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Presented to the
UNIVERSITY OF TORONTO
LIBRARY
In/ the
ONTARIO LEGISLATIVE
LIBRARY
1980
VENICE
Part I, Volume II
VENICE
DT
POMPEO MOLMENTI
Translated from the Italian by
IIoBVTio F. Bnow>, Liiti?h
Archivist and author of "In
and Around Venice," etc.
Part I
Venice in the Middle Ages
a volumes
Part I!
Venice in the Golden Age
a volumes (ready Spring of 1907)
Part III
The Decadence of Venice
a volumes (ready Fall of 1907)
Six volumes, 8vo
Sold only in two-volume sections
Per section, j5.oo net
A. C. McCLURG & CO., PiBLisiiEns
I 111 I II) 1 _■ liom fhc " Maricgnla "
the School of St. Julin llic Evangelist
(Diplomatic Hall of the State AicbivesJ
A'
50315 ■•■
.!> VENICE
ITS INDIVIDUAL GROWTH FROM '^E~'.r^<*
>i'^-r-
EARLIEST BEGINNINGS TO THE; ^^^ *
FALL OF THE REPUBLIC .^..,^,.i^
BY
-^ ajr
POMPEO MOLMENTI /
TRANSLATED BY HORATIO F. BROWN
Part I — THE MIDDLE AGES
Volume II
CHICAGO
A. C. McCLURG & CO.
LO:fD<¥?fc IffKi MtRRAT BERGAMO, ISTITUTO n
rt- - * ->
fP^ MURRAT BERGAMO, ISTIILTO l«CUu» j ,.jij>
Copyright, 1906
Bt The Universitt Press
EKTERED AT STATIONERS HALL, LOUDON
ALL RIGHTS RESERVED
Published, October i3, 1906
til
THE UNIVERSITY PRESS, CAMBRIDGE, U. S. A.
CONTENTS
PAGE
Chapter IX
Costume I
Chapter X
Manners and Customs 23
Chapter XI
The Industrial Arts 6i
Chapter XII
The Fine Ai^ts 96
Chapter XIII
Culture 189
Documents i-yy
Index 225
ILLUSTRATIONS
PAGE
A reduced page from the " Marlegola " of the School of St. John
the EvangeHst (Diplomatic Hall of State Archives) . . Frontispiece
Carrying the relics of S. Marco into the church. A mosaic (XIII
century) of the facade of S . Marco 3
Form of ducal cap — the Doge Antonio Venier (iSSa-iiJoo) ... 6
Ducal Caps 6
Types of the people (XIV century) from a codex of the XIV century
(Guggenheim Collection) 10
Venetian Costumes (XIV century) 12
Venetian Costume (XV century) — detail of a picture by Carpaccio
in the Academy i4
Venetian Costumes (XV century) — details of a picture by Carpaccio
in the Academy 20
Burial Customs — from the " Falti dei SS. Filippo e Giacomo"
(Mosaic of S. Marco, XIII century) 2^
Sepulchral urn of General Jacopo Cavalli (i384), by Paolo di Jaco-
bello dalle Masegne. (Church of SS. Giovanni e Paolo) . . a4
" Civitas Veneciarum " — from " Breydenbach Peregrinatio " . . 82
Attitudes of Prayer. (" Opus penitentiale" — State Archives) . . 34
Attitudes of Prayer. (" Opus penitentiale " — State Archives) . . 36
A Venetian Wedding (XV century) — from a painting of Giovanni
d'Alemagna and of Antonio Vivarini ; in the Academy ... 4^
Playing Cards (Museo Civico) 56
Glass nuptial cup, attributed to Angelo Beroviero (Museo Civico) . 66
Ancient glass phial, discovered in excavation (Museo Civico) . . 66
Standard or penant of Sa. Fosca (i366). (Museo di Torcello) . . 74
BasilicaofS. Marco — The Pala d'Oro 78
Outside Gate of Bronze at S. Marco, work of Bertuccio Orefice
(i3oo) 86
viii ILLUSTRATIONS
PAGE
Ceiling in the Sala dell' Albergo della Scuola dcUa Cariti (XV
cenlurj) go
Palazzo da Mosto ai Santi Apostoli (IX century) g8
Church (ia5o-i338) and Tower (iSGi-iSgG) of Sa. Maria del Frari loa
S. Marco io4
Ducal Palace. Great Window Facing the Harbour io6
The Contarini-Fasan Palace (XV century) io8
La Qi' d'Oro (XV century) IIO
Part of the Arch of the Months in the Church of S. Marco ... iia
Statues on the Architrave of the Presbytery of S. Marco (XIV
centviry) Ii6
Bas-relief in painted wood (XIV century) in S. Donato di Murano . ia6
Jacobello del Fiore — The Coronation of the Virgin (i/iSa) (Royal
galleries of Venice) i34
Angels holding in their hands the organ called "IVinfale " in a bas-
relief of the XV century. (Sacristy of Sa. Maria della Salute) i6a
Guarino Veronese — medal of Matteo da Pasti i6a
Gasparino Barzizza — from a print of M. Pitteri i6a
Cardinal Bessarione. (Painting of the XVI century — Library of
S. Marco) l64
Portrait of the Beato Lorenzo Giustiniani by Gentile Bellini. (At
the Academy) l68
The Last Supper 17a
Christ led before Pilate — from the book " Passio Domini Nostri
Jesu Christi," printed at Venice in i45o 172
VENICE IN THE
MIDDLE AGES
T
CHAPTER IX
COSTUME
HE Venetians readily assimilated the gorgeous and
variegated costumes of the East at the time when
commerce Avith the Levant began to bring Avealth
in its train. All the same they did not abandon the
native simplicity of their dress, and as though to pre-
serve the tradition of their ancestors, the Eneti, they
continued to prefer blue as a colour. A plain shaAvl
fell from the head over the shoulders of the women ;
the girls, jealously guarded, were not alloAved to show
themselves in the streets without a white silk veil which
covered their face and a large part of their figure.
Perhaps the white ninziolelo of the Venetian women
and the tonda of the Chioggian preserve traces of the
custom to this day. The men of the people Avore a
mantle like a Roman military cloak, a short tunic, and
hose buttoned tight at the shin, or else bands wound
round their legs ; they had bonnets and hoods, and
grew long hair and beards.
The upper classes, on the other hand, wore magnifi-
cent costumes, especially the Doge, Avhose official robes
resembled very closely the style of an Eastern em-
peror^: a long cassock reaching to the ankles, held by
a girdle at the Avaist ; a rich mantle, fastened at the
1 Ramusio, P., De Bella Constantinopoliiano, etc. Venetiis, NicolinI,
i634.
VOL. II. — I
2 A^ENICE IN THE MIDDLE AGES
right shoulder by a golden brooch ; a round cap with
a button on the top, or else a fine circlet of gold about
the brows. ^ \cnetian matrons wore stately dresses
of gold or silver webs, reaching to the ground and
gathered in at the waist by a golden girdle, loose cloaks
with a band of fur coming over the shoulders like a
stole, bonnets with gold ornaments, and long, loose-
flying hair. At church festivals a circlet of finely
chiselled gold was worn and a long mantle of em-
broidered silk reaching to the ground. ^ The pall
(palio), of Avhich we have tradition in the seventh
century as being worn by Venetian ladies of the upper
rank, was a sleeveless tunic of Eastern cut, beneath
which appeared the corslet or chemise open at the
breast and laced across by cords. On their feet they
wore shoes with wooden soles or elegantly embroidered
slippers.
The mosaics of the twelfth century In the atrium of
San Marco, and the later but more remarkable mosaics
of the facade, representing the translation of the
saint's remains into the church, show us how the early
Venetians dressed. The Doge, who is on the point of
entering the basilica with his suite, wears a purple
tunic, purple stockings, and on his head a red biretta
shaped like a mitre. Behind him come the nobles
in cloth cloaks, embroidered and gathered at the Avaist
by a belt. In the left-hand corner is a group of ladies
surrounding the Dogaressa, who is remarkable for her
more elaborate costume. She wears a jewelled crown
on her head, a long red mantle descends in heavy
1 Buoncompagni, in his De obsidione Anconae (Rer. It. Script., Vol. VI,
p. 939), says that in 1174 the Doge wore not a cap, but a fine circlet of
gold (aureum circiihtm in vcrtice dcfcrl), and that it was only twenty years
later that a golden crown, studded with precious stones, was adopted.
2 Vecellio, Habiti ant. et mod. di tulto il moudo {Donna nobile malrona
Veneliana anlicd), T. I. Venetia, iSgo.
COSTUME 3
folds from her shoulders, and a red girdle gathers in
her pale blue embroidered dress. Her attendant dames
show a great variety of costume. One has her blond
hair crowned by a golden diadem, a blue mantle falls
from her shoulders ; another has her hair confined by
ribbons of various colours ; another has a band all
round her face ; a fourth wears a purple cloak lined
with green, beneath which one catches a glimpse of
a violet dress embroidered in silver. These ladies hold
by the hand two little boys who are carrying a train
of red and blue divided lengthAvise. This mosaic is
not earlier than 1200, but shows costumes of the pre-
ceding period, which still betray Byzantine influence.
After the twelfth century the dignified Oriental cos-
tume gradually gives way to the fashions which caused
Dante to lament the decay in the ancient manners of his
native town. In the thirteenth century Ricobaldo of
Ferrara ^ describes Italian dress as rude and uncouth :
the men in rough woollen cloaks, the Avomen in jupons
of fustian ; none wore golden ornaments. But early in
the trecento the Dominican Galvano Fiamma ^ describes
the young Milanese as dressing alia spagnuola, aaIiIi
close-fitting jerkins ; while De Mussis, a chronicler of
Piacenza,^ laments that the young men of his country
were in the habit of shaving half their heads and wear-
ing a zazzera or close-fitting cap, while they adopted short
jerkins and such tight-fitting hose as to be positively
immodest. These long cloth hose were wrought in
silk, gold, silver, and pearls, and were attached at five
points to the short upper jerkin.
1 Compil. Chronolofjica (Rcr. II. Script., Vol. IX, p. 2^7).
2 Cronaca inedita (Lib. XVIII, Cap. 6) quoted by Muratori, Antichitd
Italiane, Diss. XIV.
3 Placenlinae urbis, ac nonmtJlarum nobiliam turn in ea, turn per Ilaliam
famiUarum descriptio {Rer. It. Script., \ol. XVI).
4 VENICE IN THE MIDDLE AGES
The women adorned their heads with gold nets,
and, according to De Mussis, they always wore long
rohes of velvet with a silver belt and great sleeves that
s^A■ept the ground, ending in a point. Giovanni Villani
chides the women of his day for having already " tra-
scorse in ornamenti di corone e di ghirlande d'oro e
d'argento e di perlc, e pictre preziose, e reti intrecciate
di perle, e altri divisati ornamenti di testa di grande
costo, e simile, di vestiti intagliati di diversi panni e
di drappi rilevati di seta e di piii maniere, con fregi di
perlc e di pietrc preziose al petto con diversi segni e
lettere." And Franco Sacchetti, ridiculing the constant
change of fashion, exclaims, " Se un arzagogo apparisse
con una nuova foggia, tutto il mondo la piglia, . . .
Che fu a vedere gia le donne col capezzale tanto aperto
die mostravano piii giu che le ditelle I E poi dierono
un salto e feciono il collaretto infmo agli orecchi. . . .
Le donne vanno in cappucci e mantelli. I piii dei gio-
vani senza mantello vanno in zazzera. Elle non hanno,
se non a torre le brache, ed hanno tolto tutto." ^
We see these new fashions represented in Venice on
the Pala d'oro (i3/^4), and in the mosaics of the baptis-
try of San Marco (i343), the magistrates in their caps
and red birettas, and the Doge Andrea Dandolo on his
knees before the crucifix. There is another mosaic in
the chapel of Sant' Isidore (i355), also in San Marco,
which shows us, among others, the Doge Domenico
Michiel. Again Ave find the same costumes in the
matriculation roll of the Pelizeri cVovra vera (i324),
and in the Capilolare of the Doge Andrea Dandolo
(i3/i2).2
The new fashion adopted in Italy shows the women
with long dresses open in front and girdled round the
1 Nov. CLXXVIII. 2 Museo Civico, in the Miniature room.
COSTUME 5
waist, and the men with fancy hose and tight sleeves
and a soft bag-shaped bonnet ; examples occur in the
miniatures of the Capitolare degli ufflciali sopra il Lido,
in the Mariegola della Scuola di Santa Maria di Valverde,
and the Mariegola di San Giovanni Evangelisla, in the
Capitolare dei Consiglieri, in some of the Promissioni
Ducali,^ in the Capitolari dei Procuratori di San Marco
(1867), in the Mariegola della Scuola di San Teodoro,^ in
the Leggenda di Santa Margherila, the Cronaca of RafTaino
Caresini,^ and in the Codice-Erbario of the fourteenth
century.*
The manuscript already cited, " Lewis of France his
Visit to Purgatory," preserved at Saint Patrice in Brit-
tany, gives us examples of the new fashion, — the men
with a kind of ducal cap on their heads, or a bonnet
falling down on the shoulder, and a very peaked front,
cloaks tied at the neck and reaching not lower than
the knees, large sleeves, and tight-fitting hose. The
women wear dresses with long trains, short waists low
cut, and have long-jDointed shoes that turn up ; in
place of the ancient bonnet they have their hair plaited
like a garland.
In a manuscript containing the legendary account of
1 All these are of the fourteenth century, and are at the Archivlo di
Stato.
2 Museo Civico, in the Miniature room.
' The legend of Saint Margaret in Venetian verse of the thirteenth
century is to be found in Codex Marciano Ilal. 13 del fondo antico; this is
the famous codex of ancient Italian poems to which Mussafia and others
have drawn attention. The script is of the fourteenth century. This
text has recently been edited and collated with other MSS. by B. Wiese,
Eine alllombardische Margareihen-legende, Halle, ISiemayer, 1890. — The
Chronicle of Raffaino Caresini is also in the Marciana, It. CI. Ml, 770.
* In the Guggenheim collection at Venice. Cfr. De Toni, Sopra un
Codice-Erbario Medioevale {atti del R. 1st. Veneto, Vol. IX, Serie VII,
1897-98).
6 VENICE IN THE MIDDLE AGES
the visit of Pope Alexander III to Venice,^ we see the
Doge with a crimson mantle and an ermine cape, and
the councillors in robes of green, red, and violet, with
round hats or white caps on their heads. The fullest
development of this style of dress is to be found in the
costume of the company of " The Hose," which lent to
the Venice of the late middle ages such an air of elegance.
The young bloods, members of the club, wore fancy
doublets of silk velvet, embroidered in gold and fitting
tight to the body, with a belt at the waist. The sleeves
were slashed, but tied together at points by ribbons,
leaving puffs of the white shirt to come through. The
hose were tight fitting and striped lengthwise in colours;
the shoes were pierced at the toes ; on the shoulders a
cloak of cloth-of-gold, damask, or crimson velvet, with
a hood on the lining of Avliich was embroidered the
device of the club. From under a red or black cap,
hanging over the ear and adorned by a jewel, escaped
the locks of hair, bound round by a ribbon, and so long
and abundant that in i462 a Camaldolese monk, Fra
INIauro Lapi, wrote to the Doge Cristoforo Moro advis-
ing him to stop the youths from wearing capiUaturas
nimis longas, utfaciunt mulieres.'^
The pictures of Garpaccio, Gentile Bellini, and Gio-
vanni Mansueti are our most precious documents in
the matter of costume. These painters, though rep-
resenting the magnificent external setting of the already
triumphant Renaissance, nevertheless bear testimony to
the private life of the Venetians of the earlier period ;
they show us the aspect of the houses, the style of dress
1 Leggende dei gloriosi apostoJi Pietro e Paolo, di S. Alban e della Veniita
a Venezia di Alcssandro III, Miisco Civico, Cod. Membr. of Che earljr
fifteenth century. Bibl. Correr Cod., n. i497-
^ Cicogna, her.. Vol. VI, p. 763.
'"i- V
^m
COSTUME 7
and adornments, which still retained the imprint of the
middle ages. In fact that movement of ideas which
carried art and letters back to antiquity had no effect
for a long time on costume, nor did it ever revive the
ample robes nor the toga of the Roman epoch.
We have evidence as to other curious costumes of the
early fifteenth century in some little pictures attributed
to the school of Lazzaro Bastiani,i now in the church
of Sant' Alvise. There we find biblical characters in
contemporary Venetian dress; for example, Solomon
and the Queen of Sheba stand one on each side of a
canal crossed by a wooden bridge. The king is in a
robe of golden samite, with hair dressed alia belliniana;
the queen is in a robe of velvet damask soprarizzo, with
hair gathered into a knot at the back of the neck. In
another of these pictures Rachel has a most curious
costume ; it is open at the side, letting the leg be seen ;
the breast is displayed, and her hair is dressed to re-
semble the Doge's cap.
In addition to the paintings we have also documents
which afford an ample but occasionally obscure com-
ment ; they dwell at length on the most minute details
of costume and give us their names, which are not,
however, always easy to interpret.
^ These eight little pictures are held by some to be a modern <'orgery.
Other critics of weight, such as Ruskin, consider them as the very earliest
work, of Carpaccio. Gustav Ludwig more plausibly attributes them to
the school of Lazzaro Bastiani, in whose shop Carpaccio must have learned
the rudiments of his art. As illustrations of costume they appear to us
most valuable. The eight pictures used to be upon the organ loft of
the church of Santa Maria delle Vergini and were bought, so Cicogna
says (her., T. V, p. 624), by the Abbe Francesco Driuzzo in iS^a, and
given to the church of Sant' Alvise. They represent: i. Rachel at the
well. 2. Jacob and his brethren before Joseph. 3. Tobias and the
Angel. 4- Nebuchadnezzar's dream. 5. Job. 6. Moses and the Golden
Calf. 7. Joshua and the fall of Jericho.
8 VENICE IN THE MIDDLE AGES
To begin ^villl, they show us the Doge in greater
pomp and magnificence than in the earher years. The
cap of crimson velvet, formed hke an ancient mitre,
and generally known later on as the Corno Ducale,
came to assume the shape of a Phrygian cap, and in
the thirteenth century the Doge Rinicri Zcno gave it a
golden circlet, while Lorenzo Celsi (i36i-i365) added
a golden cross on the top. This Doge always appeared
in public in white. In 1^78 Niccolo MarccUo made the
cor/io entirely golden. The stockings always remained
purple, the tippet of ermine was lengthened and fastened
by golden buttons, and the mantle also, which by the
law of 1820 the Doge was bound to wear on solemn
occasions, was likewise of cloth-of-gold. Another law,
of 1339, added still further to the splendour of the
Doge's state, and at the opening of the fifteenth century
he began to appear in public entirely clad in cloth-of-
gold, his head covered by a white cap of finest linen,
tied under the chin, and the ducal corno studded Avith
precious gems, among which one shone with special
lustre in the forefront of the crown under a tiny cross. ^
In his private habit the Doge's cap, robe, and socks
Avere of red.
Nor was the Dogaressa's costume in any way inferior
in splendour, — a trailing robe, a dress of gold brocade
open in front and lined with ermine, the head covered
^ "Tunc longevus ipse dux, venerancla canitie spectandus, lata est cla-
mide aurati palii usque ad tcrram dimissa vestitus. Cuius ducale caput
perspicuo tele parva candens infula decorat, ligulis sub mento connexis, supra
quam exaurato palio, decus ducalis dignitatis, alia imponitur infula major,
palulurn parte emiiientiore cornuta; sed qua rotunditas eius caput circuit,
immcnsi sapliiri immense genime valoris inexlimabilis oculos visentibus
stupore peripiunt. Sed precipua gemmarum una in anteriore vertice
capitis eminet, cui super est auri crux parva relucens." Marini, A., De
ponipa diicalus, op. cit.
COSTUME 9
by a long white veil on which reposed a ducal cap in
miniature.
When the Venetians gave up Oriental costume the
nobles and magistrates adopted, as official dress for
state occasions, the long robe lined with fur. The
colour of the robe varied with the office; thus. Senators
wore a purple robe, violet Avas the colour for the
Savi Grandi and the Consiglieri Ducali, red belonged to
the chiefs of the Council of Ten and to the Avogadori
and the Grand Chancellor. The stole [stola), a broad
band of cloth, Avas of tlie same colour as the robe and
hung from the shoulder. By a law of i36o, doctors
were alloAved to Avear the robe of a noble, but it must be
black, fastened to the collar by iron clasps. The bonnet
and cap, Avhose place Avas taken later on by the berretla
a tozzo, were supplemented for a long time by the use
of the hood or cowl (caputeum). We read, for instance,
that the father of the Doge Lorenzo Celsi refused to
throw back his capuzzale in the presence of his son until
the latter put a cross on the top of the ducal bonnet to
compel reA^erence (i36i), and even Avhen they began to
adopt caps and hats of leather, beaver, cloth-of-gold,
and cloth of A^arious shades bedecked Avith ribbons, the
use of the hood did not die out {supra caputeum habebat
cappellum). The point of the hood fell over the left
shoulder and Avas drawn over the right shoulder by a
long fillet, Avhich Avas the origin of the stole.
Women's headgear assumed all sorts of bizarre forms :
hoods soAvn AA'ith pearls, turbans of linen or cloth-of-
gold (balzum), caps (hugoli) and snoods of embroidered
or jewelled velvet, nets of gold or silk, veils of gold or
silver web,^ bands, fdlets, ribbons, frontlets, drezadori,
dreziere, zoie (tiaras) of precious metal or of rich stuff
1 Vecellio, Habili, p. i64-
lo VENICE IN THE MIDDLE AGES
studded with gems.^ Their dresses too were of various
fashions : cuUcllatae, of cut-out work/'^ lislatae, of appHque
work, hands of other stulf running in vertical lines or
crisscross, ad uncle de panno aureo, or incision, inlagU,
or slashed, frapae.^ The sleeves {cabitalid) were close
fitting down to the elhow {comco) in the dress called do-
galina, or else loose and long, in which case the dress was
called alia ducale. Another kind of sleeve was known as
a corlelazzo, or pointed sleeve ; they were open length-
wise and gathered together here and there by knots of
ribbons or by golden buttons ; the sleeve was adorned
Avith embroidery or jewels.
Many and various are the names for dresses; for
example, the cappa, which was not only a headgear but
also a skirt, la casacca {zacha or jacket), the chlamys,
the petticoat {carpet fa), the mantle (sioca, crosina), the
over cloak (gahhano or barlollo), the jupon (zube), the
vest or waistcoat {yarda caori), the suprasirjna and
epilogi, overcoats,^ the 5/ro/>o/i^ or sashes, the cotardite,
boccarde, varnaconi (nightgowns).'' The variety of stuffs
1 In an inventory of the property left by the Doge Francesco Dandolo,
in i34i (see Appendix, Documents C, n. VII), we find Una :oia incasata
el habel Iresdccim taselos de rubinis et smaldis et perils.
- Muratori, Anlkh. Hal., Vol. I, p. Sig.
' The slashings and piercings became so common that in some countries
the making of them became a special business, the workmen being called
affrappalore . See Verga, E., Le leggi suntuarie Milanesi, p. i3. IMilano,
1898.
* " Epitoglum est genus vestis quod togae superinduebatur." Ducange.
^ Cecchetti {La Vita del Vene:iani, etc. Venezia, 1886) says that the
slropolo was a headgear or ornainont for women. Monticolo, when
reviewing the book (Arch. Slor. Ilal., T. I, Serie V, p. 267), holds with
more reason that stropoh is the ancient strophiohim or strophio, a sash
used in Roman times by girls, Avho wore it round their body just below
the breasts.
® Un uarnason de camelin is mentioned in the will of Sofia, Avidow of
Marco Barbarigo (December, 1807), Arch, di Stato, Cancellaria Inferiore,
COSTUME 11
was great, and so too of colours, crimson, amaranth, ^
serantesimo , iabi (damask),^ taffeta, zendado ^ (a kind
of taffeta), catasamitto or bavela (samite), red serge
{sarzd) or red or green velvet were used for tunics,
or cloth either white, indigo, or turquoise blue, livido
(ash-colour), biavo (pale blue), festechin (nut brown),
beretin (gray), vergato (maroon), morello (murrey
coloured), mis to (pepper and salt), sbiavato^ (dull blue).
Handsome mourning robes of black Avere worn both
by women and men, and the men allowed the beard
to grow as a sign of grief after it had ceased to be a
mark of honour or nobility. ^
Rogiti d'Arpo Giovanni, B*. D. Perg. s. n. In the will of a certain Giovanni
di Jesolo (October 36, i34i) we read: " Capa e gonela de scarlato en-
uarotada costa soldi XLIII de grossi e po costa soldi II de grossi uno
uarnazion de scarlato, e poi costa soldi X de grossi uno uarnasion rosado
e una capa rosada costa soldi XII de grossi." Arch, di Stato, Procurator!
di San Marco de citra, Tcstamenli, fasc. i, n. 81.
1 Samiti dCoro occurs in the Liber Plegiorum under date of February 33,
1234.
3 Tabi, the Latin tabilis, was a kind of damask, copied by the Turks.
See Merkel, Tre corredl Milanesi {Dollelt. deW Istil. Stor. It., p. 167.
Roma, 1898).
* Zendado was a web in very common use from the ninth to the seven-
teenth centuries. It was spun out of raw silk, dyed various colours, but
chiefly red. It was used for sacred vestments and ordinary dress ; it was
also used for hangings, covers, ensigns, banners, etc. Monticolo, Capitolari,
etc., p. II, n. 3.
* Cecchetti, La Vita, etc. (Le Vesli), passim. After the close of the
fifteenth century, in an inventory of the shop of the late Ser Andrea
Benedito in Rialto, we find mentioned "zentanini chermesini, Velluti
Alessandrini, rasi d'ogni colore, panni d'oro e d'argento, damaschi, tutti
misurati a braccia e a qiiarte." Arch, di Stato, Inq. di Stato, Reg. Test.,
B'. 913 (January 3o, 1478).
5 In ancient times the custom of wearing a beard was so common that
people even wore false beards, alia grega, as they were called. Sanudo
(Vite dei Dogi, p. igS, ed. Monticolo) says: "iiaS Ritornato il Doge
Domenico Michlel da Terra Santa fu preso nel Consiglio che attento
YinitianI tutli portavano barba a la grecha, che pi 11 non la potesscro
portar si noo quelll che avesse corrotto." The habit of letting the beard
la VENICE IN THE MIDDLE AGES
Buttons ployed a large part in the dress both of men
and women. Tiiey were called peroli,^ from their pear-
like shape, and were made of gold, silver, enamel,
amber, crystal, and pearls; there were also acorn-shaped
and bcll-sliaped buttons made of gold or enamel ; the
asole and passeti were hooks and eyes and clasps of silver
ad manicas tunice (^ansoli magni argentei inaurali) ^ ; we
find also golden network (niagelae),^ gold or jewelled
buckles (bochele), frixalare of gold or pearl,* pianette
or large flat buttons of silver, tondiid, plaques of some
precious metal, bordi (trimmings), cordelle (braid),
frange (fringes), doppioni (flounces), baveri^ (lapels).
To this kind of ornament belonged the embroideries
in coloured pearls^ and the plaques with the family
coat displayed,^ or with ciphers or mottoes in letters of
gold or silver, whence the robes were called litleratae ;
they were of very ancient origin derived from the East.
If the robes bore figures of birds or other animals they
were called uccellatae and scullatae. Other ornaments
grow as a sign of mourning lasted for long. Sanudo {Diarii, Vol. VII,
p. 5oii) says: " Adi 36 oltobre (i5o8) la mattlna fo in Collegio ser Cristo-
fal More luogotenente in Cipro con barba per essergli morta la moglie
venendo di Cipro."
1 In a list of the trousseau of a niece of Giovanni della Borca (April 6,
i3oo) we find, among other things, " peroli d'anbro VII soldi III de grossi ;
frixadiira i de perle e frixadiira i d'auro soldi XIII de grossi peroli d'ar-
cento," etc. (published by Bertanza and Lazzarini, op. cit., p. i3).
* See in Appendix Documents C (Inventario del Doge Dandolo).
" Merkel, op. cit., p. i56, n. i3.
* In the trousseau of the daughter of Marco Gritti (April, iSoo) we
find unafixadura d'nro e iin bolpsor una ccnlara d'argenlo, una drecera d'oro.
Arch, di Stato, Giudici del Petizion, Serie Petizion, iSoo-iSaS.
6 Cecchctli, La Vita, etc., passim.
* We find them recorded as early as ia5o. Gay, Ghssaire, s. v.
broderic. Paris, 1887.
T " Unum suprasignum de calasamito ad arma dc cha Dandolo."
See Appendix, Documents G, Inventario del Doge Dandolo.
COSTUME i3
were the belt (centure or cingoli), made of strips of silver
with filagree work in between, and with buckles of
chiselled, incised, or repousse-work, and the centi or
cinti, girdles of leather or of stuff, from which Avas sus-
pended a bag of knitted silk with gold thread running
through it and with fringes with steel tassels, or else
a little knife in a sheath, or, after the German fashion,
a spoon of rare Avorkmanship.^
The neck was adorned by strings of pearls or beads
or chaplets called paternostri, made of amber, coral, or
silver. The fingers were loaded with rings, not always
of precious stones,^ but sometimes of false gems, turned
out in the glass factories of Murano. They wore gloves
either of chamois leather or of silk, and even at this
early date the Venetian glovers were world renowned.^
Footgear was of many shapes and colours : cloth-of-
gold, red, embroidered, slippers, shoes, boots, sandals
of leather, wood, or cork. The streets, as yet unpaved
and muddy, encouraged pattens, which, as time went
on, became an object of luxury, and sometimes reached
the height of a metre and a half, and led not infre-
quently to dangerous falls. The government accord-
ingly stepped in, and in i43o forbade the use of these
exaggerated pattens, in view of the fact that women
with child, if they fell, might seriously injure themselves,
^ Sansovino, Dial, di tutte le cose notabUi che sono in Venetia, etc.
Venetia, i56i. The centureri had their shops near the Merceria di Saa
Giuliano.
^ In the inventory of the Doge Lorenzo Celsi's gems (i366), published
by Cecchetti (La Vita, etc., p. lai), we find recorded certain cruzete
auree, adorned with sapphires, pearls, rubies, emeralds, balas rubies, and
a silver seal with a coat of arms, many jewels, with pearls, a quantity of
rings with diamonds, turquoises, and other gems, a silver chatelaine cum
curadente, unum pironem argenteum cum manico de zaspo.
' Schultz, Das hojische Leben zur Zeit der Minnesdnger (Zeitschrift fur
Romanische Phil., Vol. VII).
i4 VENICE IN THE MIDDLE AGES
and miglit give birth to filios aborlivos in perdiiione
corporis el animae suae}
The poem attributed to Sanguinacci, already quoted,
thus describes Venetian Avomen :
Con atti adorni, assai politi e Lelli,
Le domic vcdi andar con lal maniera
e con la fresca ziera
che '1 par che Ic vegna del Paradise.
Le vanno llcte con polite vise
con ricchi fermarelti in su la spalla
le veste che non calla
d'oro, de seda e recami de perle.
0 dio, quanto piazere c da vederle
a qualche festa, talor piu che zento
con tanto adornamenlo
le par reine de gran couti nate.
Le fodre de lor veste sbardellate,
martori vedo, e vari, e armelini
che val tanti fiorini
che faria guerra a Troia, se ancor fosse.
This love of sumptuous dress ^ gave an impetus to
trade, and the products of every country found a ready
1 Arch, di Stato, M. C, March 3, \!\?>o.
' As a document illustrating the luxury of the early Renaissance, see
the description of the trousseau of Lvicrezia Contarini, engaged to Jacopo
Foscari in i44i (Corner, Fl., Opuscula qaattuor, etc., p. 167. Venetiis,
1758). The bride had among other dresses a gown of gold brocade with
short sleeves, another of cloth-of-gold fringed with crimson and with open
sleeves, lined with vair, with a train a yard and a half long, another with
a gold and purple ground lined with ermine, another with sleeves reach-
ing to the ground, called arloile, in watered silk brocade, and so on.
There is also mention of a hair comb with great pearls, and a shoulder
brooch with a great diamond, pearls and balas rubies, worth three thousand
five hundred ducats. — Doglioni (Le cose not. di Venezia, p. 20. Venetia,
MDCLXXI) cites the following note, taken from the books of the UfBcio
del Proprio : " ligS. Luca di Sier Lorenzo dalla tela, pagamcnto di
mobili di casa : Una veste pavonazza da donna con maniche a cortelazzo
— Un barbazon de carisea bianca ricamato a guazzaroni — Una vestura
di scarlato con pianete d'argcnto con una filza di perle al collaro — Una
vestura verde con campanelle d'argento, brazzoni e centurino verde — Una
^K^ETI\^ CusTLME ( XA century) — detail
of a picture by Carpaccio in the Academy
COSTUME i5
market in Venice. Stuffs that came from Ormuz in
Persia were called ormesinl, and Damascus gave its
name to damaschi. From France came the cloth called
moslaroli (Montreuil, Monsterelium), stanforti (eslames),
rasi (from Arras), sanfomei (from Saint Omer).^ Other
webs were brought in large quantities from Florence,
Milan, Monza, Verona, Vicenza, Padua ; Avhile Armenian
velvet was highly appreciated, especially in the four-
teenth century. A stuff much in vogue was camelotto
(Arabic kheml, khemla) ; it was woven from camels'
or goats' hair and had a woolly surface. It was made
chiefly in Cyprus, at Famagosta and Nicosia.^ There
were also the coarse stuffs used by the people, called
schiamne (from Slavonia) and rasse (from Rascia^ or
Servia). In this abundance of stuffs the trade of
dressmaking flourished. In the thirteenth century it
was divided into two branches, — the sartori da veste
and the doublet makers, zuparii, magistri de zupis et
de cooperioribus, whose business was confined to mak-
ing jupons and bed hangings.* There were also the
furriers {yaroteri or pelizeri dovra vera, peliparii operis
vaire) and the pelisse-makers.
veste pavonazza a maniche aperte — Una veste morella a maniche aperte
fodrata di armellini da donna — Una veste pavonazza a maniche a comeo
— Una veste da donna morella sotto cappa con friso d'argenteria al cavezzo
ed alle maniche — Ua capuccio di scarlatto." See Appendix, Documents
C, n. VIII. The inventory of the property of the patrician Giorgio
Ruzzini (i453).
1 Milani, Sei tavolette cerate scoperte in una antica torre di Casa Maiorfi
in Fivenze. Firenze, 1877.
2 Munstero, in his Cosmografia universale, speaking of the island of
Cyprus, writes thus: "Ex pills etiam caprarum pannus conCcitur, cui
zambellottum hodie nomen est."
3 The black cloth called rascie was used in later times to cover the felze
of the gondola. The stuff was sold in a calle which comes out on the
Riva degli Schiavoni and is still called calle delle rasse.
* Cecchetti, La Vita, etc., p. 66.
i6 VENICE IN THE MIDDLE AGES
From the eleventh century onwards lapels and
collars of lambskin or Ivnx were in common use ;
while sables, fox skins, pole-cat, marten, vair, and er-
mine were all highly prized, and were made up with
gold fittings. In fact these dresses represented so high
a value that they were frequently left by will for the
adornment of churches, or passed as heirlooms from
one generation to another, which accounts for the fre-
quent repetition of the word uxade (second-hand) in
inventories.^
But notwithstanding this superfluity of stuffs, of gold,
of gems, this sumptuousness of dress, this costly
change of fashion, it is remarkable that we find but
slight reference to body or household linen. From
certain phrases we gather that it was not the custom
to change the under garments often ; for instance, a
chemise must have been an object of luxury if, in 1807,
a certain Sofia Barbarigo leaves ' ' una delle soe camese
nove a dona Reni et una a dona Donado."^ Again
Giovanni Dandolo, of the parish of Santa Marina, leaves,
in 1820, to his wife Caterina many chests containing
linen, veils, shawls, and his bed " con II coltre una
1 The will of Doge Rinieri Zeno, dated July 7, 1368 (Arch, dl Stato,
Procuratori di S. Marco de Citra, B* 289) has the following passage:
^' Pellem nostram melioirm ad aurum diniitlimus Ecclesiae Sancti Marci in
hac forma, ut inde fieri debeat Pluviale pro Primiceriis ejus Ecclesiae." In
the will of Lucia, wife of the Doge Marco Barbarigo, who died in 1^96, we
read: "Dimitlo Dominae Margaritae priorissae hospetalis omnium sancto-
rum de Muriano meam vestem do saia novam et ducatos quinque, aliam vero
vestcm meam cum cappa magna dimitto duabus filiabus meis monia-
libus." Arch, di Stato, Sez. Notarile, Alti Rizzo Cristoforo (186-I), July
16, 1^96. Jacopo d'Albizzotto Guidi describes the richness of the men's
dress, made of silk or scarlet cloth, lined in winter with marten, sable,
or lynx, in summer with ermine or vair.
2 Arch, di Stato, Sez. Notarile, Test, di Sofia ved. di Marco Barbarigo,
cit.
COSTUME 17
a scaioni et I'otra blanclia et con II apcra [pair] de
ninzoli."^ The chemises embroidered in gold and sil-
ver {inlistatae da collo et da mano de auro batudo) ^ men-
tioned in inventories can have been worn only on great
occasions to show up through the slashings of the dress.
We have record, however, of drawers, which are com-
monly supposed to have come in with the cinquecento
only .2 Among linen webs in high esteem we find camhri
(cambric), renso (from Rheims), boccassino, a plain linen
cloth which the Egyptians bleached to such Avhiteness
and fineness of surface that it might be taken for silk.
Under this same name of boccassino they made in the
west a cotton stuff which resembled fustian.* Table-
cloths and napkins also came into use, and the rich had
theirs embroidered with silken borders (^cum capitibus
laboratis de seta).^ It is certain, however, that cleanli-
ness, comfort, and refinement in the home were lack-
ing. The Venetians, even the less well-to-do, cared only
for the outAvard appearance of luxury, and we get the
following mordant verses by a satirist of the trecento :
1 Arch, di Stato, Sez. Nolarile, Test, di Giovanni Dandolo di Santa
Marina, November, 1820. Rog. Bianco Micliele, B^ io33, reg. s. n.
2 Bibl. Marciana, Carta di corredo dotale del 11 ho (CI. VII, Cod.
DLI, c. 67a and c. 189a).
2 It is afErmed that the earliest mention of drawers is to be found in
the trousseaus of 1582 (Verga, E., Le leggi sunt, e la decadenza dell' indus-
tria a Milano, p. 21. Milano, 1900). But in i3oo, in a codicil to a ^vill,
we find that the priest Marco Navagero leaves to his niece Lena tuti so
drapi de doso et soe mutande ct soe zoiete (published by Bertanza and Laz-
zarini, op. cit., p. i5). In an inventory of i3o8 (see Documents C, Inven-
torii, n. II) we find "par I mutandaruin." In inventories of the fifteenth
century mudande are constantly mentioned (see Appendix, ibid., Invent.,
n. XII).
* Heyd, Hist, da commerce du Levant au Moyen-Age, ed. fran^.. Vol.
II, pp. 702, 703, 700. Leipzig, 1886. — Gay, Gloss. , Vol. I, p. 181.
° See Appendix, Invent, del Doge Dandolo.
VOL. u — 2
i8 VENICE IN THE MIDDLE AGES
Tale die porta in doso gli ermelini
C di zondado vano I'odcralti
cli'e fitli lor anchor no son paghalli
non ano in casa pan no i' botte vini ;
non s" no da mular lor pan! lini,
8 cho' mantegli vanno dimezatli ;
porton solcte chalzcrlti (sic),
tal che impegna borse e choltelini.
Po' volgo charlta e torno a lor mogllere :
con qnalro aneli vano inanelate,
die bastere' sc foson cliavaliere ;
chi Ic mirase soto inpingniolale,
le lor cliamicie sono assai piu ncre
che no le more quando u ben morale ;
cmpionsi il corpo di pome c di pore,
tuto quel ano non fano bucbale.^
The temptations of luxury wrought a change in an-
cestral simphcity, and the government at length began
to grow anxious. On May 2, 1299, the Great Council
appointed a commission of tAventy-seven members, who
passed sumptuary regulations, especially as regards wed-
ding ceremonies.^ The number of guests and presents
was limited ; the bride was not allowed to have more
than four dresses in her trousseau ; each dress was to
be composed of petticoat, gown, and mantle, nor might
she embroider her wedding gown with pearls beyond
the value of twenty soldi di grossi. No one might
wear embroideries above the value of five lire di piccoli,
and pearl headdresses (drezadori) Avere forbidden, as
likewise gold or amber buttons (cavezatare) on the
^ Sonetto fato per Viniriani per mano di maestro Antonio Beccari da
Ferrara (Bibl. Riccardiana di Firenze, Cod. iio3, c. 126 b).
2 Foucard published the documents (Statuto inedil. delle nozze Venez.,
Venezia, i858), and Monticolo has reedited them more accurately in the
Capitolari, etc., p. 189.
COSTUME 19
edges of the dress if they cost more than ten soldi ell
grossi. No one was allowed to possess more than two
pelisses of vair, or one fur mantle lined with taffeta.^
Some years later (i334) restrictions were laid on the
extravagance in dress, on the embroideries of gold,
on the use of pearls, of rare furs, of long trains, pre-
cious girdles and chatelaines that hung from them.'^ In
i36o all Venetian women were forbidden to wear boche-
tam or other gems, or silver girdles above the value
of twenty ducats ; reticules embroidered with pearls,
rouge pots of gold or silver, pearl or mother-of-pearl,
were illegal, and a woman's whole outfit Avas not to
cost more than forty lire di grossi.^ As to the males,
boys under twelve might not wear gold, silver, pearls,
velvet, vair, ermine, and so on ; youths from twelve to
twenty-five were allowed belts, provided they did not
exceed the value of twenty-five ducats.* Other provi-
sions restrained display in mournings. ^ The Senate
continued to issue edicts modifying or condensing
their previous laws and always attacking the vanity of
women. Noav they would limit a bride's dresses to the
value of two hundred ducats" ; now they would abso-
lutely forbid robes of cloth-of-gold or silver," linings of
gold, silver, or brocade,^ pelisses of marten, ermine, or
lynx. 9 In i44o long trains were forbidden, but all in
^ Arch, dl Stato, M. C, Fractus, p. 94, May 2, 1299.
2 Law of i334 (Senato, Misti), quoted by Romanin, Vol. Ill, p. 347-
8 Arch, di Stato, Avogaria del Comun, Deliberazioni, reg. P, fol. 4 t°,
May 21, i36o.
* Arch, di Stato, loc. cit.
5 Ibid., Senato, Misti, reg. 24, p- 91, August 7, i348.
® Ibid., ibid., reg. 55, p. 102, March 29, i425.
"> Ibid., Senato, Terra, reg. 3, p. 198 t, February 23, i455, M. v.
* Ibid., ibid., reg. 6, p. 196 t, February 20, 1472, m. v.
8 Ibid., ibid., reg. 10, p. i84 t, December 10, 1489.
20 VENICE IN THE MIDDLE AGES
vain ; nay, the Avomen invented a certain kind of gold
and jewelled loop^ for holding them up, and Mauro
Lapi in liis letter to the Doge, already cited, recom-
mends ne miilieres tarn longas caiidas in veslimcntis
habea/tl, et per lerram traha/d, quae res dialoUca est.
The most important provisions were those taken in
Septemher and November of 1/476. On October 4,
1476, the Milanese ambassador, Leonardo Botta, wrote
to Duke Sforza that the \ enetian people had reached
tanla las'wita di pompa che le done non sarieno corn-
parse se non tenessero ad minus tanlo atorno zoye el
frappe per V''^ (5000) ducati ; the Republic therefore,
on September 18 of that year, had published a decree
circha el moderare de le spese. This decree, which Bolta
quotes in its most important points, forbade costly em-
broideries of gold and pearls, and limited the value of
jewels, chains, rings, and belts. ^ A further decree of
November, 1476, prohibited the use of silver or other
embroidery, also point lace worked with gold or silver
thread, all dresses or ornaments that had pearls or gems
" exccpto una coUadena per la vesta over sula zorneda,
non portando cappa," but not above the value of five
hundred ducats. There Avcre the most minute instruc-
tions on the subject of buttons and pianette of gold,
silver, or silk, about robes of cloth-of-gold, of satin,
or of damask, about chains of the precious metals,
about gems, pearls, cushions, curtains, bed-quilts, and
counterpanes made of cloth-of-gold, cloth-of-silver, bro-
cade, velvet, satin, taffeta, richly embroidered in gems
and pearls. 2 The Doge, his Avife and kinsfolk, AAcre, pro
1 Rossi, Race. Cost., Vol. III.
^ Motta, E., Spigolalure dell' Archivio di Stato Milanese (Arch. Veneto,
T. XXVI. p. 24',)-
" Arch, di Stato, M. C, Regina, p. 160, November 17, i^yS.
COSTUME 21
honore ducafus, exempt from the action of these laws,
but this exception only contributed to render the laws
abortive ; they were always eluded by a thousand Aviles
and artifices. The State even came down to actual
details of tailoring, but ended by achieving nothing.
For if excessive luxury is unworthy of a strong and
active race it does not he with the government to cor-
rect it by legislating directly on the subject. The only
result was an open or a latent rebellion against the
sumptuary laAvs of an executive famed for its rigid
insistence on the observation of its regulations. The
government, by forbidding what it could not prevent,
imperilled its prestige. The officers of State undertook
personally to denounce transgressions, but to no pur-
pose. For example, the Avogadori di Comun, one
Sunday in Carnival, noted that the wife of the patri-
cian Giovanni Zorzi was wearing a dress of white
silk with sleeves and collar of illegal cut ; they declared
both the dressmaker and the lady to have incurred the
penalties contained in the law of i/ioo. A similar fate
befell the wife of Pietro Contarini of San Pantaleone
in i4oi.^ In 1437 the Patriarch Lorenzo Giustinian en-
deavoured to curb the luxury of the women, and, under
pain of excommunication, he ordered that " tutte le
donne non dovessero '^portar soda e drezza, e code de
veste, ne oro ne argento ne perle in testa, e slonghino li
maneghetti." ^ But the patrician dames presented tAvo
petitions to the Pope, one from Cristina Correr, the
other from Felicia and Benedetta Dona and other noble
ladies, begging leave, for the honour of their caste, the
reverence due to their parents and their OAvn beauty, to
1 Arch, di Stato, Avogaria del Comun, DeliberazionI, Reg. A, 10,
p. 3, February 18, i/Joo.
* Cron. quoted by GallicciollI, Vol. I, p. 4o6.
32 VENICE IN THE MIDDLE AGES
wear their gorgeous robes, their jewels, circlets, rings,
brooches, sandals, etc.^ The Pope, on payment of four
ducats and one grosso, gave the permission they sought
for three years' time, and feminine vanity, which has
ever been too strong for the law, won the day.
1 Monlicolo, Capilolari, pp. 189 et scq.
T
CHAPTER X
MANNERS AND CUSTOMS
HE changes in fashions and in costume recorded
in the last chapter indicate and illustrate the
changes and transformations in manners and
customs.
There was an old tradition, accepted by some writers,
which serves to mark the simple ideas of the earlier
Venetians. R is said that in the very first years of
the Republic the people, under Daulo Tribuno, decreed
that all Venetians should folloAV the same modest mode
of life and dress. ^ But gradually Byzantine habits,
without their efleminacy, however, became universal,
not merely in dress, but also in the customs of daily life,
and held their own longer in the Venetian lagoon than
in any other part of Raly. Greek princesses came to
Venice as brides of Venetian nobles. Venetian patri-
cians were frequently invited to the Byzantine court,
and Eastern civilisation Avas gradually introduced and
modified customs and manners. The wife of the Doge
Domenico Selvo (107 1), daughter of an emperor of Con-
stantinople, and the last Greek princess who came to
Venice, brought from her home modes of life which
left a profound impression upon her contemporaries,
for she surpassed all they had ever seen or heard of
in the way of luxury. The princess bathed in scented
waters, sprinkled her body with perfumes, and dipped
1 Doglioni, Flist. Yen. Venetia, iSgS.
24 VENICE IN THE MIDDLE AGES
her face in morning dew, which was collected for her by
slaves. She never touched her food Avith her lingers,
but had it cut for her by her eunuchs and carried it
to her mouth by a sort of golden tAvo-prongcd fork,
qmbusdam fiiscinalis aureis aiqiie bidentihus — as San
Pier Damian tells us in a passage Avherein he bursts
forth in bitter invective against the luxurious habits
of the Dogaressa.^ The Venetians themselves looked
on her conduct as sinful, and the terrible disease of
which she died was considered as a judgment from
heaven. But though Venice condemned, in the person
of the Greek princess, Byzantine splendour, corruption,
and laxity, the Venetians none the less assimilated
the art, costume, and habits of the Eastern capital.
Oriental manners infected Venetian customs even in the
rites of the Church. Baptism Avas by immersion 2;
and it Avas not administered till comparatively late,
even after several years had elapsed ; communion Avas
given in both kinds and it Avas forbidden to celebrate
tAvice in the same day upon the same altar. ^ Gallic-
cioUi thinks that the custom of several priests assist-
ing at extreme unction {oliare) Avas also derived from
the Greeks. The dying persons Avere laid upon the
floor, Avhich AAas covered Avith ashes, while the bell
^ Damiani, Petri, Opera Inst. Monialis, T. Ill, Cap. XI. The fork,
called in Venetian pirbn, was introduced from Greece. The Greek word
irdpeiv (to pierce) and the late Greek word ireipovvLou (a fork) prove it.
See Flecchia, Postilla elimologica (Arch. Glottologico, Vol. II, pp. 3i3-
817. 1878).
^ In San Giacomo dall' Orio is a marhle holy water basin which seems
at one lime to have served as a font in the days of immersion. The
font of SS. Maria e Donato at INIurauo is of great beauty. It is cut in a
square block of Greek granite and appears originally to have been a Roman
tomb. It was brought from Altino, probably in the seventh century.
The funeral inscription was left intact and has been reproduced by
Mommseii.
3 Gallicciolli, Vol. Ill, pp. 3, 6, 8.
(M
(B)
A — Blrial customs — from the " Fatti del SS. Filippo e Giacomo"
(mosaic of S. Marco, XIII century). B — Sepulchral urn of General
Jacopo Cavalli ("iSS'i), by Paolo di Jacobello delle Masegne. (Church
of SS. Giovanni e Paolo)
MANNERS AND CUSTOMS 35
summoned the faithful and in the street they chanted the
"Miserere" and other psahns.^ DoAvn to the twelfth
century tombs were placed in church porticoes.
Later on, the government permitted great personages
to be buried in the church itself, which thus came to
be adorned with magnificent sepulchral monuments.
As is the custom still in the East, while the body was
being lowered into the grave all the relations gave vent
to shrill cries and tore their hair. Almost immediately
after death the corpse was carried to the tomb, wrapped
in a sheet or in matting covered with cloth. Neither
silk nor other precious material was used for cerecloth
except for those Avho in life had held public offices. ^
In the early days even the Doge was buried without
pomp the day after he died. It w^as only in i36i,
on the death of Giovanni Dolfm, that the body of
the prince, with golden spurs, baton, and shield, lay
in state for the first time in the Hall of the Signori di
Notte, while the Dogaressa and a train of ladies went
down into Saint Mark's, where they remained an hour
in prayer.^
1 Gallicciolli, Vol. II, pp. SaS, 826.
2 '• . . . Quod tampro bono animarum quam pro evitandis expensis
inordinatis et inulilibus aliqua persona deinceps sive masculus sive femina,
non portetur ad sepulturam, nee sepeliatur vestita in habitu silicet secu-
lari, alio silicet quam de cilicio, seu stamegna, vel alio habitu minoris
valoris, sub pena librarum L. parvorum pro qualibet persona portata vel
sepulta contra premissa ; quam penam solvere teneantur heredes vel com-
missarii persone huiusmodi, seu alii vel alie, ad quos eius bereditas vel
bona plus spectarent, exceptatis tamen ab hac strictura et ordinatione doc-
toribus, juristis, militibus et medicis. . . . Quod omnes masculi vel femine
nunc et de cetero habitatores et habitatrices Veneciarum teneantur ad
omnes stricturas etcrdines supradictos sicut alii et alie cives. . . . Quod
Palatium Ducale ab omnibus predictis slricturis et ordinibus ac consultis
per sapientes, protinus sit exemptum. . . ." (Arch, di Stato, Senato.Afisti,
reg. 16, p. 70, June 20, i33i.)
' Sansovino, Venetia, Lib. XI, p. 489.
a6 VENICE IN THE MIDDLE AGES
But contact with the cfrcminate habits of the East
did not sap the vigour of llie hardy Adriatic seafolk,
who were ever called upon and ready to overcome the
resistance of nature or to face a human foe.
In the dawn of civic life at Rialto hardihood in adven-
ture went hand in hand with simple faith and austere
habits. Every class of citizen, from the Doge to the
humblest fisherman, attended midnight services. Early
in the morning the people were called to work by the
sound of a bell called the marangona, so named after
the carpenters, or marangoni, the most numerous class
of artisans in the city, especially at that period, when
most of the houses were built of wood. At nine o'clock
and at midday the sound of a bell again summoned the
labourers to a modest meal ; and three hours after sun-
down every one was housed while the rialtina rang out
the curfew. The ancient names of kalends, nones, and
ides — retained only among the learned — had passed
out of use. The year, even in public deeds, began with
the first of March {more Veneto),^ and the days of the
month were numbered successively from the first to the
last. Every day of the year, at the hour for meals, all
work came to a standstill, — not a sound was to be heard
in the shops, men and women met round the board.
The fare was frugal, composed of vegetables, fruit, fish,
wild duck, beef, pork, and, above all, kid and Avild boar,
as is suggested by the vast quantity of their bones found
a few feet below the surface. All food was highly
spiced.
We have no documentary evidence as to the price
of food earlier than the law of Sebastian Ziani (1178)
1 As an early instance of the year Indicated more Veneto, we have the
■will of Orso Partecipazio, Bishop of Olivolo, dated 853. Gallicciolli, Vol. I,
p. 434.
MANNERS AND CUSTOMS 27
which made important provisions as regards butchers,
bakers, taverners, pouUerers, fishmongers, etc.^ The
scale pubhshed by the Doge fixing the maximum prices
of food took as its unit the Veronese hra, a httle less
than the Italian lira. We find that wine of Avhatever
kind, except Greek wines, cost two soldi the libbra,^
beef also two soldi the libbra ; a thousand libbre of oil
cost twenty-five lire. Among the fish mentioned we
get the sturgeon, the trout, the ray, which cost three
and a half soldi the libbra ; tench and dried pike cost
three soldi; other fish — gudgeon (^0), tench, (meg la),
red mullet (barbone), the scorpene or sea-scorpion (scar-
pena), gurnard [hicerna), gray mullet (variolo or bran-
cino), dory (orata), flounders {passera), soles (sogliola),
eels [anguilla), pike (laccio), carp {cavedagno) — cost
two soldi and a half the libbra. Corn cost from sixteen
to seventeen soldi the bushel [staio), wine twenty soldi
the barrel, and four hundred eggs fetched twenty soldi. ^
Within the narrow circuit of the lagoon and in
spite of their simple and modest manner of life, the
quiet Avas frequently broken by internal broils or by
the bustle of departure on venturous voyages or martial
enterprises. While the men were at sea or in the field
the women passed the interval betAveen the agony of
farcAvell and the joy of the return in tending the
1 Arch, di Stato, Due, B" 6. The statute was pubhshed by Dr. G.
Trevisanato (Ven., tip. del Commercio, 1862) and more accurately by
Monticolo in the Miscellanea of the Deputazione Veneta della Storia
Patria, Vol. XII, p. 81. Venezia, 1893.
2 The Capitolare of the Coopers' Guild (Monticolo, Capitolari, etc.,
p. 162) gives us much information as to the capacity of casks in use in
Venice of the thirteenth century. The measures were fixed by govern-
ment for purposes of customs and lading.
3 Liber Plegiorum, Regesti published by Predelli, n. 7, aS, i5a, 317, SaS.
335, l^bo, 564, 710.
28 VENICE IN THE MIDDLE AGES
family and in prayer. But in these early days the
women do not stand out in the pages of Venetian his-
tory, and only a name here and there helps us to re-
construct the picture. We see the haughty Dogarcssa
Valdrada Candiano sweeping through the halls of the
Ducal Palace, as later on there passes by the vision of
the fair and sinful wife of Domcnico Selvo. Not many
years later Tcodora Selvo is succeeded by Felicia, wife
of Vi tale Michiel (1096-1102), type of the modesty and
womanly virtues of her day, in contrast to the pec-
cant Greek princess. Felicia Avas eminently pious and
charitable ; indiiferent to all the glories of her state, she
shrank from any display, and found her only joy in her
faith and in her devotion to her family. She was
gracious in speech, modest in bearing ; the goodness
of her soul shone out in the sweetness of her counte-
nance,^ We also hear of another Michiel, Anna by name,
only daughter of the Doge Vitale II (11 56-1172), re-
markable for her virtues. Several ancient chroniclers
relate that when, in the war against the Emperor Em-
manuel (1170), all the Giustiniani who had taken part
in it were wiped out, and of that illustrious lineage not
one remained save Niccolo, a Benedictine monk in the
monastery of San Niccolo del Lido, Anna Michiel, by
the leave of Pope Alexander III, wedded the monk.
The tale is confirmed by writers of authority; but it
may be that the chroniclers only meant to say that one
branch and not the whole house of the Giustiniani was
destroyed, for we find many patricians of the name still
alive at this date.^ The chronicles assert that twelve
children were born to Anna and Niccolb. When this
1 So runs the Latin inscription on Felicia's tomb, on the left-hand
side of the great door of San Marco.
2 Sanudo, Vite deiDogc, ed. Moniicolo, p. a65, n. 2.
MANNERS AND CUSTOMS ag
family had groAvn up their father returned to his cell,
after founding a monastery on the island of Costanziaca,
to which his wife Anna retired, and there took the vows
along with her three daughters, Marta, Margherita, and
Bortoletta.
The Christian religion strengthened and organised
domestic morality and improved the condition of
women, and it was the women who chiefly raised those
numerous churches and monasteries which filled the
estuary ; it was their influence which kept alive the
family bond in the midst of a population which was
rapidly growing bold and warlike under the impulse of
new needs and new aims. The women, leading the
life of modest housewives, watched over the sanctity of
the home, conjugal fidelity, and the innocence of the
children .
Herodotus has recorded the custom of the ancient
Eneti, while still in their lUyrian home, of marrying all
the nubile daughters on the same day. That custom,
derived from the Eneti, was still alive among the early
Venetians, as is proved by the legendary rape of the
Marie from the church of Castello. We have further
testimony in old chronicles and in the ancient Matricola
dei Casselleri (i 4^9), which says : ' ' Antigamente la con-
suetudine de Venesia era che tutte le novize de Venesia
quando le se sposavano erano sposate nella giesia de
San Piero de Castello per el Vescovo nel zorno de
Messier San Marco, che vien a di 3i de zener."^
Others, again, affirm that not all the brides of Venice
were wedded on the last day of January, but only
twelve girls dowered by the community.
At the close of the eleventh and the opening of the
twelfth century a wave of emotion, political and religious,
1 GalllccioUi, Vol. II, p. 1753.
3o VENICE IN THE MIDDLE AGES
swept over Europe, stirring all hearts, touching the
intellect and modifying manners and customs. When
entire nations took the Gross for the liberation of the
Holy Sepulchre, martial valour, w hich till then had been
rude and fierce, was tempered by more gentle emotions,
and in those ranks of men clad in mail the religious
sentiment mingled with the impulses of a chivalry which
not only brought into the human mind the softening
grace of new ideals, but enjoined the duty of protect-
ing the weak. Woman appeared in a halo of poetry ;
and on the plains of Syria and under the walls of the
mystic Sion religious fervour went hand in hand with
the gracious vision of a woman which accompanied
the crusader through the perils of the field.
