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VENICE 



Part II, Volumb II 



VENICE 



Part II, Volumb II 



VENICE 

ITS INDIVIDUAL GROWTH FROM THE 

EARLIEST BEGINNINGS TO THE 

FALL OF THE REPUBLIC 



BY 

POMPEO MOLMENTI 
TRANSLATED BY HORATIO F. BROWN 



Part H — THE GOLDEN AGE 

VoLUBIE II 



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CHICAGO 
A. C. McCLURG & CO. 

Umxni, WBX MVEmAT bbaoamo, istituto italluio 

1907 



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Copyright, 1907 
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PubliBhod, October 19, 1907 



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PAGE 



CONTENTS 

Chapter X 

Scenic Represenlalions — Mummeries — Tragedy 
and Comedy — The First Pernuinent Thea- 
Ires — Music and the Beginnings of Musical 
Drama i 

Chapteb XI 

Palaces and Houses — The Gardens of Murano 

and the Villas on the Mainland .... 45 

Chapter XII 

Fashions, Costume, and Headrdress — Sumptuary 

Laws 8i 

Chapter XIII 

Private Entertainments, Balls, and Banquets iia 

Chapter XIV 

The Type of Beauty in Men and Women — 

Society — Cultured Women i4o 

Chapter XV 

The Family in the Upper and Lower Classes — 
Ceremonies Attending Marriage and Birth 
— Funeral Functions and the Grave . . 174 



vi CONTENTS 

Chapter XVI 

The Corruption oj Manners a 1 8 



Appendix a 65 

Index SoQ 



ILLUSTRATIONS 

PAGE 

Costume of the XVI century adopted by Venetian gentlemen 
when the J did not wear the toga — detail of Bonifacio de' 
Pitati's painting, ** The Slaughter of the Innocents.** (Venice, 
Academy) Fi'ontUpiece 

Masks of the " Ck>mmedia dell* Arte '* i4 

Interior of the Olympic Theatre at Vicenxa ao 

Front View of the Stage Setting in the Olympic Theatre at Vicenza a a 

The Piazxetta di S. Marco adapted for Stage Setting — design of 

Sebastiano Serlio. (Galleria degli Uffizi) a4 

D Concerto Campestre, by Giorgione. (Paris, Louvre) .... 3o 

Musical Concerts in Venetian Houses — from a painting, ** 11 Ricco 

Epulone,'* by Bonifacio de' Pitati. (Venice, Royal Academy) 36 

Entrance of the Palazxo Grimani at Sa. Maria Formosa — attributed 

to Sammicheli 46 

Upper Landing of the Stairway of S. Giovanni Evangelista in Venice 48 

Sala del Maggior Consiglio — Ducal Palace 5o 

Fireplace in the Room of the Scarlatti with the Barbarigo Arms 5a 

Courtyard at the Entrance of the Palazzo Comaro at S. Maurizio . 54 

Boat-Landing of the Palazzo del Cammello alia Madonna dell' Orto 56 

Gate of the (xiardino da Mula at Murano 6a 

Asolo 66 

Villa Foscari alia Malcontenta 70 

Piazza della Malcontenta 70 

ViUadiMasir 7a 

Costume of a Venetian Lady, by G. A. Fasdlo. (Dresden, Royal 

Academy) 8a 

The Dogaresse Zilia Dandolo Priuli and Loredana Marcello Mocenigo 86 

Venetian Pattens of the XVI century. (Paris, HStel de Cluny) 90 

Ladies drying their hair by means of the $olana 90 



viii ILLUSTRATIONS 

PAOB 

Young Lady it her Toilette, by Puis Bordon. (Yienni, Nitioml 

Gallery) ga 

The Doge oo the Throne — from the paiotiog, ** The Fisher's Ring.** 

by Paris Bordon. (Veniee, Academy) too 

A Ball — from the *'Giiaioins'* of Franco iia 

The Marriage of Gana. by Tintoretto. (Venice. COiiesa della Salute) 1 96 

A Kitchen of the XVI centuiy i3o 

Types of Venetiaii Gentlemen iko 

Types of Women in Art lia 

Portrait of Gaterina Gomaro. by Gentile Bellini. (Budapest. 

National Gallety) lU 

Portrait of Irene da Spilimbergo. by Titian 166 

Venetian Women Bmliroidering 176 

Venetian Maidens 178 

Bride with the fialleriiio-> from the •'Gosftoms** of Franco. . . iSI 

Bride in her Gondola-^ from the •'Gnsftoms" of Franco. ... 106 

A Wedding imnng the Gnmmnn People 196 

The Burial of Sanf GtMila. by Garpncdo. (Venice. Academy) aoi 

Mosmmel in P om w ofthe Doge Andrea Va ndff a mi n . by Al es u n dio 

Leopvili. (Venice. Church of SS. Giovanni e Paolo) ... ai4 

Sepulchral MflMMMl of Aleenndro ViHorie. (Venice. CWtcb of 

S.Zacceria) ai6 

Venetian Goartasaw ai^ 

Venus, by GiorgiflBe. (Dtadcn. Boyal Gallery) a5o 

Fwtrait of a Venetian Gonrlesan. by Paris BocdoA. (Londbn^ 

national GaDcry) aSa 

Cocyil and Om Venetian Gwulessn. Marghxila Smiliani . 



VENICE IN THE 
GOLDEN AGE 



CHAPTER X 

SCENIC REPHESENTATIONS — MUMMERIES 
— TRAGEDY AND COMEDY— THE FIBST 
PERMANENT THEATRES — MUSIC AND 
THE BEGINNINGS OF MUSICAL DRAMA 

THE stage reached its full development in Venice, 
as elsewhere, with the renaissance of the classical 
spirit. The Ecerinis, a Latin tragedy written by 
the Paduan Albcrtino Mussato during the early years 
of the Trecento, though vigorous in feeling and sound 
in art, exercised but httle influence on the drama of its 
time. Rut humanists did not neglect the study of 
the ancient theatre, and Plautus was an especial 
favourite with Ermolao Barbaro, while we find come- 
dies like the Pauliis of Pietro Paolo Vcrgerio the 
elder, who was born at Capodistria in i.Sig, and lived 
long in Padua, or tragedies such as the Prague of 
the Venetian Gregorio Correr (b. idii. d. i^Gi), an 
imitation of Terence and of Seneca. The Prague was 
written afier the first quarter of the fifteenth century, but 
was not acted till i558. and it was given to the world 
by Lodovico Domenichi as a work of his own.' These 

' Monsignor Gregorio Corror, nephew of Pope Grcgorj XII, wrole tbii 
Xnpdy iboul ihc miildte of the fiflccnth ceciturj-. It wai publiihed bj 
Piulo MaDuiio uDiler Ibe lutpicci of the Aceadtmla Vene;iana or delta 
Pama, without the (Ulhor's name : Progne { traijeiila \ nanc primanudiia \ 
Vrne:'ut, praio Paula Manu:ia. 1559. Two jeani later ■ liltle book w» 
Iwu«d li Florvoce witb Ihis title Progiu \lragedia | Hi \ Lodavieo Dominichi 
) in Flomaa | upprr$to i GiaMi | UDLXI, in S>d, witb > dcdicilioD to 



VENICE IN THE GOLDEN AGE 

literary plays, however, were written only to be read, 
and down to the close of the Cftcenlh century mys- 
teries and miracles in the churches or in the squares 
of the city, given upon temporary platforms which 
were the origin of Uie modern stage, continued to 
hold their own. These representations, which were 
hoth religious ceremonies and theatrical spectacles, 
beloved of the people, are to he found very early in 
the Veneto, For example, we hear of tlie Passione e 
Bisurreiione di Gesh given at Padua in ia43, and of 
the Annuncia:ione della Vergine given at Venice before 
the Doge in 1267 and described in the Chronicle of 
Martino da Canal. In lagS and i3o3 we have a 
mystery on the life of Christ recited at Cividale in 
FriuU, and at Vicenza in iSyg, a sacred play in 
which the Virgin and the Apostles arc introduced.* 
These mystery ptays, so popular in many parts of 
Italy, were not looked upon with favour eiUier by the 
ecclesiastical or the civil authorities in Venice ; and 
seeing that such spectacles were usually given upon 
stages elaborately ulted up — apparalum sumpluosum 
solarioram — and were accompanied by jousts, dances, 
and performances on the tight rope, and gave rise to 
disorders, — inho/ieslatcs el mala malta commiltanlur, — 
the Republic suppressed them altogether in i46a.^ 
On the other hand, a diflcTent kind of non-religious 

Giannolto Cisliglione, daled Februsrj ?», i56i, where Domenichi eayj; 
" Dva rcslero di prpgaria coo lulU quells rivereDia, cb' la dcbba, ch* elUoil 
faccia grilia il'afcettar volcnlicri qucsla mia nunva fnlira." The abMilule 
ideulitj between Domenichi'i Iragedj loil Coitct'i baa becD pointed out 
b; Anwlini. StnUori wne.-iuni. I. io8-i34. A. Te&sier returned to 
the cubiect and dcmonstnlcd more full; tbe plagiaritm of Domenirhi in 
UiD •rliclo Inloriui a Lodovito Oomeniehi, plagiario. Id Uie Glornale di cia- 
di/iuM (Vol.1, No5. 9-1 s, pp. lo-ao. Firenie, 1888). ParaboKo's tragedj 
on Ibe same lubject (Vcnelii, Cooiia d* Triiio. i54S;. tbousb faiUifullj 
following tbe nijlh of Progne as given us bj ThucjdidcB, A.pollodoru», 
PauBaniu, Ovid, ban nolbing in common with Correr'i pla)! as regards plot 
•nd ahle. See Biauchini, PomfroicD, iip. 180. 181. 

' D'Ancona. Orig. del leatro Ual.. I, 87, 91, 91, 98. Torino. 1891. 

» Ibid., pp. 187 and 3^3. 




MUMMERIES 

performance was in ^eat request. The taste for seeing 
' and hearing episodes of every-day life reproduced by 
actors who, with the help of grimaces and of grotesque 
masks, could raise a laugh in the audience, spread from 
the street to private houses, and here we get the rudi- 
mentary comedy called in Venice momarie, originally 
given by masked characters who attended at weddings. 
At the close of the wedding feast it was tlie custom 
to narrate the deeds of the ancestors of the newly 
wedded pair, accompanying the story with comic 
ampliGcations and jests. Tbe word momaria has given 
rise to much conjecture ; it implies a masquerade, and 
corresponds to the French word mommerie. according 
to Jacopo MoreUi, who cites the opinion of the learned, 
especially of Giovachino Perionio, who, in lus dialogue 
De Linguae GalUcae origine, says "inter coenam non- 
nulU intervenire solcnt ludendi causa, quos nostra 
sermone mommoas vocamus. Ita est, atque hoc ver- 
bum totum graecum est ; /la^^w enim larvae appellan- 
tur a Graecis."^ But these Venetian momarie were 
not always mere buffooneries ; and we find recorded in 
1^97 the Panegirico for the wedding of one of the 
Fisani family, where there is a description of Ludicra 
speclacula. que Bombariam valgus appellat, in which 
the gods and heroes of mythology were represented. 
The action was at first limited to a single performer, 
who was expected to entertain the company by word 
and gesture, but gradually the idea was expanded and 



' htorelli, Pompi naiiali (in his Open 
logisrliej WSrtrrbaeh der Bomanisclien Sproi ' 



I, 160}. 
Berlin, il 



Diei. Elimo- 
j8. Kurting, 



'schet WUrlerbiich. Pailertxmi, i8c 
(German) and momer {Old FreoGli)and the modem French monurfe. but oinili 
Ihe Ililian momafia. which thoiiM he added. We need doI go lo the Greek 
«ii|i«iH>>i, M'f'^/o'i which meint to imitate, vrhcoce we get the Italian niima, 
panlomima ; but wo have the Greek word (lai^iofini, to abuse, lo bUmc. to 
mock, and iJitisi, blame, or miKlier)'. the source of the tiaina of the god 
Uoinas, In Venetian dialect we mocl with Ihe word mamo, ineamng 
toolith. idiotic. Venetian momarie were il»o called bnmbarU, perhapi from 
the Venetian word bomba. in Italian tulibola or hala; hence the phriM 
tlarftr dt U bombe. la "loll a busier." 




VENICE IN THE GOLDEN AGE 

transformed into a complicated spectacle, for the most 
part in pantomime, with many actors on the stage. 
Such spectacles still retained the name momaria, and 
had considerable resemblance to tlie trionjl, invented 
by Lorenzo de' Medici, and to the allegorical shows at 
Milan, Urbino, and other places; they drew their in- 
spiration from mythology and the springs of primitive 
art. and also served to display the sumptuous luxury 
of the Venetians. Beatrice d'Este, wife of Lodovico 
il Moro, came to Venice in i4i)3. and in one of her 
letters has left us a description of a momaria given in 
her honour in the Ducal Palace ; the subject was 
the alliance between the Repubhc and the Duke of 
Milan.' Two years later, to celebrate the league 
against Charles VIII, Venice gave otber spectacles 
recorded by Gommines. who notices the grand nombre 
fie mysl&res el de personnages.^ Sanudo describes 
various momarie with bis rough yet efTcctive directness. 
On February i4, ligS, some Florentine merchants 
then in Venice wished to celebrate the truce between 
France and Spain and to emphasize their own hopes 
of recovering Pisa. Bartolomeo IVerli was at their 
head, and from his house there issued a mascpierade 
thus described by Sanudo : '"8 homini a mo<lo cavali 
marini armati da jostrar, con armadure, et atorno altri 
zoveni vcslidi a uno modo con volti inarzenladi, che 
li portavano e torzi el lanze el relnieto. et con molle 
campanelle, alomo a questi corevano uno contro I'allro 
a modo jostra, Poi erano molti vestiti da mori, con 
casache et volti negri, et uno re o signor armato con 
alcuni pcdoni atorno. Fo assa' torze, et speseno 
qualcbe ducato ; ma non rcuscite chome si credeva, 
et diro cussi, fo una zanza (a folly) Corcntina." In 

> See Appendix. Doc. A. letter III. Tlieso Iclteri wefo published for 
the firit time in the Turin edition of tlil> wort (1880). iiid Ihough tvpub- 
liih«d M unedited bj othen, we Ihiok it well to reproduce them ia the 
Appendii. 

' hiimoirr,. Lib. VII. 




MUMMERIES 



_ :t, public opinion expressed its contempt for the show 
in a sonnet which began "Chi fece er sera f{uella 
mumariaP" and ends by declaring that never was 
anything seen piu freda e mal iVi/esa.' On the other 
hand, we hear of two beautiful morimrie, - — one given 
on February if), i5o(i, in the Campo di Santo Stefano, 
with twelve waggons which moved in procession round 
a castle and a great display of fireworks^; the other 
presented, on October i^, i5o7, upon a platform 
erected in the Campo di San Polo. The authors were 
the Club of the Elerni, belonging to the Company of 
the Hose: the occasion was tlie marriage of Luca da 
Lerze with a lady of the Foscarini family, and the 
subject was Jason in search of the golden fleece.' 
Sanudo cites other spectacles in honour of marriages 
between the Corner and Malipiero, the Pisani and 
Priuli (i5ii), and the Quirini and Moccnigo famihes. 

The staid Germans even admitted the allracllon of 
these shows, which were almost always pantomimic, 
not dramatic. On February la, i5ao, the Fondaco 
dei Tedeschi at Riallo, where the German merchants 
lodged, and where they stored the goods from the 
Levant that were to he sent to Germany, hrolie out 
into dance and song when, in the evening, the bustle 
of the day's work was over ; and a momaria was given 
which attracted numbers of Venetian nobles to the 
show*; and many of these same patricians were ex- 
pected next day at Ca' Foscari, at San Simeone on the 
Grand Canal, to attend a festival of which it is reported 
that in memoria di komeni vivi la piu bella non & sth 

Jatta in quesla terra. Among other shows the Com- 
panions of the Hose, of the club called the /mmor/a/(, gave 
a momaria representing V edijicaziane di Troia, in which 
we find a little of everything, — a hydra, a farrow 
BOW, ana zigante grandissimo con una bissa atlorno di 

1 SiDudo. Dkrt, I. 873. » ftid.. Vll, 161. 

» Ibid.. Vll, »97. • Ibid.. XXVUI. >5>. 



VENICE IN THE GOLDEN AGE 



^ 



Laochonfe, an idol, iino re con lajtola e perjtno an certo 
diavolo con gran fuogi. Tlie guests to the number of 
three hundred and firty then eat down to supper, and 
after supper there was a pastoral comedy (a la villa- 
nescha) written by the Paduan Ruzzante.' On July 
5, i524, in this eame Foacari Palace and in the presence 
of the Duke of Urbino, they gave II ratio di Elena.^ 

Possibly these spectacles proved too costly, for the 
Senate, on January a5, i5a6. passed the following 
order : " Le momarie si a noze come a compagnie over 
a altri pasti o feste pubblichc in ogni modo che fusseno 
facte, siano bandite sotto pena a chi !e fcsseno far de 
ducati cinquanta el li maestri lo fcsseno o guidasseno dc 
ducati lo et star mesi sei in preaon.^ But in Venice the 
sumptuary laws were made to be broken even by those 
who passed them, and so, little less than a month later, 
as the members of the Council of Ten were descending 
the giant's staircase into the courtyard of the Ducal 
Palace, and while the Dogo himself was at the window, 
there streamed into the court " una bellissima momaria 
di 6 principali che batavaiio, bellissimi vestidl, con la 
vestiai da Sarasini con torzi in mano et balono alcuni 
balleti novi che si have gran piacer clii h vete."* The 
very next day, too, in the courtyard of the Palace, in 
the presence of something like three thousand persons, 
a band of young nobles dressed like Moors, preceded 
by minstrels and music, gave another performance. 
One was dressed in a doctor's scarlet gown, and there 
were five dancers in habili dorali et velli in testa, who 
represented Neptune, Spring con Jiori sopra uno corno 
di dovitia. Summer with ears of corn. Autumn with 
clusters of grapes. Winter with fagots of wood. That 
same year, i5a6, for the fete of Maundy Thursday a 
grand momaria on the piazza was arranged by un 
maislro Tonin, con cose Jdbulose che fu bel veder et 



1 Suudo. Diart. XXVIU, i53. 

« Ibid., XXXVI. 459. 



> Ibid. XL. iba. 
* Ibid.. XL. 785. 



dele a placer a la terra, in spile of ihe fact thai one of 
the rockets attached to a wire from the Campanile 
exploded and seriously wounded a priest in the eye, 
and burned several dresses, among others the magnifi- 
cent crimson velvet gown of a patrician lady, Quirini 
Duodo.' The following year, on the same day, they 
gave a spectacle invented by Francesco Cherca. in 
which four great giants were introduced, and a grotto 
from which issued men and women dancers, min- 
strels, twelve troopers armed with partisan and sword, 
who danced a morris-dance, dancing nymphs, a child 
dressed like an angel who recited poetry, and a ser- 
pent with fire issuing from its jaws. All the same the 
masque was not a success, and every one remembered 
with regret the show of the preceding year designed by 
Master Tonin, who at once received a commission for 
a new masque on the legend of Perseus and Androm- 
eda, eon balled el soni mirabili, and nobles sumptu- 
ously dressed, and sea horses and serpents, and so on, 
On Maundy Thursday, i5a8, in the Masque of the 
Labours of Hercules, Neptune appeared on his tritons, 
along with Mars, Mercury, and other deities. Hercules 
entered con la pelle di lion el la lesla in capo, and went 
through his twelve Labours con vari balleii el sacriJizU 
et morte de Cacho, Zerbero ed allri. On the same fes- 
tival, in the year i5ag, they gave a show of wild-beast 
fights, and men and women dancers who had bells on 
their toes and beat time on an anvil, which opened and 
let out two childrea who executed an admirable pas a 
deax : the whole M'inding up with a kind of tarantella. 
The masque of the year 1 53o roused great expectations ; 
it was entrusted to the famous Tonin, maestro di ballar 
vecchio : but Tonin died just at the moment, and the 
masque designed by his heirs did not please the pubhc. 
To conclude, we may quote Sanudo's graphic account of 
one of these allegorical representations, leaving him to 

' Sanudo, Dkri, XL. 783, 7gi. 



8 



VENICE IN THE GOLDEN AGE 



^ 



lell the story in his own vigorous, unadulterated prose. 
He says : 

Per lamomaria se dia far in piaza di San Marcho alia 
illustrissima Signoria cl Zuoba dc la caza i533 (i533). 

Primo venira la dea Palas armaUi con uno scudo 
ctuno libroin manoacaualo deun serpente — Secundo 
venira la Justitia a caualo de uno elefante con epada et 
balanza con una balla — Terzo venira la Concordia a 
caualo de una zigogna con uno sceplro in mano con 
una balla et trara uno schiopo et vederassi dei zigonati 

— Quarto venira la Vitoria a caualo con la spada in 
man et scuto et uno sceptro con la palma dentro — 
Quinto venira ta Pace a caualo de uno agnelo con uno 
sceptro et olive dt-ntro — Sexto venira la Abundantia a 
caualo de uno serpe cum la divitia in man con spige 
et trara un schiopo el vederasse le spige — All' incontro 
di la Sapientia venira I'lgnorantla a caualo de un aseno 
con la coda in mano — La Violentia a caualo de uno 
serpe la qual semincra in fra le infrascripte zinzanie — 
La Guera et Marie sopra uno caualo con spada et scuto 

— La Penuria a caualo de uno cane con el corno picn 
de paja. 

Poi conibatera : 

La Sapientia con I'lgnorantia et la Sapientia cazci^ la 
Ignorantia de monte. 

La Justitia con la Violentia, cazera la Violentia ut 
supra. 

La Concordia con la Discordia, cazera la Discordia 
ut supra. 

La Vitoria con la Guera videlizel Marte cazera Marte 
ut supra. 

Saranno el tempio de Jano con trophei et arme de 
diverse sorte ol qual sara fato con le sue colone et 
adoniato come se richiede el sara aperlo. 

Sara el tempio di la Pace adornato con cl so ydolo 
et sara scrato. 





MUMMERIES 

Da poi andera le soprascrite ( 

Jano ct aprir quclo di la Pace. 

Da poi combatcrano I'Abundanlia con la Penuria 
et la Aliundantia cazcrik la Penuria di la dal monlo. 

Da poi ee rcduta tuUc 6 insieme et farano balU de 
piu sorte et sara fine.' 

The rude phrases of the Chronicler conjure up for 
us a vision of the marvellous Piazza, with its joyous 
throng; the ducal tribune hung with arras and rich 
carpets, where sits his Serenity. Andrea Gritti. a noble 
and dignified presence, Jra veaeli cUtadini del ela sua, il 
piu venuslo ripuUito, as Niccolo Barbango says of him; 
about the Doge are the Signoria, the Council, the 
ofHcers of Stale, and the fair ladies who live again 
for us on the canvases of Titian or of Jacopo Palraa. 
And Titian and Palma and Pordenone and Bonifacio 
and Paris Bordon and Tintoretto were all living at that 
date, and maybe one or other of these immortal masters 
designed the costumes for the masque. 

It might, perhaps, be supposed that this kind of 
representation never passed beyond the borders of the 
lagoon, but as a matter of fact we know that masques 
were given at Constantinople. Sanudo quotes a letter, 
dated February i4, iSa^. written by Messor Carlo 
Zeno, vice-bailo at Constantinople, to Messer Jacopo 
Comaro. Zeno is describing the Jetes given by tno 
Tuscan and Venetian residents during the Carnival of 
t53j, and mentions among other curious details the 
following scheme of a masque: "Una giovane pom- 
posissimamente vestita, accompagnata da do vccchi e 
da do pastori richtssimamente vesliti, ct quivi incomin- 
Korono a canlare in quarto una certa lamentation per 
la qua! parea che la giovine sc lamentasse dclli sui 
vecchi cne teniva consumando la ela sua. et che la 
dubitava che eenza che li gustasse li piaceri del mondo, 
la morte rhavesse a pigliare. Comenzd poi a ballare, 
' Swudo, Diari. LVII. 53i. 




lo VENICE IN THE GOLDEN AGE 

et con geBli moslravano il medemo, ct ncl fin del ballo. 
si apreaentb una morle la qual tirando con la falze nel 
megio del ballo, cascb alia giovinetta tutti li veslimenti 
et li Bui capelli d'oro et rimase morta ignuda." ' 

While spectacles such as these stirred the imagi- 
nation of the dwellers in the lagoons and educated the 
sense of colour which was always alive among the 
Venetians, preparing the way for the art of stage 
mounting and the skill of theatrical mechanicians, at 
Florence, in ii88, we find them giving the Afenaechmi of 
Plautus, while in Rome Giulio Pomponio Leto, be- 
tween 1^78 and l^g1, introduced the habit of reciting 
ancient comedies and tragedies in the halls and court- 
yards of tlie great Roman palaces. At Venice, too, 
haUa and courtyards gradually came to be used for the 
recitation of Terence or Plautus in the original, and of 
tragedies and comedies imitated from the antique and 
written cither in Latin or in Italian ; they were given 
on stages which already began to display the charac- 
teristics of the modern theatre. — the curtain, the 
froniispizio , the scenes representing streets, churches, 
houses.^ But such arrangements were not adopted in 
Venice earlier than the opening of the Cinqucccnto, for 
a decree of December 29, iSog, declares that these 
spectacles "a paucissimo tempore citra, apparet intro- 
ductum in hac civilate."^ U was the Companions of 
the Hose who first introduced the representation of 
comedies, che in Venelia non si cosiumavano, full of ano 
honesto ridere, acted by the members of the club, " con 

> SanuHo, Diari, XXXV!. it 9. 

^ D-Ancon». op. cit.. 11. 38a. 5i4. An illLslrslion to an orfilEon of 
Tcreaco priDtod at Lj'on* in i493 gives us conous view of one of thcio 
tomporarf Ihealrei in the QuattrocouLo. On a pentagonal buis adornod 
witli cupids and frieiei. »nd with three arched doorways (/ornires), rises the 
Iheatre proper (thealrum), with columnn aupporting Iha roof. The apeo- 
lalon are seated in lliroe tiers before the stage (proicenium). and to one 
aide, in a box apart, are two pcnonages, named aediles, who have the right 
lo a separate box. 

■ Ibid., 11. ]i3. 



TRAGEDY AND COMEDY 




gratioso roodo, ct li intermedi erano similamente fati 
da loro di perfele musiche belle c piacevoli." • 

The drama, presented in its new guise, at once found 
favour with the temper of the city, and about i5o6 
Fra Giovanni Armonio of the order of the Crociferi, 
a native of the Ahruzzi, comt^dlan, aclor, and musician, 
lilted np the atrium of the Convent of the Ercmitani at 
Santo Stefano, and gave one of his comedies, puhUshed 
under this title, " lohannia Ilarmonii Marsi comoedia 
' Stephanium ' urbis Venetae genio publice recitata."' 
The play is dedicated to Pielro Pasqualigo, a great 
patron of poets. In 1607 we find notice of a comedy 
acted in the house of Queen Cornaro, and a farce in 
the bouse of Marino Malipicro ; it was written by the 
Neapolitan, Antonio Ricco, and staged by the members 
of the Faiisli club ; in 1008 we have the Menaechmi and 
the Asinaria. as well as an Eclogue, recited by Francesco 
de' Nobili, called Cherea, of Lucca, Secretary to Fran- 
cesco da Sanacverino, and later on. the favourite of Popo 
Leo X, and other comedies given in various palaces, 
till suddenly, on December ag, iSog. the government 
pot a stop to recitationes et rtpresentationes comoediales, 
tea Iragoediales .^ But comedy presently reappears; 
for instance, in Casa Lippomano, at Murano, on Feb- 
ruary 16, iDia, and Cherea himself returns in i5ia. 
to recite at the wedding of a Contarini, and in the palace 
of Francesco da Sansevcrino on the Giudecca in i5l3 ; 
in this year and the following, tragedies, comedies, — 
in Latin or Italian, — eclogues, and farces follow one 
another in spite of prohibitions published from time 
to time by the government.* Sometimes patricians 
themselves took part in the play, as when, in August 

> Leitera diGiaromo Luigi Comoro {Padoy, spriie i566). Soe Cicogoi, 
Iter., VI, 75a. 

' Veneliix. Benianlinuin Veoetum de ViUlJbui, i, a. 

■ D'Anconi (op. ci(.. It. ii3 «t leq.) givM the decree lad mcntiooa 
■eranl comediet mM Jn Venica about Ihii lime. 

• [bid., loc. cit. 



la VENICE IN THE GOLDEN AGE 

of i5i9, in Casa Morosini at San Giovanni Lalcrano, 
a Conlarini, a Tiepole, a Memmo, and a Cornaro, along 
with allri 5 populari, acted in the Miles Gtoriosus,^ and 
■when, in February. i5i5, the young Moccnigo in their 
house at the Garita, gave a comedy of Plautua in Latin 
etfu bel veder el udir ijueli zoveni.^ 

Theatrical representations were permitted in the 
Ghetto, but Christians were forbidden to be present.* 
We need not be suq)rised that a friar, Armonio, sliould 
have been the first to write an original Latin comedy, 
if we remember that licentious comedies, such as 
Machiavelli's Mundrugola, were given even in the mon- 
asteries. In i5iA a translation of Plautus' Aiinaria 
was acted in tlie monastery of Santo Stefano. and in 
l533, in the evening of February 17, " fu fata nel 
monastero di San Zane Polo fra loro frati una comedia, 
e lallra sera fu fata una a San Domenego, ma non 
intervenno alcun secolar," so says Sanndo,* who had 
already noticed several representations in the monas- 
tery of San Salvatore, where the brothers of Sant' 
Alessio gave ana devala mssa,^ and in the convent 
of the Crociferi, where the monks often assembled before 
the stage, and not always to listen to devote cose.^ 
In fact, a veritable scandal took place in February. 
1687: a play entitled La Viiiii e il Vizio was being 
given by the monks of San Domenico di Castello 
before an enormous audience ; one of the actors. Fra 
Giovanni Maria of Brescia, reputed somewhat crazy, 
took the part of a facc/iino, and "" sparlo in scena d'una 
mala manicra della Retigione. dicendo clie rubcrebbe il 
tabernacolo del Santissimo Sacramento al Papa, et che 
lo scorticherebbe, ct delii Scnatori Veneti con dire chel 
metterehbo volentieri quegh dclle veste parpurate in 

1 Sanudo, Dian. XJV, 6^1. « Ibid., LVI, Sag. 

« Ibid.. XIX, 4a. * Ibid.. XIX, 434. 

» Ibid,, LIV. 3a6. 
• Ibid.. XXXII. 393, 458i XXXUI, 564. 



TRAGEDY AND COMEDY 

galea al remo (sendone presenli inBniti acnatori) per U 
che fu cacciato fuori dclla sccna ct si forind proccsso 
conlro di lui"'; the friar got off, however, on Uie 
plea that he was daft. 

The representations of Latin tragedies and comedies 
in the original was accompanied by the production of 
Italian translations and imitations. The fashion was 
set at Fcrrara, where, on January a5. i^Sfi, in the 
courtyard of the Palace they gave an Italian translation 
of the Menaechmi. The ItaUan tragic theatre came 
into being through the work of a Venetian writer, a 
subject of San Marco, Gian Giorgio Trissino of Vi- 
cenza, whose Hofonisba appeared m i5i5. Trissino 
was followed among the Venetians hy the Paduan Spo- 
rone Speroni with his Canace, by Cieco d'Adria with 
Dalila and Adriana. by the Venetian Lodovico Dolce 
with hia Marianne and Didone and gome free render- 
ings of Euripides and Seneca. Then cameGiambattista 
Liviera, of Viccnza, with his Cresfonfe : Conte di 
Monte, also from Vicenza, with his Andgono ; Aretino 
and Parabosco, both Venetians by right of domicile, 
the one with the Orazia, the other with Progne. If in 
all these tragedies the action is involved and drags and 
the characters are lifeless, comedy, which was bright 
and lively in other parts of Italy, is in no better phgbt 
as far as Venice is concerned. The strong character 
drawing, the brio of the dialogue, the acuteness of 
observation, the grace of the style. ^ all. in short, lliat 
goes to render the plays of Machiavelli, Ariosto, and 
Bibbiena so lively and attractive, wo look for in vain 
from the Venetian playwrights Aretino, Paraboaco, and 
the too facile Lodovico Dolce.' And yet throughout 
the involved development of the plots which are still 

■ CranaM Saoina, BiM. Mgrciani. Cod. it. CI. VII. n. Sii. c. 33g. 

