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It's the rage bait.

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NBC News Reporting for America on the podcast Health Stuff. We are tackling all the health questions that keep you up at night.

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Diabetes in the United states. I mean, 50% of Americans are pre diabetic.

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Jenna World Jenna Jamison, Vivid Video and the Valley is a new podcast about the history of the adult film industry. I'm Molly Lambert and I'll be your tour guide on a wild trip through adult films.

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We call the shots. In what way is that degrading?

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Listen to Gentle world on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Welcome to Noble Blood, a production of iHeartRadio and Grim and mild from Erin Menke. Listener discretion advised. Around the halfway point of the 1998 drama film Dangerous Beauty, the movie's protagonist points a sword at the throat of the man who has just publicly mocked her, and she challenges him to a duel. What follows is a battle of both body and wit as the swordsman and swordswoman trade poetic verses while engaging in a flamboyant fencing match that ends on a boat in a Venetian canal. It's very cinematic and an incredibly fun scene to watch. I'm especially fond of the classic moment when our heroine finds the fabric of her dress punctured, so she removes the skirt to reveal a pair of pants underneath. In a bit of delightful 90s feminist revisionism, the fight in the movie is a turning point for these two characters, who have previously been cordial. Earlier in the film, both of them poets had worked in harmony to exalt Venice's beauty. Now our heroine's lines are criticizing her partner's disregard for the minds of women while he's calling Her a whore. He is Mafio Venier and she is Veronica Franco. And as it happens, both of their accusations about the other are true. The movie Dangerous Beauty takes a lot of artistic liberty as a biopic of the Venetian courtesan and writer Veronica Franco, though it does pull from the true history found at its source material, the biography the Honest Courtesan by Margaret Rosenthal. The basic story of the movie is factual. Veronica Franco, the daughter of a courtesan, rose from obscurity to the heights of Venetian society. Entertaining and serving many high ranking men, including a young Henry III of France, the film depicts imagined details of their, let's say, exploratory encounter in a scene you will have to watch for yourself. More extraordinarily, though, in real life, Veronica used her accumulated influence to publish her own writing and advocate for the rights of her fellow Venetian women. Where truth and fiction diverge is in the details. For example, the film's central love story between Veronica and Maffio's cousin Marco was based on a real relationship, just not one that would have been quite as swoon worthy without embellishment. The movie also takes a few liberties with regards to that battle between Veronica and Mafio. In real life, it was only scathing poems going back and forth, not swords. While blood may have been drawn on screen, the film keeps things lighter with regards to the intellectual violence of the real Maffeo's virulent and darkly misogynistic verses about Franco in real life, where did his extreme hatred of Veronica stem from? There's some crossover between art and history. The movie portrays him as jealous that Domenico, his wealthy uncle, was more supportive of Veronica's literary ambitions rather than his own. And it portrays him as bitter that Veronica rejected his advances years earlier. The former seems to be quite true, but there's no evidence to support the latter. The sword fighting scene in the movie ends with Veronica triumphant, but Maphio, now on the other side of the court's laughter, delivers a sucker punch to her jaw. It's an apt metaphor for life as a courtesan. For all of her success and status in Venetian high society, Veronica was never safe from the violent whims of men. It was those violent whims that would eventually place Veronica Franco in front of the Catholic Inquisition, accused of witchcraft. I'm Dana Schwartz and this is noble blood. Veronica Franco was born in 1546 to Paola Fracasa and Francesco Franco, and she was the only daughter out of their four children. While not noble, the Franco family were part of a cast Known as the sky citizens by birth, which is a group that made up much of Venice's salaried bureaucracy at the time, Though this citizenry were denied noble privileges, including high governmental positions or a vote in the Great Council. They could also be members of the co fraternities or great schools of Venice, which were powerful lay religious school societies. It's unknown whether or not Veronica received an education as a girl, but it's likely that she was able to sit in on lessons with her three brothers. Private tutor. Even