The Venetians during the Grusades shared the dan-
gers of battle and the glories of victory with the most
renowned knights of Europe, but, already strong in
civic virtues, felt no need to insure courtesy and chival-
rous conduct by law ; and to them it seemed a strange
thing that men Avho donned the coat of mail and girded
on the sword of a cavalier should be required to take an
oath to defend the rights of the weak against the strong,
and to protect women and children from danger and
outrage. The Eastern temperament, ever strange and
fantastic, enveloped the rules of chivalry with a novel
charm, though they could never have been without effect
upon the Venetians, who during the Grusades not only
sailed the seas, traded, and founded colonies, but in-
evitably widened their horizon and brought home ideas
that were helpful to the arts.
Venice after tlie Crusades assumes a new aspect.
The ancient social structure disappears, the national
outlook embraces a wider scope, private life becomes
refined. For though it is true that the crusading spirit
MANNERS AND CUSTOMS 3i
was not received with enthusiasm in Venice, still it did
not, as many hold, find mere indifference ; the ^ ene-
tians were 23rofoundly moved by the spectacle of such
multitudes of men inspired by a sentiment wliich sent
them to suffer, fight, and perish for an ideal. As a
matter of fact, we find a hospital on the Giudecca for the
housing of pilgrims on their way to Jerusalem as early
as the tenth century, and another on the island of Sant'
Elena in the eleventh; a third at Castello, and a fourth
on the island of San Clemente . The government granted
shelter to the warrior monks who fought for the Holy
Land, and the Knights Templars established a hospice
for them near the church of the Ascension ; the Knights
of Saint John of Jerusalem had another at San Giovanni
Battista dei Friulani, while a third was opened by the
Teutonic order at the Santissima Trinita. But the
Venetians lent a still more powerful support to the Cru-
saders by joining arms with them in the reigns of the
Doges Vitale Michiel, Ordelafo Falier, and Domenico
Michiel, and proved again and again that Venice was
inspired not merely by commercial greed but also by re-
ligious fervour.^ To be sure, the Venetians never forgot
their commercial and political interests in their zeal for
the faith; they intended to secure for themselves a
market in every corner of the globe. But their so-called
egoism displayed itself in a profound attachment to their
country and their race; and these greedy hucksters,
these selfish adventurers — as they are sometimes un-
justly called — had at bottom a genuine belief in objects
high and serious ; the merchant not seldom became a
hero. And so it was that while the \enetians lent their
potent aid to the Crusaders, they never stifled the trading
instinct, they never neglected to enlarge their borders.
^ Sagredo, La Repubblica di Vcnezia, pp. t>4 et seq. Padova, 1887.
32 VENICE IN THE MIDDLE AGES
These lords of the sea knew how to w^ed the passion of
Christianity to commercial enterprise, and welded the
aspirations of the faith with the interests of their country,
proving by their action not only how vain and sterile is
an idealism which consumes itself in morbid dreams,
but also that the mere production of riches will lead to
ruin unless it be tempered, legalised, almost we would
say sanctified, by the serene and life-giving breath of
tlie ideal. So true is it that the universal religious
movement exercised a powerful influence on this cautious
nation of merchants, that Venice has even been accused
of bigotry, as being the slave of a sort of official super-
stition of a quite peculiar kind, which led the State to
pay high prices for the bodies of saints and other relics,
and the Doge to receive them in solemn procession.^
As a matter of fact, the Venetian fleet, which in 1097
had been acting with the Crusaders in Syrian waters,
brought back, the following year, from Myra the remains
of San Niccolb, and the translation of the relics to the
church on the lido was recognised by the people as a fes-
tival which conferred an honour on the State. In iio5,
when the body of San Stefano was brought to Venice,
the Doge Ordelafo Falier took the cofier containing the
holy relics on his shoulders and devoutly carried it to
his own boat. So, too, in ii25, the Doge Domenico
Michiel, on his return from the Holy Land, brought to
Venice the body of Sant' Isidore, the martyr of Chios.
It is impossible, even for the most hostile critic of Venice,
to believe that such acts of piety were always and
everywhere inspired merely by the political acumen
of those rulers of the State, from whose number,
by the way, came Gerardo Sagredo, who in 10^7 met
^ Burckliardt, La Civilla del Rinascimcnto. tr. Vol. I, p. 99. Firenze,
1876.
MANNERS AND CUSTOMS 33
martyrdom in Hungary, and won the honours of the
altar.
Amid the stress of business or the clash of arms
there were many who sought the quiet of the cloister.
We hear of whole families abandoning the world to
assume the monastic habit; for example, in ii84,
Manfredo de Gonzo, his wife, and his son Albert took a
vow to follow the instructions of Priest John, agent for
the Abbess of San Zaccaria, and after granting the
family estate to the monastery they became lay members
of the Community. 1 The churches raised by private
generosity were frequently handed over to some con-
ventual establishment "cum totis thesauris magnis vel
parvis, sive aurum, argentum, acre, ferrum, palios seri-
cos vel laneos, atque lineos de altaribus, quam de silcis
seu de mapulas, et cuncta omnia sanctorum, etiam libros
divinos diurnales atque nocturnales." ^ Donations to
monasteries were of common occurrence for many
years ; occasionally entire estates were ceded to them,
as in the case of Leonardo Michiel, son of the Doge
Vitale II, by his will, dated August, ii84, drawn up by
Domenico Arduino, parish priest of San Giovanni
Evangelista. Michiel made the Abbess of San Zaccaria,
Casotta, and her successors executrices of the deed; he
constituted the abbess heiress of his personalty to the
value of eight hundred and fifty lire, and to the convent,
where he desired to be buried, for the benefit of his own
soul and those of his wife, his father, and his relations,
he left his vineyards, salt pans, lands, waters, all his
1 Arch, di Stato, Irtd. gen. dell' Arch, di San Zaccaria, February 37,
and April 12, 11 84.
2 Ibid., Chiesa di San Luca, Catastico di San Benedetto, n. 3, ioi3,
C. I. — Giovanni and Domenico, sons of Martino Falier, give to the Mon-
astery of the Blessed Michele Arcangelo in Brondolo the church of San
Benedetto on the Canal of Rialto (February, ioi3).
VOL. II — 3
34 VENICE IN THE MIDDLE AGES
freehold properly in Chioggia.^ It was a common
tiling for a teslalor to devise a sum of money for
laminaria ecclesiae^ over and above the tithe of his
properly which it was the custom to leave to pious
objects and for the benefit of the clergy.^ Many wills
express the hope that on the Judgment Day the souls
of donors will reap the benefit of gifts left to the
church^ ad pios usus Ecclesiae et pauperum.^ Nor
are instances rare in which a widow Avould receive
her widow's weeds from the hands of a priest and with
religious ceremonies, taking the vow of perpetual
chastity, and retiring forever into a little cell either in
the roof or over the portico of some church where she
would spend the remainder of her days in mortifying
the flesh by fasting and penance.^ Such women were
called recluse or romite, and gradually came to form the
corporations known as pinzocchere, who accompanied
the dead to the grave. 7 There were many of these her-
mitages in the city, and we fmd them attached to the
churches of San Giovanni Evangelista, San Maurizio,
Sant' Agnese, San Samuele, Santa Margherita, SS.
Gervasio e Protasio, San Boldo, Santi Apostoli, San
Cassiano, Santa Maria Nuova, San Francesco della
Vigna, and Sant' Angelo.^ In the same way religion
was frequently bound up with superstition, and the
1 Arch, di Stato, Ind. gen. del mon. di S. Zaccaria, Test. Leg. Comm., p. 85.
2 Gallicciolli, Vol. II, p. 193.
* As an instance, see the will of Angelo Pesaro (iSog) published by
Sagredo in his book on the Fondaco dei Turchi, Milano, i860.
* Baracchi, Carte del 1000 e del 1100 trascr. daW Archivio Notarile
(Arch. Veneto, T. XX, p. 837^.
6 Corner, Fl., Eccl. Venctae, Decas III, p. 4oo. Venetiis,
MDCXXXXIX.
6 Gallicciolli, Vol. II, p. 1785.
' Mutinelli, Del Costume Veneto, p. 89. Venczia, i83i.
* Corner, Fl., op. cit.
•\TTnUDESOF PllAVER.
•'0|nis [)cnilct)tiale "
— bidle Archives )
MANNERS AND CUSTOMS 35
various forms of praying, the postures assumed, Avere
supposed to affect the elFicacy of the prayer.^ But in
Venice, unhke other cities, mysticism and religious
superstition were not allowed to debase the mind, for
the Venetian government, ever cautious and watchful,
took care to moderate the impulses of the heart or of
the imagination by the dictates of common sense ; it
encouraged religious zeal, it is true, but it also held in
check that exaltation which might have led its citizens
to forget the true interests of their country.
The Republic not only placed a limit on the number
of the churches and monasteries, but blending the obli-
gations towards their country and their God, when the
war of Chioggia was raging in iSyg, it called on all
the friars who were by laAv liable for guard duty at the
Ducal Palace to take up arms against the foe. The
friars refused, and pleaded their vows, and Avere there-
upon at once expelled from the State. ^ Those very
Doges who received with profound piety the relics of
saints, those same statesmen who took every care to
foster religion, loved their country and their families
above all, fought for their freedom, and looked upon
a man as mad who thirsted for sufTerino^ and martvrdom,
who craved for pain and intoxicated himself by the
sharpness of his agony.
Venice did not escape the presence of those companies
of flagellants which sprang up everywhere in the twelfth
and thirteenth centuries ; nay, the very earliest Guilds of
Devotion were called scholae hattutorum because the
brothers lashed themselves with scourges and certain
instruments called scopae, known later on as " disci-
1 Arch, di Slato, Opus penitentiale Petri Pictaviensis. Cod. of twelfth
century in the Sala Diplomatica Regina Margherita.
2 GalliccioUi, Vol. II, p. 1812.
36 VENICE IN THE MIDDLE AGES
plines." ^ But such aberrations of mysticism were
sternly checked by the government, who would not
permit, except on very special occasions, the spectacle
of processions passing through the streets to the chant
of hymns and prayers, and the furious lashing of bare
backs. Hoc factum est in omnibus aliis civilaiibus, praeter-
quam Veneliis sapienlibus, so writes Girolamo da Forli.
And in iSgQ, when the processions of the Bianchi,
men and Avomen dressed in white with faces veiled,
chanting litanies and orisons, reached Venice under
the protection of the Florentine Dominican Giovanni
Domcnichi, afterward cardinal and beatified, of the
priest Leonardo Pisani and the patrician Antonio So-
ranzo, the Signory forbade the lugubrious sight, and
the constable of the Council of Ten, meeting the pro-
cession at SS. Giovanni e Paolo, snatched from the
hands of the leader the crucifix and, as a chronicler
reports, rompe le brace del Crucifisso e desfece la
processione. Domenichi, Pisani, and Soranzo were
banished.^
Charity found fervid apostles in Venice, such as the
blessed Pietro Acotanto (d. 1187), Avho reduced him-
self to beggary by giving all he had to the poor.^ The
helpless received support from the charitable, and in
977 an hospital Avas erected in the Piazza di San Marco.
This was followed by many others ; some were called
Case di Dio and Avere destined to shelter pilgrims ;
others AAcre open to the poor and the infirm. In i3i2
the citizen Naticliero Cristian erected an asylum for
tAventy infirm paupers ; it stood near the Calle del
1 An enormous "discipline" is carved above the door of the Hospital
of the Battuti at Serravalle, in the province of Treviso.
'■' Cicogna, her., ^ol. M, p. i-ii-
* Corner, Fl., op. cit., Dccas I, p. 97.
Attitudes of Prayer.
("0|)iis jieiiilontiale"
— Stale Arcliixes)
MANNERS AND CUSTOMS 37
Morion at San Francesco della Vigna ; about i3/i3 a
pious friar, the Franciscan Pieruzzo of Assisi, begging
from door to door, gathered enough money to hire some
houses for the shelter of foundhngs. Soon after, he
opened another institution at San Giovanni in Bragora,
which exists to this day under the title of della Pieta.
In 1 357 Bartolomeo Verde built a hospital for fallen
women who wished " redire ad penitenciam et contri-
cionem."^ In every detail of life the greatness and
the gentleness of this people, so unjustly judged by a
celebrated chronicler, Fra Salimbene of Parma, in
the thirteenth century, make themselves apparent.
"Veneti," writes Salimbene, " avari homines sunt et
tenaces et sujDcrstitiosi, et totum mundum vellent sub-
iugare sibi, si possent ; et rusticiter tractant mercatores
qui vadunt ad eos, et care vendendo, et multa passagia
in diversis locis in suo districtu ab eisdem personis
eodem tempore accipiendo." ^ And yet these rude,
avaricious, grasping, superstitious people accept new
ideas, are not insensible to love and pleasure, readily
adapt themselves to a mode of life very different from
that of their early years to which they had been so long
accustomed. The courteous usages of chivalry found
a congenial soil in the blithe nature and soft speech of
the Venetians, and Venetian knights learned to break
a lance for their mistress's eyes, and to wear the colours
of her who conferred the guerdon. The women readily
appeared in public and joined in parties of pleasure,
seeking amusement and listening Avith satisfaction to the
songs and music of their youthful lovers, to their serven-
tesi and tenzoni and cobbole learned from troubadours of
France.
1 Arch, dl Stato, Gr., XIII, c. 6 (October 5, iSSa).
2 Salimbene, Parm. ord. min., Chron., p. 252. Parma, 1857.
38 VENICE IN THE MIDDLE AGES
As at Trcviso, in the Marca Amorosa, this new zeal
for culture and refinement was illumined by the figures
of noble ladies such as Cunlzza da Romano and Gaia da
Camino, daughter of the buon Gherardo, made immor-
tal in Danlc's verse, ^ so at Venice new and graceful
habits of life Avere introduced by noble foreign ladies who
came to wed Venetian patricians. The Doge Ordclafo
Falier (i 102-1 116) had as wife Matilda, cousin of Bald-
win, King of Jerusalem. Two sons of the Doge Vilale
Michicl II (11 56-1 172), Leonardo Count of Osscro and
Niccolo Count of Arbe, married, the one the daughter
of the Prince of Servia, the other Maria a niece of King
Stephen of Hungary. After the fall of Constantinople
we have the marriage of the Doge Pietro Ziani with
Costanza, daughter of Tancrcd, King of Sicily ; also the
wedding of a niece of the dead Doge Enrico Dandolo
with Maganipan, Ban of Servia. A little later another
Sicilian princess came to Venice. Pietro Ziani was suc-
ceeded in 1229 by Jacopo Tiepolo, who had, by his Avife
^ Cunizza, sister of Ezzclino rla Romano, ■wedded in 1222 Rizzardo of
Sambonifacio ; she fled from her hushand's house with her lover, the trouba-
dour Sordello di Goito. Then she left Sordello and fled with a Trevisan
noble, called Bonio. Cunizza ended her days in Tuscany, in penitence for
her light loves, devoted to charity and to prayer, and Dante places her among
the beatified. Gaia da Camino, too, enjoys no good repute. First comes
Jacopo della Lana, who, glossing a verse in Dante's Purgatorio, XVI, i4o,
whose meaning is obscure, declares that Gaia fn donna di tale reggimento
circa Ic delcilazioni amorose, ch'cra nolorio il siio nome in iutta Italia. And
Benvenuto da Imola doubles the dose : " Ista erat enim famosissima in tota
Lombardia, ita quod ubique dicebatur de ea : Mulier quidem vere Gaia et
\ana ; et ut breviler dicam, Tarvisina tota amorosa ; quae dicebat domino Riz-
zardo fralri suo: Procura tantum mihi ju\enes procos amorosos, et ego pro-
curabo libi puellas formosas. Malta jocosa sciens praeterea de foemina
ista, quae dicere pudor prohibet." Many commentators repeat the -vAords
of Jacopo of Benvenuto ; many others, on the contrary, declare Gaia to have
been not only of surpassing beauty but also the very mirror of virtue.
Her fame has recenUy been vindicated on the authority of documents.
See Marchesan, Gaia da Camino nci doc. trevisani, etc. Treviso, igoi-
MANNERS AND CUSTOMS 89
Maria Storlato, three sons : Pietro, who, as Podesta of
Milan, led the troops of the second Lombard League
at Gortenova, was defeated and perished miserably in
Apulia ; Lorenzo, Count of Veglia, elected Doge later on ;
and Giovanni, Count of Cherso and Ossero. Jacopo
Tiepolo, the Doge, was left a widower in 12^2, and
married Madonna Yaldrada, daughter of Roger, King
of Sicily, by whom he had a son and a daughter, and
thus the vigorous blood of the Normans was mingled
with blood of the Venetian patriciate. Lorenzo Tiepolo,
elected Doge in 1268, Avedded the daughter of Boe-
mondo of Brienne, King of Servia. This princess Avas
received in Venice Avith great rejoicings. She exercised
a poAverful influence over her husband, and sought to
increase the family Avealth by marriages. For her
eldest son, Giacomo, she secured an heiress of Dal-
matia, mistress of lands and castles ; for her second
son, Pietro, an heiress of Vincenza, who brought him
vast riches.^ Foreign sovereigns also sought their
Avives among Venetian Avomen ; a lady of the Dandolo
family became Queen of Servia, and about 1276 ^ a very
beautiful Tommasina Morosini ^ was Avedded to the son
of AndreAv II, King of Hungary, called Stephen, AA^ho
had been driven from his country. Tommasina had a
son, named Andrew after his grandfather, and this
youth made good his rights and mounted the Hunga-
rian throne in 1290, bringing back Avith him his mother,
1 Sanudo, Vite dei Dorji (Rer. It. Script., Vol. XXII, p. 563).
2 Not in 1262, as many historians afTirm. Sanudo has the following
remark: " Sotto Jacopo Conlarini doxe, re Stefano tolse per Mojer
madonna Thomasina, fia de Miser Andreaso Morcxin." The Doge Con-
tarini reigned from 1278 to 1280.
3 An inedlted chronicle by Donato Contarini is preserved in the
Imperial Library at Vienna (Cod. del Cat. Viennese, MS. 6260, p. 66 t°).
Contarini says that Tommasina was " molto belia et spiciosa et de grandis-
sima maniera."
4o VENICE IN THE MIDDLE AGES
whom he associated with himself in the government.
In 1 29 1 the Great Council resolved to send an embassy
to escort the queen, and attached to her person Gio-
vanni Correr, procurator of San Marco. When, after
the death of King Andrew, Hungary was shaken by
revolution, Tommasina returned to Venice and passed
the rest of her days in modest retirement in a palace
' ' a San Zulian in la ruga dietro le case del Monasterio
di San Zorzi, avanti che si arriva al ponte delle Bal-
lote." ^ She died about the beginning of the fourteenth
century.
Love, too, which is the most significant guide to the
ideas and sentiments of a race, began to assume a new
aspect in its chief manifestations, engagement and mar-
riage. The old customs gradually disappeared ; the
brides were no longer all assembled together in a
church ; the rites and the customs of the obscure
middle ages died away. John the Deacon has left us
some account of early princely marriage ceremonies
when describing at length the wedding of Giovanni,
son of the Doge Pietro Orscoto II, to Maria, daughter
of Argiropulos and niece of the Emperors Basil and
Constantine at Constantinople, in ioo4. The patriarch
imparted the benediction in the Imperial Chapel to
the pair, who wore golden crowns, the gifts of the two
Emperors. On the conclusion of the ceremony, they
presented Maria and Giovanni to the court and laid
their hands on the heads of the couple. The wed-
ding feast lasted three days, and the Imperial family
and the great officers of State were present throughout.
But the description of this princely wedding, celebrated
according to Byzantine usage, will hardly tell us what
were the marriage ceremonies of the Venetians in the
1 Contarini, Don., del Cat. Viennese, MS. 6260, p. 66 t°.
MANNERS AND CUSTOMS 4i
middle ages. Unfortunately we have only a few docu-
ments, and none earlier than the twelfth century, which
throw a feeble light on this point, The dies desponsa-
iionis, on which the couple plighted their troth, Avas
clearly distinguished from the dies nupliariim, the wed-
ding day, which was almost always a Sunday, and the
ceremony Avas accompanied by solemn rites, and in the
presence of relations and neighbours who brought gifts
for the bride. The woman was not always free in the
choice of a husband, and very often the engagement Avas
arranged by the father Avhile the bride was yet a child,
the father binding himself to supply a fixed doAver (re-
promissd). The preliminaries of the contract were ar-
ranged by matrimonial agents ; the bridegroom gave, as
a pledge to the bride, a ring and pearls, and the fulfil-
ment of the contract Avas guaranteed by sureties.^ Be-
sides the doAver, which consisted of real and personal
property, the bride brought to her husband the arcella
and in later times the cofano and cassone, the casket and
coffer which contained her jewels and her trousseau,
correda cum gemmis et ornamentis , her dresses of silk and
her linen. ^ The trousseau was shown in public, and the
^ Besta, Enr., Gli antichi usi nuziali del Veneto e gli Statuti di Chioggia.
Torino, 1899.
2 "In nomine Domini Dei et Salvatoris nostri Jehsus Christi. Anno
domini millesimo centesimo quinquagesimo sexto mense decembris indic-
tlone prima Rlvoalto. Testificor ego quidem Conradus manduca caseum de
confinio Sancti Moysi, Quod quando desponsavi Mariotam filiam meam in
romanum mayrano, dedi sibi unam arcellam cum suis ornamentis, valentiem
inter totum libras denariorum veronensium quinquaginta. Et in die lune
misi sibi pro dono libras denariorum veronensium viginti quinque; scilicet
secundum quod rationale fuerunt et valuerunt ille res, quas sibi tunc
misi. In pasca misi sibi, pro dono capitium unum de auro valentem libras
denariorum veronensium quinque: hoc scio et per verum dico testimo-
nium." (Arch, di Stato, Arcbivio San Zaccaria, Esteve.) Marriage con-
tracts speak de omnibus indumentis serlcis et lineis et omnibus indumentisque
more dantur feminis. (Ibid., March, 1108, Quitanza di dote di Pietro
Malacia.)
hi VENICE IN THE MIDDLE AGES
day after the wedding, at Easter and on the birth of
the first child the bride received further presents from
her husband and relations. Tlie Venetian donum dies
lunae was derived from the Lombard morgengab, the
present the husband gave to the wife quando primo
cognovit earn in coniugio} The first instance of the
mundio or morgengab in Venice is at the wedding of
Gualdrada, sister of the Marquis Ugo of Tuscany, to
the Doge Pietro Candiano IV, Avho gave her, pro
morganationis car la, the fourth of his estate. The
Statuto of Chioggia in certain of its clauses, compiled
in 1272 and 1291, gives us some curious details of
marriage ceremonies. These clauses, which may be con-
sidered as the oldest marriage laws of the Veneto, show
that the day of the marriage contract was distinct from
the day of the solemn transdaclio sponse ad domum.
The day before the wedding was observed in a peculiar
fashion ; the bridegroom made a formal visitatio to the
bride, and according to Roman custom was expected
abluere caput. The visit of the bride to her father's
house {revertalia) eight days after the wedding was
celebrated by a banquet to relations and friends, when
presents were exchanged, — shirts, breeches, ribbons
for the men, distaffs and spindles, rocham cum fusis,
slippers and pattens, subtellares et zoculos, for the
women. ^
With the growth of ideas and the change of circum-
stances, greater freedom Avas introduced into marriage
^ We have found a curious instance of the morgengab in a document
of September, 1201 (Arch, di State, Arch, di San Zaccaria, Estei-e), which
records that Marino Valarcsso married Modcsta, and that primo die lunae
nuptiarum suarum cum surrexil a latere sua, he gave her six silver marks,
while the neighbours sent her nine golden rings. See Molmenti, La
Dogaressa di Venezia, p. 4o.
* Besta, Enr., op. cit.
A Venetian ^^ coding (\V century) — from
a painting of Giovanni d'Alemagna and of
Antonio \ ivarini ; in llie Acadt'iny
VV
MANNERS AND CUSTOMS 43
customs. We have a description of a marriage in a
noble family during the war of Chioggia, written by
Francesco di Yannozzo.^ The Paduan poet is writing
in a vein of mockery or of satire, but that does not
detract from the value of this curious picture taken
from the life : the guests, men and women, all of noble
houses, assemble in the bride's home on the Campo
di San Polo ; they crowd round the couple to whom
questions are put :
A vu dona Rebosa da ca' Moro,
ve plaxe per marido
ser Afenido da ca' Malipier?
e cosi consente en esso? ....
Et allora essa response : messer si ;
Et a ti, Afenido da ca' Malipier,
te plaxe per mojer
e Yuostu qua cosi per to sposa
donna Rebosa
et en essa consenti?
Then, the ring having been placed, the young men
present are requested to play and to sing :
E cos'i 11 versi sona
madona Semprebona
da ca' Zustinian
li prese tutti do per man
e feseli ballar . . .
E co' la canzon fo' riva
'lo grida, c'ogn'om I'oldiva,
ver lo spozado:
Se dio te varenta el novizado
e se Dio te varda da mal morir
plaquave de dir una canzon!
The bridegroom then sings a madrigal, but one of his
groomsmen addresses verses and advice to the bride,
1 Published by Grion in the appendix to the Tratlato di AStonio.fi^ 'A
Tempo, cit., p. 827. »v >*^;''^;
A4 VENICE IN THE MIDDLE AGES
telling her never to do anything to displease her
husband :
E quando cb'el bien de nolle
che lu \e' ch'i son irado
Non penzar ch'io le dia botte
fatle arenle al mio costado.
The bride blushes, but says :
taxe, brigada,
ch'io vo' dir una ballada;
Ardente mio tnarido
caro frar dolze, affenido
el e ver ch'io son to sposa
e vardareme de far cosa
che me tu sepi, io te 'nde sfido.
E quando ch'el sara de nolle
se lu vien apiornado
ei le dare tanle bolle
che lu non gavera del flado,
e se avesse a zo pensado
no'nd averia tolto marido.
And here the quarrel threatens to end in bloAvs, but
is quieted by the announcement of a good dinner, and
the priest completes the pacification.
The simplicity of ancient customs gave way before
the mockery of the new spirit which held them up to
ridicule in verse and in the novel. But family life in
Venice was sound at heart and in body, and Venetian
mothers took care to rear sturdy offspring for the
Stale. AVhile in other countries the casuistry of love
or a strange mystical exaltation tended to dissolve
the family bond, the Venetian Minorite, Fra Paolino
(d. 1 344), writing under the form of advice and coun-
sel, lets us see what was the aspect of a Venetian family.
The man sought a wife of his own age, and chose her
well made in body, as therefore being likely to bear
him fine children. In direct opposition to the ideas
of chivalry, the man was not to be guided by the opinion
MANNERS AND CUSTOMS 45
of his wife, who was incapable of giving sound advice,
owing to the natural defect and weakness of her physical
formation.^
But love was not only a favourite subject for men of
letters ; it also played a prominent part as a subject for
the decorative arts, and its various phases which end
in matrimony are rendered Avith a rude but convincing
vigour by an unknown sculptor of the end of the
Trecento, in the details of a capital in the outer colon-
nade of the Ducal Palace. The artist shows us the
man making love, marrying, giving presents to his wife,
kissing her, in bed with her ; he becomes a father,
caresses his son and, lastly, bcAvails his death, A\e
have another representation of mediaeval marriage in
the " Matrimonio di Santa Monica," a picture now in
the Accademia at Venice, which once formed part of the
" ancona " painted by Antonio \ ivarini and Giovanni
d'Alemagna for the church of Santo Stefano in Venice.
When the first breath of the Renaissance passed over
society, profoundly modifying national customs, the ars
amaloria and the ceremonies of marriage became more
refmed, the presents grew richer and more elaborate,
and ivory diptychs Avere delicately carved with scenes
and stories of an amorous character.^ The diptychs
were given, according to ancient Roman custom, at
marriage, along with the nuptial casket, carved in bone,
which took the place of the earlier and ruder arcelle,
and Avas meant to hold the AA'edding jcAvels. To the
Latin hymns and prayers in use at Aveddings Avere added
^ De regimine rectoris di Fra Paolino Minorita, ed. Mussaiia. Vlenna-
Firenze, 1868.
^ Grevembroch has a sketch of a curious diptych in the form of a comb,
with this more curious inscription : ditUco nuziale di eburnea fattara a
modo di peltine per vezzosa sposa promessa in premio a vittorioso e formidabile
gueniero.
46 VENICE IN THE MIDDLE AGES
nuptial odes ^ which breathe a new atmosphere. This
gaiety of temper and of habit breathes throughout the
following love scene, described witli such lively realism
in the verses of Lionardo Giustinian, a well-known
writer born in i388 and dead in l^^6. Here we
have the mother telling the daughter that she had seen
a zoveneto under the windows, half hidden behind a
corner, kissing a kerchief that belonged to the maid ;
the girl replies quite frankly :
— Madre mia, volunlera
el vero a te dirolo ;
stando al balcon jersera
col fazoleto al colo,
non sazo in che maniera
a terra el me cadette ;
costui come lo vette
lo el tolse . . .
— Figlia, se '1 tuo piacere
e pur con onesta
te '1 voglio conccdere
e de te aver piala,
rispetto voglio avere
al fior degl'anni tuoi ;
ma dime, se tu vuoi,
quanto temp' e ch'el t'a vagheza?
— Madre, I'e quasi un anno
ch'el me dono la fede ;
ma el m'ama tanto piano
che alcun non se n'avvede. . . .
The mother, who knows from experience, warns her
daughter not to put too much faith in this love appar-
ently so timid and discreet :
1 Jacopo Morelli (Operetle, cit., Vol. I, p. i45) cites, as the oldest wed-
ding song, an epithalamium for the marriage of Jacopo Balbi and Paola
Barbaro, daughter of Francesco, composed in i453 by the Hungarian
Giovanni Cesinge, better known as Giano Pannonio.
MANNERS AND CUSTOMS 4?
— Figlia, tu sai ben I'arte
d'amare alia coperta ;
ma de lui non fidarte
e non te far si certa :
r e picno in ogni parte
de bti vezzosi amanli
con soi falsi sembianti;
chi troppo crede ne riman gaba.
— Madre, chiaro comprendo
che costui m' e fidele,
d'amor el va languendo
al sol 6 a le stele ;
e meraviglia prendo
ch'el sia tanto costante
a le fatiche tante
che sua persona ha per mi dur^.
But love does not last unless fed by sight, and so the
mother replies :
— Ma stagli ascosa un mese
fagli dispetti assai
e alora vederai
sta tanta fade che te ven porta,
— lo zamai non farazo,
madre, tanta dureza,
anzi gli niostrerazo
ogni di pill dolceza
fin ch'io viverazo
con piacier el convegno.
Da mi el ha un gran pegno
che, s'el lassassi, e' ne seria impazza.
— Figlia, che pegno e questo?
che vuol dir sta parola?
parlame manifesto,
dimmelo ormai, fiola 1
Or me lo dizi presto
non me tegnir suspesa!
Figlia, ben t'azo intesa,
io vedo ben che la cosa e spazza I
The girl, however, is listening not to the warning
words of her mother, but for the coming of her lover,
A8 VENICE IN THE MIDDLE AGES
who announces his presence by spitting, whereupon the
girl runs to the window.
— Madre, finire al tuto
voglio sto mio sermone,
el mio amaule e venuto,
io zir voglio al balcone :
spudar I'azo sentulo,
da lui me sento chiamare,
me voglio aprescntare.
Stalle con Dio, clie io son aspelta.^
Although with the introduction of luxury corruption
no doubt infected the manners and customs of Venice,
there still remained a healthy vein of simplicity, the
heritage from ancient times. An apparent bond of easy
familiarity still subsisted between nobles and people;
for instance, on Ascension Day the people of Poveglia
presented the Dogaressa with a purse full of copper
coins, that, as they said, she might buy herself a pair
of slippers. But about the throne of the Dogaressa,
in the palaces of the patricians as well as in the humble
abodes of the poor, the hfe of the womenfolk proceeded
so quietly, unostentatiously, and modestly that we can-
not now recover many of the details. Chronicles and
ancient documents hardly more than give us the names
of women, — strange names, dead now along with their
owners, — and Httle they help us to conjure up the
likeness of a Felicia, an Alidea, a Teodora, Aloica,
Tommasina, Bertuzza, Falasia, Campagnola, Fidiana,
Canziana, Diadema, Engranata, Uliosa, Zardina, Ohm-
piade, Icia, Cavalcante, Ciattarella, Beriola, Casotta,
Vivalda, Rucca, Altafiore, Suordamor, Istriana, Birida,
Galifora, Reconfilinia, Donina, Lodola, Pantasilea,
1 Giustinlan, L., Poesie edite ed inedile, n. 23, ed. B. Wiese. Bologna,
l883.
MANNERS AND CUSTOMS 49
Agrismonia, Fina, Creusa, Soprana, Zaratina.i and so
on.
But the growing license which began to invade even
the convents cannot dim the fame of certain gentle
ladies, the Countess Tagliapietra, Giuliana di CoUalto,
and Eufemia Giustinian, Avho from the long corridors
of their nunneries looked out, in tears and terror, upon
the changing times ; recluses to whom the Church con-
ceded the honours of beatification.
Meantime, in order to safeguard public morals, the
government passed law after law with ever severer
penalties. Let us take an example or two. Certain
crimes were sharply punished, and during the twelfth
century Ave find that parents who had prostituted their
offspring were flogged, branded and imprisoned ; pimps
were imprisoned, branded, tortured and banished. At-
tempts on the honour of a married Avoman were pun-
ished by imprisonment and fine ; adulteresses who to
the public scandal had left their husbands' houses were
condemned to imprisonment for life. Rape on minors
incurred the loss of a hand or of the eyes or even
hanging. A AA'oman from Constantinople guilty of
infanticide Avas burned alive between the columns of the
Piazzetta, inter duas columnas comburatur taliter quod
moriatur?
The Promissione al maleficio of July 2^, 1282
(Cap. XXVII), provides: " Se alcun disverzenera per
forza alcuna zovene, over ha vera violentemente da far
con donne maritade o con femine corrotte se '1 confessara
il delitto, over sara per testimonii convinto tutti doi li
occhi perdera." But Paulo Steno, of San Geremia, did
1 Museo Civico, MSS. Dolfin Gradenigo, n. 66, a MS. of the eigh-
teenth century containing a Nota di nomi stravaganti di gentildonne veneziane.
2 Cecchetti, La donna, etc. cit. [Arch. Veneto, T. XXXI, pp. 334 et seq.).
VOL. II — 4
5o VENICE IN THE MIDDLE AGES
not lose his eyes, in spite of the fact that one night in
1343 he penetrated into the chamber of Saray, daughter
of Pietro Faher, of San Maurizio, and raped her Avhile
two of her servants, Beta, a German, and Zanino, held
the unhappy victim doun. Steno was condemned to
a year's imprisonment and a fine of three hundred lire ;
Zanino was imprisoned for six months and then banished,
while Beta, who had fled, was condemned, in absence,
to the loss of her nose and lip and to perpetual banish-
ment.^ Malta inonesla et turpia commilunlar in ecclesia
et porlica et platea Sancti Marcl, so runs a decree of the
Maggior Consiglio of March, i3i5 ;2 and as a matter
of fact we find the patrician Marco Grimani expelled by
the custodians of the building for trying to rape a girl
in the atrium of the church ; he Avas condemned to a
fine of three hundred lire, one hundred of which went
to the girl.^
In 1 388 Alvise, son of the Doge Antonio Venier,
received a far severer punishment. He "was courting
the wife of the patrician Giovanni dalle Boccole and
had a quarrel with her ; to spite her family he hung two
heavy bunches of horns on her husband's door, with an
inscription insulting the wife, sisler and mother-in-law
of dalle Boccole. He was fined one hundred ducats
and imprisoned for two months.^ In prison he fell ill,
but the Doge his father would not say a Avord on his
behalf, and he died. Neither a great name nor power-
ful relations availed to save Michele Morosini from the
rigours of the law Avhen condemned for housebreaking
and attempted violation ; nor Paolo da Canal and Marino
1 Lazzarini, Marino Falicro, cit., pp. 67, 58.
^ Lorenzi, Monumenti per servire alia Storia del Palazzo ducale, P. I.
Venezia, 18G8.
8 Arch, di Stato, Raspe, III, fol. ^7. June 9, i363.
* Ibid., ibid., IV, fol. 27 t'.
MANNERS AND CUSTOMS 5i
Buora, Avho climbed a window and raped Maddalena,
wife of Giaconno Cervato ; nor Giorgio Loredan, who
abducted a girl, Maria Torresani,^ from a convent, and
others Avhom it would be tedious and disgusting to enum-
erate. A law of September 22, 1288, severely punished
bigamy, also pimping by servants for their masters.
Those ' ' qui iuraverunt quod ille qui voluerit contra-
here matrimonium cum aliqua non habet uxorem, si
inventum fuerit eum habuisse uxorem tempore contract!
matrimonii, debeant frustari, et bullari, et bannizari
perpetualiter." ^
Before the date of the Council of Trent the presence
of a priest was not considered essential to a marriage,
which was frequently celebrated merely in the presence
of witnesses or groomsmen. Such a marriage could be
annulled, and in this way people managed to marry
several wives. Some of these scandalous abuses are
recorded in old memoirs and trials in a language
that is a curious blend of Low Latin and dialect.
They evoke for us some highly coloured scenes from this
scandalous side of Venetian life. One day in October
of i4^3, a certain Peter of Trent, brush-maker, passing
through the parish of SS. Gervasio e Protasio, stopped
before the house of Cattaruzza, widow of Giovanni
Bianco ; and seeing her at the windoAV addressed her
thus :
" Madonna cateme qualche fante per mi."
" Bruto mato," she replies, "me vorrestu mai far
messetta ? "
" lo non dico cussi," answers Peter, " io dico per
mia muyer."
" Ben cussi si," cries Cattaruzza, and remembering a
1 See Raspe, April 5, i34o, October lit, i35i, March 4, i383.
2 Arch, di Stato, M. C, Deliberazioni, Pilosus, fol. 20 t°.
5a VENICE IN THE MIDDLE AGES
girl of her acquaintance she adds, " In fe de Dio io te ne
cattero una. Tornerai doman qua." Next day accord-
ingly Peter turned up again and found a beautiful girl
called Maria awaiting him along with a certain Domenico
Moxe, who addressing the couple asked if they wished
to be married as God and the Holy Church ordain.
Pietro and Maria both said " Yes " and gave their hands ;
they then made their eolation de hrigada and afterward
consLimaverunt matrimonium.
In i/i53 a certain Giacomo, in the service of Giovanni
da Crema, was living with his master in the house of
Lazzaro Tedesco, qui tenehal hospiles ad septimanam in
confracta S. Lucae. Among his boarders was a certain
Chiara. One day Giovanni and Chiara summoned Gia-
como and Avished him to be witness to their marriage.
Giovanni turning to Chiara said, " Chiaro io te tojo per
mia mujer," and she replied, " Et io te toglio per mio
marito, et son contcnta." Giacomo, when examined
before the judge, said, " Et cosi el dito Zuane in quella
ora la sposa con un annello, et in quella notte se ne
ando tutti do a dormir insieme, et per tutti vegniva
tegnudi marito e mujer et cosi chiamadi et reputadi."
In i/i56 a certain Beatrice Francigena, on her way
back from Treviso, went to the house of a relation
called Zanina, where there were lodging by chance
two men called Falcon and Antonio Remer. Nothing
could be more simple and ingenuous than the evi-
dence given by Zanina in court ; it runs thus : ' ' Dum
ibi starent in colloquio, dictus Falconus dixit dictae
Beatrici : 'A mo, Beatrixe, tu me fa si bel onor?
Tu sa che te ho da la man, e tu e anda a dar la man
a un altro ? ' Et ipsa rcspondit : ' Credeva che tu me
calefassi, die tu me fcssi beffe.' Et dictus Falconus
dixit : ' Quel che te ho promesso el te vojo prometter de
MANNERS AND CUSTOMS 53
bel nuo.' Et ambo praedicti iverunt in camera domus
dictae testis ibique dictus dixit : ' Beatrixe, tu sa che
tu xe mia.' Et ipsa respondit : ' Madi si.' Et tunc ipse
tetigit manum Beatricis dicendo : ' E no toco altra
mujer che ti.' Et ipsa respondit: ' Et mi no toco
altro marido che ti.' " ^
The government, which always kept a watchful eye
on morals, sought to regulate prostitution even as early
as i3i4- In i36o further steps were taken with that
object. The prostitutes who are recognised as omniiio
necessarie in terra ista were forbidden to occupy com-
mon lodging houses, or to go about the city except on
Saturday, and were restricted to a district at Rialto
called the Gastelletto.^
From the end of the twelfth and all through the thir-
teenth century many laws were enacted to check elec-
toral corruption, smuggling and theft, and to regulate
bankruptcy ; dishonest public servants were banished ;
tenants who failed to pay their rents were punished. ^
From September till the end of the Carnival suppers
and parties where women were present were forbidden
unless the women Avere relations of the householder ;
and in order to remove multa inepta et vana, it was
declared illegal to entertain males or females post sonum
tertiae campanae between Michaelmas and the first day
of Lent. 4 Oaths and insults were also punished by law,
1 GalliccioUI, Vol. II, pp. 1769, 1770, 1771-
2 Arch, di Stato, M. C, Novella, i354-i384, p. 78. See Lorenzi,
Leggi e memorie Ven. suUa prostituzione. Yenezia, 1870.
' Arch, di Stato, Signori di Nolle al Criminal, Capilolare, I, foil. 4 t°,
9, 38 t', 48 t% 52 ts 57, etc.
* ". . . Quod nunc et de cetero a festo sancti Michaells de mense septem-
bris usque per totum carnisprivium aliqua persona cuiuscumque condicionis
existat, non audeat, nee propter nuptias, nee aliqua alia occasione in dome
sua facere cenam vel convivium dominarum, exceptis sororibus, nuribus,
neplibus et cognatis sponsi et ex parte sponsi, seu illius qui eas haberet in
54 VENICE IN THE MIDDLE AGES
and in lSo^ a decree was issued that quilibel tarn mas-
culus qiiam foemina qui tarn injuria allerius quam aider
nominabil vermum canem perdat soldos viginli}
Even Petrarch, who was much attached to Venice,
complained of the foul language and excessive license of
the Venetians. If this license, however, reached the
limits appointed by State censorship, or, worse still,
if it conveyed an insult to the State of Venice, terrible
punishments inevitably followed. In i/io4 a certain
Frenchman called Rizzardo was hanged for saying he
would like to wash his hands in Venetian blood. ^ On
May i6, i4o/i, the Council of Ten condemned Lodovico
Conlarini to lose his hand for having published cari-
catures una sub nomine Serenissimi Principi noslri el
altera sub nomine Advocalorum Comunis, with scurrilous
mottoes, offensive not merely to the honour of the
Doge, sed etiam contra honorem et statum nostrum.^
The honour of the State, however, was protected from
menace and from insult by the vigilant eyes and ears
that guarded it, either in the hope of obtaining
a reward or per zelo ed amore per la patria, to
use the words of that gentleman of the Grioni
family when declining a reward for having denounced
convivio vel in cena, intelligendo neptes filias filiorum vel filiarum, fratrum
vel sororum . . . quod prohibeatur et publice proclametur quod a festo
sancti Michaelis usque primam diem quadragesime nulla persona cuius-
cumque condicionis existat, possit nee debeat relinere aliquam personam,
masculum vel feminam ad nuptias in cena nee etiam in domo absque cena
post sonum tercie campane exceptis servlloribus consuetiset oportunis. . . .
Insuper ad aliquas nuptias que fient allquo tempore anni, nullus debeat
molestare, aufferre vel retinere sponsam sive noviciam. ..." Arch, di
Slato, M. C, Spiritus, fol. log, February i3 (m. v.); Novella, fol. i34»
May i5, i356.
^ Ibid., M. C, Magnus, fol. 69 t\ January 4, i3o3 (m. v.).
^ Tassini, Condanne, etc., p. 49- Venezia, 1867.
^ Arch, di Stato, Cons. X., Misd, reg. 16, fol. 119 t".
MANNERS AND CUSTOMS 55
Crassioti, the thief of the jewels in Saint Mark's
treasury.^
It would be no easy task to follow the legislation in-
tended to restrain the spirit of gambling. In iiyS
Niccolo Barattieri, as a reward for having raised the two
columns of the piazzetta, obtained leave to open in the
space between them a gaming saloon for games other-
wise illegal. 2 After this we find a long series of acts to
^^anise and control games of skill and of hazard;
sime of these games, such as chess, dice, drafts {tavo-
leite), knuckle-bones (paletti), skittles (zoni), racquets
(la palla), conqueror {le uova), tip-stick (il pandolo),
chequers {la tria), hazard {la zara), we can identify ; of
others, such as biscia, lame, biribissi, scargalaseno, we
have no idea what they were like.^ There are various
laws of the thirteenth and fourteenth centuries which
compel the payment of gambling debts under personal
and pecuniary punishments, but prohibit gaming cum
taxilUs, or with ovi or dacli or zonos el taballelas, under
or in front of the portico of San Marco, in the little
courtyard, the chambers or doorways of the Palace, in
the Doge's stable, in the church of San Basso, or under
the loggia at Rialto, in inns or taverns, or under the
sottoporticoes of the city.* Another act warns inn-
keepers not to harbour aliquem hominem vel personam qui
ladel ad aliquem ludum cum iaxillis ; another forbids pro-
fessional gamblers to settle in Venice under pain of
1 Arch, di Stato, Cons. X., Misti, rcg. 26, fol. 119 t°.
2 Barattieri " dimando che'l fosse lecito a cadaum zuogar sopra li gradi
di ditte colone e che zuogo li pareva et che quantita si volcsse senza alcuna
pena, et cussi fo concesso tal grazia." Sanudo, Vite dci Dogi, ed. Monti-
colo, p. 287.
8 Cecchetti, Giocolieri e giuochi antichi di Venezia (Arch. Veneto, T.
XXXYIII, p. 426).
* Arch, di Stato, M. C, •Jommc, June aS, 1278, Rcg. II, fol. 55.
56 VENICE IN THE MIDDLE AGES
imprisonment, flogging and branding; another punishes
lusores cam taxUUsfalsls.^ Many of tliese acts were re-
called, and so we go on between prohibitions and con-
cessions till we come to January 20, 1890, on which
date we fmd an order of the Signori di Notte which
mentions unurn par cartarum a ludendo} It has been
erroneously supposed that playing cards were invented
in Venice in the fourteenth century,^ but the invention
is far older and does not belong to Venice, though it is
certain that the making of cards was quickly introduced
into the city ; as early as ilxlxi we find the card-makers
complaining of foreign competition.*
It was impossible that in a city like Venice, full of life
and passion , of business and of pleasure , overflowing with
wealth, the emporium of trade between East and West,
the haunt of every kind of stranger, manners should
preserve their primitive purity ; and in fact we fmd the
1 Arch, di Stato, M. C, Comune (June 6, 1278), Reg. II, fol. 54 t°.
Capitolare I dei Signori di Notte, foil. 3 t° and 4 (May 19, 1299). M. C,
Capricornus, fol. ^2 t" (May 18, i3o7). Grazie, XIII, fol. lit" (February
la, i352).
^ Dolcelti, Le bische e il giuoco d'azzardo a Venezia, Appendice V.
Venezia, 1903.
• Merlin, Sur I'origine des cartes a jouer, p. 67. Paris, 1870. See also
Bullet, Recherches hist, sur les cartes a jouer (Lion, 1757), and Singer,
Researches into the History of Playing Cards. London, 1816.
* Remusat, Mem., 2* serie, T. VII, p. alt"]. The Museo Givico of
Venice has a pack of playing cards made in Venice in the fifteenth cen-
tury ; they are very big and have plain backs. The face of the card is
covered with delicate arabesques in blue and red and dotted with little
gold flowers. The border is silvered over a raised line of body colour,
decorated by tiny punch-marks. The figures of two suits, denari and coppe,
are in gold similarly decorated ; bastoni are red and blue alternately, with
hilt and tip gilded. Spade have their mountings in gold and a silver blade
(Lazari, Notizie delle opera d'arle e d'anlichita della Raccolta Correr, p. 272.
Venezia, 1859). Cicognara (Memorie spetlanti alia St. della calcografia,
p. iSg. Prato, i83i) thinks these are the cards referred to in the decree
of the Senate of October 11, i44i.
Pl\yin(; (Jaiids. (Mlseo Civicoj
MANNERS AND CUSTOMS By
illustrious head of the State, Andrea Dandolo, involved
in an illicit love affair. For Ascension tide of iS/iy
there came to Venice Isabella Fieschi, wife of Luchino
Visconti, a very beautiful woman, with all the gifts of
body and mind save modesty. The Doge was caught
by the charms of this light lady, and throwing to the
winds the duties of his high office he embarked on a
scandalous intrigue with the Visconti, as is reported by
historians. 1 Isabella, it is true, Avas not a Venetian, but
Venetian Avomen themselves enjoyed no good repute,
and even at this date their facile manners gave food for
pungent satire. An anonymous poet,^ running over
the list of Avomen Avho " fan fallo," dedicates to Venice
the following mordant verses :
De le done de Veniexia
dir ve voio zertamenle ;
lor mariti non aprexia
una paja veramente ;
anzl vanno arditamente
e po' i porta loro in mano,
con preti e con mondano
ogni dl va a far raxone.
El conven pur che raxone
de le done die fan fallo
come san metier in ballo
lor mariti per raxone.
The poet, however, has the same to say of the Paduans,
Trevisans, Vicentines, and Veronese.
1 Azario, Chr. (Rer. It. Script., Vol. XVI, col. SaS). Corio, St. di
Milano, P. Ill, Gap. IV. Historians say it was the Doge Francesco Dan-
dolo who had this intrigue with Isabella Visconti. But Francesco Dandolo
was Doge from 1828 to iSSg, while Isabella did not come to Venice till
1347, when Andrea Dandolo was on the throne.
2 Gasini, Rime inedite dei sec. XIII e XIV (in II Propugnatore, Vol, XV,
P. II, p. .347, 1882).
58 VENICE IN THE MIDDLE AGES
More vulgarly offensive is Sercambi, who at llie close
of the fourtecntli century pretends to divert with his
stories a company of Tuscans Avho had fled from the
plague. He mocks and jeers at the cities of Italy, but
chiefly at Venice, pia cVinganni plena che iVamore ; and
speaking of light women he says serventi all omo al
modo di Vinegia, dove sono piiillosto vaghe della carne
che del paneA The farther we come down in the fif-
teenth century, the blacker grows the picture of Venetian
manners. The great and Avealthy city had now become
a sink of iniquity, if we are to believe the savage
invectives of certain authors, Avhich give a peculiar
stamp to this restless period of humanistic culture.
Poggio Bracciolini, for instance, one of the most
turbulent of these spirits, alludes, in one of his ob-
scene Facetiae,"^ to the infidelity of Venetian women.
But among the many violent attacks on Venetian cor-
ruption let us take a very singular one. The author,
under the name of Plinias Veronensis, writes to his
friend Ovidio Nasone on this subject, and describes the
visit paid to Venice by the noble Veronese family of
Nogarola (i438-i4/io). He attacks the loose life of
Antonio Nogarola and his sisters Bartolomea and Isotta,
— the same Isotta so lauded by contemporary men
of letters, but accused by an anonymous author of
Sapphic vices, — vices of which we, at all events, find
not the smallest trace in the female life of the lagoons.
Let us hear the violent indictment: " Existimabam
antea in hac regia urbe, que tamquam sentina quedam
omnium divitiarum et opum merito vocari posset, in-
genuos esse mulierum animos, qui vel nullo pretio ad
^ Sercambi, Novelle inedit., taken from the Codex Trivulzianus CXCM,
ed. Renier. Nov. 75, 90 (De malilia muUeris adultera). Torino, 1889.
2 Poggii, Opera Facetiae, p. 483. Basileae, i538.
MANNERS AND CUSTOMS Bg
stupram possent aut ad adulterium adduci, vel si ad-
ducerentur non nisi nobiles et prestantissimo quosque
deligerent iuvenes : in quo ad modum sane me fefellit
opinio. Nam earum magna pars adeo proclive in
Venerem se prone prosternunt, et unum quemque
scurram amplectantur seque submittant iuvenibus
humili de plebe creatis mirabile et inauditum fere
apparet, ' si tibi contigerit capitis matrona pudici.' ^
Antiquum et vetus est alienum concutere lectum et
sacri genium conterrere fulcri. Has rapuit sedes Papho
Cytarea relicta. Ex mullis satyris et nonnullis etiam
scriptoribus rerum preteritarum accepimus, cum Ro-
mana civitas longe pacis mala pateretur, numquam in
muliebri sexu hoc tam detextabile fuisse inventum, ut
mulier super mulierem palpitaret. Nunc Vedia iam
lamhit Cluviam, iam Flora Catullam ; preterea sanctum
nihil est ab inguine tutum. Et nempe si ego, cui hec
preclarissima civitas antea fuerat incognita, exaustis
ferme omnium pecuniis et in reipublice non parva
iactura talia longe a mestitia et reipublice dolore ab-
horrentia conspicio, facile ex hoc auguror coniectura :
quid fieret, si imprescntiarum ita floreret, quemad-
modum audio jam floruisse ? sic Venerem exorant
humiles natumque suum. Yicta iacet patrie pietas
omnisque pudor. Vidi, vidi multotiens gladiatorem
quemdam et filios etiam cuiusdam parasiti, vidi aliquos
scribas, lenonumque pueros, multosque alios, qui omnes
precario questum faciunt, aut etiam tales, quales ex
umili summa ad fastigia rerum extollit quotiens voluit
fortuna iocari, solere multarum mulierum in se con-
vertere oculos " 2 : exaggerations, no doubt, as is always
1 Juvenal, Sat. VI, V, Itg.
2 Segarizzi, Niccolb Barbo Patr. Yen. del Secolo XV e le accuse contra
IsoUa Nogaivla. (Extract from the Ciormle Slor. della Let. It. Torino,
1904.)
6o VENICE IN THE MIDDLE AGES
the case in these violent partisan attacks, but still not
all calumny ; for in Venetian society there was already
the trail of perverted passions and abuse of the senses.
True, the other cities of Italy were no better, and
Petrarch declares that ' ' il lenocinio liberamente passeg-
giava, e offesa gemava in ogni canto la pudicizia, cal-
pestata la verecondia, cacciato in bando il pudore."
Giovanni Boccaccio shocks the Jew Abraham by re-
counting the vices of Rome, and laments that Egyptian
effeminacy has invaded the peninsula, con disfacimento
of all Italy. The avarice of the priests, according to
Dante, kept the Avorld in poverty ; Sacchetti says that
nei chierici ogni vizio dicupidita regnava ; Santa Caterina
of Siena calls the clergy of her day ribaldi e haratlieri,
che furavano il sangue di Cristo. We must observe,
however, that until the Renaissance radically changed
the character of society, virtues and vices in Venice were
more sharply defmcd and contrasted. The violence of
the emotions and appetites Avould not admit those hypo-
critical palliations and opportunist concessions which
pleased a later and more refined age. Love and lust,
contempt for this world's goods and boundless greed,
dignity and abjectness, stood in sharp contrast to each
other throughout the middle ages, and it seemed as if
men rejoiced in violent passage from the purest heights
to the depths of blackness. Yet notwithstanding the
corruption which was undermining the ideals of life,
Venice still preserved for many years the vigour of her
public and private virtues, and was active in the develop-
ment of her colonies and her commerce, courageous in
war, prudent in her legislation, industrious in the accu-
mulation of wealth.
^' •«*,•; ;^,
CHAPTER XI
THE INDUSTRIAL ARTS
IN the early years of Venetian history we find the
most dehcate artistic workmanship appHed to the
adornment of the churches, the only buildings at
that time constructed with splendour and magnificence.
The refugees from the Roman municipia of the main-
land brought to their lagoon homes the traditions of
classical art, and on these Roman traditions were grad-
ually grafted elements native to Venice itself or im-
ported from the artistic Avork of the barbarians. For
if it is true that classical traditions transformed much
of this barbaric work, still it cannot be denied that cer-
tain characteristics of the Gothic, Lombard and Prankish
style assumed a permanent place in the art products
of the West. Gothic art Avas both rich and varied ;
and the objects found in Gothic tombs, jewels and
ornaments, of which some specimens may be seen in
the Museum of Cividale, are characterised by a sin-
gular caprice of form. Lombard work is less distin-
guished but more delicate, owing to its closer contact
with the conquered Italian races ; Theodolinda's treas-
ury, preserved at Monza, is a proof. Exquisitely grace-
ful and in certain respects masterly is the work of the
Carolingian period. ^ Roman art undoubtedly had a
profound effect upon the barbarians, but they adopted
the principles and the methods of that art to suit
1 Venturi, Storia deW arte, etc., Vol. II, pp. io6, i34, lyO. ^--jq r**^
n\
sf
62 VENICE IN THE MIDDLE AGES
themselves and applied them to their own native de-
signs, which were well known to the Venetians, thanks
to their frequent relations, both political and commercial,
with the conquerors of the mainland. But high above
both barbaric art, which was assimilating to itself so
much of Latin art, and classical Roman art, which was
in rapid decline and growing daily ruder, shone out
the art of Byzantium, whose home was chiefly in
Ravenna and in the islands of the Venetian lagoon.
Greek masters came to Ileraclea, Equilio, Torcello,
Malamocco, Rialto, and taught the Venetians the style
and the methods of the most refmed artistic workman-
ship. A document of the highest value for the history
of these artistic industries which were either native
to the lagoon or were imported and flourished there,
is the deed of gift executed by the Patriarch Fortu-
natus (808-826) in favour of his church of Grado.i
There we read of silver railings for the high altar, of
ciboria, gold and silver statues, slufTs woven with gold
thread, wrought in foliage and arabesques, with pearl
stars, sparkling with rubies and sown with diamonds ;
purple hangings embroidered with the story of the
Epiphany ; fine linen cloths with inwoven scenes from
Bible story ; lamps in the form of crowns ; silver can-
delabra in the form of a grille ; gilded vases ; great
golden censers. The same document also says that
for the restoration of the baptistry of Grado Fortu-
natus, who was a leader of the Francophil party,
summoned, possibly with a political intent, magislros
de Francia, and that to France he had sent one of his
^ Ughelli, halia Sacra, Vol. V, p. iioi. See also the will of Giusti-
oiano Partecipazio (829), in which mention is made of ornaments in gold,
bronze and pearls for the church of San Zaccaria. Cod. Dip. Padovano dal
sec. VI aW XI {Atli delta Depulazione Venela di Stoiia Pallia).
THE INDUSTRIAL ARTS 63
precious chalices to be altered and adorned. Here, then,
we find appearing in the lagoon, side by side with the
Greeks, the masters and the artistic style of other
nations. All the same in the genesis of Venetian art
the chief place belongs to the East, though we must
admit that Venice knew how to draw inspiration
from other quarters as well. The architects of the
primitive churches were Byzantine ; Byzantine the ar-
tificers who adorned the walls and vaults Avith mosaic ;
Byzantine in character the leading arts, such as that
of ivory carving, which flourished in the East and was
quickly imported into Venice. The episcopal throne
at Grado was adorned Avith carved ivories like the
sellae ciirules of the ancients ; this throne came from
Alexandria, and tradition says it Avas the gift of the
Emperor Heraclius to the church of Grado. ^ The
so-called throne of Maximianus, probably of the fifth
century, 2 is also Byzantine ; it is preserved in the
sacristy of the duomo at Ravenna. Tradition has it
that the Doge Pietro Orseolo II sent it as a present
to the Emperor Otho IIP in return for duo imperialia
ornamenla auro miro opere acta. All that is certain
is that John the Deacon, in December, looi, on the
orders of the Doge, took to Ravenna a throne made of
ivory plaques — cathedra elephantinis artificiose sculpta
tabulis — carved in relief; but it is not proved that this
is the throne of Maximianus.