* Cicogtii, liemorie ialtmo la vita e le opere di L. Dolce (Mvriioiri of tho 
liliUito Ven.. l863>- Salza. Delle eammcdic di L. Dolce. Melfi, 18.J9. 
Dolce bu left Ifip foUowing comedies: U capitano. La FablirUia, It marilo, 
H ragatio, II rujjiana. 




a 



VENICE IN THE GOLDEN AGE 



copied from antique models, we now and then, es- 
pecially in the comedies of Arelino, catch a flash 
which throws into rchcf the ideas and habits of the 
day ; and the cuckold husbands, the cunning lover, 
the loose woman, the pimping friar, the greedy para- 
site, the dishonest servant. — in short, the whole gamut 
of that shifting, strange, and licentious csislence which 
seethes in the midst of society at lliis dale, — are 
sketched with freshness and veracity. 

Farces had already made their appearance before tlie 
literary comedy ; the farce was, of course, in the vulgar 
tongue, and we have one of tlie earUest examples in 
the translation of the Calinia of the humanist Sicco 
Polenton. of Trent. This translation in Venetian dia- 
lect, packed with Latinismsand Tuscan idioms, has been 
attributed to the son of Polenton, by name Modesto, 
and was printed at Trent in i^Sa.^ Farces and com- 
medie ruslicali were extremely popular througliout the 
peninsula, thanks chiefly to the Hozci of Siena; while 
m the Veneto we find, along with tliese pastoral come- 
dies, a kind of dialogue called mariaziov mogliazzi, bicker- 
ings between husband and wife, and rude and uncouth 
eclogues of rural life,' from which the comedy in dia- 
lect for the most part drew its inspiration.^ Sanudo 
frequently refers to pastoral eclogues, masques, and 
comedies dt villnni e villaae, bajfonesche, a la villota.* 

The theatre of the people completed its natural course 
by evolving the commedia deli'arie or comedies, in which 

' Scgariui, La Calinia. etc., p. lii. S'leta csUed Lis pUj the Calinia 
from his proligonlst the poller. Carlo Baltisti (Archivm Trenlino. Vol. 
XIX. fsic. 3". and Vol. XX. r>«c. i-. igat-iyo5} hu piil>ll>li«i Ihs Utt; 
thit il to ny. he has reprinted llie only cop}' knowii to eiist ■□<] now ia 
the Martima. He coocludes that the leil in the vulgar loogue i> in the 
dialect of Treat. 

* Cavassico and his like arc ciam^lcs for the district of BgUudo id tha 
■iiteenlb cunliuj. S(>e the Iiilrodanoiu to CiaD't Le rime di B. Cauaaieo, 
Vol.1; Iha text il in Vol. H. 

> FlamiDi, Il Cinqumnlo, pp. 3o5, 3o6. 

■ - : xii: ■"" " 



* Sjnudo, Diart. XII. i6 ; XIII. i83: XLVl, 63». 



COMEDY i5 

the subject was sketched in ouUinc. the actors filling in 
the parts. These mimes held the stage throughout the 
Middle Ages, and were acted by rude players, half come- 
dians, half mountebanks ; Buzzantc and Calmo' gave 
precision to these outlines when they eame to write 
their comedies oi' low life. The characler. habits. 



ideas, costume, and taste of tl: 



lie underwent i 



le peopi 
gradual change, and in place of comedies translated or 
adapted from the antique they came to prefer this new 
style in which the wildest of plots, the most fantastic 
costumes, the most elaborate mounting were served up 
with a piquant sauce in the phraseology of the fixed 
characters or masks, whose numbers grew, and who 
acquired new forms and new characteristics as the 
theatre developed, and in addition to the Vecchto, the 
Mugnijico, the Maltaccino, the Faccldno, old friends at 
Carnival lime, we get the Baraltino, the VUhno, the 
Zany and his derivatives, Harlequin and Brigliella, who 
in their turn pass from the stage to the joyous rout of 
tlic piazza in carnival. In these sketches of plays — these 
scenari, as they are called — the general lines of the plot 
are laid down and the parts mapped out, but the dia- 
logue is not elaborated. Each character is merely told 
the substance of what he has to say ; and so a quick 
and lively actor had every opportunity of investing his 
part with all the spontaneous realism of improvisaUon.' 
The actors, who frequently were authors as well, turned 
to ridicule the characteristic defects, the manners and 
Bpeech of other countries ; they introduced into the 
dialogue jokes, quips, and bulTooneries invented on the 
spur of tlic moment ; but the dialogue, nevertheless, 



Tor 



Gavparj, Si. della Icit, ilal.. Irini. bj V. l\o> 
no. 189:. Stoppato, La ti/mm. pop. in It., pp. 



190. 



Pidovi, 



• Fljmioio Scla. // (mJ™ dille /avoir rapprnfntaliw. elc. Venelli. 
16I0. The oldest and ridieEt $ecnario goe* back \o i558. It ii pre- 
•erveil bj Mia&imo Troisoo ud givei the ttrnario of ■ eoroedj noted it tlis 
BaTarian Court. Bartoli. Ad., Scenari iaedil'i ttetta conm.drirarte. latrod., 
p, ciltti. Fireuie, i38o. 



"^ 



i6 VENICE IN THE GOLDEN AGE 

must frequently have dragged, and to enliven it, re- 
course was had to hundreds of coarse jesta learned 
by rote, and the audience came to know exactly what 
Pantaloon and Harlequin would say before they opened 
their mouths. 

The Venetians, who always preferred spectacles which 
appealed to the eye, introduced into their comedies 
musical interludes, songs, ballets, masques, as was the 
case with the representation of the Miles Gloriosus of 
PlautuB on February g, i5i6, by the InnocenU club of 
the Compagnia della Calza, in the courtyard of Ca' Pesaro 
at San Benedetto. The i/t/erme::i represented the infer- 
nal regions, with flames and fiends and goats, while one 
of the actors played the part of a necromancer, who was 
presently turned into Adonis on a triumphal car sur- 
rounded hy nymplis, who danced to the strains of the 
music while they beat time on anvils shaped like human 
hearts.' Among the spectators at these representations, 
~ which were admirably mounted {conzada per excel- 
lenliaj, the actors being dressed in satins,^ — we find 
royal personages who were guests of Venice, ambassa- 
dors and even the Papal Legate incognito ; indeed we 
hear of a " very jocund comedie" {assai ferial) given 
in the Legate's apartments in the presence of Senators 
che 6 contra la leze.' In February, i5a6, in the 
Palazzo Trevisan on the Giudecca, a banquet was 
served in honour of the Patriarch of Aquileia, followed 
by three comedies from the pens of Cherea. Ruzzante, 
and Gimador. and, to grace the occasion, the ambas- 
sadors accredited to the Itepublic, and sixteen of the 
most lovely ladies of Venice * received invitations. And 
among such distinguished company we sometimes even 
find alcnne merelrici,^ while the actors themselves were 
not always of exemplary modesty, and occasionally gave 

1 Swudo. Didr.'. \]\. U3. > Ibid.. XXIX. 600. 

» Ibid., XXXVII. 653, * Ibid., XL, 789. 

• Ibid., XVIII, t65. 



rein to malta verba et acta turpia, lasciva et inhoneslis- 
sima, 80 that the government, after first of all proliibit- 
ing comedies in i5og, and then permitting them again, 
attempted, in i5i8, i5ai, and i5o3. to put an end to 
the scandals by fixing the hours, limiting the length of 
the plays, forbidding representations at certain seasons 
and other provisions which were continually renewed, 
revoked, or violated.' and Francesco Sansovino declares 
tlial fc commedie aveano sempre gran corso.^ The actors, 
however, were by no means always capable. A curious 
letter dated February ao, i555, written to Duke Otlavio 
Famese by Francesco Franchino, afterwards Bishop of 
Massa,' gives an account of a tlieatricat fiasco. ' ' Ilier- 
sera," he says, ■' nella Giudeca fu fatta una comedia 
a spesa di certi gcntilhuomcni di questa citla gentilis- 
flimi, ove concursero tulte le belle gcnlildonne de 
Venetia. Mens. Rev"^* me menb seco con gran placer 
mio. La comedia haveva a duraro otto hore, ma tini 
alle cinque : Bno al primo atto Ihlstrioni sc portarono 
assai bene : doppo cominciorno a dar ncllc scartatc, 
come se dice, et andarono a precipizio non altrimenti 
che quando nn essereito h mesaa in fuga ; c la cosa 
riusci tanto infclicemente die essi mcdesimi doman- 
darono perdono agli spetlatori. L'apparato, la sccna 
e la spesa fu honorata, ma, come ho dctio, li eomedianti 
si intricorono et si dettero per perduti, nb anco la come- 
dia in s^ era di buon autore ; tanto h che la cosa h 
risoluta che la persona per ridere et haver solazzo non 
pud far meglio che andare ad ascoitare quelle che 
si fanno ogni dt in diversi luoghi ad imitation di 

' jA-rrigoni) Not. «f oaervar. inlorno aU'origine del tealri in, Vtntiia, 
Per Done Michiel-Moroiiiii, pp. ■). lo. Vcddij*. iBjo. 

* Vtnetia, p. 160. 

* Arch, di SUlodi Parini, Carteggio Farneikno (i555). 

* Porhap* UoniigQor Giovinni delit Casa. who il lh» beginning of 
lbi> yeir piued his time between Venice and Uie abbejr of Nerveu belon 
rclumiiig lo Rome, wbitber be wu lummoned in June. l555, by Pope 
Paul iV- DeUa Cut wt* 4 friend of tbe Finieii, and wu palronued b^ 




i8 VENICE IN THE GOLDEN AGE 

Catinella."^ The zany Catinclla had licUer luck. The 
belter the actors knew how to raise a laugh, the more 
were they in request, and the tables of the great were 
thronged with more buffoons than any other kind of 
artist, as we learn from Garzoni, who has left us the 
following account of certain comedians, who impro- 
vised a stage, sketched the scene in charcoal, and de- 
lighted the populace with the grossest obscenities. 
"Come entrano questi." says Garzoni, " dentro a una 
citta, suhito con tamburo si fa sapcrc : chc i Signori 
Comici tali, arrivati, andando !a Signora vcstita da 
uomo con la spada in mano, a faro la rassegna, e s'in- 
vita il popolo a una commedia. o tragedia, o pastorale 
in palazzo, o aH'osteria del Pellegrino, ovc la plebe 
desiosa di cose nuove e curiosa per sua natura, subito 
a'afTrelta a occupar la stanza, e si passa per mezzo di 
gazzctte [a small coin! dcntrn alia sala preparata, e qui 
si trova un palco postizzo, una scena dipinta col carbone, 
senza un giudizlo al mondo ; s'ode un concerto ante- 
cedcnte d'asini e galavroni ; si scntc un prologo da 
Ceretano . . . un Magnifico clie non vale un bezzo, 
un Zani chc pare un'oca, nn Graziano die caca le 
parole, una Rufliana insulsa c scioccarclta, un Innamo- 
rato die stroppia le braccta a tutli quando favclla ; un 
Spagnuolo che non sa proferir, se non mi vida e mi cora- 
zon ; un pedantc che scarta nellc parole toscane a ogni 
tratto, un buratlino chc non sa far altro gcsto die quelto 
del berrettino che si melte in capo, una Signora sopra- 
tutto orca ncl dire, morta ncl favellare, addormentata 
nel gcstire, che ha porpetua inimicizia con !e grazic, e 
tiene con la bellezza differcnza capilalc."' 

On (he other hand, we know that there were actors 
of considerable ability, Uke Clierea, the mosaicist Valerio 
Zuccato and his wife Polonia, Marco Aurelio Alvarotto 



1 Prtocfaino il rererring Ui Iho mounteLaiik CaliaoUi anil lii^ imitators, 
rulgar improuaatort. D'Ancoua, op. cil.. 1, ^\tt. 
° Ginooi, Pia::a, p. 7io. 




COMEDY ig 

called Menato, Girolamo Zanetti called Vezzo, Casta- 
gnola called Billora, Francesco Bcrcttaro, Andrea Ftazer, 
Zaoipolo and his son Cimador, Pielro d'Annano, 
Trapolino, Franciotto, Tizone, Domcnico iaja calze, 
Uerto de la biava, Francesco Gatta, and others, who 
formed themselves into associations that in a way fore- 
shadow the modern theatrical company.' The writers 
of comedy in dialect enjoyed a great reputation ; among 
tliem, the Paduan Ruzzantc, who won a high position 
in Venice, ' GiancarU from Rovigo, and the Venetians 
Molino and Calmo. Angelo Beolco, nicknamed Iluz- 
zante, died in l56a, forty years of age ; Speroni called 
him the new Hoscius, and he made his name in the 
Piovana and the Vaccaria, comedies in the style of 
Plautus ; hut his real triumphs were achieved in the 
pastoral comedies, Fiorina, Moschetta, and the Diatoghi 
in lingua ruslica, where the three dialects of Padua, 
Venice, and Bergamo^ are blended in scenes of con- 
siderable comical merit. Luigi Giancarli, nicknamed 
Gigio Artemio, lawyer, poet, and painter, wrote trage- 
dies, farces, and eclogues, and a few comedies; the Ca- 
praria and the Cingara have been published. Antonio 
da MoUno, called the Barchiella, was, according to Lodo- 
vico Dolce, the first to introduce a mixture of tongues 
into his comedies,* but we have no work of his except 
the poem called / faiti e le prodezze di ManoU Bkssi 
and some few squibs. This attempt, made by Ruzzante 
and Molin. to blend various languages and dialects in 
comic dialogue, is very likely earUer than either of 
them' ; it was imitated by Calmo, who mingled Paduan, 
Sclav, and Bergamasque dialect with pure Venetian in 

' Boui. V, Inlrod. alle letl. del Calmo. p. xsu, «nd tlio Icltor OD pago 
lig. See D'A-Dcima. Orig,. II. aSi, aSa. 

» S«nudo. Diart. XXVtll, 955. 

' Wendriner, D'u padiuaUKhe Handarl bei Hu::ante. Breshu. i88g, 
LoTirini, NolUU lal nii:ianie, in the Giomate Star, delta fell. il.. supp. a, 
Torino. iStlg. 

* See IJolce'i dodicalion to tlic poem of MoUd. Vcueiia, i!i6i. 

' B«rtvli, SteaarC. Introd.. p. cuv. 



ao VENICE IN THE GOLDEN AGE 

his Egloghe paslorati and in the comedies. Spagnolas, 
Sallvzza, Pozione. Fiorina. Rhodiana, and Travaglia, 
which are certainly among the beat plays of the day for 
their genuine spirit of comedy, iheir ready wit, and their 
delineation of character. It was Calmo, perhaps, who 
was the first to create one of the most universal types 
of the comic stage. Pantaloon, the honest, simple 
merchant, evolved perhaps from the earlier mask the 
Magniftco ; and Calmo was also the first to revive a 
typical character of Latin comedy, the Miles Gloriosus, 
the hraggart, coward captain.^ 

In process of time companies of comedians came 
into being. We hear of the Confldenli, the Gelosi, the 
LInili, tlie Fedeli, tlie Desiosi. The moat famous was 
the company of the Gelosi, who gave to the Italian stage 
three actors of the cetebratcd family of Andreini, — Isa- 
bella, Francesco, creator of the mask Capilan Spavento, 
and their son Giambatlista, author of the tragedy 
Adaino? We have records of other Venetian actors 
of this date, Pnidenza the Veronese ; Giulio Pasquati 
of Padua, to whom, as well as to Calmo. is attributed 
the creation of Pantaloon ; Orazio Nobili, alao from 
Padua, master and possibly relation of Isabella An- 
dreini, Gasparino of Venice, and Silvestro from Treviso.^ 
The custom of giving female parts to boys gradually 
died out, and the appearance of real women on the 
stage lent veracity and attraction to ttie spectacle.* 
Following on, Polonia, wife of the mosaicisl and come- 
dian Valerio Zuccato, Vitloria Piissimi of Ferrara, — la 
divina Villoria, la bella maga d'ainore, as Garzoni calls 
her, — rose to great fame as actress, singer, and dancer 



nded snolfaer company, called the Fedeli. 

■ Basi, I comici ilaliani. Firento. 1697-1905. A.lso Fr. Bartoii, Nat. 
dei eomlciit-. U, 373. Pidovi. 1781. 
' Quidno, St. e rag, d'ogni poesia, V, a^a. Bologaa-MiUiio, 1739- 



COMEDY ai 

in Venice, Lidia da Bagnacavallo and Vincenza Armani, 
a native of Venice, roused tlic utmost enthusiasm by 
tbeir improvisations. Speaking of Armani, Garzoni 
says : " che imitando la facondia ciceroniana, ha 
posto I'arte comica in concorrcnza con I'oratoria, c 
parle colla bella mirabile, parte con la grazia indicibile. 
ta eretto un amplissimo trionfo di sb stessa al mondo 
spellalore, facendosi divulgare per la piu eccellcnte 
commediantc di nostra etade."^ The genius, learning, 
and beauty of Vincenza fired the heart of Adriano 
Valerini. no vulgar writer and himself a comedian; 
for her he wrote a funeral oration in which occurs the 
following laudation of his mistress: "Nel cucire, nel 
ricamare, anzi nel dipinger con I'ago avanzb non solo 
tutte ie altre conipagne ma favolosa Aracne . . . 
Posaedeva henissimo la h'ngua latina e felicissimamente 
vi spiegava ogni concetto . . . Musica sublime . . . 
snonatrice soavissima di vari stromenti, scultrice in 
cera valentiasima , faconda o profonda parlatrice e 
comica eccellentissima."^ Armani, not yet thirty 
years old, died suddenly at Cremona in the arms of 
Valerini, in September, 1569; it was said that she 
had been poisoned out of jealousy either in love or in 
her art. The fame of Isabella Andreini, however, 
outshone all others; poetess and comedian, of great 
beauty and unsullied virtue, she was admired, honoured, 
lauded in Ufe and in death by princes and peoples, and 
by the greatest poets such as Torquato Tasso, wiio wrote 
for her the sonnet beginning : 

Qumflo v'ordirs il protioto vcio 

L'slma Datura, e Ie luortaU ipogUo, 

11 bel CDfftiea. >T cotna Gor li coglio. 

Togliendo gcmnie !□ terra e lumi id cielo. 

Isabella was bom in Padua in 1662; her father was 
Paolo Canali, and in 1 578 she married Francesco 

> Gsrzoui, PiiLna, p, "^SS. 

' Oratioae d'Adriano Valtiini Beronesr In morle della dteina tu/nora Vln- 
aaza Antmni, etc. VeroDa, 1G70. 



33 VENICE IN THE GOLDEN AGE 

Andreini. She died at Lyons in i6o4. and her epitaph, 
which does not lie, declares her to liavc been beautiful 
and good, of a ready wit, beloved of the Muses, failMul 
and aircetionate to lier spouse, unhappy only in that be 
lived too long, seeing he had to outhve her. 

Italian comedians, honoured in their own country, 
met with a like ready welcome abroad, where they 
reaped a rich harvest of glory and of gold. In 1670 
Catherine de' Medici summoned Italian actors to Paris, 
and four years later llenrj' III, intending to pass 
through Venice, expressed a desire to hear the Gelosi, 
and the Venetian Secretary, Alviso Bonrizzo, wrote to 
the Signory from Pontcbha on July 7, 157^, as follows : 
" Fra lulti li passatempi che si possono dar a S. M. 
niuno li potra eaaer piti caro di quesloche in Venetia vi 
slano (juelli comedianti che erano questa invernata"; 
and further on : "Li desidera [that is, the comic actors] 
fuor di modo, massimc con quella donna che mcdesi- 
mamente recitava mieata invernata." ^ The celebrated 
actress whom the king so ardently desired to hear was 
Vittoria Piissimi, whose stage name was Fiorella ; her 
troupe tiien included the famous Simon of Bologna, 
as Zany or Uarleqain, and GiuHo Pasquati as Magnifico. 
In 1676 the king invited the Gchsi to the Hotel 
Bourbon, and such was the enthusiasm they roused by 
their acting and by the mounting of their plays that 
Parliament issued an order to expel them, perhaps 
because they proved too great a distraction for monarch 
and subjects alike.' Venice had no such fears, and 
rich and poor were free to take tlie enjoyment of the 
stage. As we have seen, farces, dialogues, pastoral 
eclogues, recited on the piazza or in booths or Uiverns, 
were tbc delight of the populace, while tragedies 

' Dc Nolhac idJ Salcrli, It niaggio in Italia di Enrico III, cil., p. 60, 
and Docamenta XIII. 

' BcrnsrdiD, La comfdlt Itallenne en France rt le Thtalre ilt la Foire. 
Paris, 1901. In iQw Heiirj IV recalled the Gfloai lo Paris. lad Ihoj 
■clod al Iho Hold Jc baurgogne, romaiuiag ia Fraaco till i6o4. 



FIRST PERMANENT THEATRES a3 

and comedies, elaborately staged,^ were given in the 

? daces of Ihc rich or in the various academies.^ 
hese temporary stages were frequently diicorated by 
such great artists as Titian, who was employed by the 
Sempiterni to design rnacchtne, edijlri e simili com- 
parse. The Sempiterni called in Vasari and two of 
his friends, natives of Borgo San Sepolcro, — Cristofano 
Gherardi called Doceno and BattistaCungi. — to prepare 
the mounting for Arelino's Talaitla,^ which tliey In- 
tended to give in a house on the Cannarcgio. Vasari 
and his companions arranged two liera of wooden seats 
for the ladies, and painted the sides with allegorical 
subjects, deities, landscapes. i-ivers. such as Jove, 
Jano, Tithonus, Venice. Crete, the Po, the Brenta, 
the Taghamcnlo ; round the ceiling they ran a cornice 
with globes of distilled water, behind which were 
placed lights that lit the whole chamber.* But the 
urst building erected as a public theatre was due to 
another club of the Calzn, the Accesi. In i565 they 
commissioned Vasa Palladio, who, in the courtyard of 
the Carita, huilt what Vasari describes as a mezzo (ealro 
Hi legname a uso di colossco,^ possibly arranged on the 
model of a Roman theatre. This scheme Palladio 
employed for tlie lealro Olunpico at Viccnza wliich 
was carried to a conclusion after Palladio's dcalli by 
the master Vincenzo Scamozzi , and serves to show 
us how tlie body of the theatre and the stage were 
arranged. The thirteen tiers of seats, in an ellipse, 

' Flechsig, Die Delioralioa der moilti: Bahne in H. Von d. Anfnngfn bii 
.-urn Schlim d. XVI Jal<r. Pari I. Dredon, 1894. 

* Id Ihe great ball of the PeUegiini Ihero wis a splcodidlj docnraleil 
dieatre where tbeji gave eomedies snd coucerti. Giaiich, Delt'accadtmia 
ibi Petlegrini (in Iha Menario fiUaofico e poetico. Vol. III. Voneu*. 
ZerbeUi. 1810}. 

■ La TaUsnUi, ComeiUa di U. Pieiro Arclino composta a petiilone de' mag- 
Dtfiti Slymri Sempiterni e rvriiaia Hallr tot proprie magnifieiealie con miraHl 

'''^ 'io d'oppanilo. ViDCgia. Marcolini, ibhl. 

' nri, Vila del Gtirrardi, XI, g, 1 1. Fireoia, Le MaonioT. ilJ55. 
, Yitedtgii Zucehtri. XII. ia7. 



a& VENICE IN THE GOLDEN AGE 

were Burmounled by a row of twcnty-eighl Corinthian 
columns, carrying a loggia and balustrade. The body 
of the theatre was adorned with statues, and the ceihng 
represented a curtain held up with cords ; below the 
spectators, in the semi-clUpse, was the orchestra, and 
in front rose the permanent scene, designed by Sca- 
mozzi. ill three orders, — the ,two lower Corinthian, the 
upper Attic. The scene had three exits in front and 
two at the side, and was adorned by a noble arch and 
with niches, statues, and baa-reliefs. As is usual at 
the opening of the Seiccnto, the scene, which repre- 
sented the streets of Thebes, was in full relief, and the 
houses of the streets, given in admirable perspective, 
were in immediate contact with the curtain of the 
background, which could be shifted by machinery as 
required.' 

Sebastian Seriio, twenty years earlier, had constructed 
a theatre on the Roman model at Venice. He lias 
left us important documents, not merely on the archi- 
tecture of theatres, but also on the decoration of the 
stage, which reveal in the play of perspective and of 
pictorial adornments, the classico-Vitruvian influence." 
Seriio tells us how the tragic scene must represent the 
houses of the great ; the comic scene, the abodes of 
private persons ; and the satiric scene must be adapted 
to the personages of the play, who speak rudely, 
come sar'ia a dir genie ruslica, — that is to say, it must 
show us arbori, sassi, colli, capariene alia ruslica.^ 
Seriio has left us a drawing of the Piazza di San Marco 
evidently adapted to serve as a scene on the stage.* 

The Venetian Angelo Ingegneri, who published a 
treatise on the proper way di rappresentare le favole 
scenlcke, observes that a "royal purse" is needed to 
mount certain pieces where elaborate machinery and 

1 Ferrari. G., La Scenografia, pp. 46, 69. Milaoo, Hoepli, igoi. 

* Ibid., p. 'ji. 

• Seriio, /( teconda libra di Proiptttim. Veneiii, i58i. 
« Ferrari, op. clt.. p. 48. 



'nm 



• • • 

• • • 



,•• 



:..•.. 



• 



• •• • 

• •• • 

• • •• 
•• • 




FIRST PERMANENT THEATRES a5 

gorgeous costumes arc required, and he accordingly 
recommends the conBlruclion of plays that demand but 
little mounting.' The scene, he says, "deve assimigli- 
arsi il piu che sia possibile al tuogo dove ei Gnge che 
eia avvcnuto il caso di cui h composta la favola" ; and 
as to the auditorium, the women should be allowed the 
most comfortable places, with nothing in front of them 
to prevent them from seeing, while the men should he 
so arranged as not to crowd each other and mutually 
prevent each other from commanding the' stage. For 
this purpose the arrangement of tiers, as in the 
Olympic Theatre, is admirably adapted. As regards 
hghting, so as to save the audience from tocchi da 
cere and Ucori cadenii, Ingegneri advises ihe employ- 
ment of a "fregio pendente dallalto il quale tuvide 
il cielo delta sccna da quelle del teatro. ma non cada 
lanio in giuso ch'egh occupi troppo della vista della 
fronte di delta sccna, c sia dal lato di dcntro dirimpetto 
alia stessa fronte tutto pieno di lampadini accesi con 
riQessi d'orpello acomodati talmente ch'essi mandino 
il lume addosso ai recitanti." while leaving the audi- 
torium in a dim light favourable for holding the 
attention of the spectators.^ 

Pa]ladio's wooden theatre at the Carita was opened 
on February a8. i565. Il may have been the com- 
plicated decoration and stage machinery, and the exact- 
ing nature of the actors and of his employers, which 
caused the architect to write tlius to Vincenzo Arnaldi : 
•' Ho iinito di fare questo benedello thcalro nel quale 
ho fatto la penitentia de quanti peccati ho fatti e 
sono per fare. Marti prossimo si reciterJl la tragedia. 
Quanao V. S. potesse vcderia, io la caorterei a venire, 
perchfe si spera che debba essere cosa rara."* A rare 

' Ingegneri, Delia Poeaia rappr/aenlaliva el dei modo di rappreaenlare Ic 
fanoU taniche, p. 6. Bergamo, Vealurs, iCoi- 

^ Itiid.. pp. 35, 39. 

* TemuiM, Vil* dei pfu ceUbii architelti e scatlori Ven., p. 3l3. Vea»< 
m. ■■j58. 



!i6 VENICE IN THE GOLDEN AGE 

eight, no doubt, was this theatre, the work of sodlslln- 
guiehed an architect and decorated by Fedcrico Zuc- 
chcri of Sant' Angclo in Vado, a clever artist who 
painted for the scenery, " dodici filorie grandi di sette 
piedi e mezzo I'una per ogni verso, con altre infinite 
coBO de' fatti d'lrcano re di Jerusalem, sccondo il sog- 
gettodella tragcdia; sulla quale opera acquisto Federigo 
onore assai per la bontn di quella, e preslezza con la 
quale la condusse." ' The play, called Aniigono, based 
on a Hebrew story, was written by a countryman of 
Palladio, Messer Conte di Monte di Masonc near Vi- 
cenza.^ No details of this representation have come 
down to us, nor do wc know the titles of the other 
playa which doubtless were given in this wooden the- 
atre, but they must have been of a magnificence which 
only the Company of the Hose and the Olympians of 
Vicenza could afi'ord.^ The Olympians opened their 
theatre for the first time in i085 with the OEdlpus 
translated by Orsatto Giustinian ; the members of Uie 
club themselves took the parts, though (JEdipus was 
intrusted to the Cieco d'Adria, who was brought to 
Vicenza with much ceremony. The monnling is de- 
scribed as of insaperabile grandezza, and although ■ 'gl in- 
terlocutori non fosseropiudi nove, nondimenolepcrsone 
vcstile che v'intravcnncro . , . per fare 1 Choro arriva- 
rono al numcro di cenlo e otto e gli abiti costarono 
parecchie centinaia di ducati."* But the superb mount- 
ing and the elForts of the actors did not sufFice, and the 
tragedy failed to achieve tliat nobile riascila promessa 
dal grido immortale of tlie great play which was not 
confacevole al gusto morbido e delicato di quesU tempi} 

' Vasari. op. cil., Xlf, IV}. 

' 'Mnli^ono. Tragcdia dvll'Ecc. M. Coule di ModIc Viccnlino. Al 
Clariuimo aigoor Francedco Pt»aDi, Con gratia cl privilegio de I'iUua- 
Iriiaima Signoria di Veaelia. Per Comia da Trioodi MoDferrato, MDLXV." 

* Ingegncri. op. Hi., p. G. 

* Ibid,, pp. ha, lii. 

* Hicbolo. Ag. . Oiseono in ruiii dintoslra come li poaano icriaere tm^ 
motta loda le csmmetlie e le tragedit ai pnm, pp. i, 5. Voneiii, (5^3. 




FIRST PERMANENT THEATRES 

In Venice the laslo for theatrical pcrronnances was 
BO lively among the people that they would cUmh 
walls, break open doors, or swim the canals to force 
their way into the place where some famous comedian 
was acting.* A rigid moralist. Antonio Persio. bom at 
Matera about i5a5, who lived some yeara in Venice 
as a guest in the Cornaro family, is very severe on the 
habits of the Venetians. Speaking more particularly 
of the theatres and possibly of Palladio's theatre at 
the Carita, he says: " A tempo cbc io quivi dimoravo 
v'erano introdotte Io commedie in modo cho per esse 
v'era stato fatto un eiliCcio di gran spcsa a guisa di 
anfiteatro, ove si riduccva quasi tutta la nobilta e 
v'erano nobili che pregavano i commedianti che dices- 
aero le plu grasse, per non dir piu sporchc, coae che 
mai sapessero, et essi ci menavano poi le mogli e le 
Gglie." Persio goes on : "1 Gicsuiti, per ovviarea quel 
vituperoso modo di recitar comedic s't lascivamente, 
et con 81 gran concorso di tutta quasi ia citla, ma piu 
de' nobili. messero in cousideratione a quel senatori, 
che in quel luogo cosi fabbricato ct pieno di lanta 
gente, et massimo de' nobili, i quali avevano per loro 
aifittati quasi tutti i palcht, facilmentc ad alcuno poteva 
venir in mente con qualchc macliina di farabbruggiare, 
et cascare quell 'cdificio, et cstingucro buona parte di 
quella nobilta, onde fatlcsi molte et molte renghe in 
Senato sopra ci6, et conosciuto I'evidcntc pericolo in che 
la Citta si ritrovava, prohibirono affatto recitare le 
comoiedie et fecero dislare quella fubbrica ch era slata 
fatla a queU'eflelto, con gran danno di chi I'haveva 
fatta fare. "' The expedient adopted by the Jesuits 

' Parabosco, II prima libra delle lelttre famigtiari, pp. 5i, 53. Viaegii, 
iSSt. 

* The inediled minuicript of Penio is in (he Bibliotcca Naiionile it 
Naplm (MS. XI, E. io), and boan the fallowing litle : TraUato dei Porta- 
mcnlt delta Sigimria di Vtnclia oerso Sanla China dtl tigjtor Antonio Pertio, 
^iitolo^, ijiarTcontulta el Jiloiofo. It i« dedicated lo * SimoM Pietro aapa 
iegli Apottoli el delta Chkta Catlmiiea liomana tt a fuoi dMm juccmmtI, 
lfo8, p. l34. V. 