that small liberty, though, was more than most women received. In fact, any access to education was outside of the norm. For reference, the Italian Renaissance scholar Paul F. Grendler cites that fewer than 4% of Venetian women had any public schooling in the 1580s, and only 10 to 12% were literate. Men, by contrast, had a 30% literacy rate during the same period. The women who did receive education were from the nobility and upper classes, but even then their schooling was too typically limited to rudimentary reading and writing, just enough to learn religious principles and prepare to run a major household. Veronica's rise to prominence as a writer and courtesan was, as a result, fueled by her determination to educate herself later in life. It makes a little sense to pause here and define what and who exactly a courtesan is in the context of today's episode. Just as the English word courtesan derives from the masculine courtier, meaning a man who serves at court, the Italian cortegiana derives from the masculine cortegiano. The distinction between the cortegiana and the meretrice, or traditional prostitute, can be a bit blurry at times, but there were some key distinctions. For example, the courtesan's clientele would be of the elite noblemen, merchants, even men of the cloth. She would attract this clientele through her beauty and luxurious dress, as well as her cultural knowledge. She could play music, recite poetry, or recall the Greek and Roman classics. The best could do all of the above. Sex was, of course, at the core of the relationship between a courtesan and her patron. But it was her unique skill as a conversation partner that would lead a man of means to seek her services, as opposed to the services of a meretriche. The courtesan is in many ways similar to the Japanese geisha, who's a good reference point thanks to her enduring cultural legacy. Their intellectual talents are also what earned these women the title of honest courtesan. Honest in this instance, can be defined as respected or recognized. After all, courtesans were expected to sell A fantasy, not deliver harsh truths, as the name courtesan implies. She also attended social functions of the court and was often allowed in spaces that even noblewomen were prohibited from. While a Venetian noblewoman would have greater power and status than a courtesan, her life would be confined to the private domestic sphere. Despite their differences, the courtesan and the noblewoman were sometimes visually indistinguishable, thanks to their comparable means and taste. In his famed 1590 book of costumes, the publisher Cesare Verglio notes that indeed, at times some of these courtesans dress like widows and look very much like Venetian noblewomen to those who are not familiar with their condition. This was very concerning to Venetian authorities, who made frequent attempts to distinguish sex workers from other women by mandating that they wear a yellow scarf in public or forbidding them from wearing certain fabrics and materials, laws which were repeatedly soundly ignored, especially by the courtesans. The republic repeatedly attempted to construct legal qualifications as to what separated a courtesan from a noblewoman as well as a courtesan from a meretriche. But throughout the first half of the 16th century, their efforts were in vain. While many rejected the courtesan's place in society and many more would in the latter half of the century. Courtesans at this time were integral to the city's identity. Venice, known for its beauty and luxury goods, prized the courtesan as a jewel of society. Visitors sought to gaze upon Venice's courtesans as one would any tourist attraction, as the eccentric English travel writer Thomas coriot described in 1608. As for the number of these Venetian courtesans, it is very great, at the least 20,000, whereof many are esteemed so loose they are said to open their quivers to every arrow. The number is certainly an exaggeration, but such a figure fits with Venice's historical reputation as a city of pleasure. So now let's return to Veronica's life. The Francos were not of the lowest economic class, as has been theorized by some historians in the past. But it does not appear Francesco had any government position, and so the family certainly would need to work to support themselves. For women who needed to do that, options were quite limited. In Veronica's mother Paula's case, she supported herself as a courtesan. It was Paola who introduced her daughter to the profession, and we know Veronica established herself as a courtesan by around age 18. The catalogue of all the principal and most honored courtesans of Venice, printed likely around 1565, is a famed published list of 212 actively working courtesans, including Veronica Franco. Each woman is identified by name, location, fee and who their pieza or go between is. For Veronica, the listed go between is her mother, Paula. Talk about momager. You can imagine the you're doing amazing sweetie of the 16th century. While Veronica enjoyed great success in her