1 Venturi, op. cit., Vol. I, p. 467. Prof. Laudedeo Testi, in his Osser-
va:. crit. suUa St. dell' Arte del Venturi {Arch. Stor. ltd., Disp. I of 190a)
has proved, by a passage from Giovanni Candido, printed ia iSai, that
the throne was still at Grado in that year. " Calhedram qua Alexandriae
Marcus Evangelista praesederet vidimus in Sacrario Gradensi laceram ebore
consertam." Candido, Commentari Aquileiensi, iSai, Lib, III, p. i3.
^ Venturi, op. cit., p. 408.
^ Ricci, Ravenna, p. 69. Bergamo, 1902.
64 VENICE IN THE MIDDLE AGES
The Greeks taught the Venetians the art of organ-
building, as we know from the case of Priest Giorgio,
a Venetian who in 826 made the organ for Aix-la-
Chapelle ; but, on the other hand, the twelve bells sent
by the Doge Orso Partecipazio, in 864, as a present to
the Emperor Basil appear to have been something new
in Constantinople, and the chroniclers assure us that it
was then that the Greeks first learned the use of bells. ^
Even the arts inherited from Rome Avere vitalised by the
master craftsmen of the East. That commonest of all
mosaics called terrazzo, which was used for the floors
of Venetian houses from the very first, was adapted
from Rome. It was made of chips of marble of various
colours, held together by a paste made of lime and
pounded bricks, well beaten down and then smoothed
by the action of the grindstone ; but in order to make
these mosaics more beautiful for the floors of churches,
Greek masters were sent for, even as early as the sixth
century. These masters set out the little cubes of
stone following the outlines and details of figures (opus
vermiculaluni) or geometrical designs {opus tesselatum).
The pavement of the church of Grado dates from the
sixth century and is an instance of the opus vermicu-
lalum ; the design is graceful and the names of the
donors are introduced ; the stones employed are white,
black, red, and yellow. The floor of Torcello belongs
to the seventh century ; it is executed in carefully
chosen marbles ; the design is in circles or wheels, and
so much was it admired that the Cronaca Altinate de-
clares that it gave its name della Roda to the village near
it. The floor of the abbey church of Sant' Ilario e Bene-
detto belongs to the ninth century ; its design is copied
1 Muratori, Ann., T. V, p. 67. Lucca, MDCCLXIII.
THE INDUSTRIAL ARTS 65
from the pavements of ancient Roman villas and early
Christian churches.^
Roman tradition and Byzantine teaching are also
found united in giving rise to that most beautiful of all
the Venetian artistic industries, glass-work. The art
must have existed in Venice from the earliest times, for
excavations have laid bare fragments of coloured glass
and marrine, while the important objects in glass pre-
served in the museums of Aquileia, Cividale, Udine, and
Portogruaro would lead us to suppose that a glass-factory
was not far off. When Constantine summoned the mas-
ters of the art to his capital, they went in such numbers
that one of the gates of the city was named the gate
della Vetreria, and the art died out almost entirely in
the West. After the fall of the Empire it continued
to flourish in Alexandria and in some cities of Syria,
Greece, and above all at Constantinople, Avhere they
worked in mosaics, coloured glass, and enamel.
Along with the pavement mosaicists {mosaicisti per
terrain),'^ who worked at Grado, Torcello, and Sant'
Ilario, there came also the workers in figure mosaics
for walls and vaults, — a decoration that was appreciated
though rarely employed in edifices of the pagan period,
though it received more honour in early Christian art.
Without mentioning Rome or Constantinople we may
recall the splendid examples of this art in the fifth cen-
tury mosaics of the archiepiscopal chapel, the baptistry
of the Orthodox, and the mausoleum of Galla Placidia
at Ravenna, the city that exercised the strongest artistic
influence on Venice. The material employed in Byzan-
tine mosaic is, for the most part, cubes of gold enamel or
' Cattaneo, L'architettura in Italia dal sec. VI al Mille c, pp. 69 and 236.
Venezia, MDCCCLXXXIX.
2 Pasini, Guide de la Basilique St. Marc, p. 6. Schio, i883.
VOL. II — 5
66 VENICE IN THE MIDDLE AGES
of coloured glass, various in shape and never smoothed.
As the art of mosaic is so closely allied to the glass-
worker's craft, we may well believe that the Byzantine
master^ mosaicists helped the Venetians to perfect them-
selves in the making of glass,- — an art not entirely lost
among the refugees of the lagoons,^ at least as far as
common objects were concerned.
The origin of the Venetian glass industry is, beyond
doubt, obscure. The first notice of it that we have is in
a document of 1090, where we find mention of a cer-
tain Pelrus Flabianus phiolarius ^ and in the by-laws of
the glass-blowers' guild (Jioleri), dated April 4, 1271.^
The industry, how^ever, was already flourishing and
placed under the direction of the Giustizieri by the
beginning of the thirteenth century.*^ It is highly
probable that the guild was even older than this date,
and that in its early life it was governed by oral tradi-
tions, as was the case with the guild of smiths in the
eleventh century."
The art of glass-making, in common with all the more
artistic industries of Venice, received a remarkable im-
pulse from the capture of Constantinople (120A). The
fame of the artists, both Byzantine and native, Avho
worked in Venice and were known by the common name
1 Magister musilei, — such is the name given to a certain Marco la-
driomeni, a Greek, in ii53. Gecchetti, Monografia della Velr. Ven. e
Muranese, p. 7. Venezia, 1874.
^ Turgan, Les grandcs usines Verreries de Murano. Paris, 1870.
8 Bussolin, Guida alle fabbr. Vetrarie dl Murano. Venezia, i843.
Laljarte, Hist, dcs arts industriels. Vol. Ill, p. 878. Paris, 1876. Ger-
spach, L'art de la verrerie, p. J18. Paris, 1892.
* Ducale di Vitale Faliero del 1090, quoted by Gecchetti, loc. cit.
* Preserved at the Arch, di Slato and illustrated by Monticolo, L'arte
del fioleri a Venezia {N novo Arch. Veneto, T. I, p. i37).
'' Liber Plegiorum, Reg. ed. Predelli, n. l49-
^ Monticolo, loc. cit., p. i38.
THE INDUSTRIAL ARTS 67
of mosaicistl di Venezia, was certainly widespread, for at
the beginning of the thirteenth century we find a certain
Florentine, Andrea Tafi by name, who came to the
lagoons to learn the business. This Tafi, partly by
bribes and partly by promises, carried off to Florence
the Greek Apollonio, master-workman at San Marco.
The Chronicler, Martino da Canal, in 1268, speaking
of the procession of the craft guilds, makes mention
of the glass-workers con scarlatli e freg'i cVoro e ricche
ghirlande di perle e guastade ed oricanni ed altreltali
vetrami gentill}
As early as 1278 the larger part of the glass-workers
were settled in Murano under the protection of San
Dona to. But there must have been a considerable
number of glass-blowers in Venice itself, for a decree
of the Consiglio Maggiore, dated JXovember 8, 1291,
with a view to freeing the city from all industries Avhich
were either a nuisance or unhealthy,^ ordered the re-
moval of the glass-furnaces at Castello to ]Murano,
though in the following year leave was granted to
make a certain kind of glass {veriselli) in Venice, but
only in small furnaces which must be five paces away
from any inhabited building.^
The by-laws of the bottle-blowers, dated 127 1, which
with additions come doAA-n to November 19, i3ii, and
are called the mariegola of the art after the middle of
the fifteenth century, were Avritten in the dialect, and
contain but few technical rules. The guild, which
paid customs to the Doge, was composed of OAvners,
master-Avorkmen and apprentices {discipuli).'^ The
^ Da Canal, Cron., cit., p. 626.
2 Tanners were obliged to live on the Giudecca.
* Arch, di Stato, M. C, Pilosus, foil. i5 B, 22 A.
* Monticolo, loc. cit., p. 157.
68 VENICE IN THE MIDDLE AGES
trade regulations prescribe the number of the furnaces
(fornace el forncllo qui Juiheal Ires bocas), necessary to
secure a pure and flawless glass ; the wood employed
for the furnaces must be either elm or willow (cum lignis
de honario el I'ujnis de sulicis) ; the shape and number
of bottles to be made ; each bottle is to have a blue
band round the top Avith the government mark (circulo
lacuro cum bulla comunis) ; the material to be employed
in making the glass, and so on.i The Republic favoured
and protected the growth of the glass-industry, and the
Murano workman who left the State Avas treated as a
traitor ; it AA-as also strictly forbidden to carry out of the
country either raAV material or tools employed in the
manufacture of glass. The glass-Avorkers of Murano
enjoyed the rank of cilladlni originari, and the sons of
a Venetian joatrician Avho had Avedded the daughter of a
glass-bead maker, did not forfeit their right to a scat in
the Great Council, but after going through the ordinary
proof before the Avogadori, Avcre inscribed in the Libro
d'oro just as though they had been the offspring of a
noble marriage.^
The circulo lacuro Avith Avhich bottles were marked
is the earliest germ of coloured glass, Avhich Avas sub-
sequently produced, from 1817 to i33o, by a certain
Giovanni fioler of Murano, melior in dicta arte, aliquo
alio. This coloured glass AA'as used for windoAvs ; and
in i3i8 the factories of Murano recei\'ed a commission
to supply the stained glass AvindoAvs for Assisi ; in i335
Master Marco, glass-painter, decorated the AvindoAvs of
a chapel in the Frari ; in i/ioo the Duke of Milan sum-
moned Tomasin Axandri, a Venetian, to paint the Avin-
dows in the Duomo ; in i4o/i another Venetian, named
^ Capilulare de Fiolariis, loc. cit., p. 817, n. 5, 7, 36, 38.
^ See Decree of December 22, 1876.
THE INDUSTRIAL ARTS 69
Niccolo, also went Avith his son to Milan to Avork in the
Duomo.^
The trade of making riiUi, those little roundels of
glass for windows, was of great antiquity ; and, if we
are to believe some Avriters, between i365 and 1869
capital letters in glass had been invented by a certain
Natale, a Venetian not to be confounded with Pietro de
rSatali, Bishop of Jesolo." We know for certain that
in the thirteenth century spectacles (vitrei ab oculis ad
legendum), an invention due to the Florentine Sal vino
degli Armati, dating from the year 1286, began to be
manufactured in Venice ; they were made of rock crys-
tal or yellow quartz and Avere imitated in glass, and
from this imitation of quartz in glass came the great
business of the bead-makers, per /at or conierie,^ started,
perhaps, about the beginning of the Quattrocento, for
criticism has destroyed the legend of Domenico Miotti
and Cristoforo Briani, Avho it was said, on the sug-
gestion of Marco Polo, founded the celebrated industry
of making beads, Avhich were employed in trading with
all savage races along the Asiatic and African coasts and
frequently had the value of coin. The perlaio, or bead-
maker, a ferrazza e a spiedo, took the long tubes of
glass, cut them into short fragments, ran a fine iron
wire (spiedo) through them, and Avorked them over the
fire till they came out rounded like pearls (mar^/AenVe).
We do not knoAv Avho Avas the inventor of those
famous mirrors of stainless glass AA^hich Avent to adorn
the halls of princes and from France to Persia
^ Gecchetti, Monogvajia, cit., pp. lo, i3.
- Cicogna, her., Vol. YI, p. gSG.
* The "word conterie signifies every kind of cylindrical bead made in
Venice. Margheriles mean the round beads which are manufactured from
hollow tubes of glass ; the word comes from the Greek fiapyapiTT]^ — pearl,
gem.
70 VENICE IN THE MIDDLE AGES
rendered famous the little island of Murano. Docu-
ments of the thirteenth century frequently contain the
AA^ord speghrius ; in 1817 there is record of a German
master-Avorkman at Murano qai vitrum a speculis labo-
rare sciehat. But the German A>'ent back to his OAAn
place, leaA'ing his partners in Murano AAitli more alum
than mirrors, and for a long time to come looking-
glasses yvevQ still made of steel. In the mariegola dei
Marzeri, belonging to the scATntcenth century, aa'C fmd
a notice of a certain Yincenzo Redor, avIio came from
Germany in 1/120, as i/iventor et fondator di specchi
cristallini ; but this statement lacks documentary sup-
port. Not that AA^e exclude the probable presence of
German AAorkmen at Murano, but German glass-AAorkers
and their AAork cannot liaA^e been held in much account
in Germany itself if it be true that the Emperor Frederic
III, A'isiting Venice in i452, and receiving the present
of a magnificent serAace of Murano glass, ordered his
buffoon to upset the table on AAdiich it stood, remarking
that had the service been of gold, it Avould not have
been so easily broken. On his return more solid, and
to his taste more agreeable, gifts Avere offered him.
The Museo Civico of Venice contains a fine speci-
men of mediaeval Murano glass-Avork in the precious
Avedding goblet of blue glass covered Avith coloured
enamel and gold, aaIiosc date is about 1^4^40. Within
a gold border enclosed by tAA'o bands of golden ara-
besques are tAA-^o portrait medallions, of a maid and
of a youth. On either side are groups, one shoAving
six Avomen galloping towards a fountain, the other
the fountain itself, Avith four naked Avomen bathing
in it, Avhile tAvo others stand on the brink. Lazari
thinks that this is the Avork of Angelo BeroA'iero of
^ Cecchetti, Monograjia, p. 11.
THE INDUSTRIAL ARTS 71
Murano, the most exquisite artist in a family of famous
artificers which begins with an Antonio /)/ito/arm5, work-
ing at Murano in the thirteenth century.^ Of Angelo
we have records in l^2^, and his contemporaries are
profuse in their praise both of Angelo and of his sons
as incomparable makers of goblets and vases of blue,
milky white, chalcedony, and turquoise glass, adorned
with gold reliefs, graffiti, enamelled figures, etc. After
the death of their father and brothers the business was
carried on at the sign of the " Angiolo " by Giovanni
and Maria Beroviero, with whom resided the secret of
enamelled glass. The secret of the method was stolen
by a servant of Maria, called Giorgio, most likely a
native of Spalato, nicknamed ballarin from a defect in
his legs which gave him a mincing gait ; the sobriquet
descended to his family. 2 Giorgio opened a furnace,
acquired fame and riches, and died leaving several sons
who carried on the art with great success. ^
Among the artistic industries of Venice least affected
by Byzantine influence was the potter's art, which
OAved more to Roman tradition. Excavations in the
estuary have brought to light Roman amphorae of terra
cotta, long and thin in form ; vases Avith elegant handles ;
lamps in the shape of triangular shields, or open, Avith
1 Lazari, Notilia, etc., p. 96. A beautiful enamelled glass plate in the
Museum at Trent is also attributed to Beroviero. The Museo IVazionale
at Florence has another blue glass goblet of Murano work. It is the
property of the Societa Colombaria fiorentina. It has a double border of
enamel round the lip and round the stem, -which is fluted and relieved in
gold. The bowl represents the triumph of Justice. On a car drawn by
two wild beasts sits a woman under a baldachino, with sword and scales.
She is surrounded by a train of women, two of whom have the emblems
of Charily and Strength. She is preceded by other Avomen representing
Arithmetic, Temperance, Abundance.
2 Cicogna, her., Vol. \I, p. 468.
8 Levi, C. A., L'arte del Vctro in Murano e i Berroviero. Venezia, iSgS.
72 VENICE IN THE MIDDLE AGES
the burner llirust out and llltle ears pierced so as to
allow tlicm to be hung up. Pottery never ceased to be
made in the lagoons, and about the eleventh century
the potters began to apply a red or yellow glaze to their
earthenware. 1 ihcy covered the unbaked pots with a
fine coating of Vicenza clay, and immersed them in
a bath of tartar and sand from the Lago di San Gio-
vanni, called terra ghella^ The shape of the pots, and
their decoration with leaves in graffito or in paint, on
the inside only, the outside being left in the rough,
clearly show Arab or Moorish influence. Various laws
of the fourteenth century prove that the guild of the
pollers (sculellariorum de pelra), whose statutes bear the
date i3oo, was already flourishing in Venice, and there
is record of a donna Francesca scudelera, who at the
time of the war of Ghioggia oflered to her country one
thousand ducats.^ After the middle of the fourteenth
century the scodellai took the name of bocaleri, jug-
makers, and formed a confraternity under the protec-
tion of San Michele.
When, about 1/1/42,'* Luca della Robbia discovered the
way to glaze the surface of works of plastic art, the
industry soon began to flourish in Venice. Between
i45o and 1470 the vault of one of the chapels of San
Giobbe was covered with terra cotta, most probably
glazed by Florentine workmen ; and about the same
date and probably by workmen from Faenza, the
^ Piccolpasso, Cipriano, 7 tre Ubri dell' arte del vasaio; ed. di Pesaro,
1879.
■-' Ibid., ibid.
8 Urbani de Gheltof, Sludi intorno alia ctramica Veneziana. Venezia,
1876.
* At Perelola as earl^ as iA-^i2 we find the background of the Christ
and part of the architecture painted and glazed by Luca; and in 1^43 the
lunette with the resurrection over the door of the new sacristy.
THE INDUSTRIAL ARTS 78
pavement of the sacristy of Sant' Elena, of which no
trace is now left, Avas laid in square tiles, each of Avhich
bore an eagle in blue on a white ground with the Avord
" lustiniani." ^
Porcelain, shoAA-n to the Venetians for the first time by
Marco Polo on his return from his voyages, AA'as not made
in Venice earlier than the fifteenth century. It became
the fashion after Sultan Abulfer Hamer, in 1/461, sent
the folloAving presents to the Doge Pasquale Malipicro :
" Benzoi rotoli 3o ; legno aloe rotoli 20; due paia
tappeti ; una ampolletta di balsamo ; teriaca bossoletti
1 5 ; zuccheri moccari pani l^i ; zuccheri canditi scattole
5; Zibetto, un cornetto; porcellane pczzi 20, cioe 7
piattine, 5 scudelle, 4 grande et una piccola, jiiattine 5
grande, 3 scudelle una biaua et 2 bianche."^ Porce-
lain, which used to be so rare among the Venetians as
to be considered a gift fit for princes, soon began to be
made in Venice, if we can trust a letter of 1/170, Avhich
speaks of a maestro Antonio archimista, aaIio had opened
a furnace at San Simcone, Avhere he -p^^oduced porcelane
trasparenti et vaghissime, die pareno venuti da barbaria
etforse megliori}
Contact Avith the Orient kept alive that keen sense of
colour Avhich Avas one of the peculiar gifts of the \ene-
tians. It Avas from the East that the Venetians brought
their stuffs and silks of vivid dyes. The account given
by the monk of San Gall is Avell knoAvn ; he says that
the courtiers of Charlemagne in 876 bought from Vene-
tians in Pavia robes adorned Avith peacock's feathers,
sashes of purple, cloths and silks of every hue.
1 Lazari, Nolizia, p. 77.
2 Sanudo, Vite dei Dorji (Rer. It. Scr^ipt., Vol. XXII, pp. I169-1170).
3 It is a letter of a certain Padre Lielmo da Bologna, published by
Urbani in the Bolleilino d'Arli, etc., An. I, 1877, p. 81. The source of
the document is not given.
74 VENICE IN THE MIDDLE AGES
Charlemagne himself, though of austere and simple
hahils, yet loved to wear a Venetian tunic, so say the
Prankish writers ; and a fragment of a law enacted by
Doge Otto Orseolo (1009), inserted in the Chronicle
of John the Deacon, tells us that the Doge and his
assessors held a public inquiry as to the markets where
Venetian traders sold the valuable pallii, webs of silk
manufactured in Venice. ^
We find no trace of the cultivation of silk at this
date among the Venetians, and the raw material must
have been brought from Spain, Sicily, the Abruzzi, and
Dalmatia.^ As early as the twelfth century the looms
of Venice produced the cloth-of-gold and of silver, and
the crimson damask, which during the middle ages used
to adorn the Avails of palaces and castles throughout
Europe. Nor had Venetian artificers to go far afield to
find specimens of the liandiAvork of the more indus-
trious foreign nations. Ravenna was a meeting-place
^ " Inquisicio facta est de pallie que portabant per loca Italie veni ego
Otto dux in publico placito cum maiores indices nostrae terrae, mediocres
ct niinores teslificaverunt Badovario Bragadino et Mauricius Maurreceni et
Dominicus Florcncius Flabianicus, quod in nullis pnrtibus Italiae debuis-
scnt pallia portare vel venundare, nisi a Papia et a Mercato Sancti Martini
{de Strada) et Olive (Olivolo)." Cron. del diac. Giovanni, p. 178.
2 Farlati, lUyricum sacrum. Vol. V, p. 226 (Episcopi arbenscs). Under
Madias sive Afaius et Arbcni, we find the following: "In nomine Domini
Dei, ct Salvatoris nostri Jcsu Ghristi, anno ab incarnatione eiusdcm 1018,
mensc Julio, indict, prima, in civitate Arben. Spondentes spondemus,
promittentes promitlimus nos quidcm Maius Episcopus diclae civilatis
Arbcn. simul cum Tribuno . . . Bellala Priore nostro, una pariler cum
Clero ct populo, habilante in civitate supradicta, cum successoribus, sen
ha^rediluis noslris, vobis D. Othoni seniori noslro Duci Venctorum et
Dalmaticorum, et successoribus vestris tributum dare omni anno, libras
de seta serica decern." In a letter of Alaj i4, 1280, written by Grcgorio
Dolce, a jurisconsult residing in Venice, we hear of a parcel de seta de locis
Torcelli sold to the merchant Alberto di Manfredi. Urbani do Gheltof,
Les Arts ind. a Venise, p. i3^. Yenise, i885. But we cannot be sure of
the authenticity of this last document.
St\kd\rd or ponnant of Sa. Fosca (i366).
(Miisco tli Torccllo)
THE INDUSTRIAL ARTS 75
for "workmen of all countries. For example, as a speci-
men of Carolingian loom-work, we still have those
marvellous three stripes of embroidery, belonging to
the first half of the ninth century and known as the
Velo di Classe, because they came from the convent of
Classe, and also the delicate Avork of the casula of
Giovanni Angeloptcs Avliich dates from the tenth cen-
tury. ^ The mariegola of the Scuola di San Teodoro
alludes to a Venetian embroidery of 1009, and to an
altar cloth of crimson taffeta with three embroidered
figures; of the same nature, too, must have been that
piece of embroidery in quo est virginis Marie mortem
designatam, which Enrico Morosini left to the monks
of San Salvatore in 1206 ; ^ also the pani Theotonici
made for the church of San Francesco in Treviso by
Marco, a painter living in Venice, — stuffs that find a
place in the famous inventory of the notary Forzetta.
This embroidered or Avoven Avork, of Avhich we have a
magnificent example in the standard or banner of
Santa Fosca at Torcello (i366), AA^as knoAA^n as pictus,
either, as Muratori observes, because it may be said to
have been painted AA'ith the needle, pic t as acu, or in
reference to the cartoon of the designer Avhich it closely
followed. The high pitch of excellence achieved by
the art of Aveaving or embroidering is illustrated by the
handsome piece of embroidered silk executed in the
fifteenth century and until lately preserved in the church
of Sant' Alvise, Avhence it passed to foreign hands ; it is
thus described by Boschini : ' ' Apparamento fatto tutto
di Ponto o ricamo di seta, oro e perle, et ivi si vede tutta
' CipoUa, II Vclo di Classe (in the Gallcrie i\az. Ital., Vol. Ill, pp. igS-
2^9. Roma, 1897). Venturi, La Casula di Giovanni Angeloptes, same
work and vol., p. 258.
^ Urban! di Gheltof, Degli arazzi in Venezia, p. 63. Venezia, 1878.
76 VEMGE IN THE MIDDLE AGES
la Passione di Grislo : opera veramente singolare et rara
Pitlura, fatta con I'ago dalle monaclie di quel monas-
terio." 1 There is also the tradition of an ancient inven-
tory of precious objects and rich stuffs, given in i/i43,
by the Bishop Tomaso Tomasini Paruta to the nuns
of the Gorpus Domini. 2 It is said to have included
pluviali (copes) cremesini con li fregi recamadi d'oro e
de seda, a Santi bcllissimi ; pianede (chasubles) de pano
de seda, of various colours, con la croxe d'oro recamada
a Santi; gloves and socks of tadela and slippers of
clolh-of-gold, e rocheli de tela zenlil. Among other
precious objects we find " Pani do d'altar, uno die ha
uno Grucefixo, in zenochion messer lo A escovo con
I'habito di messer San Domenego con fiori e topoleti
su per el pano el si e de tafeta de cremesin."
The industry of silk weaving, which received a re-
markable impulse in i3i6 from the craftsmen of Lucca
expelled by Castruccio, who spread over Italy, France,
Germany and England,^ always found a warm support
from the Venetian government. With that intent the
Maggior Consiglio and the Senate carried decrees against
the importation of silks and velvets (February, i365),
against the adulteration of raw material (July 20, iSga),
against the importation of any silk stuffs not made in
Venice (July i3, 1/410). They regulated the number
of looms, limited to five for each weaver (January i5,
I A 1 8). Permission to exercise the art was personal and
not transferable (August 25, 1^22). The dyes were to
1 Boschini, Le ricche mineve dclla Pitt. Ven., p. 456. Yenezia,
MDCLXIV.
2 Agoslini, Not. istor. crit. intorno la vita e le opere degli Scriltori Vene-
ziani. Vol. I, pp. 476 et scq. Vciiczia, INIDCCLII.
* In 1 309 the Lucchesi creeled a confraternity in Venice under the
protection of the Vollo Santo. The oratory of the Volto Santo stood near
the church of the Servites ; some remains of it are still to be seen.
THE INDUSTRIAL ARTS 77
be cremese, lana grana and verzin (July 5, i^og); pro-
vision was taken for the quality of the work in silk,
cloth-of-gold and cloth-of-silver (August i3, 1462).^
The art of tanning hides and making leather was no
less important ; both were sold in the Levant and in
Spain. Venice, first among Italian cities, produced,
towards the close of the fourteenth century, stamped
leather in imitation of the Oriental fabric.
The treasury of San Marco still preserves some re-
mains of the vast and splendid booty Avhich fell to the
share of Venice on the sack of Constantinople.^ The
goblets of gold enamel, the reliquaries dating from
the tenth century, the bindings of various codices blaze
like jewels and recall an age of sumptuous magnifi-
cence. Nor was Constantinople the sole source from
which artistic Venice enriched itself. Dalmatia, where
Roman art had showered its treasures, more especially
in the temple of Diocletian at Spalato, yielded many
and beautiful objects to the lagoons. Bronzes, marbles,
jewels, hangings, arms, all went to adorn the triumph of
Venetian soldiery ; while admiration for these treasures
served as a stimulus to native craftsmen and infused fresh
vigour into the arts of the glass-worker, the mosaicist,
the goldsmith, the metal workers, the weavers of wool
and silk.
But even before the conquest of Constantinople had
opened new fields for artistic industry and introduced
new modes of life, certain \enetian arts were already well
established. Venetian goldsmiths' and jewellers' work
had become so famous that in an inventory of the chapel
of Saint-Denis in France the magnificent cross made
for the Abbot Sugger, who died in 1162, is described
^ Bini, I Lucchesi a Venezia. Lucca, i858.
* Riant, Exuviae sacrae conslantinopoUtanae, Ginevra, 1877.
78 VENICE IN THE MIDDLE AGES
as having " trente-hult grands sapliirs assis sur grands
fermcillctz d'ora jour a quatrc demi-compas de facoii de
venise. '
The trade in gems and gold ornaments, which
Venetians brought from the East and sold in Europe,
■was active. Jewelry of the finest and most delicate
Avorkmanship, omnes orienlallum divitias,^ was brought
by Venetians chiefly to the fairs at Pavia and the cities
of Western France, such as Limoges, where, according
to a tradition that lacks all foundation, the Doge Pietro
Orseolo, Avhen in exile (998), is said to have introduced
Venetian artificers to leach the craft of glass enamel-
ling. It is, however, by no means improbable that
certain specimens of Byzantine enamel may have been
brought by Venetians to Limoges, and have helped to
develop the industry for which that city became famous.^
Enamel was employed for the decoration of church
plate, and in the miniatures on metal which adorned
altars and reliquaries. The most magnificent specimen
of this Avork during the middle ages is the Pala d'oro
of San Marco. It was ordered in 97G at Constantinople
by the Doge Pietro Orseolo I, and was enlarged and
enriched with gems and modified in form, first by a
Greek artificer in iio5 and then by Venetians between
1209 and 1 345. It is composed of sacred figures in
Byzantine enamel run into gold plates. Its width is
three metres forty-eight centimetres, its height one
metre forty centimetres. Before the fall of the re-
public the Pala had i3oo great pearls, 4oo garnets,
1 Pasini, Sul froniale dclV altar maggiore in San Marco di V'enezia.
Venezia, 1881.
2 Monaclii Sangallensis, De gestis KaroU imp., L. II, § 17 (Mon. Germ.
Hist., Vol. II, p. 760).
* De Verneilli, L'arch. hyzantine en France, p. iSa. Paris, i85i.
'S.
THE INDUSTRIAL ARTS 79
90 amethysts, 3oo sapphires, 3oo emeralds, i5 rubies,
75 balas rubies, 4 topazes, 2 cameos.^
The Pala d'oro in the parish church of Carole is also
a striking example of Byzantine craftsmanship. It is
composed of six squares of silver-gilt repousse Avork ;
two belons: to the tentli and four to the twelfth cen-
tury. Other specimens are the thirteen plaques of
the same material and of like date -which belonged to
the Pala of the duomo at Torcello and are now in the
museum of that island, and the Madonna and Child,
once in the cathedral of Torcello and now in the South
Kensington Museum. Under such masters and with
such models native industry made striking advances,
till, about the close of the twelfth century, it "was able
to produce such a Avork as the edicola, or gilded bronze
Pax,'^ engraved with the burin in borders and figures
in enamel, now preserved in the Museo Civico ; and,
in 1290, the beautiful Pala of silver-gilt belonging to
San Salvatore, composed of five horizontal compart-
ments adorned Avith figures of saints and borders, the
earliest work of importance produced by Venetian gold-
smiths.
Other important branches of the same art were
filigree work and those fine golden chains, first of
all called entrecosei,^ but now knoAvn as manini, or
1 Veludo, La pala d'oro, in Paslni's II tesoro di San Marco. Venezia,
Ongania, 1887.
2 The Pax departs from the Byzantine style and betrays the notes of
Italian art in its earliest stages. Lazari holds it to be a specimen of Vene-
tian work, and assigns it to the close of the twelfth or the beginning of the
thirteenth century on the ground of its resemblance to the earliest Venetian
mosaics and to the primitive work of Venetian painters. But the influence
of Byzantine art has not entirely disappeared. Lazari, Nolizia, pp. io4,
180.'
3 So called from their lavoro intrecciato (Mulinelli, Lessico Veneto). Gal-
licciolli is in error in stating that they were made of spirals, not of rings.
8o VENICE IN THE MIDDLE AGES
Venetian chain, a cliarming ornament made of tiny
rings Avliicii a ridiculous fashion confmcd to the women
of the people. Ancient inventories make mention of
necklaces cum crysoliio or cum topatio or cum smaragdo
pulcherrimo or cum lapide vetuslo el miro opere sculpture
immissum serpenlem. In a Avill of iiaS Pietro Enzio
leaves to his daughter unum parum de enlrecoseis aureis,
quas ei date fiant in die despoiisacionis sue el cupam
meam argenteam.^ Another will of 1190 speaks of
valuahlc plate, including duas cupas de argenfo unam
sculplam cum apostolis, aliam puram de argenfo.- Other
documents of the eleventh to the fourteenth century
refer to gold, gems, rings, to cupe argentee facte ad
nielo (1090), to ancUi doro (ii3o), to coppe, nappi
e cucchiai d argenfo (1177),^ to uno anulas aureus ad
arma de cha Dandulo ad smaldos} Venetian goldsmiths
seem to have been especially famous for their rings. ^
It is certain that after learning their art from Byzantine
masters they received important commissions from all
quarters; for example, Marino Nadal in I225 was
charged by the Emperor Frederic II to make him a
golden crown set with pearls and gems {zoia\^ The
will of Pietro Vioni, December 10, 1264, speaks of a
tauleri doppio (a folding board) for playing chess or
marelle, which was wrought in crystal, jasper, silver,
and other precious stones and pearls ; and the like
^ Monumenta Ecclesiae Venotae Sancti Moysis, etc., p. 20. Veneliis,
1758.
2 Codice del Piovego, p. i58.
3 Some of these documents have heen arranged in the series Mani-
morte at the Archlvio di Stale, and are cited by Gecchelti in the Arcliivio
Venelo, T. XXXVI, p. iG3.
* See Appendix, Doc. C, Inventarii, n. VII.
5 Melani, Svaghi arlistici femminili, p. i88. Milano, Iloepli.
6 Arch, di State, Lib. Plegiorum, Reg. Predelli, n. 333.
THE INDUSTRIAL ARTS 8i
were also used to adorn saddles. Yioni further pos-
sessed goblets of crystal con argiento e cho pietre e cho
perle} We find the opus Venelicum frequently appear-
ing in the inventories of churches and of shrines. In
1296 Charles II of Naples enriched the treasury of San
Niccolo of Bari Avith various precious objects in opus
Venefiarum ;^ and in i3oo the Venetian ambassadors
present the same sovereign "with a handsome set of
silver plate. The inventory of the Holy See, com-
piled in 1295^ under Boniface YIII, gives us urceum
de argento de opere Veneiico ad fdum cum diversis
imaginibus sub cristallis ; the great cross of silver re-
pousse in the cathedral of Padua, dating from the
thirteenth century, is also the work of artificers under
Byzantine influence. In the Trecento we read of res et
iocalia tarn de auro quarn de argento, of cutelli a tabula
a manicis lefanti cum varetis de argento, of cuppe
dargento cum pedibus inauratis cum smaldis coopertis
ad opera francisca, of silver drinking cups ad opera
turchesca, of piruli d'ambra da olire, and even of
curadentes de argento.'^ In i334 a certain Master
1 The document was published by Cecchelti in the Archivio Veneto,
T. XXXVI, p. i63.
2 The document in the archive of San Niccolo di Bari is dated from
Naples [apud Casirum novum) April i5, 1296, and frequently mentions opus
Venetiarum {Perg. Angioine, Vol. I, n. 60) : " Karolus secundus, etc. Notum-
facimus universis presentibus pariter et futuris, quod cum ad ampliandam
et augmentandam ecclesiam beati Nicolai de Baro etc., subscript as res
tradendas specialiter duximus anno etc. Videlicet . . . milrias tres
quarum una est lapidibus et pernio ad opus Venetiarum, alia est de
samilo violeto cum pernis et alia tola alba circumdata pernis indicis.
Item . . . vas quodam argenteum cum cohopertorio et pede et cum
lapidibus, pernis et smallis de opere Venetiarum pro reliquiis con-
servandis. Item . . . duo magna candelabra de cristallo munita argento
ad opus Venetiarum."
^ Invent, de omnibus rebus inv. in thes. Sedis Apostol.
* See Appendix, Doc. C, Inventart, nn. I-Vlll.
TOL. II 6
82 VENICE IN THE MIDDLE AGES
Mondino of Cremona, goldsmith in Venice, sold to
the King of Cyprus for eight hundred ducats a clock of
such delicate workmanship that it had cost him a large
part of his lifetime to make it.^ The art of engrav-
ing gems must also have been known, for the inventory
of the notary Forzctta (i335) records certain teste in
precious stones (cameos) along with others in bronze,
and among the medals is mentioned a j)Oi'trait of
the patrician Morosini.
Byzantine influence dominated Venetian goldsmiths'
work for many years ; it is obvious in the silver bind-
ing for the Epistolario in the duomo of Treviso (early
fourteenth century) and in the silver repousse reliquaries
of the same epoch, which contain the heads of Saints
Abdon and Sennen, the arm-bones of Saints Sergius
and Bacchus, the feet of Saint George and of Saint
Abdon in the cathedral at Chioggia. But Byzantine
tradition itself was slowly beginning to feel the influ-
ences of the North ; the two tendencies blended to-
gether are to be seen towards the close of the twelfth
and all down the thirteenth century in certain Vene-
tian work, as for example in the Capitular Cross of the
thirteenth century in the church of San Raflaele ; in
the ostensories of silver-gilt repousse work of the
fourteenth century ; in Sant' Eufemia on the Giudecca,
San Luca, and Santo Stefano ; in the great cross, the
work of Marco Benato (iSg^), above the architrave
of the presbytery in San Marco ; in the reliquary
(1871) containing a fragment of the Flagellation
column in the treasury of San Marco ; in the reli-
quary in Santo Stefano (1896) ; in another at Santi
Ermagora and Fortunato, containing the hand of the
Baptist. By the beginning of the fifteenth century
^ Lazari, Noiizia. p. 180.
THE INDUSTRIAL ARTS 83
Venetian goldsmiths^ had groAvn more ready to admit
the style of other schools, — the French, for example, —
as is evident in the reliquary of San Tommaso, but more
especially the German ; both being introduced by the
foreign artificers who found a ready welcome in the
lagoons. The German goldsmiths left many notable
works of art in Venice, such as the reliquary executed
in 1/172 for the nuns of Santa Marta by Joliann Leon
of Cologne, recently sold to the Rothschilds of Paris ;
another executed in 1/492 for the church of San Salva-
dore by Conrad Herpel. As a matter of fact the Gothic
style was better adapted for church ornaments, and
even the celebrated family of Da Sesto ^ who Avere such
remarkable innovators, did not abandon that form. The
founder of the house was Giacomo Da Sesto, buried at
Santo Stefano in ll^o^ ; he had a son, Bernardo, father
of Lorenzo and Marco, grandfather to Bernardo, son of
Marco. This Bernardo Avas the ablest of his family ;
witness the splendid work at Vcnzone and Gemona.^
The famous workshop of the Da Sesto continued active
for many years, and it may be that it produced the ad-
mirable banner stand of silver gilt in Santa Maria delta
Salute, and the canopy of silver gilt for the altar of San
Marco, the gift of Pope Gregory XII (Angelo Gorrer) to
the Bishop of Castello in i4o8.*
^ The statutes of the goklsmilhs' guild, which bear the date 1263,
wore adopted by the Comune of Brescia in 1284 (^ alentini, Gli Statuti di
Brescia, p. 5^. Venezia, 1898). The Venetian goldsmiths were united in
a confraternity under the protection of Sant' Antonio abate ; their altar
and tomb were in San Giacomo di Rialto. A decree of the Maggior Con-
siglio (March 28, i33i. Liber Spiritus) compelled them to concentrate near
the Rialto. They were forbidden to open shops in other parts of the
city. One of the streets at Rialto bears the name of Ruga dccjli orefici.
2 Molinier, Venise, ses arts dccoratifs, etc., p. Ii5. Paris, 1889.
2 Urbani de Ghcllof, Les arts ind., p. 22.
* Lazari, Notizia, p. 181.
84 VENICE IN THE MIDDLE AGES
At the close of the middle ages the Venetian gold-
workers were absolutely devoted to llie German model.
The reliquary of the Cross, preserved in the church of
San Giovanni Evangehsta, is a notable specimen of
early fifteenth century Avork ; so arc the two silver
candelabra, with ogival arches, foliation, and figures, as
well as the reliquary containing the arm of Saint
George in the treasury of San Marco ; ^ the chalice of
San Samuelc, and the pectoral of silver gilt and enamel
at San Pantaleone, which church also possesses a silver
ostensory, partly cast and partly repousse, finely
chiselled, in the form of a hexagonal ogival lantern ;
another ostensory at San Luca, with its cup of rock
crystal. 2 From among the crowd of anonymous artists
we recover the names of Vittore Assandri, Ognibene,
Leone Sicuro, a certain Livio believed to be a Floren-
tine, Livio d'Astore, Giacomo Filippo da Padova, author
of a silver gilt cross studded with gems in the treasury
of San Marco, and Master Antonello, who in 1^76
made a cross of silver gilt and crystal for the Albanian
Confraternity.
The art of the goldsmith for many years went hand
in hand with the art of the workers, the fusers and
engravers, of other metals. Many members of the
craft handled alternately the chisel and the gouge of
the goldsmith, the die and the punch of the mintcr,
the plane and the file of the founder. To say nothing
of the sect, pitchers of chiselled bronze, which found
their way to the North, we have specimens of still more
beautiful work in the two vases, belonging to the
fourteenth century, of blue enamelled bronze with shell
^ Molinier, op. cit., p. 216.
2 "Atlidel Cong. Eucharisticodi Venezia"(i897), Catalogo della Mostra,
pp. XXI, XXII, LVIII. Venczia, 1898.
THE INDUSTRIAL ARTS 85
decoration in white, green and blue, noAV in the Museo
Civico of Venice.^ We cannot ignore, though it has
escaped general notice, the influence of Saracenic art on
Venetian workers in metal. The delicate style of the
vases and goblets chiselled by Saracenic workmen who
received such support in Italy from Frederic II, found a
natural home in a city of Oriental character like Venice,
which soon became an active centre of this branch of
the industry. The vases, 2 goblets, dishes, beakers,
candelabra, censers Avhich issued from Venetian work-
shops, where doubtless many Eastern hands were still
employed, are of the most graceful form, with exqui-
site arabesques and intarsia of delicate contour, engrav-
ing and colour. Later on, in the sixteenth century,
we come across the name of an Eastern master frequently
engraved on saucers for ices and on the vases of Vene-
tian origin, noAV preserved in the South Kensington
Museum ; he was called Mahmud-El-Kurdi, and proba-
bly came from the country of the Kurds, on the banks
of the Euphrates ; he brought Avith him the traditions
of metal work in Mesopotamia.^ But even before his
day, during the middle ages, other Arab artificers must
have served as masters to the Venetians, from Avhose
shops came metal Avork in bronze and gold of exquisite
taste Avhich blended Latin genius Avith Oriental fancy.
Bronze-founding also made rapid advance toAvards
perfection. The bronze gate, with intarsia of Aarious
metals and figures of saints in grafitto, standing in the
1 Museo Civico, Elenco degli oggetti esposti, p. i88, n. 910, 911.
2 "Les inventaires des XIV et XV siecles en mentionnent quelques-
uns. Ces vases sent de cuivre. On les fabriquait principalement a Venise,
et ils passaient en Occident pour des ouvrages de Damas, c'est a dire
d'Orient." Viollet-le-Dnc, Diet, du mobilier, 2' partie, p. iiJ8.
* South Kensington Museum, The Art of the Saracens in Egypt, Stanley
Lane-Poole.
86 VENICE IN THE MIDDLE AGES
vestibule of San Marco, is the work of Venetian artifi-
cers of the twclfUi century. It was ordered, as its
inscription records, by Leone da Molino, Procurator
of Saint Mark's in 1112 : Leo da Molino hoc opus fieri
jussit. The two bronze candekdjra in San Giorgio in
Italo-Byzantine style, belong to the thirteenth century.
The name of the master goldsmith and founder Bcr-
tuccio of the fourteenth century appears upon another
door in the facade of San Marco : MCCC. Magisler
Berlucius Aurifex me fecit. Bells Avere adorned with
figures and inscriptions ; for example, those of San
Pietro di Castello (iSiq), and of San Zaccaria (i333),
cast by Jacopo and Nicola da Venczia ; the bells of
Santa Marta, removed to the campanile of Santa Fosca,
Avhich had figures of the Madonna and of Santa Fosca,
the monogram of the founder, and this inscription :
+ MCCCXLVn +IN TEMPORE. DNE. FERINE. DUODO. ABADISE.
S. MARTE.^
Besides Bertuccio, Jacopo, Nicola, and Master Leo-
nardo d'Avanzo, who in i332 cast the bronze gates of
the Baptistry at Florence from designs by Andrea
Pisano, we find mentioned, among founders of the
fourteenth century working in Venice, Bonacosso, Ma-
rino, and Giovanni teutonico. If Venetian master-
founders Avere of such repute in the Trecento as to be
called to Tuscany for so important a Avork as the cast-
ing of the Baptistry door, aac need not reject Ruskin's
conjecture that the lion on the column of the Piazzetta
is the Avork of Venetian founders of the thirteenth
century.^ Others, hoAvevcr, hold that the lion, Avhich
was once gilded, came from Greece ; Avhilc others, again,
^ Cicogna, Iscr., Vol. V, p. i5o.
- Boni, // leone di San Marco {Arch. Slor. dell' Arte, anno V, p. 3o6.
Roma, 189a).
o
o
CO
a
'J
u
u
H
C3
C
o
U
C
Q
THE INDUSTRIAL ARTS 87
maintain it is Etruscan, or Assyrian, or Indian, or
even Persian work of the epoch of the Sassanides.^
The art hoth of the engraver and of tlie die-sinker were
certainly far advanced, as is proved by the coinage, for
in 1284 the State minted the golden ducat, quite the
most beautiful coin of its day. In i3o8 Giovanni
Albizo, intagliatore delle stampe (die-sinker) in the mint,
enjoyed a great reputation ; while in the reign of Antonio
Venier (i 882-1 4oo) we find the Da Sesto family work-
ing there. The art of the medallist Avas revived by the
great painter Vittor Pisano, called II Pisanello, born
about i38o at San Yigilio on the Lake of Garda. The
influence of Bartolomeo Bellano, of Como, sculptor
and founder, who lived at Padua in Donatello's time,
made itself felt in Venice as well, and in the middle of
the fourteenth century we find such excellent artificers
in medals as Paolo da Ragusa (i45i c), Giovanni
Boldu (1457), Guidizzani (i46o c.).^
Blacksmiths' work rivalled the art of the goldsmith and
the engraver ; most delicate specimens, lamps, casquets,
and so on, were produced in hammered iron and
damaskeen in gold and silver. In the earliest middle
ages the smiths were under the protection of the Doge,
and their confraternity signalised itself in the victory
over the Patriarch of Aquilera in 11 62, Avhich gave rise
to the festival of Maundy Thursday. In the thirteenth
century the craft was divided into the smiths (fabbri),
strictly so called, and the sword-makers (spader i), to
whom were united the corieleri, vagineri, frezeri, and
corazzeri. The workshops of these craftsmen gave their
name to many streets in the city.^ Armourers and
1 Venturi, St. delV Arte, Vol. II, pp. 543, 5/14-
2 Armand, Les medailleurs italicns des XV cl XVI sieclcs. Paris, i883.
8 The spadai (sword-makcrs) joined the knife-makers and sheath-makers
88 VENICE IN THE MIDDLE AGES
collections of arms were in high esteem in a city of
such warlike character as Venice. Cross-hows of fine
workmanship Avcre manufactured in steinhock horn ^
and witli a magazine that allowed them to fire eight
consecutive shots. Such was the how made in i4ii
hy a certain Giacomo Gaiardo and sold to the Portu-
guese amhassador for seventy-six ducats of gold ; by a
single pull of the trigger it launched no less than fifteen
darts. '^ Morions and coats of mail for the common
soldiers, and for the oflicers suits of armour of the
usual kind, helmet, jerkin, arm-piece, gauntlets, thigh-
piece, knee-piece, and shin-guard, such as we see in the
statue of Giacomo Cavalli (i384) on his tomb in SS.
Giovanni e Paolo, were all made in Venice. Helmets
and cuirasses for tournaments, of various designs, were
imported from abroad. As early as 1817 we have
notice of an armoury in the Ducal Palace,^ where, among
other weapons, were preserved the cuirass, morion,
and steel buckler, beautifully wrought, the sword with
its silver-gilt hilt and velvet scabbard embroidered Avith
silver, said to have belonged to the Doge Sebastiano
Ziani (i 173-1179).
Wood carving, of which we have very early notice,
showed grace even in the commoner objects. The
Avoodcn brackets carried on columns and pilasters, to
be found in most buildings, were carefully finished and
and erected a confraternity in 1297. Their shops were near San Giuhano,
in the street still called the Spadaria. At the entrance to the Spadaria is
carved a shield of the fourteenth century with a lion passant ahove three
swords. The arrowsmiths {frezeri) were congregated in a quarter of San
Marco still called the Frezzaria. The corslel-makcrs gave their names to
a street at Sant' Antonino. The most ancient guild of smiths gave their
name only so late as the sixteenth century to a street near San Moise.
1 Monticolo, Capilolari, p. 171 {CapUolaredeifabbricantidibalestre, §1).
2 Lazari, IS'olhia, p. 244-
* Arch, di Slato, M. C, Clericus-Civicus, fol. 96 V°.
THE INDUSTRIAL ARTS 89
displayed elegant lines. A specimen is to be seen in
the loggia of the Ducal Palace, wrongly called the
loggia of Ziani. The panels of the doors of palaces
were carved and ornamented in the purest taste ; for
example, the door of the Palazzo Soranzo, now Van
Axel, and the fragments of the door of the Palazzo
Bernardo, preserved in the Museo Civico. Even finer
work was made in the monasteries, whore wood
carving and intarsia, known as alia certosina, and
introduced from the East, were carried to a high perfec-
tion. Elaborate frames of carved and gilded woodwork
surrounded the early paintings, and the wood-carver
supplemented the work of the artist not only by foliated
ornament but by adding statues and bas-reliefs, either
gilded or coloured, as in the panel in San Donato in
Murano. The frame round the Ancona by Lorenzo
Veneziano at the Accademia, lately restored, was carved
by a sculptor who placed his name, Caninus sculptore
(1337), beside that of the painter. Contemporary with
Zanino was Catarino, son of Master Andrea, who carved
the altar frontal with thirteen groups in high relief,
once in the church of the Corpus Domini and now in
the Museo Civico.^
Among all the carvers of the fourteenth century the
family of Moranzone was the most distinguished.^ Some-
times the carver and the painter were one and the same
person. It is supposed that Giovanni d'AUemagna
made the pinnacles, open work, arabesques, and ribbon
patterns which surround the figures painted by him in
company with Antonio Yivarini. Very fine examples
of this fantastic woodwork are the Ancone of San
^ Elenco del Museo, p. 198, n. 99.
'•* Paolctti, L'Arch. e la Scult. del Rinascimento in Venezia, Part I,
p. 80. Venezia, 1898.
90 VENICE IN THE MIDDLE AGES
Zaccaria, and the one which used lo be in the oratory of
the Volto Santo dei Lucchcsi, a drawing of which
Grcvembroch has preserved for us.^ Other artists fol-
lowed, and at length we come to the modern era, though
the new ideas had not as yet taken so firm a hold as
to cause a complete breach with the style of the middle
ages. But a change came over the style of the wood-
carver, and made itself felt most distinctly in the work
on those coffers which were intended to hold wedding
trousseaus. A new, though imperfectly defined idea of
taste led the artist to add to the ornamentation in the
mediaeval style still fuller carvings of leaves, satyrs,
masques, fantastic monsters, and little pictures painted
by the best masters. Belonging to the close of the
middle ages are certain ceilings wrought with a mag-
nificence never equalled. Sofitado meravijoso, so con-
temporary documents describe the ceiling in the Scuola
di San Marco, finished in i463. The ceiling of the
Scuola della CaritaAvas executed between i46i and i/i64
by Marco Cozzi of Vicenza ; the design has a border and
groups of leaves, and in each panel is a cherub with
eight wings. These cherubim of eight wings gave rise
to a quaint tale still repeated. It is said that a certain
Cherubino Aleotti, called also Ottali, proposed to the
brethren of the Scuola della Carita, that he decorate the
Hall of Assembly at his own cost, provided he might
carve his name in some corner. The brethren refused to
allow him this distinction ; but Cherubino was deter-
mined to hand dow n to posterity his seraphic Christian
name and the eight wings of his surname, and so caused
1 Grevembroch (Mon. Ven., P. I, p. lio) has written under his draw-
ing: " Maestoso allare di legno da famiglie Lucchesi accolte con Privilegio
di Originaria Veneta Cittadiiianza, cretlo nel loro Oratorio del Volto Sacro
ai Scrvi, e consacrato I'anno 1876. "
Ceii,i>g in the Sala dell' Alhergo dclla Scuola
della Carita. (XV century)
THE INDUSTRIAL ARTS 91
this rebus to be adopted as the design for the roof, which
led to this fantastic explanation. The ceiling of the
neighbouring Sala dell' Albergo is probably earlier.
The carving which surrounds the four Evangelists be-
trays the inlluence of the new style, but the figures of the
Evangelists themselves have all the qualities of the older
art. Much of the earlier Venetian furniture, which the
change in fashion doomed to perish in the fire or in the
hucksters' shops, was certainly wrought in carving and
intarsia by the Moranzone, the Canozii, the Scalamanzo,
by Francesco and Marco Cozzi of \icenza, and by Gio-
vanni, son of \ icenzo. Lorenzo Genesino of Lendinara,
nicknamed Canozio, Avas the founder of a whole family
of famous carvers and sculptors, to whom we owe the
beautiful choir of the Santo at Padua, destroyed by
fire in 1779. In Venice we have the choir of San
Zaccaria (i46o-i464), carved by the brothers Francesco
and Marco Cozzi. Marco, Avorking alone, made the
choir of the Frari (1^68), and, in partnership with his
son Giovanni, the choir of the duomo of Spilimbergo.
He died in i485. Another Marco from Vicenza, prob-
ably also belonging to the Cozzi family, completed the
choir of Santo Stefano, begun by Leonardo Scala-
manzo in i48i.^
As in the art of the goldsmith, so in the wood-carver's
art, the French, and more especially the German, crafts-
men exercised a strong influence, — an influence which
acted as a check on what might well have been extrava-
gant in Venetian art which drew its inspiration from
^ It was usually thought that the choir of Santo Slefano was entirely
the work of Marco Vicetilino and was completed in i^gS, hut a document
published by Federico Stefani (Arch. Vcneio, T. XXIX, p. igS) proves
that Ihechoir was begun in ^Si-i^Sa by Leonardo Scalamanzo. Sec also
the article by V. Barichella in the Archiuio Veiielo, T. XXX, p. 449-
93 VENICE IN THE MIDDLE AGES
the East. Not German merchants only, but German
artificers, came to Venice, and in such numbers as to
erect their own sciiole and confraternities.^ Long before
Giovanni Enrico de Allemania, to Avhom the Venetian
government granted a safe conduct to Rome in i/iSg,
sprang into fame; long before Isabella d Este, in i5i6,
earnestly besought a crucifix from the chisel of Michele
tedesco, a famous sculptor then living in Venice, — many
a Northern artificer was to be found in Venetian work-
shops, from the most ambitious to the most humble ;
from the German goldsmiths whom we find working
along with Venetian craftsmen, to the German boot-
makers, who formed a guild in i383. We meet with
German inscriptions on many artistic objects of that
date ; for example, on the well of the Palazzo Soranzo
at San Polo we read, Helf Iler Got. On the other hand,
the Northern spirit, w Inch in the middle ages inspired so
many of these subsidiary arts, itself caught the first rays
of the Renaissance dawn, and produced in Padua the
splendid workmanship of the Carrarese medals ; while
the French sentiment appears in charming conjunction
with classic tradition coming to life again in ivory Avork of
which the Venetian estuary was, as w^e have already seen,
an ancient centre. In very early times Utui, or pastoral
staves, were made partly at Byzantium, partly in Venice
and its adjacent islands ; ^ so also diptychs, portable
altars, reliquaries, pyxes, chalices, and other sacred
vessels ; above all, those little wooden coffers covered
Avith ivory Avhich are common in museums. The
plaque of ivory preserved in the Museo Civico^ must
1 Simonsfcld, Der Fondaco, op. cit., p. 857.
^ Schneider, Leber das Kairosrelief in TorceUo und ihm verwandte B'.ld-
werke. Wien, 1896. In 1898 in the tomb of Bishop Buono Balbi of
Torcello (d. I2i5) was found an ivory pastoral staff.
2 Lazari, Notizia, etc. Venturi, op. cit., Vol. I, p. 517.
THE INDUSTRIAL ARTS 98
have belonged to a coffer of the third or fourth
century.
Ivory is found in conjunction Avith silver repousse
sometimes, as in the binding of the Gospels pre-
served in the church of San Pietro in Carnia, a
Byzantine work of the tenth or eleventh century.
Hundreds cf objects, casquets, frames, combs, toys,
chairs carved in painted bone, hunting horns and so
on, must have issued from \enetian workshops, espe-
cially from those of the comb-makers (pellenerl), who
were formed into a guild as early as the thirteenth
century. It was not, therefore, by chance that at the
close of the fourteenth century Baldassare di Simone
d'Aliotto, of the Florentine branch of the Embriachi,
chose Venice as his dwelling place, and in the midst
of his alfairs as banker and political agent for Gian
Galeazzo Visconti, Count of Virtu, ^ found time to open
shops for the sale of artistic ivory work.^ The Avealth
of tlie Venetian nobility and the proximity of the chival-
rous courts of iSorthern Italy made Venice a favourable
place for the sale of Avorks of luxury and art. Tliis
Baldassare, Genoese by blood, Florentine by birth, Vene-
tian by adoption, seems to have united in himself the
spirit of these three great cities, and his Avorkshop, Avhere
he AA'as surrounded by a number of master-hands and
apprentices, carvers, and intarsia workers, offers us a
most admirable specimen of an art manufactory in the
middle ages. BetAA^een 1896 and i^og Baldassare's shop
sent out the famous triptych or pala for the Certosa of
Pa via, the coffers (cassoni eburnei) ordered by Gian
^ Archivio Slorico dell' Arte, serie II, anno II, p. 29. 1896.
2 Schlosscr, Die Wcrkslalt dcr Embriachi in Venedig. (la the twelfth
volume of the Jahrbuches der kunsthisiorischen Saminlungen des Allerhochsten
Kaiserhauses. Wien, 1899.)
94 VENICE IN THE MIDDLE AGES
Galeazzo Visconti, which were afterwards altered and
sent to the monastery of Pavia, and are now preserved
in the casa Cagnola ^ at Milan, all of them models of
supreme delicacy. Wliite bone and intarsia work are
blended together ; the subjects — the story of Paris,
of Mallabruna, of Pyramus and Tliisbe, of Jason, the
Virtues, cupids bearing shields, and so on — are the
subjects common to the colfers which issued from
the firm of Embriachi. Besides the Visconti, the Em-
briachi had as patrons great French families like the
Dukes of Burgundy and Berry, in whose inventories
we find recorded colTers which probably came from the
famous Venetian workshop. This work in dazzling
white bone even came into competition with the ebony
work of the French craftsmen, whose portable altars,
mirror frames, games, etc. had found much favour
both in Italy and Germany, but after the opening of the
twelfth century were on the decline. 2 The bone-work
of Venice answered the same purposes, but the inspira-
tion of the designs was different. The art OAved its
prosperity, which was continued during the next cen-
tury, to the energy and ability of a single craftsman,
Baldassare.^
The Cronaca of Martino da Canal describes Avitli
vivid simplicity a fete of the middle ages wherein
^ Schlosser, op. cit.
2 Ibid.
' Other members of the Emliriachi family besides Baldassare and his
sons, also look up their abode in ^enice. We find a Ser Andrea in the
middle of the Quattrocento living at San Basegio (Basilio) ; the brothers,
Ser Giovanni and Ser Antonio, who died in i43i and i433, were owners
of a workshop of ebonists at San Luca ; Ser ISicolo, mentioned in i4i2;
three sons of Ser Antonio, Geronimo, Domenico, and Lorenzo (this last died
at Florence in i483, and was buried in Santa Maria Novella), who in i433
wound up the business of their father and uncle with the assistance of the
Florentine ambassador Giuliano Davanzati. Paoletti, L'arch. e la scult. del
Rin., cit., P. I, p. 8a.
THE INDUSTRIAL ARTS gS
were blended the arts and crafts and riches of the day.