38 



VENICE IN THE GOLDEN AGE 



was worthy of them -, but it is true that many speeches 
agaiust immoral plays were delivered in the Senate 
and such plays were even prohibited. In 1677 the 
Republic cxpeUed the players, and some little time later 
when the younger men endeavoured to secure their 
recall, Zaccaria Contarini, the Procurator, though un- 
able to leave Iiis couch, caused himself to be carried 
into the Senate, and raising his langaldo capo from the 

Filtows, he spoke in favour of maintaining the decree. 
n i58i Agostino Barbarigo in an impassioned discourse 
induced the Ten to forbid comedies, and the agent of 
the Grand Duke of Tuscany, Paolo Mori, adds that " li 
frati gesuiti hauno reclamato assai, chc ncUi patchi (dei 
teatri) si operassero molte scelleratezze con scandalo."* 
It is possible, therefore, that Palladio's theatre actually 
was pulled down by order of the government more to 
please the Jesuits than from fear of Ore ; all the same 
we are inclined rather to accept Teraanza's statement* 
that the theatre was burned in the Ore of i63o which 
destroyed the monastery of the Carlta. The attacks of 
the Jesuits, however, had much the same effect as the 
provisions of the government, and soon after Palladio's 
wooden mezzo colosseo was built, we hear of a stone 
theatre raised in the Corte Miebiela at San Cassiano, 
which gave its name to the street deUa Commedia vec- 
chia and del Teatro vecchio to distinguish it from another 
theatre erected in the eighteenth century in the same 
locality. Palladio's theatre and the ' ' old theatre " were 
the first two permanent playhouses erected in Venice, 
and tliey were quickly followed by many others. 

Wliile the drama was following llie phases of its 
development, music, too, flourished in Venice ; prayers 
in the churches, songs in the streets, madrigals 
in the saloons of the lich, poems in the patricians' 
palaces or on the stage, all were clothed in musical 

1 D'Ancona. op. cit., 11, t83. (Sa, o. a. 

* VUt dei pUicelebriarth., eit. 



MUSIC 39 

garb. AntonfranccBCO Doni magnifies tlie glory of 
Venetian music,' and, as Francesco Sansovino declared, 
Euterpe seemed to have found her home in the la- 
goons'; where the liheraUty of the government and 
of the nobility, the softness of the dialect, the site of 
the city, its art, its monuments, its natural beauty 
which served to create that atmosphere of voluptuous 
softness peculiarly adapted to the mood of music, all 
were favourable to her growth. The plastic arts them- 
selves bore witness to the dehght in sweet sounds. 
Jacopo Sansovino, in the figure of Apollo on the Log- 
getta, desired to express the devotion of Venice to the 
art of music*; the vague emotions inspired by sound 
assume definite form in the works of the Venetian 
painters who drew from the mysterious raptures of 
music a clear and well-defined conception of life and 
of beauty, and they expressed their feeHng under the 
guise of radiant female beauty, or of angels and cherubs 
who play und sing. Music, which by its nature is (he 
language of dreams, and tlierefore ill suited to express 
definite ideas, though capable of inspiring vague sen- 
sations of unreasoned joy or sorrow, stirred in these 
vigorous masters a world of joys and sorrows which 
were full of life, reality, and sensuousness. They draw 
for OS those companies of high-horn men and women 
met for music ana for song, in the gilded chambers of 
their palaces, in the gardens and vineyards of the 
lagoon, in the parks and groves of their villas on tlie 
mainland ; but again and again in the midst of these 
realistic groups we come across some female figure 
expressing all the harmony of the nude, and in that 
perfection of line and colour the artist has embodied 

* Doni, Dialago dtlla mui'ica, Vlncgia, Sroto. i5A3. 
I • SiDsovioo. Yenetk. VIJI, 

■ SuiMvino himteir. eiplainrng his intcntlna in Ihs reiiefi of the Log^ 
grtt*. Mjrs (hat ApoUa rejireseoli not merelj tha h»rmonj which chsrac- 
tertio the VsneliBH coD«titutioD, Liul also Ihe pissioii V«netiins hive for 
■utuic. Temaoza, Vita di Jampo Sansomno, ^, 16. Veneiia, 1753. 



3o VENICE IN THE GOLDEN AGE 

his own conceptioD of the musical idea which grasps 
life under the aspect of joy. Giorgionc, for example, 
Hstening to the sound of tutcs, sees that vision, so 
vividly rcaUstic in its fantasy, tiie Concerto campestre 
in the Louvre. Poetical emotions, the visions evoked 
by music, are converted into material symbols on the 
canvases of Titian or of Tintoretto, wliere the opulence 
of licallhy female (lesh and blood seems to breathe the 
very essence of liquid harmony. 

And in truth the atmosphere of Venice was favour^ 
able to the intoxicating clmrm of sound. Music took 
its part in the solemn functions of the Church, of the 
State, of the guild, attended the marches and tlie 
battles of the soldier, arose mid the silence of the tem- 
ples, the Jeles in the palaces, the serenades " di che," 
as Da Porto says, " con sommo diletto degli abitanti la 
citta suole essere abbondevoUssima," ^ 

The musical instruments of the Middle Ages — the 
harp, harpsichord, lyre, viol, lute, cithern, theorbo, 
bagpipe, clavier, pipes, trumpets, castanets — were now 
multiplied by new devices of endless variety of form ; 
wind, string, and percussion were employed, and 
the streets resounded to the music of companies of 
minstrels, such as Carpaccio has recorded, which in 
time came to be known under the generic name of 
l)ands. Not only contemporary pictures, but engrav- 
ings of the day, show us the form of the instruments 
most in use ; among the more remarkable we may 
note the illustrations to Ovid's Metamorphoses i^i^Q"}), 
the Macrobiiis of i5i3, Thoscanello della Masica, 
(!5a8), the Florentine Pietro Aron's book on the 
theory of music. Aron was canon of Rimini Cathedral 
in i533, and founded a choir, and, as it would seem, 
died there about i56a.' 

1 D« Porto, Lttl. slor., cit., p. S3. 

" The Thoteanetlo wig first published it VenicB bj Vilali io t5a3 and 
■giiu in iB^iS and i^a<}. 



The government encouraged famoaa masical instru- 
ment makers, ilkc Hastiano of Verona, Lorenzo of 
Pavia, and Guido Trasunlino,^ and granted patents 
for inventions. ' The tame of Venetian organ-builders, 
already well established, grew rapidly during the 
sixteenth century when the use of organs became 
common in churches,^ and when, about i^oo, a 
Venetian, Bernardo i*avari. nicknamed Murer, organist 
of Saint Mark's, according to some, invented pedals.* 
Hydraulic organs^ had long ago disappeared, wliile 
bellows organs continued to receive improvements in 
their pipes, seats, stops, keyboards, and pedals.^ It 

' Th<> Bologocie Leonardo Fioravaoti (Specrhio di stiiiUia. cil.) lajB : 
"Guido Trasuntioo, uetl'arte dj Alpicurdi, CUuicerubali. CUiii organ! , 
Reili et Organi, b huomo di lanta doUrins et eiperienza, cho il moodo ri 
merariglia id udire de auo' iaatromeiiti ; porcioclid di melodie el armoaie 
puuDO tuiti gli lUH cl quelli, cfae ila allri toiio falti senia irmonls, egli 
gl! acconcia et gli fa divmi et ran." Aretiuo too {Lett., il, 317) hu 
hub praiw for Trisunliao. Flutes and other rouiical iDitrumonl* were 
•ok) in the streets br pcdicri (mereerelti). Cicogna, her.. I, 317. 

« Id 1675 (October aa) tho brothers Fedorieo and Vittoro Clonieiili of 
Ciridale receireJ a patent for a harpaichord (A.rcb. di Stato, Setiato, TVrm, 
Gle 67). and in i58i (Juoo i3^ Sante Bisuo na.< graiiled ■ palenl for five 
and Iweatj jreare for hia wind inetruuienti (ScnaU), Terra. Reg. 54, 

' Samovino, Venetia, IV, ijj. Aa Birly li ijgj Caiola (Viagglo, 
cit., p. 11) iajii that almoit STCrj parish church had el IBO btllo cnoro 
f organo. 

* Canal. Delia miuita in Venryia (in Ventiia 1 U sae iagane. Vol. I. Part 
U, p. 481). 

* A iiDe engraving of an organ in found in Danicle Barbaro'i edition 
of Vttruviua (1567). Barbaro iUuslrate* the wsj in wbich ths wind ti 
introduced inlo the pipei bj bvdraulic pretsure. But with Ibis eiception 
the engraving gives us a Venetian bellows origan of the siiteonth cenlurjr. 



e have some curious detaih : 
eiMtnct for Ibo organ of Santa Cal^rina at Treviao, built in Venii^c in 
l6o3. The document is published in the Archh,io Vtntto (\XI1], 
l4g). and affords us loimite particulars as lo organ building as pracliseil 
in Veuica at the beginuing of the sixteenth centurv. Matter Nir.uola dai 
Orgaai (So de maali'o Aadrca Veroneie, living in Venice in the parish of San 
Paotaleone. enters into contract wilb Fra Eliseo, prior of Santa Calcrina in 
Trcrito. to build in organ of leven stops, "i quali registri saranno 
quMti sovd (cioi) prima 1 tenori cho i do numero e fasti quarantasette." 
The main pipe was lo he ten feet long, not including the base, and the 
(ilhori in due proportion ; " i quali tenori vsno davanti de riagno, eieepto 
le tre principal cane, le qual vanodo drio de pioiubo cum caslelli cinque: 



3a VENICE IN THE GOLDEN AGE 

seems that, following a practice known in our own 
day and more especially in Milan, they made organs 
of cardboard (ex papiro) which tlicy were able to 
render as resonant as metal.' The moat beautiful 
decoration was applied to church organs ; we may cite 
the organ case tn San Sebastiano, which was carved 
in i588 hy a Master Francesco Fiorenlino,^ from 
designs by Paolo Veronese, while the doors were 
painted hy Paolo himself, outside with the scene of the 
Purification, inside with the Pool of Belhesda, The 
musical academies throughout the city prided them- 
selves on their collections of instruments and of music ; 
Sansovino makes special mention of the collection of 
the Advocate Luigl Balbi at Santa Maria Zobenigo. of 
the Cavaliore Sanudo at San Giovanni Decollato; 
of Agostino Amadi, who. in his palace at Santa Croce, 
had enriched his fatlier's artistic collections with rare 
specimens of musical instruments ; of Caterino Zeno 

i1 lerio reginlm tove U (juintB decima: cl quarto tovc U decitntnoni, 
el quinto la vigeiima-sccundi, el (icsto la >ige«iiiii-)e>la: [o eeplimo li 
Diuti, cum somier et maDle»l capari per dilo organo cum la sua toUdura. 
la qusi £ Ira liili e s<?inil<mi numora quaranU»etto." The price was ftiod 
al iSo ducsis " et le zpete do bocha do dilo maittro Piicola «1 toi operarii 
el CDii (loit^Dg) al lompo dl meter «um> dito organo ; cam conditio cbe diti 
iiegQOr frati aiaoo lenudi ■ psgar la bollela," or octroi at Trevieo. Anotht 



rrtant contract bears Ibo dale February 6, 15^5 (Arch. Vtnelo, 
17A)' The patrician Andrea di Mula caused an organ for the 
church of San Vito lo be built bj Girolamo Francesco da Montenegro t 



bj Francesco Bressan. The work is minulelj described in Ihe contract ; it 
was to be five feet high. " con tre vooi d» basso," and with »ii itopi, ■' ci6 
i il tenor, otava, quinla. dcsima, desima noni, vigcsima soconda et flaulo." 
The two organ-builders bound Ihemaolvos to make the pipes stout " apor- 
lion el facendo beU nostra da vanti. come de feramenta, [eensine et fofi cl 
allro." Thej giraranleod that Ihe organ would pla j perfecllj . and accepted 
the judgment "de iotelligonti organisti," and id case it were not " cornu- 
ciuto par biiono et porfetlo" Ihej were bound " tuorlo indriedo," and to 
refund the money advanced. The price was fixed at one hundred ducats 
of lire 6. soldi aj each one. 

' On the subject of such organs ancient Venetian documents tbrow some 
light; for example, in e deed of the notary Marco Micheli dated August. 
iSit. wc End mentioned nnum organum ex papiio earn iuh mantUibui rl 
plambU (Ankivio Venrto. XXIII. 5{f). 

' Cicogna. Iicr., IV, i54. 



MtTSIC 

at the Crocireri, who possessed an organ with four 
row8 oF pipes built in i^gi by Lorenzo da Pavia for 
Mathias Corvinus, King of Hungary.' 

The Republic also protected musical editors and 
printers. As early as May aS, ligS, Otlaviano de' 
Petrucci of Fossombrone obtained a patent for his 
invention of metal musical type ^ which was to super- 
sede the earlier wood-hlocks ; and in looi be issued 
tbe collection known as Harmonices miisices Odiiecaion. 
Following in the footprints of Petrucci, we find the 
printers Luc' Antonio Giunta. Ottaviano and Girolamo 
ocoto, Melchiorre Sessa, Andrea Antico da Montona,' 
Harcolini and the Frenchman Antonio Gardane, who 
came to Venice in i53o and perfected Pelnicci'a in- 
vention. In 1 566 Claudio Merulo of Correggio, in 
partnership with Fausto Bethanio, opened a printing- 
press for figured music* To add to the glory of 
Venice in the world of music, Gasparo Bcrtolotti, the 
artificer who perfected the violin and gave it its modem 
form, was liorn at Salb in Venetian territory, about 
10^3 ; he died at Grcscia" on April i^, 1609, and was 
buried in the church of San Giuseppe, where more than 
a century later Benedetto Nfarcello found an honoured 
reating-place,' Agostino Agazzari is credited with having 
introduced ibe perfected violin into Venice in i58o.' 

' Stnuovino, Venttia, p. 37g. 

* Vemareccl, OUaviaBO Petrucci, pp. 36. t30. 111. FoBSumLrone, 
iS6i. Pelrurai, prima iiuientor <te itompar libri de ranio Jigarali. enlerod 
iota partnenhip with Aanulio Scolo and Aiccot6 di Riflicle. 

■ Lo Zeniltl {Andrea Aalito in the Arch. Star, per Tr'ittte, Roma, 
■ 881). wubea lo prove Ihul Andrei sbiros wiUi Petrucci the merit of the 

* Ciiia]. op. cit,, p. ^7*;. 

* Livi. Gaiparo da Salb (iVunua Anlologia. Ilomi, Vol. XXUV, fue. 
XVI). 

* " A di l^ Aprile i6og. M. G»piro di Bertolotli mioslro de violini 
* morto et lepolto in S.to Joieffu." (Archivio Parr, di Sanl'Agtli io 
Brcicii. R«g. Morli. I, c. t}). The nine church coulaini tbe Mfhet of 
CotUnio Anli^ati, orgaD-builder ind compoter. 

' Fipaoai lud Fanlonl. La Cappella Uuiicale (!□ La Baiiika di San 
Harm, p, 77. Veoeii*, Oogaai*). 



VENICE IN THE GOLDEN AGE 

But the fame of Venice in itie region of music is 
due to the choir of San Marco, renowned tlirough- 
out the whole world to such a degree that no other 
musical body in Italy can point to so splendid a heri- 
tage. The earliest master in the Ducal choir of whom 
we have any notice was the Fleming Pietro de Fossis 
(i49i-i5a5).i He brought to Venice the compli- 
cated counterpoint of tlie Flemish school, which spread 
all over Europe and held its own till it was transformed 
and erilightcncd by the genius of Pierluigi Palestrina 
(i565). After de Foasis came the master Pietro 
Lupato for a brief period, and in i5a7 Adriano Willacrt 
of Bruges (b. i^So, d. i56a) was elected to the seat 
which he held for nearly thirty-five years, during 
which period he wrought the resuscitation of music in 
the lagoons. He reintroduced the antiphonic chant- 
ing of the Psalms, and paid great attention to unison ; 
unlike Wis contemporaries he laid little stress on 
harmony and general efibct; he endowed the cantata 
with freshness and tightness, and set it to instrumental 
accompaniments ; he cultivated the madrigal in three, 
four, or more parts, and developed the canon and the 
fugue. Willaert^ " the first of the modems," as his 
famous pupil Zarlino calls him^ — founded the Venetian 
School which rivalled the Roman, and is illustrated by 
such names as Jacques de Buus called Giacchetto, 
Ciprian van Bore, Zarlino, Baldassare da Imola, Cos- 
tanzo Porta, Claudio Merulo, the Gabrieli, Vincenzo 
Bellavere. Giuseppe Guammi. — not all of equal merit, 
but one ami all inspired by a desire to free sacred 
music from its artificial trammels, to endow it with 
emotional expression, to make it the precursor of the 
musical drama. Among the Venetian masters of this 
period the most celebrated were the two Gahneli, uncle 

1 C>fl>. Storia della muaica laera, 1. 3g. 

' Suppl. musicati del Itei.-. U. Uiiarppe ZarUnO da Chloggia gia Mariiro Ji 
Captlla delta Scrralii. Signoria, p. 3i(>. >'eii«ti«, i588. 



MUSIC 



35 



and nephew, Andrea (d. i686) and Giovanni (d. i6ia), 
and (tiuacppe Zarlino, who was born at Cbioggia in 
l5l7 ' and died in Venice in i5go, Chapel Master to 
Uie Doge.^ Zarlino was not merely a graceful com- 
poser; lie also puLiiishcd ihe IslUuzioni, tite Disserlajioni 
armonic/ie. and the Supplementi musicali, wliicli at once 
established hia position as the profoundest student of 
coiintei^ioint and the undisputed authority on this 
subject, though he countervcned the astronoinico- 
musical theories of Ptolemy. We must not omit to 
mention Fra Dionisio Mcmmo, who met with a warm 
reception in foreign parts. In i5i6 he went to 
London with uno belUssimo islrumenlo de sonar (an 
organ). The skill he displayed Before King Henry VIII, 
the queen, and the court aroused sucli enthusiasm that 
he was not allowed to depart, and be was called on to 
play at court festivals, where the king himself danced 
to the music of the friar.^ 

The Cappclla Marciana was placed under tlic super- 
vision of the Procuratori di San Marco, who attended 
to the minutest details ; the documents show us the 
length to which tlie diligence of these magistrates would 
go ; tiiey insisted on the regular dusting of the organs 
so that those noble instruments should always play 
their best ; they waged war on mice che andavano a dis- 
sipare gli orgarti, manglando canne e soalli (leather) e 
buUarli in matora,* The Procuratori were bo careful 
of the good order and discipline of the choir that they 

I II h» been hold lh>t Zirlino wai born in :Si3; iSiT it the mon 
probable date. See Bellimo, Giiaeppe Zarlino, Cbiogp:i«. iSs^. 

* ■■ i5G5, 5 luglia — Pier J^eppo Zirlino elollo niieslro di cipalli per 
inni dui fermi et Ire di rinpEtto , . . Sib oliliaala integnare ciolo tiguralo, 
tonlripoiila e canto (eriDO a tulti U Zigbi delta Chieii tiranao Btli a riu- 
*cir nelU rousica " (Arch, di Slalo, Alt! Proeur. d» tupra. Dect. r Trn,., 
Vol. 7). Zirlino carried an a heated diicuauon about counterpoiiit with 
Vincenio Galilei, the Floreulioe. V. Galilei, Dacono intorna allt optit di 
ma*"- Chieffo Zarlino da Clti'igim. Fioreoii, Marescotti, i58u, 

* Saniido, Diart. XXIII. 116. 178, 176. 

* Arch, di Stalo, Proeur. tie lupra, Capitolart. 



36 VENICE IN THE GOLDEN AGE 

absolutely forbade the members to sing in otiicr cburches 
or to accept engagements at private houses. On Novem- 
ber a8, i564. llic magistrates complain of the " poca 
cura che tengono gli organisti della Cluesa di San 
Marco i quali lasciavano molte volte di Biionar si nelle 
messe, come alii vesperi essi organi, mandando molte 
volte personc giovani e poco praticbc a sonar quelli 
per andar loro a sonare in altri luochi ; che b con poco 
decoro di essa chicsa " ; and they establish a iine of 
two ducats for each time that an organist fails in his 
duty.' This seems ton severe a punishment, especially 
if we remember that the two masters implicated were 
no other than Annibale of Padua, so famous as an 
organist that he was invited to France, and Claudio 
Merulo of Correggio (l533-i6od),' who had carried 
off the post of organist at San Marco against nine com- 
petitors, and whose fame in Venice was already firmly 
established by the publication of his Mottets and Madri- 
gals, which were applauded in musical academies and 
private houses alike. But the rigid and meticulous 
severity with which the Procurator! discharged tbeir 
duties was fully justified by the width of their views 
which led them to engage and pay handsomely the 
most famous masters, musicians, and singers that could 
be found in Italy or ahroad. Their object was to 
secure a world-wide reputation for Venetian music and 
to compel foreign musicians wlio visited Venice to hear 
public witness to its worth. Sanudo records, under 

' CaDi, op. cit,, I, 3o. 

« Tlie portrait o( Claudio Mcmlo in Ihe gatlprj of Ihe Liceo Musicate it 
Bologna it • weak production of the Uorregglcsque school ; it h» tha 
follawiog ioscriptioo : 



But from Iho biptiamai registen of San Qulrino il Corrvggia it ijipeira 
Ibat Merulo HB« bora OQ April S, |!)33. and died May 4, ifiot. Ua wai 
therefore seicnlj'-one jean and tweuty-iii dayi old. not sfveotj-two. The 
picture maj have been painlnl after Alio had rorninuiiicaled to TtraLojchi 
a leller from Ale^sandro Volpiuo in which occura this passage, ■■ Teseijuio 
]e [etc tare il l>uc« dd luo e lo fi^ce Iiicoronare di lauro e di hedera." 
TiraboKbi published the letter in liit BMiottea modtneit. 



- • • 
• • • 

••• • • 



•••. 






^- 



• • 



• « 

• • ••« 
" • • 









MUSIC 

date May la, 1619: " Luni, nel qual zorno si fa la 
8olenniLa di San Marclio. II vicedoxc. con I'oralor di 
Franza e coo li allri deputati di andar al pasto (ihe 
banquet), To a la messa in chiexia di San Marclio, dove 
son sei cantori di la Cappella del Re ChristianiBsimo, 
venuti qui et vanno a Lorcto : cantano benieBimo. 
vestono di bianco. Fo sonalo e cantcto excelentisaima- 
mente. et poi etium andono a disnar in palazzo. "> It 
would seem that the French singers enjoyed a high 
reputation, for in 1097 Piero Duodo, ambassador in 
France, was commissioned to engage some deep basses 
of great power for the Ducal choir.'' 

Music was the dellgUt of the many societies founded 
for that purpose, and the houses of the nobility saw 
frequent assembll<;8 to Hstcn lo virtuosi who gave 
performances on the clavier, organ, lute, lyre, harp, 
cithern, horn, and (lute.'' The choir and musicians of 
San Marco were frequently engaged for these concerts, 
and famous singers and performers, like Marco dall' 
Aquila, the incomparable lutanist. who had published 
his tabullalura et rasone de metier ogni canto in linlo,* 
in i5o5, or Franceschina Bellamano the Venetian, or 
the Cieco d'Adria, and his countrywoman Alessandra 
Lardi * were constantly to he heard. Fanlasie, ricercan, 
and the contrappanti in three voices by Willacrt, 

I Simido. Diorf, XVII. i3i. 

■ The Slofani lihrarir. now Aitpcned, ronlained i document of December 
33. 11197, §^'''''K '''" names and silariei of French aingerg : " Zuanne 
Griurd cantor toprino franceae on aaUrio do ducati cento airanno, 
Pietra I'erea cantor basso frinccso con talario de ducali ceclo ajraono." 

■ Burckhanll. La chiilli. olc,. cil., II, T5g-i6^. 
• Vornsrccci, op. cil., p. 89. 

' Fapanni and Fantoni, op. cit.. p. 79. In the ItaUin poemi ol Cain 
Caloria Poriio, a Sicilian writer of the fiftoenth tonlurr. wc find * long list of 
lataniata. lingdra. and orRanisls. See Roni, Vill., Caio Caloria Ponto^Arck. 
Star. SUiliano, p. 157). Urteoirlo Ltado (Sttlr libri Hi ealhnloghi, elc.p, 5 10. 
ViuBgii, i55a) gives the following liat of musicians : *'Verdeloto franceae 
(a ne'auoi giomi raro. Adriano, Gimcngo, muilco in San Marco di 
Vinegia ... 11 Rata padoYano tocca . . . il liulo Con dolla mano. 
Pielro PiHssonp. genLli.isimo musico, tiro, cinla et guana Doll'alma pitria 
di Vinegia. Jaquca (de Buua) franceae, miraciiloto ne 



VENICE IN THE GOLDEN AGE 

were in great vogue ; so too the madngali of the Bel- 
gian F'ilippo Vertlelot, singer in San Marco, of Giacorao 
Arc*idelt,' of the Pontifical choir, of Francesco dc Anna, 
organist in San Marco,* the ricercart and loccale of 
Girolamo Parabosco, of Annibale Padovano, and of 
Claudio Mcrulo, the canzon'i of Giovanni Gabrieli. 
In the home of the artist and the citizen no less than 
in the palaces of the gieat, music was a constant occur- 
rence ; and when Anne de Candale, Queen of Hungary, 
came to Venice in i5oa, the young sovereign, beUa, 
piccolo, e dol:e net parlar, with a taste for every form of 
intellectual pleasure, not only was so delighted with a 
Cantata by de Fossis that she insisted on carrying oQ* 
the manuscript as a memento, hut she went so far as 
to ignore the exigencies of licr rank, and paid a visit to 
the house of a certain Vianello at Cannarcgio dove era 
musiche di ogni sorted The salons of the patrician 



t efperlo oetU n 
ll> fiiusica. Mi 
>gai ilLro di cot 



[jenm pt CJperlo neiu miiBici cromtlica, (-.i|>riinfl Horn, dotlo componi- 
*' 'leo delU violi, honor d'Urbino in col»l irte, 
il profeuione. tlippolito Tniitinitniino habit* in 
.a virtu molto tiii«ti>, Giulio (iiprioUa inEogna 
RoYigo. havendoU primi inwgnatt in Vinpgit. Giroluno 
Parabosco. pUceotino. inuuco perfclto el luonaloro d'organi in S. Htrco 
in Vincgia. fraucpKbiaa Bellamano, PoliMeni Peccorina. Poliuena, 
FriK^ra, nippalita dei Putii c'hori terve la dudieoa di Ferrara." 

> Petii, Biogr. imiDrri, dr* miaicieni. VIII, 3ig, I. 117. PaHs. i865. 
* Pelrucci. FroUole miaicali. Venciia, i5o3. A» 1 



nudrigtl we quote Ibe following, set to n 



c bj De Anna : 



La luce di quetli occhi Irisli manca, 

Le Tone aggio perduto c c'eice il fiato; 

L'alma di lamcDLarii ormii A lUnca, 

Lo core di tospiri A cousumato : 

Pallida i falta la mia carne bianca, 

Tioa aoa pifi come lui per lo patuto ; 

Vieni tu, rnorlo, e raoima mi franca, 

Poicbi nel sogno di cui auia inanca. 
Capelli, in 1 volume of Ibe Cottniaae di eariosM lellerarie (Bologna, flo- 
magnoli. 186S) reproducoi in facsimile the muaic of thit madrigal. It ia 
UDaccompanicd, and i> written for four voicei. loprano, coiilralla. tenor, 
and baaa, in four parti rtali and in pretlo. The air il a touching luttabv. 
with a nimplicllj of dcvelopmenl quite free from the coulrapunlat arlilicci 
■O murh in vogiin at that riale. 

» Saoudo, XJiuii, IV, agS, 396, 3<j8. 



MUSIC 



h 



[loct Domenico Veniero were open not only lo the 
earned, but also to musical socictiea in whose concerts 
Girolamo Parabosco, for example, organist of San 
Marco since 1 55 1 , when he succeeded Jacouea de Buus, 
and the famous singer and virtuosa Bellamano, and 
Master Carabio Periaon, would take a part. On the 
death of Perison. Veniero wrote one of those usual 
sonnets playing on his name ; it begins : 
Qiiando cgati cambio t nai Sa dito 
Di ti griD cambio? 

And Monsignor Fenaro!o answers in the samo vein : 

In un punto peri ion si pregiilo 
E 'a sua irece nisnda Iriiti lanii-Dti 
(Duro camiio) il mar d'A.i)ria in ogni lalo. 

The concerts in the house of Antonio Zantanl. a 
connoisseur of painting, carving, embroidery, collector 
of antique coins, and author of a book on the medals of 
the Cassars, published in i5ji8 with engravings by 
Enea Vico, made him famous in bis day. He was 
among the most conspicuous of the patricians for 
aenerosity and splendour of living, and was especially 
Elessed in having for his wife Elena Barozzi, one of the 
most beautiful and virtuous ladies of the time, and 
famous for the unrequited alTeclion she inspired in 
Lorenzino de' Medici. Orazio Toscanella dedicated a 
volume to Zantani in these terms: "E pur notissimo 
cfa'ella s'& di musica in guisa dilcttata chc tungo tempo 
pago la compagnia de' Fabbrelti et Fraltariioli, cantatori 
et tonatori eccellentissimi, i quah facevano in casa Ic 
musiche rarissime, el tennc anco pagato a queslo elVello 
Giulio dal Prestino, sonator di liuto senza pari. Ovc 
correvano Girolamo Parabosco, Annlbale, organists di 
San Marco, Claiidio da Correggio, organistadi San Marco, 
Baldassare Donato, Perissone, Francesco Laudorit, detto 
il Greco, ed allri musici di fama immortale."' The 

> ToacaiieUa. / nomi antiehi f modenxi delle prooineie, regmni, cilia, 
Mttella, monti, laghi, fiumi. golfi. porii rd iiafr dell'Earopa, Jfll'AfrUa et 
ddl'Aiia, «M It gradiimioai loro in lunghara e larght;:a, ek. Vonoliis, 1567. 



4o VENICE IN THE GOLDEN AGE 

pallid countenance of Lorenzino de' Medici was often to 
be seen amid the elegant crowd that thronged the salons 
of Casa Zantani at San Toma. In order to be nearer to 
the lady of his affections, Lorenzino had left his lodging 
hard by San Giobbe in Cannaregio, and occupied a 
palace on the Rio San Polo.' 

While the severer music in the ballale, cobbole, 
canzonefle, rispetti, and madrigali held the salons of its 
aristocratic patrons, chamber music, hitherto choked by 
the pedantry of the Flemish school, sprang to new life 
in the open air of the streets in the light rhythms and 
brilliant motifs of popular song, slrambolti, frotlole, 
villanelle, serenate on me Grand Canal, or in the mys- 
terious shadow of the small canals, where wooers sang 
the songs that Bembo wrote in iBoy to recall his early 
loves. ^ The rurdi quiet of the villas on the mainland 
and along the banks of the Drcnta gave birth lo the 
simple airs of the rispelfi and the vUlotle, of which we 
have examples in the collections of Francesco Portinaro, 
Cambio Perison, Costanlino Porta, and the Bolognese 
Filippo Azzaiolo.^ 

Music played no small part in the early liturgical 
dramas and the mysteries, and in the development of 
the stage during the period of the Renaissance it kept 
its place, cither as the accompaniment to lyrical 
passages or as intermezzi or interludes in the dramatic 
action. We have an example in Le Troianc of Lodo- 
vico Dolce, which was given in i566 with musical 
interludes by Claudio Merulo. The innovation did not 
meet with unanimous approval, and Trissino complains 
that the music distracted the attention from the 

' Tho housa at San Tama, belonging lotho Zintani or CeDtani. wii 
ths birthplace of Carlo Goldoni in 1701. In ihc liitmnUi ceoturr it wai 
owned by the citjirn familj of Rtiio. Loreniino was slabbed h-j anama* 
hired bj Duka Coaimo. on Sundaj, February 16, l548. as he was IcaTing 
(he church of San Polo. Ferrai, Loren:iiu> de Medici, p. 3j'J el paavn. 
Gauthioi, Lareiizaccio, p. 35^. Paria. 190S, 

^ Bongi. Ar'n. di GaOriel Giohio de' Ferrari, I. a»5. Boma, 1890. 

* Fanluai. Sloria aniveriale del coTtto, 1. ijo. UiUno. 1873. 