career, evidence from her published collection Familiar Letters reveals that she may have wanted to choose a different path for herself. In one letter, she implores a friend and fellow courtesan not to introduce her daughter to their profession, offering instead to pay the daughters way to a home dedicated to young impoverished women. Veronica wrote, to make oneself prey to so many men at the risk of being stripped, robbed, even killed, along with so many other dangers of injury and dreadful contagious diseases. To eat with another's mouth, sleep with another's eyes, move according to another's will, obviously rushing toward the shipwreck of your mind and your body. What greater misery, what wealth, what luxuries, what delights can outweigh all this? Published in 1580. In that letter, Veronica reflects on her life not simply with cynicism, but with wisdom and a greater awareness of Venice's existing social conditions. Glamorous as it might be to imagine the luxurious life of a courtesan, it simply wasn't the case, even for someone like Veronica, who was successful. In Veronica's earliest years, before her career began, she briefly did live a more traditional lifestyle. Sometime in the early 1560s, a teenage Veronica entered an arranged marriage with a Dr. Paolo Peniza, who possessed what is possibly the most stereotypically Italian name I've come across in the history of this podcast. It was evidently not a great match, as the couple separated not long after they were married. Such knowledge comes from Veronica's unusual request for the return of her dowry in her 1564 will, an important document for our understanding of Veronica's life. Reading a will may seem like an odd place to begin telling someone's life story, but Veronica's two written wills from 1564 and from 1570 ironically provide us with some of the earliest details of her life. More saliently, they tell us a lot about who she was and who she would become, despite the fact that they were written at the incredibly young ages of 18 and 24, respectively. For one thing, we know that she was writing her first will in 1564, when she was 18 years old, because she was pregnant. This was common practice at the time as necessary insurance in case a mother died in childbirth. Notably, Veronica declares that Paolo is not the father of her unborn child. She believed, with the qualification that only God knows for certain. The baby's father was Giacomo di Babali, a noble merchant from modern day Croatia. It's unknown whether or not he was a lover, a client, or both, but it is highly probable that Veronica had already begun her career as a courtesan by the time of the will. Writing as her support from several patrician and noble families of Venice is noted, Veronica writes that in honor of the love shared between them, Di Bibali should take responsibility for the child in the case of her death. She also bequeathed him a diamond as a symbol of her love. Veronica orders her executors to leave her accumulated capital in the care of Diba Bali, but only under the condition that he matches the amount with 5% interest for the benefit of their son or daughter until he or she reaches legal age. If they have a daughter. Franco insists that at such a point the remaining capital plus interest be given directly to her in the form of a dowry. Making sure that women have money, and importantly, access to that money, is a recurring point of order in Veronica's will. For example, she leaves 10 ducats to Agnesina, the daughter of her brother's wetners, to be repeated anytime Agnesina marries. Additionally, when Veronica requests the return of her dowry from Paolo, she asks that it be given to her mother to do with as she pleases, like her, who gave it to me. This implies that the money for Veronica's dowry was provided not by her father, but by her mother and her mother's work as a courtesan. By the time Veronica wrote her second will six years later, in 1570, her life had changed considerably. For one, her mother was dead. It's unlikely Veronica found a new pieza and instead began managing her own transactions. It's clear that she had become a sought after courtesan by this point, evidenced by a considerable rise in means and the appearance of higher ranking associates. In her will. Veronica's literary career would not begin for a few more years, but we see she had already endeared herself to Venice's elite. In this new will, she dictates that the majority of her capital is to be left to the care and education of her two epically named sons, Akil, the child with whom she was pregnant at the time of writing her first will, and Ennio. According to Veronica, Ennio is the son of Andre Tron, a Venetian nobleman. Andre, himself, a son of a prominent senator, was already married to a noblewoman at the time of their son's birth, and it's unknown whether or not he ever claimed their son as his own. This will is more detailed than the first. We see how Veronica has carefully divided her capital between her two children, the children of those she's close to, and her brother's family. She