When Lorenzo Tiepolo was elected Doge in 1268, the
craft guilds of Venice went to salute the new head of
the State. There Avere the glass-blowers ; the smiths
with their banner and with garlands on their heads ;
the furriers in ermine and doublets of samite and
tafleta ; the weavers with silver cloth tippets ; the tailors
in white with crimson stars ; the Avool-carders with
olive crowns on their heads ; the masters of the cotton-
spinners with cloaks of fustian ; the quilters with
garlands of gilt beads and Avhite capes sown with fleurs-
de-lys ; the cloth-of-gold and cloth-of-purple makers
with hoods of cloth-of-gold and gilt beads ; the mercers
in silk ; the pork-butchers in scarlet ; the fishmongers
in cloaks lined with vair ; the barbers with garlands on
their heads ; the goldsmiths wearing sapphires, emeralds,
diamonds, topazes, jacinths, amethysts, rubies, jaspar,
carbuncles. Under the loggias and in the courts of
the Palace each guild set forth its wares on benches
and boards, and offered the earliest, and perhaps the
most notable, example of an industrial exhibition. In
the midst of festivals like these and surrounded by
such visions of splendour we draw to the close of the
old days.
CHAPTER XII
THE FL\E ARTS
ROMANESQUE architecture, which was in full
decline by the end of the fourth century, pro-
duced but little during the next two centuries.
The massive tomb of Theodoric (d. 526) alone is
worthy of the great Roman emperors and of him who
sought to imitate them. But this decline Avas arrested
by the advent of the Byzantine style, which assimilated
and preserved some of the characteristics of Roma-
nesque. The Italian homes of Byzantine art were
Ravenna — suffice it to name those striking buildings
Sant' Apollinare Nuovo and San Vitale — and Venice,
which attracted Greek artificers from Byzantium and
perhaps from Ravenna itself. As illustrations of Byzan-
tine architecture of the sixth century in the lagoons,
we may take the duomo and baptistry of Grado, and
the church of Santa Maria delle Grazie in the same
city.
When, owing to the Lombard invasion and the
wretched condition of the whole of Italy in the seventh
century, foreign artists abandoned the peninsula, native
Ralian art grew ruder and ruder. ^ The church of
Torcello (c. 6^I) belongs to this epoch, though it has
frequently been renewed and restored. Of the origi-
nal structure nothing remains but the apse, and two
1 Cattaneo, L'Arch. in Italia dal Sec. VI al Mille circa, p. i8. Venezia,
Ongariia, 1888-1889.
THE FINE ARTS 97
semicircular niches in brick are all that exists of the
baptistry belonging to the same date.
In the eighth century, when the fury of icono-
clasm was raging in Constantinople, many Greek
artists in revolt against Leo the Isaurian ^ sought Italy
once more, and by preference Venice. Under the re-
newed instruction of Greek masters, who applied to
Venetian buildings a profusion of delicate ornamenta-
tion, Italian art recovered, and the following century
gave birth to the Italo-Byzantine style whose decoration
copied Byzantine models with a rude and still uncertain
touch. On this Italo-Byzantine style was grafted the
art of the Como masters, who, starting from Como
and its district, Mendrisio, Lugano, Bellinzona and
Magadino, spread over Europe and carried with them
everywhere the imprint of their method. Venice also
possessed monuments of Lombard art. We have tradi-
tion of celebrated masters, ^ even in the earliest days ;
and it was they, no doubt, who built the baptistry at
Concordia (ninth century), the abbey church of Saints
Ilario and Benedetto (c. 820), the new facade to the
duomo of Torcello (88/i), and the neighbouring church
of Santa Fosca (about the close of the ninth century),
of which work nothing remains but the small lateral
apses. But these first early attempts at a national art
left no notable result ; they died away before the re-
newed influence of Byzantine art, Avhich, especially in
the tenth century, reached great splendour in Con-
stantinople, where the Macedonian dynasty (867-1057)
re-evoked the glorious days of Justinian. Already as
1 Pauli Diaconi, Hisloria Langobardorum, VI, ^Q, in the Mon. Germ.
Rerum Langobardicarum el lialicarum. Hist. Script. VI-IX, p. i8i. Accord-
ing to Paul the Deacon, the Venetians had resolved to elect an emperor,
but were dissuaded by the Pope.
2 Ugheili, Italia Sacra, V, iioi-iio3.
VOL. II — 7
98 VENICE IN THE MIDDLE AGES
early as 820 the Emperor Leo V had sent Greek
arcliitects to the lagoons to build the monastery of San
Zaccaria ; and it is probable tliat nine years later the
Doge Giovanni Partccipazio employed these same ar-
tiiicers on the church ol" San xMarco. We still lind nmch
sculpture of tlie ninth century, clearly the work of
Greek chisels, in the church of San Marco, which was
restored by Greek workmen after the fire of 976 ; and
the numerous fragments of bas-reliefs in the Greek
manner which are built into the walls of houses or
preserved in museums and antiquity shops, prove that
Byzantine masters were employed upon the religious and
civil buildings in the new city. ^\ e may observe the
traces of Byzantine work, perha^DS of the ninth cen-
tury, in the facade of a house looking on the Rivo
delle Beccarie, near the Calle Sansoni ; in the house
on the Grand Canal at San Cassian, in which the
painter Favretto died ; in the Palazzo Da Mosto at the
SS. Apostoli ; in a house next door to the Prefecture ;
in the side door of the church of the Carmine and in
a house on the Riva del Carbon close to the Palazzo
Dandolo.i
About the year io63 the Doge Contarini determined
to rebuild San Marco, ^ and there is no doubt that By-
zantine artists had a large share in the work, especially
if we consider the plan and the arches, which are pure
Byzantine. But it is equally certain that Lombard
workmen were employed along with the Orientals,
and thus San Marco became as it were a workshop in
which the two styles, Byzantine and Lombard, met and
^ Caltaneo, op cit., p. a54.
2 Giustinian Bernardo says, " Accitis igitur ex Constantinopoli primariis
architeclis" (see Documenti delta Basilica di San Marco, p. 33 1. Venezia,
1886).
THE FINE ARTS
99
were fused together, giving birth to a new style, pccu-
har to the district, Avhich we may fairly call Vencto-
Byzantinc.^ Belonging to this style, which marks an
artistic revival, are the churches which had porticoes '^
on their facades ; they were built between the eleventh
and twelfth centuries, and are now either destroyed or
altered. Such were San Zaccaria, rebuilt about 1176
on the site of Partecipazios older church, San Giacomo
di Rialto, Sant' Agnese, San Vitale, San Silvestro, and
San Giovanni DecoUato (1107), which has suflcred the
least from restorations. In the estuary we have the
duomo of Caorle, with its singular circular campanile
(io38), the only example in the Veneto, and the great
church at Jesolo (eleventh century) in the form of a
Latin cross with nave and two aisles, each ending in
an apse, and three foavs of superimposed windows.
Gradually Italian and Venetian ^ artificers came to
supersede Byzantine workmen, even outside of Italy.
In France a Venetian colony settled at Limoges be-
tween 977 and 989. In the eleventh century two
Venetian nobles founded a monastery at San Leonardo,
not far from Limoges ; and in the twelfth century * we
get the church of Saint-Front at Perigueux, whose
chief feature is the cupola,'^ and whose design may
possibly have been inspired by Saint Mark's at Venice.
^ Cattaneo, Storia Architettonica della Basilica (in La Basilica di San
Marco, p. 189. Venezia, 1892).
^ External porticoes were used as cemeteries and as the place for the sale
of pious objects. They were mostly destroyed. An example remains in
the portico of San Giacomo di Rialto, though largely renovated.
8 The white marble door of Santa Maria in Cosmedin in Roma was
executed in the eleventh century by a Giovanni from Venice : johan.>e3
DE VEXETIA ME FECIT.
* Built after the fire of iiao, which burned down the old church dating
from 980.
* Do Verneilh, L'Arch. Byzantine, cit., pp. i33, i36.
loo VENICE IN THE MIDDLE AGES
Venetian art, gradually abandoning Byzantine models,
adopted new forms which show the influence of Ro-
manesque, the style Avhicli after looo began to affect
European architecture so strongly. Some critics deny
the influence of Romanesque on Venetian art, though
they recognise the presence of certain Romanesque
characteristics; for example, the lion or other animal
used to support the columns of the pronaos in sacred
buildings. Of this use we have an instance in the
calf and the two grifllns with a human head in their
claws, Avhich serve as bases to the columns of one of
the great Avindows on the south side of San Marco ;
and another example in the two lions of the cam-
panile of San Polo, the one Avith a human head, the
other Avith a serpent in his jDaAvs, — the remains of
a door of some ancient Lombard church. ^ But far
more important monuments than these go to prove
that Byzantine art, having reached its apogee in Venice,
gradually underwent a transformation and adopted new
forms under the influence of Romanesque. It is quite
certain that in the twelfth century the Ducal Palace,
the dwelling of the Procurators, built by the Doge Ziani
(i 178-1 179), and the Palace of the Memmo family
at San Marcuola, visited as a Avonder by the Emperor
Frederic II in 1282, must all have been Romanesque
buildings Avith some admixture of Byzantine elements.
Of this style Ave still have examples in the Fondaco
dei Turchi at San Giovanni Decollato, in the Palazzo
Dandolo (noAV Farsclti), the Palazzo Loredan at San
Luca and the Palazzo Businello at Sant' ApoUinare.
This ncAV Byzantine-Romanesque style shoAvs also some
touch of Saracenic introduced through Byzantium, but
1 Selvatico, Sulla Arch, e sulla Scult. in Venezia, p. 83. Veaezia,
1847.
i
THE FINE ARTS loi
it soon developed characteristics of its OAvn, such as
the horseshoe arch; after the year looo it flourished
in Southern France and in Sicily. As a fact, Sara-
cenic influence is to be noted in various Venetian
buildings of the twelfth and thirteenth centuries ; for
example, in the remains of the houses in the Campo
dei Mori, in Marco Polo's house at San Giovanni
Grisostomo, in the Falier house at the SS. Apostoli,
where they say the Doge Marino Avas born in 1278,
and in the arch over the door of the treasury of San
Marco. Other traces of this blend of Byzantine,
Romanesque and Saracenic Ave find in the entrance
gate to the Corte Morosini at San GioA^anni Grisostomo,
in a door in the Rio Sant' Antonio, in the arch over the
AA'ater door of a house at San Toma, in a ruined palace
on the Rio San Pantalcone, in a door on the Campo
San Luca, in the arch of the Palazzo Contarini at Santa
Giustina, in the upper-floor AvindoAvs of Palazzo Quirini
at Rialto.
The dwelling-houses of this period usually ended in
tAvo little toAvers at each angle, and on the ground floor
there was almost ahvays a portico carried on columns
and open in front, also a covered vestibule or atrium.
The main stair, as a rule, AA-as at the back of the atrium
to the right; sometimes, hoAA-ever, in the middle of the
Avail that divided the atrium from the peristyle.^ The
facade AAas of brick ornamented by carved and moulded
string courses of stone or by painted friezes. In
Gentile Bellini's picture of the procession in the piazza
of San Marco, painted in i/jQO, ^\e see close to the
campanile the hospital of San Marco, erected in the
latter half of the thirteenth century. It has semi-
circular arches Avilh a high stilt, and under the Avindows
1 De Bejli^, L'habilation Byzantine, p. 196. Gronoble-Paris, 1902.
I02 VEMCE IN THE MIDDLE AGES
of the first floor runs a frieze of symbolical ani-
mals on a red ground. Among the many anonymous
creators of such beautiful buildings, one name alone
has come down to us, that of Niccolo Barattieri, a
Lombard certainly, perhaps a Como master-builder. It
Avas he Avho designed the first Rialto bridge of wood in
the twelfth century, completed the massive toAver of
San Marco (c. 1175) and raised on the piazzetta the
two columns which had been brought from the East.
At the close of the twelfth and the opening of the
thirteenth century a great change came over architec-
ture, which, especially in ecclesiastical buildings, began
to adopt the ogivale or Gothic style, solid yet grace-
ful, dignified yet light. The pointed arch, employed
by the Saracens as early as the ninth century and
very common in Sicilian architecture of the eleventh,
where we find blended the characteristics of Byzantine,
Saracen and Norman styles, is to be met Avith even in
Venice long before the thirteenth century. In San
Marco we have specimens of the pointed arch, and the
bases of certain columns anticipate the designs met with
in French-Romanesque when in process of developing
the pointed arch ; others again seem twin with Gothic
churches of the North, while certain architectural mo-
tives seem to forecast details characteristic of the North. 1
But at this period the pointed arch in Italian build-
ings is chiefly employed as a decoration, not as a fully
developed structural principle ; it is in the West that
it received its complete organisation as an element in
construction. In France, in iioo, we already find
groined ceilings in three churches, Sainte-Croix at
Quimperle, Saint-Victor at Marseilles, and the abbey
church at Morisac, and also in the cloister at Morienval,
^ Gattaneo, St. Arch., cit., p. 186.
a
c«
o
a
o
oo
I
o
THE FINE ARTS io3
where the capitals are still Romanesque. After these
comes the groined crypt of Saint-Gilles (1116) and
many other churches in Avhich, between 11 35 and
ii5o, the new style is developed; the Cistercian monks
were its most active propagators, and it Avas welcomed
in Germany, in England and in Scandinavia, where the
arch Avas at once thrown high up toAA^ards the heavens
AA'ith crockets and pinnacles. The Cistercians of Bur-
gundy introduced the style into Italy, and in the Sabine
country they built abbeys and churches Avith pointed
arches recalling the type already established in France.
The oldest specimen of this Italo-Cistercian Avork is
the abbey of FossanuoA^a (11 80-1 208) betAA-een Piperno
and Terracina.^ But Gothic style in Italy was trans-
formed and modified by the temper of the nation, and
e\'en in buildings Avhere the pointed arch was employed
Ave fmd the Romanesque straight line prevailing, and
the characteristics of the old style blended with ogees,
crockets, pinnacles, groining, spiral columns, as in
the Tuscan Gothic of Santa Maria del Fiore and of
Giotto's ToAver. In Venice Gothic found a happier
clime, and took a character all its OAvn from the nature
of the place in which Oriental ideas Avere still alive.
Its flourishing period begins in the thirteenth and
closes in the middle of the fourteenth century. The two
finest specimens of ecclesiastical Gothic are the Francis-
can church of Santa Maria Gloriosa, commonly called
the Frari, begun in i25o and finished in i338,^ and
^ Then follow the churches of Casamari ('iao3-i2i7), Arabona (i3o8)
and San Galgano (i2i8-i3o6). Enlart, Origincs francaises de I'architecture
gothique en llalie. Paris, 1894 (fasc. 66 of the Bibl. des Ecoles francaises
d'Athencs el de Rome).
2 The campanile of the Frari was begun in i36i and carried to the
ground level by Maestro Giacomo Celcga ; his son Pier Paolo completed it
in i3f)6. In the fifteenth century the church of the Frari was partially
10^ VENICE IN THE MIDDLE AGES
the Dominican church of SS. Giovanni e Paolo, an
improved copy of the former, still unfinished in i385.
Other ecclesiastical huildings in this style, in great part
restored, remodelled, or disfigured, are San Giacomo
dair Orio (i225), the Servi (i3i8), Santo Stefano
(i 325), San Gregorio (i 3/^2), Carmine (i 3/18), Madonna
deir Orto (i35o), Scuola della Carita (1377), Sant'
Elena (i4i8). At the beginning of the fourteenth
century the ogival style appears in the basilica of San
Marco in some of the windows of the facade and in the
Cr
rose-window of the soutli transept, and more markedly
still in certain decorations and architectural motives in
the baptistry and in the chapel of Sant' Isidoro, the one
completed and the other begun by Andrea Dandolo
(i 3/13-1 354) and finished by Giovanni Gradenigo
(i355).^ Artists, perhaps Tuscans, were invited to
assist in the decoration of San Marco ;^ among them
may have been that Pietro who was intrusted with the
marble incrustations of the basilica and who must cer-
tainly have seen San Miniato and Santa Maria del Fiore
and may even have worked there. In i365 the builders
began to superimpose upon the Byzantine arch the
inflexed pointed arch, and after half a century the facade
appears with all its happy vesture of sculpture, carving,
statues, foliation, ribbons, arabesques, every conceiv-
able sort of decoration piled upon the arches, heaped
upon the cornices, running along the edges, twining
about the niches.
So too the lagoon facade of the Ducal Palace
(i3/io) clearly shows in every detail, idea, line, mass,
renewed, like so many ancient churches. In Carpaccio's picture of Saint
Gerome and the lion in S. Giorgio degli Schiavoni we see the original
Gothic church with its portico.
1 Catlaneo, St. Arch., cit., p. 2o3,
- Ihid. ibid., pp. aoa 2o5.
c
en
THE FINE ARTS io5
composition, decoration, the Gothic style of the Trecento,
with essentially Venetian characteristics ; for the Palazzo
Ducale is, above all things, an artistic creation in har-
mony with its place and date. It is vain to inquire the
name of its architect. It is the work of a nation, not
of an individual, and its true creator was that powerful
aristocracy which built the palace as its monument and
its fortress. The artists went to the tomb unrecorded;
one succeeded another in the inheritance of plans,
models, implements; they sought their satisfaction in
the play of their intellect rather than in the flattery of
fame ; they cared nothing that their own names should
be lost in the great collective glory which centred in
the sublime edifice. The architect — murer, taiapiera,
marangon, whoever he was — and his band of decora-
tors who so skilfully carried out his ideas, are one and
all lost in obscurity, while lying legends seek to render
illustrious the name of a traitor.^ We possess very few
documents of that date, but they are quite sufficient to
destroy the tale which tries to make Calendario the
author of so marvellous a piece of Avork, and to bring
to light, among the many who are forgotten, the
prototaiapiera, or master-mason, Pietro Basseggio, who
died in i35/i, and master Enrico, proto or clerk of the
works for the State. ^ But if the documents and registers
* Tradition, accepted by chroniclers and historians, asserts that the
author of the Gothic facade and of much of the sculpture of the Ducal
Palace was Filippo Calendario, who played a prominent part in the con-
spiracy of Marino Falier and was hanged with a gag in his mouth from the
loggia of the palace he himself had restored. Calendario was a stone-
mason and owner of marani or barges for the transport of stones, and it is
not unlilicly that he worked at the palace and carried material there; but
we must reject the assertion that he was the architect of the building, for
not a single document names him as master-mason. Lazzarini, Filippo
Calendario (Nuovo Arch. Vcn., T. VII, p. 4 2 9).
'^ Paolelti, L'Arch. e la Scull, del Bin. in Ven., P. I, p. 10,
io6 VENICE IN THE MIDDLE AGES
have almost all been burned or consumed by time, a
close examination and comparison of the magnificent
sculptural decorations reveals the fact that the facade is
a monument of collective art, with the imprint of
Venice strong upon it and with traces of a foreign
chisel, possibly French. The facade towards the piaz-
zetta, fmished according to the Cronaca Zancarola in
i/j/ia, shows a scheme and architectural lines correspond-
ing absolutely with the earlier facade towards the mole ;
not so the decorative details, which, although belonging
to the same style, still prove to what a high pitch the
sense of form had been developed.
Some historians of art claim that the direction and
also the execution of all these works were in the hands
of Giovanni Buono, of his son Bartolomeo, and of
Pantaleone, said to be brother to Bartolomeo, whereas
he was not even a relation. We know from documents
of 1 438 and l^^2 ^ that Giovanni and Bartolomeo Buono,
Venetians, were the authors of the Porta della Carta
{l^3g-l^^S). Another document of i463 leads us to
believe that Bartolomeo and Pantaleone Buono com-
pleted other work in the interior of the palace,^ but that
is not enough to justify us in declaring that they were
the architects of the Avhole building, with its broad
and heavy facades each pierced by six great windows,
resting, by a happy architectural anomaly, on the airy
loggia of pointed arches, which again rests on a portico
with a colonnade. Decorative and symbolical art has
lavished its treasures on the capitals ; there we find
represented myth, history, the arts, the sciences, vir-
tues, vices, the zodiac, plants, flowers, fruit, armour.
1 Gualandi, Mem. orig. ital. riguard. le B. A., Serie VI, p. lo5, doc.
n. 189. Bologna, i8/|0 1845.
2 Paolctli, op. cit., P. I.
l)l(,M. I'M.ACt;. ( illliAT \\ INDOW FaCIM; THE 1 1 \ lUiU I II
THE FINE ARTS 107
This bright and happy-looking building, all statues,
trophies, arabesques, hardly seems to be the seat of a
government surrounded by mystery, especially if we
compare it with the menacing piles to be found in other
Italian cities, the Palazzo della Signoria, for example,
constructed, as Machiavelli said, to lodge tyrants the
more safely, or the fortalice of the Estensi in Ferrara
with its drawbridges and posterns, which seem even
now to threaten and intimidate.^
At Venice, even in private houses, that wealth of
decoration, that sense of the picturesque, so deeply
rooted in the Venetian temperament, made itself felt.
Ogival architecture Avith its Avayward ornamentation
held its own for long in Venice, and it was only after
the middle of the fijfteenth century that it gave way
to the more sober harmonies of the classic style. The
Tuscan Michelozzo Michelozzi, one of the architects by
Avhose precept and example Greek and Roman archi-
tecture returned once more to the place of honour,
accompanied Cosimo de' Medici to Venice during his
exile in i/i33. Vasari tells us that in Venice he made
numerous plans and models for houses. But Miche-
lozzo's grave designs were overridden by the Gothic
play of fancy which is to be seen in all its glory in
the Palazzo Ariani at San Raffaele, the Palazzo degli
Ambasciatore at San Barnaba, Palazzo Contarini at
Santa Giustina, Palazzo Bernardo on the Grand Canal
near the Madonnetta, Palazzo Bernardo at Sant' Agos-
tino, Palazzo Corner at Santa Margherita, Gritti-Badoer
at San Giovanni in Bragora, Cavalli at San Vitale,
Pisani at San Polo, Bragadin-Carabba at Santa Marina,
Foscari at San Barnaba, Dona (now Giovanelli)
at Santa Fosca, Dandolo on the Riva degli Schiavoni,
1 Sjmonds, II Rinasc. in Italia, trans, p. 54- Firenze, 1879.
io8 VENICE IN THE MIDDLE AGES
and in the graceful angle window of Palazzo Priuli
at San Severo. On the facades of palaces the most
sumptuous results are obtained by arches carved in
borders or in high relief, by columns arranged in
couples or in groups, by tlie graceful balustrades of
the balconies, the deep-cut cornices, the quatrefoil
piercings in the upper part of the Avindons. The
body of the facade, when it Avas not veneered in
precious Oriental marbles or covered with frescoes,
was painted red, and round the Gothic windows and
beneath the cornices and string-courses, across the free
spaces of the walls, ran ribbons adorned Avith foliation,
panels and borders painted in geometrical patterns,
or delicate gilded ornamentation.^ Such architectural
fancies smile on us even more gracefully from the
facade of the little Contarini-Fasan Palace or from
the Ca' d'oro on the Grand Canal. The first is a veri-
table piece of lace-work in stone ; the balconies are
designed with marvellous elegance. The second is
one of the most beautiful buildings of Venice and
commands instant admiration. Marino Contarini,
the patrician artist Avho conceived the building and
brought it to birth, took the trouble to keep a minute
account of the cost in a notebook, Avhicli is now a docu-
ment^ of the highest value, aiding us not merely in the
1 The Accademia di Belle Arti in Venice has two pictures : one, by
Vellor Carpaccio, painted in i;i 9^, represents the Patriarch of Grado cast-
ing out a devil; the other, by Gentile Bellini, painted in i5oo, represents
the miracle of the Cross. In Carpaccio's picture we see the Grand Canal
and the Rialto Bridge, in Bellini's the fondamenla and bridge of San
Lorenzo. Both show us Gothic palaces -with red facades and gilded cor-
nices to the windows, rich in graceful ornament. Facades adorned with
graffito work, such as one finds at Genoa, are rare in Venice. An example
may be seen in a house near the Scrvi at Padua, and in others at Treviso.
•^ The notebook is preserved in the Archivio di Slalo. See Cecchetti,
La facciala delta Ca* d'oro {Arch. Venelo, T. XXXI, p. 202).
The Contarim-Fasan Palace (XV century)
THE FINE ARTS 109
history of the building in all its details, but serving
also to illustrate the private life and activity of the
men who gave to Venice such noble examples of art.
Contarini, who was thoroughly versed in design, be-
gan his work in 1^2 1, and had the assistance and
advice of Marco d'Amadeo, a master-builder, and of
Matteo Rcverti, a Milanese sculptor, who were joined
later on by Giovanni Buono and his son Bartolomeo.
Otiier artists, Antonio Busetto, Antonio Foscolo, Gas-
parino Rosso, called da Milano, Giacomo da Como,
Marco da Segno, Giovanni degli Angeli, called Roma-
nello, Martino Frisoni da Como, Giovanni Frisoni da
Milano, and Andrea da Milano — artists of whom we
know nothing — Avere called in to create the facade,
the land door, and the outside staircase in the court--
yard. This band of artists applied themselves to the
work, and capitals, balconies, cornices, arches, battle-
ments, cusps, armorial bearings, all the wealth of delicate
ornamentation sprang to life from the marble. Not
a detail Avas neglected. On April 9, 1/127, Bartolo-
meo Buono, in his own and his father's name, ac-
knowledged the receipt of twenty golden ducats Avhich
xe per parte del pozal (the Avell-head) el qual mi Borto-
lamio i die far per soldi 20 al d\, and lower down we find
a note to the effect that Buono took two hundred and
three days to complete that magnificent well-head in
red broccatello marble of Verona, which is adorned Avith
four great heads issuing from acanthus leaA^es at each
of the angles and Avith figures of the ^ irtues seated on
lions in the intermediate spaces. The sculptured dec-
oration of this facade AAas nearly completed by i^3i, in
Avhich year Contarini made a bargain Avith Martino and
Giovanni Benzon per inveslir de malmoro into qaelo che
manca. In a short time the Avork Avas finished and
no VENICE IN THE MIDDLE AGES
the facade appeared in all its exquisite elegance, with
that happy breach of symmetry, so valuable for the
general harmony, which led the artists to give us a
wing upon the left but none upon the right hand side.
Ncvertlielcss Conlarini does not seem to have been
content. He desired to cover not only the inner
chambers but also the marble facings of his palace
with the most delicate tints. Just as the walls of the
rooms when not actually hung with stulTs Avere painted
in imitation hangings, frequently composed of red rings
with yellow outlines on a green ground, of Avhich
we have specimens in the mural paintings lately laid
bare in the Frari and in Santo Stefano, so gold and
azure and red were employed to enliven and diversify
the uniform colour of the marbles on the outside
walls. The sculpture and marble crockets with which
the ogival style adorned the severe arches of San
Marco were all painted and gilded, as we see them
in Gentile Bellini's picture of the Procession. Con-
tarini, too, would have the facade of his new house
in colour, and for that purpose he summoned Mastro
Zuan de Franza, pen tor de Sant' Aponal. The con-
tract between the patrician and Master Giovanni, signed
on September i5, i43i, calls up to us a vision of
the front of the Ca' d'oro a blaze of colour and flashing
with golden ornamentation whence it took its name.
For the sum of sixty gold ducats Master Giovanni, aided
by his son Francesco, by Master Niccolo di Giovanni
di Santa Sofia, by Master Pignuolo, sta a Riva di Biasio,
by Master Gerardo di San Luca, and by Master Vasco,
penlor spagnuolo, gilded the roundels, the shields, the
lions, arches, foliation of the capitals, and painted the
beams in ultramarine of the finest quality laid on in
two coats ; he painted the battlements with wliite-lead
Lv {'.\ i)"<)iu) (^W c'fiilur\)
(Golden House)
THE FINE ARTS iii
veined to look like marble, and the Byzantine string-
courses carved with vine tendrils he coloured wliitc on
a black ground.^ By i434 the many-coloured monu-
ment in all the richness of its magnificence was com-
plete. From Contarini's notebook of expenses Ave
gather how much care was bestowed on the little
columns, the capitals, and other ornaments of the
open staircase. These staircases, either quite open
or protected by a roof, which run up from the court-
yards, surrounded by battlemented walls, form one
of the most picturesque features of Venetian archi-
tecture. Many have shared the fate of the Ca' d'oro
staircase and been destroyed ; but examples are still
to be seen in the Corte della Terrazza and in the Pa-
lazzo Loredan at Giovanni e Paolo, in the Palazzo Bembo
at the Celestia, Palazzo Contarini della Porta di fcrro
at Santa Giustina, Palazzo Zantani at San Toma, Pa-
lazzo Sanudo (now Van Axel) at the Miracoli, Palazzo
Cappello at San Giovanni Laterano, Palazzo Priuli at
San Severe.
Hand in hand with architecture came sculpture,
which, down to the close of the twelfth century, pre-
served the spirit and the form of Byzantine art. The
churches still contain many capitals, balustrades, am-
bos, ciboria, thrones, basins, and sarcophagi in this style ;
and on the walls of many secular buildings we get
pilasters, friezes, patcras, roundels, all of them the work
of Byzantine sculptors or of Venetian artists taught by
Byzantines. In the eleventh century Byzantine in-
fluence is visible in Venetian decorative work, of which
we have characteristic examples in ornamental plaques
with figures of animals, peacocks, lions, griffins, de-
1 Boni, La Ca' d'oro e le sue decorazioni poUcrome (Arch. Veneto, T.
XXXIV. p. 1 1 5).
112 VENICE IN THE MIDDLE AGES
lightfully interwoven with vine tendrils, foliage, flowers,
palms, pomegranates. But we must bear in mind
that the plastic arts developed slowly in the lagoons.
Tlie tombs of the Doge Vitale Falier (d. 1096) and
of the Dogaressa Fehcia Michiel (d. iioi), both in
the atrium of San Marco, at one time thought to
be the work of Venetian sculptors, are really, espe-
cially the latter, composed of fragments of earlier
sculpture carefully fitted together, and of graceful
Byzantine balustrades of the tenth century between
columns. Even in the eleventh century they used
Byzantine bas-reliefs of the seventh century, found,
perhaps, at Altino or Aquileia, to make the sar-
cophagi of tw^o Doges, Giacomo Tiepolo (d. 12/19),
which stands under a canopy on the facade of San
Giovanni e Paolo, and Marino Morosini (d. 1262) in
the vestibule of San Marco ; and it is quite certain
that the four magnificent Byzantine columns of the
ciborium of San Marco (sixth century), covered with
Gospel story, are not, as some assert, the work of
Venetian chisels.^
Meantime France was producing work of exquisite
beauty at Paris, Tours, Romans, Nimes, Aries, at
Saint-Gilles, at Chartres, at Amiens, at Auxerre ; while
the southern provinces of Italy began to adorn their
churches with flowers, animals, and symbolical figures
in full or half relief, of such masterly execution as to
justify the conjecture that the great genius of Nicola,
commonly called Pisano, must have seen the light and
received its early education in Apulia, where art came
into vigorous existence sooner than in Tuscany.
In the twelfth century two sculptors of daring
genius, Guglielmo and Niccolo, left notable productions
1 Tcsti, L., Osscrv. cr'U. suUa St. delV Arte del Venturi, cit.
Part of the Arch of the Months
in llic flliurcli (if ?. ^larco
THE FINE ARTS ii3
in the churches of Cremona, Piacenza, Ferrara, in
the duomo and in San Zeno at Verona, wliere they
founded a school which sent out many able artists.
The Veronese chisel is said to be discernible in some
of the reliefs of the Cappella Zeno in San Marco and
in the bas-reliefs of the Birth of our Saviour in San
Giovanni Elemosinario.^ Between 1178 and 1196
Benedetto Antelami completed his admirable works at
Parma, Borgo San Donnino, and perhaps at Cremona,
and it is certain that the great example of this Como
master was not without its effect in Venice. We trace
the inspiration of Antelami, or rather of his followers,
in the fragment of a bas-relief representing the Adora-
tion of the Magi, which was once in the church of
SS. Filippo e Giacomo and is now in the Seminary at
the Salute, also in the group known as the Sogno di
San Marco, in the depositary of San Marco, and in
some figures of prophets in the Cappella Zeno.^ The
triumph of Antelami's, or rather of Italo-Romanesque,
art, however, is to be found in the arches of the great
door of the Basilica, where a fme but anonymous
master has represented the various trades pursued by
men, and the months of the year.
But throughout this revival of art Byzantine sculp-
ture held its own in Venice with tenacity, and though
it adopted certain characteristic notes of the W'^estern
style, it continued during the thirteenth and fourteenth
centuries to put out work of purely Oriental quality,
such as the Christ on the Cross, once in the convent of
the Santo Spirito and now in the Museo Civico ; the
Madonna who bears on her breast the head of the
Child, at Santa Maria Materdomini ; two other reliefs
also representing the Madonna, one on the outside of
1 Venturi, op. cit., Vol. Ill, p. 248. ^ Ihli., ibid., p. 347-
VOL. n — 8
ii4 VENICE IN THE MIDDLE AGES
the south wall of SS. Giovanni c Paolo, the other,
with two half figures of angels, on the outer wall of the
Frari ; a Madonna enthroned with angels and saints in
the apse of San Polo ; another on the back wall of
Santa Maria Maddalcna ; yet another in Santa Caterina
at Mazzorbo ; the two angels of the holy-water basin in
the chapel of Sant' Isidoro at San Marco ; the four
angels near the pinnacles of the central cupola of San
Marco. ^ The emancipation from Byzantine tradition
was completed in the Trecento, during which Venetian
sculpture, Avith Gothic models especially before its eyes,
acquired a freer style, as in the elTective statue of the
Blessed Simon in the church of San Simeone Grande,
executed by Marco Romano in iSiy. The two groups
at the angles of the Ducal Palace, Adam and Eve
and The Shame of Noah, are also full of vigorous
expression. In the fine head of Noah especially there is
a close resemblance to the statue of the blessed Simon. ^
But these early germs of a strong and simple art did not
develop rapidly, and we catch only the faintest note of
a genuine artistic sentiment in the rude forms of other
statues executed later than those we have been discuss-
ing. Take, for example, the two figures of the \irgin,
one by Arduino Taiapiera (i34o) in the cloister of
Santa Maria del Carmine, and the other by an unknown
artist over the door of the Scuola della Carita (i3/i5) ;
the bas-relief in the court of San Giovanni Evangelista
(18^9) ; the three bas-reliefs in the museum of the
seminary, one a Saint Antonio (i355), another San
Giovanni Battista (i36i), the third a Madonna (i363) ;
San Martino on horseback with the mendicant and the
^ Gabelenlz, Mitielalterliche Plaslik in Venedig, pp. l4S and i54.
Leipzig, 1 903.
^ Ruskin, Sloncs of Venice, Vol. I.
THE FINE ARTS ii5
Doge (1370) at San Giovanni Evangelista ; Saints
Theodore and George on horseback (close of the four-
teenth century) in the baptistry of San Marco ; tlie two
figures of San Sccondo (iSyy) and San Cristoforo
(i38/i) on the door of the Scuola della Carila ; and so
on. Although no one would believe that these works
Avere contemporary with the magnificent tombs at
Dijon, so full of grace and nobility, Avhich the Flemish
masters Claude Sluter (d. i/io5) and Claude Werve his
nephew executed at the close of the Trecento, still they
have an importance of their own as being the first
efforts of that free and liberal style Avhich preceded the
Renaissance.
The passage to Gothic style is more clearly indicated
in the numerous sepulchral monuments Avliich in
Venice, as elscAvhere, assume two forms, the slab and
the sarcophagus.^ Of the former, belonging to this
period, not many have come down to us. The sar-
cophagus in its primitive form is Avithout figures, and
has merely the family coat-of-arms placed between two
crosses, as, for example, on the tombs outside SS. Gio-
vanni e Paolo. The sarcophagus Avith figures has
usually five compartments, the central containing one
or more figures, the two on each side empty, each
end again having figures. Of these monuments the
sarcophagus of the Doge Soranzo (d. 182 7) in the
baptistry of San Marco is the oldest example ; others
are to be seen at SS. Giovanni e Paolo, at the Frari,
at Santo Stefano, at Santa Caterina, the Carmine, and
San Giorgio Maggiore. These are all fourteenth-cen-
tury AA'ork, chiefly by Venetian masters, among Avhom aa^g
may mention Jacopo Lanfrani, reputed author of the
1 Gabelentz, op. cit., pp. 242-262. See also Meyer, A. G., Das vene-
zianische Grabdenkmal dcr Fruhrcnaissance. Berlin, 1889.
ii6 VENICE IN THE MIDDLE AGES
sopulcliral monument to Taddco Tiopolo (d. i347) ^^
San Domcncio, Bologna, and another monument to
Giovanni d' Andrea Calderini (d. i3/i8), now in the
Museum at Bologna.
At the close of the Trecento Venetian sculpture,
now freed from all Byzantine tradition, did not remain
content with a servile imitation of Gothic art, hut
spread its Avings for a still wider flight and drew ideas
of heauty, dignity, newly inspired by the great art of
Tuscany. In fact the Tuscans were the source of ideas
for two of the most distinguished artificers of the
middle ages, the brothers Jacobello and Pietro Paolo
Dalle Masegnc. They took their surname from the
paving-stone (Masegne) in which their family dealt,
and with a charming modesty described themselves as
tajapiera, stone-cutters. These two Venetian brothers
probably made the marble tomb, adorned with delicate
bas-reliefs, for Giovanni da Legnano, reader in canon
law, which once stood in the cloister of San Do-
mcnico at Bologna, but is now in the Museum. The
splendid marble ancona of the high altar in the church
of San Francesco at Bologna, completed about 1896,^
is certainly the work of the Dalle Mascgne. In iSqq
the two sculptors were at Milan, employed in the duomo
and afterwards in the castle at Pavia, by the Duke
Gian Galeazzo.^ In their own city the Dalle Masegne
have left us the statues of the Virgin, the evangelist,
and the twelve apostles (iSg^), which stand upon the
architrave between the choir and the nave [iconastasis)
in San Marco ; also the Virgin and four saints (1397),
^ Davia, Mem. stor. art. int. alia tav.Jhj. sal maggiore alt. delta ch. di S.
Francesco, etc. Bologna, i848.
2 Nava, Mem. del Duomo di Milano, Vol. I, pp. 8i-8a. Giulini, Mem.
di Milano, vol. XI, pp. 456, 598.
THE FINE ARTS 117
on the architrave of the chapel of San Clemente, — works
which, hy their modeUing, vigorous even though a Httlc
heavy, and for their vivid presentment of life, demon-
strate the excellence of the artists and show that Vene-
tian sculpture, unlike Venetian painting, Avas on the
road towards perfection from the very outset. The
monument to the Doge Antonio Venier^ (d. i/ioo) in
SS. Giovanni e Paolo is attributed to the brothers
Dalle Masegne ; while the great window in the Ducal
Palace facing the lagoon is certainly the work of Pietro
Paolo. Jacobello had two sons, Antonio, who up to
i^ii was working in the duomo of Sebenico in Dal-
matia, and Paolo, the author of tAvo fine sepulchral
monuments, one to the Commander Jacopo Cavalli
(d. i386) in SS. Giovanni e Paolo in Venice, the other
to Prendiparte Pico (d. lSg^) in San Francesco at
Mirandola. On both monuments the artist placed the
following inscription, curious in its naivete :
qst oper\ dintalgio efato in piera
Un Venecian lafe chanome Polo
Nato di Jacomel chataiapiera ^
These Dalle Masegne in Venice in the fourteenth
century give us the earliest instance of those families
who, like the Buono and the Lombardo in later times,
carried their art to a high perfection.
Among other monuments Avhich came from the Avork-
shop of the Dalle Masegne, or Avere completed later by
their pupils, we must reckon the tombs of the Doge
Marco Corner and of the Dogaressa Agnese Venier
and her daughter Orsola, in the church of SS. Giovanni
e Paolo, some statues on the facade of the Madonna
* Selvatico, Arch, e Scult. in Venezia, p. laa.
' =■ Che h taiapiera.
ii8 VENICE IN THE MIDDLE AGES
Dcir Orto, and the Madonna over the main door of the
Frari, a graceful figure in ^vhich Cicognara wrongly
thought he recognised tlic chisel of Nicola Pisano.
The masters of the Buono family, whom we have
seen working on the Ducal Palace, mark the transition
from mediaeval to Renaissance art. And in fact the
slender grace of the Renaissance makes itself felt not
only in the Porta Dorata or Porta della Carta, which
resemhies a piece of marble lace-work and had an
azure ground and gilded ornamentation, but also in
other masterpieces of the Buono family, among which
suffice it to mention the lunette on the door of the
Scuola di San Marco and the bas-relief that used to be
above the door of the Scuola della Misericordia. The
Buono family, erroneously believed to have been the
architects of the restorations in the Ducal Palace, are
also credited with the better part of the sculpture on
the palace. A certain resemblance in manner might
lead us to ascribe to Bartolomeo Buono the statue of
the archangel Gabriel at the angle of the facade next to
the Porta della Carta, ^ but we must absolutely exclude
the theory that these Venetian masters produced the
sculpture which adorns the new part of the palace. As
we have already observed, the works on the palace Avere
a sort of school to which flocked artists from all
parts of Europe. For example, Ave find mention of a
Master Andrea taiaplera de Milan, who in 1^26 Avas
intrusted Avitli the carvings on the capitals, and a
Francesco da PadoAa ^ employed on the same Avork in
i43o. At the opening of the fifteenth century, before
Donatello came to Padua, many Tuscan sculptors AA-ere
employed in Venice. The Judgment of Solomon at the
northAvest ancfle of the facade is the Avork of a notable
^ Paolelli, op. cit., p. i. ^ Ibid., ibid.
THE FINE ARTS 119
Tuscan sculptor, and the capital beloAv it is signed by
two solii fiorenlini, probably Pietro di Niccolo da Firenze
and Giovanni di Martino da Fiesole, who in 1/12 3
carved the tomb of the Doge Tomaso Mocenigo in SS.
Giovanni e Paolo. ^
Tuscan, too, are the sculptures of the great windows
on the principal facade of San Marco, as well as numer-
ous statues and decorations on the cusps and arches of
the Basilica ; all of it probably work intrusted, about
i4i5, to the distinguished artist of Arezzo, Niccolo di
Piero Lamberti, called Pela.^ In the church of the
Frari the equestrian statue of the general Paolo
Savelli (d. i/io5), carved in Avood, reveals a Tuscan
origin ; so, too, the terra-cotta adornments, gilded and
coloured, which enrich the monument of the blessed
Pacifico, completed in 1^37, are probably to be ascribed
to the Florentine Giovanni di Bartolomeo detto il
Rosso (d. lASi), the author of the Brenzoni monument
in San Fermo at Verona. On the other hand, Venetian
artists worked outside the lagoon. In i4i3 Filippo,
stone-cutter of Venice, carved the monument to Paola
Bianca Malatesta (d. 1398) in the church of San
Francesco at Fano, a work in Gothic style, rather late,
but broad and original in treatment. ^
Venetian sculpture drew new life and a new direction
from the Avork and the teaching of Donatello, Avho in
l^^^ came to Padua and there left the admirable
equestrian statue of Erasmo da Narni, called Gat-
tamelata, and the high altar of the Basilica di Sant'
Antonio. The great Florentine visited Venice several
1 Zanolto, II Palazzo ducale, T. I.
- Paolelti, op. loc. cit.
* Zonghi, A., Rcpertorio dell' antico arch. com. di Fano {Arch. Stor.
dell' Arte, anno 1888, p. 33o).
120 VENICE IN THE MIDDLE AGES
limes from Padua, and must have had friendly relations
with the artists of that city ; he presented the chapel of
the Florentines, at the Frari, with the wooden statue
of Saint John the Baptist.
Painting developed in Venice far more slowly than
cither architecture or sculpture. The Cronaca Altinale
records pinlores qui Damarzi appellali sunt, picluram
facere sciebant and mentions a Marlurius magisler pic-
iurae ; but we know that picLura covered mosaics, of
which we have the earliest specimens in the churches
of Grado, Torcello, and San Marco. The mosaics of
the duomo at Torcello, which represent the Inferno,
Paradiso, and the Last Judgment ^ with a breadth of com-
position and a poAver of idealisation that are truly mar-
vellous, are believed by some to belong to the seventh
century,^ more probably they date from the eleventh.^
The church of San Marco also was adorned Avith mo-
saics, multis ac variis coloribus,^ from the earliest times ;
but the most ancient of the mosaics, still preserved,
though for the most part restored, do not date from
beyond the eleventh century.
If the Byzantine style marks a period of true great-
ness in the history of art, avc must not forget that, like
Egyptian work, it was rigidly bound up with public
institutions, religious ceremonies, festivals, buildings.
Certain cycles of Bible story, common to all Christian
^ Gayet, Uart Byzantine. Dessins dc Charles Erard. Paris, 1901.
^ Sig. Rupolo, architect of the restorations on the duomo at Torcello,
is in error in believing that the mosaics of the inner wall belong to the
close of the seventh century. See IV, Rcla:. dell UJf. Rcgionale, p. i38.
Veuczia, 1899.
" Bouiilet, Le jugcment dernier (Notes d'art el d'arch., iSgi- iSgB).
Detzel, Christliche Ironographie, S. I, cap. VI, 1894. Kraus, Geschichte der
Christlichcn Kunst, T. II, p. SgS.
* Translatio cor-x}ris Sancli Marci evangcliste, quoted by Monticolo, Intorno
alia cronaca del diacono Giovanni, p. 19G. Roma, 1889.
THE FINE ARTS 121
art, were reproduced century after century, and the
scenes, taken from Genesis, in the atrium of San
Marco, the work of the twelfth century, find their exact
counterpart in the miniatures of the fifth century which
adorn the Cottonian Bible at London, a precious
monument of Byzantine art.^ Accordingly Byzantine
painting, whether on panel or on canvas, remained
within the strictest hmits of ritual and symbolism,
obeying conventional rules laid down with all the pre-
cision of dogma. 2 Perhaps we may reckon among
the number of artists of this kind the Greek Theo-
phanes, who about the beginning of the thirteenth
century, is said to have opened in Venice a school of
painting from which came the Gelasi of Ferrara.^
Venetian painters, obeying the influence of their Greek
masters, repeated the figure of the Madonna, under the
permanent forms prescribed by Byzantine orthodoxy ;
for example, about the beginning of the thirteenth
century we have that picture of the Madonna with an
aureole of precious stones and a background of gold
leaf, ascribed by tradition to Saint Luke, which stands
noAv on the altar next to the chapel of Sant' Isidoro
in San Marco.* Patriotic sentiment has induced many
writers to assert that painting flourished in Venice
earlier than in other Italian cities, because in 1290 we
^ Tikkanen, La rappr. delta Genesi in S. Marco, etc. (Arch. Star, dell' Arte,
Vol. I, pp. 313, 357, 348. Roma, 1888).
■•^ Byzantine painters had fixed rules laid down in a code which pre-
scribed the subjects they might handle and the manner of treating them.
Panselinus, a noble of Mount Athos, is the author of the earliest of these
handbooks. He lived in the eleventh century. Didron, Man. d'ic. chr.
grec. lat. Paris, i845.
8 We know nothing more than the name of these Gelasi. See Crowe
and Cavalcaselle (St. delta Pitt, in Italia, Vol. IV, pp. 88, 89).
* Veludo, Imagine dclla Madonna di San Marco. Venezia, 1887.
122 VENICE IN THE MIDDLE AGES
find established in the lagoons a "painters'" guild. ^
But the members of this guild, which v/as numerous,
according to Zanetti, certainly did not treat their art
in any new spirit, and were cither workers in mosaic
or rude decorators, not to be distinguished from gilders,
cofferers, mask-makers, house-painters. At the Archivio
di Stato and in the Register of the Giustizieri Yecchi
we have the by-laws of the Venetian painters, com-
piled in December, 1271, and brought down, with the
regulations of each succeeding year, to March 18, i3i i.^
But there is not a word as to the methods of the Venetian
artificers ; technical rules refer chiefly to the way in
which these artists are to decorate coffers, saddles,
bucklers, shields, morions, with stamped leather. The
painters' guild, unlike other guilds, had two Gas-
taldi, or Avardens, — one of the religious confrater-
nity, the other of the craft, — with different dignities
and functions. 3 The rules of the guild did not differ
essentially from those of other confraternities. Saturday
was a day of rest, and the signal to cease work was
given for painters as for carpenters, by the bell
called the marangona, in the campanile of San Marco.
" Nullus de arte predicta [that is, painters] non audeat
nee presumat laborare nee facere laborari in die sabbati
postquam pulsaverit tintinabulum que pulsat pro ma-
ran gonis ad sanctum Marcum sub pcna soldos X." The
same fine was applied to those who used insulting lan-
guage to the ofilcers of the guild, — aliqua rusticitatem
gaslaldioni ant siiis ojjicialibus . Apprentices (piieri ad
adiscendum arlem) Avere paid either in money (ad pre-
1 Zanelti, A. M., Delle p'Utura Veneziana e della opere pubbl. del Ven.
maestri, L. I. Yenezia, 177 1.
^ The Capilolarc was published, with notes, hy Montlcolo in the Nuovo
Arcliivio Vcnelo, T. II, p. 33 1.
2 Monticolo, loc. cit., n. i, p. 35i.
THE FINE ARTS 128
clum) or in food {ad pancm et vinum). In order to
control the work executed and to render inspection
easy, coffers might be offered for sale only in the shop
of the man who had painted them (m propria slalione) ;
all painted goods put upon the market (scuH, rodelle,
cophani de navicias, arcele, plafene, mensori, tahule ad
comedendum, ancone) must be varnished to preserve the
colours. 1
It is in these ancone, sacred images painted on wood,
that we find the origin of Venetian painting. Only
a name here and there remains to us of all these early
wielders of the brush, — Master Giovanni Filippo, son
of Master Giovanni Scutario,^ a Vendramin, whose widow
made a will in 1299. The names died out, and all that
remained was some picture displaying an almost infantile
lack of skill ; for example, the crucifix, on panel, be-
longing to the altar of the Capitello at San Marco, or
the wooden tomb of the blessed Giuliana of CoUalto
(d. 1264) in the convent of Sant' Agnese. Both are
ugly, and yet the crucifix was executed about 1290 ^ and
the tomb in 1297,* when the sun of Giotto had already
^ Monticolo, op. cit., passim.
2 Zanelti, A. M., op. loc. cit.
^ We get the date of this crucifix from the story that it was profaned
in 1290 by some miscreant. Caffi, Pittori in Venecia nel sec. XIV (Arch.
Veneto, T. XXXV, p. 67). This is not the sole instance of insults to sacred
images. In iSGg Giovanni Marino, goldsmith, slashed and scraped with
a sword pictures in several churches. Cecchetti, Nomi di pillori e lapicidi
anlichi (Arch. Veneto, T. XXXIII, p. 5o). Sacred pictures ordered by
private individuals were frequently bequeathed to churches. We also
have notices of the cost of such pictures. Giacomo Gualengo, of Chioggia,
in 1877 paid one hundred and twenty ducats of gold for a picture destined
for the church of San Giovanni Battista in Chioggia ; Giovanni Sanudo
Torsello, sixty ducats of gold for a painting for San Zaccaria. Cecchetti,
op. cit., p. ^g.
* Cicognara and Lanzi say the tomb was painted in 1264, the year
of Giuliaua's death, but Zanotto is nearer the truth in ascribing it to the
124 VENICE IN THE MIDDLE AGES
risen. Two other poor paintings of this period are a
Madonna in San Giovanni Evangehsta, with the signa-
ture Franciscus pinsis (sic), and a Christ in the sepulchre
by a Master yi/?(7c/a5, in the Musco Civico. Nor do the
missals, psalteries, and codices yield any better result.
The art of illumination, so helpful to the student of
early painting, flourished much later in Venice; and
that distinguished Venetian miniaturist, Giovanni Gai-
bano, Canon of Conselve, found few to imitate his
magnificent Epistolario di rito palriarchino, completed
in 1260, and enriched by sixteen illuminations on a
gold ground with foliated and braided initials, which
is preserved in the duomo of Padua. It is true that
we are not without books of devotion, ofTices, psalters,
choir-books, profuse in ornament and illumination ; and
two of genuine Venetian origin may be seen at the
Museo Civico, — one is an office for the dead, in a
style that reminds us of Carpaccio, and the other, more
ancient, is a Choral Missal (fourteenth century), in
which among other miniatures we have the portrait of
the Doge Marino Zorzi, a friar, and a San Domenico.
Some think that the splendid office of the Durazzo
family, now in the Museo Civico-Beriana at Genoa, ^
year 1297, the year in -which the body of the beata was found. The tomb
is preserved in the inner chapel of the monastery of the padri Cavanis at
Sant' Agnese. It is a -wooden cassone, which -was presumably decorated on
the exterior. Now there is nothing left but a tasteless daub of the Sctte-
cento. On the inside of the cover there is a painting which at first sight
seems Byzantine, but a closer inspection shows that it has been painted over
the outlines of earlier Byzantine figures. It represents Saint Biagio and
Saint Calaldo on foot and the blessed Giuliana kneeling. The inscriptions
over each figure have also been repainted.
1 Belgrano, Delia vita privata dei Genovesi, p. 119. Genova, 1875.
The Bibliothcque Nationalo in Paris possesses a book of prayers adorned
with most delicate miniatures, believed to be Venetian. Foucard, Delia
pitt. sui manoscrilti di Ven. ("Alti dell' I. R. Ace. di Venezia," 1857).
Waagen, Kunslwerke und KunsUer in England und Paris, 1887-1839.
THE FINE ARTS i25
is from a Venetian brush. But in fact the dreamy
and patient art of the illuminator, born in the shadow
of the cloister, found no propitious soil among a busy,
bustling people like the Venetians, and Venetian mini-
ature is happiest not in works of devotion but in
statute books of the State or of the guilds. The
figures of the Doge and of the magistrates appear in
the initial letters, which are illuminated in graceful
and varied patterns of filets and pearls and flowers
and butterflies and birds, in the Promissione Ducale of
Francesco Dandolo (1828), in the Capilolari del Con-
siglieri Ducali (middle of the fourteenth century), in
the Capitolare del Procuralori di San Marco (iSGy).
Similarly the humble brethren of the craft guilds are
represented in their Mariegole, as gathered under the
mantle of the Virgin. We may quote, by way of re-
markable examples, the Mariegole of the furriers, of
the Scuole di San Teodoro, dei Santi Giorgio e Trifone,
di Santa Maria di ^'alverde.•^ We must also mention
among the miniatures the coloured illustrations of
various books of travel, and the maps and sailing charts
of the fourteenth and fifteenth centuries.^ Nor should
we omit those figures of saints, rudely painted by
artificers called miniasanti, on little slips of parch-
ment, Avhich used to be distributed to the devout
1 See Chapter IX. The earliest Promissione ducale with miniatures is
that of Francesco Dandolo, preserved in the archives, along with the Capi-
lolari of the Consicjlieri ducale and of the Procuralori the Mariegola di Santa
Maria Valverde. The earliest illuminated Capitolare (iS^a) is the Mariegola
of the Pelizeri d'ovra vera (hegiiining of the fourteenth century) and of the
Scuola di San Teodoro, both in the iMuseo Civieo. See Cheney, Remarks
on illuminated official manuscripts of the Venetian Republic, s. 1.. 1869.
2 Bratti, Min. Veneziani (in the Nuovo Arch. Veneto), p. 5. Venezia,
igoi.
126 VENICE IN THE MIDDLE AGES
in churches and among the guilds of devotion and of
trade.
In the more precious illuminations of the Trecento
we find the characteristics of the Bolognese school, —
the golden arabesques, the heavy foliage, in heraldic
style, and the favourite colours, azure, carmine, rose.
We know that Venice gave hospitality to many artists
from Bologna,^ the city where illumination had reached
the highest point under such masters as Franco, said
to be a pupil of Oderisi da Gujjbio, and Niccolo di
Giacomo.^ The art of the Bolognese miniaturists,
originally confined by its very nature to the treatment
of small designs, proceeded to develop by a careful
study of other schools and by more liberal teaching,
^ Among Bolognese painters Avho lived in Venice there are recorded,
first of all, Giovanni da Bologna, with whom Moschetti has dealt in the
Rassegna d'arle (anno III, fasc. II and III). We have the following notice
of Giovanni : Jolianncs de Bononia piclor in contracta Sandi Luce de Veneliis
(1389). (Arch, di State, Sez. INotarile, Test. INicolo de Ferrantibus, Busta
436, n. 535.) Ancient documents record, among other Venetian illumi-
nators, Simon aminiator (i33G), Franciscus aininiator prcsbitcr (i34o), Rai-
mondo di Santa Maria Nuova, Andrea Amadio, Giacometto Veneziano,
Ventura da Vcnezia, etc. (Gecchetti, Nomi di pitt., etc., loc. cit., p. 45).
On ihe other hand, we find at this time many Venetian artists who went to
Bologna. Here are some names taken from the Archivio di Stato in
Bologna: March 9, i343, Rigo q. Manfredo di Venezia, pi^io/'e, accused
of having assaulted Domenico da Modcna, servant of Einoldo, a German
soldier belonging to the company of Giovanni della Torre. (Atti Giudlziali
deir anno i343, n. 786, p. 9.''4.) — i38a ; the company of Notaries, wishing
to restore the old pictures and to place new ones in their church, resolve
that, if a capable artist is not to be found in Bologna, they will send to
Venice, " ubi dicitur et creditor esse magna ars de talis tabulis et figuris."
(Socicta dci Nolai, Provvisioni, Vol. 1876, Segn. ^, fol. 11.) — November 3,
1389 ; a warrant for payment to Zannino da Venezia, for having painted
the arms of the King of France in the audience hall of the Palazzo pubblico.
(Provvisioni, scrie III, Mandati, Vol. for i38g, n. ^2, under date.)
2 Malaguzzi-Valeri, La Minialara in Bologna dal XIII al XVIII sec.
(Arch. Slor. ItaL. T. XVIII, 1896).
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in S. Donato di Murano
THE FINE ARTS 127
but in Venice it failed to rise to the dignity of a wider
pictorial field. The earliest Venetian pictorial monu-
ment Avith a sure date belonging to the fourteenth cen-
tury, but anonymous, is a bas-relief in wood, gilded
and painted, now in the basilica of Santi Maria e
Donato in Murano.^ In the middle is San Donato in
Episcopal habit ; at his feet two kneeling figures repre-
sent the Podesta of Murano, Donato Memo, and his
wife. The inscription is one of the earliest examples of
the Venetian dialect and runs thus : Corando MCCCX
indicione Mil in tempo de lo nohele homo Miser Donato
Memo honorando podesta de Muran facta fo questa an-
chona de Miser S. Donado. Belonging to the year 182 1
are the remains of the tomb of the blessed Leo Bembo,
carved in wood. It used to stand in the chapel of
San Sebastiano attached to the church of San Lorenzo.
That chapel has long since disappeared, and the re-
mains of the monument are now preserved in the
cathedral of Dignano in Istria.- Still another painting
on panel is used to fill the ogival arch over the tomb
of the Doge Francesco Dandolo (iSSg). Many other
anonymous works of this period have either been lost
or destroyed ; for example, the portraits of the Doges
from i34o to 1867 ^vhich were in the Sala del Maggior
Consiglio, and the story of Pope Alexander III and the
Emperor Frederic, painted in the chapel of San Niccolo
in tiie Ducal Palace.^ On the other hand, the docu-
^ Cicognara, Selvatico, and others class this monument amongsculptures,
Cavalcaselle {Storia della Pitt., Vol. IV, p. 266) among paintings. In any
case it displays tlie qualities of both.