MUSICAL DRAMA 

excellenceB of the play ; but the idea was at once accepted 
at the Ducal Palace, where it had always been the 
custom to enliven ofDcial banquets by concerts and 
recitations, — in i485 we hear of Cassandra Fedele 
improvising in I^tin before the Doge Agostino Bar- 
barigo. After the middle of the Cinquecento the State 
banquets included allegories and pastorals in which 
the new idea of a mu.sical accompaniment was adopted. 
The Calalogo* of Antonio Groppo records the names 
of several of these performances between the years 
1671 and i6o5. In the Trionfodi CrUlo per la villoria 
contra i lurcki. which was given in 1071 before the 
Doge Alvise Mocenigo, the author, Celio Magno, in- 
Irodaces David, a choir of angels, Saint Peter. Saint 
James. Saint Mark. Saint Giuatina, and tlic archangel 
Gabriel. David compares his deeds with those of 
Venice; the heavenly choir chants the glory of the 
victory and the praises of Saint Giustina, on whose day 
the battle of Lepanto was fought : Saint Peter lauds 
Pius V ; Saint James extoU Philip II. and Saint Mark 
his own Repuhlic, while Gabrielc closes the spectacle 
with a hymn to the Trinity : 

A Dio loHe. « Din U«)e. ■ Critic, ■ Cristo. 
A lo Spirito Smlo olerni gtorii.* 

In 1674 Giuseppe ZarUno set to music some Latin 
verses of Cornelio Frangipanc, in praise of Henry III ; 
ibey were sung on board the Hucentaur as it took the 
royal guest up the Grand Canal. Claudio Meruto 
wrote tlie music for another composition of Fnmgi- 
pane's which he calls a tragedy,^ not because there was 
inytbing tragic about the subject, but because the poet 
felt that only the lofty tragic style was adequate to the 
grandeur of Henry HI, to whom the work was dedicated. 

' Calalaga Ji dramaii pfr muiUa rreitata net tealridi Vtimla. Vooetia, l';46. 

* Trionfo di Chriilo per la uifluri'ii eaatTa Tarchi. rappraenlato at lerenii- 
■ina Principe di Veneiin it dl di San Stefano. VenelU. i57t. 

• TragMia del S. C Cot-nello Ftnngipani al chriilianUiinui el invilUsimo 
BmrieoUl, etc. Vcneli*. Farri, 1574. 



H 



VENICE IN THE GOLDEN AGE 



The characters were Mars, Pallas. Mercury, Isis, Pro- 
teus, with choruses of Amazons and soldiers, and 
the performance took place in tlie Sala del Gran 
Consiglio, and was acted hy the company ol" the Gelosi, 
who were brought on purpose by the government from 
Milan, where they wore taking part in the reception 
given in honour of Don John of Austria. The solos 
and part songs were set to tlie sweetest melodies, and 
the " tragedy" proved a complete success in spite of 
the fact that tlicre was some confusion on the stage, 
owing to the great number of the actors. The per- 
formances of the Gelosi which Henry attended, even in 
some private palaces, gave, as we know, the greatest 
satisfaction to the king. 

We have other spectacles with clionises of nymphs, 
tritons, and deities of mythology who sang and danced ; 
they belong to the close of the sixteenth century 
and were given before the Doges Niccolo da Ponte 
and Marino Grimani, — little compositions in verse and 
music, ending usually in compliments to the Doge and 
to Venice. Moderata FonLe (Modesta Pozzo-Zorzi) in 
i58i wrote one called Le Feste. The dying year takes 
his leave ; in his train are the Feste, who pay their 
respects to the Prince in verses set to pleasant airs. 
First one chorus begins, then a second replies, then 
both together end thus : 

Et JD qiial loco mil 

Troui.m miglior riccHo 

Ch'id quosto ? [ giorni qui felici s gai 

Rendoti doppio dilcllo : 

Qui como in Pandiso 

Cou virlii rogoa pice e feati c r'lBO. 

On which an Epicurean observes that, in fact, there is 
nothiDg in the world worth having but fesle and gitiocht : 
and a Stoic retorts that, on the contrary, nothing is 
good but virtue, — that pleasure is an ephemeral flower, 
merely a 

Nido Ji wrtn veoenoii s rei. 



MUSICAL DRAMA 




Tlie chorus, however, will not hear of croaking, and 
congratulates the Prtncc on his splendid receptions and 
his magnificent villa on the Urcnta. The Stoic goes on 
grumhling about virtue and the summiim bonum, while 
the chorus raises a hymn to Venice, albergo delle Grazie. 
The Erythrean Sibyl tlien appears, and prophesies long 
and glorious days for the Doge, and remarks to the 
Stoic tliat pleasure In moderation is an element in good, 
and to the Epicurean that happiness is not to be I'ound 
in pleasure alone. Tlie dialogue is modern in form, 
but in substance recalls the disputes between reason 
and the senses, virtue and vice, which formed the 
stock subject of the Mysteries. Venice understood 
better than any other city that the Stoic in despising 
pleasures and the Epicurean who devoted his life to 
them were equally in the wrong, and that perfection 
lay in a just balance between the real and the ideal. 
In short, both philosophers are convinced by the Sibyl, 
and while they render tiianks for enlightenment the 
^^^honia sings : 

} Poetri 
the C 
ends ^ 



Bon Tiiidoppiar li fesli 

Si dw. ch'uwito P fuore 
U SloicQ in un rEplc. 

Poetry appears, and pays complii 
the Collegia, the beautiful city ; 
ends with this song : 



nents to the Prince, 
and the performance 



Lieti dt, felici tmle 

Senii co» che t'anaoi, 

Li boDtl del Re celeile 

V'apra offnl taao, o cfaiiH Eroi. 

E per miile eladi. e poi 

Oga'i gralii o bon iii prote 

Lieli di. fclici hfte. 

In these cantatas, where the music had no relation to 
the dramatic action, but where polyphonic structure 
gradually yields to monody, we get the germ of the 
modem opera.' They represent the earliest tentative 

' Wipner, Optra e dranima, trsm. bj ToMhi, I, 36. Torino, ifigi. 



H VENICE IN THE GOLDEN AGE 

seeking for the new artistic form ; mere sketchea like 
the Amjlparnaso, a string of madrigals for five voices 
Bet as a kind of comic opera on a pastoral theme written 
by Orazio Vecchi, given at Modena in i5g4 and pub- 
lished in Venice in 1597- Vecchi was the court musi- 
cian at Modena, and tlie inscription on his tomb, quoted 
by Tiraboschi. pmiscs him as the inventor of musical 
drama.' But in these early and hesitating attempts 
the music is never the interpreter of the words ; the 
glory of having invented or at least written the first 
musical drama in the true sense of the word, where 
verse and music are fused in one harmonious whole, 
belongs to Ottavio Riiiuccini the Florentine, author of 
the Dafne,^ set to music by Jacopo Peri and then by 
Giulio Caccini, rehearsed between tbc^[^ and iSgg, and 
finally given that year in the Palazzo Corsi at Florence, 
in the presence of the Grand DuchesB, to the music 
of Jacopo Corsi. 

■ Tirabowhi, Vol. V[I. P.rt V. p, i-;83. 

* The Do/ne of Ottavio Itiuuccioi. ropprrsealala atla S*rmiaima Gran 
Dacheua di Toicana Hal tirjnor Jaeopo Cr»-ti. FirenM. ippreuo Ciorgio 
Miretcotli, 1600. See Solerti, L'origine dtl melodivmma. pp. io ct icq, 
Torino. 1903, Biaggi. La muiica dtl secolo XVI (in La Vtta llaliana atl 
Cinqaecealo. Lectures, III. 583. Milano. i8gA). 



CHAPTER XI 

PALACES AND HOUSES — THE GARDENS 
OF MURANO AND THE VILLAS ON THE 
MAINLAND 

THE public life of a people is displayed in its 
national monuments ; its private lil'e is recorded 
in its dwellings, its houscliold goods, Its furniture. 
The growth of the artistic spirit and the rellnement 
of taste leave their traces on the private chamber 
no less than on the public building. In Venice the 
internal arrangement and fittings of the houses were 
in accord with the sumptuous architectural display of 
their facades ; the charahers of a Venetian house lack 
the imprint of privacy and comfort, and arc clearly 
intended for splendid entertainment rather tlian for the 
placid enjoyment of family life. In the winter time 
the inhabitants had to occupy lofty rooms, full of 
draughts from the windows, only half warmed hy the 
great fireplaces in whose chimneys the wind howled, 
and, leaving ihem. they passed into the vast iiall cold 
as the open street. The furniture, which plays so large 
a part m the family Ufe, was decorative rather than 
useful; the great salons oifcred but a chilly home for the 
domestic alTections, and were better suited to their des- 
tined end, — receptions, banquets, concerts, and balls. 
In liie period with which wc arc dealing, the passage 
from tlic governing ideas of the Middle Ages to those 
of the Renaissance is completed. Ostentation rules 
supreme, and the apartments of Venetian palaces bs- 
»ume an ever-growing splendour. " Ne aono inlinite 



46 VENICE IN THE GOLDEN AGE 

case, con camere indorate <lc ducali 800 id snso,"' 
saysSanudo; wliile Francesco Sansovino adds: " quanto 
allc suppcllcttiti et alle ricchczze incredibili dcUe case, ^ 
coaa iinpossibile petisarlo, lion chcscriveria a picno , . . 
Et nel vera, non si veggono in parte alcuna edifici n^ 
pill agiati, nb piu raccolti, nt pju acconci per lo uso 
umano di questi."- Giacouio Franco bears like wit- 
ness. " Le fabbrichc di quesla citlS maravigliose," he 
Bays, "si apprestano a gli occhi di clii le mirano di 
ftioi'i. Ma viste di dcntro apportano maggior stupore 
e maraviglia per esserc ornate in niodo cosi bello e 
prezioso, chc se si volesse raccontaro polria parer men- 
zogna."^ The Fuggcra of Augsburg, at that lime 
considered tlie richest family in the world, — so rich 
lliat liiey could make a present of a million of florins 
to Charles V,, — kept one of their members at Venice 
to attend to their all'airs ; but tJie sumptuousness with 
which be fitted up liis apartment in llie Fondaco dei 
Tedeschi, where lie received a visit from Henry VHl, 
caused no amazement to the Venetians, who were quite 
accustomed to similar luxury. 

The arch of the entrance usually displayed the family 
coat-of-arms on tlie keystone, and the doors them- 
selves wore of carved woodwork, often carrying one 
of those handsome bronze knockers (^ballabri) which 
are nowadays in great request. The majority of bouses 
built in the Renaissance period had handsome court- 
yards, like the Cornaro Palace at San Maurizio, which 
by the richness of their arcliitcctural detail announced 
the splendours of the interior. In the older palaces 
the courtyard was enclosed by a wall covered with 
frescoes' and crowned by battlements, as is the case 
in Casa Foscari, and set about with delUiose piante e 

1 Saniido, Cronachetta. p. 3i. 

* Snnsovina. Vfiutia, p. 38l. 
' Fmnto. IIMli. cU. 

* Buwiiiiii and RidolG note msoj courljirds who^e walls were dccorsteil 
bv timout paialera. 




LACES AND HOUSES k^ 



•xare,^ or else laid out as a veritable garden with vases, 
' urns, and statues. Among Venetian gardens famous 
for their beauty, their temples, fountains, and exotic 
plants brought even from the Orient, we must mention 
the garden of the Procurator Tommaso Contarini. 
at the Madonna deU'Orto, of the Grimaui at Santa 
Calerina, of Andrea Pasquatigo at San fiasilio, of 
Leonardo Moro at San Girolamo, of Giacomo Contarini 
at San Samuete, of Agostino Amadi at Santa Croce, 
of Erizzo at San Canciano, of the Michiel at SS. 
Gervasio e Protasio. of the Buono at Sant' Angelo, 
of Alessandro Vittoria at the Bragoni, of the Morosini 
at San Canciano, from which the del Giardino^ branch 
of the family took, its name. There was another type 
of entrance to tlie houses of the rich ; there the land 
and water doors faced each other and gave access to 
a large hall with an open beam roof.^ In the earlier 
times such an entrance hall would he BUed with hales 
of merchandise and with parcels of spices, while on 
tlie walls would hang arms and cuirasses ; in tlie period 
of which we are now speaking the decoration consisted 
of great gilded lanterns belonging to the galleys, swords 
and scimitars and rapiers arranged in star.si, trophies of 
lialberds, their shans covered with crimson velvet and 
brass nails with fringes of red silk and with highly 
polished blades engraved with the names of victories. 

The staircases of public buildings were constructed 
with regal magniHceiicfi ; for example, the great out- 
side staircase of tlie Ducal Palace, known as the Scala 
dei Giganti. Nor were the inside staircases less splen- 
did ; for instance, the Scala d'oro in the Ducal Palace, 

I Scoto, Uinerario. 

' StDiovino, Venetia. p. 38i. GinoDl, PiB::a. y. 898. 

• "Quasi lutle le rue, mttiinw di conto (pcrhii che, o]tr» il ctnU 
gruido, belliuime ne sono per le conlriHc). hamio riva et porta da l*m; 
perbfi che Hiuo ioGnili Gl quasi line niimnii. " - ■- - •■ > 

■i partaoa dal caml grando. vl vanuo pci 
Crinwchttta, |>. 3i. 



18 VKMCK IN THE GOLDEN AGE 

dfsigiMii by Aaknio Ahbcnii. dQfd Scarpagniiio, and 
•donwd with slncvxHi bv Vittora and paintings by 
BaUisti Franco ; or Sanmvino $ rtiireise in the Library, 
aUo stuccoed by Vittora and painled by Fianoo and 
liiuMppe Dil Moro ; or tbe stuitases of the Scnola di 
San MarM>, the Scuob di San GioTanni ETangelista, and 
tho Scnola di San Rocco. On the contiary, in most 
of tbej^vale booses, o vin$ either to hck of room or to 
the desine^ to economise space, the staircases were nanaw 
and poor. It rhqpiired ^nios ui an architect to design 
such a mastcmieoe as the spinl staircase of the Pftlano 

Gontanni. loe bindings of the staircases were adorned 
a-ith busts and anti^jues. From the first landing a 
number of chambers, divided by partition walls and 
therefore called merru or anie:^»d!i\ c^pened away. These 
served as offices adhere the business of the fiimily was 
oonducled. Tlie flight of steps conlinned lo the highly 
decorated first Door, or pku90 mobile, where one entered 
first the great balK or porie^. also furnished with tro- 
phies of arms, damascened bucklers, standards, and 
Imnners.^ The doors, with mouldings ui precious 
marbles, led to the various lofty and deoc»ated aparC 
ments, the reception and drawing rooms, each one of 
which would make a suite by itself. The floors were 
still made of scagiola {lerraz^) in which the richest 
Oriental mariiles' were employed ; though occasionally 
they used decorative tiles such as those to be seen in 
the Lando Chapel at San Sebastiano. The windows 
were fitted with roundels of bottle glass, set in lead, 
and sometimes had painted coats of arms or figures 
or designs such as Gerolamo Mocetto executed for the 
transept of SS. Giovanni e Paolo. While in many 
other countries the windows were still fitted with panes 

1 Grevii, Thetaana mUiq, ei hisi, Italiae, V, ti. 

* " Noo fi rede cota, per secoli, n^ piu bella, d^ mu g«Dtile, ni pili 
darabiU di quetU ; concioasiach^ si mantengono col tregarli tpetso con 
•pogDa, o un panno* e chi li detidara lustri lunguneiite, li cuopre cos 
tale per doo macchiarli in caminiiido." SauoTino, p. 383. 






*•<.'•' 










* 

m 





•- 







*0 



PALACES AND HOUSES 

of paper or bleached oil cloth, in Vi'dIcc tiicy had 
already adopted sashes of while glass, which were to be 
met vfitli not only in the dwellings of the rich, but in 
humbler abodes, '*cod meraviglia dei forastieri," as 
Sansovino says : " poich^ in questa purte sola si com- 
prendc ricchezza infinita, la quale escc tutta dalle fomaci 
di Murano." 

Among tlie most sumptuously decorated bouses of 
this date we find special mention of the Palazzo 
Vendramin-Calergi at SS. Ermagora e Fortunato, rich 
in columns of Oriental jasper, with fireplaces in black 
marble and doors of intarsia : the Palazzo Tiepolo at 
Sant' ApoUinare, famous for its cliimnoy-pieces of 
Greek marble, its cornices of verd-antique, its ceilings in 
stucco and gold : the Palazzo Foscari at San Bamaba ; 
the houses of the Comaro at San Maurizio, of the 
Foscarini at the Carmini, which contained a colIectiOD 
of antiques ; of the Grimani at San Luca, at Santa Maria 
Formosa ; of the Dolfin at San Salvatore ; and of the 
Trevisan on the Rio di Canontca, whose chambers bung 
with painted silks aroused the admiration of Mario 
Sforza, Florentine ambassador at the time of the 
marriage of Bianca Cappello with the Grand Duke of 
Tuscany. The so-called camera doro in the Palazzo 
Comaro bad a mantel-piece supported by gilded cary- 
•ttdes, the walls hung with cloth of gold, and a gilded 
cornice estimated at the value of eighteen thousand 
ducats. Still fuller details enable us to reconstruct the 
apartments in the Palazzo Foscari. The house was 
bou^it by the Republic, in i^ag, for sixty-five hundred 
ducats, equal to ten thousand pounds, and given to tlic 
treacherous Duke of Mantua ; but ten years later it was 
taken from liim and given to Francesco Sforza. who 
in his lum forfeited it on account of his dubious con- 
duel. It was then put up at auction, and was bought 
by the Doge Francesco Foscari, about i447 ; he 
remodelled it, and added a story. It was gradually 



5o VENICE IN THE GOLDEN AGE 

adorned with paintings by Giambellino, Titian, Paris 
Bordon. Tintoretto, and Veronese, who painted an 
Aurora on the ceiling of one of the rooms and designed 
the mosaic floor of another. When it was redecorated for 
the reception of Henry III, the vestibule was hung with 
tapestry, and a blue cloth sown with stars formed tlie 
ceiling. Upstairs, on the first floor, the three bed- 
rooms reserved for the king give us some idea of the 
length to which sumptuous elegance was carried. The 
first had a great chimney-piece in precious marbles, and 
a table of black marble with a green velvet table-cloth ; 
tlie hangings were of cloth of gold and crimson silk, 
relieved by stripes of cloth of silver wrought in gold 
with figures and monograms : the carpet was of crim- 
son velvet with cloth of gold border ; a gilded arm- 
chair under a cloth of gold canopy stood by the bed, 
whose sheets wore embroidered on the hem and round 
the outside with gold thread and crimson silk. The 
furniture of the second chamber was similar, only the 
hangings were of blue satin aem^ of fleur-de-Iys. 
relieved with strips of yellow satin. The third 
chamber, the one selected by the king, was hung with 
gold and green brocade, the gilded bed had curlains of 
crimson silk, the chair and canopy were in cloth of 
gold, and tho table was of alabaster.* 

The houses of the nobles were adorned with hangings 
in damask or soprarizzi or other sdks ; they were some- 
times gilded or set with precious stones, or covered 
witli stamped leather, or with tapestries — usually 
from abroad. Paintings by the great masters hung 
on the walls. The ceUings, as in the Middle Ages, 
were divided into gUdcd panels with rosettes or bosses 
in low relief, or else with figures painted on them as 
in the Miracoli, or the Santa Maria degli Angeh at 
Murano. The ceihnga of the Ducal Palace were 
designed by Palladio, Vittoria, Serlio, and Daniele 

' De Nolhai: and Solcrti, op. cil., p. lOQ. 



•#• 












• •• 

•• •• 

• • 
••• 



••••• 

••••• 

• •••• 



PALACES AND HOUSES 



5i 



Barbaro, and painted by the greatest masters. Tbe 
system of carved and gilded beama, called alia Saa- 
govina, whose heads rested on wooden brackets carved 
with acanthuB leaves, was in common use. The 
ceiling of the Maggior Consiglio, reconstructed after 
the fire of 1577, by Da Ponte, was designed by the 
Veronese Cristoforo Sorte to take the place of the old 
gilded ceiling in square platjuea. Sorte's design com- 
prised twenty-nine divisions, which were filled in with 
paintings by Veronese, Tintoretto, the younger Palma, 
and Francesco Bassano. Round the walls on each 
side of Tintoretto's Paradiso. AUense, Veronese, 
Domenico Tintoretto, Palma, Marco VecelUo, Andrea 
Vicenlino. Giulio Dal Moro. Paolo Fiammingo, Fran- 
cesco and Leandro Bassano, Giovanni Le Clerc, 
Girolamo Gambarato, Fcderico Zuccheri, painted the 
martial achievements of the Republic. Jacopo Tin- 
toretto and his pupils were responsible for the cornice 
containing the portraits of the Doges from Obelerio 
Antenoreo (8o4) to Francesco Venicr (i554). In the 
other chambers of the Ducal Palace — - the Pregadi, 
delle Qaallro Porte, the Anticollegto and the Collegia — 
the ceilings, doors, and chimney-pieces are the work of 
Sansovino, Palladio.and Vittoria, the masters of Venetian 
decoration. The chamber dei Scarlatli is a model of 
this style. The ceiling was designed by Scarpagnino 
with rosettes on a blue ground enclosed in a border. 
The fireplace has a graceful design of leaves, chimeras, 
sirens, and cupids. the work of the Lombardi ; it was 
finished under the Doge Agostino Barbarigo between 
1^86 and 1001. Other fine chimney-pieces are to be 
found elsewhere in the Ducal Palace and in private 
houses. 

Very few specimens of hangings, furniture, or stuQs 
have come down to us ; they have been damaged, or 

1 So railed beciuM the maeiBlTalci. for Ihe moil pari in scarlet robeB. 
awaited llie Doge ia llui chuoser. 



59 



VENICE IN THE GOLDEN AGE 



destroyed by time or by the carelessness of man. or 
scattered to foreign lands. To help us in llie recon- 
struction of the sumptuous apartments of Venice during 
our period, we have only certain written documents, 
a scrap or two of stulT saved from the ruin, and, 
above all, the paintings of Carpaccio, Diana, and Man- 
Bueti, which introduce us to the houses of Uie great, 
where the austerity of the Middle Ages is tempered by 
the grace of the Renaissance. It is this faithful repre- 
sentation of the fusion of two styles which renders the 
same pictures authorities on the fittings and the furniture 
of both periods, which show us a continuous evolution 
of lastjf gradually transforming the furniture and fit- 
tings of the house, thanks to the application of art to 
industry. At the close of the ^fiddIe Ages the ten- 
dency to sumptuou-iness in furniture became more and 
more marked ', and Conte Jacopo di Porcia in his 
book De Reipublica; Venelie adminislratione , printed at 
Treviso about liga, declares, not without a note of 
disapproval : " Quid multa etvaria domcstica omamenta 

trroferam I* Quid pretiosam illam argcnti et auri supel- 
ectilcin P Quid aula-a et omnia stragulorum genera, 
quibus domus vestra; pcnitus renident ? In quibus adeo 
modum exceditis, ut cuius libet Veneti privati supellez, 
araplissimam domum regiam eiornare posset t*" In the 
houses of the rich the doorways, which had hitherto 
been hung with curtains embroidered with sacred or 
profane subjects,' were now fitted with doors carved 
or inlaid in exquisite taste. From the windows hung 
rich stulFs and curtains of gilded or painted silk ; in 
every direction the minutest aiiicles of household service 
received their share of artistic treatment, from the fire 
irons on the hearth to the shanks and heads of the 

I Sinudo (Diari, XI. 7&8) gpetks of ila ant'ipiirle iFofo a aim fOfimriifa 
■nd of olhen iTora di leda belan^iig lo Carttiiiat Grimani. and un antifiorta 
de ra:o d'una Jigura di Naitra Ooniux retada <U teda tl horo, i* mPdlioned in 
the will of Alviie Maljpiero, dated Juno 17, i536, quoted bt Cicognt, 
/Kr..ni. 4i8. 



PALACES AND HOUSE 

nails. In the corners of the rooms were baskets filled 
with flowers and scented lierhs, and metal chafing- 
dishes in pierced and chiselled bronze for burning 
scents, called profumeghi. The desires, needs, and 
caprices of the rich stimulated the fancy of the artificer 
to invent ever new forma for furniture, beds, cup- 
boards, settles, coffers, prie-dieux, stools, armchairs, 
high-backed chairs with elaborate carving, seats cov- 
ered in tapestry or in stamped leather or velvet fastened 
with nails of gilded bronze. Two pieces of furniture 
may be recorded as being essentially and peculiarly 
Venetian, — the soaza and the reslcllo. neither of them 
to be met with among the furnishings of other Italian 
cities. The soaza was a kind of bracket hung on the 
wall, and meant to carry household objects ; under 
the bracket was pinned a strip of damask. The restello 
was an object of a more deQned form ; no trace of one 
has come down to us, nor do we know of a reslelio 
represented in any contemporary painting, hut Guslav 
Ludwig, by the help of documents, has successfully 
reconstructed the form of this piece of domestic furni- 
ture. The habit of pinning papers and hanging uten- 
sils on nails and hooks fastened to shelves and to soaze 
led to the invention of a large plaque, divided into 
three compartments, called a reslelio, and frequently 
adorned with pictures. The artist Vincenzo Catena 
mentions in his will a reslelo de nogera chon zerte 
Jigareic dcnlro dipinle rfe mono de miser Zuan belino} 
A sense of noble refinement was in the atmosphere ; 
a sumptuous yet versatile taste enveloped every detail 
of domestic life. The great tables of carved walnut 
bore in charming confusion goblets from Murano, 
jars, pottery, majolica, copper plates wrought in relief 
or enamelled in a hundred hues, gold and silver vases, 
beakers and flagons studded with gems, damascened 
swords, medals, seals, cups of jasper, ewers, tambours, 
1 Crowe ■□(] CiviloEoUe. A Uistoij of Painliiuj in North Italy, p. 169. 



U VENICE IN THE GOLDEN AGE 

lutes. The taste for the antique was fully aroused, 
and on the soaze, supported by carved brackets, stood 
statuettes of exquisite grac<.-, fantastic animals in bronze, 
and other masterpieces of Greek and Latin art. Hang- 
ing from the roofs or attached to the walls were Oriental 
tamps of bronze, either gilded or worked in niello, or 
chased or enamelled ; lanterns adorned with spiral 
columns and BLted with coloured glass.' Nor was this 
luxury of furnishing confined to the reception rooms ; it 
spread lo the ordinary dwelling-rooms and especially to 
the bedrooms ; the heavy hangings of the alcove would 
allow a glimpse of pictures on the walls, — Venus, 
and female nudes, and subjects suggestive of lascivious 
delights. Sometimes the alcove stood in the middle 
of the room, supported on gilded columns or caryatides, 
and covered the beds adorned with delicate carving^ 
or painted by celebrated masters.^ The bed-clolhes were 
of the most sumptuous kind, — sheets, with insertions 
of the finest lace.* bed-quilts of damask with gold 
fringes,' coperti de aurea maieslate, as Pietro writes in 
i54i.* Casola. whom we have already quoted, on 
entering a bedchamber in a Venetian palace, is struck 
dumb with amazement, and cannot express his feelings 
se non con lo strenzere deile sp€ille. ■' Se extimava," he 

1 For specimeiit tee the Muteo Civico. Laiari, Nulizia lUlU opere 
d'erte e d'aalichiti della Baccatla Vorrer. No. giS. 

' Sevonl tipei of beds are rrpreseDlcd la the illustrations lo the 
Ifypnerotomachia . 

• The Bvcallai Cant d«i" Pram-rii .t the SS, Apo.loli had. even at 
Ihs opening of the taut cenlurr. accDnlJug lo Cicogni, a hcdroom of the 
CinquBceoto sllll id tact. The bodalead was painted bjr an artist of 
the Bellini ichool. The house was demolished in iS^o. It took its name 
from these two proverbs carved on its facade : Chi temina tpint non ixuti 
diteako. and D1 de li e poi di me dirai. . 

• See AppeDdii, Doc. B. 

^ It n'as the ciistoni lo bequeath to churches ■ certain amount of these 
household belongiiigi. For eiampla. in i536 Alviae Malipiom left lo tbe 
convent of Santa Maria Magglore all his tapc:arie dc raio ft de icarlato e 
latti li tappeli and Lis foinimento da lelto Je damaichin limoutin. CicoBQti 

' Contarini, Arga Valgar, Lib. I. Veije^i. lip, de Portia, s. a. 












t. fc 






w • * 



* ^ ^ 






PALACES AND HOUSES 55 

says, ' ' lo ornaniento della camera dove eravamo fosse 
coslalo undici mila ducati e mcgiio. E non passava 
pert) de longhezza el loco xii braza. Ilaveva uno 
camino tutto de marmoro de Carrara lucente como 
Tauro. lavoralo tanto sublitmente dc figure e dc fogli- 
ame, cbe Prassiteles ne Fidia li potrebhero adjungerc. 
El celo de la camera quanlo fosse ben lavoralo de auro e 
de azuro ultramarino, e la pariote tanto bene lavorata che 
io non lo posso riferire. Una lectora sola extimata zin- 
quecenlo ducati, e il mobile de la camera a la Veneziana ; 
(ante belle figure e nalurali e lanto auro per lutto. "' 
The law was powcrlfss to keep expenditure within 
bounds : for example, the decree of 1476 which limited 
the amount that might be spent on a single chamber — 
fra legnami, ori e pittiire — to one hundred and fifty 
golden ducats, and the many subsequent laws prohibit- 
ing hangings of cloth of gold or silver or silk, canopies of 
gold, silver, or velvet, and even damascened andirons,* 
Venetian houses often had private chapels richly 
decorated ; we believe that one of these chapels is 
represented in a picture by Carpaccio in San Giorgio 
degU Schiavoni. Carpaccio, in painting for us the 
private life of Venice, has preserved with charming 
veracity the spirit of the Middle Ages passing over into 
the full bloora of the Renaissance, and his work has 
all the value of a minute inventory. In this picture 
we have a chamber in a Venetian bouse ; on the wall 
facing us is a niche adorned with mosaics enshrining 
an altar whose lower part serves as a cupboard ; on 
the shelves are the thurible, the ampulla, the surplice. 
The altar itself bears a statue of the Hedeemer. a mitre, 
and two candelabra. On the left of the picture, touch- 
ing the wall, is a wooden chair covered with red cloth 
fastened with brass nails : its form is peculiar, and 

' CtuoU. Vlaggio, c\l,. p. lo^. 
U,* Partt diutrn <■( onUni ui materia Hclle Pompt dal /iJ5, adi S9 Ktt. fin 
Bf 9, p. il. Tip. PinoUi lUnipalor duoate. 



56 



VENICE IN THE GOLDEN AGE 



belongs lo tliose chairs (carega episcopat) reserved on 
solemn occaBions for prelates of higli rank. From the 
back of the chair rests a long rod to which was attached 
the baldachino ; in front is tlie prayer stool. ' 

The modest homes of the people, no less than the 
palaces of the rich, breathed an air of individual and 
characteristic charm. Externally they still preserved 
their original form. They were built in one or two 
stories, a wooden balcony ran along the front, and 
a vine was frequently trained up the balustrade til) it 
ended under the eaves, which were carried on project- 
ing brackets.' On the roof was llic allana, and in 
filace of the gardens of the patricians, a little orchard 
ent its charm lo the house. The rooms had polished 
and variegated floors of scagliola, and cupboards, 
chests, and hcdsloads of walnut, curtains, carpets, 
gold ewers and silver spoons and forks. The whole 
furniture of the house, though modest and even poor, 
displayed a harmony of line, of which we may gather 
some idea from llie engravings which illustrate more 
especially the books of devotion in use among the 
people, where the hurin of the modest artist is no less 
faithful a guide to the trulh than the brush of the great 
masters. The kitchen in which the family dined was 
decorated with copper buckets, caldrons, kettles, with 
platters of brass, or still more commonly of silvery 
Venetian pewter. In the decent homes of the gondo- 
liers the portraits of their forebears, champions of the 
oar, hung upon the walls, and by an act of filial piety 
the son would place the banner he had won in a re- 
gatta by the side of his father's likeness. On ordinary 
feast days, when repose from work was obligatory — 
though the public offices remained open* — the houses 

1 Ludwig and Molmenli, Carpatdo, cil., p. r^g. 

' Unlil quite rocenllj a ipocimen of such a house Wis to be wen in Iha 
Cainpo di Sanla Mirgheriti. Now the bciutiful eivei htva (iiupp«ired. iwept 
■ws;r by Ihn mBnia for modernising wbicb ii waging war on uitient Venice. 

■ UiUicciolU, Ii. ^ao. 



• •. 



• * • 

••• • 



• •. 



• "• 









• •• •• 

• • •« 



••• • 




PALACES AND HOUSES 

the people kepi holyday, and everywhere there 
reigned an atmosphere of well-being and refinement, 
the fruit of successful labour, from which the populace 
reaped handsome gains ''chi piu. chi mcno, secondo !a 
qualita e I'ingegno delle persone, fatte per cid troppo 
morbide e Uceiitiose." ' 

In comparison with the neat and comfortable houses 
of the people, the palaces of the patricians seemed 
hardly the homes of private individuals, but rather the 

ijrincely abodes of sovereigns, where art and beauty 
ound a titling shrine in every chamber, but in certain 
dwelUngs had a veritable temple set apart for them. 
It is indeed remarkable to find so many private citizens 
forming collections each one of whicli would form the 
glory of a modem town. These Stiidi, or collections, 
of ihe Venetian patricians were in fact museums rich 
in statues, pictures, drawings, illuminated manuscripts, 
bronzes, majolica, glass slulTs. ivories, engraved gems, 
medals, gold- and silver-smith's work, and splendid 
armour.' These armouries were in particular favour 
with the Venetian patrician, and the collections of Zac- 
caria Salomon, Niccolo Soriano, Giambattista Quinni, 
Calerino Zeno, Luigi Pasquahgo, Fablo da Canal were 
world-renowned.^ In a single chamber of the Palazzo 
Correr at San Simeone Grande were fourteen bucklers, 
thirty-six halberds * with their hafts covered with vel- 
vet, eight Turkish bows, twelve lances, two standards, 
one bandarole, and the family shield with helmet and 
idigrec.' Still richer was the collection in the Sala 
■'anni of the Council of Ten in the Ducal Palace. It 

' Sui*ovino, Yenetia, p. 385. 