once again designates money for the dowries of young women in need, but this time she circumvents the balloting system. Instead, she directs the surplus of her capital to provide for the marriages of two worthy maidens. She adds an additional clause that if her executors confined two prostitutes who want to leave their wicked life by marrying or entering a convent, then they should be embraced rather than the two maidens wicked. Here is not necessarily a moral judgment in this instance, rather a reflection of the hardships endured by the sex workers during this time in Venice. Veronica was evidently successful enough that she had her own home and the luxury of employing a small staff, because her will also designates money to be left to her cook, her maid, and a former maid. It was in her own home that the courtesan welcomed the young king Henry III of Valois, son of Catherine de Medici, who visited Venice in July of 1574 during his journey from Poland to France to claim the throne there. Following the death of his older brother, Henry's stay in Venice marked the most extravagant reception of a foreign dignitary that the city had ever witnessed. The then 23 year old Henri and his cousin spent the evenings attending balls and theatrical performances before spending the nights seeking out Venice's other most famous attractions. It's unknown how Henry came to meet Veronica specifically, but it's likely he was introduced through one of the nobles assigned to attend to him. Andrea Tran, the father of her second child, Henry, is mainly known for two his assassination, which ultimately marks the end of the House of Valois, and his sexuality. It is believed that he enjoyed cross dressing at masquerades and that he had sexual relationships with his male favorites. However, because rumors surrounding his bisexuality and effeminacy were used by Catholic detractors to prove that he was unfit for the throne, historians have never entirely been able to distinguish fact from fiction with certainty. What's real and what's propaganda? By the time of his and Veronica's encounter, even before taking the French throne, Henry had already gained something of a reputation. Though their encounter was almost certainly sexual in nature, Veronica later published a sonnet Platonically singing the young king's so to my modest dwelling without the shine and dazzle of royal pomp, came Henri called to so vast a kingdom that one world alone cannot contain it. Although he came disguised, he nonetheless so imprinted upon my heart his heavenly merit that my natural strength abandoned me. It was a combination of luck, her status and skill that led Veronica to live the life of a courtesan who would host foreign kings rather than a life as a simple meretriche. She seems to understand that, and it may have informed why she would choose to pursue another kind of work at this time that seemed untouchable for most women of her time and place. Sometime in the early 1570s, Veronica became a member of the intellectual circle cultivated by one of the most powerful noble clans of Venice, the Venier family. At the top of the familial hierarchy sat Domenico, the patron and protector. After relinquishing his duty as senator in 1546 because of his painful chronic gout, Domenico devoted his time to establishing an informal literary academy that met regularly at his residence. What set Domenico apart from other patrons and hosts was his sponsorship of numerous female artists and intellectuals. It does not appear that his support of these women, including Veronica, was dependent on sexual relationships. As noted earlier, only around 10% of Venetian women were literate during this time time period, and an even smaller percentage were publishing written work. In the absence of a powerful and extremely progressive father, women who sought to not only cultivate intellectual lives but also publish would need to rely on the generosity of patrons like Domenico. Originally, Veronica's literary career was dedicated to computer compiling the poems of other members of this circle for volumes, a unique role for a woman. Letters reveal she acted as the organizer of numerous collections throughout the 1570s. The patriarch's influence on Veronica and this circle at large is evident in her first published Collection of Poetry, 1575's poems in Terza Rima. Domenico was interested in pre Petrarchan poetic forms, which encouraged a revival of Dante's third rhyme structure, first seen in the Divine Comedy. This collection consisted of 18 poems with some in the format of proposta and rich riposta between Veronica and anonymous male poets. A back and forth by publishing a collection including poetic exchanges instead of merely her own compositions, Veronica was seeking to elevate her status by putting her work on the same level as her male contemporaries typically preferred. For for academic, satirical and comic compositions, Veronica utilizes that back and forth format to wittily and critically engage with both her lovers and her detractors. Perceptions of her take. The first