My, oh my, oh my! Now you all know how much I ADORED and have RAVED about ‘Devotion’ by Hannah Kent (CLICK HERE to read my review). If you have met me in the bookstore, I can guarantee I have put any and all of Hannah Kent’s books in your hands. For me to say that THIS BOOK – ‘The Marriage Portrait’ by Maggie O’Farrell, comes in as a close contender as one of my favourite books of 2022 is big. It’s BIG people!

‘The Marriage Portrait’ by Maggie O’Farrell is well paced novel curated to intrigue and explore the devastatingly controlled life of Lucrezia, Duchess of Ferrara. By the age of 15 she was married to a Duke for the purposes of political and land gain. By 16 she was dead.

Set in the mid 1500’s, our opening scene introduces us to Lucrezia and her husband Alfonzo, as they dine for the very last time together before he supposedly, *as history believes* poisons her. This scene is chilling as we’re in the mind of a 16 year old girl who is contemplating what her life has come to and what to expect will come next. We then flash back in time to Lucrezia’s birth and the disconnected relationship she has growing up within her Medici family.

Lucrezia is the somewhat middle child Cosimo I de’ Medici, Grand Duke of Tuscany and Eleanor of Toledo. If you know your Italian history, you’d know that the Medici lineage is one of the most infamous and long ruling families/Italian royalty. The marriage of Cosimo and Eleanor was a loving one, yet Eleanor’s expression of love towards Lucrezia was never the same compared to her other children.

Lucrezia had a milk mother (or wet nurse as the role is more commonly known), of whom was lower class. Lucrezia’s early life was spent in the cook room, playing with her milk mother’s daughter and not learning the skills of her royal family. This resulted in her being somewhat of an outcast with her siblings and also when it came to linear education. Her art was how she expressed herself from a very young age and it followed throughout her short life. She also has an unusually calm connection to animals.

Lucé’s connection to animals comes to the forefront of the novel when there is a piercing scene with herself, her siblings and her father, Cosimo. It was hard to remove this picture from my mind throughout the rest of the story. Maggie O’Farrell brings so much truth to Lucé’s story and it was actually rumoured that in real life, Cosmio held a collection of exotic animals in the basement of the Palazzo Vecchio. The fictional scene follows Lucrezia as she witnesses the arrival of a new animal, a tiger. She is possessed by its beauty, power and its inability to fit in with the other animals. She feel connection and comfort with this animal. They speak the same emotional and mental language. As she falls behind the group, she reached her hand in the tiger’s cage and awaits its presence. Slowly, the animal comes to her and connecting with her hand is the animals fur. It sees Lucé, it feels her, it knows her. They are two creatures but their feelings are that of one. Her Father, terrified to turn and see this animal near his daughter, seeks to destroy the animal immediately. This is ultimately a turning point in the novel.

I believe this pivotal scene mimics Lucé’s future courtship and marriage with Alfonso. He sees her as beautiful, powerful and caged. He takes advantage of this young, innocent and disconnected creature. His pure use for her is to produce heirs, yet down the line we learn that this is something that does not come easily for him.

I was seized by this story immediately and I believe you will be too. I wanted to learn about how this young girl had experienced a life completely out of her control. The 1500’s time period is one I have not explored a great deal before and Italian history is always something I will jump to read considering my own heritage. I am now adding all of Maggie O’Farrell’s books to my TBR because her writing was just spectacular. I don’t think any other author I’ve read before has made me feel the way she has. Perhaps Hannah Kent would truly be the closest. The ending of this novel was also the perfect way to close the fictional story of the beautiful Lucrezia, Duchess of Ferrara. I am still thinking of this novel months after reading a prerelease copy – I am glad to finally place it in book lovers hands this September.

Lucé’s love for art is her saviour at different times throughout the novel. Yet, when it comes to her famous marriage portrait arranged by Alfonso, she is taken with how the different forms of art can depict a scene or moment of a person. Her own portrait is created by a collection of specialsed artists, one of whom is selective mute – or so we think. His name is Jacopo. Jacopo will go on to play an important role in Lucé life, whether that be fictional or true – I do not know.