Philiberte of Savoy

Philiberta of Savoy (or Filiberta; 1498 – April 4, 1524), Duchess of Nemours, was a Savoisian noblewoman and member of the House of Savoy.

Early life and engagement Philiberta was the daughter of Philip II, Duke of Savoy, and his second wife, Claudine de Brosse. After Philip died during Claudine's pregnancy, Claudine withdrew to Billiat to give birth to Philiberta. Claudine brought the Shroud of Turin with her into seclusion, then in possession of the House of Savoy, a relic that Philiberta would revere throughout her life.

Personality and appearance Historian Jean-Henri Merle d'Aubigné assessed Philiberta to be an intelligent, albeit "simple-hearted" girl who engaged often in charity. Biographers Annie Turner Wittenmyer and Martha Walker Freer similarly described her as "modest" and of a "gentle" or "timid" disposition.

Accounts differ on Philiberta's physical appearance. Some critics considered her a likely candidate as the inspiration for a painting that was attributed to Leonardo da Vinci: 'Holy Family with St Catherine ' (today hosted at the Hermitage Museum). This painting was later identified as the work of Cesare da Sesto, da Vinci's contemporary. In a 1938 biography of da Vinci, Antonina Vallentin described Philiberta as a "thin girl with a pale, pinched face, and almost a hunchback," but referenced no source—coeval or otherwise—for this assessment. Contemporary portraits were made of Philiberta by artist François Clouet, who was generally recognised for his accuracy.

Engagement In 1513, Philiberta was engaged to Italian nobleman Giuliano de' Medici. Philiberta's brother, Duke of Savoy Charles III, opposed the marriage, believing the House of Medici to be beneath that of Savoy. The union proceeded nonetheless, largely due to the will of King Francis I, who viewed the union positively.

Marriage Philiberta and Giuliano did not marry until February 1515, when she was 17 years of age.

Francis invested Giuliano with the title of Duke of Nemours, which had recently reverted back to the French crown. Giuliano would not exercise the title, as he and Philiberta relocated to Rome shortly after marriage. Pope Leo X welcomed the couple with an extravagant reception, spending 150,000 ducats on festivities.

Giuliano had been ill with tuberculosis for some time, and his health began to deteriorate early in the marriage. Within a year of marriage, Giuliano died aged 37; Philiberta was 18.

Though her marriage had been arranged, Philiberta sincerely grieved her husband. A leader in King Francis' military, de Foix sought to wed Philiberta to improve his position. She had tired of high society, finding it to be decadent, and was struggling to comply with the political manoeuvres expected of her by her brother and nephew. Like Marguerite, she keenly followed the writings of Guillaume Briçonnet, Bishop of Meaux, and developed a fledgling interest in ideas underpinning the growing Reformation movement.

In 1523, Philiberta funded the construction of the Chapel of Nemours, a chapel on the grounds of the Château des ducs de Savoie. This chapel adjoined the Sainte-Chapelle, which housed the Shroud of Turin at the time.

Her death deeply affected Marguerite, who sought spiritual guidance from Briçonnet. Philiberta was also mourned by residents of Bugey. This time, careless workers destroyed Philiberta's tomb with falling rocks.

In 1739, artist Antonio Francesco Selvi memorialised Philiberta in a bronze medal, as part of a series depicting figures associated with the House of Medici.

Modern works A fictionalised Philiberta appears as a minor character in The Enchantress of Florence (2008) by Salman Rushdie.

Association with Leonardo da Vinci Philiberta's marriage to Giuliano de' Medici was a disappointment to the artist Leonardo da Vinci, of whom Giuliano was a patron. It is commonly interpreted as an allegorical (and possibly satirical) commentary on political power struggles between Italy's Medici papacy and the French monarchy at the time. Others hypothesise that Giuliano commissioned the painting to depict another of his lovers, but did not claim the finished work in order to avoid upsetting Philiberta. However, neither theory is a popular school of thought among art historians.