two poems in the collection Capitolo 1, credited to an unknown author, is written in the tradition of the Put Trarchian Lover desperate for his feelings to be requited. Unlike the other works in poems credited to unknown authors, we actually do have the identity of this forlorn man. He was Marco Venier, Domenico's nephew and Veronica's lover. The first copies of poems identified him as the author of this poem, but then subsequent printings anonymize him alongside the other writers. For reasons unexplained. His poem rhapsodizes Veronica's cruel, or perhaps even dangerous beauty, but also flatters her writing talent, which Marco calls a gift from Apollo himself. And so, among beauties, you are famous for your learning. And among learned women you are known for your beauty. And in both you excel one group and the other. He, however, follows this praise with a question. But if knowledge in you is so nobly fruitful, why is it that beauty, also a treasure, comes to ruin through your hard heart? Marco's seduction hinges on the argument that Veronica has been blessed by both Venus and Apollo. But by denying him her love, she squanders Venus gift. He declares, you must put to good use all the gifts that she made you. As you do with the gifts granted you by Apollo. You'll make your name immortal through Venus gifts no less than you will do with your ink. Veronica's reply uses her Apollo given wit to turn Marco's arguments against him. If you think I'm so dear to Phoebus for composing poems in the works of love, you'll find me dear still to Venus. With this assurance that she is a perfectly skilled and confident lover, Veronica makes it clear that she does not hold back her affection out of cruelty or flippancy, but rather because she is too wise to be persuaded by words alone. She asks her lover to show the extent of his feelings through deeds instead. Prove your love to me by other means than compliments, for I take care not to be fooled by them. Please me more with darkness deeds and praise me less. She specifies exactly what that means. I do not ask you now to express your love with gold or silver, for to have an understanding with a nobleman in order to extract from him a treasure is most unsuited to the decorum of any but an utterly venal soul. Such behavior does not befit my profession. But, leaving words aside, I clearly state that deeds must prove your love. You know quite well what I like best. Persevere in this, as I already told you before, and you shall be my unique and only lover. Here she subverts popular expectations of the courtesan by affirming that it's not gold or silver that draws her to a lover. But what she likes best, which, despite what you may be thinking that it's something salacious, she defines later in the poem as creative literary collaboration. And who can blame her? Still, she assures Marco that their collaboration as lovers will be just as rewarding as their collaboration as writers. Quote. Whenever I am in bed with one who, as I sense loves and enjoys me, I become so delectable and tender that my pleasure surpasses all other delights. And what appeared to be a very tight knot of love grows even tighter. I perform so well in bed that this form of art proves vastly superior to the art of Apollo. There is obviously some sexual meaning there, which was not uncommon in the works of courtiers, but stands out to historians as a rare instance of a 16th century woman describing her own sexuality in such unabashed terms. Veronica additionally subverts the dominant erotic language of Marco's poem. I would like to take the burnished gold of those tresses in my hand and pull that fine treasure ever so gently to avenge my hurt by portraying sex as more pleasurable when it is an equal experience. Let me see the works I've asked for from you, for then you'll enjoy my sweetness to the full, and I will also take pleasure in yours and in the way that mutual love allows, which provides delight free from all pain. This exchange of poems is not only a debate between lovers, but a debate as to what it means to be a lover. In publishing this work, Veronica defines herself, and by extension, the courtesan, as a collaborator first and foremost. This is also a direct counter of Marco's declaration that she is the Oprah, or artifact of his affection and inspiration. Veronica is not a passive subject in the art of love and poetry, but rather an active participant in its creation. The same tactics used in a debate about love would be needed in a debate about her honor. When the first poem mocking Veronica began to circulate, she believed that the author might have actually been Marco again. But then the poems continued and the language got darker and the attacks became on her very character, and she realized she was wrong. She soon learned that the true author of these poems was in fact Mafio Venir, Marco's cousin and Domenica's nephew, the Mafio from the cinematic fencing match. Mafio was a courtier and prominent poet, and though he had all the privilege afforded to a son of the Veneri clan, he was something