* Levi. C. A.., Le Calleiioni d'arle eitantichita dal leeoto XIV al nmtri 
giorni. Veneiia, 1900, 

* Id ILb Armourj il ihc Muieo Ctvico there ire twelve halberds with 
hafti 3,3i metres long: the blades era 0.97 high and o.3i wide. Thej trs 
dewribed b; Luiri under Dutnbcra i3i4 and t3i5. 

* See Appendix. Doc. B, H" 4> hueniario dalla Cata del Procaratore 
Lurauo Correr (i584). 



68 VENICE IN THE GOLDEN AGE 

consisted not only of the usual weapons in great 
numbers, but also of rare specimens either captured 
or acquired or bequeathed, and along with other ob- 
jecls of the highest rarity and value it formed a real 
museum, whose scanty remains are now to be found 
in the Arsenal. 

Bui arms were not the only objects collected by the 
Venetian nobiUty. Sansovino in his Vcneiia and Fos- 
carini in his Lelleratura Venezia/ia have preserved tlie 
names of many famous amateurs. We hear of the mu- 
seum formed by Andrea Vendramin at San Gregorio.i 
of another Vendramin at Santa Fosca containing a col- 
lection of original drawings by the great masters of 
the day.^ of Andrea Loredan, to whom Paolo Alanuzio 
tenders thanks for more knowledge, imparted in a few 
hours, than he had been able to gather from years of 
study.* Ermolao Barbaro. Cardinal Pietro Bembo, 
Andrea Franceschi, and Giambattista Ramusio, Secre- 
taries to the Senate, Stefano Magno, who collected 
medals, Marino Grimani, Egyptologist, Federico Con- 
tarini, collector of Greek inscriptions, Daniete Barbaro, 
the illustrious Patriarch of Aquileia, who supplied 
Goltziua with medals from his private coUeclion, must 
be mentioned among distinguished Venetian dilettanti. 
In the Cardinal Domenico Grimani we have the true 
type of the connoisseur steeped to his Gngei^tips in the 

■ The IlluBtrated Catalogue of Ibe VecidrBiiiin CollecliDD ia in Iha 
British Museum (Slosne Fouadation. joaJ~jc>o6). It it in four volumea, 
eotilled : 

'■ 1 . De Pkluria in Muieii Domini Andreoe Vandrameno posilis. 
" 3. De Aanulin et Sigillia lEgjptiorum ccarabciE ombleniatibus 
omitu et aliJB aignia ct Gguris in gemmii ot lapidibus a oatura deliacalia 
at iacisia in muaco A. \eadnmeao repohilia. 

"3. Db rebus NaLuralibua purif miitis *Cqu« coDi^iOsitis et in onmi 
gsnere DCtritii ia Muteo A, V. reposilis. 

■■ j. De minerslibuB omnia gencria tarn metatlicis et puria lapideia 
quun gemmatia." etc, 

s GuiKOni Anselmo (ISiceolo Daglioni), Tutte It raw notabili e ieUi (da 
tono in Venelia, etc. Venella. i»S6. 

* Manuiio, P., Lett. voig.. p. 7J. Veneii*. tYm, 




PALACES AND HOUSES 



89 



ling for art. He left a large part of his collections 
to the Repuhlic, which placed the various works in the 
Library Sluseum, and the rest to his nephew Gio- 
vanni, also Patriarch of Aquilcia. Domenico Grimani's 
museum comprised statues, busts, Roman marbles, 
rare manuscripts, medals, coins, paintinga by the great 
masters, pictures by Michelangelo, as Sanudo assures 
us, and, according to the Anonimo, Raphael's cartoon 
for the "Conversion of Saint Paul"'; paintings and 
engravings by Diirer, Memmling, Albert van Ouvater, 
Patcnier, Bosch, and Jacopo de' Barbnri ; but liis two 
most precious objects were tlie statue of Marcus 
Agrippa from the portico of the Pantheon and the 
famous Breviary, illuminated, as modern criticism baa 
proved,' by Gossacrt, called Mabuse after his native 
town. Giovanni Grimani inherited his uncle's love of 
art. He was an able drauglitsman and architect, and 
if he did not, as some say, build the palace at Santa 
Maria Formosa, he certainly modified the whole build- 
ing and added tlie superb staircase with its stuccoed 
and gilded vaulting and its paintings by Federico 
Zucchcri," its chambers decorated by Francesco Salviati, 
Camillo Mantovano, and Giovanni da Udine, In the 
courtyard surrounded with columns, full of busts, in- 
scriptions, and antique fragments, rose the magnilicGnt 
statue of Marcus Agrippa ; the vestibules and the salons 
of the palace were a veritable museum of antique 
sculpture, a targe part of which went to enrich foreign 
-^lleries on the fall of the Republic. 

The Anomino of Morelli — probably Marcantomo 
lichiel, who died in his native Venice in iSaS — 



* AjDODg the lint bj Tbiusing i 
lion of Ihe Notkia dcW Anonimo, 
idred *ecchini for the fireviiTT. 

* And not bj Giovaani da Udinc 



loji. Tbe Cirdmd | 

B generallj ttited. Vaiari. 



It (iguretlc [lOKle cod molli gr»ii dentro 




6o VENICE IN THE GOLDEN AGE 



has left u8 the earhest example of an artistic guide. 
He describes the treasures preserved in some of the 
cities of Lorabardy and of tlie Veneto, and in Venice 
itself he calls special attention to the private collections 
of Antonio Paaqualino, Taddeo Contarini, Gcrolamo 
Marcello, Antonio Foscarini, Francesco Zio, Giannan- 
lonio Venier, the Spaniard Giovanni Ram, and Paolo 
d'Anna, all of them men of refined artistic taste who 
loved to surround themselves with precious objects of 
ancient and modern art, Italian or foreign. A glance 
at the inventories, published or as yet among the 
incdited papers of the Archivio di Stato, and more 
especially the papers of the Peiizion, the court which 
heard all cases of succession, will show us that love 
of art was not confined to the patrician caste but was 
to be found among the well-to-do citizens, in one 
of the less frequented corners of Venice, at San Nicoia 
da Totentino, on the Fondamenta CaiTaro, so called 
after an ancient family of that name, there was a house 
whose facade was ablaze with frescoes by Girolamo da 
Treviso, a good artist formed on the Florentine and 
Itoman schools, more especially on Itaphael. The 
panels of the facade were enlivened by mytliological 
subjects, — Juno in the clouds, Bacchus embracing 
Ceres, Apollo, Pallas, and the Graces ; while all round 
the courtyard ran a frieze of Cupids. In this house 
the merchant Andrea Odoni, who had removed from 
Milan to Venice, dispensed the treasures of his wit and 
the splendours of his estate. The magnificence of the 
exterior was matched by the care bestowed upon the fur- 
niture ; and, as Aretino assures us, there was not a prince 
living who had handsomer beds or rarer pictures or 
more regal upholsterings. The master of the house, 
with his subtle yet burning appreciation of art, had 
collected with rare judgment hundreds on hundreds 
of beautiful objects : a faithful and loving copy of an 
antique marble, from the chisel of that poet-scuiptor 




THE GARDENS OF MURANO 




'ullio Lomliardo ; a Saint Catlierinc with the Child, 
by Titinn ; a nude female figure, by Savoldo ; the 
Transfiguration of Saint Paul, by Bonlfazio dc' Pitati ; 
a Ceres, by Palma Veccliio ; the portrait of a boy found 
among the baggage abandoned by Charles VIII after 
ihe battle of the Taro ; vases, medals, gems, and porce- 
lain,' Lorenzo Lotto has given us a portrait of Andrea 
Odoni in his study, surrounded by these objects of 
his affectionate contemplation ; and tlius employed, he 

Kssed his days in quiet, cheered by the company of 
s nephew liinaldo and of Paolo Manuzio, \v\w had 
married Rinaldo's sister, Margherila, an excellent house- 
wife — cajus prccipae studio res familiaris «c domus tola 
nililur — as her husband himself said of her. 

But this city, overflowing with wealth, comfort, and 
luxury of every description, was yet unable to silence 
the cry for the open air and liberty of the fields, which 
are the source of bodily health and foster noble sen- 
timents. Though the prosperity of Venice and its 
recurring festivals induced a liappy, pleasure-loving 
habit of mind among the people, it cannot be denied 
that the damp climate and the vast silent spaces of the 
lagoon disposed the mind to a mild melancholy.* The 
patricians, therefore, having the leisure denied to tlie 
rest of the population, whicli was engaged in earn- 
ing a living, submitted, like the Romans of the 
Augustan age, to the imperious desire for rest in sbady 
groves to which they could invite their friends. It is 
true that the delight of greenery was not lacking in 
"'enice: and Casola, in i494i declares that " Non fe cosa 
'te piu me Iiabia conducto in admiratione in questa 

1 Not. deirAnonimo. pp. i55, iH- 

* Tbe Mlobrated phjsicUa Saplorio (Meth. Vlland. err,. Lib. I, c. 9) 
iji: "Similiter li loci fuurinl ■ - . , .- 



, borum locoruin Iiiculnc, ubi M colligcnt iu 
boredi ipirilu, time triBtilia, quM eil melancboliie ciri 
MDtiual, (]ui>d obtingere toUl Venetis melaocbolicii, dum 
ID nira MceduBt," 



m (wrilalutD 
»ui (ffaliiu 
is patuittibui 



6a VENICE IN THE GOLDEN AGE 

citta ediGcata sopra I'acqua, quanto a facto a) vedcre 
belli zardini quant! li sono." ' There were the monastery 
orchards, tlic vineyards round the churches. — San 
Francesco still hears the name della Vigna, — and the 
many gardona attached to the houses to whose archi- 
tectural features they lent a charming natural setting ; 
there were dancing-greens and arbours for parties of 
nohte ladies and cavaliers, or for the meeting of 
learned societies, such as the garden of the printer 
Marcohni, described by Aretino as " ventaglio della 
slate, poi che il respirare del suo venlo, I'omhru del 
Buo verde, la soavita de i suoi fiori, et il canto de i 
suoi augelli petrarchevoli . rinfresca, ricuopre, diletta 
et addormenla."^ And the city was circled by that 
smiling coronet of green islets, transfonned into 
pleasure grounds as at the Giudecca, Murano. or the 
more distant Vignole.^ On the Giudecca many noble 
families, hke the Barbaro, Gritti, Dandolo, Mocenigo, 
Vendramin, and Cornaro,* owned palaces surrounded 
by gardens delicaii et rari.^ Above all, the villa of 
Sante Cattaneo commanded admiration, for nothing 
was wanting which could refresh and delight the spirit. 
From a hall adorned with paintings and frescoes one 
passed into a courtyard paved with brick from which 
sprang jets of water, while water (lowed down over 
rockeries cunningly set with coral, shells, and statuettes. 

1 CmoU, Vifljgio, cit., p. ij. 

* Aretino, Ragionamento de U CoriL VeDaiia, Hircolini, l538. See 
■Im Ardino. UlU-rf. 1. 107. 

■ ■' Alio VigDiiole un luogo deliFloiiSBimo, il quale era di ud genliluomo 
chiamalo Donalo Marcello." Mileipioi Celio, Dutento Nomlle, Part II, 
p. aa. Venelii, ifiog. 

* la Juno of l^ig Areliiio (Lett,, V, laa) wrole to Benedetto Comaro : 
" Se la Giudefca dom meriUsw d'esnere ammirals ■ . , per la belleiia del 
palmi, delle chiese. del silo ; sola il Giardino, cha verdeggia inlorDa alle 
nobili ilaiiie voslre. la moBlrareLbero alia genii maravJKlioia." 

' SaoBoviao, Venella. p. 36g. Jacopo d'AlbiiioUo Guidi de>crib« the 
girdeDK of the □□bilil]' set with fniit tress, rosea, earnalioos rrom DamaKui, 
and lilies ; and Scolo (/(in*raWo) ; suit. : •■ Neirisola delta Zuocca, molli 
giardioi et tagbi edilid, cosi per cullo divino, come per uco dei citladlni." 



• • • , 



.".'"' 



• "• 



••••- 



••• 



• • • 

•-• •• 



• • 






THE GARDENS OF MURANO 63 

From tliis corlile you passed into the garden, rich in 
plants and rare flowers ; at the end was a large loggia, 
gracefully painted, whence the eye could wander over 
the lagoon as far as Malamocco.^ 

Murano was in greater favour than even the Giudecca. 
At tUe opening of the sixteenth century its population 
had risen to thirty thousand inhabitants, and tls pros- 
perity was on the increase, thanks to its glass works. 
The noise from the furnaces on work days and the 
revelry of the populace on holydays did not break in 
upon the calm delight of life behind the garden walls. 
From the cessation of work on Saturday night to the 
beginning again at sundown on Sunday, the factory 
hands would turn out. clean-shaven and in their 
best, and, as Murano boasted only two wine-shops, they 
would meet in the private rooms of some casino to play 
cards, or go to the theatre, or play ball, or attend the 
■ favourite show of all, la festa dei lori; and in these 
I private or public resorts the great gentlemen who owned 
nouses and gardens at Murano,> especially at the close of 
the Quattrocento, would not disdain to mingle with the 
ordinary work-folk, A stream of gondolas brought 
over to Murano patricians seeking rest from the cares of 
Slate : the learned who came to discuss science and 
letters in the garden greenery, the ladies in search of con- 
genial company. The sumptuous houses of Murano 
were the scene of learned conferences, o( fetes, of every 
imaginable diversion. There were the magnihcent 
Gothic Palazzo da Mula ; the Mocenigo house with its 
splendid frescoes representing music, poetry, and love; 
the Palazzo Trevisan, designed by Daniele Barbaro with 
the help of Palladio, rich in statuary and decorations by 
Vittoria, in sculpture by Domenico da Salo, and in 
paintings by Paolo Veronese and Giambattisla Zelotti. 
Tradition has it that Queen Calerina Cornaro sometimes 

> Suuovino. Vinelia, KlarliDbni'i additioiji. p. 370. 
* In till FriiiceKo Acnuti awnod domum in eapile Murim 
Cicogai. licr,, VI. 3oo. n. 3ul. 




I 



64 VENICE IN THE GOLDEN AGE 

visited tlie palace of her family, wilh ils rowa of Irium- 
plial arches, aiid in i5~d ilt'nry III of France was a 
guest in the house of tlie Cappello,' These palaces 
stood in gardens, veri paradisi terreslri, per la vaghezza 
delfaiere e del sUo, liogki de ninfe e de semidei,^ so says 
Aadrea Calmo, who recalls with longing 

Quel horti pieni tie erbe hiJioie 
G quel ona] cuil cbi«ro e pulio 
Con quelo bele cIeh si (ierow . . . 

Cornelio Castaldi of Feltre wrote a Latin poem on the 
Gardens of Murano." After describing the island, the 
delight of the learned, the poet proceeds to dwell on 
the beauties of a villa where the Priuli brothers 



. . . vcniunt comitum «emp«r duici agmiao 

In the garden : 

Id medio Tont dulcis aquae per concava ducli 
Saia. soporirem Binuo»ua murmure, in aurai 
Prmilit mccrtum Phjdiic, au ne Mirom's an 
Fors utriudqiie labor; fonlem aoipium plurii 
FitluU funiiil aquai linuoH) a giiltiire Ijiicui 
Qutluor obaerviDt foDlia lateri ardua Ivgrn. 

Then, recalling Catullus, tlie poet turns to the reader 
and exclaims : " Prega i numi che li mutino tutto in 
occhi e narici " : 

IVec modo te capieol. itque bii 
it violae. aut rid end 



I 



Vel >i 

Cemiriirersni Litio referuat d 



El a 



ic in vola vncibual 
'I aempi-r acanthi, 

nnidc DnniaKum. 

. . . divile r/lit 
I nemus inter opacum, 
untiliiit integra peodent 

IB horli 



Parte alia qua te laeti demuiii e 
Iol«r odorutai bene poxo criue ciipre&BUt, 
Senaitn dcdaleas hilarei induciL in aedei; 
SuspicU itigentem ca-veam. ijuani feirea leiunt 
Vimina, lerceutum divisam ei ardine clalbm, 
PuilUcui Lumana *aejio bine te voce *Blul>t. 

> Zanetli, Guida rfi Maraao, p. 378. Veoeiia. iBliC. 

■ Calmo, LtUere. cil., ed. Rossi, p. 173. 

■ Priulonla rurii ad Mtiilttnam deliliat. Jacopo Dernardi tranilaled it 
»lt>ti>ii. (Veneiia, l86S.f 



r 

^^^Ht must 
^^^^ che haveaa 



THE GARDENS OF MURANO 65 



must indeed have been one of the ' ' piu beUi borti 
che havcsse mai I'antica et la moderna eta."' 

In the Ilypnerolomachia PoliplUU wc get both de- 
scriptions and sketches of gardens which we may 
perhaps take as showing the taste and the plan of the 
gardens at Murano. Pleached alleys and arbours were 
in common use, while trees and hedges were clipped 
into architectural designs and served as settings for 
statuary or rich decorations in marhle. 

Navagero, in the letters he wrote from Spain to 
Giambattista Ramusio. frequently recalls iiis garden at 
Murano ; nothing, he says, is dearer to his heart, and 
he promises himself many a pleasant hour there on his 
return. Bembo. in a Latin letter, congratulates Nava- 
gero on having been able to pass a summer in his 
gardens at Murano, as he cannot doubt but that the 
world will reap the benefit of this leisure pleasantly 
employed in the shade of his citron trees that came 
from the shores of Garda. Cristoforo Longolto, in a 
letter to Bembo, gives us a description of this garden of 
Navagero with its pleasant shade. ■' Hujus," he says, 
"in suburbano, cum hortus ipse grato nobis spectaculo 
fuit, ita dimensus et dcscriptus, ut omncs turn pomarii, 
turn seminarii arborum ordines in quincuncem diri- 
gantur, et exquisitissimo ambulationum topiario opere 
latera eius decumanigue limltis camerae convestiantur." ^ 
" Siano degh altri le mitre e le corone ; rura miht et 
[Tigui placeant in vallibus amnes," said Trifone Gabriele 
lo the Senate, when it olfered him the patriarchate 
of Venice or the see of Treviso. And Trifone in his 
gardens at Murano played the host to such men as 
Gian Giorgio Trissino, Sperone Spcroni, Francesco 
^Sansovino, Bembo, the younger Ramusio, Gaspare 
'lonlarini, Jacopo Zane, Aretino, Giroiamo Molmo, 

' Liodo, Ortaiiiio. Stilt libri dt ratalonhi a varie (oie appailenenli. 
i. (90. Venetii. i55i. 

* Longolii, Eputolarutn, I, io8-i<K). Lugduni. i5g3. 



VENICE IN THE GOLDEN AGE 



^ 



Bernardo Tasao, and the celebrated physician Vittore 
Trincavello. Murano was preferred as a dwelling-place 
lo Venice itself by Giovanni della Casa. who occupied 
a house belonging to Liooello da Carpi, and filled it 
with his admiring pupils, while Gian Giorgio Triasino 
waa lodged in the pariah of San Donato.' In the 
gardens of CamiUo Trevisan, in the presence of Giorgio 
Gradenigo, Orsatto Giustinian, Valerio Marccllini, and 
the Friulan Ottavio Menini, Celio Magno declaimed 
hia canzoni, divine canzoni, as Menini calls them in 
a dissertation thereon.* In these quiet garden retreats, 
beneath the shade of the vine trellises, witli Venice rising 
in the distance, these studiosi, as the people named 
them, read their poems, discussed tetters and art and 
history, and traversed the newly discovered fields of 
ancient teaming. To these gardens the Academy of the 
Pellegrini, too, would sometimes resort, or some literary 
body founded in Murano itself. These colcrica were 
at their foundation informal reunions in the days when 
Bembo and Aldus and their friends discussed philos- 
ophy and belles letlres ; but as lime went on, they were 
crystallised into academies under names such as the 
Occalli (1600), Vigilanti (1602), Generosi (i6o3), An- 
gusliali (1660), Vigilanti Purijicali (1676), Fecondt 
(1720), and so on. 

When the Republic began to enlarge its territory 
on the mainland, love of the country grew warmer 
among the Venetians. The aesthetic value of landscape, 
the rich and smiling plain, the grassy liills, acquired a 
significance which ia the outcome of a long and com- 
plicated development in culture that the Italians were 
the firat among moderns to appreciate.* This new 
emotion is apparent in the painters of the Quattrocento, 
especially in Giambellino, in Bastiani, in Garpaccio, 

1 Monolin. Cictnyiorjio Triitino, p, j»8. Fireiue, i8t|4. 

* Cicoeat, l)tr., V. iii6. 

■ BurckbardI, U civ. del Rin.. Vol. I. Ctup- III. 



• •• 



• ••* 






• • • 



• • 



.^*-. 



VILLAS ON THE MAINLAND 67 

Basaiti, and Cima. The golden backgrounds of ihe 
Byzantine and Vivarinesquc masters suddenly open and 
let in the light and air ; beyond the superb architecture 
of tlie early Henaissance appears in the distance the 
fair champaign of the Veneto. which Venetians of the 
lagoon nere beginning to love and to conquer. The 
poetry that breathed from marble and water in the purely 
Venetian backgrounds is wedded now to a spirit of rural 
peace and calm inspired by verdant hills and groves 
and placid lakes that till the further distance, all given 
with that charming naivete and teiitativencss of touch 
which prelude to tlie bolder outlines of Titian's or 
Giorgione's landscape. The love of nature comes to 
life again, the soul of the artist stirs to dehcious tre- 
mors at its contact, his spirit is inflamed by a passionate 
desire to penetrate and understand. The Venetians 
did not desert their gardens at Murano. those gardens 
that recalled the Academy of Athens or the groves of 
the Florentine Rucellai, but the open country now 
began to assert its attraction. The joys of a country life 
bad more efficacy to console Caterina Cornaro for the 
splendours of the palaces she had lefl than had the stir 
and bustle and festivities of her native city. She passed a 
large part of the year in her caslle at Asolo, which over- 
looked a garden ' ' vago molto et di maravigliosa bel- 
lezza," with its broad and shady trellis of vines running 
down the middle, its flower-beds, its green lawns, 
juniper hedges, groves of laurel quick with the murmur 
of a running stream that issued from the live rock, 
its little winding walks that spread their network 
through the pleasaunce.' In the neighbourhood of her 
castle the queen built herself a villa for summer resi- 
dence; it was called Barco, and there, Uianks to her 
private wealth and to the eight thousand ducats (equal 
to twelve thousand five hundred pounds) which the 
government allowed her annually, she was able to 

' Bembo, Gli Aiolani, I, g et seq Veneiia, 1713. 



68 VENICE IN THE GOLDEN AGE 

pass her days in dance and tourney and the chase. ^ 
Towards the close of his life Trifone Gabriele too found 
solace in the little villas among the Euganean hills no 
less than in his gardens of Murano, and many letters 
of this erudite and gentle soul are addressed lo his 
friends from Pergolino, from Ronchi, from Vdia Bozza, 
and from a place he calls sopra t Arcane.^ 

In many places the frowning feudal castle with its 
mantelets and macliicolations was being transformed 
into a peaceful, unprotected country house. An old 
book printed at Venice in the Bftecnth century shows 
us a woodcut of a house in the country with its stables, 
wine-cellars, dovecote, poultry-yard, and all the appur- 
tenances of placid rural existence; while a picture by 
Andrea Previtah. the charming " Annunciation " in 
Santa Maria del Meschio at Ceneda, introduces us, per- 
liaps, to a chamber of a nobleman's country residence 
in the Quattrocento. 

Throughout the Ciaqucccnto, and especially after the 
middle, tliere was great activity in building villas along 
the Brenta, on the hills of Viccnza and Verona, in the 
plain of Friuli and in the Marca Trevigiuna, which a 
contemporary calls the garden of Venice.'^ From the 
quiet greenery of the Venetian plain there rose the 
gleaming marble and the fair proportions of Palladian 
villas, with their ornamental statuary and frescoes by 
the great masters, more especially Veronese, who has 
left treasures of Ins art at Fanzolo, Thiene, Romanziol, 
Magnadola, Maser, Sant' Andrea' del Musone, Zellarino, 
Zerman. Sometimes, too, the master who painted the 
chambers of the villa would lay out its gardens, as did 



comm. of L. Fietla {Arch. 
Pa padopoii-Troili , 



' Simoiufeld. Caleriiut Comaro, Irins. ■ 
Vfnelo, XXI. 48. 55). 

'J Uall'Oste. San Polo nel Trevigiano, pubbl. pei 
p. 133. VeDexii, 1874- 

* " Se VedgiIb ad una grao casa voleisimn paragonare, aiccoir 
lagune si dirvbbono te »uo peschicre. cnsi il Trevigiano un mo giorcti 
Booificcio, Hitt. (Ji Treaigi, p. 533. Vonetia, 17^- 



^^^r«ie Veron 



VILLAS ON THE MAINLAND 

le Veroneae artist Dario Varotari (d. i53g). who fres- 
coed the villa of the Mocenigo at Dolo, called deile perle, 
and designed and laid out the gardens, foantains, and 
alleys.' 

That bizarre genius, Anton Francesco Doni, who en- 
joyed the hospitahly of the Venetian gentry in their 
country houses and ended his days in the beautiful 
villa at Monselice, probably then the property of the 
Malipiero. has left us a treatise on the true method of 
building and adorning a villa. Doni distinguishes four 
kinds of villa, ^ the princely villa or pleasure house, 
the gentleman's villa meant for repose, the merchant's 
villa designed for economy, the artisan's or farmer's villa 
built for practical use. The villa of Francesco Morosini 
at Noale is a specimen of a gentleman's house; clear 
streams of water flowing through tVic greenery, a large 
and handsome entrance leading to a corlile, a colon- 
nade on one side communicating with well-appointed 
guest chambers having a loggia with great windows.^ 
Federico Priuli owned a country house at Tre Ville 
in the Trevigiano; it was ricca e grandiss'ima. painted 
inside and out by Giuseppe Porta del Salviati^; and on 
seeing it Andrea Calmo breaks out into one of his quaint 
exclamations: "Ohim^, ch'el bcsogna altro inzegno, 
altro scrltor o altro saver ca 1 mioa darghe quelle laude 
che mcrita una cusi benintesa fabrica regal, picna de 
artcfitio e ben intesa dc architcttura; che quanti romanzi 
ha descrito de diversi hospitii edificai in la foresta, no 
ha dilo el quinto de quel che xe sto palazzonazzo, da 
star un principo, d'alozar un re, a da recever un Giovc. ' * 
Doni adds that the Qoors were like shining mirrors; 
that the gilded, carved, and painted ceilings had no 
match. On the walls were paintings by Titian and the 
greatest Flemish masters ; the chairs, hangings, canopies, 

' Ridolii. Le marcviglU detCArte, II. ! 
* Dom, Attavanta. Villa. Fire 



1857. 
. Vila di Francnco M Salviaii, XII, ( 



70 VENICE IN THE GOLDEN AGE 

embroidered curtains, and carved bedsteads were all 
matchless. "I Uppeti in suprema eccellenza, i rensi, 
guanciali ed altri suppellcttili son tanlo degni. quanto 
si possino immaginare gli uomini."' The forest of 
Montello, placed under the care of special magistrates 
and considered as una delle singolari gratie ch'abbiafatto 
la Maesta di Dio aquesto Slnlo, on account of its wealth 
of oak trees which furnished lumber for Venetian 
galleys, was frequented by the Priuli, MarceUo, Duodo, 
and Corner, in search of a pure and invigorating 
climate.^ Lodovico MarceUo (iM3-i5a5), Prior of San 
Giovanni del Tempio at Treviso, a prelate of habits not 
above reproach but famous for his princely hospitality, 
entertained the cream of learned and literary society in 
the salons of his commandery at Treviso, chambers 
adorned by Lorenzo Lotto and by Dalle Desire, and at his 
villa on Montello with its loggias and its gardens. ^ The 
owners of tliese villas kept open house for their numerous 
friends, who took, the pleasures of nature mingled with 
the refined enjoyment of art. By way of entertainment 
there was music, and games of all sorts, chess, ball,* 
tennis, billiards, dice, ninepins, quoits, skittles, knuckle- 
bones, racquets, battledore, and fives'' ; then came 
theatricals, walks in tiie country, riding-parties, al 
fresco dinners, expeditions in carriages or in boats, 
fishing, the high jinks of vintage time, and the practical 
jokes which came to be so popular with the patricians 
of the Setlecento.* The Venetians were fond of the 

' DoDi. Allaivnia, cit.. p. 38. 

' BatliMcUa, O., II itonielto netla pOe$ia. pp. g and ii. Treviso, igo&. 

' BiscBro, Lodouico Marcelln (Nuopo Aith. Vcneto. Venciit, 1898). 

• The Gioliti printed in Venice, id i55&, Ibe Tratatto del giuoco deOa 
palla of Anlonio Soino d. Sab. 

' Doni. op. cil.. p. 73. 

* Tbough the aulhorit; (Maleipini. Dacfnlo Nooelle, 11, 108) it aat Uio 
beit. <ret it maj be true thai the Patriarch Grimial tcluillj' plajad the 
following practical joke on a prelato who waa ■ gueit with him in a 
Dohleman't bouse al Meslre. It wan Summer, and the prelate lufTercd 
lerribtj from the heat; vet (fic Palriareh hid ■ lire braiicr under the 
bed aiid uearljr caused hti death hj sunbctlioD. 





A— ViLnFfHKariallsMalrmileiils. B — Piaj 
d«U* M>k«ol«nl«. (CuU bj G. F. Cosli- 



• • • 



V'. 



••• • 



• •• 






• • • 



• « - •_ 






••.' 



VILLAS ON THE MAINLAND 



7' 



chase, and two works enjoyed a wide circulation, — 
the Cinegelico, a poem in octaves by Tito Giovanni 
Ganzarini da Scandiano (i556), and another poem 
by Erasmo da Valvassone (1591), feudal lord of Valvaa- 
sone in the territory of Udinc, who treats therein of 
various kinds of sport. Events of family interest, such 
as marriages, births, elections to pubUc ofliccs, were 
celebrated wilU even more sumptuous concerts, dances, 
jousts, and tourneys.' We have but scanty pictorial 
record of life in the country. Two documents seem 
worth noting: one is a miniature in the Maggi Manu- 
script of the National Library at Paris, already quoted; 
the other is a picture in the Academy at Bergamo, 
which shows us a villa on the banks of a canal, with steps 
and a landing-place, trellises and gardens stretching 
away to the house. The picture used to be attributed 
to Paolo Veronese, but is now assigned to Lodovico 
Pozzoferrato. a Flemish painter estahUshed at Treviso. 
We are inclined, however, to give it to Carletto Cagliari, 
Paolo Veronese's son. 

The Brcnta was the favourite site for the villeggialara. 
owing to the facility with which it could be reached 
by boat across the lagoon , touching at the river's 
mouth at Fusina or Lizzafusina. From Monuuan, 
near which is the villa of the Foscari, all the way to 
Padua, the banks of the Brenta were set with sumptu- 
ous palaces.^ The site of the villa built by Palladio for 
the Foscari is close to the ancient abbey of Sanl' Ilario ; 
the villa has a magniBccnt loggia of Ionic columns 
and chambers frescoed by Zelotti. It took its name of 
IHaicontenta from the legend of a fair but frail lady of 
the family, who was sent by her family to do penance 

> Sanudo, Diari. XXVIU, AgS. 

' La Brtnta quati Borgo ilella Citth di Vmtzia, taago di delUU del Vtmli 
polrui delineola e tkicritfo da P. CoroDfllli. — DtiU deluu dil Jiume Brenta 
mfrt$tt nej palait* r coiini tllnali topra le inr iponde doUa ib/tecnliira nella 
l^taa di Komim fina alia cJUA di Padota dutgnalt ed incite da G. F. CotU, 
1750-1763. 