2 CafB, op. cit. Caprin, Marine Istriane, p. 3io. Trieste, 1889.
• Arch, di Stato, December 11, iSig, Maggior Consiglio, Deliberazioni,
Liber Fronesis, i3i8-i325: "Quia Ecclesia Sancti ISicolai de Palalio est
tola nuda picturis Capta fuit pars, quod denarj qui pervcnient de bonis
128 VENICE IN THE MIDDLE AGES
mcnts preserve the names but not the works ot* many
painters of the Trecento, even indicating tlieir dwell-
ings. There are, however, a few pictures whose authors
are known. From the hand of Master Paolo (fl. i332-
i358) — called to paint in i346, for the chapel of the
Ducal Palace, an ancona now lost ^ — we have a panel
at the back of the Pala d'oro in San Marco ; this
picture he and his sons, Luca and Giovanni, executed
in 1 345 ; also an ancona in three panels brought from
the disused church of San Grcgorio to the Accadcmia,
and other paintings at Piove di Sacco in the province
of Padua, at Yicenza, at Sigmaringen and at Stuttgart.
The painter is evidently still trammelled by the tradi-
tions of rigid ritual. Nor arc his contemporaries farther
emancipated, though their work is not lacking in a
certain attractive naivete. Take Niccoletto Semitccolo
(fl. i35i-i4oo), whose Legend of San Sebastiano (1367)
in the Chapter Library of Padua is not without merit ;
or Catarino and Donato, who in 1372 painted in com-
pany the remarkable Coronation of the Virgin, now in
the Quirini-Slampalia gallery in Venice, wdth another
picture by him ; or Jacobello Bonomo, who in i385
painted an admirable ancona for the church of Sant'
Arcangelo di Romagna ; or Giacomo Alberegno, the
painter of the Crucifi'^d Christ in the Accademia ; or
quondam cuiusdam de cha Crippo mentecapli, quibus Commune debet suc-
cedere debeant expendi, et ipsi in laborcrio picturaruni dictae ecclciiae
pingendo in ea Listoriae Papae quando fuit Veneliis cum Domino
Imperatore."
^ Arcb. di Stato. An account of expenses for the Palace, Procuratla de
Supra, Archivio Fabbriceria della Basilica di San Marco — Processo i8o, Busta
77, i3^6: "Die ao mensis Julii dedimus ducatos lO auri magistro Paolo
penlore Sancti Lucae pro pcnturam unius Ancbonae factae in Ecclesia
Sancti ^icolai de Palatio."
THE FINE ARTS 129
Stefano, parish priest of Sant' Agnese, avIio flourished be-
tween 1 354 and 1 384. We have indications of stronger
vitahty in the Avork of Niccolo di Pietro, the painter
of the Vergine (i394), now in the Accademia, and of
the aiicona executed in i/io8 for the Amadi, whose
central panel now adorns the altar of Santa Maria
dei Miracolii and of Lorenzo Yeneziano, who flourished
between i357 and 1379 (?). His work, preserved in
the Accademia of Venice and Vienna, in the museums of
Venice and Padua, and in the cathedral of Vicenza, rises
above that of his contemporaries, and we may consider
Lorenzo as the best of these trecentisti, for Antonio
Veneziano, of the family of Longhi, cannot be reckoned
a Venetian, since he lived and died in Tuscany, where,
in the Campo Santo of Pisa, he painted the beautiful
frescoes representing the story of the blessed Ranieri.
These Avorks of the primitives are adored by the
devout in religion and in art, not so much for their
intrinsic value as for a certain air of mystery and
suggestiveness Avhich they possess. It is, however,
remarkable that these early pictures, in spite of their
childlike ignorance of drawing, are ablaze Avith a colour
as rich and deep as Ave could expect to find in a school
of painting already well developed. This feeling for
colour, so characteristic of Venetian painting from its
very outset, found its natural element in the climate
and the race, in that vaporous atmosphere Avhich
blunts all rigid outline in the objects seen, and envelops
them in an ethereal ambient Avith a thousand strange
1 Niccolo di Pietro signed himself Nicholaus filius magistri petri pictoris
de Veneciis qui moratur in chapite pontis paradixi. An altar piece of 1894
in the Accademia di Venezia is by this master. On a cross carved by Caterino
Moranzonc and painted by Niccolo for the Augustinian monks of Verucchio
we read : MCCCC Nicolaus Paradixi Miles de Veneciis pinxit et Catharinus
sancti luce incixit.
VOL. II — 9
i3o VENICE IN THE MIDDLE AGES
reflections of light. Genius, of course, takes its attitude
towards the beautiful from the varying circumstances of
race, of atmosphere, of climate. Tuscany produces a
school whose note is grace and purity of design ; Venice
gives birth to an art which in its rich and mellow har-
mony of colour reproduces the sensuous splendour of
its natural surroundings. But this passion for colour
had already found exjjression in Venetian architecture,
where a brilliancy of polychromatic effect was obtained
by precious marbles and mosaics, rude in design, but
blazing with the magnificence of gold and colour ; and
in consequence, the colourist's art, finding satisfaction
in the harmonies of variegated marble, was slow to
apply itself to panel or to fresco, even when painting
was coming into vigorous life, not only in other regions
of Italy, but also in the cities that lay close to Venice
on the mainland.
During the earliest period of painting two Venetian
cities, Verona and Padua, hold an imj)ortant place.
Even in the darkest middle ages Verona was not with-
out some tincture of the art,^ while the thirteenth and
fourteenth centuries give us the masters Ognibene,'-^
Poia, Bartolomeo, Guglielmo, Guidotto, il Turone, one
of whose panels is in the Museum of Verona, Martino,
and Stefano da Zevio. From this same village of Zevio
came Altichiero, who had for partner and follower
another distinguished Veronese artist, Jacopo d'Avanzo,
^ The paintings in the chapel of S. Nazaro at Verona belong to the tenth
and eleventh centuries. Cipolla, Una iscrlz. dfl 96G e le piu anticlic piU.
Veron. (Arch. Veneto, T. XXXVII, p. Ai3). The mural paintings in the
crypt of San Fermo Maggiore, in San Zenone, and San Siro e Libera,
come later. Crowe and Cavalcascllc, St. della Pitt., Vol. IV, p. i^o.
^ This name, unknown hitherto, was found by Prof. C. Cipolla recorded
in a parchment of the Archivio of the monastery of San Fermo Maggiore,
dated May G, laCS {Arch. Veneto, T. XXI, p. i43).
THE FINE ARTS i3i
not to be confounded with mediocre Bolognese Jacopo
Avanzi. Altichicro Avorkcd in Verona and also in
Padua, in the Palazzo del Capilanio and in the Sala
dei Giganti in company AA'ith a certain Ottaviano Pran-
dino of Brescia, and in the Santo and in the neighbour-
ing chapel of San Giorgio in parlnershijD Avith Jacopo
d'Avanzo (1876), who also produced other work of
great beauty. 1 Allichiero and d'Avanzo, who improved
on the manner of Giotto, may be called the precursors
of the pictorial Renaissance in Italy, and it Avas on their
work that the great Pisanello built his style.
In these early days of the art Padua adorned herself
with the marvellous works of Giotto (b. c. 1267, d.
1337) in the Scrovegni Chapel (i3o3-i3o6), and can
further boast of having given birth to one of the best
masters of the Trecento, Guariento, Avho in i365 A\'as
invited by the Venetian Republic to work in the Ducal
Palace. There in the Sala del Maggiori Consiglio he
painted the fresco of the Paradiso, covered later on by
Tintoretto's great canvas of the same subject. Vasari
also records Giusto de' Menabuoi as a Paduan. He
and Cennino Cennini came from Florence to Padua,
and found a patron in Francesco da Carrara, Avho shoAv-
ered honours upon them and granted them the citizen-
ship. Menabuoi painted the chapel of the Cortellieri
at the Eremitani in frescoes Avliich unfortunately were
destroyed in 16 10. Later than the year 1/420 Giovanni
Miretto, a Paduan, and some brother artists decorated
the Great Hall with scenes illustrating the influence of
the stars and the seasons upon human life.
But before the great style of Giotto asserted itself,
some of the painting in North Italy shoAvs the inspira-
^ Notizia d'opere di disegno, published by Jacopo Morelli. EJ. Frizzoni,
pp. 10, 78, and 80. Bologna, i884.
i32 VENICE IN THE MIDDLE AGES
tion of Franco-German chivalrous art ; we have a sure
proof in ccrtahi monumenls slill existing at Treviso,
notably in the Loggia dei Cavalieri, probably built
towards the close of the twelfth century. The paint-
ings in this loggia which still survive the ravages of
time and of man were executed towards the close of the
eleventh or the beginning of the twelfth century, and
olTer us one of the oldest representations of the chivalric
period in Italy. They are inside the loggia and run
in two bands ; the lower has lovers in couples, gro-
tesques and figures taken from the Bestiari and books
of symbolic designs such as the Phislologi and the Lapi-
dari, Avhich used to delight the middle ages. In the
upper row we get the siege of Troy, one of the favourite
subjects of chivalry. On the facade of the loggia are
painted scenes of chivalry, knights proceeding to the
tourney, heralded by trumpeters and followed by noble
ladies and troubadours. Other precious monuments
of pictorial art exist in Treviso ; for instance, the frieze
of the Great Hall where the Parliament of the Trevisan
Marches used to meet, — the frieze represents chimeras,
monsters, episodes of the chase and of the tourney ;
or, again, the frescoes which were detached from an
old house and taken to the Museum, — these belong
most likely to tlie end of the thirteenth century, and
show us the deeds of the Paladins, and love scenes
taken from the French cycle. These various flowers of
a foreign seed, transjiorted and reared in Italy, are our
surest proof of the influence of the North upon the
peninsula.
Although the city where ' ' Sile e Cagnan s'accom-
pagna " cannot compare with ^ erona and Padua, the
homes of great seignorial houses, nevertheless Treviso
of the fourteenth century may boast her services to
THE FINE ARTS i33
painting and her place in the history of that art. The
names of the earhcst Trcvisan painters are those of
Gabriele Villa and his son, of Master Pcrenzolo (dead
by 1 355),^ son of Angelo the painter, and several others
whose works are unknown.^ To this period belong
the frescoes of the story of Saint Ursula, remarkable
for a vivacity of feeling which has already freed itself
from the trammels of tradition and is seeking to reach
the truth. These frescoes were in the church of Santa
Margherita, and have now been taken to the Museum.^
They are ascribed, on the ground of analogy of treat-
ment, to Tomaso da Modena, a painter who about the
middle of the Trecento became famous beyond the
Marches of Treviso. Though Tomaso Avas not a native
of Treviso,* he lived there for long, and there produced
his most notable works, among them his masterpiece
in the chapter-house of the Preaching Friars of San
Niccolo, — a frieze of saints, pontiffs, cardinals, friars,
1 In the oft-quoted inventory of Oliviero Forzetta, Master Perenzola is
represented by a picture in quo sunt omnia animalia et omnia pulcra.
2 Paoletti, Raccolta di doc. inediti per servire alia sloria della pitt.
Veneziana. Padova, 1895.
' Bailo, Drgli affreschi salvati nella demolita ch. di S. Manjherita.
Treviso, i883.
* Some make Tomaso a Modenese, others a Trevisan, others again &
Bohemian. In one document he is called Maiith or Meylo, Latin Mulina.
Tiraboschi (Bibl. Mod., T. IV, P. II, p. ^8l) reclaims for Italy and for
Modena the honour of having given birth to the famous artist. Federici
(Mem. Trev., cit., p. 5i) and Schlosser [Tomaso da Modena und die Altere
Malerei in Treviso. Wien, 1898) endeavour to prove that Tomaso was born
in Treviso, and that da Modena is a family, not a locative name, as in ihe
case of Veltor Pisano the Veronese, and Girolamo da Carpi the Ferrarese,
the Lombard! of Venice, and so on. Later writers (Bertoni and Vicini,
Tomaso da Modena. Modena, igoS) proved by documents that Tomaso
Barisino was born in Modena in i325 ; that he probably lived at Treviso
from i3/i6 to iSog ; tliat after i36o he was at Karlstein in Bohemia, at the
court of Charles IV, and very likely died in Modena in the first months of
1879.
i34 VENICE IN THE MIDDLE AGES
sitting in their cells in contemplation. On the dado of
the four walls tlio provinces of the order, the monas-
teries of Lower Lomhardy, and the Generals of the
Dominicans, in chronological sequence, are recorded
in roundels.
Other towns and districts of the Veneto boast their
painters in the fourteenth century, — Niccolo da Gemona
(fl. i33i) ; Simon da Cusighe, near Belluno (fl. i35o-
i^iG); Bernardo, also from Belluno, — rude and un-
skilful craftsmen, it is true, but their existence proves
that a vital force was stirring in the world of art. At
Venice, on the other hand, not even at the opening of
the Quattrocento, when splendid works of architecture
and sculpture began to adorn the city, did the art of
painting acquire new life ; nor can we discover the
ideas and the notes of a new artistic conception in the
midst of much enthusiasm and sincerity of enterprise
and of production. The master who appeared on the
threshold of the new era, Niccolo Pietro Paradisi, still
retains something of the earlier Gothic-Byzantine style,
though his work reveals the influence of Giotto, as, for
instance, in the crucifix of Verrucchio, painted in i4o4.^
This explains why the intelligent rulers of the State,
when they intended to decorate the Hall of the Palace,
after calling in the Paduan Guariento in i365, sent for
Gentile di Niccolo di Maso da Fabriano (iSyo-i/iag .►*)
and for Vettor Pisanello (i38o-i/i5i) the Veronese in
i^ii. It was to these two artists, who covered the
ample Avails of tlic Ducal Palace w4th their composi-
tions, that Venice owed the first impulse towards a new
artistic life. Their influence is seen on the timid arti-
ficers of the early Quattrocento, struggling to free
1 Niccolo calls himself Paradisi because he lived near the Ponte de*
Paradiso.
Jacobello del Fiore — The Coronation of the
\irgin (i432). (Royal galleries of Venice)
THE FINE ARTS i35
themselves from convention, such as Francesco de*
Franceschi Donato Bragadm ; Fra Antonio of Ncgro-
ponte, whose Madonna in San Francesco della Yigna
we must mention ; Jacobello del Fiore, painter of tlie
Coronation of the Virgin (i432), the first work of large
dimensions produced by the Venetian school ; Michele
Giambono, who, in the mosaics of the Cappella del
Mascoli in San Marco (i45o), reproduces with suffi-
cient sincerity the magnificent buildings, the sumptuous
adornment of the houses, the rich vesture of various
hues, which seem to play with a greater freedom of
light and movement amidst the rigid uniformity of By-
zantine saints in their conventional attitudes of prayer
who are scattered over the vaults of the church. The
work of Giambono is of importance, for, not without
some grounds, it is supposed to reveal the hand of An-
drea del Castagno, who made a brief sojourn in Venice,
and in all probability must have exercised some in-
fluence on Venetian painting. To this epoch also
belongs Carlo Crivelli, a powerful genius and a splen-
did colourist, who, however, did not work for long in
Venice, which city he abandoned in i468 for the
Marche. This contrast betAveen slavish addiction to
convention and freshness of artistic feeling becomes
more apparent still in the work of Antonio Vivarini
(born at Murano in i/ii5 and died in 1/176). About
the year i44o he opened a shop in Venice near Santa
Maria Formosa, — one of those primitive workshops
where, as Cennino Cennini remarks in his Trattato,
they made every kind of object that had any connec-
tion soever with the art, and turned out altar-jDieces
complete with their paintings and carved frames. The
workshop of \ivarini welcomed, between i44i and
1449, as assistant, Giovanni d'Alemagna, the well-known
i36 VEMCE IN THE MIDDLE AGES
Joannes Alemannus, from tlic school of Cologne ; and
two other fine spirits of the Vivarini family, Barto-
lomco and Alvise, brother and son of Antonio, were
also educated there ; while Quirizio and Andrea da
Murano were followers of the style. These first elTorts
to raise and vivify the Venetian school of painting
found help from the school of Padua, where a great
revolution had been initiated by Squarcione (iSq/j-iAv^)
and carried out by Andrea Mantegna (i43i-i5o6), —
a revolution which entirely changed the method and
aspect of the art. Under the illuminating influence of
Mantegna and Donatello the Venetian school was en-
abled to assimilate other elements from the study of
the ponentini. The active and frequent commercial re-
lations between Venice, Flanders and Germany brought
to the notice of the Venetians the works of many
northern artists, — Van Eyck (i/iaG-i/i/io), Van dcr
Weyden( 1899-146/1), Memling(i435-i/i9o), and others
whose names are to be met in the catalogue of Morelli's
Anonimo. Two pictures, the Paradiso (i/i44) and the
Madonna enthroned with the four Doctors of the Church
(i/i46), painted by Antonio Vivarini and Giovanni
d'Alemagna, by their brilliant colouring reveal the
influence of the North. The earliest dawn of that art,
which was aftersvards displayed by Giorgione and
Titian, may be still better noted in the work of Jacopo
Bellini, a master of a lofty genius, who, however, even
in our own day, is better known as the father of Gio-
vanni and Gentile and as the father-in-law of Mantegna,
than for his own rare merits. lie was tlie true founder
of the early Venetian school, and among his compa-
triots, even of the best period, had none to surpass him
in masterly grasp of the antique harmoniously blended
with a realistic rendering of actual life. We have but
THE FINE ARTS 187
scanty information as to his career, which began about
i4oo and closed about 1/170.^ He sprang from humble
origin. His father, Niccolo, was a tinsmith. As a
youth Jacopo found neither instruction nor help among
the conventional painters of his native toAvn ; but the
new methods introduced into the lagoon by Pisanello
and Gentile da Fabriano soon brought him to appre-
ciate the masterly delicacy of their art. He became a
devoted pupil of Gentile, and followed his teacher to
Florence. There an incident reveals to us the quick
temper of the young Venetian painter ; in 1/12 4, in the
course of a brawl, he thrashed Bernardo, the son of Ser
Silvestro di Ser Tomaso, and was condemned to prison,
Avhere he stayed till his adversary generously declared
that he pardoned the assault.^ In 1/129 Jacopo came
back to Venice with his wife, Anna, who bore him
Gentile and Giovanni. He worked much in Venice,
Verona, Ferrara, where he was brought into happy
rivalry with Pisanello, and in Padua, where very likely
1 Molmenli, / pittori Bellini (Stadi e ricerche di storia d'arte. Torino,
1892). Cantalamessa, L'arte di J. Bellini {Ateneo Veneto, Marzo-Aprile,
1896). Paolctti and Ludwig, Neue archivalische Beitrdge zur Geschichte der
Venezianischen Malerei (Repertorium fur Kunst wissenschaft. Berlin and
Stuttgart, X\II Band, 1899).
2 This declaration has been preserved to us, and confirms the accuracy
of all the biographies, from Vasari downward, which affirm that Jacopo
was a pupil of Gentile da Fabriano, for he is so described in the document.
Adolfo Venturi, however, has raised a doubt, on the ground that in the
document Jacopo is called the son of Pietro, whereas other documents
prove him to have been the son of Niccolo, who made his will in i^a^- But
Cantalamessa very properly observes that in order to upset so old a tradi-
tion more is required than a disagreement in names, which might quite
well have arisen from the carelessness of a clerk. Further, argues Can-
talamessa, the document was damaging to the reputation of Jacopo, a
stranger in Florence, who, in a fit of resentment and under the necessity
of preserving intact his fair name in Venice, very hkely gave a false name
for his father. It is a case where the accused and the witness are one and
the same person. Cantalamessa, op. cit., p. 11.
i38 VENICE IN THE MIDDLE AGES
he knew Donatcllo and had professional relations with
Manlegna, to whom he gave his daughter Nicolosia in
marriage. Donatcllo taught him some of the secrets
of tlie great Tuscan masters, while from Mantegna he
learned how to study and worship classical sculpture.
Among the few works of his rescued from the ravages
of time and of man, we still possess two Madonnas, one
in the Tadini Gallery at Lovcre, the other in the Acca-
demia at Venice,^ and a crucifix in the Museum of
Verona. But as a convincing proof of his mastery in
comparison with the tentative timidity of his contem-
poraries, we need only cite the admirable draAvings
in the British Museum and in the Louvre. They dis-
play a rich and varied fancy, coupled with a severe
study of antiquity, which brouglit Jacopo to that per-
fection which he himself attained and left as a legacy
to his sons and his pupils. Jacopo Bellini not only
sowed the first seeds of the great Venetian school of
painting, but laid down its laws, indicated its aims, gave
it the imprint, which was developed, in later years, on
grander lines, but was never changed.^ With him comes
to a close the middle ages, and the art of painting begins
to look forward to the glory of the Renaissance which
Avas destined to steep Venice in ncAV splendours.
^ To these two Madonnas some, not without good grounds, wish to add
a Madonna in the Louvre and another belonging to Jean Paul Richlcr in
London. Ricci, / dipinti di Jacopo Bellini (Emporium, ISovember-Decembcr,
igoS). G. Cagnola, Intorno a Jacopo Bellini (Rassegna d'arte, March,
190A).
^ Cantalamessa calls him il capilano della schiera portentosa, and Lafe-
nestre (Venise, p. XI) le vvai fondaicur de Vdcole Vi^nitienne. This view of
Jacopo Bellini's place is not new ; as early as the seventeenth century it
was announced by Piacenza [Giunie at Baldinucci, Vol. IL p. 62, 1770).
CHAPTER XIII
CULTURE
DURING the period of her early growth Venice
devoted her whole attention to the formation of
her constitution, and was entirely absorbed in
war and commercial enterprise. It is true that the
city was adorned Avitli buildings, both religious and
civil, which displayed all the grace of the Byzantine
style, and that the government fostered artistic indus-
tries; but architecture^ intimately associated as it is
with the civil and religious life of a State, aims at
delighting the eye rather than at meeting the needs of
the citizen, while artistic industries are in close con-
nection Avith commercial enterprise. In neither case
was art for its own sake the immediate object. We
may take, indeed^ as a proof of their liking for the
arts, the fact that the Venetians brought back to their
country, as trophies of victory, monuments of high
artistic value ; but far above all other considerations
in their minds, as in the minds of the ancient Romans,
was the sentiment of national pride and martial spirit,
and in the excitement of victory or the confusion of
the sack every object of any value Avas carried off to
adorn the temples and the homes of their native city.
Impatient of all refinements, the grooving State, in its
rude republican vigour, did not achieve the accom-
plishment of the arts, nor did it lend itself to the en-
couragement of letters, which in the earlier years must
i/jo VENICE IN THE MIDDLE AGES
have all but starved. Liferarum studiis operam non
dabanf, says Cardinal Agostino Valicr, and adds : si
qui fuerunt, qui Uteris delectarentur, erant perpauci}
Although we hear that the Patriarch Paulinus, as early
as 733, was a master of belles let (res, and record re-
mains of some learned bishops of Olivolo,^ general
education must have been at a very low ebb if some
of the Doges, Pietro Tradonico and Tribuno Memo
for example, could not write, and had to sign docu-
ments by a sirjuum manus.^ It is, of course, true that
the condition of other Italian cities was no better ; in
825 the Capitolare of Lothair affirms that learning
cunctis in locis Regni Italici funditus extincta.^
Nor, as time went on, did Venetian learning approach
the glory of Venetian arms. In the eleventh century
we find mention of Domenico Marengo, Patriarch of
Grado, learned in Greek, of San Gherardo Sagredo,
who was a theologian, and of some chroniclers whose
works have for the most part disappeared. The oldest
chronicles Ave possess belong to the end of the tenth
and the beginning of the eleventh century : they are
the Cronaca de singulis patriarchis nove Aquileie ; the
Chronicon gradense, attributed to Vitale IV Candiano,
Patriarch of Grado ; the Cronaca Veneziana of John the
Deacon, capellanus ducis Venetiarum, the latest notice
1 Valerii, Aug., De cautione adhihenda in edendis libris, etc., c. 48.
Patavii, 17 19.
2 Gallicciolli, Vol. II, p. 1718.
* In the will of Orso, Bishop of Olivolo (835), the notary writes signum
manus excellentlssimo Petro (that is, the Doge Pietro Tradonico). Cfr.
Gloria, Cod. Dipl. Pad. Venezia, 1877. Among the witnesses to the deed
founding the monastery of San Giorgio Maggiore (986) we get: signum
manus Tribuni ducis (that is, the Doge Tribuno Memo). Cfr. Ughelli, /(.
Sacra, Vol. V, p. 1200.
* Leges Lombardicae (Rer. It. Script., Vol. I, P. II, p. i5i.)
CULTURE i/ii
of whom is in ioi8,^ and the Cronaca Altinate, so
called hecause one of the several fragments of which
the chronicle is composed, refers to Altino. Of these
various fragments some belong to the tenth, others to
the eleventh century. ^ Belonging to the twelfth cen-
tury we have the Annali Veneti ; the Storia dei dogi di
Venezia from 1102 to 1229, a codex in the Patriarchal
Seminary at Venice ; the Cronaca of Marsilio Zorzi,
the lost account of the apparition of San Marco,
written by Zenone, abbot of San INiccolo del Lido, and
the Hisforia de translatione Sancti Nicolai by an anony-
mous monk of San rsiccolo. The thirteenth century
gives us another anonymous account of the apparition
of San Marco, and the Relatio de pace Veneta, which
took place in 1 1 7 1 . The authors of these chronicles
were almost all clerks, who, in the midst of universal
ignorance, preserved the sacred legends, and in their
theological studies give us the first dim hght of literary
culture.
Poetry had no share in brightening the infancy of
this culture. The vast and silent spaces of the lagoon
would seem made to unlock the divine fount of song,
and yet the muses were never held in high esteem in
Venice, or, perhaps, it would be truer to say they
were never worthily wooed, and never attained any
great influence upon general culture, even Avhen refine-
ment had reached a high standard. The genius of
the Venetians was always more inclined to matters of
trade, to political discussion, to severe studies, than
to the graces of verse and song ; and if we find a
^ Monticolo, Cron.Ven. antichiss., preface.
2 Simonsfeld, in his edition (Man. Germ. Hist., XIV), has omitted the
interpolated passages, and for his text has adopted Cod. Vat. 5378 (saec.
XIII) with the variations in the MSS. at Dresden, in the Patriarchal Semi-
nary at Venice and in the Marciana, Lat. CI. XI, 124.
i/ia VENICE IN THE MIDDLE AGES
superabundant crop of hislorico-political verse centring
round tlie glories of the Republic, it lias no literary
value whatsoever, and was, in fact, merely an instru-
ment in the hands of the government for tuning public
opinion.^ Before the year looo not a single line of
verse is to be met with in any of the documents, and
the only example of poetry belonging to this epoch is
the inscription in honour of the Patriarch Elia when
he completed the walls of the church of Grado.
Alria quae cornis vario formata decore
Squallida sub picto coellatur marmore lellus
Longa veluslatis scnio fuscavcrat aetas
Prisca en cosserunl magno novitalis honorl
Praesuli Hollas studio praestanti beati
Haec sunt tuto pio, semper devota timori.
We must not, however, conclude that the Venetians
were entirely lacking in a delicate sense of poetical
emotion ; its presence is proved by the crop of legends
which gathered round San Marco, and lend a wholly
peculiar value to the statuary, the columns, the precious
marbles of the building. There is the rock that Moses
struck to draw water for the thirsty people ; the marbles
that saw Christ announce the divine message to the
people of Tyre ; the stones bedewed by the Baptist's
blood ; portraits of the Redeemer carved at Jerusalem ;
likenesses of the Madonna painted by Saint Luke ; cruci-
fixes that sprinkle gouts of gore if a sacrilegious hand
but touch them ; columns of the judgment seat of Pilate
on which the bleeding Christ had leaned ; symbolical
figures designed by the Abbot Gioachino di San Fiore,
who was gifted with the spirit of prophecy. Mid the
sombre shadows of the church, from the roof and
the walls, peopled by saint and prophet, were heard
^ Medio, La Storia della repubblica di Venezianella poesia. Milano, 1904.
CULTURE i43
mysterious voices presaging some judgment of God.
Sucli dreams as tliese were scope enough lor the naive
faith, the simple sentiment, the exuberant fancy of the
Venetian people, without recourse to poetry in verse or
song. And so pocsie delayed her advent, and what there
was, merely re-echoed the poetry of France. The
"joyous art," which had reached perfection in Pro-
vence, found a welcome throughout the entire Yeneto,
especially at Treviso, at the courts of the Ezzetini and
of the Gaminesi, and in the great castles that crowned
the hills of the Marca Amorosa. Some flower of culture
from the Languedoc was transplanted even into Venice
itself, where down the vie one might hear the nouvels
chansons et chansonetes et coubles,^ and where, in the
second half of the thirteenth century, the patrician Bar-
tolomeo Zorzi, savis horn de sen natural, could ben Irobar
e cantar in the soft Provencal tongue.^ Made prisoner
by the Genoese, and hearing his country insulted by the
Ligurian Bonifacio Calvi, the Venetian poet replied in
a sirventese, beginning :
Mout fort me sul d'un chan meravIUatz.
Another example of graceful French verse has been
preserved for us in the poetry of the Venetian lady
Cristina, born about i363, daughter of Tommaso Pisani,
Councillor of State and later on summoned to the court
of the French King Charles V. Seldom in the middle
ages has poetry expressed emotion or the very depths
of grief in accents of truer or profounder feeling,^
than in the verses of this lady, who, left a widow at
1 Da Canal, Cron. dcs Venic, cit.
2 Levy, E., Dor Troub. B. Zorzi, p. 36. Halle, i883.
* CEuvres Podtiques de Christine de Pisan, published by Maurice Roy.
Paris, i886.
i44 VENICE IN THE MIDDLE AGES
twenty-five by the death of Stefano du Castcl, sought
solace in devotion to her children and in learning,
which alone enables us to face the changes and chances
of this mortal life ;
Carqui bien I'a, trop est grant son pouvoir.
She dedicated herself to the severest studies, and from
her poetry, suffused with tendercst melancholy, she
passed on to her Enseignements moraux, her Epitres sur Ic
Roman de la Rose, to her Proverbes moraux and her
Livre de Prudence.
But besides the sumptuous lyric, the epic also found
favour wdth the Venetians, the chansons des gestes, born
in the north of France and written in langue doll.
The Garolingian cycle, first chanted by the cantor es
francigenarum, and then repeated by Italian cantastorie
in mongrel dialect, became popular, and left their mark ;
for example, the Via Emilia is still called the strada
d' Orlando. French gradually mingled with the speech
of our people, and here and there, blending with
chivalrous romance, and with songs of the fair Isotta,
of Ginevra, of Lancelot, of Fleur and Blanchefleur, we
get fables concealing a satyric intent, such as Rainardo
e Lesengrino, a Franco-Venetian version of Reynard
the Fox.^ It was in French that Rusticiano of Pisa
wrote doAvn the voyages Marco Polo dictated to him,
probably in Venetian dialect ; and it was in French,
the language la plus del'ilahle a lire el a oir que mile
autre, that Martino da Canal, who lived in the second
half of the thirteenth century, recorded the glorious
deeds of Venetian arms. One of the earliest and one
1 Published by E. Teza, Pisa, 1869, and by Putelli in tbe Giornale di
Fil. Romanza, Vol. II, p. 186, ser ; also by E. Martin, Le Roman di Re-
nard., Vol. II, pp. 358 seq. Strasburg, 1880.
CULTURE i45
of the warmest invocations of the blessing of Heaven
upon the famous city of the lagoons, is to be found in
the French of Da Canal :
aide les Veneciens, et faites orison
a notre Sieur Dieu, en qui nos bien creon,
et a sa dame Mere, que Dieu nos fait pardon,
et manteigne Venice sans nule discorde ;
Pes, bone volonte, sans tirer male corde
Soit en Venice.
But the mighty influence of Rome still reigned
supreme in the minds of men, and the Roman lan-
guage still survived in all public deeds and in all the
more important records of the State. It was in the
Latin tongue that, about 1820, Bonincontro de' Bovi,
a Bolognese, wrote an account of the visit of Alexander
III to Venice ; de' Bovi was a clerk in the Venetian
chancery, and, as he says of himself, verbo et opere
iotas Venetas et Rivallensis. Bonincontro's account
served as material for the poem on the same subject
composed in i33i by Castellano of Bassano, and from
his verses came a large number of the inscriptions
which explained the paintings in the Sala del Maggior
Consiglio.^ Belonging to the fourteenth century also
are the Legendae de tempore et de Sanctis written by
the Dominican Pietro Calo of Chioggia, the chronicle
of a certain Marco which reproduces the Altinate and
the Cronaca Da Canale, the so-called Stoina dei Fraii
di San Salvatore, by Francesco Grazia, prior of that
monastery (1377). Among the lost but often quoted
works we get the Chronicon Venetum of Pietro Gius-
tinian, who flourished about 1265, and the Memoriali
of Piero Guilombardo, who lived about i33o.^ The
1 Monlicolo, Note alle Vile dei Dogi del Sanudo, cit., p. An, nota I.
2 Foscarini, Lett. Ven., Lib. II.
■VOL. u — 10
i46 VENICE IN THE MIDDLE AGES
chronicles of Andrea Dandolo the Doge (i354), of
Benintendi de' Ravagnani, Grand Chancellor of the
Republic (d. i3G5), andof his successor Raflaino Caresini
(d. iSqo), — wlio found a contemporary translator,
— of Lorenzo dc Monacis, Grand Chancellor of Crete
in 1 389, who died at a great age in 1/129,1 all enjoy
a wider repute. The work of Dandolo, Avhich comes
down to 1339, stands highest in esteem on account
of its lofty point of view and its copious information
drawn from documents now for the most part lost.
Latin poetry too had its votaries, such as Giovanni
the grammarian, the Ducal Grand Chancellor Tan to,
and a preaching friar who, in i3i6, wrote Latin verses
on the birth of a lioness Avhich Frederic King of Aragon
had sent to the Doge Giovanni Soranzo ; Albertino
Mussato sent a reply also in verse. ^
But literary Latin was the patrimony of the few.
In actual life the language had long ago been corrupted
under the pen of notary and scribe, who, in the effort
to adopt the traditional forms of the Latin tongue to the
daily actions of the people, tacked on Latin termina-
tions to the words which in the mouth of the common
folk had now for some centuries constituted what was
virtually a new language. And here arise the ques-
tions : When did the vernacular come into use and how
was it constructed ? When do we find the earliest
records of that speech which came to be now weighty
and solemn in assemblies, now soft and caressing in
^ Although Lorenzo lived well into the fifteenth century, his chronicle
does not pass beyond the Trecento ; it was published in the eighteenth
century under this title: "Chronicon de rebus Venetis ah urbe condita ad
annum millesimum trigentesimum quinquagesimum quartum, sive ad con-
jurationem Ducis Falelri."
2 Monticolo, Poesie lalinc d.^l principio del sec. XIV {Propagnatorc , new
series, Vol. Ill, P. II, p. a.'ii Bologna, 1890).
CULTURE i47
verse and song ? We must not plead that such ques-
tions cannot be answered with precision, eitlicr for
the Venetian dialect or for any otlicr. Dialects had
their origin at the same epoch which saw the ethno-
logical combinations that created the race, and are
explained by those developments. Thus in ancient
Venice two diverse forms of low Latin clashed with
each other, — the one which Ave call ladina, that
dialectical group to which belongs, for examjile, the
ancient Lpeech of the Bellunesi and Friulani, and the
other a speech which we will call Venetian proper, in
which the modifications and corruptions of the Latin
tongue are less profound and differ considerably from
those which characterise the dialects of Lombardy or
Emilia. These differences between the true Venetian
type, which ended by completely effacing Latin, and
the Lombard or Emilian and other mainland types are
naturally to be explained by the diversity of the in-
digenous races upon which the Latin language was
imposed. But these differences are produced essentially
by the diverse ways in which the original native lan-
guages, according to their varying qualities and vigour,
reacted on and modified Latin ; that is to say, it is from
the diverse words in which Latin Avas broken down by
the native speech, not by the retention of either Avords
or idioms from that speech, that the various dialects
came into existence. Some have thought they dis-
covered in the Venetian dialect a strong morphological
resemblance to Greek, but they have overlooked the
fact that the many Greek Avords introduced by trade in
more or less recent times, and in return for the many
Venetian words adopted by Greek, have nothing to do
with the fundamental structure of the Venetian dialect.
That dialect presents the characteristics of great softness,
i48 VEiMCE IN THE MIDDLE AGES
and has peculiarities of grammar, vocabulary and
phonetics which deserve to be studied by the rigid
methods of modern philology, beyond the point where
these peculiarities are patent to the ear : for example,
the frequent use of diphthongs ; a slight drag on the tonic
vowels, which lends to the language a curious chant-
like quality {canlilenci), especially observable in the
natives of Ghioggia and Burano ; the accent, now so-
norous, now tender ; the prolonged ultimate syllable, —
which, as time Avent on, came to be truncated in nouns,
adjectives and infmitives, at least in Venice itself though
not in all the adjacent islands of the lagoon ; the
repetition of the adjective instead of the superlative ;
and many another characteristic which need not be
recorded here. We have no earlier examples of the
vernacular in public deeds than some mariegole of
the thirteenth century, and some acts of the Podesta of
Lido Maggiore (i3i2-i3i9).^ Dialect came to be used
in chronicles, and Giovanni Lucio, in his De Regno
Dalmatiae el Croaliae, cites two, also recorded by Fos-
carini,'-^ which are earlier than the fourteenth century.
But the abundant crop of moral and religious poetry
in Lombard and Venetian dialects indicates that it must
have had many cultivators in the lagoons ; it is certain
that the ascetic and didactic poems of Giacomino da
Verona, Bescape, Bonvesin da Riva, Uguccione da
Lodi, were in circulation in Venice itself, for in the
very earliest copies they are found along with anony-
mous poems which betray Venetian dialectical forms. ^
We may go even further : the recent publication of
Venetian texts proves that a varied literature in the
^ See Ascoli'.s profound studies in the y\rrhivlo rjhttohgico Ualiano, Vols. I
(Venezia antica. pp. 448-405), III (244-284) and"lV (356-3G7).
2 Foscarini, Lett. Ven., Lib. II.
* Mussafia, Mon. ant. di dialetti Hal. Vienna, i864.
CULTURE idg
native dialect was flourishing in the lagoons, — we
find, for example, both sermons and romances.
Romances, indeed, are not confined to the hybrid
Franco-Venetian language, but are to be met with in
pure Venetian, though the hybrid held its own for
many years down into the fourteenth century, and the
chief of the Franco-Venetian troubadours, Niccolo da
Verona, flourished in the middle of that century.^
Already from the heart of Italy ncAv and purer forms
of speech and of poetry began to spread over the pe-
ninsula ; and the constant commercial relations between
Tuscany and Venice are sufficient to explain how it
came about that Venetian Avriters were led to imitate
Dante and his early friends and foUoAvers. At Tre-
viso, where the traditions of the troubadours still
survived and flourished, where at the close of the thir-
teenth and the opening of the fourteenth century we
find a university regularly established and constituted, ^
a whole band of able rhymesters on love and politics ^
made its appearance with the fourteenth century. The
leader and master was Niccolo de' Rossi, who com-
posed songs on the philosophy of love in the manner
of Cavalcanti, and political sonnets in which he dreams
of an Italy united under the sceptre of a single sovereign
crowned by the Pontiff.* Along with his own poems
he copied into his note-book, which has come down
to us,^ other poems bearing the names of the most
^ Crescini, Di una data imporlante nella storia della epopea Franco-
Veneta. Venezia, 1896. Di Nicolb da Verona. Yenezia, 1897.
2 Marchesan, L'Vniversita di Treviso nei secoli XIII e XIV. Treviso,
1893.
3 Marchesan, op. cit., Cap. V.
* Sonetti incditi di Mess. Niccolo de' Rossi da Treviso, published by
G. Navone. Roma, 1888.
5 MS. Barberiniano XLV, 47. autograph of Niccolo de' Rossi.
i5o VENICE IN THE MIDDLE AGES
illustrious contemporary Tuscans, — some of whom
were in exile at Venice or in the Veneto,^ — and also
poems by his fellow citizens, such as Gualpertino da
Codcrta and Albcrtino Girologo, or the exiled Vene-
tian, Niccolo Quirini.2 ^\iq illustrious family of
Quirini gave to ^ enice, in the early years of the Tre-
cento, another and far greater poet, Giovanni Quirini,
the friend of Dante, who challenged him in a set of
sonnets. Quirini is worthy to stand at the head of that
noble band of Venetian rhymers which a century later
Leonardo Giustinian pictured in his poem, the Lean-
dreide,^ as being passed in review by the divine
Alighieri. Thanks to recent research, that band is no
longer what it seemed some years ago, a mere list of
names.* Of Quirini alone we now possess upwards of a
hundred compositions,^ among them several exquisite
ballads or danzette, as he calls them, which we might well
suppose to be the work of one of the very best Florentine
poets of the dolce stil nuovo, and certain sonnets in
which he speaks of the Divina Commed'a, or mourns the
poet dead a few weeks after he had been to Venice on
^ It would seem that the Lucchese Pletro Faitinelli spent the years of
his exile at Venice. His poems are in the Barbcrini MS. Pietro, son
of Dante Alighieri, died at Treviso. Fazio degli Uberti probably lived at
Padua ; his father was Podesta there for some years.
2 Marchcsan, op. cit. Canzone d'amore di Mess. N. Quirini, ed. by
L. Biadene. Asolo, 1887. Sei sonetti di Mess. N. Quirini da Venezia, ed.
O. Zenatti. Bologna, 1887.
3 An uncritical edition of the Leandreide saw the light in Poesie di
mille autori inlorno a Dante Alighieri, Vol. II, 1890. For a critical
bibliography see R. Renier in the Giornale Stor. della letl. ilal., Vol. XXV,
1895, pp. 335 et seq.
* Lazzarini, Rimatori Vencziani del secolo XVI. Padova, 1887.
^ Morpurgo, 7?ime inedile di Giovanni Quirini e Antonio da Tempo.
Roma, 1 88 1. Dante Alifjhifri e le nuove rime di Giov. Quirini (BuUet-
tino della Societa Dantesca, Vol. I, fasc. 7). Olio ballate di G. Quirini.
Prate, 1896.
CULTURE i5i
a mission of peace, or defends his memory from the
posthumous attacks of Gecco d'Ascoh. In the Lean-
dreide Quirini is followed by Giovanni Foscarini,
between i35o and iSgo, better known in arms and
in politics than in letters ; by Bonaventura BalTo, a
preaching friar, to whom Petrarch addressed one of
his Senili ; ^ by Antonio dalle Binde, a Paduan by
birth, but living in Venice, Avhere he was hanged from
the loggia of the Ducal Palace for his share in Marino
Falier's conspiracy;^ and by others. JNext Ave come
to a writer of higher poetical claims, Jacobello or
Belletto Gradenigo, who fdled many posts, both in and
outside Venice in the late Trecento. In iSgo, being
then Podesta in Padua, he turned all the four Gospels
into terzets, making a single consecutive poem, — an
enormous labour ; the original manuscript has reached
us, and on the first page Ave have a portrait of the
author in a A^ermilion gOAA^n.^ Gradenigo also tran-
scribed Avitli his OAvn hand a remarkably fine codex of
the Divina Commedia, and challenged in sonnets Fran-
cesco di Vannozzo, a Trevisan at the court of the
Carrarcsi. We have other poets, not included in the
list of the Leandrcide, but not uuAvorthy of record never-
theless : Leonardo Pisani, AAriter of hymns at the time
1 Lazzarini, op. cit., p. ^ii.
2 Ibid., Un vimatore Padorano del Trecento (per iVozze Rossi-Teiss). Ber-
gamo, 1897. Before joining the conspiracy Dalle Binde must have been
a persona grata to the Signory of Venice, for he addressed a sonnet, in per-
sona del Doge, to Antonio da Ferrara, asking news of the Venetian victory at
Algliero (i355).
^ The Codex of the Quattro Evangeli is in the R. Museum at Berlin,
Hamilton Collection, n. 247. For notices of Gradenigo, besides Lazzarini,
op. cit., pp. 45, 5i, see 0. Zenatti in the Rivista critica delta lett. ilal.,
V. 3. Tambellini, II codice dantcsco gradenighiano (in the Propugnatore,
new series. Vol. IV, p. i58). Mazzoni, / qualtro Vangeli, concordali in
una da Jacopo Gradenigo (in the " Atti e Memorie dell' Accad. di Padova,"
Vol. VIII, disp. 3).
i5a VENICE IN THE MIDDLE AGES
of the processions of the Bianchi, whom he and the
Florentine Giovanni Domenichi hrought to Venice ;
and Pietro Natah, author of a catalogue of saints in
Latin and of a poem in Venetian-Italian describing in
terza-rima the visit of Pope Alexander III to Venice.
Natali was Bishop of Jesolo, hut seems to have been a
man of depraved habits, if it be not a calumny that
he caused himself to be conveyed inside a Venetian
nunnery concealed in a box.'
In prose, Fra Paolino, a Minorite, composed and
dedicated to Marino Badoer, Duke of Candia, between
i3i3 and i3i5, the little treatise De Regimine rector is,
wherein, in purest Venetian dialect, he instructs the
father of a family in the virtues private and public.
The work is a theoretical dissertation, packed with the
usual apothegms, and divided in the usual scholastic
fashion ; nevertheless we can read, not without inter-
est, some of its pages which reflect faithfully enough
the habits of the time.
It was in this same dialect employed by Fra Paolino
that the people sang their country, their religion, their
loves. Love was the theme of the young men in the
fields, and Ave have records of whole parties fined for
singing out of season. In the streets one might hear
sonnets satirising the nobility,- or long poems on the
prowess or the astuteness of the Republic ; as in iSyS,
when the State was at war with the Lord of Padua,
and the women of the people going ad putheum pro
1 Lazzarini, Rlmatori, etc., p. 65: "Petrus Natalis episcopus equilinus,
ivit ad Romanam Curiam et volendo paliare culpam suam de excessu quern
commisit faciendo se porlari latentcr ad unum de nostris monasteriis in
uno cofEno conatur dicere aliqua contra dominum Palriarcham."
2 In 1 366 a certain Francesco, a goldsmith, was acquitted of a charge of
having made " aliquam canlionem vel sonetum in obprobrium nobilium
Veneciarum." See Lazzarini, Marino Falicro, p. i84.
CULTURE i53
auriendo aquam would stay per unum pedum ad audien-
dum canere uriam cancionem facia de novo de paduanis}
We have but few examples of these antique popular
songs ; only a fragment here and there has been found
by chance on the back of some notarial parchment or
in some public register, such as the Lamenlo dclla sposa
padovana per la partenza del marito crocialo, discov-
ered on a contract in the archives of the Papafava
family. 2 More important was the discovery in the first
volume of the Deliberazioni of the Maggior Consiglio,^ of
some lines from the Divina Commedia and a sonnet attrib-
uted to Dante, and, side by side with these illustrious
rhymes, some love-songs in purest Venetian, proverbs,
and toper's saws ; * and then, as if to give us a lifelike
picture of the lazy loafer Avho thus scribbled over the
register, Ave get the words " Caro compare, andemo
a conseio a piar ! " and close by — very much to the
point as far as the Councillors of the Republic are
concerned — Ave get the famous sonnet of Guinizelli :
Omo ch'e savio non corre lezero,
ma pensa e guarda quel che vol mesura ;
poi ch'a pensato, reten lo pensero
in fin a tanto ch'el ne I'assecura, etc.
These warning lines recall to mind the verses carved
on a marble seat to the left of the Porta della Carta
as you enter the Ducal Palace ; they are graven on a
tablet held up by two angels :
L'om po' fare die impensar :
e vega quel o' che li p6 incliontrar.
1 Arch, di Stato, Avog. di Comun., Raspe, III, fol. ^i.
' It is a fragment of a Venetian moral or didactic poem. See Lazza-
rini's edition in the Propugnatore, 1888, II, pp. 3o2-3i3.
• Morpurgo, in the Giornale di FUohgia, Vol. IV, p. ao4, n. 3.
* " Chi ben beve hen dorme; Chi ben dorme mal no pensa ; Chi mal no
pensa mal no fa ; Chi mal no fa in Paradiso va ; Ora ben beve, che Paradises
i54 VENICE IN THE MIDDLE AGES
On the piazza some merry-andrew — maybe a friend
of Stecclii and Martellino,^ two well-known buflbons,
who certainly stopped in Venice — would run through
his repertoire of songs, hardly suited for politer ears,^
to the joy of the crowd that hustled about him.
But in the world of letters, what was all this in com-
parison with Tuscany, which already could boast her
three great masters who gave language, style and
spirit to the whole of Italian literature ? In Venice
literary culture was so rare among the middle and
lower classes that even in the fourteenth century a
judge who could not read was not unheard of, — as,
for instance, Michele Pampulo, judge at Caorle, qui
nesciens scribere pro se, scribere rogavit the celebrated
Bertaldo ; ^ and another judge in Chioggia, who in
1 33 1 signed by a mark, signum Petri jervasio judicis
scribere nescieniis .^ This, however, does not mean that
there was not to some extent an intellectual revival ; and
without actually believing that in the thirteenth century
the Trevisan Niccolo Boccasino, who mounted the pon-
tifical throne as Benedict XI, taught grammar to the
children of the Quirini family, while living in Venice,
it is quite certain that in this same century public read-
ings in holy wTit were instituted ; the sublime or the
difficult passages of Scripture {ctUiora et subtiliora) were
explained in Latin, while the passages referring to con-
duct^ Avere expounded in the vernacular ; while philos-
ophy, especially the physics, metaphysics and ethics of
Aristotle, were also made the subject of close study.
^ See Decameron, Giorn. II, ISov. i and F. Sacchetti, ISov. 144. and the
Rivista critica delta led. ital., IV, 167.
2 Casini, Rime ined. del sec. XIII e XIV., cit.
8 Besta, Jacopo Bertaldo, cit., p. 122.
* Arch, di Slalo, Proc. di San Marco, Misti, B. 3i5.
' Sanudo Torsello, Seer. Fidel. Crucis, L. Ill, P. XV, c. 33. >
CULTURE i55
The great scries of diplomatic reports, a splendid
monument of Venetian political wisdom, begins in the
year 1268, when a rule was laid down requiring every
ambassador, on his return from his mission, to present
to the Senate a memorandum of what he had seen and
observed during his service abroad. The earlier of
these rclazioni have been lost ; the later only are pre-
served in the Archivio ; but it was the Venetian envoys
of the middle ages who laid down the lines upon which
Venetian diplomats of a later day proceeded in the dis-
charge of their task. These men knew and observed
the larger part of the world, and present their picture
of it with a depth of insight and a vigour of form never
surpassed. We have a further proof that the Venetian
aristocracy was cultured as a class in the large number
of them who, thanks to their fame for wisdom, were
called upon to fill the post of Podesta in the various
cities of Italy. ^ Indeed the number grew so great that
the Republic was compelled to pass a law ^ by which
Venetians were forbidden to accept a Podestaria, or, as
they said, anclar in signoria, if there was a possibility
that their services might be required by the State.
Little by little the study of law, philosophy and
letters began to take root. The University of Padua,
founded in the thirteenth century,^ was fostered by
the Carraresi, enlarged and protected by the Republic,
and became a centre of learning whence a new light was
shed over the intellectual world when, in i/io5, Padua
^ The earliest instance of a Venetian patrician acting as magistrate in
a foreign city belongs to the year 1186, when Matteo Quirini was pra;tor
at Treviso. Burchellati, Commcntor'mm Mem. Hist. Trev., L. Ill, p. 547-
^ The law was repealed in 1277.
2 In 1222 Bishop Giordano opened this university, and called to it the
famous Dominican Albertus Magnus ; Gosia the Bolognese lectured on
law. Fa,ccio\&i\, Fasti Cymnasii Patavci i. Patav., 1757.
i56 VENICE IN THE MIDDLE AGES
passed under the dominion of Venice. The city of
Venice itself also summoned teachers of renown, such
as Donato del Casentino and Giovanni di Conversino
da Ravenna ; and Domenico Lconi, Marco Giorgi the
Servite, Alberto Alberli, Federico Renoldo, and Nic-
colo Muzio ^ Avrole on theology and philosophy. Nor
were legal studies neglected during the first half of the
thirteenth century. Pantaleone Giustinian, parish priest
of San Polo, Tomaso Centranico, Giovanni Michiel, and
Stefano Badoaro Avere appointed by the Doge Jacopo
Tiepolo to codify the statutes. In the second half of
the same century the Doge Rinieri Zeno named a com-
mission composed of Pietro Badoaro, Marino Dandolo,
and Niccolo Quirini to revise the nautical code. Jacopo
Bertaldo wrote on jurisprudence, and in the schools of
Venice w^ere to be found such famous teachers as Sera-
fino da Bologna (i3o2) and Uberto di Cesena (i3i8).^
In 1 342 Andrea Dandolo, who came under the influence
of the celebrated Cremonese jurist Riccardo Malombra,^
opens the list of noble Venetians who took their doctor's
degree.^ Dandolo Avas rapidly followed by the Doges
Giovanni Gradenigo and Marco Cornaro, who dis-
tinguished themselves in the faculty of laAv, as did
other patricians : for example, Simone Moro and Marco
Pesaro in the thirteenth century ; and in the next cen-
tury Niccolo Morosini, Avho lectured on the decretals at
Bologna, Padua and Parma ; Piero Dandolo and Piero
Morosini, who read canon laws the first at Bologna, the
second at Padua ; Antonio Bernardo, who in Padua
held the chair of civil law ; — all of them brilliant
^ Agostini, Scrittori Venez. cit., Pref. XLIV, XLV,
2 Agostini, op. loc. cit.
• Besta, Jacopo Bertaldo, p. ii5.
* Sandi, III, a6i.
CULTURE i57
examples of those profound studies which went to ren-
der the Venetian patriciate eminent in pohtical science,
of which Marin Sanudo Torsello's admirable work is so
striking a monument.
The government paid more and more attention to
public instruction ; to the humble dominies (magistris-
coli) of the earlier days succeeded the readers, the
teachers of the abacus and of grammar, the rectors and
doctors of the schools in the various quarters of the
city.^ Not only did foreign professors receive the citi-
zenship, but students were granted subsidies from the
public purse : as, for example, Fra Francesco di San
Tommaso, to allow him to go to the University of
Perugia (i333) ; Fra Marino Eremitano, to go to
Paris, in order that efficiatur sapientissimus teologus
quod est honor civitatis nostre (i334) ; Fra Michele
Neri, come e cos lame, also to go to Paris to study
(i35o).^ Private persons, too, endoAved scholarships
for the benefit of the studious, or left libraries of vol-
umes in costly leather bindings {cohoperti de corio).
The patrician Giacomo Gradenigo (i34o) bequeathed
by will a Bible estimated at eighty golden ducats and a
Seneca Avorth forty ; in the estate of the Doge Lorenzo
Celsi (i365) there is mentioned unum librum de Dante
in quo sunt toti tria libri.^ But these students of science
1 Cecchelti (Libri,'scuole, etc., in the Arch. Ven., T. XXXII, p. 353)
has gathered from documents a number of names of masters, teachers,
scholars, and schools. In February, 1087, we find " Domenico del fu
Domenico, magistriscolo di San Gregorio." Later on, Fra Giordano, teacher
to the Knights Templars (1249); Master Corbattino, "lector gramaticae
S. Pauli" (i3o5); Saracinus, "qui legit leges in canonica" (i3o8);
" Nicolaus doctor scolarium Sancti Cassiani " (i3i4) ; " Paolo, doctor in the
school at San Fantino " (i33o); "Antonius Calaber magister gramatice"
(1387), etc.
2 Ibid, ibid., p. 3^3. His subsidy was quindlci ducati d'oro.
' Cecchelti, loc. cit., pp. 332, 345.
i58 VENICE IN THE MIDDLE AGES
and of letters were not always peaceful citizens. On
March 29, 1372, a certain Bartolonico di Firenzc, who
regebal scolas in co/ilrata S. Cassia/d, having quarrelled
in the campo Sant' Apollinarc with a colleague named
Forahosco, (jui docebat abacum, was stabhed, A cer-
tain Gerardo, a Roman, rector of the school at Sant'
Apollinare, was summoned as a witness ; all he could
say was that while he was busy teaching his class [dum
esset in catedia docens scolares suos), he heard quasdam
voces in modum qaerele} Grammar, la gvamnialica,
indeed fdled so large a place in men's minds, that it
even became a woman's Christian name,^ and exercised
so strong an influence upon the temper that it was some-
times the cause of broils even among the people. One
evening in July, 1867, a certain Hermann, a German
servant, found himself at Santa Maria Maddalena, near
the house of Andriolo the silk-mercer ; he saw Andriolo
himself sitting at a window reading a book. The
German, qui sciebat bene gramaticam, began to argue
with Andriolo about his favourite study, and the dis-
cussion grew so hot that the too learned townsfolk ended
in a slanging match, contendere cum verbis injuriosis.^
The study of hygiene also went hand in hand Avith the
study of physical science, and Venetian regulations as
regards medicine are monuments of prudence. The by-
laws of the Doctors and Apothecaries * date from April,
1258, and precede the Florentine statutes by half a
century. Tlie regulations are admirable, considering
^ Cecchetti, loc. cit., p. 355.
^ Gramatica uxor Petri Spatarii S. Geminiani (anno i342).
* Cecchetti, loc. cit.
* Arch, di Stato, Giustizia Vecchia, B. I, reg. I. These statutes were
published first by Alvisi (i858), then by Foucard (iSSg). They have been
republished by Monticolo in the Capitolari dclle arli Vene:., pp. i45, 109.
Mouticolo does not give aprile, 1258, as the absolutely certain date for the
statutes of the apothecaries.
CULTURE i59
that at that date the science of medicine was a prey
to the most extravagant superstitions, so that we find
Pietro d'Abano bcHeving in the influence of the con-
stellations, and teaching that bleeding Avas salutary
only during the second quarter of the moon. The
guild of doctors and apothecaries was governed by a
prior and two consuls ; it included physicians (^fisici)
and surgeons [cirologi da piaghe), approved by the Col-
legio and by a grace passed in the Maggior Consiglio.
Several of these were stipendiaries of the government ; ^
towards the close of the Trecento they summoned to
Venice the two famous Bolognese doctors, Taddeo and
Mondino, to teach medicine. ^ Physicians and surgeons
had their rooms for consultations and for cure ; the
barber-surgeons were allowed to keep their shops open
during the closing hours at Rialto.^ In this earliest
dawn of the science Ave come across the names of some
physicians Avho achieved fame, — Barnaba Dardano,
and Giovanni and Girolamo, Venetians, who taught in
the University of Bologna.* Surgery was not left in
the hands of quacks ; a laAv of 1821 provided that no
one might practise unless he had been examined by
some university and had received his doctor's degree.^
In 1826 a law compelled both physicians and surgeons
to attend a course of anatomy at least once a year ; ^
1 We often find the Maggior Consiglio voting to summon to Venice ad
salarium famous physicians, and even agreeing to pay the fictus domus.
^ Alvisi, Considerazioni sull' arte medica di Ven. dal X al XV sec.
Venezia, i858.
3 Cecchelti, La Medicina in Venezia nel 1300 {Arch. Ven., T. XXV,
pp. 36i et seq.).
* Agostini, op. cit., Pref., p. L.