of a black sheep for his lack of involvement in politics and his tendency to avoid the response responsibilities bestowed upon him. He did, however, perform one year of service in the Medici court. When he returned to Venice in 1575, the city that greeted him was not the one he had left struck by the plague. Earlier that year, Venice was in social and financial disorder, returning to the Cavienier circle and finding a socially mobile courtesan gaining respect in the literary scene, it seems Maffeo found an easy target, Representing all of the city's ills in his mind. His three poems first, believe me that by San Mafio. Second, wouldn't you like that? What sort of game is this? And Veronica, veritably unique horror, begin as more straightforward satire and devolve into a true display of resentful misogynistic vitriol. That last poem is the most deplorable opening with an imagined depiction of Veronica's monstrous body covered in sin syphilitic sores. I quote Veronica, veritably unique whore. Franka ID est foxy, flighty, flimsy, flabby, smelly, scrawny, scrimpy and the biggest scoundrel besides who lives between Costello ghetto and the customs. A woman reduced to a monster made of human flesh, plaster, chalk, cardboard, leather and wooden board. A grisly spook, a scabby ogre, a crocodile, a hippogriff, an ostrich, a knock kneed mare. To sing of all that is wrong with you, your flaws, your faults, would take a hundred concepts, thousands of pens and inkwells and countless poets. Veronica's response opens with a denouncement of Marco's character, pointing out his lack of chivalry, his blows against an unarmed woman. However, she claims that her vulnerability has diminished and his attacks have only made her stronger and bitter. Medicines likewise bring health, and we make use of steel and fire to clean and cauterize infected wounds. By bringing attention to her her health, she also counters Maphio's accusation of disease without needing to directly address it. Veronica then challenges him to any kind of duel, whether it be on paper or with swords. She notes that while he may find it unfair to joust with a woman, she assures him that he is under an illusion enforced by societal standards. When we, we women too have weapons and training, we will be able to prove to all men that we have hands and feet and hearts like yours. And though we may be tender and delicate, some men who are delicate are also strong. And some, though coarse and rough, are cowards. And to prove to you that I speak the truth among so many women, I will act first, setting an example for them. All to follow. Veronica then makes the argument that perhaps most aligns with our modern times, calling him, in not so many words, an incel. I undertake to defend all women against you who despise them, so that, rightly, I'm not alone to protest is certain that you miss great pleasure by being unable to savor our sweetness. And I blame your bad habits for being the cause. Employing another tried and true tactic, she digs into Maffeo's grasp on language. You called me Tierra Unica, veritably unique, and all the rest alluding to my name, Veronica. But while you meant it as abuse use according to my dictionary, I fail to see how one can properly call a thing unique. In other words, she asserts that unique is in fact a positive word. And she continues, and though you call me prostitute, either you imply that I'm not one of them or that among them some merit praise whatever goodness prostitutes may have, whatever grace and nobility of soul the sound of your word assigns to me. Veronica does not take the route of distinguishing herself from poor prostitutes. Rather, she's defending them all as a class. She closes her defense with another challenge to duel and a threat for good measure. You will have nowhere to run from me. In 1580, Maffio Venieri contracted syphilis and ultimately succumbed to the illness six years later, a fact that I will present with no comment. Unfortunately, their only in person sword fight happened in the movies. Five years after Veronica's debate with Maffio, Veronica was forced to once again publicly defend her good name. Only this time, the stakes were far higher. On October 8, 1580, Veronica was summoned by the Inquisition courts on charges of performing heretical incantations to curb the unrest caused by the plague, the fourth Ottoman Venetian war and a series of natural disasters. Venetians of all classes were encouraged by authorities to support the Republic in their fight against heresy, even if that meant turning in your neighbor or employer. Courtesans were among a number of marginalized groups, including Jewish and queer people, denounced for luxuria and frequently targeted. The language in the accusation against Veronica reflects this influence. Quote, if this witch, this public masked and cheating prostitute, is not punished, many others will begin to do the same things against the holy Catholic faith. While the charge was filed anonymously, we know now that her accuser was Rodolfo Vannatelli, her children's tutor. The