7* VENICE m THE GOLDEN AGE 

there. To-day t}ie ruin of the pbce and iU sad. mala- 
riooi nuToaodings justify the melancholy name ; hot 
once Dpoa a lime all aroaod the great rilU rose houses 
of retainers, and lo front was a noble piazza which thev 
uacd to compare lo Saint Mark's. The palace was the 
ticenc of many a sumptuous fcstiral ; in 107^ the Fos- 
cari entertained Henry III of France at Malcontenta, 
and after lunch the sovereign took boat, and passed up 
the Brenta in amazement at its splendid viUas. among 
which the houiie of (he Procurator Fcderico Contarini 
particubrly caught the royal regard. In the Trevigiano. 
on the other hand, we have the villa built about i5oo 
by the brothers Marcanlonio and Daniele Barbaro. — 
the lint a famous diplomat, skilled mechanician, and 
niile modeller ; the second. Patriarch of Aquileia and no 
mean dmuglitsman Rnd architect. Palladio built the 
villa. Villoria decorated it with stuccoes, and Veronese 
puinlcd it in fresco.' Palladio also built the graceful 
little chapol, close to the villa, with its reminiscence 
of the Pantheon at Home.' The facade of the palace is 
of the Ionic order, and is divided into three compart- 
ments by four nctni-columns ; it looks on to a garden 
with delightful flower-beds and fountains. In the rear 
the second floor is on a level with a semicircular par- 
terre, in the middle of which rises a fountain, with 
xtutues and ornamentation in stucco; the fountain is 
lod by Q spring from the hills, which is first gathered 
into a large basin and thence is drawn ofi for all the 
uHca of kitchen, stable, garden, and so on. The in- 
ternal arrangement consists of a central hall in the 
form of a cross, sparsely decorated by Veronese with 

' /.« villa di Mnifr in pituHntia dl Treviio. Roma, taai, Tbts lillle 
work reproduce! ill prevLoiit dewriptiana of the villi b^ Palladio. Vasari, 
Ridulfi, Miliiii, Tcmiiiia, BcrloUi-Sctmoui. AJRirotti, Zanelti. Unii. 
Crico, Zab«o, Zuiulla, CaccJaaig*, M>gDi, Piotro Ciliari, Ltiliow, BUoc, 
and Chariot Yriarl*. 

■ Palladia. L'ArtKUeUara dio'ua in qaaltro Ubri. etc.. Vol. II. Chap. IV. 
V««ia. .7.1. 



I 



•••. 



• • 



.•:•. 



• .• 



• * • 



.•. ••. 



•_ • 






/. ••• 



•.*•• 



••••• 



• « • 



VILLAS ON THE MAINLAND 73 

eight figures of female minstrels, and trophies of 
halberds painted at the angles. Suites of apartments 
and loggias open from ihis hall. Id these chambers 
Veronese's work is of a richer quality ; here the nobility 
of the Barbaro family is proclaimed in allegory, the 
gods of Olympus appear in scenes from classical my- 
thology, the divinities of the Belds and groves invite to 
the pleasures of a country life. And in tlie midst of 
these mundane fancies we come across some figure of 
sacred story, the Madonna, or Saint Catherine, or 
Saint Joseph ; some touch from real life, like the child 
who is playing with a dog. an ape, a parrot, an old 
woman pointing out to a girl a handsome youth with a 
hound in ieash. Inall this joyous profusion of colour and 
of form we find, too, the lifelike, vivacious portrails of 
Marcanlonio Garbaro's family, and of Benedetto Caliari, 
the great master's brother, and possibly his assistant at 
Maser. And in the evening, when Veronese had come 
down from his scaffolding, his hand wearied by the 
endeavour to keep pace with the flight of his imagina- 
tion, when Palladio had finished the model for a capital, 
or sketched the harmonious curve of a ceiling or 
relief of a cornice, when Viltoria had abandoned for 
the day his mouldings that emulated the most delicate 
carving in marble, and the master of the house, 
Marcantonio, their worthy compeer, laid aside his mod- 
elling tools, they all would meet in the banqueting- 
room,' and forget fatigue at the sumptuous board, 
in the beaker brimming with the wine of Asolo ; 
the brilliant conversation flowed along, not. perhaps, 
without a spice of looseness here and there, that 
could hardly shock even the Patriarch of Aquileia. 
Daniele, and certainly must have called a smile to 
the lips of Marcantonio, the grave ambassador, who 
loved Uvely jests, and who engraved tbem, too, 
under the figures be modelled for the grotto in the 

1 C«cciaoig», Ricordo delta prouincia di Treoiio, LI. Treviio, 1874. 



74 VENICE IN THE GOLDEN AGE 

garden,* — for example, iheae verses for a group repre- 
sentiiig Acteeon and Diana : 



In ways like this the men who were to be shortly 
called upon to guide the State filled up the leisure of 
iheir country life ; and thus, too, luxury and splendour 
spread from the city to the country in the train of the 
great personages who passed the summer months in 
their villas or were sent to govern the mainland towns. 
A whole series of laws, known as del Heggimenll, were 
passed in order to counteract the pernicious effects of 
the example set by the representatives of the Republic 
in the provinces.^ 

There were, however, among the Venetian patriciate 
a certain number of noblemen who preferred the charms 
of nature adorned by art to the ambitions of oflice or 

' Yriirlo, La Vie d'an palriclrn, p. l4!j. Piris, 1874. 

* The most important of thene aumpluarj Uw» dei Reggimenti were 
pitied b^ the Senate on the followios datei, June aq. 1695 (Senato. 
Tfrra. Reg. 65. c. 44): Mij ao. 1598 (Tcra. Reg. 68, c. 3o); Juae 
aa. 1609 {Terra, Reg. 79. c. Sg); March 3. 1618 (Terra, Reg. 88. c. 6). 
ThoM lawi eatablished the oalure of the furuiabingB of a goTeroor'a 
bouse. lie wa> rorbidden to bang the wholo house in mourninB in the 
case of a death io the familj. Silk hangings far the hall or Llie chamben 
were illegal ; latin, camlet, or stamped leather. unfigiiTed. was permitted, 
but odI; to ■ certain height up the walls. Tapeatri was permitted in one 
room onlj. Carpets, t^le-cloths of silk and gold, silk window curtains. 
were forhidden eicept in the principal room, not more thin twelve chairs 
upholstered in silk or velvet were permitted. Carved and rilded benches, 
strong boxes covered with silk or velvet, carved and gilded doors, carved 
or painted walnut bedsteads, bed curtains and coverlids embroidered in 
gold, chased gold sheaths for swords or daggers, were all illegal. Silver 
plate was limited to sixlj marks' worth. Carriages were not to be hncd 
with velvet or silk, nor were gold fringes permitted. Two horses onljr 
were allowed, and the harness was to be at plain leather without ornaments. 
Later on, the severity of these laws was relaiod with • view to making 
thorn efficacious. In the second half of the siileenlh cenlurv 1 5oo ounces 
of plate were permitted, and iu 1770 ibis was raised to 6000 (Senito. 
Terra. Reg. i j6. c. i8>. March II. i653 (Reg. loj. c. laS), M«j 16. 16S1 
<Beg. 336. c. laa). April afi, 1749. and so on. 




VILLAS ON THE MAINLAND 

the attractions of the city. Leonardo Emo is a noble 
example of the true country gentleman ; he devoted 
hie whole life to the intelligent development of his 
estate at Fanz6lo in the Trevigiano, Tne family ar- 
chives of the Emo at Fanzolo contain a book of mem- 
oranda written by Giovanni Emo in iG6^ ; in it we 
find this note : " Li beni po3ti in Villa di Fanzuol, Icr- 
rilorio trevisano, sono palrimonio antichissimo della 
nostra casa. quali di tempo in tempo sono andati 
augumentando dalli nostri asccndenti. Erano questi 
libcramente posseduti dal q'^ Sig. Lunardo Emo tf Sig. 
Alvise mio Avo, signore m gran prudcnza e governo, 
mancato di vita scnza debiti." lie too was a gentleman 
di gran pradenza e governo and an excellent father, for 
^Hin i565 he married Cornelia Grimani, and by her had 
^H eight daughters and two sons, all of whom he left welt 
■ provided. Signer Lunardo did not ignore the vaunt 
of his race that they were patrons of the arts, and 
about i55o he called on Palladio to build him a villa, 
and three years later, Battista Zelotti and Paolo Vero- 
nese — whose fame bad spread through the Trevigiano, 
on account of their decoration of the Villa Soranza near 
Castelfranco, which, Vasari tells us, was considered 
the most beautiful and commodious bouse that had 
been erected in those parts — were invited to carry out 
the frescoes. The Villa of Fanzolo, standing in forty 
hectares of private grounds, with wide lawns and long 
avenues of hornbeam, watered by a copious stream, is 
a worthy monument of the architect who designed it, 
and of the Venetian patrician who owned it. Palladio 
himself uses very modest language in describing it, 
" Lc cantine," be says, " i granari, le stalle e gU altri 
Inoghi di Villa sono suU'una e I'aitra parte della casa 
dominicale. e nell' eslremita loro vi sono due colombare, 
cbe apportano utile al padrone, ornamento al luogo, e 
per tutto si pu6 andare al coperto ; il cbe 6 una delle 
principal! cose che ai ncercauo ad una casa di Villa. 




76 



VENICE IN THE GOLDEN AGE 



. . . Dietro a questa fabbrica e un giardino quadro di 
ottanta campi trivigiani. per mezzo il quale corre un 
fiumiccllo che rende ii silo bello e diletlevole. " • 

A ooLIe (light of steps leads to the loggia, which is 
adorned with paintings. In front is a fine Ceres sur- 
rounded by agricultural implementH, by Paolo ; and 
on each side arc weak compositions by Zelotti: Callisto 
and Jove, and Callislo turned into a bear by Juno. The 
vestibule is also decorated by Zelotti with a painted 
pergola and two statues, successfully imitating bronze, — 
one representing CordiaUty with its heart laid bare in 
its breast, the other signifying Economy with the estate 
books in its hand. The great hall has a row of fluted 
Corinthian columns, very well given in chiaroscuro, 
and the doors and windows open between them. On 
two walls in the intcrcolumniation are two large fres- 
coes representing Scipio Africanus and the death of 
Virginia. Many of the rooms are also painted by the 
two Veronese masters, who mingled subjects sacred 
and profane : Christ crowned with thorns next door 
to the Deities of Olympus, the Holy Family close to 
Ceres. Saint Jerome companion to Venus, the risen 
Christ in company with Hercules and Dejanira. In 
front of the viHa opens the valley of Possagno, and the 
lovely range of liiUs from MontcUo to Baasano. 

There are gentle souls who love the country with a 
genuine, natural affection which envelopes mountain, 
plain, field, and forest in one all-pervading spirit of 
pantheism. In i5a5 Bembo, quitting the uproar of 
Rome for hia villa at Santa Maria di Non,^ describes 

1 p4Uiditi, L-ArehiMtara. eil-, 11, 117. P.ilidio mentioDi olhcr viUu 
bnill by him for VsoeliaD palnciaDi, — for iho Pieani at Bagaoto and at 
Monlaniani, at Fralta near Rnvlgo for the Badoer, at Chianoo in the 
TrevigiaDO (or the Zeoo. tl Piombioo near Campoiampiero for tbe Comaro, 
at Marocco Daar Meitre for the Moceui^. Seo MagrlDi, Mtmorie int. ad 
A. PttUadio. D. Iiiii. Padova, iSib. 

' Santa Maria di Non lies close to Pidua, and is witbln the juriadictioD 
of Ciltadella. An lulo^aph doclsralioQ of pro|ierl)i made on March i5, 
1 530, bj BartotooiBO Bembo in the Daiae of liii brother Pietro, conlaiiu. 




VILLAS ON THE MAINLAND 77 

i quiet country life in sketche3 which breathe a note 
f veracity, in spite of the studiously ornate style of the 
nguage. Writing to a friond, he says: " Son venuto 
Pipi alia mia villctla, chc mollo lietamente mi ha rice- 
vato, nella quale io vivo in tanta quiete in quanto a 
Roma mi stetti a Iravaglio e faslidj , , , Non sento 
romori se non quelli che mi fanno alquanti lusignoli 
d'ogni intomo gareggiando tra lore, c moiti altri uc- 
celli, i quali tulli pare die s'ingcgnino di piacermi con 
la loro naturale armonia. Leggo, scrivo, quanto io 
voglio ; cavalco, cammino. passeggio molto spesso per 
entro un boschetto, chc io ho a capo dcU'orto. Del 
quale orto assai piaccnte e hello talora colgo di mano 
mia la vivanda dcllc prime tavole per la sera e talora 
un canestrino di fragole la matlina. . . , Taccio che 
I'orto e la casa ed ogni coaa tutto 1 giorno di rose 6 
piena. N^ manca oUrc a cio chc con una barchetta, prima 
per un vago liumicello, che dinanzi alia mia casa corre 
continue, e poi per la Brenta, in cui dope un brevissimo 
corso questo fiumicello entra , . , io non vada la sera 
buona pezza diportandomi . " 

Giorgio Gradenigo (i5a3-i6oo), a student of letters 
and lover of the arts, without laying claim to the 
grandiloquent title of litterateur, was jxxlcsta in Friuli 
for many years ; in his letters from Cividale, ad- 
dressed to bis friends, he describes the scenery in 
broad, clear, vigorous touches, which convince us that 
he saw, breathed, and enjoyed.' After dwelling on the 
fields, the hills, the grassy slopes, the beauty of dawn, 
the limpid waters of the Nalisone, and the distant Alps, 



■mong other ilitemeuls, Ifae foUowinf ; 
ivEoIa de SanU Miriade Non udi ciiid 
7 ID circbi can ompi de 3o in cirrlii ai 
ClYicoor P.di», Eitimf. Vol. XXll). ' 
or VlUt Bom at Bembo, wbich c 



' El prii 



other the hitic itreimlat c*ll«d Ibe Piovego. Sh CUo 
pp. 35-87, '°^' 

' Carducci, Canvtrt. eril., p. 187. Boma, 1 



Io Zilgdela st solo la 
<ili et borti da campi 
et prativi " (Arcb. del Museo 
* clearh Ibe famoui Noniano 
faced the BreDta tad □□ Ibe 



t'n dec 



78 



VENICE IN THE GOLDEN AGE 



he breaks out: •■ Ma che dirb io del respiramento che 
viene al core dalla boDta e purita di quest'uere P . . . 
Oh come interamente bo goduto la parte mial Oh 
come gustevolmcnte la sera fin alle due ore passava 
tempo in diportarmi per prati e pianure vicino al mio 
albergol E nel rcspirare e nel prender fiato aentiva 
aoavemente entrarmi un non bo che di odorifero e 
spiritale nel petto. La mattina poi I'aurora non mi 
coglieva in letto giammai. Riduccndo te molte parole in 
una, a Cividale il sole mi k paruto piii splcndente che 
in altro luogo, ii cielo piii azzurro, le stelle piu lumi- 
nose. GU uomini domandati del male dello stomaco. 
dicono che non lo conobbero mai, e si sputa di rado se 
non quando si vuolc assaggiare qualchc boon vino. E 
vanne via maninconia."' 

In Alvise Cornaro we have another noble example 
of a cultivated patrician and country gentleman. He 
passed most of liis long life in tlie country and felt pro- 
foundly the poetry of agricultural labour, the charm of 
bucolic existence, the sartia agricoltura, aa he himself 
styles it. ^ior was he leas attached to art, whose secrets 
he had probed, whose methods he had mastered so that 
he was able to assist and to direct the professed artifi- 
cers in their craftsmanship. He built, partly from his 
own designs, assisted by Giovan Maria Falconetto, two 
villas, one at Codevigo on the riglit bank of the Brenta, 
tbe other nel piit bel silo of the Euganean hills at Este.' 
In his "commodious chambers" and his "beautiful 
gardens " he tasted the joys of country life, making 
long excursions on foot and in hi.s carriage; following 
the chase, to which he was devoted; reading, writing, 
but never indulging in games, whether cards or chess or 
any other kind, being a pronounced enemy to them, 

' Dolce, Leltere di diverii haomini notUisiimi el ecerlUnlitiimi ingegni, II, 
467 el leq. Venoli*. 1574, 

* Lovtrlni. Le nille edifitaie da AhUe Cornaro (pub. in Arte, «□. II, 
fwc. IV-VU. Romi, 1699). 



joy! 
lani 



VILLAS ON THE MAINLAND 79 

It readilv encouraging the plays and comedies of Rus- 
sante and other playwrights, and conversing pleasantly 
vrilh his guests on pbilosophy, art, and letters. But his 
faTourite employment was to build wholesome houses 
for his peasants and to lay out roads and bridges. 
This pioneerof charity and of science drew his siaeerest 
joys m^m his agricultural pursuits, reclaiming marsh 

ids, rendering tlie air healthy, inciting the peasants 
to useful labour, leaching tlieni il vero modo deU'agri- 
coltara che non la tntendeano,^ and introducing tlie sound 
system of the Mezzadria contract. Venice did not lack 
noblemen who knew how to combine the pleasures of 
country life with the wise employment of their riches. 
and who spread their beneficent influence over farm- 
steading and field. 

This almost patriarchal form of life ofTers a striking 
contrast to the rude customs of the feudal nobility of 
the mainland, — a contrast illustrated by the difference 
between the gracious Palladian villa of the plain and 
the frowning fortress crowning the neighbouring hill. 
The feudal system of rights had never found a place 
inside the circle of the lagoon, though the Republic did 
not hesitate to grant such rights even to the members 
of its own aristocracy, especially in the Greek archipel- 
ago af^er the fall of Constantinople. When Venice 
conquered the mainland, iho government was unable to 
suppress feudalism entirely, thougit il endeavoured to 

I There »re hsrdlj inj pood Irealiies on Ihe subject belonging to thU 
date. We Iu>e an iDdiKrimiaate coUeclioa of worki, incienl lod modem, 

Eubliibed in Italian under ihia title: Delia AgrUoltara di M. G'tovama Tulli 
wekae. libri eiiujue, ne' quali il conUngoaO lalle te coat atlU el apparteiunli ol 
baogno delta villa IratU dagli anlichi it da mocfcrni icrJIIori eon U fyart detlt 
tione, dtUe pianle. de gli animali. tt dtlle »rbe. etc. Vfiieiii. Franceico Sin- 
■oviiHi, i56i. The name Tatti jirobablj conceali Smravino himieir, who 
robiequentlv dedicated to Antonio Dotto. of Padua, L'AgricoUura Iralla da 
diwrtl antufii tl modeml tcrillori dal tig. G. A. d'Herrera, tt Iradtilta di lingua 
'1 ilam&rino Roiro da Fabriano. Vcnniii. BoDclli, 



■ 577. We must il)o mention, ai printed *t Veuice by Giolito (iSit), 
Ibe Littrra di Alttrto LolHo nella quale egli eelebra la villa et (otida imtlU 
ragrmlUra. 




8o VENICE IN THE GOLDEN 

reform ila abuses. In i586 it published a law regu- 
lating investitures, and the year after it appointed the 
Prowedilori sopra feadi. the commissioners on fiefs, 
with which many of its own members were invested, 
— for example, Caterina Cornaro at Aaolo, the Venier at 
Sanguinetto, the Gabriele at San Polo, the Zorzi and 
then the Loredan at Mel. the BrandoHn at Valmarino, 
the Trevisan at San Dontl di Piave, all of whom had 
jurisdiction over the lands and the villages attached to 
their great country seats. In this way the aristocracy 
of the lagoons, enriched hy commerce and bred in 
obedience to its own system of laws, was established as 
a counterpoise to the turbulent original feudal aristoc- 
racy of the mainland. Investiture, granted in the name 
and for tlie glory of San Marco, conferred either merely 
civil or else criminal jurisdiction as well, with pure or 
mixed imperium, tlie grist and bung dues, fines on 
taverns and slaughter-houses, water rights, rights of 
Bport, road dues, market dues, with all exemptions and 
privileges lam dejare tjiiam de consaeludine. Under the 
mild rule of the Venetian aristocracy the peasantry 
were left to live in peace, hut neither the laws nor the 
arms of the Repubhc served to save from tyranny and 
outrage the subjects of the petty rural nobility, especially 
in the district of FriuU. 



CHAPTER XII 

Pashions, costume, and head-dress — 
sumptuahy laws 

THAT prolific compiler of books, Francesco San- 
sovino, who is not above the suspicion ol' plagiary, 
wrote a dialogue in which Trifone Gabriele in- 
structs a young Venetian genlleman in the art of living, 
how he should direct his studies, and how best he can 
avoid the evil and cleave to the good ; and among 
other excellent pieces of advice Trifone urges his 
pupil to keep ' ■ la casa di mediocri ornamcnti addohbata, 
piu tosto commoda liabilationc che picna di morbidezze, 
e il corpo vestito di buoni habiti piu presto gravi che 
pomposi." ' But this sound advice perished still-born 
betwixt the leaves of Sansoviiio's pamphlet; art applied 
to industry brightened every corner of the house, and 
great were the opportunities for display aiforded by the 
incessant changes of fashion 



» 



Omitting the ancients, no nation ever showed itself 

insatiable in the matter of fashions as the Venetians 

at the epoch of iheir greatest splendour^; France alone, 

' S>n»>ymo, D'mlogo dfl Grmlilhuamo I'lniliano. p. 5. Veootia, i5C6. 
The Dialogue I> merelj ■ n^productioii of ■ kll«r on Uie dulics o( ■ 
gcDtleman wrillen bj Berntrilioo Tomilano. See Morelli, J.. / Codicl 
voi^ri della Libitria Marciana. p. 133. VoneiU, 1776. 

■ !□ (dditioD to tlie piialiDgs of Ihe shteenth conlurj we htve viluible 
evidence on the lubject m Ibe works of PerclinBodo Bertelli (Omnium fen 
gentium noiirae aelatii kaltilaa, Ven. ih6g) ; of Hans Weigel irilh Amniin'i 
woodculi (Hobitiu praeeipaorum popaloram, Norimbergt, 1577); of Jmu 



8a VENICE IN THE GOLDEN AGE 

and then only in the seventeenth and eighteenth cen- 
turies, could rival Venice, who had already so long 
ftreceded her in multiform and varying reGnemenls of 
uxury. 

Perhaps the chief occupation of Venetian ladies of 
this period was the assiduous search after new forms 
of adornment, either to hide defects of person or to 
heighten their natural charms by the infinite richness and 
variety of their robes, their embroideries and laces, and 
by the graceful cut of their apparel. The mercer 
and the dressmaker ranked as artists, and among the 
many masters of the shuttle and the scissors in the 
sixteenlli century, Messer Bartolomeo Bontempelli — 
who, along with his brother Grazioso, kept a shop at 
the sign of the Calice at San Salvatore, near the calle 
dei Stagneri. and sold the most splendid stufls — and 
Master Giovanni, who kept a dressmaking establish- 
ment at San Lio. figure as important personages in 
Venetian domestic Itfc, Messer Bartolomeo dal Calice, 
the pet of Venetian great ladies and of many an Italian 
princess, made and kept on show at his shop, where 
ne received orders even from El Serraglio del Gran 
Turco, a special quality of watered silk, of taffeta and 
of flowered brocade, incarnaii. pauonazzeti, et verdiclni, 
eke l pennello non <jli saprebbe dipinger meglio} These 
gorgeous Bluffs were cut and filled by the valentiss'tmo 
ed acalissimo sarlore Master Giovanni, who turned 
out ' ' di quante sorti di habiti si possa imaginare da 

Jicqiies Boisurd, with the eagrivings b}' Goltiiu* (flabitoi twiarum orbit 
gentium, t58l)*. of CesBre VeceWio (Degli Kabiti anlichi e modemi. Veneiia, 

Er Damian Zenaro, iSgo); of Pielro Bertelli (Oiuenorum nafioniun hoiilui. 
.Uvii, i56g, i5c|i.Biid iStjG) ; of Giacomo Franco (/fo&ili if 'huonteni' el donne 
Vtneliane aod Habili delUdonne vtTieliane. Ven., 1610), Weilso hare some 
fi^rei of mBlrons aDil ma^ttrstoi of Venice in a work bj Alesiaiulro 
Fabri, of Padua (Diaersarum Nalhaum arnalat turn tit'a imnibui, Padua, 
iS^S) in three octavo voluinei containing about 3oo pUtca without text. 
Surh collectioDs at Ihoie of GiiKiiiires in (be National Librarj al Paris are 




■■■■■K 
'.J 



84 VENICE IN THE GOLDEN AGE 

wealth thai they built ihe beautiful Gothic palace at 
San Maurizio that was afterwards acquired by the 
Zaguri, and iilled it with works of art, among them a 
painting by Antonello da Messina (1475), in which we 
see the portrait of Alvise Pasqtiatini in a scarlet cloak 
with a black hood over his shoulder.' There was 
also the family of Menor, called dalla Gal/a from the 
sign of their shop ; they came from Fermo in the 
fifteenth century, and grew rich enough to own con- 
siderable house property at San Giuliano near the 
Ponte del Pig.toli, where there is still a record of them 
in the handsome well-head which bears their family 
coat of arms and two cats, their house-mark. On 
March 5, i5oG, there died at San Giuliano another 
wealthy mercer, Pietro tU Reni, " uno rico popular, 
qual era marzer, morto scnza fiolli a lassa ducati Go 
milia " to the State and to charities.^ 

But however able those mercers and dressmakers 
might be, they were not adequate to the demand for 
artistic refinements in dress, and artists even of con- 
siderable name readily found an opening in the milli- 
nery business : for example, we find Cesare VeceUio 
designing laces and embroideries, and the Mosaicist 
Valerio Zuccato. instead of attending to the great 
mosaic of the Apocalypse at San Marco, to which 
parum vel nihil dahal operam, spent his time in a shop 
he kept at SS. Filippo e Giacomo, where he sketched 
patterns for cujjie. vesture efrastagli.^ 

Clothed in the splendour of these gorgeous stuffs and 
wearing such exquisite jewelry, the great ladies of 
Venice appeared with the majesty and grace of so many 
queens. The German friar Felix Faber in 1^88 was 
present at a fete where he saw the Venetian ladies of 
the aristocracy cotanio in arnese that he forgot for an 



' Not. JeirAnonimo, ed. Frizioni, p. l5o. 

« Sinudo, Diari. VI. S07. 

• Arch, di Slalo, Proc, dt sapni, B* 78, Proe. : 



COSTUME AND HEAD-DRESS 



85 



^ 



tant the austerity of his frock, and declared that 
he seemed to eee " Venere coUe ancelle disccsa dal 
monte a lei diletto, e con esse loro mandata da Sata- 
□asso a tentarci." ' By the light of the candles in the 
palace halls, hy the light of the sun on the prom- 
enade at San Marco or Santo Stefano, these golden 
ornaments, these gems, the yellow taHetas, the velvets 
of crimson, green, pale hlue. the silks of cardinal red, 
all' aUasandrina, the damasks (igured in gold or silver, 
turquoise- blue, olive-green, carnation-rose, the murrey- 
coloured brocade witli gold and crimson patterns, the 
silvery camlets with purple stripes, the watered silks 
shot with green and purple, llie pure white, or lapis 
lazuli or pomegranate dyes of the cloth, furnished a 
pageant of colour such as Venice alone could display .^ 

The very personification of this feminine sumptuous- 
nees was, of course, the Dogaressa herself; she 
had her place in the great public ceremonies, where 
she appeared in the Piazza surrounded hy her court 
of ladies and genllemen-in-waiting ; her robes were 
of gold brocade lined with ermine, her train was of 
enormous Icngtii, and she wore a ducal bonnet of gold 
studded with gems, from which a light veil of silk 
fell over her shoulders ; her bosom was ablaze with 
diamonds and pearls, and a golden girdle clasped 
her waist and fell to her feet.^ At private receptions 
she wore a dress with close-fitting sleeves called a 
dogalina : it was made of crimson velvet or satin, 
and her bonnet, on these occasions, was of the same 
material sown with diamonds and pearls. From the 
opening of the sixteenth century onward, the Doge's 
robes hardly changed at all, nor did those of the 

> Fiber. Evagatorium, cil. See Luiri'i traiulitioD for the pirt that 
tefoTS lo Venice. 

9 Sea Appcudii, Doc. B., No>. II. IV and V. laiienlari d'l Chiara Mar- 
etllo <i53S), tUUa caia dct Procuratort di San Marco Lorenzo Correr (l58i), 
• di Aforia PoHoni (i5qo). Soo fipccaria, LJna piralerio e 

• Vecellio, Habitt, PUlo dq p. 5^. 



86 VENICE IN THE GOLDEN AGE 

\ Dogaressa, in spite of the universal feminine desire for 
I novelty. When the noble ladies of Venice abandoned 
the cumbersome costume called the dogaliita for a 
lighter dress, they introduced undervests with sberne. 
invealidare^ with pads of tow, or cotton, or even of 
wood, called /nWi(//ie' (farthingales), the early germ of 
Ihe crinohiie. With a fine feeling for effect, they 
would sometimes throw over their rich-coloured robes 
a fine black veil, which fell from the crown of Uie head 
over the shoulders to the ground, and lent a singular 
attraction to their person, in the Judgment of Aretino, 
who was a connoisseur in such matters. 

. . . Sottd il aero trsepareale *elo 
VoggODsi in carne gli aDgioli del cielo.' 

This veil gradually took the form of the black silk 
mantiglia (cendadum, zendado) which was fastened at 
the waist, turned up over the head, and framed the face ; 
it was known as the vesta or cendh, and resembled the 
ninziolelo bianco of the women of the people, and the 
/oniia of the Chioggians, a half skirt of white or coloured 
cotton fastened at the waist, and thrown up over the 
head with folds falling round the face. The londa was 
also known as the bocassin from a certain quality of 
cotton (6ocasstniw) from which it was made. This 
white veil (londa) of the people and the black man- 
tiglia (cend^) of the aristocracy are both in use to this 
day, and were a peculiar and characteristic feature of 
Venetian costume of the Settecento- Both may pos- 
sibly trace their origin to the remotest prehistoric 
period of Venetian life; for in the museum at Este, 
among the many objects of interest laid bare by exca- 
vations, we find a bronze statuette of a female figure. 
clearly the work of the rudest local art, in the pre-Roman 

1 Pellisiier, La loi somptuaire de Trevite en 1507 (Naoaa Areh. Veaelo, 
XrV. 6a otseq.). 

' Vscellio. Habili. p. 189. 

' > Luiio, Pitlro Aretino ne'primi iaui onni a Vene:ia, p. 3g. 






• • 



• • • 

••• • 
• •• • 

' ••• 



• a • 



* a • 
^- • . • 






• • •. 









••-.•• 



• ••. 



•• 




COSTUME AND HEAD-DBESS 

_^>eriod ; this figure has its head covered by a cloth, 
which, instead of falling freely over the shoulders and 
arms down towards the ground, is caught in tightly at 
the waist ; and here, according to a competent judge, 
we have the prototype of the cendh and the ionda} 

But, to return to tlic period under consideration, the 
characteristic of the age, as far as dress is concerned, 
is a search for new forms and complicated refinements. 
Belts and buckles were constantly changing their sliapc, 
and the demand for them was so great that a special 
trade guild, the guild of the cenlureri and fiaberi,'* was 
founded and flourished. The bands which used to 
support the breasts were replaced by meta! corsets 
fastened with a screw that could tighten them, or with 
melal springs, veritable instruments of torture, which, 
however, towards the close of the sixteenth century 
were superseded by slays stiffened with whalebone.' 
The rufl", loo, was alrelched on wire (vergole), and rose 
sometimes above the top of the head. Dresses were 
trimmed with beads and bugles, which had come into 
fashion as early as the fourteenth century. Buttons 
were made of rock-crystal (chrislallo de monlagna), and 
gilded crystal was used for girdles, car-rings,' hairpins, 
and chains.^ A complete revolution in dress was pro- 
duced by the invention of lace, — the most aristocratic 
of personal adornments. Lace at once assumed its 
place as the refined and graceful adjunct of all clothing, 

■ Gbirardini. La colleiione Baratftn di Etle. pp. 60. 61 . Romi, 1888. 
The objecU in Ibii collection were round od Ihe Barilela property at Esle. 
The Itipt barateliana dead; bolong<?d lo an ancient doll of Ihe distrid, and 
the Sgaret and atatueltes have the character ot votive oirerings. 

* The eeatareri were con<^en(ralod io Ihe Mercoria di Sbd Giuliino. The 
fiiAtri gave tholr name to the CrxlU Fvibera. Thej bid iheir guild hall at 
San Felice, close to the church, gad were under the protection o( the 
Virpn o( the Asaumptioo. 

* GoUi, Un po' di tioria del busla e della faiceita (in the Emporium for 

JuDe. tgo3). 

* See Anpendii, Doc. B. No, V. Inuenl. di Maria Pollani. 

* luBbotta d'EsIn in ilgr wrote lo Venice for bead chaini to near 
round the neck. Burtulolti, Le Arti min. alia CorU 4i Mantova. o. 1007. 