5 Romanin, II, 897, III, 363.
^ Dissection was carried on at various places ; in the church of Saa
Paternian, the Hospital of SS. Pietro e Paolo, the convent of the Car-
melites, the convent of Santo Stefano, the Frari, the school of San Teodoro,
and in some private houses.
i6o VEMGE IN THE MIDDLE AGES
another laAv of i3G8 required them to meet once a
month for the discussion of cases. The rules imposed
on doctors Averc admirable ; they were required to
swear that they would not protract sickness, and that
they would supervise the apothecaries hut have no
share in the profits, non habere societalem cum aliqiio
apotecario. The apothecaries, on the other hand, were
bound to make up prescriptions for electuaries, syrups,
unguents, and plasters well and honestly. ^ The charge
for prescriptions might not amount to more than ten
soldi, and the prescriptions were open to examinaloribus
vel examinatori qui per tempora eruril a justiciariis con-
stituti. The government put down adulteration by
burning the condemned goods in public at Rialto and
by inflicting heavy fines. The druggists had to take
an oath that they would carry on their business legaliler
in omnia electuaria sirupos impiperatos et omnes confec-
tiones et omnia alia ad suam artem spectantia.^
The arts that help to brighten life were by no means
neglected in Venice, and music above all Avas held in
honour and esteem. It had a high tradition among the
refugees who settled in the lagoons, for Saint Jerome in
the Gronicon of Eusebius, speaking of Aquileia in 879,
declares that the choir clergy of that city Avere like the
chorus of the blessed in heaven : Aquileienses clerici
quasi chorus heatorum habentur.^ In a growing city
hke \enice joyous events were celebiated Avith music ;
^ Spices and drugs, like pepper and ginger, enter freely into prescrip-
tions of the time. Sugar was used in cases of lung affection. It was called
rosato when flavoured with rose water, violato when flavoured with
violets.
2 Laws of the thirteenth and fourteenth century. Cfr. Dian, Cenni
stor. sulla Farm. Veneta, P. I, p. 3o. Venezia, 1900.
^ Chroniconim Euseh'd Pamphilt, inlerpvete Hicronimo (in Mai, Scriptorum
Veterum nova coUectio, Tom. VIII, L. II, p. 4o5. Roma, i833).
CULTURE i6i
for instance, on the reception of the body of San
Marco in 828, when the people came out Avith dance
and song, so that one heard tola urbs tripadiis et
caniis personare} The Cronaca AUinate, recording
the entry of some great personage, and mentioning
some of the customs of the time, says : Cum campanis,
cantihus et citharis erant praesiollenies . We have, too,
an old tradition that Leonardo Veniero, abbot of the
monastery of San Giorgio from ii56 to 1194,^ was a
master of music and of song. In the fourteenth cen-
tury, among other festivals for the recovery of Candia
there was a great competition between the best musi-
cians in Italy, and Francesco Landino, surnamed degli
organi or il Cieco, the most famous composer and
singer of ballads and madrigals, carried off the prize.
The contest, over which the Doge Lorenzo Celsi
presided, accompanied by Petrarch and by Pietro
Lusignano, King of Cyprus, included poetical and
musical compositions, both choral and instrumental ;
each author executed his own piece and accompanied
it on the various instruments of the time.^ A well-
known illuminated song-book, in the Laurentiana at
Florence,* has the portrait of the illustrious author
and the words and music of many of his compositions,
among them, no doubt, the ones he wrote for the
Venice competition. Here is an example:
Partesi con dolore
El corpo, vita mia,
E nella tua balia
1 Sabellici, Reram Venelarum, Dec. I, Lib, II. Venetiis, 1^87.
- See Zappert, Vita Beati Petri Acotanli. Also Gicogna, her., V, 628.
3 Roberti, Due gari musicali a Venezia {Rivista Contemporanea, 1888,
I. 61. 68).
* Autori diversi Madrigali, Cactie e Ballaie. Med. Pal. d. 37-
VOL. II II
i62 VENICE IN THE MIDDLE AGES
Riman ranima c '1 core,
Piangono gli occliI lenti
Che, du tc dilungatl,
Non isperan contcnti
Viver, ma tormentali.
Music in Venice was assisted by the soft dialect and
the character of the place, the very home of pleasure.
It may seem strange that a people wholly bent on
facing the realities of life and caring little or nothing for
poetry, should have taken such delight in the delicate
art of music. Yet the very earliest records assure us
that music was eagerly cultivated, and that musical
instruments were numerous and very skilfully made.
From the island of S. Giorgio in Alga came Priest
Giorgio of Venice, who about 8i5 learned from the
Greeks the art of organ building, and became so
expert that he offered to build an organ mirifica arte ^
for Louis the Pious in the church of Aix-la-Chapelle.
We hear, too, of other kinds of musical instruments,
the Rigabello, the Torsello, the Ninfale. What the
Rigabello was like we do not know ; it appeared on the
tomb of Lorenzo Celzi (d. i365) in the church of
the Celestia, destroyed by fire ; nor are we any better
off as regards the Torsello, which may have been a kind
of lyre. On the other hand, a bas-relief of the fifteenth
century, which was on the facade of S. Maria della
Carita and is now in the sacristy of the Salute, gives
us the form of the Ninfale ; it was a little organ slung
round the shoulders of the player, Avho touched the
^ " Georgius quidam presbyter de Venetia, cum Baldoino comite Foroi-
uliense veniens, organumydrailicum Aquisgrani fecit." Enhardi Fuldcnsis,
Annales (Pertz, Mon. Ger. Hist., I, 35o). We get many forms of ancient
musical instruments in Jacobello del Flore's Coronation of the Virgin
The wind instruments most in use were the trumpet, the pipe, and the fife
Cecchelti, Appunti sugli slrumenti musicali, etc. (Arch. Veneto, T. XXXV,
pp. 74 et seq.).
^^^^
MA'
■ e ■
f
A — Angels lioldiii^' in tlioir liaiuls tlie orpan called " ^linl'a!e " in
a bas-relief of the \V ccnturv. (Sacristry of S. Maria della Salute.)
B — (iuariiio \ eronese — medal of Matteo da Pasli. G — Gaspariuo
Barzizza — from a print of M. I'ittori
CULTURE i63
notes with his left hand while the right worked a pair
of small bellows. In the year i3oo the Republic es-
tablished the Cappella Musicale, and among tlie papers
of the Procuratori di San Marco which still exist, we
immediately find notices of organs. The first is dated
June 8, i3i6, and refers to a Maestro Zuchcto, re-
storer of the organ of San Marco, which was rebuilt
in 1 364 by Master Giacobello.^ Then in the fourteenth
century we come across other organists and organ-
builders, such as Francesco da Pesaro, pulsaior or-
ganorum ecclesie Santi Marci, a Domenico Datolo, a
Luciano ab organis, a priest Andrea da San Silvcstro,
organist at a salary of thirty ducats, a Giovanni Taglia-
pietra with a stipend of twenty-eight ducats including
the blower, menator organorum, two Servile friars,
Antonio and Filippino, and a Fra Giacomo of the Eremi-
tani.^ There were also women organists, and Ave hear,
in June, :34i, of a Regina, sonatrix, uxor Pizoli,
who is at law Avith a certain Dardo Cauco ^ about an
organ left in her charge. Organs Avere played in boats
on the water and in the small canals, to accompany
the aubades, mattinate or albate, as they were called.
Joyous bands of young men in gondolas were wont to
invoke a blessing on their loves by saluting the rising
sun to the strains of music and of song accompanied by
the organ, cum organis causa matutinandl } The love of
the graceful arts, Avhich Avas ever on the increase, proves
that Venetian culture had already long left behind the
^ Caffi, Si. Delia musica sacra nella gia Cappella ducale di S. Marco, etc.,
p. 53. Venezia, i854.
^ Cecchetti, Appunli sugli strumenti mus., etc. (Arch. Veneto, T. XXX,
p. 74)-
' Archivio Veneto, T. XXXIV, p. 897.
* See the quotations by Cecchetti on p. 5a, T. XXI of the Archivio
Veneto.
i64 VENICE IN THE MIDDLE AGES
darkness of the middle ages, and it is difTicult for us to
understand the accusations of otiiisa et hestiale ignoranza
launched by Dante against the Venetians, were it not
certain that his letter which contains the attack is apocry-
phal and Avas in all probability written by Doni him-
self.i In this letter Dante, who was ambassador from
Guido da Polenta, says that, on presenting himself
before the Maggior Consiglio, opening his discourse in
Latin, he was begged ccrcare alcuno interprele o di mutar
favella, and that he, partly in amazement and partly
in contempt, concluded his speech in Italian, though
the Venetian councillors understood but little even of
that. The conduct of Petrarch would go to prove these
charges unjust. He was devoted to Venice, and left her
a portion of his library ; ^ he found in Venice una elelta
di amici, di cui non so se siavi migliore, among them
being the Doge Andrea Dandolo and the Grand Chan-
cellor Benintendi dei Piavegnani. And when we reach
the threshold of the ncAv culture, Avhen in the fifteenth
century the revival of learning swept over the peninsula,
^ The letter, addressed to Guido da Polenta and subscribed L'umil servo
vostro Dante Alicjhicri Fiorenlino, was published by Anton Francesco Doni in
his Prose antiche di Dante, Petrarca et Boccaccio ct di molti aliri virtuosi
ingegni. Firenze, i547.
2 This donation was the beginning of the Public Library. But the
larger part of Petrarch's books have disappeared. In i635 the Benedictine
Father Forlunato Olmo found in a room over the great door of San Marco
a certain number of books. He thought he recognised some as belonging
to Petrarch, and sent a list to Tomasiui, who published it in his Petrarcha
Redivivus (Patavii, i635, pp. 85 et seq.). Those codices passed to the Mar-
ciana, and Antonmaria Zanetti described them in the appendix to his Lat.
et Ilal. D. Miirci Bibliotlu'ca, pp. 207 etseq. Among the supposed Petrarcan
codices the most interesting is the Lexicon Gumanicum, which has some
verses in the vulgar, attributed to Petrarch. But De Nolhac, after care-
fully examining the codex, absolutely denies that there is any of Petrarch's
writing in it; whereas he thinks that he has found the original of the
Seniles, dictated by Petrarch, and here and there annotated in his own hand.
(>\Ki)iNAi. Bessarione. (Painting of the \\ I centur}
Library of S. Marco)
CULTURE i65
we do not find that the Venetians, already so rich in
practical experience, were lacking erudition.
We have a sure proof that letters had begun to live
and to flourish at Venice in the fact that distinguished
humanists, like Pier Paolo Yergerio, born at Capo
d'Istria about 1870, came and settled and made his first
studies there; that about 1^07 Gasparino da Barzizza
taught there ; that Guarino of Verona, the apostle of
Greek and Latin culture, held a chair there from i/ii4
to 1419 ; that Vittorino Rambaldonc, better known
under the name of his native city Feltre, the true
founder of modern education, opened a school there
between i4i4 and i4i8.i And to these we must add
Giampietro da Lucca, translator of certain works of
Petrarch ; Francesco and Giovanni Mario Filelfo, Paolo
della Pergola and Perleoni. To Venice, too, before the
fall of Constantinople in i453, came learned Greeks:
Leonzio Pilatus,^ on his way to Avignon, and Manuel
Chrysolaras and Gemistos Plethon. From i433 to
1437 Giorgio Trapezuntius taught in Venice. Later on,
when Constantinople fell, many a Greek refound his lost
fatherland in Venice and lent powerful aid to the dif-
fusion of Greek culture. First among these we must
reckon Cardinal Bcssarion, avIio in i468 presented
his precious manuscripts to the Republic. They
were deposited in the Ducal Palace until effect could
be given to the resolution of i422 for the creation
of a public library. Bcssarion himself, in his deed
of gift addressed to the Doge Cristoforo Moro, declares
that he desires to intrust his manuscripts to the city
which was the meeting-place of the learned of all
^ Gerini, Gli scrittoi-i pedagojici Hal. del sec. XV, pp. lO, 42, 270.
Torino, 1896.
^ Zenatli, Dante e Firenze, pp. 377-380. Firenze, igoS.
iCG VENICE IN THE MIDDLE AGES
nations, and where the Greek fugitives had found a
second Byzantium.
Under such incentives culture went hand in hand
with martial valour and commercial sagacity, and,
thanks chielly to the clergy and tlie nobility, the study
of letters grew apace. Lorenzo Giustinian (b. i38o, d.
i4G5), appointed the first Patriarch of Venice, when, in
1^5 1, the title and the jurisdiction of the. Patriarchs of
Grado were transferred to the Bishop of Castello, was
born not only to honour and bless his native land by
his virtue and his charity, which won him, while still
living, the veneration due to a saint, but to his religious
fervour he added a profundity of learning displayed
in his various commentaries on Holy Writ ; and before
we reach the ncAV era we find three Venetian pre-
lates devoted to philosophy and letters, and eventually
reaching the supreme honours of the Tiara : Angelo
Correr, as Gregory XII (i4o6) ; Gabriele Condulmer,
as Eugenius IV (i43i), and Pietro Barbo, as Paul II
(i/i6A).
Tentative at first, but varied and copious, was the
development of Venetian culture ; and between the
close of the fourteenth and the opening of the sixteenth
century many were the learned men to whom Venice
gave birth. Fantino Dandolo taught Roman law at
Padua ; Marco Lippomano, Antonio Dandolo, Agostino
Michiel, Zaccaria Trevisan, Niccolb Contarini, were all
famous jurists. Barbone Morosini is styled by Biondo
jure consullissimus, and Lodovico Foscarini c/iiarissimo
giurisperiio by Pius 11. Not only at Padua, where the
atmosphere of study levelled, at least in appearance, all
social distinctions, but also in Venice herself, patricians
of the highest rank and prestige taught in public.
About the middle of the fifteenth century Domenico
CULTURE 167
Bragadin held a chair, and almost at the same time
Lauro Quirini expounded the ethics of Aristotle to the
young nohility, who flocked to his classes in such
numhers that he was forced to deliver his lectures in
the Merchants' Hall at Rialto.^ Down to the middle
of the fifteenth century we come across many ecclesi-
astics who, though raised to high rank, continued to
cultivate and protect letters : Lodovico Barbo, Tomaso
Tomasin, Paruta, Fantino Dandolo, Piero dal Monte,
Lodovico and Pietro Donato, Jacopo Zeno, Fantino
Yalaresso, Gregorio Correr, Lorenzo Zane, Domenico
Domenichi, and the learned Ermolao Barbaro (b. i4io).
Bishop of Verona. In the leisure left them from public
cares not a few nobles dedicated themselves to philoso-
phy and to letters, collected manuscripts, and kept up a
literary correspondence with the most distinguished
humanists ; such were the two Zaccaria Trevisan, Nic-
colo and Paolo Barbo, Lodovico Foscarini, Francesco
Contarini, Andrea Zulian, Zaccaria Barbaro, Bernardo
Giustinian, Marco Lippomano, the Barbarigo, and the
Avell-known Pietro Tomasi who is so frequently lauded
in humanistic correspondence as a collector and student
of manuscripts and also as a physician. Among the
many patricians who by their studies lent distinction to
their country, the austere figure of Francesco Barbaro
(1398-1454), a fine Latinist and Grecian, who filled
numerous embassies, governed many cities of the main-
land, held Brescia against Piccinino, and finally reached
the dignity of Procurator of San Marco, stands out in
impressive vigour and activity.^ The magistrate, the
^ Agostini, op. cit., T. I, p. 200.
2 Cfr. Quirini, A. M., Diatriba praeliminar'is ad Fiancisci Barbari el
aliorum ad ipsum epistolae. Brixiae, 1741- Sabbadini, Centotrenta letlere
inedite di F. Barbaro. Salerno, i884. Wilmanns, in Gottingische gelehrte
Anzejgen, i884, n. 21.
i68 VENICE IN THE MIDDLE AGES
soldier, the merchant, the scholar, the artist were
frequently united in one person. Take, for example,
Carlo Zeno, victor of the Genoese, who opened his
house at Sant' Agostino to all persons of culture.
Another patrician who coupled with the science of
government the most exquisite artistic taste, who
united the practical common sense of daily life with the
pursuit of ideal beauty, Avas Marino Contarini, to
whom we owe the conception of the Ca' d'oro, one of
the most graceful architectural monuments of the Avorld.
The same hand that signed commercial contracts des-
tined to bring in untold wealth, or subscribed statutes
which displayed the most striking political acumen,
was often able to design the graceful foliations of a
capital. Jacopo Foscari, the luckless son of the Doge,
collector of pictures, statues, armour, acquired the repu-
tation of a munificent patron of the arts, and was himself
so nobly bred to letters that Lauro Quirini addresses
him thus: " tu vir doctrina atque optimarum litterarum
studiis eruditus."
Side by side with this literature of the scholarly classic
school, ran a fresh stream of popular poetry, usually
set to music. From the boats that glided over lagoon
or canal rose the joyous sound of song ; the immemo-
rial, pungent spirit of the Venetian populace escaped
into the open, that there it might indulge itself in a
realism tempered by a sense of beauty, and not without
a certain malicious smile. This popular poetry is repre-
sented in Venice by Leonardo Giustinian (b. i388), a
learned humanist in Avhom erudition had not blunted
the sensitiveness to natural beauty and a love for the
genuine native manifestations of the popular muse.^ A
^ The Canzonelte of Giustinian have lately been republished by B. Wiese,
op. cit., and by G. Morpurgo (Canzonelte e Strambotti in un codice Veneto
I'dHTHMT of the Beato Lorenzo Giusliniani
Ijv (iriiiilc Bellini. (At the Academy)
CULTURE 169
master of music no less than of verse, Glustinlan created
a new style in song and new metres for his poems,
called after him giusliniane ; they at once met with
popular favour, and soon spread all over the peninsula,
first in numerous manuscript copies and then in
edition after edition as soon as printing was invented.
He wrote the music for his own songs, and took the
keenest delight in the art to which, as he himself
says, " mi trae la natura stessa, che mi guido per facile
via al pieno possesso di ogni genere di musica." In
these ballate and canzonelte Giustinian, like Poliziano
and Lorenzo il Magnifico later on in Florence, repro-
duces, while refining, the whole repertoire of love-songs
so dear to the people ; and by a vivid and sometimes
even suggestive realism, hut always with a fine artistic
sense, he represents the entire gamut of lovers'
quarrels, the quaintest dialogues between mother and
marriageable maid, betAveen mistress and servants who
have been playing the pimp — scenes drawn from the
life and of convincing realism. This quick and lively
poet was a friend of Traversari, of Poggio, of Filelfo,
and fdled many high offices, among them the Procu-
ratorship of San Marco. A letter of his addressed to
Guarino of Verona, Avho was his master, gives us a
pleasant picture of the simple life he led at Murano, the
little island /)a/t7a e bella}
del sec. XV. Firenze, i883). These publications have been supplemented
by Wiese himself and by Mazzoni. For Giustinian's place in the litera-
ture of his day see Rossi, II Qualtrocenlo. Milano, Vallardi. V. Cian, while
illustrating un codice ignoto di rime volgari apparteniUe a B. Castiglione.
Torino, 1900 (Giornale stor. ddla lett. itai, XXXIV-XXXV) has intro-
duced us to a whole group of popular poetry by Giustinian and others.
1 Published by R. Sabbadini in the Giornale slor. d. lett. ital.. Vol. X,
pp. 36a et seq., and more accurately by F. Kovati and G. Lafaye in their
Anthologie, pp. 35 et seq.
I70 VENICE IN THE MIDDLE AGES
The poetry of Alighierl, which illuminates the whole
of his own century, found in the following century
admirers in the lagoons as Avell. As a proof that Italy's
greatest poet was studied in Venice, we may mention
that Fra Matleo Ronto translated the Divina Commedia
into Latin, and that Paolo Alberti, a Scrvite, wrote
an ExpUcatio Danlis Aligerii} Bernardo Giustinian
(b. i4o8), son of Leonardo, wrote his Storia di Venezia
in Latin, the first example of a serious and Avell-ordered
historical work on the Republic ; but the chronicles
of Venetian proAvess compiled by Pietro Giustinian, by
Filippo de' Domenichi, by Girolamo Minotto, by Pietro
Dolfin, Donato's Vite del Dogi, and Bertucci Venier's
Annali, are compiled in a hybrid Venetian-Italian.
Although it Avould seem that culture was still the
privilege of the upper classes, for almost all these
writers we have mentioned were of noble birth, and
many of them clerics, still knowledge was beginning to
spread, to break out from the narrow confines, and to
penetrate the university, the natural home and guardian
of liberal learning. If we look closely, we shall find
signs of this dawning freedom which was to waken
the human spirit to new life. When, in lAyo, Pope
Paul II, of the patrician family of Barbo, granted the
privileges of a university to the CoUegio delle Arti lib-
erali, founded about a century earlier, and named as ex
officio Chancellor the parish priest of San Giovanni in
Bragora, where he himself had been born, the Vene-
tian government refused to allow the new university to
confer degrees in other faculties save those of philoso-
phy and medicine ^ ; degrees in law and theology were
1 Agoslini, op. cit., T. II, p. 61 1.
2 The diplomas of the Venetian university had a seal of red wax in-
closed in a metal box. The seal represented Saint Luke seated in his chair,
CULTURE 171
reserved to the University of Padua. It is said that
the reason for this resolution Avas a desire to prevent
loss or injury to Padua, but it is not too much to
heheve that the real intention was to withdraw from
ecclesiastical influence the studies most nearly con-
nected with questions of government.
Venice, which proved her intellectual vitality in so
many noble ways, was the place where the discovery of
printing met with the greatest success. Without em-
barking on vain speculations as to the pretended inven-
tion of printing by Panfilo Castaldi of Feltre, it is quite
certain that at the time when Gutenberg in Germany
invented the art of printing with movable characters,
Venice already knew the use of blocks, and was print-
ing choir-books, missals, figures of saints, playing-cards
— carie da zugar e figure depente slampide, as we read
in the mariegola of the Painters' Guild, dated iklxi.
In all probability the blocks for the Passio D. N. Jesa
Christi, usually thought to be the earliest instance of
xylography in Italy, ^ were cut in Venice about the
year i4oo. It would seem that in Venice too, before
1^70, the priest Clemente da Padova had already, by
himself and Avithout direct teaching from anyone else,
discovered the secret of movable types ; 2 in any case
Venice was the city where the new art reached the
height of beauty and perfection, where the government
encouraged and protected it by wise laws and privileges,
with the bull crouching at his feet. In the exergue was the lion of San
Marco and the legend " Sigillum CoUegii Fisicorum Yenetiarum."
^ Prince d'Essling, due de Rivoli, Le premier livre ocylographique ilalien
imprime a Ven. vers llibO. Paris, igoS. This opinion is comhated, but
without sufficient reason, by Bouchot (La Revae de I' Art. Paris, December
10, igoS). Bouchot thinks the blocks are the work of a ISorthern artist.
2 Marzi, Giovanni Gutenberg e I'llalia, p. 91 {Bibliofilia, Vol. II, Disp.
3, 4> 5. Anno 1900).
172 VENICE IN THE MIDDLE AGES
where foreign printers met with the readiest welcome.^
John of Speyer settled in Venice, perhaps in i/iSy,'
and in 14G9 obtained from the Doge a monopoly in
typography for five years. ^ That same year he printed
the Epistolae ad familiares of Cicero, and immediately
afterwards Pliny's Natural History ; at his death, in
1/470, he left incomplete the De Civitate Dei of Saint
Augustine. His brother Vindelin continued the work
with remarkable activity down to 1/177, publishing as
many as sixty-eight editions.* In 1^70 a no less dis-
tinguished artificer, Nicholas Jenson, established himself
in Venice. He came from Sommevoir in Champagne,
and was hailed by his contemporaries as a prince in his
art ; he was die-sinker in the mint at Tours, and Avas
sent by Charles VII to Mainz to discover the secret of
the new invention, but instead of returning to France
he came to Venice. Other great printers of the last
twenty years of the Quattrocento, who worked in
Venice, are Christopher Valdarfer of Ratisbon (1470),
John of Cologne, Adam Rot, Clementino da Padova,
Renner of Heilbrunn (1/171), Antonio of Bologna, Leo-
nard of Basel, Christoforo Arnoldo, Gabriele da Tre-
viso, Leonard Aurl (1471), Filippo Pincio, Sale da
1 Castellani, La stampa in Venezia dalla sua origine alia morte di Aldo
Manuzio seniore. Venezia, 1889.
* Ludwig, Conlratli fra lo stampador Zuan di colonia e i saoi soci.
Venezia, 1901. John of Spcycr married Paula, daughter of an Antonio
da Messina — not, as Ludwig supposes, the famous Antonello da Messina,
born probably in i43o, and who only came to Venice about i^~5 and then
not for long. La Corte-Cailler, Antonello da Messina. Messina, igo.'i.
* " Per annos quinque . . . nemo omnino sit qui velit possit valeat
audeatve excrccre diclam artcm imprimendorura librorum in hac inclyla
civitate Venetiarum ct dislrictu suo, nisi ipse magister Johanes," etc. Arch,
di Stato, Collegio, Notatorio, 19, p. 55.
* Marzi, / tipografi icdeschi in Italia durante il sec. XI (in the Festschrift
zum fiinfhundertj'dhrigen Gcburtstage von J. Gutenberg, by 0. Harlwig.
Leipzig, 1900).
L-'U-^^ti^'St'^.M&iiiSireJuir.-iiir.i/^^
CULTURE 173
Padova, Mark of Heilbrunn, Nicholas of Frankfort,
Jacopo Rossi, a Frenchman (1/473), the priest Lorenzo
d'Aquila (1A7A), John Manthen, Bernard Pic tor, Peter
Loslein, Erard Ratdolt (1470), Antonio Bartolomeo
da Bologna, Marco de Conti, Gerardo Alessandrino,
Andrea da Cataro, John of Leoviller (1476), Jacopo di
Luna, Domenico Siliprandi, Guerino, Guglielmo Gallo,
Bruno Valla, Tomaso da Alessandria, Adam of Rotwil,
Andrea da Corona, Theodor of Reynsburg, Rinaldo da
Nimega (1477), Bonino Bonini, Marino Saraceno,
Antonello Moneta, Bernardino Celere di Lovere (1478),
Georg Walch, Bartolomeo de Blavis da Alessandria,
Nicola Girardengo da Novi.^ The first Venetian
printer was Filippo di Pietro (1472).^
Such varied activity of intellect and of industry
in Venice destroys all confidence in the hostile
remarks of Poggio Bracciolini in his Dialogue De
Nobilitate, in which he accuses the Venetian patriciate
of ignorance and worse. ^ Poggio himself sought to
palliate his attack, hut that did not suffice to allay the
just resentment of the Venetians, who found a worthy
mouthpiece in Lauro Quirini.* Quirini was fully
justified in asserting that the Venetian nobility possessed
every title to respect, even if measured by the standard
1 Tessler, Stampatori in Venezia nel sec. XV {Arch. Veneto, T. XXXIV,
p. 193).
2 Castellani, L'arte della stampa nel Rin. Ital. Venezia, Ongania, 1894.
' Poggio, Opera, op. cit., p, 67.
* Poggio charges the Venetians with being factious, and alleges that
they admitted scoundrels to the nobility. We do not possess Quirini's
original reply, which was probably vigorous, more vigorous than his
polite letter to the physician Tomasi (see Anecdota Vencta nunc primum collecla
ac nolis illuslrata studio fr. Joa. Bapt. M. Contareni. Venetiis, 1757, pp.
65 et seq.) in which he refutes Poggio. Segarizzi, Lauro Quirini Vmanista
Ven. del. sec. XV. ("Mem. della R. Accademia delle Scienze di Torino."
Vol. LIV, 1904,)
174 VENICE IN THE MIDDLE AGES
of the most cultured and civilised races. Even in our
own day unjustly severe judgments have been passed
upon Venetian culture. Many foreign scholars of weight
declare that learning Avas starved in the fifteenth cen-
tury, and that down to the days of Aldus Manutius,
Avhat little there was existed in haughty and exclusive
isolation, that the aristocracy as a whole remained
absolutely indiflerent to the humanistic movement, that
only a few rare exceptions among the nobility em-
braced the new learning from personal inclination.^
It is true that the genius of Venice found more vigorous
expression in the figurative arts than in letters; but
even without going so far as to accept the benevolent
appreciation w hich asserts that Greek culture in Italy
spread from Venice and not from Florence, 2 avc may
affirm that in the revival of classical antiquity Venice
had her place ; not, to be sure, in the sense in
which humanistic studies came to be considered the
sole end of life, for in Venice everything was meas-
ured by a due sense of proportion, nor could a wave
of erudition ever have obliterated the characteristic
notes of the race. On the shores of the lagoons a
Gemistos Plethon, who sought to restore the gods of
Greece, or a Pomponius Leto, avIio Avorshipped no
other deity but the deity of Roma, and kept the anni-
versary of the immortal city by bending the knee
before an altar erected to Romulus, could never have
found a congenial home. The State of Venice was
strong enough in wealth and Avisdom to dispense
Avith the purchased praises of the erudite, of the
^ Voigt, H Risorgimento deW antichita class., trad. pp. ijio, 4i i- Firenze,
1888. Burckhardt, La civilta, etc., cit., Vol. I, p. 98.
^ Firmin-Didot, Aide Manuce el I'Hellenisme a Venise, p. 28. Paris,
1875.
CULTURE 175
grammarians, the collectors and annotators of manu-
scripts, of the poets, who thronged the Courts of the
Italian Despots, where they were received with honours,
highly salaried, and even relieved of all taxation, as
befell the envious and avaricious Bracciolini, but Avere
expected to pay the price in adulation so mean and shame-
less as to forfeit all respect. Venice, if she did call to
her service the learned, did not do so to purchase facile
compliments, but to instruct her youth, destined to
high public office, and to open schools for the teach-
ing of gramaticam. rethoricam et alias scientias aptas ad
exercitium Cancelleriae ab bene scribere}
Thus was tlie Republic strengthened and fortified in
the prudence and wisdom of her children. Supremacy
in the social scale is always dependent on intellectual
quality. No State can pursue its career with success if
divorced from the valid support of the intelligence in
all its various manifestations. States may rise and
flourish on the strength of their enterprise, but when
a people has once achieved the height of its grandeur,
when it begins to feel the failure of youthful vigour, it
turns to the need of rest and recognises repose and
comfort. By the end of the fifteenth century the mis-
tress of the seas had reaped the harvest of her energy,
of her activity, of her sacrifices ; but her splendour,
which had already touched its apogee, noAv began to
pass into the region of culture and of art, and already
held in itself the earliest germs of decay.
^ Arch, di Stato, M. C, Dcliberazioni, R. 39, fol. i44-
DOCUMENTS
Document A — FAVOLE SULLA FONDAZIONE
DI YENEZIA
JEdificatio civitatis Venetiarum
Anno a nativitate Christi. la ultimo anno Innocentij papc primi nati-
vilate aljuensis aponensis patris Innocentij, Regno pataviensium fcliciter et
copiose florente, Regentibus rem pubblicam Galiano de Fontana et Simeone
de Glanconibus et Antonio Calvo de manis consulibus, Imperante Honorio
et Theodosio filio Archadij, decretum est per Consules pataviensium et
sancilum, ac per electos primarios seniores popularium aedificare urbem
circa Rivum altum et gentes circumstantium insularum congregare ibidem
Terram unam potlus quam plures portuales habere, classem paratam tenere,
exercere et maria perlustrare. Et si casus bellorum accideret hostiumve
potentia cogeret, sotiorum illic habere refugium, et vissa gothorum insania
et moltitudine, verebantur et recordabantur quod in anno Christi ccccxni
ipsi gothi cum eorum rege Alarico venerunt in Italiam, et ipsam provintiam
igne et ferro vastatam rehnqiierunt et ad urbem processerunt, spoliantcs
eandem etcetera que alibi scribuntur. Unde patavienses, motum gothorum
ahas factum et qui eo tempore fiebat a parte australi et occidentali meluentes,
anno praedictio scihcet 42 1 die xvi martij decreverunt urbem portualem et
refugialem construere circa hostias fluvij Realti, ubi dicitur Rivus altus,
quem qui ex collectis insuHs maris et lacunarum et gentibus de provintia
venuti fuerunt, voluerunt Venelias appellare. Et missis illuc tribus con-
suUbus qui super fuerunt per bienium dispositionis operis die xxv martij
principium fundamenti actum fuit circa horam meridiei. Nomina con-
sukun quos misserunt sunt hiTC videlicet: /|2i Albertus Fallarus, Tomas
Candianus, Genus Daulus. Consules missi de 423 fuerunt Lucianus Gixi
Maximus Lucius, Ugo Fususcus.
In bora qua factum fuit principium civitatis Venetiarum, dispositiones
planetarum et corporum et parlum copH tales fuerunt ut scripta pacta sic.
Et sciendum quod prajdicta bora baraba per et collatione minus duobus
annis proximis et sex mensibus et quinque diebus, fuit ante octave sphere
gr. a, ante i3. 5. 49 in diminuendo ut patet per argumentum eius qui sunt
signa 3 gr. i3. M. 44 o 47 deinde post figuram cceli in a?dificatione ut
dictum est significatum fuit ut apparet.
Mille quatercentum Domini cum fluxerit ortus
Octaginta simul quintum non finiet annum,
Ecce novus coluber validus deprehcnsus ab armis
i8o
DOCUMENTS
Adriacis fugict. Ligiirum quoque desert urbes
Confusus potius muiido qiiam iungerc clemens,
Perfida luscoruin rabies lum jirodcrit illi
Atque potens Genua; populus qui fa?dere falso
Ispanuin Latijdominnm sibi iungerc quoeret :
Se Tibriin cedent raptores atque liranni
Italia nam fata paraiit reguare Leoiiein.
^^ Taurus 1^ . aa
^^ Caput draconis ag.
^^ Luna i4. a8
.;/\
Pisces 10. ao Jup. i3. i /
dircctus ^r
^ Mcrcuri 8. I\k ^r
^^ Gemina- .
/
^V Ariclis ^r
^^ rum ^r
^^ dircctus ^r
Geminii ^^/^
30- '9 y^x
Aries i. 39
Sol. k. 39
Venus 4.13
dircctus
>^X Aquarius
y\. 1(3. ^9
f Cancer 34- aa
><
Capricornus a^. aa )
/
Mars li. aS
.retrogradus
Libra 4. 39
^/^ Sagittarius
^r^^ ao. ag
^r Salurnus
V
^r Cauda ^V
^r rctrogradus
^r Virgo lo. ao
V
X draconis ^V
ag. a8 X
Scorpio 4. a a ^^
(Daila dispersa Reccolta Stefani di Venezia.)
Document B — SALINE
968 (!>) MARZO. RiALTO
II doge Pietro Candiano III, insieme col flglio, cede a ^larlino di Domenico
Caiicaui una Saliiia del nuincro ili alciuie costruite in un terreno del
Governo, verso un moggio di sale all' anno.
In nomine domini dci ct salvatoris nostri iesu christi imperantibus
dominis nostris Constantino et Romano eins filio magnis imperaloribus
Anno autem, imiierio Costantino quadragesimo sexto / et Romano eius
DOCUMENTS i8i
filio duodecimo, mense marcii indicione i Rivo alto. Pro eo quod salinas
preparatas usque ad absitorias in tempore tolos vestros consortes dedistis et
tradidislis in curtis palacii de illas quas ellevaslis in ipsa pallude et terrenis
que dicitur de arcones que est proprietas palacii nostri et illam vobis largi-
vimus fundamentum salinarum conslruendum tenenle toto ipso fundamcnlo
sicut se comprendit ab uno suo capile in palude amuriancnse et alio in ter-
rena palacii nostri uno latere in comenzaria que vadit ad Torcellum et alio
in comenzaria barbarani Idco nos Petrus dec auxiliante dux veneticorum
filio . . . domino Petro duci Candiano una paritcr cum itemque ducc fillo
meo cum successoribus nostris ab bodie damus tradimus atque concedimus
tibi Marlino fdio Dominico Cancani et ab beredibus ac proheredibus posteris-
quevestris pro futurum possidendi hoc est una sallina de illas quas ellevastis
in predicta pallude et terrenas palacii nostri tolas ipsas sallinas uno cor-
pore coniunclas ab uno latere, in alio in Felice da Molino et alio in Marino
fratri suo simul jaglaciones et transiaglaciones suas et porciones de terrenas
suas juxtas istas tuas sallinas una cum introitos et exitos suos et vias suas
sicut ad nos ceteros pertinentibus tibi ut secundum vestram promissionem
quantum cum consortibus de ipso fundamento nobis et in nostro palacio
scribere fecistis et eam observantes et adimplentes ab bac die in Dei nomine
ipsas sallinas habeas teneas possideas jure dominioque tuo in perpetuum
\indices ad que defendas tuisque beredibus ac pro seu posteris relinquas
habendi tenendi vendendi donandi commutandl vel quia quid vobis placuerit
faciendi nuUo tibi bomine contradicente salvo censo ad en . . . nostro
palacio id est pro uno quoque rotante anno sel modio uno pro una quaque
sallina quando levaveris de eas usque ad decern modias de salle et si minus
de decern modias per annum levaveris tunc tres dies pro ipsa sale censum
in nostro palacio dare debeas ipsum predictum censum salvum et cunctam
in tuo capite secundum ipsam promissionem per solvere debeas. Quum in
legibus caute preceptum est ut cum semel traditum fuerit vel donatum nullo
modo revocetur. Et si venundavcris ipsas sallinas quintellum sit salvum in
nostro palacio. Veruntatem placuit nobis ut si ipsas sallinas ad venunda-
dum venerit et de tua prole non fuerit qui eas comparare non possit non
debeatis ea in extranea persona venundare nisi in noslro palacio.
Si nosfer palacius tantum precium dare noluerit ilium in tempore sicut
ipsas sallinas apreciatas fuerit. Quod si noster palacius emere noluerit
tunc potestatem habeatis ipsas sallinas venundare cui volueritis salvo quin-
tello et censo de nostro palacio. Et damus vobis licentiam tollendi tetrara
de terrenis de nostro palacio et loto de palude de nostro palacio ad concian-
dum et restorandum ipsum fondamentum sallinarum tantum hec omnia ut
supra legitur cum accessus et egressus et vias et junctorios suos et jaglaciones
suas et omnia ad se pertinentibus ita unus ab alio viam non contradicatis
non in eundo ncque rcdeundo. Quod si quocumque tempore contra banc
cartam ire temptaverimus nos autcm nostris successoribus ct aliquid
vobis sub traere voluerimus et adimplente vos promissionem vestram et
ab omnibus hominibus vos defensare noluerimus aut non potuerimus qui
i8a DOCUMENTS
vos (le infrascripla re cxpcllcre volucrit ex parte vcl ex totum aul contra hanc
carlani ire tcmplavcrimus tunc componcrc promitto cum meis succcssoribus
tibi el luis hcredibus auro obrizo libra una. Et promittimus vobis cum
noslris succcssoribus conciare nostras porciones de aggeres omnique tempus
quando opus fuerit quod si nolucrimus cl dngnum pro bac vobis ad creverit
componere dcbeamus vobis argenli libra una cl hec carta maneat in sua
Crmilale.
(Arch, dclla Fabbrica di S. M. c Donalo di Murano ; copia del sec. XIV.)
Documents C— INYENTARI
l300 APRILE (?)
Res que portaverunt Ambaxatores qui ivcrunt ad Regem K/arolum/.
Cope ij . con pe dorate M/arca/iiij . unze j . scarsa
Cope xij . 2>iane M* vij . unze iiij
scudele xx . gramde M* xx
iaieri ij . gramdi M* iiij . unze iij
Sasore xx . pizin M" viij . unze j . scarsa
cusleri x . dargento blanchi Unze x . quarta j •/.
cusleri x . endorali Unze \j . quarta iij /.
Suma peia qucsto argento M* xlvi . unze ij . quarta j.
Pesa XX cusler darzento unze xij . quarta j.
Item pesa iiij taieri darzento M* viij . unze ij •/.
Item cope ij luna coverclata e laltra ceza (senza) coverclo pesa M* iiij .
quarta v.
Item pesa cope x plane M" vi . quarta j •/.
(Archivio di Stale in Yenezia — Libri Commemoriali, i, c. 3.)
II
i3o8
Hec sunt res invente per magistrum Paganinum quas misil potestas
Laureli millesimo trigenlesimo octavo die xx octubris vu° indicionis.
Primo in una valixia:
Item serabulam j.
Item incerulam j.
Item cpithogium j . virgulatum.
Item tuaicas ij . de saia nigra.
DOCUMENTS i83
Item peciam j . saie grise circha brachia u.
Item agnclinam j . cum manegotis.
Item armutias ij . de nocte.
Item par j . zocolorum.
Item par j . sutclarium.
Item polem (sic) j . elefanti.
Item infulam j . de nocte.
In uno sacho :
Item celvereras I'j.
Item par j . cirolhecarum de maia.
Item epitbogium j . floratum pelis.
Item epitbogium j . viridi disfloratum.
Item tapedum j.
Item galerium j.
Item in uno cofano :
Item tovaliam j . a manu.
Item par j . mutandarum.
Item facolos ij . a capite.
Item epbitogium j . de saia sanguinea floratum cendati.
Item mensales ij . a tabula.
Item linteamina ij.
Item sacbum j . cum seda de vetis.
In altero cofano :
Item onerium j.
Item mensale j . a tabiila.
Item coltram j . bocarani.
Item copam j . maseri.
Item raminos ij.
Item caputeum j . scarlati et blavi.
Item linteamina ij . cum capitibus virgulatis.
Item facolum j.
Item tovaliaj.
Item floraduram j . onerij.
Item bragerium j.
Item soldos xv . denariorum bononiensium quos habet cancelarius.
Item candelas xxxi de cera.
Item par j . scapiuorum.
Item cascos vj.
(Arcbivio di Stato in Yenezia — Commem. i, c. i34.)
i84 DOCUMENTS
m
i3ii
Lan Mcccxj . mccrcdi a xviiij jors de may . Ge jaques de conroi
escuiers inorisignor charle frcre du roi dc france balllai a miquel albert de
la contrade de sante vide . Ic clef de case morisin devant saint angle en le
remanant du fornimcnt dcs gallces monsignor dc sus diet est cest a dire
de V . galces et de un loiiig que sunt derier saint gregor a venise et les
parties don dit remanant dou forniment sont celes quil sensuit.
baillais audit miijucl rimes condist artimons v . lvi . Item remes tersa-
rols in . viij . Item rimes dou loinc Lxiij . Item remes rous cl . Item
arbrcs vj . Item preses dantencs ii . Item remes xiij . Item scales v . Item
rampegon de fer j . Item taulef de roure que sont in met la sale xiij .
Item tailes et ragles de supercbe oultre celes qui sont en la cambre per
forniment lxxx . Item chevron de fraine l . Item ligname que est labore
de rimes por pendre darbalestres et sobrensegnes quant mess. p. fu a saint
agostin . Item lances longes que bone que mouvaisses ex . Item arbalestres
que rotes que saines lx . bandres lx . Item baines de fer vl . Item manece
de nur iij . Item contone de fer ij . Item colare roin de fer xiij . Item A'ans
de place ij . Item baillai au dit micbel en une cambre sur canal ligname
dalbede et dontes fomer banc pie de banc balcstrere et autre lignam que
besogne es galies . Item stropi ccl . Item lancon petit in . uij . Item cle-
crabres de sus sovre ast dalbede vj . Item en le dite cambre cbe veron de
france v . Item aches viij . Item dans cxxx . Item chapias de fer vij .
Item escns que bons que mauvaises vij . Item en le cambre de sous la
cambre haunt sont ais dalbede et autre ligname . Item barili x . Item
masteli vj . Item ferali viiij . Item pique de fer xij - Item peles de fer
iij . Item le fust dun petit engin fare de rimes . Item pirie ij . Item quri-
pial et autre sarte bone que peut pesser circa libre ifij . Item rampegon
evastade iiij . Item elune des ij cambre ou estoit la sarthe si sont demores
en j . mont toutes les capelles en anellees de sarte que sunt besogne pour
V . galies et un loing.
Toutes ](x chesses de sus deiles je jaques de cauroi laisai au dit michel
alberlh cla case desus dite et de la dite casse li baillay la clef lan et le ior
de sus dit . et ai du dit michel itel escrit . fait dc sa main et seele de son
seel et iaimis por plus grant verite mon seel en ceste escrit et ne veull que
nesuoe chose se vende au comun de venise . tant que iaie parle a mon-
signor mess . karle . ne a autre persone et iusques adont quele dit michel .
ait commandament dou dit monsignor mess, karle . ou letre escrite de ma
main.
(Archivio di Stato in Yenezia — Commcm. ii, c. 52 tergo.)
DOCUMENTS i85
IV
1 327
Millesimo trecenteslmo vigesimo septimo . Indicione decima, die 11'
Marcij.
Iiifrascripta sunt tnercimonia et res Venetorum eiistencia in navi Vene-
torum cuius est patronus Marinus Longo de Veneciis, capla per subditos
Regios. Que mercimonia et res liquido esse Venetorum infrascriptorum
constat, tain per dictum et scripturam ipsorum quorum sunt, quam per
quaternos et sacramentum illorum, qui vendiderunt ipsa, quam eliam per
libros et quaternos officialium diversorum comunis Veneciarum quibus de
dictis rebus in Veneciis, dacium est solutum. Que omnia et singula in
favorem et subsidium veritatis licet expediens non foret cum alias sint clare
ostensa ad cautelam tamen infcrius seriosius denotantur.
In primis namque sunt balle duodecim de matarellis que sunt brachia
VI . Ill . Lix viri providi ser ISicolai Zaparino et sociorum de Veneciis,
quorum partem ut constat per quaternos Comunis emit ipse ISicolaus ab
Henrico Amadey . et partem ab Henrico de Sanzemberg in Veneciis in
fontico die xv . juiij proxime preteriti, et partem die penultimo dicti
mensis a Laurencio de Sanzemberg, et partem die v septembris proxime
ellapsi a Nicolao de Sancemborg, quorum preciuma scendit computatis
c
brachiis ij . lxxv . canevacie pro vultura et alijs expensis in summa libra-
c
rum M . iiij . xiviiij soldorum xv . ad grossos.
M C
Item libre xxiiij . XLiiij."' ferri in virgis m iij . xxxiiij"" icolai prefati, et
sociorum, quod sicut constat, emit a Nicoleto sapa de Veneciis, die xxviij
0
augusti proxime preteriti, cuius precium in navi onerati est librarum viij .
iiij." soldorum vij . ad grossos.
Item libre iij . xvj . Raminis in peciis v . xxivj . Nicolai predicli et
sociorum quod emit ut constat a viro nobili ser Paulo Signolo, die iii" sep-
tembris proxime ellapsi, cuius precium est in navi onerati librarum iiii .
iLiiij."' soldorum xij . ad grossos . quod quidem Ramen est in barilis viiij.
Item libre viiij . ix . stagni in fassiis iiii" ISicolai sepedicti et sociorum
quod emit a Marco Acotanto de Veneciis, die xxviij . Augusti proxime pre-
teriti, cuius precium est in navi onerati librarum c . xx . soldorum viiij .
denariorum iiij." ad grossos.
Item libre ij . c XLvij . Raminis in peciis iij . lxv . in barilis viij .
Nicolai antedicti et sociorum predictorum quod emit ut constat a ser
ISicoleto Zucholo de Veneciis, die vi septembris proxime preteriti cuius
precium est in navi positi cum expensis librarum iij . xv . soldorum xvij .
ad grossos.
i86 DOCUMENTS
Item brachia ij . c . xxvij . de matarellis in ballls iiij." Nicolal et
sociorum prcdictorum quod emit die v seplcmbris jircdicli, a Corado do
ISeuslal sicut constat cuius prccium est cum expensis in navi positi librarum
a
iiij . Lxxvij : soldorum xviiij . ad grosses.
Suinma ergo tolum predictuin predictorum Nicolai ct sociorum libra-
H 0
rum iij . V . Lxxxxiiij." soldorum viiij . denariorum x . ad grosses.
Et est sciendum quod omnia niercimonia supradicta diclus ISicolaus et
socii mitlebant Mcssanam in manibus Mazie Delarama Veneti dcgentis
ibidem tamquam in manibus procuratoris eorum.
Prelcrca habucrunt et oneravcrunt in navi predicta, Nicolaus et Petrus
Micliacl et Marcus petenarius veneti ballam uiiam pannorum iiii. de
borsella, quos cmerunt a Stefano de Pozo venelo, die xiiij . augusti pre-
dicti, et involuti fuerunt in una pecia pani matarelli, quorum precium est
bbrarum xviij . soldorum iiij . denariorum viij . grossorum.
Item babucrunt prescripli trcs in navi prefata libras m . xxiiij."' Rami-
nis in virgis in barillis tribus, quod emerunt ut constat a prescripto IS'icolao
c
Zucholo, die ij° septembris suprascripti . Item libras iiij . vij . Raminis in
folia in barili uno quod emerunt a Leonardo a bacilli Veneto die xj" sep-
tembris prescripli cuius tocius Raminis prccium est librarum xij . soldorum
j . grossorum, quod quidem Ramcn Tunisium duccbatur que omnia silicet
panni et ramen cum dicta navi similiter cum aliis mercibus supradictis et
infradicendis, fuerunt et sunt per subditos Regies ut premittitur arrestata
in damnum et iacturam non modicum et gravamen Yenetorum omnium
predictorum et infrascriptorum. ^
Item fuerunt onerati in dicta navi planconi iiij . Lxxivj . virorum
nobilium ser Marini Faletro et ser Fredcrici Dandulo . virorum providorum
Nicolai Zaparini et sociorum predictorum, et nomine eorumdem, quorum
e
quidem planconorum iiij . miltebant Symoni Andree degenti Panormi ad
omne risicum et fortunam ipsorum Yenetorum, licet pecuniam ipsorura
sen precium quod convenerant ipsi Veneti in Yeneciis, nomine vendicionis
cum dicto Symone Andrea, vel cum alio nomine ipsius Symonis in Yeneciis
receperunt Veneti prelibati ante missionem seu extractionem dicti ligna-
minis de ccrla quanlitate casei dicti Symonis quod in Yeneciis erat tunc,
quod per modum barali loco solucionis dicti lignaminis, sicut in talibus
more mcrcalorio fieri consuevit receperunt et prccium lignaminis prefati
secundum baratum mercati prefati fuit unzias xxx quodlibet centenarium
dictorum planconorum, sicut hoc omnia clare constant, unde semper fue-
runt et sunt dicti planconi vcnetonim predictorum, quousque in Panormo
ipsos libera non consignarinl Symoni antedicto secundum pactum et con-
dictionem prescriplam, qui planconi similiter cum dicta navi sunt per
subditos regios arrestati, et sic si perdcrcntur, vel perirent dicti planconi
nostris Venetis et non alicui alij depcrircnt.
Item onerate fuerunt merccs et res infrascripte virorum nobilium
DOCUMENTS 187
Gabriells, Andree ed Andrioli Pisani Venetorum sicut clare constat super
navi scri|)ta supra. ^
In primis videlicet brachia viiij . Lxj . •/. . do matarellis in peciis
xxvij . quas cmeruut prout liquet die penultimo augusti predicti a Con-
rado de Salcemberg . Item brachia m . vfi . lxvj . de matarellis in peciis
xiviij . empta per predictos die prefato a Rigo de Sanzemborg . Item
M
brachia ij . c . Lxxvij . de matarellis in peciis xxxiij . empta die xiij" .
dicti meiisis per predictos Vcnctos a Jacobo de Verire . Item brachia
ij . vj . xxij . de grisis Mutinc in peciis iLiij . empta die ixvij . augusti
prefati a Petro de Rozio . Quam quidem pannorum quantitatem eorum
ijisi Veneti millcbant Messanam viro provide lohanni Coppo de Veneciis
mercatori ct factori eorum in hac parte, sicut etiam eorum juramento clare
constat . Item merces infrascripte in pluribus cassis silicet groppi cc . Liij .
M r
accuum diversarum manerierum . Item milliaria xxvij . viij . anulorum .
Item milliaria xv . clavorum a cassella . Item ligalium unum de corallis .
Ilcm duodene centum de paternostris de cristallo in uno ligacio . Item
duodcne cclx . cultellorum . Item fasij xx . fillorum de ferro . Item Rime
cartarum cxiij . Item milliaria xij . de siblotis . Item zenzeli xviij .
Raminis . Item dezedali vi . c . Item sacum unum peciarum de cristallo .
Item milliaria xxx . brochetarum , Item duodene viij . candellariorum .
c
Item vella marchisana iij . v . Item duodene xiij . streglarum . Item
milliaria cc . lx . de paternostris . Item duodene speculorum . iij •/. Item
milliaria xv . accuum, et accus vi . Quas omnes merces dictorum nobilium
de ca Pisani dicti nobiles cum dicta navi mittebant ut supradictum est.
Item fuerunt onerata super navi sepedicta nomine Filippi de la Rama
nostri Veneti licet Mesane conversetur et habitet libre xvj . c . x . ferri,
quod emit prout constat in Veneciis, die xxiij . augusti iam dicti a Christo-
foro Sapa Veneto venditore ferri.
Item onerate fuerunt super navi iam dicta, milliaria iiij . et libre v . l .
ferri, providi viri lohannis Cupo Veneti que dicto lohanni mittebat Paulus
Bereta Venetus in Messana, ut habetur clare per testimonium et sacramen-
lum utriusque, quod ferrum emit in Veneciis, sicut constat dictus Paulus
a Nicolao Bono de Veneciis mercatore ferri pro soldis xx v •/. grossorura
quodlibct milliarium, quod per totum asccndit, computatis grossis i . pro
naulo pro quolibet milliario summam librarum v . soldorum xviiij . denari-
orum X . grossorum . Quod quidem totum ferrum fuit ct est in virgis
cc . Lxiiij . in ligaciis xxxiij.
Que omnia supradicta fuerunt similiter per subditos regios arreslata et
iutromissa indebile delinentur.
(Arch, di Stato in Venezia — Gommemoriale in, c. 28.)
i88 DOCUMENTS
V
iKFR.VSCRirXE SIST RES, QUE SUNT IH DOMO MEI CoSSTASTINI, ET PRIMO O
CAPS.V CONVESTUS FRATRUM PREDICATORUM DE TaRVISIO.
In primis cusmeli duo
Item cultrc albe trcs
Item panni arasura quatuor
Item zalonum blavum unum
Item lincolum unum
Item Tascheta una
Item decrctus unus
In barilli uno.
In primis prima pars prime Sume sancti Tome.
Item prima pars secundc eiusdem.
Item secunda sccunde eiusdem.
Item Tercia pars eiusdem.
Item concordancie blibie.
Item de similitudinibus et exemplis.
Item dicta Sancti Thome super quibusdam libris Ar. (Aristotilis).
Item Istorie passionis et quidam sermones.
Item sermones de Sanctis secundum fratrem lacobum de Losano.
Item sermones de Dominicis et de Sanctis in alio volumine.
Item de auctoritatibus sanctorum et quedam cronicha.
Item super simbolnm fidci ct quidam sermones.
Item quidam sermones de dominicis et de Sanctis.
Item Sermones de dominicis secundum fratrem Dominicum de Varagine.
Item Encbandion sancti Augustini.
Item de exemplis naturalibus et moralibus.
Item pantheon.
Item bestiarium.
Item extraciones multarum epistolarum Geromini.
Item sermones per totum annum.
Item de indulgcnlijs conccssis ordini predicatorum.
Item postille et moralitates secundum fratrem Thomam anglicum.
Item miracula de beata virgine.
Item vaticinium Gcremie.
Item questiones litterales super libris de anima.
Item privilegia concessa ordini predicatorum.
Item sermones de Sanctis secundum fratrem Michaelem de Firmo.
Item Ysac de vita contemplaliva.
Item Secretum Secretorum Aristotilis.
Item dialogus Ugonis de Sancto Vitore de anima.
DOCUMENTS 189
Item dyalogus beati Grcgorij in hombucino.
Item capitula feriarum et dominicariim sermonum de quadragesima.
Item scrmones secundum fratrem Antonium de Parma.
Item quartus Sententiarum eiusdem.
Item exlracioncs Senece in bombucino.
Item soliloquiorum sancti Ysidori.
Item de abstinencia et quidem sermones.
Item tabulla super decretalcs.
Item tabula super tractatu de avibus.
Item suma de canibus.
Item proverbia Petri Alphonci, et multorum philosophorum.
Item sermones fratris Benedicti.
Item ystoria Apolonij Tirij.
Item naturalia fratris Alberti in bombucino.
Item unus quaternus de experimentis in bombucino.
Item oratio Origcnis et tractatus auctoritatum sanctorum.
Item certe coUaciones de dominicis et feris in bombucino.
Item excepta de Svetonio de duodecim thesauris in bombucino.
Item tabulla super dicta beati Tome.
Item unum parium tabullarum.
In altero barili.
In primis tabulla super quarto sententiarum sancti Tome.
Item questiones de veritate.
Item breviarium unum cum martirologio.
Item sccundus sententiarum Sancti Tome.
Item sermones dominicales.
Item unum breviarium.
Item unum misale.
Item secunda secunde sancti Tome.
Item Suma Monaldi.
Item metapbisica Aristotilis.
Item sermones dominicales fratris Jacobi de Voragine.
Item Tractatus de Corpore Christi.
Item Suma magistri Brocardi theotonici.
Item beati Gregorij Niseuij Episcopi, de homine.
Item sermones quadragesiniales fratris Jacobi de Varagine.
Item primus sententiarum sancti Tome.
Item prima secundi sancte Tome.
Item liber pbisicorum cum alijs sex Ar. (Aristotilis).
Item reglstrum veritatis maioris sume confessorum.
Item unum breviarium.
Item de veritate cbatolice fidei sancti Tome.
Item liber qui incipit verba Ylarij.
igo DOCUMENTS
Item liber decimus seplimus moralium.
Item tabulla Sume abreviate.
Item capitula in librum primum dialogorum.
Item sermones in Jeiunio.
Item sentenlia super librum phisicorum bcati Tome.
Item sermones dominicalcs fratris Jacobi de Varagine.
Item scriplum sancti Tbome super librum de anima Ar. (Aristolilis).
Item extracioues de llbro de proprielatibus rerum.
Item sancli Tbome super methaphisica Ar. (Arislotilis).
Item Evangelia exposila secundum bealum Tbomam.
Item certe legende Sanctorum.
Item metapbisica Ar. (Arislotilis).
Item legende fratris Jacobi de Varagine usque de sancto Heusebio.
Item opus morale per exempla avium, animalium et pisium.
Item collaciones sanctorum in bombucino.
Item sancti Tbome super libro de anima.
Item unus quaternus in bombucino, qui incipit: lux vera.
Item una suma Brochardi.
Item liber sententianuTi pro parte.
Item unus quaternus in bombucino qui incipit : bee sunt generaliones.
Item unus quaternus in bombucino, qui incipit : notabilia sanctorum.
Item unus quaternus in bombucino, qui incipit : ad summum pontiCcem.
Item tres quaternos de colacionibus.
Infrascripti libri inventi fuerunt in uno barilli,
videlicet libri.
de polentia Dei.
de dlctamine.
de quatuor virtutibus.
declamaciones Senece.
Cronica fratris Martini.
Breviarium.
de gestis Apolonij magni principis.
de virtutibus berbarum.
de tabulla per alfabetum super dictis sancti Tbome.
de Beata vita.
de quatuor virtutibus.
de postilla super epistola beati Paoll ad bebreos.
de Sermonibus.
de conservanda sanitate.
de virtutibus et vitijs.
de sermonibus de temporibus.
de tabulla per alphabctum.
P. MoLMESTi, La Sloria di Venezia nella Vila Privata. — P. I.
\
DOCUMENTS 191
de sermonibus.
de arte veleri.
de sermonibus.
de Miraculis Virginis.
do sermonibus . xl.
de sermonibus de temporibus.
super libro etbicorum.
de lucidario.
de prologo dialogorum Sancti Augustini.
de Anibale.
de colacionibus pro comunione.
de kalendario.
de racione super libro posteriorum.
de sermonibus.
de sermonibus.
quaterni.
de Anibale.
de colacionibus sanctorum.
de glosis Thome super libro posteriorum.
et super libro physicorum de discrecione mundi.
de falacijs beati Tome.
de anima.
de exposicione sancti Thome.
de exposicione beall Thome super Matheum.
de sermonibus in papiro.
de sermonibus super libro posteriorum sancti Thome.
Item certi alij quaterni.
Item tres cusini.
Item in una capsa :
In primis quatuor calices et quatuor patene de argento.
Item una ancona in una capsella de ligno.
Item reliquie in uno cristallo de gloriosa Virgine Maria.