historian Richard Kieckhefer, has concluded that many witchcraft trials were born of worldly, petty arguments. He notes, quote, in many cases the accuser feels guilty and reverses his guilt by projecting it on the Accused Veronica had been the victim of more than one robbery by 1580. So when another theft occurred that year, she threatened to withhold her household staff's salaries until the culprit was found, assuming that the robbed had come from somewhere within. In her version of events, the staff then begged to perform a magic ritual specifically designed to target thieves. The attempt was evidently unsuccessful, and Veronica began to point fingers. This was around the same time Vanatelli filed his accusation, which doesn't quite quite feel coincidental. Specifically, he wrote that in order to recover her lost items, she had invoked the names of demons in a ritual involving a wedding ring, a blessed olive branch, blessed candles and holy water. To support his accusations, things take a turn for the Mafio esque when he calls her a witch and a public whore, among other unflattering descriptors. He concludes his filing by calling for the harshest punishment possible to be enacted as quickly as possible so she can no longer contaminate the city. This specific line invokes Maffeo's accusation that Veronica was spreading syphilis, calling her the woman whom makes our present century blind and contaminates it. Thus, when Veronica was summoned to the inquisition courts on October 8, 1580, it was not only to defend herself against accusations of heresy, but to defend her morality in court. Veronica sought to use her command of language to persuade persuade the Inquisitor. For example, when asked why she allowed such a ritual to take place in her home, she responded that any sin she may be guilty of was only with effect and not affect, because ultimately she did not believe in it. The Inquisitor was not easily swayed by such language nitpicking, which led Veronica to imperial employ the tactics we find in her debate about love back with Marco and her poetic battle with Maffio, turning her opponent's argument against him. It was Vannatelli, she claimed, who begged her to perform the ritual in her home. She reported threatening him, telling him that only the cord of the night patrol without so many candles will find the the truth. In redirecting the accusation of heresy towards her accuser, Veronica was evidently able to convince the tribunal that while she was guilty of allowing the ritual to be held in her home, she was not guilty of performing it. There was no official sentence in the trial, though it was not uncommon for trials of this nature to be suspended after a few days days in court. We will never know if it was the strength of her evidence, the power of her persuasive performance, or some intervention from Domenico that ultimately swayed the court in her favor. 1580 was also the same year Veronica published Familiar Letters, a collection of letters written throughout the decade prior explained, exploring her daily life, expanding on her poems, and giving advice to friends. These letters were likely a mix of true correspondence and literary exercise, but in blending her public and private voice, Veronica challenged misconceptions of the interior life of a courtesan. As she did in her poems, her letters portray her as an intellectual, a collaborator, even a moral guide. The content of these letters has informed much of our knowledge about Veronica's life and her values. Quite tragically, however, Letters would be her last published work. In 1582, Domenico died, and upon his death, Veronica Love lost her greatest patron. That same year, having never recovered her stolen possessions, a tax report reveals Veronica was impoverished. From this report we also know that she was no longer living in that home where she had once hosted Henry iii, but in an area of the city inhabited by many poor meretrici. Her last years are undocumented, but it is known that she died just short of a decade later in 1591 at age 45. While her rise and fall in Venetian society was relatively short lived, Veronica's decade in the spotlight not only produced a body of work that cemented her legacy, but wonderful that sought to open doors for other women to do the same as she declared she would be an example for them to follow. That's the story of Veronica Franco's life, but stick around after a brief sponsor break to hear a little bit more about her life depicted on the screen. As the air turns crisp and the holidays draw near, comfort becomes the best gift of all. Quince delivers layers that last. Sweaters, outerwear and everyday essentials that feel luxurious, look timeless and make holiday dressing and gifting effortless. Quince has it all. $50 Mongolian cashmere sweaters made for everyday wear. Denim that's classic will never go out of style. Silk tops and skirts down. Outerwear that's built to take on the season. It's perfect for gifting or upgrading your own wardrobe. 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