88 VENICE IN THE GOLDEN AGE 

even of gloves and shoes, but more especially of every 
kind of linen, dressing-gowns (roccAe/Zi), caps, chemises, 
petticoats, hose, drawers, handkerchiefs. At this period 
personal linen begins to take a larger place in inven- 
tories, and the physician Itangone did not hesitate lo give 
advice which must have seemed a counsel of perfection 
for those days, when he enjoined his clients to keep them- 
selves " mondi la vita di camicia, di calce, (ii lenzuola 
e aomiglianti, spesso spesso, ogni settimana mutali."' 
To us this hardly seems excessive, and Francesco San- 
BOvino in his Venelia bears witness to the dilicatezza et 
poiUia of Venetian women, who owned copious supplies 
of linen, and employed linen and silk for their under- 
clothing, elaborately " ricamati, fregiati, lavorati, stri- 
sciati et di nuovo ridotli a bellczza con I'artificio dell' 
ago, della seta, dell'argento, dell'oro."* Handkerchiefs 
of linen and even of seda schietta were striped with gold 
thread 3 or fringed with lace*; silk socks of various 
colours were lislade de razo or with gold * ; i cahoni 
ehe non si veggono^ (i. e., drawers) were trimmed with 
lace and fine embroidery, petticoats embroidered and 
striped in Qosa-silk. even nightgowns were made of 
the finest linen trimmed with lace, crochet-work, with 
elaborate collars, embroidered with gold thread, pleas- 
ant enough to see if not to touch. After the close of 
the Middle Ages gloves came into common use, and 
women's gloves were bellUsimi, trinciali, profantati,'' 

t Rapgooe, op. cit., p. ii. 

3 S.ngoyii.o, Venelio. Lib. X. 

■ liiaenl, di Maria F'ollani. 

* Invent, di GoretCa Longo-Malipiero (t563) pub. per none Bertolioi- 
GuEgeDboim. VeoeiU, 1909. 

I CoMratto di fm;re de( 1537, Aretino. Letterc. 1, l5. 

' La Paaia. i56i, Thii work bj so sooDjmous writer is merelj » 
reculing of Eruoiu*' famous Iroalisc. bul it «dcli somo louchos on tbe 
customs of the times. 

^ RoBsi, Raecolla Cotlami. MS. il Ibe Marciana. Vol. II. A eumptuirr 
law of Lbe Seoale (September 99. i535) mentioos "Ii ^aoti lauoriti d'oro, 
d'argcnlo. et di seta et d'ogni altra rosa con fplreli d'oro e d'argcolo." 
Parle diiurie et ordeni in materia detlt pompe. Piaelli, op. cit. 



e 
A 
I de 

L VB' 



COSTUME AND HEAD-DRESS 89 

imetimes made of lace, ailk and painted leather. The 
Uens of great height, which in the early days were 
lecessary, owing to the filthy state of the streets, be- 
came later on an object of great attention, and were 
made of brocade, cloth of gold studded with jewels, and 
BO high that they resembled stills.' This led Pietro 
Casola to believe that Venetian women must have been, 
for the most part, very short " perchfe quando non 
foEsero cosi, non userebero le zibre, alitcr pianelle, 
tanto alto quanto fanno ; che invero ne ho vedoto 
qualche paro, che sono alto almeno mezo brazo milanese 
e tanto alte che portandole alcune parcno giganti-"* 
A century later Garzoni made a similar observation, 
declaring that pattens "alle signore Venetiane danno 
grandezza tale che per la piazza di San Marco ci par 
veder le nane convertite in gigantesse. " ^ Casola ob- 
irved that, thanks to this absurd custom, the women 
non vanno secure dal caschare, se non vanno bene 
apogiate a le schiave " ; and as a matter of fact the 
height of the pattens prevented Venetian ladies from 
moving quickly, and not infrequently they fcU and 
hurt themselves, so that they were forced lo lean on 
the shoulders of their servants. Other servants fol- 
lowed in their train, and a matron's position was indi- 
cated by tlie length of her suite. The popular verses 
of the Massare recall this custom : 

Compagngr po Is patroni 
Co la va Tueri da cht 
Sol la FiDle a quealo k buoni, 
CLi Irani enter ognuD il a*. 
Gt chi pill driRto gbe oe hi 

' The Muieo Civico hat sovanJ apecirocDB ; one pair meaiurei i3 centi- 
netret >d height, aaolhor 5i. la Ihe Conlratto di aozze drt 1537 wg God : 
" Uo paro di lochoti de rasa biapco. tra o1 raio e la fatura L. i. >. 8 ) 

Ud piro de veludo negro L. 3, j due. 3. 

Va paro de pano d'oro tirado et veludo 

* Cisols, Viaggio, cil., p. li. 
» P'uuia, p. 833. 

* CaazoM delle mattare (fAcaghiai). op. cit. 



90 VENICE IN THE GOLDEN AGE 

But in Bpitc of prohibitions and in spite of popular 
satire the height of these dangerous and ugly pattens con- 
tinued to grow; though they found an apologist here and 
there, — Fabrizio Caroso da Sermoneta. tor example, 
who undertook, to explain minutely how the zoccoU 
should be worn.' 

Gema and Jewels also gave opportunity for senseless 
display. The noble ladies appeared on public occa- 
sions loaded with pearls, diamonds, rubies, sapphires, 
emeralds, agates, amethysts, beryls, topaz, and garnets, 
with rings on all the fingers, bracelets all up the arms, 
tiaras on the head, and it was difRcult to say whether 
the stones or their settings were of higher value. To 
quote once more Pietro Casola. tliat acute observer, he 
assures us that be saw on one occasion in a single 
reception-room five and twenty damsels una piu bella eke 
lallra, who had " tante zoie tra el capo, in collo e in 
mano, cioe auro, pietre preziose e perle, cheera opinione 
de quelli erano li, fosse el valsente de cento miglia 
ducati," that is to say, upwards of forty thousand pounds 
of our money. Philippe Devoisins. Seigneur de Mon- 
taut, who was in Venice in i^go, tells us that be noted 
several brides who bad "pierreries sur leurs robes, vaiU 
lant chascune plus de trente ou quarantc mil ducatz. "' 
RulTs weie adorned with rosettes of pearls, cloaks sewn 
with golden bosses, the fastenings of bodices studded 
with gems, the sticks of fans gilded and incmsted with 
jewels, and, in the words of Sanudo, you could not 
find " cussi triste e povera donna patritia, cbe non 
havesse de ducati 5oo in dedo de anelli, senza le perle 
grosse, cosaa incredibil a creder." ^ But we are in duty 
bound to remember that all this wealth of personal orna- 
ment did not serve solely to feed feminine vanity, but w&b 

I NobUta di dame. Venelii, i6o5. 

* Devoiiini fi4i5?-i5oo?), Voyage rn Jtnualem (ligo). D'&dcod*, 
Viaggio del Montaigne, p. 6o&. Citll di Culello, 1S89. 

* SaDudo, Ci'onachetia, p. 34. 




Vrcenliirj). iPari*. Hotel do 
i>i^ Uipir hair lij ninnns uf Ihe 
1.1.9" of Vwelliosi..! BerMl'i 



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• • •- 



• •• 



• •• 



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V... 







COSTUME AND HEAD-DRESS 

5 than once spontaneously ofTered lo the State in its 
hour of need . It is worth noting tliat ear-rings came into 
use only in i5a5. A noble lady Foscari-Sanudo wore 
ear-rings for the first time on December 6 of that 
year, at a party in Casa Bragadin. "Gossa notanda!" 
says Marin Sanudo, wlio describes his kinswoman with 
her ears pierced, ' ' al costume di more, c con uno aneleto 
d'oro sotil portava una perla grossa per banda ; cossa 
che iei sola porta, et mi dispiacque assau." ' But r 
fashions cannot be defeated. The fan, on the other 
hand, made its appearance very early in the history of 
Venetian costume. In its early form it consisted of a 
short stick with a square flag-shaped piece of embroidered 
paper or stulF. Later on Burano lace came to be used, 
or feathers or rare leathers, and the fan was attached to 
the girdle by a little chain. The slicks were made of 
ivory or tortoise-shell or precious metals and were 
engraved or crusted with gems, and became so costly 
that the government was forced to intervene and to 
prohibit li venloli che le donne havcvano principiato uxor 
(l533). that is to say, fans de lovi cervieri et zebelUni 
cam li manegi d'oro el darzenlo cum zoglie el perle per 
topra. allowing the use of plain fans only de penne 
timplice cum li manegi de osso negro over avolio (iSaS) 
tchielto sema alcan lavoro o inlaglio ne diora ne di argenlo 
(i53o).^ The fan soon passed from the patricians to 
the people, their fans being usually made of straw, with 
a bit of looking-glass in the centre, or of pierced parch- 
ment, or of paper painted in patterns or figures. In 
the sixteenth century scenes of chivalry and the portraits 
of Orlando and Rinaldo were in vogue ; then came 
the fashion of representing current events, grotesques 
or caricatures, hence the phrases ro6a da venloli appUed 

' SiDudo, Dinri, XL, iab. 

■ Arch.diSUlo.Senito, Terra. In the Conlrado dinoiic.alreidj quoted, 
we get " Ua vania^o da peoe rone et biincbe cum et luo miDego da 
<Mao bianco . . . due. i gr. 13 et per 1> lut KtlloU da teoirlo duutro 



99 VENICE IN THE GOLDEN AGE 

to anj one who made a fool of himself, and andar stti 
tealoli. which means to become a laDghiog-stock.* 

The mode of dressing the hair was constanlly nndei^ 
going change. In the Cinqaecento, as a general rale, 
fashion reqnired that the forehead should be left bare, 
while in the preceding century women wore te crine 
ante U ogii. as Casoia observed : he adds that hair was 
for the most part false, and was sold bv the coontrj 
folk, who hung it out for sale in belle perticale topra ta 
Piaiza de Sancio Marcho.^ The hair wag treated ia 
various ways, either (lowing, or curled, or plaited with 
ribbons and pearls {bugoU). or dressed like a crescent 
moon with its horns turned up, or twisted into a pyra- 
mid, as that learned lady Laura Cereto of Brescia 
(b. 1469. d. 1&99) tells us, " Harum hanc atqae illam 
ex alienis capilUs in aummum verticem turritus nodus 
adstringit."' About the middle of the sixteenth century 
the towering lape came into vogue, and women began 
to dress their hair dalle oreccMe con ordine dirilto Jtno 
in cima delta fronte. No pains were spared to acquire 
the colour and the glint of gold. It is true that the 
blond was the ideal type of feminine beauty, even in 
the Middle Ages, but it was only in the fifteenth century 
that it became the fashion to b'each the hair artificially.' 
To that end all the women of Venice were accustomed 
to wash the head con ana sponzetta ligala a la cima di 
an faso ; the hair was then dyed with various prepa- 
rations, and washed again with liscia forte con mille 
aromati dentro. lume di /eccia, scorzedi narancia. centre, 

■ Utbtui At Gbeltof. / ventoJi vtnetiani. Per aone Molmaiiti-BruDiti. 
V«nBri», i885. 

' Cacqli. Viaggio, p. li. Ia two of ihe ctpiltU of tbe lower log^i of 
the Dueil PiUce we lee ipecimeni of hair-drcumg in the fifteenth centurj. 

* Liure Ceretie, Brixtrait ftminat eiariaimae EpiitoUu, p. 68, PiUtu, 
i64o- 

* So PoUGlo lueiii. See La femmts blonia itlon la peinlret vfnitUm, 
pp. ib, &6. knhr/. Pirit, i865. Beoler {II tipo aletim delta donna, etc,, 
p. 131. Adcodi, 1883') cites some evideoce that artificitl bleicLing wu 
Dot unknown ia the Middle Ages. 



• •. 






• • 



/•. 






> 



• •• 

• ••• 
•••• 












..••• 



m 9 







COSTUME AND HEAD-DRESS 



93 



^ 



V^Korze di uoiio, solfo e mille allro vanita.' To dry ibe hair 
after tlie foregoing treatment they sat in the sun on the 
roofs of their houses, in those little open loggias called 
altane, with a dressing-gOHii round them and a large 
crownless straw baton their heads, called a solana. over 
the brim of which their hair was spread out. falling 
down on their siioulders, which were protected by a 
cape of cloth or silk called a schiavonelo.' As a curi- 
osity we quote tlie following receipt for producing 
golden hair ; it is to be found in a contemporary tran- 
script of the AJorismi of Arnoldo da Villanova. the 
famous French physician of the fourteenth century": 
" Tuolli ccntaurea onze !\, draganti gumma rahicha ana 
onze 2, sauon sal Jo onzci, lume de feza L. i e fa bolire, 
e puo' te unzi li capiili al sole. " Tliis fashion of treating 
the hair, common to Venice above all other countries, 
explains why almost all the women in Venetian pictures 
arc represented with auburn tresses. 

The great variety of fashions in dressing the hair 
brought with it a corresponding variety of head-dresses. 
There were cans alia foresUera, coifs with two lace 
lappels descending to tlie shoulders, set with pearls and 
gems, coifs of gold or silver thread ; hoods in cheba, 
that is, stiffened with metal wire so as to form a kind of 
cage {cheba). frontlets for the forehead, kerchiefs of fine 
linen adorned with pearls, and fastened by a thread of 
pearls, and ducal tiaras in gold. Very characteristic was 
a species of turban {balzo), of which we have a specimen 
in a portrait by Pordonone, a head-dress that was ex- 
aggerated by the provincial taste of the ladies on the 
mainland, for example, in Lotto's portrait of a Contessa 
GrumelU of Bergamo. Some 01 tliese head-dresses 

' Puii, Donncsrhi difrlt!. Dise. XXJIT. Ven.. 1618. 

* Vecetlio, op. cil. Pa»i. op. cit. Ln femma blondel. cit.. elc. 

' Mu>eo Clvicn. Cod. Ckngna. ii^iS, The MDrcitni also coDtain* 
ritetle « far biandi i caprlli, in a MS. ftirrltarh (CI. Ill, Cod. IX. pp. ai. 
53), Catino. LetUre. p, Sii, ^ves > receipt, and others aro puLliabed in 
i.ti f emmet blwuUi. 



94 VENICE m THE GOLDEN AGE 

reached incredible prices, and a writer of the Seicento, 
Aprosio da Ventimiglia, ailirms '■ che non e hiperbole 
ma verila, che tal capcllicra alia moda con tutu i 8Uoi 
finimenti non vaglia meno di millecinqueccnto ducati."' 
Althougli the use of pure water for purposes of personal 
cleanliness was not too much in vogue, the consumption 
of perfumes and scented waters was excessive. In the 
toilet chambers of the rich, with their cassellelta da cavo 
(comb-cases), dressing-tables covered with 6nc linen 
and lace and loaded with hundreds of rouge-pots and 
washes, crowded with cosmetics,''' perfumes, ivory combs, 
gilt-hacked brushes, and tweezers of gold,^ the ladies of 
Venice incessantly consulted the glass for inspiration 
in devising fresh refinements of fasliion. One of their 
chief cares was to correct the pallor of the cheeks with 
rouge, which was used even for the unseemly purpose 
of brightening the breasts: these were left bare, and the 
famous espoUrinement a la /aeon de Venise* acquired a 

1 Scipio GUreiDo (Aprotio da Ventimiglia). Lo aeudo di Rinaldo, owero 
lo tpetehio del diiinganno, p. 98. Veneui. Herti, i646. 
' Ganoni, Puuza, p. 5gi. 

* The will of Bernardino Zuichi (iSij). «1 the Miueo CIvieo, iDeil* 
at ana vtntaio e di uno iptgio (Toni. For olher loilcl uleniili tee Ludwig, 
ID the Italieauclie Forschuagca, published bj the lilitulo di StoHi dell'Arta 
di firanie. Vol. 1. Berlin. 1906. 

• Eslienne, Henri, Deta dialoijuei <lu nauueon langagc franeoa Halianiii tt 
aatremtttt desguUf, principaUment tntri let coartUaiu de ct lempt. ed. Riitel- 
huber, Paris. i885. (The flni edition is at i5j8.) In the dialogue 
between Philausone and Celtophile the former speaLs of the «poifriiumm< 
del damei tl damoitetta: Cell. Qu'esl-ce t dire espoitrinement P Phil, 
Qu'ellea vont eapoilrinifls, c'csl 1 dire (si encore voui n'enlcndei eo mol. 
Is c^el toutesfois eit Bon Frances) ajans la poilrine touts deicouiorle. 
Celt, Vrajmont c'est bien a la fa^n de Veniie, et il ne leur faloit plus que 
cela pour ae rendre bica (pialifi^a. Mais rant-ollcs autant descouvertei 
qu't Veniae? Phil. Bien pen s'nn faiit: et quant a lucunoii, !l ne ■'en 
faut rien. Ctll. . . . ces dames de la tour aont duja courlisanes, a la 
faron que les gentiUhommea de la cour sont rourlisans: mais do ceilei qui 
font ainii leurs monstres k la Venilieone. il j auroit bien dangw que 
mielques unes ne fuseent aussi courlisanes d' autre sort : c'eat usavoir a U 
VenitieDDe " (I, ^"ji)- Speaking of the cakagntUi, or pattern alia Veiittiana, 
PhilauHJoe Mja : ■' Quant aui dames de noire cour, je pense que peu useul 
de patini on mules de telle hauteur : et n'osl pas unc cbose. qui se puiase 
cognoiitre sani prendre garde do bica prcD a leur tUure " {}, ais). 



COSTUME AND HEAD-DRESS 

world-wide notoriety. Casola remarked ihal not only 
had the damUcUe their faces mollo bene depcnlo, but 
also el reslo del nado che se vedeva,^ while a poet of the 
people.^ noting that the great ladies spent the livelong 
day before tlie glass, 

Fauandoee le tole ront e biiacbe 
E dcscovGrte per gaUnUrii, 

laments that the bad habit found imitators among the 
women of his own class, 

Fine (|iie1e che Uus le ecuele 
No te uergogni d'esscr sbeletie, 

and gave them a piece of good advice, 

;on beteto 
e le sinipia. 

But the women were never at a loss to find other ex- 
pedients to preserve the softness and brilliancy of their 
cheeks, and at night time they were wont to apply to 
their faces a slice of raw veal which had been soaked 
some hours in milk,^ or employed solutions of alum, 

' A( lo Iho custom of leaving the treula bare, Cisola (p. i5) njt: 
" Eaae donne veaczisoe se foruoo quanlo poDO in pubblico, precipue U 
belle, de moitrare si petto, dico le mameile et le tptlle, iotanto che piu 
Tolle vcdeodale rae ioao marBviglialo cbo li panni noD ghe Biaca cticiti 
dal do<M>. Qualle che ponoaa, ct anche quells che non posBono. de vesle 




colto ; portauo de molti loelli in dito, de griodi balaial. robini et dia 






•1 



li fu dicto cbe molle oa 
volto, et in quelle parti 



Ho diclo Buche quelle che non poaBono, perchi m 
pigliavano iu fitlo. Vaono malto arliGcialo in el 

mojtrano, arc 16 che pareao piti belle." To put an eud lo tfati eicewvt 
display of tbcir penou. Aolonio Persia (Tratiato del portamenti dtlla 
Signoria. cit.) menliooi a proviBion suggested bj a Jpsuit and accepted by 
the governmcot, bul of which »e have found do traces, Hera are the 
words of Pernio: " lornando dal Concilio di Treoto il Padre Alfonio SaU 
merooe Giesuili, el fermatosi !□ Veoelia ■ predicarc. vodeado le nobili 
Venetiaue andare con Id spalle, et col petlo coloritlo. che a guita dl 
apeccbio v{ li potevaoo le gentl ri mi rare, u meiu a biasiniare queslo abuso, 
COD tanlo fervnre. eloauciua, ct cpirilo, cbe fece aliare i corpetti delle 
Donne lopra le mamelie. et in cambio di qucllo soltilliBimu velo. cbe por- 
tavino topra la carae. ordinti che si facessero un glupoiie accotato. cbe dal 
tioDie del Predicatore fu detlo. el h ancora nomioato il Salmeroae." 

I Caravia, Noipo bharo. Canto 11- 

■ Komi, Raceolla, cil., II, 5a. 



96 



VENICE IN THE GOLDEN AGE 



of borax, extract of peach stones, of Leans, lemon juice, 
bread crumbs, and even vinegar distilled with dung.' 
The number of extravagant receipts was endless, and 
there were a thousand prescriptions for removing stains 
or per mondar via i peli d'onde tiuoi.' or to render bands 
and feet soft, finger nails rosy, tbe sVin smooth and 
sweet,^ 

Throughout Italy of tbe sixteenth century the passion 
for perfumes amounted to a mania. From the cap on 
the bead to the shoes on the feet, gloves, -—to such an 
extent that at Milan the guild of glovers and perfumers 
was one and the same, — socks, shirts, even money, all 
was scented.* And as if that were not enough, they 
carried on their persons pouncet-boxes filled with 
scented unguents, and held in their hands cbaplcts of 
amber, not per divolione, ma per lascivia,^ and smelUng- 
bottles. We Gnd in the inventories hairpins of amber, 
monili con perle e bottoni d'ambra. and recchini con perle 
d'anibra. They put musk in their baths and amber, 
and aloes, and myrrh, peppermint, jonquil, Indian 
plum, cinnamon, ammomum, and other scents, which 
they bought /)£u die a peso d'oro.^ 

An anonymous writer of the Cinquecento attacks llie 
luxurious habits of Venetian ladies ' ' in far Candida la 
pelle, e colorite le guance, e le labra, nh fu, nc mai sara 

Sittore, che alii loro segni aggiunga. Del stillar acque 
i gomme, draganti, lume di rocca, argenti sohmati, e 
simil misture per far lucida e tirar la pelle, di modo 



' GanoQi, Piai 

* Thi. ■ - 



I, p. 599. 



o el poi piglii 



"Orpicr 

1. E dipoi firi 

tncorporale bena oea i1 ranno et uagi dove 

occhj et fa buoDo effelto." 

■ Mtrineilo, Omamenli delle donne. Lib. I. Veoeiig. iGio. 

* Verga, Le leggi tunle. « la dttmiterua dell' indiulria a MiJuno. HiliDO, 






et guarda gli 




COSTUME AND HEAD-DRESS 



97 



, ehe altri ne i loro volti specchiar si poBsa, per certo ne 
hanno tutta I'arte intiera; la pczzuola. i saponctti, le 
pomate, li stccchetti, e le polveri per i denll e per ti 
fiati. moscardini, ogli, et acque odoratc di miUe sorle 
gia piu non apprezzano per hauerle i Profumicn troppo 
divulgate, di poluerc di Cipri, aloe, beiigioi. muaciii, 
zibetti, ambra, et altri inmiiti odori, vanno scmpre 
caricbe."' Fra Bernardino Occbino launebes out against 
the biache. toUmati, acque stellate, ampoliine, punle, 
puntette, muscfti, and tulle le frascherie,^ and turning on 
tlie rouged and painted ladies of Venice, he exclaims: 
" lo son ben contento che uoi andiate aasetlate e polite 
e ben uestile, secondo il grado uostro, ma . . . non 
tanto depingenii, cbc me nc uergogiio da parte uostra. 
Deb di gratia conLentatiue delta bellezza, che Dio ui 
ha dato . . . cho ioui prometto che uoi parerele molto 
piu belle. . . . Oh tu dirai : to i) faccio per piacere al 
mJo marito. Oil se il fai per piacere al tuo marito, 
lisciati ia notte ch'io sono molto ben contento." ^ 

The patrician ladies, whose luiury in dress was 

> La Paizia, cit. Fioravaotj (op. cit., p, 106) mealtoDi " M. Doinen- 
ico Veatun MuichUro. lUa ioie^i del Giglio in Mercerit di Veuetii, 
ouaJs al preienle A uno de' piu riri ia Id profeisione. che li Iruoui in tulta 
Europa : come ben lo >t il mondo ; percioclie ({U£ eonosciuto diUa maggior 
parts delli Piiacipi Chriitiani, imperoche noUa sua Boltan ciene cose rare 
■1 inotido." Jt wa* (t Ibii iliop at the lign of the Lit; that, ia ib-j^, 
Henrf UI tnughl iii5 crown* worth of mini, De Nolbac and Solerti, 
/[ Vidjjio, cil-. pp. i38. aig. Ten jeara earlier there w»« a musk-vonder 
■I the lign of the LiJj called Giacoino of Milan. In the ItalianUchr 
Fonchangea (p. 34») Ludwig hta published the iavontoriei of the mwchwri 

■ OcchiDO, Prediche. p. 69. 

* Ibid., p. 73. Laura Ccrcto also iaveighs againut the reUied habiti 
of Venetian women; " Aliae fragranlcs odorihus paliolo subtegunlur 
■nbica. Nee desunt. quae cum Kaligcni luppcilalihui iouenoa pelle 
proferint aoccoa. Est et pervulgatum in omnei, quod lautiorca alie lin- 
donicia faiciolii euincta molliut crura gnbtciunt. EmoUitum mullae 
premunt psuem in rultum. Multaa distcDtam a rugii falao culem tx- 
poliunt; tuDt vero piucie quibus noa tanguineaa faciei ceruiae candor* 
pinganlur : alias alio et oiquitilore cullu formosiorei videri nitunlur, 
^Olun condilor formae disposuil. Pudet irreverentiae quarundam, lacteu 
penu Mtro nibcDtium, quae furtiuig ocelli*, et rideatibui bucci* veaeQIta 
IBtuebtium corda truuuerberuit." 
*W.. a. — 7 



1 



VENICE IN THE GOLDEN AGE 

imitated even by tiieir servants, set the fasliion for the 
wives of the wealthy citizens and merchants, who in the 
matter of dress moslravano poca dijferema dalle nobili > ; 
and their influence was felt even on the mainland, as 
we see from the portraits of the ladies of the country 
towns. 

Men's costume, on the other band, was severer, less 
suhiect to changes of fashion, and retained something 
of tne antique seriousness. The young men, however, 
before they settled down to their public career, indulged 
in refinemenl of dress and wilhngly followed the fashion. 
As a matter of fact, it was the head of the State himself 
who set the example. The Doge was always expected 
to appear in great magnificence. To mention a single 
point — duringthe sixteenth cenlnry the ducal bonnet 
used on Slate occasions was set with gems amounting 
to the value of 19^.093 ducats, equal to upwards of 
two hundred and forty thousand pounds.' After tlie 
reign of Niccolfi Marcello (i^']3) the ceremonial robes 
of the Doge were invariably made of cloth of gold; hut 
in i5a3 Andrea Gritti, a man of fine presence who 
paid much attention to bis person, introduced a change 
of colour in the robes of slate, and adorned the mantle 
with silver floriations and rich laces. ^ His successors 
did not rest there, but continued to increase the sump- 
tuousness of the ducal dress on State occasions. In 

firivate the Doge wore a red bonnet, purple cloak with 
arge sleeve* and a train, and red stockings. The 
people of Venice themaelves contributed to the splen- 
dour of the Doge's costume ; for the ducal stipend, 
which, according to Venetian custom was paid every 
tiiree months, consisted not only of money raised 

I Franco, Habiti delU donne, p. lo. 

t Cccchelli, II dogt di Vmeiia, p. »8. 

* SaQudo {Diarl. XL. 767), under dale Febnitry. i5a5, deKribea Iha 
Dags Aodrei GriUi, " veililo di roiUgno d'oro, di martora, cod udo 
miolo biiDCo e d'oro t fioToai el U barett etiam biuica c«d frui d'oro a 
cul btttro di artuuliui." 



r 

^^^g partly fn 
I Ireasury. 



^ 



COSTUME AND HEAD-DRESS 

partly from demain lands and partly supplied by the 
Ireasury. but also of tribute in kind, goods, stulfs con- 
tributed by the townships, monasteries, and confrater- 
nities. For instaocc, the townsliip of Piove di Sacco 
was bound to furnish a certain quantity of linen ; the 
Mercers' Guild, "una (asca di velluto cremesin con 
I'arma darzcnto del principe " ; the fustian and bom- 
bazine Mercers furnished the ducal bed and table 
linen, and the Barbers paid the Doge's furrier's bill.^ 
Every class of the population entertained the idea 
that magnificence of dress added to the dignity of the 
person and of the office. In i5oa the two Venetian 
ambassadors destined for a mission to Ferrara, on the 
occasion of the wedding of Alfonso d'Este with Lucrezia 
Borgia, were required to appear before the Senate in 
their robes, which conaisled of a great crimson velvet 
mantle lined with ermine and a hood to match. These 
robes took, in one case thirty-two, and in the other 
twenty-eight, yards of stuff,' Sanudo, too, does not 
fail to record that General Bartolomeo d 'Alviano 
had " ordinato uno saio damaschin bianco lista d'oro 
batudo bellissimo e di gran precio, lavorado, et una 
sopra veste di cavallo pur bianca listada a oro, at supra, 
belUssima e di gran valuta, con la qual voleva far I'in- 
trada con il Re, a Milan,"' All the same the dress of 
Venetian men never ran to vulgar or ridiculous extrav- 
agances. Monsignor della Casa bears witness on tliis 
point. " Le penne," be says, " che i Napoletani e gli' 
Spagnuoli usavano di portare in capo, e le pompe e 
ncami, male hanno luogo tra le robe degli uomini 
gravt, e Ira gli ahiti cittadini : . . . sicchfe quelio 
che in Verona per awenlura converrebbe, si disdira 
in Vinezia ; perciocch^ questi cosT fregiati, e cou 

Noliiie d'anliehe (oitumame del dogi di Vrntiia (from » MS, of l&gq) 

i(HU> Michiel-Moroiiai. Pidova, itt^o. 

Arch, di Modem. Dap. dell'invlato ftrrarat ad EreoU (JiDuarj >5, 

Staudo, C'iari, IX, 3g8 



per 



loo VENICE IN THE GOLDEN AGE 

impennati non istanno bene in quella veneranda citta 
paciGca e raoderata . . . e aono poco ricevuti nellc 
nobili brigale, siccome diflbnni da loro."' ' Ab a matter 
of fact, the usual dress for the magistrates out of doors 
was the toga of cloth, of velvet, or of damask, either 
black or (down to the seventeenth century) purple, 
lined in summer with silk, and in winter with rare 
fura ; it reached to the feet, and was clasped at the 
throat, where the sliirl collar was allowed to show." 
To Casola they all seemed like so many doctors of laws, 
and he adds that if anyone " parisse fora de caxa senza 
la toga sarebhc riputato pazzo. "^ The stole was worn 
of tlie same colour and stuff as the toga, and fell over 
the left shoulder ; it was used to protect the head against 
rain and cold. The wide sleeves were called dogaltne, 
and a comeo was the name for the sleeves tight round 
the wrists and puffed at the elbows, which served for 
carrying the handkerchief, gloves, and papers. Some 
officeri of State and oilicials wore robes of special 
colours; for example, the Procurators of San Marco 
had purple, with wide open sleeves : the Council of 
Ten, red; Senators, black with a velvet stole; the tSatii, 
violet. The Chevaliers of San Marco, the only knightly 
order known to the Republic, wore a broad golden stole, 
and, if the Doge had conferred the order, a golden cross 
at the neck.^ The hood of ancient usage gave place to 
caps of various shapes, and to the bonnet a lozzo, with 
a low crown. Sanudo, speaking of the Doge Marco 
Barbarigo. who died in i486, records that he wore 
" capU2o negro a I'antiga, die solo tre mantene il 
portar del capuzo . . . die tutti li altri de Vcnezla 
portavano baretc ct becheto su ta spala. " ^ But already, 

1 DeUa C>u. GalaUo. Cup. XXXVUI. | i55. 

" Vecellio ; see the plate llabiia ordinarh e comunf a full' U nobilGt 



diSanMai-a,(NM>-oAnh. Vcncto. XVT, 3ai et Mq,). 
Dogi, Part III. p. »tio. 



' Cuola, Viaggio. 

* hralti, I cavatiei 

* SaDudo. ViCe lit 



• • 






• -^ • 






• •. 



...♦. 



• •• 






COSTUME AND HEAD-DRESS loi 

in IJS97. a German traveller thus describes the patri- 
cians at a meeting of the Great Council : " Esai sono 
tutti uomini dignitosi, in hegli vestili che scendono sin 
ai piedi, la tesla copcrta di piccolo berretio, i capelli 
corti, la harba lunga."' One of the last to keep the 
fashion of his young days and to wear a hood was 
Piero di Lorenzo Priuli, Procurator of San Marco (d. 
1 491), which earned liim the nickname of da/ Capazzo.^ 
Priuli appears in his hood in a picture by Giovanni 
Bellini, which was once in the chapel of the Santa 
Croce at San Michcle in Isola, and is now in the 
Academy at Duaseldorf. 

