and within this eagerness for knowledge and enlightenment, Humanism was born. Man came to consider himself God’s greatest creation and combined with a craving for rational thought and an affirmation of the natural environment in which he existed. A distinctive characteristic of Humanism was the glory of art, of man’s ability to manipulate media into whatever form they chose.
The rise of Humanism, the profusion of churches—churches which needed pious artwork to compete with the glory of its architecture—combined with the unflattering urge of humans to outdo each other, brought together all the necessary ingredients for an artistic explosion: fertile temperament, a surplus of venues, and the need for the leading citizens to become the leading citizen, producing a plethora of patrons vying for the best artists of all sorts. It was a collision that had never happened before, one that some hope will happen once again (one that I personally believe took place in the 1960s).
But it was not only painters and sculptors that Florence and its rebirth produced, though there were those a plenty, to name a few: Giotto di Bondone, Masaccio, Domenic Ghirlandaio, Perugino, Michelangelo, Raphael, Botticelli, Titian, and, of course, Leonardo da Vinci. And those are just the upper echelon of painters.
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| Leonardo da Vinci |
Architecture reigned supreme as well under the skillful hands of Brunelleschi, Leone Alberti, Palladio, and Bramante, architecture that still lives and breathes, and is any travelers’ dream.
Their glory was all written about with equal talent by the writers of the age: Petrarch, Boccaccio, Luigi Pulci, Machiavelli, and Poliziano. In fact, so many of Italy’s greatest writers and poets were connected to Florence, its dialect came to be known as the official Italian language, beginning with the appearance of Dante’s Il Divina Commedia. The power of Florence affected almost every facet of Renaissance life. The currency of the city, the gold Florin, came to be the most valued, not only in Italian but also in all the corners of Europe, from Hungary to Britain to Bruges, and everywhere in between, and helped to develop industry across the continent.
Today, much of the Florence of the past still exists, preserved with historic tenderness and care, and it is one of the most visited cities in the world. Unbelievably (even to myself) I have not made my way to this glorious city. But in a little over a year, I’ll be celebrating my 60th birthday and I am determined to celebrate it in this glorious city that is my muse and my heritage.
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Publisher: Diversion Publishing
Pub. Date: April 25th, 2017
Pages: 268
Book Series: Da Vinci's Disciples (Book 2)
In a studiolo behind a church, six women gather to perform an act that is, at once, restorative, powerful, and illegal. They paint. Under the tutelage of Leonardo da Vinci, these six show talent and drive equal to that of any man, but in Renaissance Florence they must hide their skills, or risk the scorn of the city.
A commission to paint a fresco in Santo Spirito is announced and Florence’s countless artists each seek the fame and glory this lucrative job will provide. Viviana, a noblewoman freed from a terrible marriage and now free to pursue her artistic passions in secret, sees a potential life-altering opportunity for herself and her fellow female artists. The women first speak to Lorenzo de’ Medici himself, and finally, they submit a bid for the right to paint it. And they win.
But the church will not stand for women painting, especially not in a house of worship. The city is not ready to consider women in positions of power, and in Florence, artists wield tremendous power. Even the women themselves are hesitant; the attention they will bring upon themselves will disrupt their families, and could put them in physical danger.
All the while, Viviana grows closer to Sansone, her soldier lover, who is bringing her joy that she never knew with her deceased husband. And fellow-artist Isabetta has her own romantic life to distract her, sparked by Lorenzo himself. Power and passion collide in this sumptuous historical novel of shattering limitations, one brushstroke at a time.
A commission to paint a fresco in Santo Spirito is announced and Florence’s countless artists each seek the fame and glory this lucrative job will provide. Viviana, a noblewoman freed from a terrible marriage and now free to pursue her artistic passions in secret, sees a potential life-altering opportunity for herself and her fellow female artists. The women first speak to Lorenzo de’ Medici himself, and finally, they submit a bid for the right to paint it. And they win.
But the church will not stand for women painting, especially not in a house of worship. The city is not ready to consider women in positions of power, and in Florence, artists wield tremendous power. Even the women themselves are hesitant; the attention they will bring upon themselves will disrupt their families, and could put them in physical danger.
All the while, Viviana grows closer to Sansone, her soldier lover, who is bringing her joy that she never knew with her deceased husband. And fellow-artist Isabetta has her own romantic life to distract her, sparked by Lorenzo himself. Power and passion collide in this sumptuous historical novel of shattering limitations, one brushstroke at a time.
Advanced Praise for The Competition
"THE COMPETITION is a page-turning, provocative romp through a fascinating time and place―15th-century Florence. Donna Russo Morin has given us a novel for our time, a book featuring strong female characters fighting the odds to break the “glass ceiling,” and reminding us that this battle is not new: women have been waging it for centuries. ―Sherry Jones, author of The Sharp Hook of Love: A Novel of Heloise and Abelard
“...a page-turner unlike any historical novel, weaving passion, adventure, artistic rebirth, and consequences of ambition...a masterful writer at the peak of her craft.”―C. W. Gortner, author of The Confessions of Catherine de'Medici
“A 15th-century Florence of exquisite art, sensual passion and sudden, remorseless violence comes vividly to life in Donna Russo Morin's new novel.”―Nancy Bilyeau, author of The Crown
“In Portrait of a Conspiracy, Russo Morin's rich detailing transports the reader to the heart of Renaissance Italy from the first page.”―Heather Webb, author of Becoming Josephine
“Illicit plots, mysterious paintings, and a young Leonardo da Vinci all have their part to play in this delicious, heart-pounding tale.”―Kate Quinn, author of The Empress of Rome Saga
"In elegant prose, Morin paints a captivating tale of courageous women painters who battle against prejudices in Renaissance Florence. Featuring strong women characters, each with distinctive personalities, this is exactly the type of historical novel I enjoy. Exhilarating and compassionate, The Competition sings a beautiful tribute of women's talents and underscores Morin's masterful storytelling. Delightful!"―Weina Dai Randel, author of The Moon in the Palace and The Empress of Bright Moon
“An inspiring tale of determined women, empowered by undeniable talent, in the male-dominated art world of Renaissance Florence. In The Competition, Ms. Morin delivers a captivating story rich with historical detail and beautifully woven through with atmosphere.”―Diane Haeger, author of Courtesan
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About the Author
Donna earned two degrees from the University of Rhode Island. In addition to writing, teaching writing, and reviewing for literary journals, Donna works as a model and actor; highlights of her work include two seasons on Showtime’s Brotherhood and an appearance in Martin Scorsese’s The Departed. Donna is the proud mother of two sons, one a future opera singer, the other a future chef. To learn more about Donna visit her website and blog, and connect with her on Facebook and Twitter.
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