Item una chaseta de avolio cum reliquiis intus.
Item una cuppa de masero cum paternostris ed una cruce de cristalo.
Item una ymago sancte Marie de alabastro.
Item unum busolum cum certis reliquijs intus.
Item unus anuUus de argento cum duabus comiolis.
Item una ymago Christi de alabastro.
Item unum paramentum fulcitum cum una camisia.
Item unum camixum cum omnibus suis pendicijs excepta plancta.
Item unum paramentum fulcitum.
Item anchoneta parva.
Item una anchonetta parva.
Item duo busoleta.
192 DOCUMENTS
Item qiiatuor corporalia.
Item ccrta privilegia iu uno sacheto de corio.
Item duo manutergia.
Item undecim fazoli a capite.
Item unum biretum de sirico.
Item unum sachetum cum argento intus.
In una capsa de peco :
In primis tres cultre albe.
Item tria paria linteaminum de lana.
Item unum par linteaminum de bambaiio.
Item unum camexum sine gramitis.
Item duo manutergia.
Item sex camisiae.
Item una camixia descusita.
Item due mutande.
Item due sacbete.
Item unus pannus laboratus de lino.
Item novem covertelle.
Item certe pecie da naso.
Item certa tella de lino.
Item unus liber Ysiodori.
Item certi quaterni et scripture.
(Arcbivio di Stato in Venezia — Commemoriale v, c. no.)
VI
i363, DIE xvi" Ja>u\rii (more vexeto)
Nota rerum inventarum in monasterio Sancti Georgij maioris
Infrascripte sunt res que invente fuerunt in monasterio sancti Georgij
maioris de Venecijs, per nos Tbomam de Bonincontro, et Nicolaum de
Conto notarios ducalis aule, qui de mandato dominij missi fuimus ad
dictum locum die suprascripta.
In primis invenimus Galices argenteos fulcitos vij . inter magnos et
Comunales.
Item Turibulum unum magnum de marchis circha v et unum Comunale .
Item Cruces argentheas comunales tres, una quarum est smaldata, et
minor earum habet de ligno crucis.
Item fiistos ij eburneos ab episcopo.
Item paramenta a sacerdole fulcita vij bona.
Item paramenta duo ab abbate pulcra, et maxime planetas de sirico et
auro laboratas.
Item candelabra duo cristalina.
Item aacbonam unam de ligno auratam cum flgura sancti Georgij.
DOCUMENTS 198
Item tapeta iij.
Item plevialia vetera xij.
Item paramenia ab altare xiiij do pannis siricis inter que est unum
novum.
Item mantilia viij manutergia viij ab altare.
Item cossincllos ab altare v inter magnos et parvos.
Item candelabra magna erea stantia circha altare magnum iiij".
Item cortinas slantes circha dictum altare v.
Item candelabra magna erea ad altare sancti Stcfani quatuor.
Item candelabra duo magna erea ad altare sancte Marie.
Item brachium sancti Georgij ornatum de argento cum uno anullo auri
cum uno pulcro et magno ballassio in digito, solum in una cassa sua
consueta.
Item in una alia capsa altari Sancti Cosme et Damiani, Reliquias
Sancti Cosme et Damiani, videlicet petia xx et Sancti Panthaleonis et
Sancte Barbare ossa v . et cassas duas plumbeas parvas cum reliquijs et
schatulam unam cum alijs Reliquijs.
Item in una alia capsa altaris Sancti Jacobi, testam Sancti Jacobi, cum
multis alijs Reliquijs.
Item in una alia capsa altaris Sancti Pauli Martiris, corpus totum
integrum Sancti Pauli.
Item in altare Sancti Heustacbij, totum corpus integrum Sancti
Heuslachij.
Item in altare Sancti Cosme, Corpus Sancti Cosme confessoris, et unum
lapidem Sancti Stephani cum pluribus alijs Reliquijs.
Item in uno alio altare Capud Sancti Felicie confessoris et brachium
Sancte Lucie cum tota manu.
Item omnia altaria ecclesie dicti loci bene fulcita sicut decet temporibus
feriatis.
Item par unum organorum in dicta Ecclesia.
Item librum unum intitulatum Sinonima et librum confessionum beati
Augustini super Cantica Cauticorum scriptum de littera antiqua.
Item antiphonarium unum, scriptum de littera antiqua.
Item librum unum, intitulatum Regule patrum scriptum de littera
antiqua.
Item librum unum intitulatum Corector et medicus scriptum de lit-
tera antiqua.
Item librum unum intitulatum de vita Sanctorum scriptum de litlera
antiqua.
Item librum unum Apocalisis scriptum de littera antiqua.
Item librum unum novum sermonum tam Evangeliorum dominicalium
quam forialium scriptum de littera cursiva.
Item librum unum sermonum pulcrum scriptum de littera moderna.
Item Breviarium unum vetus.
Item Messale unum pulcrum scriptum de littera moderna bona, qui
VOL. U I 3
igd
DOCUMENTS
incipit, dominica prima de advenlu domini in litteris rubels, et finit,
muncra divina, fulcitiim corio viridc.
Item Messale unum cum corio viride quod incipit in prima carta per
omnia secula seculorum amen, ct finit, fac nos quesumus Dominc.
Item Messale unum fulcilum de corio rubeo cum clavis scriptum de
littcra modcrna, iiicipientcm in prima carta, Dens qui nobis anima sancto-
rum Virginum, et finit, Introjtus in honore Virginis Marie.
Item Messale unum fulcitum de corio rubeo, incipicntem in prima
carta Credo in unum Deum, et finit in ultima, Suscipe munera quesumus
Domine.
Item librum unum orationum fulcitum de corio albo cum clavis,
incipientem in prima carta A. B. G. D. in ultima finit, nota quod in festo
nee per oclavam officium beate Marie Virginis.
Item librum unum antiquum incipientem Epistola a pascbale, et finit,
Deus qui beate Virginis Marie.
Item librum unum fulcitum de corio nigro qui incipit in prima carta,
beatus qui non abijt in consilio Impiorum, 'A finit. Fides catolica quam
nisi quisque fideliter firmiterque crediderit salvus esse non poterit.
Item librum unum de trinitate qui incipit, domino glorioso Carolo
Imperatori, et finit occurrerunt ei fratres.
Item librum unum de lillera aaliqua qui incipit, de promissione Dei,
et finit, post banc vitam beatissimus.
Item librum unum Ezechielis dc corio rubeo.
Item librum unum scrmonum cum corio viride.
Item librum unum sermonum dominicalium venerabilis fratris Luce
cum corio nigro.
Item librum unum cum corio albo prefatii Cassiani abbatis super
instituta monachorum.
Item librum unum de ordine abbatum et clericorum.
Item librum unum cum corio rubeo de sancta Trinitate, editum a
quodam Boemio Romanorum consule.
Item librum unum Evangelliorum.
Item antifonarium unum magnum antiquum et pulcrum cum corio albo.
Item librum unum cum corio albo genesis magnum scriptum de llttera
anliqua.
Item librum unum magnum exposlclonum Evangcllorum secundum
Mathcum.
Item librum unum magnum dc littera antlqua beati Gregorij urbis
Rome qui incipit in prima carta, de litteris rubels In Christ! nomine,
prologus beati Gregorij.
Item librum unum magnum cum corio nigro et cum clavis silicet Ysaye
profete dc littera antlqua.
Item librum unum magnum beate urbis Rome cum corio nigro.
Item Antifonarium unum de littera antlqua incipientem In prima carta
vei . . . cum danaberis et finlentem salve regina, cum corio albo.
DOCUMENTS 196
Item librum unum copertum de corio piloso magnum qui vocalur
antifonarium noturniim, super salmos.
Item librum unum copertum dc corio nigro cum ciavis quadratis qui
vocatur Lecunale qui incipit in prima carta, in nomine domini amen, et
finit in ilia hora est nostri exitus semper intuenda.
Item librum unum copertum de corio nigro cum ciavis qui vocatur
legendarius qui incipit in prima carta de littera rubca domiuica pasque,
sermo Sancti Augustini, finit non solvitur ergo lex.
Item legcndarium unum de corio nigro cum ciavis incipienlem dc
litteris rubeis, incipit liber lectionum, et finit, Kato in Betbelem, domino
salvatore.
Item bibiam unam in magno volumine copertum de corio nigro cum
ciavis, incipientem Trinitas, et finlcntem Deus autem pacis.
Item librum unum copertum de corio albo cum ciavis intitulatum
Marlirologium incipientem in prima carta de fitteris rubeis, incipit mar-
tirologium, et finientem in ultima si quis autcm hoc attentare presumscrit.
Item unum antifonarium de corio albo fulcito cum ciavis qui incipit,
ego plantavi, appollo rigavit, et finit o doctor optum (sic) Ecclesie sancte.
Item salterium unum cum corio albo qui incipit in prima carta kallan-
darium, et finit in ultima verbum superbium prodiens.
Item oracionale unum cum corio albo cum ciavis qui incipit in prima
carta fratres exeuntes de cochina et finit in ultima credo in unum Deum.
Item antiphonarios duos.
Item linarium unum.
Item unum alium salterium.
\tem ordinarium unum.
Item salterium unum romanum.
Item responsatorium unum cboopertum de corio albo cum ciavis quad-
ratis qui incipit in prima carta de litteris rubeis in commemoracione Beate
Marie Virginis, et finit benedicamus Domino.
Item libros duos graduales pulcros et magnos.
Item Evangelistarium unum pulcrum cum corio rubeo.
Item passionarium unum magnum cum corio albo et cum ciavis qui
incipit in prima carta, Incipit vita Sancti Marciliani.
Item alium passionarium cum corio nigro bonum et pulcrum incipiens
de litteris rubeis vegilia Epifanie.
Item librum unum sermonum antiquum sine corio cpii incipit in prima
carta sabato sancto sermo bcati Geronimi.
Item librum unum cum corio albo et ciavis qui vocatur liber exsposi-
cionum evangeliorum incipientem in prima carta, in dominico die sancto
pasce, et finit erat quidam archii)resbiler.
Item epistolarium unum bonum et pulcrum cum corio rubeo.
Item messale unum novum et pulcrum cboopertum de corio rubeo
incipiens per kallandarium, et finiens, Deus qui beatum Gerardum.
Item antiphonarium unum comune sine tabulelis.
196
DOCUMENTS
Item librum qui vocatur Malaclii idcst librum regum quarlum qui
incipit crcsccnio vcro fidellum nunicro, ct finit, Explicit Malachiia liber
rcgum quarlus.
Item unum aliud messale cum paoDO sirico laboralo ad aurum.
Itoin circa duodecim libros parvi voluminis vetcris et parvi valorls la
uno armario sagrastie.
(Arch, di Stalo in Venezia — Commemonale vii, c. i5.)
VII
Inventari delle cose lasciate DAL DOGE Francesco Dasdolo (m. 1339).
In nomine Dei eterni amen. Anno ab incarnatione domini nostri Jesu
Christi millesinio trecentesimo quadragesimo primo mense August! die
undccimo inlrante indicione nona Rivoalti.
Cum nobiles Viri domini Bertiizius de Canale Paulus Bellgno, et
Nicoletus Sanulo, indices petitionum ex suo officio et iusticia ad peticioncm
et querimoniam infrascripti Johannis Dandulo filii quondam nobilis \ iri
domini Gratoni Dandulo olim filii clare memorie domini domini Francisci
Dandulo quondam Veneciarum Dalmacie, atque Chroacie ducis nee non
dominatoris quarte partis et dimidie tocius Imperii Romanic preciperent
seu precepissent Psobis infrascriptis Ysabete Dandulo rclicte et ISicolao
Contareno quondam cognalo et nunc ambobus commissariis suprascripti
domini Francisci Dandulo quondam ducis veneciarum ut de omnibus rebus
et bonis dicte commissarie que apud nos et ad quemlibet Nostrum sunt in
prescnti faceremus seu fieri facicnius inventarii carlam ad perpetuam rei
memoriam. Volentes igitur scqui per omnia mandatum dictorum domi-
norum Judicum peticionum, banc inventarii cartam duximus faciendum
per virtutem et potcstatem unius testamenti carte complete et roborate
manu IS'icolay dicti Pistorini ducatus veneciarum cancellarii et notarii
rogale scripts anno Incarnationis domini nostri Jesu Christi millesimo
trecentesimo trigesimo nono Indicione octava die martis vigesimo sexto
octubris Rivoalti, Quod fieri fecit Illustris dominus Franciscus Dandulo
Dei gracia Veneciarum Dalmacie atque Chroacie dux dominus quarte
partis et dimidie tocius Imperii Romanie, In quo imprimis equidem suos
fidey commissarios constituit et esse voluit nobilem coniugem suam domi-
nam Isabctam ducissam ct nobiles viros dominum Androam Michaelcm
comitem arbensem carissimum nepotem suum, et dominum ISicolaum
Contarenum cognatum suum, ut secundum et infra et inter alia sic legilur
in eodem. Omnia autcm alia bona nostra mobilia et immobilia dimittimus
et esse volumus sub gubernatione et dispositione dicte domine ducisse
coniugis nostre In vita sua Ita videlicet quod de fructibus et proventibus
ipsorum in vita sua ut predicitur possit disponere ordinare et facere tam
pro victu suo honorabili quam pro viclu et alimcnti infrascriptis nepotis
DOCUMENTS 197
nostri filii naturalls quondam Gratoni fillii nosfri. Quem nepotem noslrum
cum ipsa consorte nostra esse et manere volnmus quam eciam pro anima
nostra et filii nostri prcdicti et alliorum propinquorum nostrorum sicut
sue libuerit voluntati. Cui etiam consorti nostre ducisse relinquimus
libere ultra suam doctem, et ultra id quod sibi per cartam tcnemus omnes
sues pannos tam lineos quam laneos quam etiam cuiuslibet alterius speciei
et res et jocalia tam de auro quam do argento ordinatas pro suo usu, seu
quas pro suo usu haberet ut de ipsis possit facere suam omnimodam volun-
tatem. Et liceat ipsi domine ducisse vendere de bonis nostris mobilibus
pro solvendo et salisfaciendo sibi de sua dote et de eo quod sibi tenemus
per cartam, et pro satisfaciendis nostris debilis si qua forent. Ita tamea
quod propterea et etiam de admiuistratione sua nullatcnus unquam
tcneatur reddere rationem, et iterimi infra dcdit preterea et coiitulit
suprascriptis commissariis suis post obitum siuim plenissimam virtutem et
potestatem inquirendi, placitandi, respondendi, advocatores precepta et
inlerdicta toUendi, legem petendi, sententias audlendi et consequendi,
intromit tendi atque excuciendi omnia sua bona et havere a cunctis suis
debitoribus et a quibuscumque personis et apud quemcumque ea vel ex
eis inveniri poterunt cum cartis et sine cartis per curiam et extra curiam
et securitatis cartas et omnes alias cartas necessarias et quidquid aliud
necesse fuerit facicndi et cetera ut in ea legitur. Et quia idem supradictus
Kobilis Vir dominus Andreas Michael nunquam intromisit ad tempus
specificatum in statuto dictam commissariam ipsius quondam dicti domini
ducis, idcirco mauifcstum facimus Nos suprascripti — Itsabetta Dandulo
relicta et Nicolaus Contareno quondam cognato et nunc ambo commissarii
suprascripti domini Francisci Dandulo quondam ducis Veneciarum quod
hec infrascripta sunt bona et res dicte commissarie apud nos inventa ad
presens videlicet :
Imprimis octo lecti magni cum octo plumaciis de pignolato vergato.
Item due traponte magne et due traponte parve de pignolato. Item una
cultra de cendato torlo vermeio. Item una cultra de cendato viridi torto.
Item una cultra de cendato sanguineo torto. Item una cultra abinde zala
et sanguinea cendati torti. Item una cultra de catasamito vermeio. Item
due cultre de catasamito zaio. Item ima cultra blanca de Zipro. Item
due cultre albe veteres. Item duo lecti cum duobus plumaciis a familia.
Item novem lecti a familia et traponte undecim de lana et capizalia un-
decim parva. Item duo clapi de samito vermeio qui crant in obsequio
ipsius qtiondam domini ducis et domine ducisse in solempnitatibus. Item
una cortina de peciis et due corline abinde de cendato torto zalo et vermeio
absque supralecto. Item una cortina de cendato viridi torto que sunt pro
tribus facicbus in uno clapo. Item una cortina abinde cum celo, et unum
cocholarium viride et vermcium abinde. Item sex clapi de cortinis de
velesio zalis et vermeis. Item unum vexillum imperiale cum suo schiflb.
Item duo paria linteaminum magna et nova. Item sex paria linteaminum
a lecto magno. Item duo paria linteaminum a valise. Item duodecim
198
DOCUMENTS
paria linloaminnm a Iccto magno. Item unum par linteaminum de vclcsio.
Item unum clapus dc manlililjus brachja quadraginla sex. Item triginta
mantilia inter bona et Vetera sivc non bona. Item unum mantile magnum
cum capilibus laboralis de sola. Item triginta toalie inter bonas et veteres.
Item octo mantilia a credenlia. Item una loalia cum capilibus de seta.
Item unum manlilc ct una loalia nova cum capitibus dc seta. Item
quatuor toalie longe nove. Item tria mantilia nova. Item septem toalie
nove que se tenent insiniul. Item decem octo brachya de tella ad ponen-
dum super pannum que sc insimul tenent. Item unum fazolum magnum.
Item quatuor ta[)eta magna pulcra. Item tria alia tapeta. Item tria
tapeta quasi vctera. Item una carpeta francisca investita de tella viridi.
Item unum zalon scachatiuii iuvestitum de tella zala. Item una umbrela
magna a buccnloro ab inde dc panno sctc et auri investita de tella zala pro
buzenloro. Item unum felzum pro plato de panno veluto et de seta cum
armis da cha Dandulo in circha investitum ab inde. Item sex banchalia
francisca. Item quatuor banchalia abinde laborata in Veneciis. Item
quatuor sclabinc magne pro plato ct barchis. Item una coraza alba cum
vantis et gamberiis et una capcla ct una galea et unum par subtelarium de
curaza et una maza dc fcrro. Item viginti alie coraze cum suis colariis et
vantis precio soldorum triginta grossorum. Item decem capele et unum
epitogium de fcrro. Item octo panziere et quatuor colaria ct due manize
et quatuor vanti de maja. Item septem spate et unus cutellus a ferire.
Item quatuor cutelli a tabula a manicis Icfanti cum varctis de argento.
Item cjuatuor alii cutelli a tabula a manicis nigris de bufalo cum varctis
argenteis. Item due cbonche magne de rame. Item quatuor bacilli
magni. Item sex bacilli parvi. Item quindecim ramini inter magnos et
parvos de latono. Item tria paria linteaminum a lecto quondam domine
dncisse. Item duo paria linteaminum a lecto Zanini Dandido. Item
viginti paria linteaminum a familia vctera. Item quadraginta scuta.
Item duo epitogia desfornila de panno cardlnali que fuerunt et esse
debuerunt pro usu quondam dicti domini ducis. Item quatuor tunice
dcsfornite de panno cardinali. Item duo epitogia desfornita de panno
scarlato. Item ima tunica de sarza vermeia. Item unum epitogium et
una tunica de panno scarlato desfornita incisa et non completa. Item octo
bracliia de panno cardinali. Item duo capuzia de panno cardinali iuforata
de varota. Item tria capuzia de parmo scarlato inforata de varota. Item
unum capuzium do panno scarlato ct unum capuzium de panno cardinali
inforata de cendato. Item duo capuzia de sarza vermeia investita dc
cendato. Item duo zambeloti dc cendato vermeio, Item unum epitogium
ct ima pelis de veluto vermeio inforata de varota a domina. Item una
cappa dc veluto vermeio et viridi inforata dc varota a domina. Item unum
suprasignum dc catasamito ad arma da cha Dandulo inforatum de tella
viridi. Item quinquc bandiere de cendato ad arma da cha Dandulo et duo
pencUa de cendato ad arma da cha Dandulo et una bandiera de tella ad
arma da cha Dandulo. Item tres anchonc. Item undecim coffani infcrati
DOCUMENTS 199
inter bonos et non bonos sive vctcres. Item due arcelle dc paredanis.
Item unum coffanotum longum adoplerlis. Item una cassella longa ado-
plerlis. Item duo cassoni veteres. Item una cassella magna nova. Item
una cassella magna a merchatore. Item unum banchum a tribus coltis.
Item sex pilizoni de agnelina inter bonos et veteres ab bominc. Item
quatuor pilizoni de pelis leporinis ab homine. Item sex zube de bocharano
que fuerunt pro usu quondam dicti domini ducis. Item alii panni et
vcstimcnta et vestimenta (sic) vetera que portant sive deferunt in dorso
femine in domo. Item viginli septem orieri investiti de tella alba. Item
duo orieri de cendato vermeio cum gramitis de auro in medio. Item
unus orier de veluto viridi cum gramitis auri in medio ad opera aqui-
larum. Item tres orieri de samito vermeio. Item duo orieri de camocha
viridi. Item unus orier de camocba blavo. Item quinque orieri de
panno de seta. Item duo slatere cum uno blombielleno. Item unus
sachus et dimidius lino pleni. Item una pezia de pignolato. Item unus
liber institute. Item unus liber si licet legende sanctorum. Item unus liber
digestus. Item unus liber antiquus. Item unus liber Prosperi. Item
unus liber dyalogorum sancti Grcgorii. Item unus liber statutorum
Veneciarum. Item unus liber Ysopi. Item unus liber cronice. Item
unus liber Donati. Item unus quaternus statuti navium. Item alii
quaterni cum duobus libris franciscis. Item unus liber decretalium.
Item unus liber de expositione vocabulorum. Item unus liber blibie
complete. Item unus liber fratris Thomaxii. Item unus liber Donati
conipositus per vulgare et latino. Item duo Boecii in uno quorum est
poesia novella. Item unus liber epistole beati Eusebii. Item unus liber
de doctrina. Item unvis liber Flavii qui babet corium viride. Item unus
libellus medicine. Item duo quaterni scripti in cartis _de bergameno et
unus alius quaternus de translacione corporis beati Stephani protho-
martiris qualiter de Constantinopolim conductum seu translatum fuit
Venecia. Item duo peteni de lefanto. Item due flimbaie sive pedes de
auro cum perils laboratis cum quatuor rocbis pro utroque ipsorum pedum.
Item una cappa parva de auro a domina. Item quatuor lebetes de bronzio.
Item tres coldiere de rame. Item septem lebetes de petra. Item tria
frissoria de rame. Item tres cochome de rame. Item duo spedi de ferro.
Item quatuor patelle de rame. Item una caldiera magna de rame. Item
tres catene ferree. Item sex cavedoni de ferro. Item tres cavedoni magni
de ferro. Item due catene magne de ferro. Item uno spedo longus cum
duobus pedibus de ferro. Item due alie coldiere de rame una magna et
altera parva. Item quatuor lebetes magni de bronzio. Item duo lebetes
de petra. Item duo frissoria unum magnum et alterum parvum de rame.
Item duo trepie vctcres de ferro. Item tres selle ab equis veteres. Item
duo frena equorum. Item una masena de petra ad faciendum salsam.
Item due cuppe de argento cum pedibus inauratis cum smaldis coopertis
ad opera francisca. Item unum bocbal de argento coopertum inauratum
cum smaldis. Item quatuor cboclearia de argento inaurata. Ita nonaginta
200 DOCUMENTS
scptcm choclcaria dc argcnto alLa. Item sex incisoria sivc taicri de
argcnto. Item oclo scutcUe parve dc argento. Item ocio scutclle magne
de argeiito. Item oclo uapi de argento ad opera turchcsca. Item due
ciippe de argcnto una quarum est inaurata et altera non. Item una
scatula de argcnto magna alba. Item una saliera de argcnto inaurata
cooperla cum smaldis. Item duo pironi niagni dc argento inaurati. Item
una caza de argento alesivio. Ilcm^ unus botazellus de argcnto albus a
Icraqua. Item una cuppa de maserata cum pede argenti inaurata. Item
una Centura de argento sine capite furnlta solununodo alccnzer. Item due
spalicre a novicia fornite perlis et smaldis cum catenis de argento ct cum
smaldis inauratis. Item unus anulus aureus cum uno rubino. Item duo
candclabria de argento inaurata cimi pedibus laboratis ad Icones. Item
una trumbcta longa do argcnto. Item una scudclcta de argcnto pro cirio
albo. Iste res sunt in manibus mei prcdicti Nicolay Conlareno videlicet.
Imprimis iinus pirulus dambro da olire cum una flubaia de seta sanguinea.
Item duo anuuli auri parvi, unus quorum babct balassum vermilium a
cantonis octo et alter sephvrum ab octo canlonis. Item unus annuliis
aureus ad arma da cha Dandulo ad smaldos. Item duo annuli auri magni,
unus babct balassum quadrum a qualuor cantonis et alter sapbyrum ab
octo augulis. Item unus curadentos de argcnto. Item libre viginli due
solidi sexdecim denarii novcm grossorum parvull decern octo cum illis
libris treccnlis que sunt de rcpromissa uxoris Zanini Dandulo suprascripti
nepotis quondam dicli domini ducis Yencciarum et pro laziis libre due
solidus unus dcnari quatuor grossorum de quibus Marclicsina debet babcre
libras decern grossorum pro sua filia. Item dcbent excuti a palatio pro
una sententia libre decem octo grossorum solidi sex denarii duo grossorum
et parvuli viginti duo que nondum sunt excusse ex eo quod nos com-
missarii recurere debemus advocaloribus comunis. Item debent excuti
ab uno comitum de Vcgla solidi octo et denarii decern cum dimidio
grossorum pro regalia. Item unum scripgnum dicte commissarie ad
tenendum et conservandum intus et dcnarios et alias scripluras commissarie
predicte quondam domini ducis. Iste infrascripte res sunt deputate ad
usimi uxoris Zanini Dandulo prcdicti. In primis una roba de sago albo
silicct tunica et varnacbia infrisata ipsa tunica et varnacbia, sed varnacbia
est inforata de cendado blavo et tunica habet pirolos intaiatos de argento
inaurato. Item unum epitogium ad undo de panno aureo, et dc panno
cardinali furnitum cappis argcntcis et inforatum de varotis. Item unum
epitogium et una tunica de panno sblavado et scarlato infrisata, ct ipsum
epitogium est inforatum de varota ct fornitum ansolis magnis argenteis
inauratis et ipsa tunica esi furnita de pressuris argenteis inauratis. Item
unum epitogium de auro inforatum de varotis. Item una tunica de
scarlato infrisata de perlis. Item una tunica et unum epitogium de panno
viridi inforatum pelle grisea. Item due zube de cendato una quarum est
laborata ad imdas de condato viridi et sanguinco. Item unum rubinum de
meselo et de calabriato. Ilom unum rubinum de auro ad intaj cum
DOCUMENTS 201
gramitibus. Item una zoia incasala et habet tresdecim taselos de rubinis
et smaldis et perlis. Item unum filum de pcrlis centum et decern septem.
Item recepit suprascripla domina ducissa a comite Bartholomeo et a comite
Nicolao junior! de Vegla libras octo solidos sex denarios octo grossorum.
Item recepit a comite Marco filio quondam domini IS'icolay comitis majoris
de Vegla libras sex et solidos tres grossorum. Item recepit libras sexdecim
solidos decern octo denarios novcm grossorum a palatio de rebus venditis.
Item recepit libras quindecim solidum unum denarios novem grossorum a
domino Nicolao Conlareno prcdicto. Item recepit pro lignis ab igne
venditis libras tres solidos novem grossorum. Item recepit libras decern,
solidos decern grossorum de pannis et vestimentis quondam dicti domini
duels venditis quando ipsa exivit de palatio. Quos omnes suprascripto*
denarios ipsa expendidit in reparatione et aptatione domorum et proprieta-
tum positarum in confinio sancti Pauli et sancti Salvatoris et in distri-
buendo pro anima ipsius quondam domini ducis et pro aliis necessariis.
Signiim suprascriptorum commissariorum qui bee rogaverunt fieri.
Tempore domini Angeli Suriano judicis peticionis in sua curia michi
notario ipse dixit quod non elevarem dictum istrumentum nisi aliter alias
michi diceretur — postmodum domini advocatores comunis et fuit dominus
Pelrus Zane qui michi prccepit inslrumentum predictum fieri in publicam
formam et sic feci de autoritate domini ducis et suorum consiliariorum
propter mortem testium.
Infrascriptis duobus testibus morte preventis qui erant testes rogati se
subscribere in suprascripta inventarii carta, de mandato et autoritate
domini domini Andree Dandulo Dei gratia Veneciarum Dalmacie atque
Chroatie ducis suique minoris et maioris consilii, cum subscriptione ipsius
domini ducis et quatuor suorum consiliariorum qui fuerunt isti, silicet
dominus Paulus Donato, douiinus Johannes Lauretano, dominus Johannes
Quirino et dominus Stephanus Marijoni. In millesimo trecentesimo
quadragesimo nono mense septembris die dccimo nono intrante indicione
tercia Rivoalti. Ego presbiter Victor canonicus ecclesie sancti Marci et
notarius complevi et roboravi dictam inventarii cartam et ipsam dedi
suprascripto Johanni Dandulo et ideo de atramento circumdedi.
Testes Bertolinus de Cremona filius quondam Baldesarini de Quageis
de viscinatu sancti sepulcri, et Jacobinus de Parma filius quondam Bernardi
de Parma ambo de confinio sancti Cassiani.
(Venezia, Archivio di Stato, Sezione Notarile, Cancelleria inferiors —
B, aig. Not. Vettore, Canonico di S. Marco.)
202 DOCUMENTS
VIII
InVENTARIO DELLE cose LASCIATE DAL PATRIZIO GlOHGlO Rl'ZZINI, MORTO WEL
VIAGGIO DA VE>E2IA AD ALESSANDRIA (l^53)
In nomine Dei eterni Amen. Anno Incarnationis Dominice millesimo
quadringcntesimo quinquagesimo tcrlio, indicione prima, die vero martis
oclavo mcnsis lanuarii in molo Motoni in galea capetanea. Invcntarium
omnium rcrum et bononim viri nobilis scr Gcorgli Ruzini qu. ser Francisci
dcfimcti in galea Bernarda ad viaginm Alcxandrie capetaneo spectabili et
gcneroso domino Francisco Lauredano qu. magnifici domini Petri olim
procuratoris ccclesie Sancti Marci cuius anima rcquiescat in pace Dei
niisericordia, que invenla fuerunt post eius mortem in dictis galeis Cape-
tanea et Bernarda. Factum de mandate prefali domini capctanei prescntis
et sic precipientis in presentia viri nobilis ser Andree Navaierio qu. nobili
Bernardi balislario de pupi dicte galee Capelanee, ser loanne Barbaro qu.
domini Stephani et scr Pelro Alemanti scr domini Barlholomei et mei
presbiteri Christophori de Flore veneti notarii, nee non dicti domini
capctanei capelani. (Ad instantiam commissarie qu. ser Georgii Ruzino.)
In primis in uno cophano forato.
Una vestis de scharlato cum manicis a cultelazo fulcita de lupis cerveriis.
Una vestis de scharlato dupla fulcita de pano beretino.
Una cnputia paonatia.
Una cassetla de anzipresso nova cum duabus camixiis et duabus mu-
dandis novis.
Unum par caligarum de scharlato.
Una diplois de scharlato.
Una gona nigra fulcita de albertinis.
Unum par linteaminum.
Unum galerium dc lana nigrum.
Unum par caligarum nigrarum pro sotularibus veterum.
Una mudanda de lana beretina.
Unus saculus cum garofalis cuxitus.
Unus mantelinus viridis simplex de pano nigro.
In una capsa aquaternis.
Una capseta d'anzipresso cum duobus paribus sotularium.
Unum par zocholorum batantlum.
Sex maiuoli de zcra alba.
Unum mazetum de spago pro litteris (?).
Tres pecteni eburnei ligati in una carta.
Unum ligazetum c»im pectenis duobus ligneis et duobus eburneis ligatis
m una carta cum aliquibus acubus ligatis in una carta.
DOCUMENTS 2o3
Unum biretum viride simplex de grana.
Uniim Liretum duplnm nigrum.
Quatuor candele depicte.
Unum mazetum candelarum albarum pro mensa.
In fiorio dicte capse.
Duo mazeti candelarum albarum minularum.
Septem maioli de cera alba.
Unum fazitergium velus.
Quatuor fazoli cum capitibus di sirico ad moreschum.
Duo naxitergia de ixaro sine capitibus ligali in una carta.
Unum par cirotecarum de corio albo.
Unum marsupium de corio albo cum ducatis duobus auri et cum libris
13 parvorum soldis I3 et tornexiis soldi 53. Que tornexia data fuerunt
Simoni Ruzini olim suo famulo qui asseruit dictum marsupium cum supra-
scriptis denariis inventis intus fore suum.
Unus saculus de catupatia cum grosis L. 34, sol. i6, de quibus prefatus
dominus capetanius extrassit ducatos quinque videlicet libras triginta
parvorum qui fuerunt pro expensis sue mense sibi factis a Yenetiis usque
in Alexandriam.
In una cistela.
Tres camixie.
Tres mudande.
Una diplois de zendato de grana.
Unus cultelus panescus cum suo cuUelino deargentato cum sua vagina.
Una diplois de fustaneo albo cum uno cultelino apenso.
Unum par caligarum solatorum nigrarum.
Unum par chaligarum nigrarum prosotularum.
Unum aliud par chaligarum nigrarum solarum.
Duo paria scharpetarum albarum novarum.
Una tacbia de tella.
Unum facitergium
Una seola pro panis
Unus pectenelus
Duo quaterni parvi scripti
Unum speculum parvum
Una zentura nigra de siri-]
cho deargentata ► in una scbatola longa.
Una gona nigra dupla I
Unum par sotularium veterum.
Unus petiarolus ct unum pugilarc.
Unum biretum simplex nigrum.
Unus charnalorus florenlinus cum aliquibus scripturis intus.
in uno cbarnarolo de tella.
2o4 DOCUMENTS
In una capsela a scripluris.
Unum facitergium veins cum uno petio panni paonatii ligatum.
Unum ligalium bindarum filli crudi.
Una carta cum sfringis rubeis.
Unum ofitiolum.
Duo stelle eburnee pro pectene non laboratc.
Unus pectenellus cburneus.
Unus liber sui computi pan'us.
Aliqua folia carte ad scribcndum.
Unus partitor argenteus et deauratus.
Unum par tabularum pro scribendo.
Una ampula revoluta in aliqua tclla.
Duo raxorii.
Unus lapis pro aguario.
Unus temperator.
Una tocha auri ed argenti.
Unum scbarnutium cum bagatinis venetis intus.
Alique madasse spagi ad suendum.
Unus cbarnarolus de tella.
Unum marsupium de corio veteri in quo erat et est.
Unus anulus aureus de bulla cum zerto slgno.
Duo ducati auri.
-Monete solditorum gr. 3 sold. 3. Una moneta morescha argentea et
duo tornexia.
In uno stramatio.
Una carpeta veteri.
Unum letexelum de tella alba cum pluma.
Una cultra vetus cum bindis rubeis et blavis.
Duo chusini cum suis entemelis.
Una capa pro galea rubea fulcita de pano albo.
In manibus trium bominum a remo a porta dite galea capetanee.
Una cofa plena caparis chuxita ) . . ,. .
TT r 1 • 1 •. ^ unius maenitudmis.
Una cola plena ruxis chuxila ) °
Una cofa plena seminibus papagalorum, minor illis, quas dicti tres
homines dixerunt habuisse a dicto predefuncto ad nabulum pro uno ducato
de Alexandria usque Venetias.
In galea Bernarda ap^id famulum PizoH.
Unus papagalus cum sua cbcba coperla de chanipatia.
Notum fatio qualiter omnia suprascripta fuerunt posita in dictis capsig
que clause fuerunt cum suis clavibus. Et deinde dicte capse bulate fuerunt
super suis seris cum bulla Sancti Marci manu prefati domini Capetanei,
DOCUMENTS 2o5
quarum capsarum claves consignate fuerunt immediate per dictum domi-
num Capetanium michi notario infrascriiJto, presentibus suprascriplis.
(\'enezia, Archivio di Stato, Sezione Notarile, Notaio Cristoforo Del
Fiore, protocollo l!^!^Q-I!^oo, c. 5, busta 83.)
IX
Invextario di f:<.v cas.v borghese (i454)
In nomine Dei eterni Amen. Anno incarnationis dominice millesimo
quadringentesimo quinquagesimo quarto, indicione secunda, die vigesimo
septimo mensis lunii Rivoalti. In domo qti. ser Yenturini qu. loannis
defuncti de confinio Sancti Cassiani, cuius anima requiescat in pace Dei
misericordia. Inventarium omnium rerum et bonorum existentium in
dicta domo dicti predefuncti, inventarum post eius mortem, factum et
scriptum per me notarium infrascriptum in presentia testium infrascripto-
rum ad instantiam et de voluntate venerabilis viri domini presbiteri Andree
de Pactis et providi viri ser Andree Magazano vel veluti Comissariorum
dicti predefuncti pro maiori parte, de quibus rebus et bonis inventis in
predicta domo non notata fuerunt multa que dicta fuerunt esse pro pignore
a pluribus personis a sua olim uxore et Marco eius filio et non fuerunt
notata et posita in presenti inventario sed separata in certis copbanis et
capsis eiistentibus in dicta domo in presentia viri providi ser Antonii Fero
scribani ad ofTitium lustitie Yeteris, Pasq\ialini diaconi ecclesie Sancti
Pauli, et Francisci qu. Antonii Corna testium vocatorum et rogatorum et
mei presbiteri Cbristophori De Flore Yeneti notarii.
In duabus suis cameris simul et semel in sua camera
P-
Duo lecta magna.
Unum lectum pro cariola.
Unum leteielum pro cuna.
Septem capizalia.
Sex cusineli.
Unum par lintearium magnorum, unum novum et unum vetus cum
capitibus.
Una cultra blava laborata cum leporibus incisis satis bona.
Una cortina de tella de sancto Gallo deaurata cum floronibus.
Unum quadrum cum ymagine Domine INostre tenente figuram Cliristi
mortui super brachia cum suo armariolo.
Unus puerulus ligneus et depictus.
Una spata cum sua vagina apensa in muro.
Duo tapeta vetera.
ao6 DOCUMENTS
In UDO cofano novo.
Quatuor brachia dimiti albi.
Una investitura de carixea alba porlata cum brazalis de veluto albi et
cremexini cum suis manichelis fulcita do planelis argcnteis.
Una zorncta dc carixea cum guazarouis.
Una vestis de pano paonatio pro viro fulcita de cendato de verzi.
Una vestis morela fulcita de zendato torto de grana.
Una vestis morela fulcita de zendato nigro.
Una vestis nigra ugnola portata et frustrata.
Unum caputium nigrum bonum.
Unum manicbetum de veluto nigro videlicet de zetani.
Unus fazolus cum capitibus de syricbo vergatis.
Unnm biretum nigrum duplum et vetus.
Una gona turcbina fulcita de blancbeto fracta et lagerata.
In uno alio cbofano novo.
Unum chavetium de tella de Candida bracbiorum XXV*.
Unum aliud cbavetium de tella de Candida bracbiorum XXX'*.
Unus mantellus de mostovalerio vetus.
Unum biretum nigrum longum ct vetus.
Unum aliud biretum nigrum longum et bonum.
Unum doctrinale de bona carta novum et gloxatum.
Unum mantellum blavum et vetus.
Unum par regularum Guarini de bona carta.
Una guarnatia de pantiis girorum.
Una carpeta vetus fulcita de pellibus.
In un cofaneto novo.
Tres tatie argentee una magna et due parve, que postea posite fuerunt
in secundo copbano, quia dictus copbanetus remansit vacuus.
In una capsa de talpono.
Unum linteamen seu nenzolus de quator tellis cum capitibus desfilatis.
Unum mantile longum vergatum in capitibus de blavo.
Unum mantile vergatum cum capitibus albis grosum sed bonum.
Una camixia pro viro nova.
Unus nenzolus operatus de tellis tribus.
Duo entemele nove.
Tres fassie nove.
Una scbufia.
DOCUMENTS 207
In uno cofaneto parvo posito in dicta capsa erant anuli infrascripti et
infrascripte res.
Una vera aurea laborata cum stelis.
Unum balasium chogolegnum ligatum in uno anulo aureo boni colons
cum una fossa.
Due vergete auree una maior altera.
Tria scharnutia cum aliquibus maietis argenteis et planetis XVII.
In una capsa de albeto.
Una diplois de pano rubeo satis bona.
Unum biretum longum nigrum ct portatum pluries.
Unus nenzolelus pro chuna operatus.
Una entemela.
Una zenturia de siricbo alexandrina fulcita argento.
Una veta pro pueris nigra cum schaietis argenteis.
Quatuor petia unius chadenele argentee veteris.
Una filzia planetarum bonarum numero centum.
Una veta de scharlato veteri pro pueris cum aliquibus copoletis
argenteis.
Una zenturia tessuta creraexina pro viro larga et fulcita argento.
In una carta plicata due torchexie paucissimi valoris, et una dupla
nibea.
In uno copbaneto depicto et discoperto.
Unus saculus cum argentis fractis.
Tria coclearia argentea et vetera.
Unus pometus argenteus cum ioldano Intus. ■
Una veta de veluto cremexino.
Unum naxitergium novum de siricbo.
Quatuor naxitergia laborata cum siricbo.
Unum par manicbetorum de damascbino viridi vetus.
Inal
la camera.
Una cultra blava cum zoiis vetus.
Una cultra blava scbieta et bona.
Unum par linteaminum vetus.
Unus zolonus tessutus pro lecto vergato.
Unus canipelus pro burcbo.
Una alzana.
Sacbi pro formento ct farina numero XLII.
Unus sacbus similis cum lino intus pro medictate sacbi adbuc non
laboratus.
2o8 DOCUMENTS
In uno cophano vetere.
Unus fazolus vergatus.
Duo paria chaligarum solatarum et bonarum.
Unum chapetium panni viridis clari et alti brachiorum V balneatarum
et zimatarum.
Unus mantellus niger ct vetus.
Una vestis paonalia vctus cum manicis rotondis.
Unum copertorium de cendato cum bindis nigris et rubcis.
Una investitura de pano mostovalerio fulcita planetis et macetis
argenleis.
Una vestis de grana pro viro cum manicis a cubito.
In uno alio cophano vetere.
Unus mantellus niger ct vetus.
Unus corparolus de zendato viridi fulcitus de blandita.
Quatuor petia blanchete novo.
Unum capetium pani viridis alti brachiorum IV" balneatarum et
cimatarum.
Una investitura de charixea viridis in quartis noviter tincta.
Unum copertorium de molato vetus et fulcitum pclibus agnelini.
Unum capetium pani de sex rubei brachiorum IV".
Unum capetium pani largi cupi balneatarum et cimati brachii unius.
Unus mantellus pani mostovalerii bonus cum fenestrelis.
Una carpela de molato viridi et vetus.
Una investidura pro puero panni viridis et rechamata.
In una capsa de talpono.
Due petie de tella de quibus aliquantulum et parum inzisum fuit quas
bulavi manu mea sigillo unius mei annuli tautum in uno capite unde
incisum fuit.
Una alia petia telle Integra.
Unus sacus plenus tella pro tinteaminibus adhuc non inzisis cum suis
panclis quern sachum etiam ego notarius infrascriptus bullavi dicto sigillo.
Alique madasie fiUi crudi, videlicet V°.
In una alia capsa de talpono.
Duo linteamina nova.
Unum linteamen vetus.
In una alia tertia capsa de talpono.
Unus centus niger pro viro cum franzis fulcilo argento.
Unus pectcnis de avolio et operatus et depictus auro.
DOCUMENTS 209
Unum capizelum de veluto cremexino.
Unas piguolatus beretinus pro pucro non complelus cum brazalis.
Unum capctium pani bassi viridis pro pari uno caligarum.
Duo tobalee nove cum capilibus vergatis de blavo.
Unum par manichorum de scharlato.
Unus zentus viridis absque argento.
Una scbuphia laborata cum syricho cremexino non completa.
Una corda de paternostri de ambra nigra cum uno pomo argenteo et
deaurato.
Duo coclearia argentea vetera.
Quatuor vete pro pueris una de veluto albo et cremexino et alie de
veluto plurium maneriorum.
Unus fazoletus laboratus cum sjricho cremexino non completus.
In uno cophaneto ferato.
Unus liber de carta bombicina magnus, novus et non scriptus cum suo
alphabeto.
Unus alius liber eiusdem quantitatis scripture.
Multe alie scripture ad refuxum.
Unum par tabellarum pro scribere, scripte cum aliquibus scripturis.
In una alia capseta de talpono habente duas seraduras.
Una entemela nova habente intus quatuor naxitergia et unum fazi-
tergium.
Una entemela vetus babens intus fassias sex novas.
Quatuor zenturie rubee et veteres fulcite argento.
Due zenturie virides veteres et fulcite argento.
Unum par manitectorum de zentani viridi novorum.
Unum par manitectorum de damaschino paonatio brochatorum auro et
novorum.
Duo entemele nove.
Tria brachia de fostagno albo.
Duo facitergia cum capitibus de siricho albo.
Unum facitergium cum capitibus blavis.
Unus nenzoletus factus ex duobus fazolis chuxitis in unum cum capiti-
bus vergatis cum syricho.
Unus nenzolus vctus.
Una libra fiUi crudi.
In una capsa de talpono.
Una enlemella habens intus fillum crudum laceratum et male guberna-
tum, et nil aliud crat in dicla capsa.
VOL. II — 1 4
2IO DOCUMENTS
Per domum hie el illlc in diversis locis.
Una arzela nova pro furioa tenenda.
Una credentia parva.
Duo bazilia.
Unus raminus parvus.
Unus lavelius de metallo.
Tria sechia magna de rainine.
Tres chatini de stagno.
Unus lavelius de terra.
Una chaldarola stagnata.
Una alia absque slagno.
Tres calene de ferro.
Duo paria de chavedonis.
Due banclie francesche.
Una tabula de ancipresso pro manducare de supra.
Una moleta pro stizare.
Una spinazia pro lino.
Unus cboncolis vetus.
In Canipa.
Una buta unius amphore plena vino cocto.
Una butexella cum azeto numero quarte X*"".
(Venezia, Arcbivio di Stato, Sezione Notarile, ISotaio Cristoforo del
Fiore, protocoUo i449-i45o, c. 8, busta 83.)
Documents D — ATTI GIURIDICI
I
107a (?) APRILE. Rl.^LTO
Attestazione di Domenico Rosso d'esser stato presente ad una querela
fatta da Domenico suo nipote contro Domenico Serzi per 9 sporte di
allume.
In nomine domini Dei et Salvatoris nostri lesu Christi . Anno incar-
nacionis eiusdem redeniptoris nostri / millesimo septuagesimo secundo
mense aprilis indicione decima Rivo alio . Breviarium carte recor/dacionis
facimus nos Dominicus Roso . die quadam dum essem ante presencia
dom^ini Dominici Contareni ducis tunc ibi venit Dominicus Roso nepoti
meo . et proclamavit se supra Dominico Serzy quod sibi retinebat / novem
sportas de alumen quod Johannes Martinacio de castello ei per ilium / de
Alexandria missum habebat . tunc Dominicus Serzy dixit / nolit Deus
DOCUMENTS an
dixit Dorninicus Scrzy verura dedit michi lohannes Marti/nacio ipsum
alume ut dedisscm ilium ad uxor eius . dixit Dorninicus Rose / ncpoli
meo ego abeo testes quod lohannes Martinacio niisit michi ipsum alum/me
propter quod michi debitor est . unde per legem sibi vadimonium dedit /
comprobandi ego inde fide iussor sum . testificavit michi Dominico
Premar/co per bore Urso Pladuni quia ipso alumme comparatum fuit ad
nomen / Dominico Roso ut audivit et a Dominico Roso missum fuisscd .
Johannes / Clius meo testificavit michi dum venit ad Mothones . depre-
cavit ilium Do/minico Serzy ut reccpissed in sua navim novem sportas de
allumme cjuod / lohannes Martinacio mitlet ad Dominico Roso consoprino
meo / et sue servo . ipse dixit non possumus c^uod caricatus sum. lohan-
nes Musulino testificavit michi quod invenit loquentem Dominico Serzy
cum lohanne / filio meo et deprecavit ut ilium misi sed alumme in sua
navim quod inde / pertinebat Dominico Roso . testificavit michi Petrus
Bollo dum ipso / alumme missum fuit in sua navim . audivit quod ipso
alumme / fuissed Dominico Roso . et suo servo ilium navigavit . et dum
rationem / de caricum fecimus semper dicebal Dominico Serzy quod ipso
alumme fuissed Dominico Roso . et Dominico Muysolo semiliter michi /
testificavit . quod semper atidivit in Alexandria et in navim sive de / hore
Dominico Serzi quod predictas novem sportas de alumme fuis/sed Domi-
nicus Roso . quod lohannes Martinacio eas illi misised / et manifestavit
michi Urso Pladuni pro teste . et filio Quirino . et Grego/rio de Torcello.
Ego Dominicus Roso fide iussor manu mca siibscripsi.
Ego lohannes testis subscripsi "Xi X testium idest lohannes Fuscari.
O Dominicus Fuscari.
lohannes filius Dominico Ur-
Ego Dominicus testis
Ego lohannes testis
^ — sovolo.
Ego leremias presbiter notarius ut audivi ex hore de suprascripto fide
lusso/re complevi et roboravi.
(Archivio di Slato in Venezia — Archlviodel monastero di San Zaccaria-
— Pcrgamene.)
II
1086 APRILE. RiALTO
Paolo Salomonc di Rialto dichiara a Domenico del fu Pietro Pantaleo,
pure di Rialto, di aver ricevuto novo documenti rclalivi a certa
proprieta.
In nomine domini Dei et salvatori nostris lesu Christi . Anno / ab
incarnacione eiusdem redemptoris nostri millesimo octuagesimo / sexto .
mense Aprili . Indictione nona Rivoallo. Post / dcfensionis cartam quam
P. MoLME^TI, Lu Storia di Vene:ia nclla Vila Privaia. — P. I.
2ia DOCUMENTS
mihi fccisli de ipsa proprietale / Icrrae el casae ct suae divisionis de orto
quam / Dominicus Capiiliiicollo cognatus tuus mihi transa/ctavit per
finnitalis cartas quas inde mihi fecit / ut in eis coutinelur ; Manifeslus
sum ego quidem / Paulus Salomon habitator in rivo alto cum meis /
hercdibus . tibi Dominico Pantalco fdio quondam Petri / Pantaleo et luis
hcredibus; quia habeo apud me / receptas novem carlulas ad ipsam sup-
rascriptam proprietatem / pcrtinentes . Quarum est una diiudicati cartula
quam / Otto dux fecit cum coeteris hominibus Venetiae . ad Costanlinum
grecum Voris iusto prati de Costan/tinopoli ; de proprietale lohannis
Graliadci . Est una / documenli carlula quam fecit Dominicus fdius bonae
memoriae Dominici / Mauri ad lohannem filium Martini Graliadei. Est
securitatis / cartula quam Constanlinus qui nominalur Voris grecus fecit
/ Martino et lohanni anibobus fratribus flliis lohannis Gratiadei . / Est
caucionis cartula quam fecit Dominicus clericus filius bonae memoriae /
Dominici Bragadini ad lohannem Florencium continentem de cape/tanea
denarios exmeratos mancusios duocentos . Est caucionis / cartula quam
fecit Marlinus Graliadei pariter cum Marina / uxore sua ad Ardradum
qui dicebalur Boniverlo de / civitate \erona continentem de capetanea
seplem miliaria / de lana, et libras denariorum veronensium quadraginta
quinquc , / Est securitas de super omnia quam fecit Marlinus Gratiadei
/ venelicus ad Ardradum de civitate Verona . Est caucionis / cartula quam
fecit Marlinus Gratiadei insimul cum Marina / uxore sua ad Dominicum
Caputincollo continentem de cape/lanca libras denariorum ducenlas . Est
sequens eius securitas / quam similiter Marlinus Graliadei insimul cum
Marina uxore / sua fecit ad Dominicum Caputincollo de super tola terra
et / casa sua cum tola sua vinea ibi coniuncla . Est documen/tum quod
fecit Johannes filius Divizo ioculatoris ad Martinum / Gratiadei de una
pecia de terra coelo tecta. Unde promit/lens promillo ego quidem prae-
nominatus Paulus Salomon ti/bi iam diclo Dominico Pantaleo . ut si
fuerit clare / factum quod hinc in anlca usque ad quinque annos expletos
tam suprascriplae novem carlulae quam una decima carlula quae / est
breviarium quod fecit Petrus Caputincollo ad Dominicum / Caputincollo
fralrem suum de ipso muro qui reiacet in ca/pile de sua et illius caminata
tibi opus exliterint / Icgendi in placito ad defensandum me propter supra-
gcriptam de/fensionem quam mihi fecisti ; tunc prenominatas decem
carlulas / tibi oslendere et presentare debeam ad luam et meam / defen-
sionem usque ad completos islos quinque annos . Quod / si haec omnia
non observavero et non adimplevero . / et prenominatas decem carlulas
cum tibi opus fuerint osten/dere et presentare noluero aut non potuero in
pla/cito vel ubi tibi nccesse fuerit ad legendum ad luam / et meam defen-
sionem ut supra Icgilur ; et aliquod dampnum / pro eis tibi accreveril . et
fuerit clarefaclum usque / ad suprascriplos completos islos quinque annos .
tunc componere promitto / cum meis haeredibus tibi et tuis haeredibus
auri libras quinque . et haec / promissio in suprascripto ordine in sua
maneat firmitate usque ad suprascriplum terminum /
DOCUMENTS
si3
Signum maniis suprascripti Pauli qui hoc rogavit fieri.
Ego Dominicus testis subscripsi.
Ego Petrus rogalus testis subscripsi.
Ego Slefanus testis subscripsi.
*^~ZsiJi^f\, (Notitia testium) Idest Dominicus
filius boni Michaelis.
!r9<-
Petrus Maurus.
Stefanus Carosus.
~ ^^ Ego Dominicus clericus et / notarius complevi ct roboravi.
(Archivio di State in Venezia — Archivio del monastero di San Zac-
caria — Pergamene, p. 5 ; S. Zulian.)
Ill
lOgS OTTOBRE. RiALTO
Attestazione di Martino Vetulo, prete di San Provolo, circa questioni sopra
una siepe del Monastero di San Zaccaria.
In nomine domini Dei et salvaloris nostri lesu Christi . Anno / ab
incarnacione eiusdem redemptoris nostri millesimo nonagesimo / octavo
mense Octubri Indictione Scptima Rivo / alto . Breviarium teslificacionis
facimus omnes quorum / nomina et manu subter conscripti et affir/mati
sumus qualiter pro certo scimus secundum quod / huius scripture ordo
subterius manife/stabitur . Igilur ego quidem Martinus presbiler Vetulus
/ de accclesia sancti Proculi testificor quia quadam / die misit me insimul
cum sociis meis domina / mea abbalissa ad Aurium Dommarcum ; quia /
in tempore illo quando ipse occupabal cum / sepe ; quod ipse mittebat
terram sancti Zacha/riae . a comprchenso capite de ipsa piscina / in anlea.
Sic vcro diximus ei . dominae Auriae / mandat tibi interdicendum omnibus
modis / domina nostra abbalissa quod non inlermiltas terram / sancti
Zachariae . ad hoc ille dixit nolil Deus sed / magis volo . de meo ibi dare .
preter hec / autem venit ipse venit nobiscum ante domina / nostra abbalissa
2i4 DOCUMENTS
et tali modo locutus est dicens . / Karissima domlna rogo te ut dimittas
islum scpem modo / proplcrca quia nulla possessio est . ct cum / supra-
scriptum sepcm veteroscat; dimiltam tcrram / tuam et inlromiUam mcam
. et in his dictis / domina nostra abbatlssa quievit . Ego Al/bertus presbiler
de suprascripla aecclcsia sancti Proculi . quadam /die post obitum predicli
Aurii Dommarci / fui ego insimul cum Marlinum presbiterum de / Salelum
quando eius relictam recuperabat ipsum / sepcm et nos ei interdiximus ex
parte suprascriplae / dominae nostrae abbatissae et ilia dixit . / tale respon-
sum facio vobis sicut primilus / suprascriptus vir meus indc fecit . Huius
rei / hordiuem nos predict! testes Andrcam presbiterum / Marlinacium et
notarium ut superius patet scri/bere rogavimus . Signum manus supra-
scripti Mar/tini presbiteri qui hoc rogavit fieri.
Ego Albertus presbiter sancti Proculi manu mea subscripsi.
Ego Andreas presbiter et notarius / complevi et roboravi.
(Arcliivio di Stalo in Venezia — Archivio del monastero dl San Zac-
caria — Pergamene, b. i ; S. Provolo.)
Documents E — FORME DI DOCUMENTI
I
I056 MAGGIO
Quietanza di prcte Fiorenzo, figlio di Domenico Giovannaci Bragadini, a
Domcuico Cenzalesso dei legali a suo favore lasciati dal fu Giovanni
Ferrario.
In nomine domini Dei et salvatoris nostri lesu Christl . Anno In/carna-
cionis eiusdem redemptoris nostri millesimo quinquagesimo sexto / mense
madio indictionc nona rivo alio . Plenam et ir/revocabilera sccuritalem
mitlo ego quidcm Forentius presbiter / filius Dominico lahanaci Bragadino
cum meis successoribus / tibi Dominico Cenzalesso et tuis heredibus . De
su/porlola dimissoria magna vel parva . Quod Johannes / Fcrarius nepoli
atque commisso tuo milii largi/vit cum ad hobitum venit . Nunc autem
post suum / hobitum per omnia inde me delibcrasti . et super to/ta eius
propriotas terra et casa secundum quod tu illam da/lam hahes ad Pctronia
relicta lohanni Sanudo . ct ad / eius heredes . remanet in eorum polesla-
tem ad / faciendum quodcumque ad eis placuerint / Eciam de super totum
omnia et in omnibus que ah / inicio de qualicumque re usque modo insi-
mul ha/buimus . Ut nullis diebus nullisque tcmporibus / aos requirere
aut compcUcre debeamus per nullum in/genium non parvum neque
magnum . non de nullis / rebus vel speciebus . Quoniam die presenti
venimus / in iudicio et per sacramentum omnia et in omni/bus inter nos
DOCUMENTS 3i5
cisimus finivimus . atque Irans/acle dcliberavimus . ct nichil remanzit / cle
ulla re cle sub coelo quod homo cogitare potest / quod vos amplius requircre
debeamus . Quod si / quocumque tempore de suprascriptis omnibus capi-
tulis aliquid / requirere temptavcrimus . componere promitto cum / meis
successoribus tibi et tuis heredibus auri libras quin/que . haec securilas
maneat in sua firmitatc.
f Ego prcsbiter Florcncius manu mea subscripsi.
f Ego Tobia testis subscripsi.
■f Ego Marinus testis subscripsi.
■{■ Ego lohannes testis subscripsi.
(>'otitia testium id est) Tobia filius lohani / de Aequilo. Marinus
filius lohanni Mi/chaeli . lohanes / Gradonicus.
Ego Leo diaconus et notarius / complevi et roboravi.
(Archivio di Slato in Yenezia — Archivio del monastero di San Zac-
caria — Pergamene, b. 24 ; Estere.)
II
1078 LUGLIO. RiALTO
Felice Moro, pievano nella chiesa di San Salvatore, figlio di Domenico,
cede a Pietro e Paolo di Checio pellicciaio un terreno in quella par-
roccbia per lire di dcnari 3o, e pel censo annuo di 6 libre d'olio.
In nomine Domini dei et Salvatoris noslri lesu Christi. Anno incarna-
cionis eiusdcm redemploris nostri millesimo sepluagesimo octavo . mensis
Julii indictione prima Rivo alto . Igitur ego quidem Felix Maurus pleba-
nus ecclesie sancti salvatoris filius Dominici Mauri conscenciente mihi
domno Heinrico Contareno castellano episcopo seniori et consoprino meo
cum meis successoribus ad hodie in Dei et Christi nomine dans damus
atque transactamus vobis Pelro et Paulo ambobus fratribus filiis Gecii
pilizaii et vetris heredibus imperpetuum et prefuturum possidendum hoc
est unani peciam de terra quae est de pcrtincnlla prcdictae nostra ccclesiae
sancti Salvatoris quam nos per hanc libelli cartara vobis damus et transac-
tamus . habentem in longniludine sua plus minus pedes septuaginta uno et
semissa . et in latitudinem suam tola equaliter plus minus pedes viginti
novem et semissam . Uno capite tetente in calle prediclae nostrac ecclcsiae
lato pedes tres iusta rlvum ubi est aliquantiim de fundamcnta . unde
habere dcbes inlroitum et exitum atque iunctorium et jaglacionem . Alio
autem capite teneute iu terra prediclae nostrae ccclesiae . Uno latere
2i6 DOCUMENTS
firmat in callc iamdictae nostrac accclcsiae domini Salvatoris latus pedes
tros . qui re>olvit ipse callis a coniprcenso prediclo rivo iusla terram
Vilalis Stcphano usque in alio calle suprascriptae nostrae ecclesiae . Unde
tu cum tua fainilia ct cum parenlibus et amicis ire et redire deheas sursum
alquc deorsuni in die vol in node nullo tibi homiiie contradiccnte . Alio
vcro latere prcdiclac Icrrae finnat in pissina prcdictae mcae ecclesiae imde
habere debes introilum et exitum atque iunclorium et jaglacionem . usque
in pedes quinquaginla do longniludine . banc namque totam prenomi-
nalam dcsignalain pcciam do terra cum omni longnitudiiie ct latitudine
cum capilibus et lalcribus suis . et cum cuncta ibi haljcnte el perlinente
ab intus et foris cum suis iacentiis suae tam subtus terram quam supra
terram adesse noscuntur plenitcr in tua damns et transactamus plenissi-
mam polestatcm habendi . tenendi . edificium supra edificandi . vendendi .
donandi . comulandi . et in perpetuum possidcndi aut quicquid inde tibi
placuerit faciendi nullo tibi homine contradiccnte . Unde nobis et nostrae
accclcsiae dedistis libras denariorum Iriginla . quia nichil remansit quod
vos inde amplius requlrere dcbeamus . Tamcn vcro stalulum habemus inter
nos ut omni anno in festivitate domini Salvatoris nobis et predictae nostrae
ecclesiae dare debealis libras de oleo sex tantum . et si usque ad completos
quinque annos transgressi eritis quod omnique anno ipsam luminariam
non dederitis nobis ct predictae nostrae ecclesiae . tunc ad completos quin-
que annos ipsam predictam terram in nostrain ct de nostra accclesia
deveriiat polestatcm ad faciendum cjviodcumque nobis placuerit . et si
unqam tempore ipsa terra venundala fuerit nobis et nostre ecclesiae quin-
lellum persolvere debealis et inde in antea suprascriptum censum ct quin-
iellum semper salvum esse debet nobis et predictae nostrae accclcsiae et
nos sive successores nostri omnique vigesimo iiono anno vobis et hercdibus
ac proheredibus vestris renovare promiltemus . Quod si unquam tempore
a nobis vel ab aliquibus personis hominum pulsalus vel evictus fucris et
minime vos inde in omnibus defensore noluerimus aut non potucrinius ab
omnibus queslionanlibus vel calumpniantibus hominibus qui te de supra-
scripta re expcUcre voluerit ex parte vel ex toto aut contra banc cartam ire
temptaverimus . et omnique vigesimo nono anno istum libellum tibi
renovare et rcdinlcgrare noluerimus aut non potucrimus recte pcrsolvente
vos suprascriptum censum et quintellum ut supra diximus nobis et predictae
nostrae aecclesia componere promittimus cum nostris successoribus vobis
et vestris heredibus auri libras quinque . et post solutum promissum
maneat bee libelli ct defensionis carta semper in sua firmitate . Quam
scribere rogavimus Dominicum Saturninum clcricum notarium el ecclesiae
sancti Cassiani plebanum.
Ego Heinricus per misericordiam Dei castellanus episcopus manu mea
subscripsi.
Ego Felix Mauro diaconus vicarius aecclesiae sancti Salvatoris m . m .
s . s .
DOCUMENTS 317
Ego Boncius testis subscripsi
ego Petrus " "
" Dominicus " "
(Notilia leslium) idcst Bonofilius Justus
Petrus Fuscarus Dominicus Maurecenus
(S. t.) Ego Dominicus clericus et notarius complevl et roboravi.
(Archivio di Stato in Venezia — Archivio del monastero di San Zaecaria
— Pergamene.)
HI
1 176 GIUGKO. RiALTO
Garlotta di San Zulian, ricevuli a preslito da Giovanni, tintore di San
Basso, soldi 20 di denari di Verona, per mesi sei, si obbliga a dar-
gliene 4 d'interesse, e gli asslcura il capitale sopra una casa di legno
da essa abitata.
In nomine domini Dei et salvatoris nostri lesu Christi. Anno domini
millesimo Centesimo Septuagesimo sexto mense lunii inditione nona rivo
alto . Manifesta sum ego quidem Garlota de confinio Sancti Juliani cum
meis successoribus . Quia recepi de te namque Johaane tintore de confinio
Sancti Bassi et tuis heredibus solidos denariorum veronensium viginti .
quod mihi dedisti et prestitisti in meis utilitatibus peragendum . quoi
apud me retinere debeo a modo in antea usque ad medium annum . prode
vero inde tibi dare debeam solidos veronensium qualuor . et ad ipsum
terminum per me vel per meum missum tibi vel tuo misso dare et delibe-
rare suprascriptos tuos suprascriptos viginti soldos veronenses cum toto
suprascripto suo prode . Quod si non observavero omnia ut superiuj
legitur ; tunc omnia in duplum caput et prode tibi dare et reddere
debeam . pro maiori autem firmitate pono tibi nexu fiducie in loco pignoris
cunctam et super totam meam fabricam ligneam in qua nunc resideo posita
supra terra domini ducis. Ut si minime fecero te ad deliberandum ; ad
suprascriptum terminum eo ordine ut superius legitur ; tunc tribuo tibi
poteslatem accedere et intromittere et dominare suprascripta tua pignora ;
et tamquam per legitimum documentum possldere vel quicquid inde tibi
placuerit facere nuUo tibi homine contradicente ; et insuperinde in antea
caput el prode et duplum prode laborare debeat de quinque sex per annum
tpud suprascripta et predesignata tua pignora tantum.
Signum suprascripte Carlote que hoc rogavit fieri
Ego Johannes Staniario testis subscripsi
Ego Dominicus Tuscano testis subscripsi
Ego Marcus Grilioni diaconus et notarius complevi et roboravi.
(Archivio di Stato in Venezia — Archivio del monastero di San Zaecaria
— Pergamene.)
2i8 DOCUMENTS
Documents F — TERRENI VENDUTI E CEDUTI
I
io3i. Chioggia
Giovanni Venerio Bolli yende a Marlino Bianco ed Orsono Nadal un ter-
reno in quel di Chioggia per 4 dcnari.
In nomine domini Dei ct salvatoris anno ab incarnacione ejusdem
rcdemptoris / nosiri lesu Christi miliesimo trigesimo primo, imperante
domno Roma/no magno et pacifico imperalorem anno aulem imperii cius
iccvmdo post / hobitnm Constantinus . . . indicione tertia decima in
Clugia Scribcre / rogavi Dominicum presbiterum et notarium hauc pagi-
nam documcnti ego quidcm lohannc filius Vcnc/rio Bolli cum meis hcre-
dibus venditore qui cartulam Iradidit et propriis manibus ad / firmauit,
testisquo subscribere vel signum sancte crucis fieri rogavit. Constad
enim / mo quidem ab hodie sub dupla rei distrassise distrassi vendidisse
ven/didit ; atque tradidisse el tradidit obtimo et absoluto ; absque omni /
reprehcnsione : vobis Martino Blanco insimul cum Urso Natali compara/
torcB in perpetuum et ad heredibus banc proheredibus seu et postcrisque
Ycstris profu/turum possidendum . hoc est una pccia de terra vacua et
disculta posila in loco ucl in caplte da cavana. . . / in territorio plcbis
Clugie vico maiore et ipsa terram ichi advenit / de lohanne Urso filio bene
memorie Urso lohanni venetico. per donacionis cartulam / Extcndenle ipsa
nominata terra in longitudincm suam habet pedes / centum, et in lati-
tudincm suam similiter centum a si uullis aut coheren/lem et possidentem
la . . . capite firmante in . . . lio / in . . . firmante in Pelro Lupa . . .
endi / quarto coque latere firmante in yos comparatores cum vestros con-
sortes / una cum introicto et exoito suo per terram et per aqua sicut ad
lohanne Urso dona/tore meo ucl ad me possessam fuit. Ita vobis supra-
Rcriptos comparatores in omnibus / tradidinuis possidendum . habendi .
tenendi . vendcndi . donandi . commu/landi et usque in perpetuum pos-
sidendi et quicquid vobis placucrit faciendi nuUo vobis hominem conlra-
dicentem non propincum neque extrane/um precium autem placitum .
hac difinltum seu rccepum . adquc complctum / de vobis apud me per
omnia habeo . de dinarios exmeratos mancusios / quatuor et medio . tanlos
ct nihil exinde remansit quod nos ampli/us requircre debeamus . quod si
cocumque tempore annobis uel a quibuslibet personis . / pulsalus aut
evictus exinde fueritis . ct vo? minime stare ot defensa/re nolucro aut non
potuero ab omnibus queslionanlibus vel calumni/antibus hominibus qui
V08 de suprascripta terra expelere voluerit . ex parte vel / ex tola . tunc
suprascriptum precium una cum omni mclioracionem ipsius / rei duplo
cum meis heredibus vobis et vestrisque heredibus restituere promitli/mus .
DOCUMENTS 919
et insuper componere auro libra una . et post solulo proslimo haec paglna
/ docnmcnli maneat In sua firmitate. f Signum manus suprascripto lohanni
qui fieri rogavit
•f signum manus Venerio testis
■\ signum manus Pctro testis
f signum manus Sambatino testis
Notitia testium id. e. Venerio Bolli ; Petro Stefano/ Sambatino lohanni
de Stefano.
Ego Dominicus presbiter et notarius complevi et roboravi.
(Archivio dl Stato in Venezia — Archivio del monastero di San Zaccaria
— Pergamene ; Chioggia.)
n
1098 GENNAio. Chioggia
Vitale abitante nel vico di Pellestrina, avendo ricevuta a livello per anni
29 dal convento di San Giorgio Maggiore di Venezia una pezza di
terra in Pellestrina, si obbliga di contribuire per censo annuo, 3 soldi
di Verona, un paio di polli, e se la ridurra a vigneto, il terzo del
prodolto del vino.
In nomine domini Dei et salvatori lesu Christi. Anno domini mil-
lesimo nonagesimo hocta / vo mense januario . Indlcione septima. In
Clugia . Post libelli . cartam quam no / bis fecistis promittens promitto
. ego quidem Vitalis . abitator . et comora / tor . in vico . Pelestine .
cum meis . heredibus . Vobis domnus . Cariman / nus Dei gratia abbas
sancti Georii . Justa curtis palacii . et vestro cather / vato . monacorum
. huius . vestri monasterii . et vestris . succcssoribus . / pro ideo ,
quod Yos . a mihi . dedistis . una vestra . pecia de tera . dissculta que /
est do ipsa . de vestra eclesia . posita in teritorio . vico Pelestine . / et
earn mihi dedisli . amodo in nantea . usque in viginti et novem annis /
expiclis . ad aliis . libellis . rcnovandls . mihi . et heredibus . ac pro-
heredibus / meis cum capitibus . et lateribus . suis . cum suis abenciis
ct pcrtinenciis / et cum introilis . et exoitis . suis . per terra et per
aqua . sicut ad ipsa Dei / ecclcsia vel et ad vos possessam fuit, vel sicut
manifestad . in libelli . cart / a quam mihi factam . abctis . Ut amodo
. in nanteam . debeam . ilia laborare / et cultificare cum suos fosados .
cum omne . meum . precio . et expendio / vel impedimcnto . et red i turn
vel propter censum . inde vobis dare debeam / per omnique anno . in
festivitate sancti Martini solidos ires veronenses . et uno / pario de puli .
similiter . per unumquemquem anno . in festivitate sancti Marti / ni . ad
vos ct ad vcstros . successorcs . ct si in ipsa terra . vinca edificabo . et /
vobis placucrit . recipere . terciam partem . vini mundi . tunc ego
vel / mcos . hcredes . vobis vel in ipsa Dei . eclesia dare . et persol-
vere . vobis debeam / absque fraude . vel ingenio . et si terciam partem
220
DOCUMENTS
vini . mundl . vos aiit / veslros successores . non vult reciperc . tunc
ego. vel mcos . horodes prcnomina/los . (re solidos . de dinariis vcro-
nenses . cum prenoniinato pario . de puli / sicut supra leitur . omni
anno . vobis et in vesira . cclesia dare et persolvere de/beam ad ipso
tormina in fcslivitate sancti Martini. Ilec omnia hobserva/re et adin-
plcre . promillo . Quod si non observavcro . ct non adimple / vero,
vobis omnia, sicut supra leitur . componere promitto . cum meis / here-
dibus vobis et veslris . succcssoribus . auro libras duas . et hec promissio
ut / supra continot . maneat in sua firmitatc.
■j- signum manus soprascripto Vitale . qui hoc rogavit fieri.
f signum manus Pclro . testis.
■j- " " Bonus homo "
j '• " Dominico
testium idest Petro Pacegano.
Bonus homo de Palestina.
Dominico frater Yitalis.
Ego Albertus presbiler ianuarius et notarius complevi et
roboravi.
(Archivio di Stato in Venezia — Archivio del convento di San Giorgio
Maggiore — Pergamene, busta I.)
Document G — GIURAMENTI DEI CAPI DI
CONTRADA E DI DUODENA
luro ad sancta dei evangelia proficuum et honorem Veneciarum et
quod simul cum sociis mcis vel eorum altcro studiosus ero et solicitus ad
faciendum scribi omnes homines mce contrate a lxx annis infra et a xvi
supra tarn qui sunt ad presens in Yeneciis quam qui sunt extra Venecias
et ipsis scriplis presentabo domino duel et suo consilio et secundum
ordinem per ipsum dominum ducem et suum consilium milii datum
dividam ipsos homines moo contrate per duodcnam vel alitor sicut mihi in-
iunctum fuerit computando mc in eis ot omnia ordinamenta et preccpla per
dominum ducem et snum consilium mihi facta que facere debeam ipsis
hominibus mee contrate faciam eis et unicuique eorum sicut mihi precepta
DOCUMENTS 221
fuerlnl . et est sciendum qxiod pro predictis faciendis et operandis et
complendis possum et debeo ponere homines et personas ad sacrameiitum
penam et penas imponere sicut milii et sociis meis vel eorum altero vide-
bitur et si quis rebcUis fuerit auferam ei dictam penam quam si auferre
non potero dabo ipsum et ipsos pro cadutis domino duci ad hoc ut pena
per nos imposita eis lollalur. Et quocienscumque dominus dux pro me
miserit studiose ibo ad eum et inteUigam que mihi dixerit super hoc et ea
sludiosus ero ducere ad complementum. et eciam omnes illos qui non
iuraverint obedieuciam faciam eos iurare obedienciam et (omnes ?) creden-
cias mihi dictas per dominum ducem tenendas esse nenebo (sic) et nuUi
dicam ullo modo bee et alia quecumque dominus dux addere minuere vel
mutare voluerit attendam et observabo bona fide sine fraude.
(Venezia, Archivio di Stato. — Atti Diplomatic!, Misti N. I33 A.)
luro ad evangelia sancta dei ego qui sum capud mee contrate quod
simul cum sociis meis vel eorum altero infra octo dies postquam recepero
presens capitulare ibo ad officium furmenti et ab eis accipiam sive accipi
faciam totum illud frumentum quod ipsi michi dare volent, quod dividam
bona fide sine fraude remote odio, precio, precibus vel amore inter gentes
dicte contrate et infra tercium diem postquam dictum frumentum per me
receptum fuerit dabo cuilibet illam frumenti quantitatem quam videro
convenire secundum proprietatem cuiuslibet ad grossos viginti in monetis
quolibet stario et non dabo de dicto frumento aliquibus pistoribus sive
oretariis nee alicui pcrsone pauperili que non posset accipere sive emere
frumentum ad fonticum quos denarios teneor excussisse infra dies quin-
decim postquam dictum frumentum dedero, ab illis quibus datum fuerit et
illos denarioi dabo et consignabo dominis ofiicialibus frumenti et si forte
aliqui non solverent ad terminum eis dabo pro cadutis de soldis quinque
pro quolibet stario diclis ofiicialibus frumenti qui excutere debeant capitale
et penas si forte aliquis nolet nolet (sic) accipere sive recipere de dicto
frumento illud poni faciam ante eius hostium et omnes expcnsas que facte
fuerint tam in caricando quam in disscaricando quam in dando poni faciam
pro rata cuilibet stario non posendo accipere ultra parvulos sex taliter
quod comune habeat dictos grossos viginti de stario et non accipiam
aliquem mensuratorcm pro mensurando dictum frumentimi sine licencia
dominorum de frumento sub pena que eiusdem eisdem videbitur afTerenda.
(Venezia, Archivio di Stato. — Atti diplomatic!, Misti N. laa H.)
Curo alle vangnelle sante de dio eo che sum cavo de mia conlrata che
cum li mei compagnoni o chiun algum de illi enfra quarto die da chello
presente capitolar me sera dato o ad alchum de li mei compagnoni scrivero
o faro scrivere mi e li mei conpagnoni e tuti e cescadun homeni de la mia
contrata da anni iv en suso enchia ad xxxv e si ali moi conpagnoni como
a tuti li ollri sovraditi eo comandero che ^asscadim debia aver recovrado
223 DOCUMENTS
una bona balleslra e soficienle e bene adparciada de cordc e de crocho
la qiial sia soa pro[)ria ciuliia xv die dachco li avrro falo lo dito comanda-
meiilo sopto pcua de soldi xl, per casscudim salvi et cxceplati quclli che
inanileslamentre ami cl alii niei conpagiioiii od ala niaior parte de nui
parcra si povrl chelli no possa soslcriir Ic spensarie dela balleslra cl cncavo
del dilo lermene de xv. die eo sum tegnudo veder la moslra dele dicle
ballestre toiando sagramenlo ad caschadun che la sea soa propria ct non
tolla ad empreslcdo e tiili rpicili che al dito termcne no niostrcra le soe
ballestre sicome dilo de sovra daroli en scrilo ali inquisilori del niio scslaro
per cazudi infra lerco die dapo che li sera cacudi in la dita pena e qucslo
sum tegnudo ad aver fato infra lo dito lermene soplo pena de soldi xl, per
casscadun lermene ancora parliro si mi con li mei conpagnoni cum tuti IL
altri sovra diti ballcsteri per dexcne per casscaduiia dcllc quale eo con-
stiluero uno cavo lo quale ami et alii mei conpagnoni od alia macor parte
de nui parera plu utelle et a casscadun cavo eo daro en scrilo quelli dclla
soa dexena e daroli lo so capitollar lo qual me sera dado per la corle macor
e torolli sagramento osservar quello e quelli cavi com le soe dexene daro
inscrilo ali inquisilori partando li nobelH per si et quelli de povollo darte
per si e non posso meter quelli de povol con li nobelli e per tute queste
cosse a far et complir posso meter persone ad sagramento et imponer pena
et pene cosse commo ali mei conpagnoni o alia ma^or parte do nui parera
et tuti quelli che ericorcra en quelle pene che per nui fosse melude daroli
inscrilo ali sovraditi euquisitori per cacudi infra lerco die dapo che li sera
cacudi in le dite pene e queste cosse de aver fate e conplidc infra xxii die
dapo che lo presente capitollar me sera dado o algun de li mei conpagnoni
soplo pena dollri. il, soldi.
(Venezia, Archivio di Stalo. — Alii diplomatic!, MIsti N. 122 D.)
Guro ale sante evangele de dio eo chi son cavo de desena cheo ordenere
cum quelli dela mia dexena. che ogno di de fesla solcmpnc dechia ameco
anno. Excepto lo di de Nadal lo di de vencr sanclo lo di de Pasqua. ct
Ic . i i i . fesle de le scolle foe lo di de sen Marco ct la vigilia et lo di de
sancla Maria, et la domenega de carlevar. nui siemo ensenbre a ballcslar
ali bersagi de Venezia. o a lidho de sen ISicolo. o altro. la omne parera
dentro dal vescovado de Venexia dredo disnar. e se avere ordenado da esscr
ad alcum bersaio de Venexia sun tegnudo da esser eo et tuti queli de la mia
desena alo dito bersaio ananti che basta la campana del conscio. ese conscio
non fosse ananti che baste le campana de sen Marco la dita hora del
conseio la qual sonera doatanlo de longo deco che fa nona solo pena de
grossi . i i . CO et li altri solo pena de grossi . I . e dcvemo star et
balcslar conlinuamente et puramenle sen^a alcuna falacia cum le noslre
ballestre che sia bone et sufllciente et no sen de parlir de chi a vespero che
sonera . in la contrada che nui ballesteremo solo le dite pene . e se alcun
dela mia desena vollesse andar a ballcslar cum soa brigada che non fosse
de mia desena posage andar cum mia liconcia . alidando clli cheli non toia
DOCUMENTS 2q3
la licencia seno per andar a ballestar et destar et defar co che di'to si co
cum li altri . e son tegnudo tal scli ascusa qual seno de darii en scripto
per cacudi ali inquisitori deli ballisteri del mio sexter per tuto lallro di
seguenle . per sacramenlo et solo pena de grossi . i i i i . per ogna
fiada cbeo fallisse de darli en scripto ali diti inquisitori sicome dilo e seli
avere scusa vadase a escusar ali inquisitori deli sexteri . e le scuse che li
po escusare ali soi inquisitori sie queste . se elli fosse stadi enfcrmi quelo
di cheli avesse fallidho o che li non fosse stadi en la terra chelo di . ochel
fosse andado a quella hora ad alcun morto . o visitar . o se nocc fosse en
casa soa chelo di . eciamdeo queste caxon per sacramento e se per alcuna
dele dite caxon eo non de podesse esser . eo laserai uno de quelli de la mia
dcsena che me parera en mio logo et daroli sto capilolar . e ello sia
tegnudo de recever lo capitolar et de far loficio sicum sum eo quandeo ge
son . soto pena . de grossi . i i i i . ogna fiada che lo recusasse de
recever lo capilolar et de far loficio . e son tegnudo de dar enscripto per
cacudo ali dili inquisitori ogna fiada chelo recusasse lo plu tosto cheo
pore.
(Venezia, Archivio di Stato. — Alii diplomatici, Misti N. laa F.)
^uro ale sanle vagnielle de dio io che son chavo de dexena chio orde-
nere con quelli de la mia dexena che ogno die de festa solene coe questo
ano uccc . xii . y . de chalende davril de chia ogni sancli da queslo in
avanti dale chalende de marco de chi a ogni sancti driedo disnar nui seremo
insenbre a balestrar ali bersai de veniesia e ali . i i . de sancto Nicholo
coea queli che e fati per locomun o che sta a far e se io avere ordenaJo da
eser ad algun bersaio et son tegnudo da eser con queli de la mia desiena
alo dilo bersaio avanti che basla la chanpana che souera a san Marcho •
deverao star a balestrar conlinuamentre e puramentre senca alguna falicia
con le nostre baleslre che sii bone e soficiente e no se devemo parlir da
chi a che nu avcremo trato colpi . i . tracando e balestrando dali banchi o
che se senta soto li bersai over da quelo logo de chia lo mantelo delo bersaio
dalaltro chavo o che se la tera levada con li segni e devesemo cencer
caschun lo so crocho e tirar caschun la balcslra con la qual elo devera
balestrar e da poi chio chavo sere conto a barsaio la che nu averemo
ordcnado balestrar avegna che tuti queli tuti queli (sic) de la mia desiena
no sia conti posa caschun de la mia desiena che sera la a balestrar e trar li
soi colpi e se io no fose conto alo dito bersaio debiame aspetar e no bale-
strar de chi a che la campana sera bastada mo bastada la chanpana tal se io
sero vegnudo qual suijo no sere vegnudo posa trar e balestrar li soi colpi e
poi andar per soi fati e caschun de mia desiena che fa inprestedi che no
vigncra fara et oservara como e dilo chacera in pena de grossi . vi . per
caschuna fiada et io che son chavo chaco in pena delo doplo seio faco
inprestedi e li oltri che no fase enprestedi chaca in pena de grossi . i i .
per caschuna fiada e io chavo delo doplo seio no faco imprestedi e se algun
dela mia desiena volese andar a balestrar con soa brigada che no fose da
324 DOCUMENTS
mi desicna posande andar con mia licencla afidando eli chcli no toia licenria
seno per andar a baleslrar e do star e de far co che e dito de sovra e salNO
ogno ordrnamcnlo fato o chc se fascse sovra deco e so legnudo per chac.udo
caschuii dela niia desiena die falisc e no obscrvasc tal scli ascusia qual
seno in scrito alinqiiisitori delo sestier per tuto lollro die sequente per
sagrameiilo e solo pena de grossi . xii . per ogni 6ada dacljio falise de
darli salvo seio li avese dado parola noli dare per chacudi e seli avera scusia
vadase a sciisiar ailinqui^itu^i ele scusie clieli po scusiar sie queste seli fose
itadi enfermi in quelo die clie li avese falido o cheli no fose stadi in la tera
in quelo die o che fose stado si rio tenpo che lo no podese eser stado
baleslrado o cheli fose andadi in quela ora ad algiin morto o a visitar o se
noce fose stade in quelo die a chasa soa eciamdio quesle chasion no podese
eser io lasere un de queli dela mia desiena che me parera in mio logo «
dareli questo chapitolario elo sia tegnudo de receverlo e de far loicio sicomo
eo quando eo de son soto pena de grossi . iii . per ogna fiada cheli
recusiase de receverlo lo chapitolario e de farlo dito oficio e son legnudo
de darli in scrito ali ditl inquisitori per cbacudl ogna fiada che li recusiase
infra ter^o diebus.
(Venezia, Archivio di Stato. — Alti diplomatici, Misti N. laa G.)
INDEX
INDEX
Adriatic, benediction of the, i, 212
Agostini, cited, ii, ^Gn.
Aix-la-Ghapelle, Treaty of, referred
to, i, i54
Alchemy used for the falsification
of coin, i, 160
Altino, i, 12
Amuriana, i, 12
Anafesto, Paoluccio, first Doge, i,
73-74
Anastasii Bibliotecarii, cited, i,
I24n.
Ancone, the, form the origin of
Venetian painting, ii, 128
Aquileia, duomo and baptistry at,
i, 63
Arch, pointed, use of the, ii, 102,
io4
Architecture, Venetian, ii, 96-1 11 ;
Byzantine and Lombard Avork in,
97, 98 ; Veneto-Byzantine style,
99 ; influence of the Romanesque,
100; Saracenic influence, loi;
Gothic art in, 102
Archives of Padua, i, 19
Archivio di Stato, cited, i, i57n.,
iSgn., ff.
Arezzo, Nicolo Gieco d', on Venice,
i. 92
Armand, cited, ii, 87
Armingaud, cited, i, ii8n.
Arsenal, i, aS, 69
Art of the Veneti, i, 3
Arzana, i, 68
Ascension Day, festival of, i, 2X2
Ascoli, cited, ii, i48n.
Atlases, i, iAi-i42
Austere habits, ii, 26
Azario, cited, ii, 57n.
Bailo, cited, ii, i33
Bancogiro of Venice, the, i, i5o
Banks and banking, i, i5i ; full
liberty in the banking business
given, i5i
Baracchi, cited, ii, 3iin.
Barattieri, cited, ii, 55n.
Barbaro, Giosafatte, journey of, i,
i4i
Barberino, cited, i, i34n.
Bardi, Girolamo, quoted, i, ai3
Bardo cucullus, i, 5
Bazar, i, 127
Bead making, ii, 69
Belgrano, cited, ii, I24n.
Bellemo, cited, i, i4on.
Bellini, Jacopo, life and work of,
ii, i36
Bells, early use of, ii, 64
Bcrchct, cited, i, i4in., i42n.
Bernardo, Giustinian, quoted, i,
47n.
Bernardo, Trevisan, cited, i, 27n.
Bertaldo, Jacopo, his Splendor, i,
95. 97
Bertanza and Lazzarini, cited, i,
55n., Sgn.
Besta, Enrico, cited, i, 93n., 94n.,
gSn., 97n., io3n., io4n., io5n.,
I07n., loSn., logn., iiin.
Besta, Fabio, cited, i, i46
Bibione, i, 10
Bills, of exchange, i, i5a ; protest-
ing a bill, i5a
228
INDEX
Bini, cited, i, gin., ii, 7711.
Blanqui, cited, i, i/j5n.
Boccaccio, on Venice and the Vene-
tians, i, 89
Bocconio, Marin, conspiracy of, i, 85
Bohmcr, cited, i, ii6n.
Bonaldi, case of, i, 100
Boncompagno da Segna, quoted, i,
45
Boni, cited, i, 3an., ^in., ii, 86n.,
iiin.
Boschini, cited, ii, 76n.
Bollle-blowcrs, guild of, ii, 67
Bouiliet. cited, ii, lao
Bowmen, training of, i, 197-199
Bracciolini, Poggio, his account of
Niccolo de' Conti's voyage, i, i4o
Breydenbach, cited, i, 35
Bricks, i, 49
Bridges, i, ag
Bronze work, il, 84-86
Brown, Rawdon, cited, i, ii8n.
Bucintoro, the, i, 2i4
Bull-fights, i, ao3
Bullo, cited, i, i4on.
Buono family, masters of the, in
architecture, ii, 118
Burchellati, cited, i, 85n.
Burial rites, ii, a4, a5
Byzantine architecture in Venice,
ii, 96, 98, III
Byzantine art employed in church
decoration, ii, 63
Byzantine influence, in Venetian
goldsmith work, ii, 78, 8a ; in
painting, lai
Byzantium, its relation to Venice, i,
ao-ai
Ck d'oro, palace of, architecture
and decoration, ii, 108-111
Caffi, cited, i, 5gu., ii, ia7n.
Caloprini, the, i, 166, 167
Campanile, the, i, 3a-33, 5a, 64
Canal, Martino da, quoted, i, ii5
Canals, i, 37, 3o
Candiani, the, i, i64, 167; story
of Elena and Gerardo Guoro, i,
166
Canestrini, cited, i, 63n.
Cannaregio, scslierc of, its ex-
tent, and the churches contained
therein, i, 25
Cantalamessa, cited, ii, i37n.
Caorlc, i, 10 ; cathedral at, 63
Capitolaro of the Signori di Nolte,
i, 4a-43
Caprin, cited, i, ion., ii, i27n.
Caprule, i, 10
CarahcUese, cited, i, laon., 1370.
Carnival, the, i, 216
Caroklo, cited, i, 68n., la^n.
Carpaccio, Vittore, painting by, i,
56
Casini, cited, ii, 57n., i54n.
Cason, cited, i, 69n.
Cassiodorus, his letter to the Trib-
unes, i, i3-i5, 17
Castcllani, the, rivalry with theNico-
lotli, i, 201
Castello, sestiere of, its extent, and
the churches contained therein,
i. a4 ; the religious centre of the
city, 37
Castelnuovo, cited, i, i5on.
Castrum Ollvoli, i, 24
Cathedral of Venice, i, a5
Cattaneo, cited, ii, 65, 96
Cavallcaselle, cited, i, 53n.
Cecchetti, cited, i, 28n., 3on., 38n.,
4in., 5on., 59n., 85n., 94n.,
loon., io3n., ii, i5, 49, 55n.,
690., i57n., fl'.
Chains and necklaces of gold, ii,
79' 80
Charity, ii, 36
Charts, i, i4i
Child labour prohibited, i, 188
Chimneys, i, 5i
Chioggia, i, l3
INDEX
229
Chroniclers, early, li, i4o, i4i
Chronicles of John the Deacon,
and of the Doge, Andrea Dandolo,
i. 7
Chronicon Gradense, i, 7
Churches, i, 62-67 ; lowers of,
64; adornment of, ii, 61
Cihrario, cited, i, io3n.
Cicogna, quoted, i, 85n., 2o3n.
Cinque Savii alia Mercanzia, i,
133
Cipolla, cited, i, I3, ii, 75
Cistercian work in architecture, ii,
io3
Citizens, order of, i, 169-175; the
grand chancellor chosen from,
170; citizenship de intus and de
extra, 170, 173; the require-
ments for entering, 173
Citizenship, Venetian, acquired by
foreigners, i, 173, 178 ; granted
to the well-deserving and to those
remarkable for their ability, 174,
176 ; sought as a safeguard on
the sea, 176
Cleanliness in dress, ii, 16, 17
Clergy, relation to people and
Doge, i, 73-76 ; authority and
independence secured for, 168
Cod. Trevisaneo, cited, i, 200
Coinage, early use of imperial, in
Venice, i, i53 ; earliest coin
minted in Venice, i54 ; value of
the various coins, i57-i5g ;
protection of, 160-162
Coins of Louis and Lothair, i, i52,
i53
Colonies, i, 120
Colour, Venetian feeling for, ii, 139
Columns, brought from Constanti-
no[)lc, i, 36
Commcmoriali Reg., cited, i, I74n.
Commerce, i, 110-137
Commercial treaties, i, 116
Comune Yenetiarum, i, 73
Consiglio Minore, i, 81
Consoli dei Mercanti, i, 133
Conspiracies, 85-88
Constantinople, trade with, i, 117,
I30-I2I
Consuls, i, I30
Contarini, Ambrogio, journeys of,
i, i4i
Contarini, Donato, cited, i, i72n.,
ii. 39
Contarini, Giovanni, will of, i, 83
Contento, cited, i, 6on.
Conti, ISiccolo de', journey of, i,
i4o
Corner, cited, ii, 34n
Corruption of manners and morals,
ii, 56-6o
Council of Forty, i, 81
Council of Ten, i, 86
Courts, i, 123
Credit, theory of, was in full exercise
in Venice in the thirteenth cen-
tury, i, 1 53
Crime, laws of, i, Ii3-ii3
Cronaca Altinate, i, 7
Cronaca di INIarco, cited, i, 3 10
Crolfa, cited, i, 78n.
Crusades, effect of, on Venice, ii,
3o
Culluris, cited, i, iSsn.
Culture, Venetian, ii, 189-175
D.4. Canal, Chronicon, cited, i,
2o6n., ii, i43n.
Dalle Masegne, Jacobello and Pietro
Paolo, ii, 116, 117
Damiani, Petri, cited, ii, 34
Dandolo, the, i, 168
Dandolo, Chronicon, i, 7 ; cited,
32n., 78, 74, Ii5n. ; quoted,
75n., 76
Dante, imitation of, by Venetian
writers, ii, i49. i5o
Davia, cited, ii, Ii6n.
De Beyli6, cited, ii, loin.
23o
INDEX
Dc Monacis, cited, i, igin.
De Verncilh, cilerl, ii, 7811., ggn.
Dcniers of Louis and Lothair, i, i53
Dialect, Venetian, ii, i'i7
Districts of Venice, 1, 24 26
Doge, origin of, i, 72 ; relation to
the people and the clergy, 78-76 ;
election of, 73-76 ; council of, 76;
attributes of, 76 ; change of
method of election of, 81 , 82 ; his
visit to Santa Maria Formosa on
the fote of the Marie, 211
Dolcetti, cited, ii, 56n.
Dolfin, cited, i, 222
Domonichelli, cited, i, i38n.
Domcnico Sclvo, Dogaressa, ii, 23
DonatcUo, ii, 119
Dorsuduro, sesliere of, its extent
and the churches contained
therein, i, 26
Ducal Palace, i, 69, 67-68 ; archi-
tecture and decoration of, ii,
100-107 ; paintings, i34
Ducal seal, i, 174
Ducat, coining of the, i, i56 ; value
of the, 169
Dwelling-house architecture, ii,
lOi, 107
Earthquakes, i, 46n.
Embroidery, ii, 76
Enamel work, ii, 78
Eneti, the, i, 7
Enlart, cited, ii, io3
Equilio, i, II
Este, i, 3
Euganei, the, i, 2
Export, rcgiilations governing, i,
128 ; amount of, 126
Factions in the islands of the
lagoons, i, 19-22
Falier, Doge Marino, conspiracy
of, i, 86-88
Falsification of coin, i, 160
Family life in Venice, il, 44
Federici, cited, i, 63n.
Ferrara, cited, i, i5in.
Ferries, i, 29
Ferro, cited, i, 171
Festa dclle Marie, i, 210 212
Festivals, public, preserved internal
quiet, i, 217
Fetes, i, 2o3, 2o4, 208 ; religious
festivals, 209 ; civil festivals, 209
Fiamma, Galvano, cited, i, 5i
Ficschi, Isabella, story of, ii, 67
Fighting with fists, i, 201
Filiasi, cited, i, 4i., 5n., 3in.,
6on., 1 i8n., i24n., 221
Finance, i, i44
Fincati, cited, i, i3in., i35n.
Fires, i, 47
Fischer, cited, i, i42n.
Fishing, i, 200
Fiamini, cited, i, 920.
Fleets, i, i34
Food, ii, 26
Forced loans, i, i49
Foreigners, treatment of, at Venice,
i, io4
Fork, use of, introduced, ii, 24
Formaleoni, cited, i, i4in.
Forze d' Ercole, sports of, i, 202
Foscarini, cited, i, 93n., 94n., l38,
ii, i48n.
Foscarini, Giovanni, ii, i5i
Frati, cited, i, 56n.
Fulin, cited, i, 86n.
Funds, public, i, i47, i49, i5o
Gabele>tz, cited, ii, 11 4n., ii5n.
Galleys, description of, i, i3x ;
"great galleys," i32
Galli, cited, i, 55n., 58n.
GalliccioUi, cited, i, 34n., agn.,
48n., 5in., 53n., 6on., 64n.,
i9Sn., 209n., ii, 24, 34
Gamba, his reproduction of poem at-
tributed to Languinacci, i, I29n.
INDEX
a3i
Gambling, laws against, ii, 55
Gastaldi ducali, i, 78
Gayet, cited, ii, 120
Gechin, on Venice, i, 93
Geography, science of, studied, i,
Gfrbrer, cited, i. i5n., 75n., gSn.,
ggn., ii8n., ia4n., i68n.
Ghirardini, cited, i, 3n.
Gianotti, cited, i, 16
Gibbon, cited, i, 129
Giotto, ii, i3i
Giudici del Comune, i, 122
Giudici del Forestier, i, 122
Giustinian Bernardo, quoted, ii, 98
Giustinian, Lionardo, quoted, ii, 46
Giustizieri, the, i, 179
Glass work, ii, 65 ; origin and de-
velopment of, 66-73 ; stained
glass windows, 68 ; beads, 69 ;
mirrors, 69 ; goblets and vases,
Gloria, cited, i, 8n.
Gold, coining of, i, i56
Goldsmiths' and jewellers' work,
ii, 77-84 ; Byzantine influence
in, 78, 82 ; German influence
in, 83
Gothic architecture, development of,
ii, 102 ; in Venice, io3-io5 ;
sculpture, ii4-i 16
Gradenigo, Piero, reform of, i, 84 ;
quoted, 169
Grade, i, 8, 10
Grammar, study of, Ii, i58
Grand Chancellor, institution of
the oflice, i, 170
Great Council, i, 80 ; duties of,
81; constitution of, 82, 84;
admission to, 169
Greek manners brought in by
Greek princesses, ii, 23
Greenland, reached by Niccolo
Zeno, i, i39
Grion, cited, i, 88n., ii, 43
Gualandi, cited, ii, 106
Guglielmotti, cited, i, i3in., 2i5n.
Guidi, Jacopo d'Aibizzotto, his
poem on Venice, i, 39-4o, 93 ;
his description of a bedroom, 56
Guilds, i, 177 ; survival of, dur-
ing the middle ages, 177 ; super-
vision of the Giustizieri, 179 ;
relations with the government,
180 ; of devotion, national guilds,
crafts-guilds, i83 ; government
and constitution of, i83-i88;
relief associations, 188; festivals,
189; buildings of, 190 ; principles
of, were the precursors of mod-
ern political economy, 191
Gulf of Venice, i, 121
Halls, i, Sg
Hegel, cited, i, 70n.
Heraclea, i, 11
Heyd, cited, i, lain., il, 17
Hortis, cited, i, 90
Hose, company of the, i, 2o3, 218
Houses, foundations, i, 46-47 ;
wooden, 47 ; disposition of, 48 ;
of stone and brick, 48 ; construc-
tion of, 49 ; loggias, 5o ; chim-
neys, 5i; towers, 52; internal
arrangements, 53-6o ; bedrooms,
56—58 ; kitchens, 58 ; staircases,
59 ; halls, 59 ; value of, 60 ; rent,
61 ; adornments, 60, 61 ; lodg-
ing-houses, 63
Hunting, i, 200
Hygiene and physical science, study
of, ii, i58
Illumination, art of, in Venice, ii,
124-126
Import, regulations governing, i,
123 ; amount of, 126
Industrial arts, ii, 61-95
Inquisitori alia conservazione dei
segreli di Stato, i, 86
33a
INDEX
Inquisitori dci Dicci, i, 86
Iron and steel work, ii, 87, 88
Ivory and bone work, ii, 98
Jaffe, quoted, i, ySn.
Jesolo, i, II ; church at, 63
Jews, their industry made to con-
tribute to the national wealth, i,
iga ; concessions to, 198 ; the
Ghetto, 195
John the Deacon, quoted, i, 5a ;
cited, 77n., nan., ii6n.
Julin, cited, i, Sgn.
Justice, administration of, in the
eleventh and twelfth centuries, i,
98-ioa
Juvenal, quoted, ii, Sgn,
KoHLSCHUTTER, cltcd, i, 1170.
Kraus, cited, ii, laon.
Lagoons, the, i, 7-18 ; preservation
of the conditions of, 43-44
Latin, early Venetian chronicles in,
ii, i45; Venetian corruption of,
i46
Lattes, cited, i, i5in.
Law, i, 98-114 ; no written Vene-
tian, before the twelfth century
transmitted, 98; in the thirteenth
century, 98; Statuto Veneto, 94 ;
in earlier period, 94-98 ; sources
of Venetian, 96-97 ; civil, before
Venice became an independent
State, 10a ; as to the rights of
persons, ioa-io5 ; as to the
rights of property, loS-iog; of
navigation, 109-111 ; of succes-
sion, iii-iia; of crime, iia-
118
Lazari, V., cited, i, io3n., ia5n.,
ii, 71
Lazzarini, cited, i, 55n., Sgn., 88n.
ii, 5o
Learning in Venice, rare among the
midcllc and lower classes, ii, i54 ;
fouiuiiiig of the University of
Padua, i55 ; teachers of renown
in Venice, i56 ; public instruc-
tion, 107 ; professors and students,
167 ; noted men settled in Venice,
1 65
Leases of land, i, 107
Leather work, ii, 77
Lenel, cited, i, laon., lam.
Leona, quoted, i, a8n.
Levi, C. A. cited, i, iSan.
Levy, E., cited, ii, i43n.
Liber Communalis (Plegiorum), i,
128
Library, Public, in Venice, Pe-
trarch's donation the beginning
of, ii, i64n.
Lidi, i, 8-9
Lion, cited, i, 67
Lion of San Marco, 1, 79 and n.
Lira, value of the, i, 167, i58
Liruti in Argclati, cited, i, i55n.
Literature, Venetian, early chroni-
cles, ii, i4o, i4i ; French verse
in Venice, i43, i44; works in
Latin, 1 45 ; poetry in Lombard
and Venetian dialect, i48, i52;
early poets, i5o-i52 ; street
songs, 1 5a, 1 54; literature cul-
ture rare, i54 ; diplomatic re-
ports, 1 55 ; famous teachers in
Venice, i56
Loans to the State, i, i48; volun-
tary, i48; forced, i49
Lodging-houses, i, 62
Loggia dei Cavalieri, paintings in,
ii, i3a
Loggie, i, 5o
Lombard architecture in Venice, ii,
97' 98 _
Lorenzi, cited, i, 86n., ii, 5on.
Love and marriage, ii, 4o, 45
Ludwig, cited, ii, 17a
INDEX
233
Luxury, in dress, ii, i3-i8, aS ;
regulated by the government,
i8, ai.
Magister militum, i, 77
Magnocavallo, cited, i, i38n.
Majurbio (Mazzorbo), i, 9, la
Malaguzzi-Valeri, cited, ii, laCn.
Malamocco, i, la ; earthquake in,
46n.
Malipiero, cited, i, i5on.
Manfroni, cited, i, ii6n., i3i n.,
iSan.
Manners and customs, ii, a3-6o
Mantegna, ii, i36
Maps, i, i3(), i4i-i4a
Marchesan, cited, ii, i49 ff.
Marin, cited, i, laon., laan.
Marinelli, cited, i, i4in.
Marini, cited, i, ai8n.
Maritime tribunes, i, 70-73
Markets, i, 137-139
Marriage, ii, liO-!\6, 5i
Masegne, JacobcUo and Pietro
Paolo Dalle, ii, 116
Masks, wearing of, i, 317
Matrimony, i, io5
Maundy Thursday, festival of, i,
ai5
Mauro, Fra, planisphere of, i, i4a
Mayor, cited, i, iSgn.
Medicine, science of, a prey to
superstition, ii, 169
Milanesi, cited, i, 39n.
Milani, cited, ii, i5n.. Son.
Mills, i, 3 1
Mint, not established in Venice
earlier than the ninth century, i,
i53 ; minting of Venetian coins,
ii, i54-i56
Mirrors of stainless glass, ii, 69
Missals, illuminated, ii, la/i
Mocenigo, Doge Tomaso, on Vene-
tian trade, i, 126, i3o
Mocenigo, F. ISani, i, Aan.
Molinier, cited, ii, 83n.
Molmcnti, cited, i, 88n, ii, i37
Mommsen, cited, i, 8n.
Monachi Sangallensis, cited, ii, 78
Monaci, cited, i, 88n.
Monasteries, retirement to, ii, 33-35
Money, use of the Roman coinage,
i, i53; minting of Venetian coin,
i54-i62 ; value of Venetian, 167.
See Coinage
Monpurgo, cited, ii, i5o
Monticolo, cited, i, San., 38n.,
58n., 73n., i79n., i83n.,i85n.,
186, 187, 188, ii, aa
Morelli, J., cited, i, i^m., aaon.,
ii, 46
Morosini and Caloprini, feuds of
the, i, 166
Morpurgo, cited, i, 9an.
Mosaics, floors of churches, ii, 64 ;
figure work, 65, lao
Moschetti, cited, i, gan.
Mosto, Alvise da Ca da, voyages of,
i, i4o
Motta, cited, ii, ao
Munstero, quoted, ii, i5
Muratori, quoted, i, 5i, I79n.
Music, in Venice, ii, i6o-i6a
Musical instruments, ii, i6a
Mussafia, cited, ii, i48
Mussato, Albertino, cited, i, 8on.,
i45n. ; quoted, i, lai
Mutinelii, cited, ii, 34
Nativity of the Virgin, painting, i,
.57 _
Nava, cited, ii, 116
Navigation, law of, i, 109-111 ;
early, i36-i4i ; study of, i4i
IVavigalors, early, i36-i4i
New men, i, 82, 84
Newfoundland, reached by Niccold
Zcno, i, iSgn.
Nobles, i, i63; feuds of, i65, 168 ;
discipline imposed upon, 168;
234
INDEX
purchase of the title, 176, 177;
familiarity between people and,
ii, 48
Olivolo, i, a 4
Organ, useof, in Venice, ii, i6a, i63
Oriental manners infect Venetian
customs, ii, a4
Orseoli, the, i, i6.'», 167
Pace de Foroiulio, cited, i, aim.
Padovan, cited, i, 38n., iSgn.,
i6on., i6in, I72n.
Padua, painters of, ii, i3i ; Univer-
sity of, ii, 1 55
Painting, development of, in Venice,
ii, i3o; Byzantine influence, ii,
131 ; painters' guild, 133 ; art of
illumination, 1 34-136; early panel
paintings, 137 ; early painters,
ia8, 129, i3o ; feeling for
colour, 139 ; influence of
Franco-German art, i3a
Paoletti, cited, i, 6-jn., ii, io5n.,
ii8n., i33n., i37n.
Papadopoli, cited, i, i54n., i6on.
Partecipazi, the, i, i64
Partecipazio, Doge Agnello, i, 33
Pasini, cited, ii, 65n., 78n.
Paths, in Venice, i, 37-38
Patria potestas, i, io5
Pauli Diaconi, cited, ii, 97
Pavanello, i, 4ii'
Pecchio, cited, i, i45n.
Pennesi, cited, i, i4on.
Pennies, Venetian, mentioned in
ancient deeds, i, i55
People, relation to clergy and Doge,
i. 73-77
Persons, laws as to rights of, i,
io2-io5
Pertile, cited, i, 93n., 95n., 97n.
Petrarch, cited, i, 53n., 307n. ; on
Venice, 90 ; gift of his library
to Venice, ii, i64
Pianta di Venezia, by Temanza, i,
34.
Piccolpasso, Cipriano, cited, ii, 720.
Pietro, INiccolb di, ii, 139
Pigeons, i, 37
Pignoria, cited, i, 5n.
Piovego, magistracy of, i, 43
Plague, i, 44
Planispheres, i, i4a
Playing cards, introduction of, ii, 56
Poetry, lack, of early Venetian, ii,
i4i ; French verse in Venice,
1 43, i4't ; in Lombard and Vene-
tian dialects, 1 48; popular, set to
music, ii, 168, 169
Polo, Marco, his book. 11 Milione, i,
i37
Porcelain, work in, ii, 73
Pordenone, Oderico da, i, i38
Porticoes of churches, ii, 99
Pottery, origin and development of
the art of, ii, 71-73
Predelli, R., cited, i, 4in., 93n.,
I ion., i48n.
Printing, discovery of, met with
great success, ii, 171 ; great
printers, 172
Professors and students in Venice,
ii, 167, i58, 167
Property, laws as to rights of, i,
106-109
Provveditori di Comune, magis-
tracy of, i, 43
QuADRi, cited, i, i38n.
Quirini, Giovanni, ii, i5o
Quirini, Niccolo, sonnet on Vene-
tians, i, 88
Quirini, Pietro, voyage of, i, l4o
Rajn.v, cited, i, 2o3n.
Regatta, the, i, 202
Religious festivals, i, aog
Renicr-Michicl, cited, i, 211
Renier, R., cited, ii, i5on.
INDEX
235
Rialto, i, 31, aS ; the business
centre of the city, 87 ; history of,
38 39
Rialto bridge, i, ag
Riant, cited, ii, 770.
Ricci, cited, ii, 63n.
Rivoalto, i, i3, 18
Rivoli, duo de. Prince d'Essling,
cited, ii, 171
Roberti, cited, i, I78n., 186
Rolandino, cited, i, ao4
Roma, survival of the guilds, i,
i78n.
Romanesque architecture, its in-
fluence on Venetian art, ii, 100
Rossi, ISiccolo de', ii, lig
Rossi, v., cited, i, 39n., 4on.,
56n., 73n., ']^n., lagn., ii, aon.
RuUi, making of, ii, 69
Ruskin, cited, ii, ii^n.
Sabellici, cited, ii, i6in.
Saccerdo, G., cited, i. Son., 5in.
Sacchetti, Franco, on Venice, i, 91
Sacerdoti, cited, i, logn., iion.
Sagredo, cited, i, It'jn., i8on.,
iSan., iS^n.
Sala del Maggior Consiglio, i, 69,
67
Salt-pans, i, 3i
Salt-trade, i, ia4
Salt-works of Venice, i, 16, 17-18
Sandi, cited, i, ']^n., 94n., i5on. ;
on early Italian law, 96
San Donate, church of, i, 63
San Giacomo di Rialto, i. 64
San Marco, his journey from
Aquileia to Ravenna, 8 ; his body
brought to Venice, 79 ; lion of,
79 and n.
San Marco, church, i, 36, 60-67,
ii, 98, i4a
San Marco, piazza, i, 3a-35;
sestiere of, its extent and the
churches contained therein, a 5
San Mauro, monastery of, i, 63
San Polo, sestiere of, its extent and
the churches contained therein,
i, a6
San Quintino, cited, i, i54n.
Sanguinacci, poem attributed to, i,
137139 ; quoted, ii, i4
Santa Croce, sestiere of, its extent
and the churches contained
therein, i, 26
Santa Maria delle Grazie, baptistry
and church of, i, 63
Sansovino, F., cited, i, 49n., ai6n.,
ii, i3n.
Sanudo, Marin Torsello, cited, i,
i5n., agn., 33n., 47n., 6in. ;
quoted, 87 ; cited, ao3n., 316,
333, ii, 73n. ; his book Liber
Secretorum, etc., i, i37-i38
Scherer, cited, i, ii8n., i34n.
Schiavi, cited, i, I93n.
Schlosser, cited, i, 53n., ii, 93n.
Schlumberger, cited, i, 37n.
Schultz, cited, ii, i3
Schupfer, cited, i, 94n., gSn.
Sclopis, cited, i, iion.
Sculpture, Venetian, ii, 111-119;
Byzantine inQuence, iii-ii3;
Gothic models, ii4-ii6 ; Tuscan
influence, 116
Seamen, i, i35-i36
Sea-power, Venetian, i, i4-i5
Segarizzi, quoted, ii, 69
Selvatico, cited, ii, 100, I17
Senato, cited, i, i33n.
Sercambi, cited, ii, 58n.
Sestieri, i, a4-36
Shipbuilding industry of Venice,
i, i3o, iSa
Ships, varieties of, 1, i3o-l3a;
government, i33 ; commanders
of, 1 34 ; owners of, i35 ; crews
of, i35-i36
Signori di Notte, i, 43-43
Silk weaving and dyeing, ii, 74-77
236
INDEX
Simono di ser Dino da Siena, on
Venice, i, 90
Simonsfeld, cited, i, San., Can.,
i38n., i78n.
Slaves, condition of, i, io3 ; trade
in, 124-136
Smuggling, i, ia3
Solmi, cited, i, i^Sn.
Soresina, cited, i, i5i
Speech, State censorship over, ii, 54
Sports, i, 200
State censorship, ii, 53-56
Statute Veneto, i, 94
Stefania, case of, i, 99
Stumpf, cited, i, i56n.
Subsidy fund, i, i5o
Succession, laws of, i, 111-112
Surgery, ii, 159
Surnames of Venetians were pre.
served through the dark ages,
i, 164
Tafel, cited, i, laon., lain., I24n.
Tassini, cited, i, 211, ii, 54
Tcmanza, cited, i, a7n., 47n-, 5in. ;
quoted, 5o
Tentori, cited, i, 85n.
Terra Veneta, i, 6
Thomas, cited, i, 900., laon.,
lain., i24n.
Tiepolo, Bajamonte, conspiracy of,
i, 85 ; his house razed, 86n. ; his
Statuto Naulico, i, iion.
Tiepolo, the, i, 168
Tino, cited, i, 218
Toaldo, cited, i, i4in.
Tomba, i, 24
Torcello, i, 11; church and bap-
tistry of, 63
Tourneys, i, 2o5
Towers, i, 52, 64
Trade, see Commerce
Trade in cloths from various coun-
tries, ii, i5
Treasury, the, i, i46
Treaties, commercial, i, 116
Trcvisan, Mcolo, quoted, i, 29n. ;
cited, 36n., 6in.
Treviso, March of, i, 2o4 ; painters
and paintings of, ii, i33; uni-
versity at, 1 49
Tribunes, i, 70-73, 76-77
Turgan, cited, ii, 66n.
Tuscan influence in Venetian art,
ii, 116, 118
Uguelli, cited, i, i55n., ii, Can.
Universities, ii, 170
Urbani de Gheltof, cited, i, 5 in.,
79n., ii, 72n., 75, 83n.
Valerius, Aug., cited, ii, i4on.
\annozzo, Francesco, on the Vene-
tians, i, 88
Veneti, their arrival and settlement
in Italy, i, 1-2 ; their customs
and their art in early times, 3 ;
their history from 2i5 b. c. to
the time of Romulus Auguslulus,
4-7 ; their family life, 4-5 ;
their dress, 5
Venetian Estuary in Roman times,
I. 7-9
Venetians, the original, noble and
patrician, i, i5-i7 ; occupations
of the original, 17-18; factions
in the islands in early times,
19-22
Veneto-Grecians, i, 21
Veneto-Italians, i, 21
Veneto-Romans, i, 21
Venezia, the name, to what it was
applied, i, 87
Venice, origins, i, 1-22 ; of the
mainland and of the lagoons, i3,
33 ; what proportion of the origi-
nal settlers were noble and what
patrician, i5-i7 ; dependence of,
on the Roman and Byzantine
INDEX
287
Empires, 20-21 ; seat of govern-
ment removed to Rialto, 22 ;
the islands of, 23-24 ; districts,
24-26; canals, 27; public paths,
27 ; open spaces in the city, 27 ;
aspect of the streets, paving, etc.,
28; bridges, 29; ferries, 29;
canals, 3o ; salt-pans, 3i ; mills,
3i ; piazza of San Marco, 32-35 ;
beautification of the city, 35-37 '
Guidi's poem on, 3g-4o ; sanitary
regulations, 4i-43 ; preservation
of the lagoons, 43-44 ; houses,
46-62 ; churches, 62-67 • Ducal
Palace, 67-68 ; arzana, 68 ;
arsenal, 69 ; constitution, 70-85 ;
conspiracies, 85-88 ; verses on,
88-92; laws of, 93-1 14; com-
merce and navigation, ii5 i43;
finance, economy, and currency
of, 144-162 ; nobles and citizens,
163-196 ; martial exercises,
sports, and festivals, 197-222 ;
costume, ii, i-23 ; manners and
customs, 23-6o ; the industrial
arts, 61-95 ; the fine arts,
96-138 ; culture, 139-175
Venturi, cited, i, 37n., ii, 63n.
Verona, painters of, ii, i3o
Verses on Venice, i, 88-92
Villani, Giovanni, cited, i, 5i ; on
Venice and the Venetians, 88
Vinland, i, i39n.
VioIlet-le-Duc, cited, i, 55n., ii8n.
Visdomini alia Messetaria, i, 12a
Visdomini da mare, i, 12a
Weddings, ii, 4i. 43
William of Apulia, quoted, i, 119
Windows of stained glass, earliest
manufacture of, ii, 68
Women, place of in early days, ii,
28, 29 ; chivalry toward, 37 ;
marriage of, 4 1-48, 5i ; in the
family, 44 ", laws for the protec-
tion of, 49-53 ; infidelity of, 58
Wood carving, ii, 88
Zambler, cited, i, i20n., i27n.
Zanetti, Girolamo, cited, i, 3on.,
i35n., 2i4
Zanotto, cited, ii, iign.
Zappert, cited, i, i36n.
Zechin, see Gechin
Zcno, Antonio, i, i39
Zeno, Carlo, i, i39
Zeno, Catarino, journeys of, i, i4o
Zeno, Niccolb, his travels, i, i38-
139; his compilation from An-
tonio Zeno's manuscript, i, 189
Zon, cited, i, 210, 2i5
Zonghi, A., cited, ii, ngn.
Zurla, cited, i, i37n., i42n.
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