Up to the age of twenty-five, the age necessary for 
admission to the Great Council, the young patricians 
were not ohhged to wear the toga, and took very kindly 
to foreign faeliions, especially French and Spanish, as 
did the younger members of the Great Council, who 
wonid lay aside the toga when not performing their 
official functions.^ This implied that the trade of 
tailor was a nourishing business. The trade was 
divided into three classes, da vesle, da zlpponi, and da 
caUe, and they enriched their guild, under the pro- 
tection of Sant' Omobono and Santa Barbara, with 
many noble works of art. and were generous to their 
poorer brethren.* 

The trade of shoemaker was no less prosperous. As 
early as the fourteenth century German shoemakers 
had settled in tlie lagoons, and had founded a guild 

' Arnold VoD Hirf, Viag^io. cit., p. SgS. 

' He U BO called Id Ihe Geneatogie i>t IJarbiro. 

* We hear Ihst afler » Jite given bj Ihe Compagaia ilelli Cilia, the 
mambers who had a icat io the Great Cauocil put do their logas and 
■ttendsd ■ lilting, oiccpl Lhreo, che non fuinno fa ela rl nan uirncno a Canieui. 
Sanodo. D'lari. VIII. i83. 

* Tb« guild wal erected io l3gi and had id ball in the Campo dei 
Geiuili. There it a bai^ relief with the Virgin. Santa Barbara, and Sanl' 
OmoboDO on a houso un the F'ondamrnla 4ei Sarlori. near the Jeaulli' 
Chnrch : it bean Ihe following ioEcriplion: Hoipedal dei poviri Sarlori, 
UDXl. la the Campo the coruices of the windows of a houie □eit door 
to tho aupprewed monaiterjf of the Crociferi have aciuora carred «■> thein. 



loa VENICE IN THE GOLDEN AGE 

which, in i48a, owned a hall in the calle delle Bofteghi 
at San Samuelc ; the facade and pilasters of a house in 
that street still bear the simple but not inelegant forma 
of various shoes. The Venetian shoemakers founded 
their guild under the protection of Sant' Aniano in the 
same century, and down to ilifiG they used to meet at 
the Carilli ; in that year they moved to a guild hall of 
their own on the Campo San Tom^, whose facade they 
adorned with an exquisite piece of Lombardesque bas- 
relief.' The craft was divided into two branches, — the 
ealegheri, or the high-^ilass workmen, who turned out 
shoes of various shapes, pointed, round-toed, square- 
toed, or with patterns punched on them, and the zava- 
leri, who made the clogs worn by the populace and 
did cobblers' work. The ealegheri claimed superiority 
over the zavaleri. but in the guild hall they met on an 
equality, voted together, and on a certain day of the 
year presented the Dogaresaa witli a pair of pattens, 
a tribute symbolical of their craft.^ 

The cappellari and barrclleri were engaged in the 
hat-lrade ; the latter gave tlieir name to the bridge at 
San Salvatore. near to which they had their guild hall,^ 

The use of tlie felt hat was Introduced Into Venice 
about the middle of the sixteenth century. The trade 
in Venetian caps, especially with the Levant, was both 
ancient and active, as Venetian goods were famous for 
their quality and their fast colours. 

All these tradesmen watched the changes of fashion 
and ministered to the elegance of Venetian life, and 
if they did little to modify the severity of official cos- 
tume they endeavoured to please their younger clients 
by studying the varying forma of foreign dress. These 

' The hall wis complatod in i J79, ai ii atiloil on Ike architrave ot the 

' L«vi, ^oti'^ie tlorichg di alcime Sruale d^arli, p. 61. Veneiia, 1695. 

* Tho barrclleri were erected inlo a guild in 1^75, anil in i5o6 Ihej 
amalgamated vrith Iho marieri, with whom the cappelUri loo were auociited 
down lo the end of the levenleenlb ccaturr. 



"1 



COSTUME AND HEAD-DRESS 



io3 



young bloods appear in contemporary pictures in close- 
fitting doublets, without a collar, attached to the hose, 
with a cloak over the shoulder, and on their heads a 
plumed cap from under which the hair showers down. 
The members of the Company of the Hoae set the 
fashion, with their manege dognl di scdn e becheli de 
sedn e doro e barele di seda e calze bianche,^ as Sanudo 
describes them in phrasca no less vivid than arc the 
brush-strokes of Carpaccio. At the close of the Cin- 
quecento these clubs came to an end, but during their 
. last years the brilliancy of iheir/e'/esand the sumptuous- 
[ nees of their costumes reached an amazing pilch ; their 
dress consisted of a long cloak of silk brocade, or 
velvet, or satin, an elaborate doublet, and hose em- 
broidered in gold and silver, sown with pearls and 
B, especially the right leg, which was ' ' tulta guamita 
di diamanti, rubini. smoraldi, safliri, pcrle grossissimo 
ed altre variato gioJc di preizo."' Tne presidents of 
the various sections wore an even more elaborate dress. 
In May of i533 the Corlcsi held high festival for the 
election of Agostino Quirini Slampalia as president. 
He appeared in the church of Santo Slefano, conzada 
excelentissimamente for the occasion, "veslito di solto 
damaschin cremexin, di zcndado di sora, et un manto 
di raso cremexin aperto su la spala destra, con cam- 
panoni d'oro, et una cadena d'oro grossissima al collo, 
qual h di uno ciprioto, di valuta di ducati mille, U 
altri compagni numero i8, tutti questi lofc vestiti damas- 
chin cremesin a comedo et becneto di veludo negro. 
11 Signor havea in testa una bareta di veludo negro alia 
apagnuota, bassa con un be) zoicio nopra, li altri barete 
tulana."' The dress of noble-born children was also 
I- elaborate ; tliey wore little doublets of silk or satin with 
Lgold buttons, embroidery, lace, and on their beads 

1 StDudo, Diart. XII. 16. tud XIll. ^83. 
* MtJopini, Celio. Daceato Novtlle, p. 110. 
■ Sioudo, Diarl. LVIII, iSa. 



io4 VENICE IN THE GOLDEN AGE 

little black capa "a torno de' quali un velo cinto, o 
ghirlande di margaritine di bella vista, con qualche 
medagUa o pictra pretiosa."^ Citizens of mature age 
and of high standing, such as doctors and lawyers, 
wore the toga, as did the nobles, only it was always 
of black cloth. The clergy imitated the patricians in 
their dress until the close of the Cinquecento, when 
clerical costume was definitely settled and the ecclesi- 
astical biretta was introduced in place of the cap. The 
black gowns of the ordinary clergy, the blue or purple 
of parish priests and canons, often lined with fur or 
red taffeta, were caught in at the waist by a silver 
girdle. In the sixteenth century it was customary 
for ecclesiastics to wear a beard, and down to the 
middle of the Seicento, in spite of prohibitions, they 
wore both whiskers and imperial.^ The mail armour 
of the soldiery was of the type common to the rest of 
Italy, nor was there anything very distinctive in the 
dress of the men and women of the people. Some 
articles of clothing were clearly copied from the East 
and retained their Oriental form and name ; for example, 
the cajetan, a long gown made of cloth with large 
sleeves, and the zamberlucco. which bad tight sleeves 
and a hood. But in their way of wearing their dress 
and in tlie brilliant but harmonious colours ihey af- 
fected, the Venetian populace — the arsenal hands, the 
gondoliers, the well-to-do mechanics, the humbler dock 
hands {baslazi). and porters — offered a picturesque 
spectacle. And the women of the people, the fruit- 
sellers from the Islands, and the peasantwomen of the 
mainland were not without a certain characteristic 
grace of costume, as they thronged to the city markets, 
especially the great fair of Ascensiontide. But even 
the people gradually camo under the influence of 
foreign lasliions, which crept into the native taste, and 

1 Vocolllo. Habllo dl glovani rlella cttla, p. ii&. 
' GallicduUi. 1, dil. 43$ ; U, 1706. 





COSTUME AND IIEAD-DBESS 




^ 



made Andrea Calmo lament the days when the Vene- 
tians wore "le calze a la martingala, le so scarpe e 
zocoli de ctioro, e ta bereta asseta. radai cbe i pareva 
tante maioHche lusenle, e no Ble foze a la forcstiera 
ttrataiaie e recamac e incordonae, che di^ il malanno 
al primo, che le ha portae in luse, ruina e desfation de 
una fameia."' Priuli expresses the same idea in his 
Diari, written at the opening of the Cinquecento. He 
complains of the " vesliinonti alia francese troppo in- 
Beriti nell'interno del genii, ancorchfe la nazione fosse 
cOBi odiata da tutta I'ltalia. " And still later Francesco 
Sansovino regrets that not only Venice hut all Italy 
has changed its character with its clothes, and tries to 
appear qaando francesi ct qaanilo spagimoli. 

We have already noted the sumptuary laws which, 
from the year 1229 down to the close of the fifteenth 
century, aimed at checking the capricious and costly 
, changes of fashion. The administration of these laws 
was intrusted to the Qaaranlla Criminate, the Supreme 
Criminal Court, to the Avogudori del Cornune. to the 
Police Magistrates (Signori di i\olle). to the Procara- 
tori del Comune, the Commissioners for the Levant, 
the Capi dei Seslieri, and the Giuslizieri Vecchi. But 
the very numher of these magistracies hampered the 
efficacy of their action, and in i466 the Great Council 
empowered the Senate to take whatever steps seemed 
necessary to iimit the ostentatious display in furniture, 
in banquets, and in dress. In 1^73 the Senate accord- 
ingly appointed three commissioners (^Prowisori) on the 
subject, and these were replaced in i4t)9 by the three 
Savi sopra le pompe ; the alternating election of Savi 
and Provvedilori continued down to i5i4-' The regu- 
[btions " circa i hornamcnti dc le donnc." promulgated 
476 and 1^89, met with universal approval in 
words, but in fact tliey remained inoperative. Decrees 

' Calmo. Leitere. pp. ii, 33. 

* TeoUiri, Saggio, «tc., pp. ^30 at aoq. 



io6 VENICE IN THE GOLDEN AGE 

cannot alter fashions ; fines had Utile terror for trans- 
greesors, and the prohibited goods which sometimes 
were abbraggiate in piazza at Hialto, merely appeared 
again in greater sumptuousness. In i5i^, as a last 
resort, a magistracy, known as the three Provvedilori 
alle Pompe, was created; in i562 two other oIEcera 
were added, with the title of Sopraprovveditori. The 
commissioners met twice a week ; fathers were held 
responsible for their children's conduct, husbands for 
that of their wives. The offences committed by patri- 
cians against the sumptuary laws were published in the 
Great Council. But there were few wno followed the 
example set by Andrea Grilti when Doge. Though by 
nature indulgent to all forms of pomp and circum- 
stance, nevertheless, on tlie day of his coronation, 
seeing a niece of his own, married to a Pisani, wearing 
a dress of cloth of gold in contravention of the law, he 
ordered the young lady to go home and change her 
attire.' 

In the long and minute series of sumptuary regula- 
tions the idea constantly recurs that il veslir in ogni tiso 
della persona sia schietissimo senza alcana sorte di lauo- 
rerio, neither slashed nor with insertions. The men's 
costume might not display braid, embroidery, applitpie 
work, tassels, bands, tags, gold or silver rosettes ; hose 
were to be close-fitting, not puffed, without embroidery, 
fringing, gold or silver laces ; hoods and cloaks were 
to be of plain silk, not lined with plush ; medals, tags, 
gold or silver cords were not to be worn on the hats.' 
The costume of the men did not, in fact, vary much 
from the severe elegance admired by Monsignor della 
Casa, but notiiing served to hold feminine vanity in 
check. On October i5, i5oA, the Senate set forth the 
following considerations: "Fra tutte le superllue et 
inutili spese, che fanno le donne di questa nostra cittd. 





COSTUME AND HEAD-DRESS 

I la piu dannosa alle facultd delll gcntilhomcni et cltta- 
dini nostri e il mudar spesso le foze del vestir chc fanno 
esse donoe, come inter cetera hanno facto, die dove 

Erima usavano la veste cum coda, hanno tulte remossa 
I coda allc dicte vcstc, et introducto portar quelle 
tonde scnza coda. Et ora da pochi mcsi in qua el se 
ha da principio per alcune iterum far ct usar veste et 
visture con code lunghe et larghc, trascinando quelle 
per terra, alia qual foza non h dubio che se non si pro- 
vede, tutte vorranno seguir driedo, com'fe sua usanza, 
'xhc grandissimo danno nc risultcria . . . imperocch^ 
■le veste predicle le quali sono tutte redute alia tonda 
lariano butade via, et saria bisogno far allre veste 
huove nelle quali enlreria grandissima spesa." ■ Accord- 
ingly, it was declared illegal to wear, either indoors or out. 
'pessea alia Icdesca, wide sleeves, aprons embroidered 
in gold or silver, coloured skirts trimmed with velvet, 
fringes, ribbons, or lined with any fur hut marten and 
the less costly kinds. ^ But on consideration that cloth 
of gold and of silver is the most beautiful and honorevole I 
adornment for the person, leave was granted to make 
sleeves in those sluITs,' and on December l8, l5i2, 
the Senate, out of " qualche rispetto alle donnc che in 
tempo d'inverno pativano grandemente per non se poter 
coprir el collo, salvo che de vcli," granted permission 
to wear collars of cloth Uned with fur which were to 
lake the place of the rulT stilTened with needlework and 
goldleaf and often very costly. New decrees ordered that 
dresses must he "schieli di un solo color, ciofe vcludo, 
raso, damagco, ormesin, et simil altre cose dl seda, et 
bavcUc, che aiano Icssute di un solo color, eccottuati li 
ormesini ganzanti et li brocadelli ; sopra li quali vesti- 
menti non vi possi esser alcuna cosa, ma il vestir in 
ogni uso della persona sia schietissimo scnza alcuna sorte 

1 Arch, di Stito. Seoato. Terra, Reg. tS. e. 87. 

1 Ibid.. Reg. i5. c. 77 (October a5, i5d5}, g. igo (Jaouir; 4. i5o7). 

* Ibid., J1DUU7 j, 1&07. 



io8 VENICE IN THE GOLDEN AGE 

di lavoriero. et le poste da cenzer similmcnte aiano di 
Bcda. Bcnza oro, over arzento. e zogie d'alcuna sorte." ^ 

The government directed its attention not merely to 
the simplicity, hut also to the modesty of the women's 
costume ; bavari, camisaole. busti aiatio lalmente serratt 
tTavanli chel pello resti coperfo.'^ As for the personal 
linen " le camiscie non poasino esser lavorate in allro 
loco, che al cavezzo, ct a'avanti et da mano scnza oro 
over argento ; et li fozzuoli da mano, da spalle, da testa, 
non possino esser lavorati d'oro e d'argento." ^ Hose 
were not to he embroidered in gold ; gold pattens or 
silver or recamali et slraiaiali were declared illegal ; 
only leather, cloth, or plain ailk were permitted. An 
attempt was made to limit the height, and a decree pro- 
vided that no shoemaker "audeat facere nee vendere 
neque tenerc zocholos aut alia calciamcnta cuiuscumque 
forme vel condilionis cxistant, nisi altitudinis medie 
quarte a parte posteriori."' Severe measures were 
taken against extravagant hairdressing and against the 
abuse of jewelry, or the mode of wearing the hair known 
as afungo. which hid the forehead. To enforce the pro- 
visions recourse was had to the Patriarch, who, through 
the confessors and by edicts published in the parish 
churches, condemned the habit of wearing the hair q{fus- 
canlem fronlem.^ Coifs of cloth of gold or cloth of 
silver, but without embroidery and limited in price to ten 
ducats. '^ were legal. More severe were tlie regulations 
as regarded pearls ; only one row was permitted at the 
neck, and its maximum value was fixed at two hundred 
ducats.' Concicri and drexaiJori, hair nets and strings 
of pearls for winding among the tresses of the hair were 



I Arch, di Slalo, Sonito, Ten 

> Ibid. 



Beg. ii, e. 57, 58, October S, iS6a. 
Ibid. 
1^30. Seutlo. Terra. Reg. 18, c. ti. 



' Arch, di StJto. M. C. M»reh 
M.J 8. i5ii. 

'' Ibid., Com. \, Muti. Rfg. tg. c. 178, March tS, ii8o. 
* Ibid., Sensto, Terra. Rc);, 33, c. 147. Jiauirr aj, t5ll, c 
' Ibid., Reg. 3i,c. lit,. M>j 6, iS^i. 







COSTUME AND HEAD-DRESS 109 

"•evercly condemned; so, too, shirts or girdles sown 
with pearls.' Finally, in i56a, the Senate ordered that 
no woman of whatsoever condition might wear pearls 
ten years after marriage, while young ladies on their 
becoming engaged were allowed to wear a single row 
of pearls, which must not exceed the value of four hun- 
dred dacats and must have been valued and registered 
before the magistrate. Contraventions incurred a fme 
of two hundred ducats, of which a hundred went to 
the informer, fifty to the ofBce, and fifty to theProvvisi- 
oni dei fuochi. There was also a fine of fifty ducats 
(1579) for wearing clothes either embroidered or pon.~ 
tizate or slampale or braided with ribbons and pearls. 
Chains, tags, rosettes of gold were illegal; ear-rings were 
to consist of a simple, plain gold ring ; brooches, brace- 
lets, and jewelled rings were forbidden. But so strong 
was the taste for jewelry that the poorer nobles used 
to hire it. To put an end to this mdecorous custom, 
Nicola Bernardo, in i^53, proposed that alt who had 
hired jewelry should be called on for a list of such orna- 
ments with the names of the owners, who could then 
be fined half the amount for which they had lent the 
jewelry. Both men and women set their wits to avoid- 
ing the law, and applied themselves to the invention of 
new fashions, white the government endeavoured to 
jneet them by repeated but frequently contradictory and 
lualiy incflicacious decrees prohibiting, now ribbons 
*th pearls, now altre niccote cordelline chia- 
>nale guarnhioni, now foreign cloth, and now eerie ro- 
mane e altre sorle di vesli da tiomo, tulle gran parte 
rtcamale, camtiffatc e slratagliale? Tailors and dress- 
makers who turned out illegal costumes rendered them- 
selves liable to pillory, prison, or galleys.^ But in spite 

» Arch, di SUto, Senalo. Terra. Reg, 36, c. 53, lanuarr 5. i5i8. 
* Ibid,, Proaoeditori topra Pompe, CapiLolarc I.e. 5i. Jauuarj 1 8, 1&98, 
I. ; Jiauiiy 31, i5gg, o. t, ; Juiusrj sj, 1G03, o. b. 
■ Parti diuerte, etc., cit. 



1 



no VENICE IN THE GOLDEN AGE 

of all these raeasurea the Senate was obliged to admit 
that the law proved impotent to check the refinements 
of luxury.' The women of the noble and of the citizen 
classes alike, when ordered to surrender their illogat 
pearls, brought false ones or else paid the fine, paga- 
vano te pompe, and continued to break the law. But 
while the Republic was severe towards private extrava- 
gance, on certain occasions it deemed it expedient to 
permit and even to encourage the most costly display. 
It required its ambassadors to outshine all other envoys 
at foreign courts, and it sometimes, for special func- 
tions at home, permitted breaches of the sumptuary 
laws in order to impress upon its guests the extent of 
its wealth made manifest by the splendour of the robes 
and jewels of its private citizens. It is common to all 
aristocracies to begin their career with simple habits and 
to close in ostentation and display. The early Venetian 
aristocracy, while still engaged in commerce, was frugal 
in its tastes. But when commerce was abandoned by 
the nobiUty and the true sources of wealth began to 
dry up, the decline set in, and with it came external 
display which was intended to hide it. From the day 
that the Republic gave up trading she was bound to fall 
a victim to luxury, and her women, who had been wont 
to lead a modest home life, now, to use a phrase of Mon- 
tesquieu's, became an objet de luxe. When Henry III 

' Some of tlie miinliiid towns, ugaendo It veitlgie dtgti ETaUentlssUni 
Signori Vrnftiaru. look iteps against la vaniti de valimenti et otTiamenti laptr- 
Jlui et tompluoii de It donne. For oumple. in i5o7, TrevUo legisUled 
■gain:,t Jewell, broocbci and rioRi, gold and silver girdloi which Biceeded 
a Btaled Yilue. Womeo were allowed to wear una itujia over allra fata de 
leda over de oro over d'argenio jilado, dummocbi in (uto non excUda el valor 
de ducati quatro. Brocade, cloth of gold or jilvor. and volvot werB pro- 
hibited for drouei, which were to be ne stritade. ne iiiqaarlade, at cum 
reeami, o sia de oro oner d'argento, etui baludo come Jitado. Tlie Dumber 
of woiDen'i gowiu tad the quality waa fixed by law, and even the very 
Iriinroiogs werB prescribed non iCi-alaiade over ilrafaradt aver lislade de 
tordelle, frame oner perftli, neaira tremoli. We get olbcr regulatioiu as to 
■leaves of dresses and even of ihirts wbtrh were not to cootaio more Ihaa 
un b'tuo de tela. Pellissier, La loi auinpluaire de TrevUe, 




COSTUME AND HEAD-DRESS 




nailed Venice, tlie Senate ordered ihe sumptuary oili- 
sers to suspend al! llicir rutcs, and two hundred of the 
loblest ladies, dressed in white and witti ornaments 
'del capo, del petto et del collo di perle el gioie con 
I'oro che fu gludicato il valor di 5o.ooo scudi " ' were 
assembled in the Hall of the Great Council to meet tlie 
king. In 1676 the Duke and Duchess of Mantua were 
the guests of the Republic, and in the Palazzo Grimani 
at San Luca an entertainment was given at which a 
hundred of the most beautiful Venetians were present. 
They were all dressed in while, " et tutte addobbate di 
quantita di oro e di gioie cosi grande, che nulla piii, 
non ostante la prohibitionc dcUe leggi che coucessero 
loro per quclla fiata il poter comparire cosi ornate."' 
On April ig, 1608, the Senate decreed that for the recep- 
tion of tlie Duke and Duchess of Savoy the women 
should he allowed " il portar qualnnque sorte di vesti- 
mcnti et gioie che loro paresse megho per ornamento 
delle loro persone"; and such special permits were some- 
times granted for private as well as for public functions.^ 
The Doge, the Dogaressa. and iheir relations who 
lived in the Palace were exempt from the sumptuary 
laws ; the Doge's daughters and daughters-in-law were 
fttlowed to wear pearls, gold chains, londird of silver, 
"item allc signore et niolier de ambassadori extranei" 
who were in ' • residentia o veuissero in questa nostra 
citta."* So strongly was the love of splendour, of vivid 
colour, implanted in the Venetian race that not even the 
Ducal Councillors were permitted to wear mourning 
n&ide the Palace walls. And so, between prohibitions 
nd concessions which rendered the laws abortive, the 
iBtoryof Venetian sumptuary legislation seems lo justify 
s old proverb : parte Veiieziana dura una setlimana. 



' Anh. di Suto. M. C, Reglna, c. 
* Ibid., Seoito, Mij i3, ligy- 



CHAPTER XIII 



PRIVATE ENTERTAINMENTS, BALLS. AND 
BANQUETS 

THE city of Venice offered a splendid setting for 
great religious and civil ceremonies, her palaces 
a no less sumptuous framework for private enter- 
tainments. A. file in one of those magnificent apart- 
ments, wliose walls were draped in cloth of gold or 
arras, with the mirrors of Murano rellecting the light of 
a hundred candles and illuminating the velvets, silks, 
Jewels, gems, and armour, must have been a spec- 
tacle of rare beauty. We may recall one or two of 
these fetes, which, as a rule, cost from four to five 
hundred ducats.' The Company of the Orlolaiii gave 
an entertainment in i5i7, in Casa Pisaiii at San 
Paterniano, and it is worth recording thai several noble 
ladies who had prepared dresses of cloth of gold and 
cloth of silver were obliged by the sumptuary police to 
don more simple attire.* The same club gave another 
fete on January 9, i5ai, in the Palazzo Pesaro at Son 
Benedetto, at which sixty noble ladies le prime e piu 
belle delta terra took part, and Pier Antonio di Sanse- 
verino, Prince of Blaignano, who was dressed in clotli 
of gold, danced with his cousin the wife of Count 
Giovanni Cosazza and with a lady of the Priuli family, 
wife of a Dicdo, dona beliUsima, nh bald con altri. A 
week later the same Orlolani, in honour of the ad- 
mission of the Prince of Bisignano to their club, gave 
a fete in Casa Venier at Sanl' Angelo on the Grand 
T.Reg, to, c. 1 37 (January 9, i4S8, o. 1.), 



• • • 



•.•••• 



.•:< 






•_• 



• ••- • 



• . • 






PRIVATE ENTERTAINMENTS 



ii3 



Canal ; the courtyard, portico, and chambers were hung 
with carpets, tapestry, and pictures. Before the Prince's 
seat was spread a costly strip of clolli of gold, and on a 
sideboard stood silver to the value of five thousand 
ducats. Many patrician ladies were invited, and ap- 
peared in cloth of gold lislato and inijuarlado el seda. 
The Prince, who was handsome and gracious and facile 
ad innamorarsi, danced the whole time, till trumpets, 
pipes, Gfes, cornets, llutes, and clowns in the stran- 
gest of costumes, announced that supper was served. ' 
Alessandro Sansedoni. of Siena, who enjoyed some 
hterary repute, has lefl us an account of an entertain- 
ment given by Cardinal Grimani, the Patriarch of 
Aquileia, on August i, i533, in honour of Ranuccio 
Farnose. To the sound of mortars and the blare of pipes 
and other musical instruments the gondolas, all covered 
with velvet, fringes, tassels, trimmings of every sort, 
brought the noble guests. The rooms were hung with 
stulTs embroidered in stars of gold, and adorned with 
lapcBtry and paintings and brilliantly hghtcd. Twelve 
gentlemen in sailors' costumes of green satin lined with 
red silk, and green and red caps and feathers, issued 
from one of the chambers, each leading a lady, dressed 
in white, by the hand. In the courtyard, crowded with 
upwards of three thousand persons, a Turkish gymnast 
delighted the spectators with curious and amazing per- 
formances, — breaking a bronze pestle with his fist, bal- 
ancing three swords one above another on his forehead, 
holding in his mouth a beam that six men could hardly 
lift. A cord was stretched from the top of a campanile, 
and rope-walkers passed up and down. More than 
three tliousand gondolas thronged the canal of the 
Giudecca. and were filled with noble lords and ladies, 
a blaze of colour, come to see the show." The whole 



1 



mdo. Diarl, XXIX. 53C. 5^7- 

isedoai. Lettert a U.' hiJiU Totcani, p«r a 



e SiafedoDi-Tolomel. 



many I 
I delle 



ii4 VENICE IN THE GOLDEN AGE 

fete wound up with dance and supper, and for 
days the city did nothing but taud ' ' la dovizia 
confezioni, la ricchezza degli argenli, lo splendore degli 
apparati, la giocondita dei balli, il corse delle bardie, 
la quantity dei doni, la novita dei giuochi, il variar 
delle musiche, la fragranza degli odori, larmonia dei 
canti, i tuoni delle artiglierie."^ Another Grimani. 
Patriarcli of Aquileia, gave an entertaiament in honour 
of Henry HI in his palace at Santa Maria Formosa. 
He issued invitations to a large number of nobles and 
to tliirly ladies, who appeared in splendid costumes 
sown with gold and gems and with ropes of pearls 
round their necks. Dancing began, and one of the 
ladies, removing her cap. presented herself before the 
king to invite him to join the measure ; his Majesty 
declined on the ground that he was still in mourning 
for his brother, but introduced one of his suite who 
took his place ; and later on he sent the Abb^ Lippo- 
mano to present his excuses once more to the lady, and 
she thereupon approached the royal person to tender 
homage," 

It was no unusual thing for the nobility to leave their 
splendid halls and to continue their dance in the open 
streets or on board of barges on the canals. The city, 
thanks to the absence of horses and vehicles, was al- 
ways like one vast dwelling-place where the inhabitants 
could conduct their lives in the open just as though 
they were at home, and poor ana rich were united 
as it were in the bond of a common existence. For 
instance, on July i, i5a4, the Palazzo Foscari at San 
Simeonewas thrown open, and the guests, after dancing 
in the salons, led their lady partners, in vestura Lenissimo 
vestite el adornate di cadene di oro et di jote, out on to 
barges decked with flags, to assist at a regatta rowed by 
women, ailer which a banquet was served in the open 

' Aretino, Lellere, II. 33i. 

* De Nolbac sud Solerii, // waggla di Enrico III, cit., p. i38. 




PRIVATE ENTERTAINMENTS 




reef, and the Duke of Urbino was among the guests.' 
In 1 &i I itie Company of the Sempiterni gave a show on 
the Grand Canal: it represented "la macchina del 
mondo, nel mezzo del quale essendo vacuo el regalmente 
addobbato d'oro ct di seta, furono aoo elettissime gen- 
tildonne, Ic quali hallando al passo di beii cento stro- 
menti musici, erano lirate dolcemente da palaschermi et 
attri legni per lo corso deH'acqua." ' The entertainment 
given by the Accesi, in i56a, was on the same lines; 
after passing up the Grand Canal, the guests wound up 
the/ele in the Palazzo Dolfin near the Uialto.^ 

Occasionally these parties would degenerate into a 
rowdy and even licentious romp. It was considered 
the host's duty to see that everything was provided on 
a lavish scale ; anything approaching economy was 
resented as an insult by the guests. Alvise Morosini, a 
member of the Company of the Hose, learned this to 
his cost. On January a8, i5o8, in honour of his mar- 
riage with a lady of the Grimani family, he gave ibe 
usual banquet in tlie house of his father-in-law, but ho 
cut down the expenses and even omitted to invite any 
ladies ; and the other members of his club, the Elerni, 
were ao enraged that they turned the house upside 
down and carried off two silver basins which they com- 
pelled Stefano and DomenJco Tagllacalze, two famous 
clowns, to bear in procession through the streets, after 
which they all went and supped at the hostelry of the 
Campana at Rialto.' Perhaps the young bloods would 
have pardoned the parsimony of the board, but they 
could not overlook the absence of ladies. But they 
went even further than this in the case of Alvise 
Morosini. for. on the night of January aa, l5i6. they 
met in the house of the Dona at the Servi " e fo fato 
una festa con done invidate, et non voUero fusse i loro 
.marili, et le porte serade: et volendo intrar nioltizoveni 



1 S.Dudo. Diar(. XXXVI. Sag. 
* Suuovino, Venelia. ^. I07. 



* Suiudo, Diar!, VIl, 356, 



ii6 VENICE IN THE GOLDEN AGE 

li rupcro i velri dc le fencstre con sassi, sicch^ fo gran 
romori."' And a great row there was, too, in Casa 
Cornaro at San Benedetto, the evening of January aa, 
l5ai, while celebrating the marriage of a Cornaro lady 
to a Contarini, the Prince of Bisignano and Conte 
Cosazza heing among tlie guests. It seema that Count 
Antonio Martinengo, after some hot words with other 
members of his club, the Orlolofii, drew his sword ; 
the Prince did the same, and the rest of the men followed 
suit. The ladies fled, and the entertainment came to 
a disastrous conclusion, though no one was injured.^ 
Not infrequently the ladies themselves intervened in the 
quarrel. At a fete in Casa Morosini at San Cassiano, 
given in February. i533, while supper was heing laid, 
Uie young men of the Calza challenged the ladies 
to a race to lUalto and back ; they all tore along the 
streets, many fell, and "chi la scufia li ando de capo e 
rcsto in caveli, chi perse medaie d'oro havcano in la 
scufia, chi ave un dano, chi un altro " ; but they alt got 
back to Casa Morosini, and set themselves quietly down 
to suppcr.3 On another occasion, at a great banquet 
given, on February 7, i5a6, at Palazzo Trevisan on the 
Giudecca. a Spaniard began a quarrel with a noble of 
tlie familyof Nani, and broke a decanter over his head.* 
Still worse happened at a hall in Casa Cornaro at San 
Polo. The event is described in an undated letter 
written by the Venetian Francesco Molcna to Bianca 
Cappello, Grand-Duchess of Tuscany ; when dancing 
,was at its height, a young noble in a mask, Giovanni 
Bernardo, jostled another noble. Priamo Tron, so rudely 
as to knock him down. Tron sprang up. drew his 
dagger, and rushing on Bernardo, wounded him in the 
hand. Instantly every sword was drawn, and upwards 
of three hundred blades flaslied in the light of the flam- 
beaux ; the women and some of tlie men fled to the 



' SiDudo. Diari, XXI. ill. 
* Ibid., XXIX. 667. 



• IbiJ.. LVII. 5a6. 

* Ibid.. XL. 790. 




^ 



PRIVATE ENTEnTAINMENTS 117 

neigkbooring rooma ; the rest were divided into two 
bands, and stood glaring al each other, ready to begin 
the melie, when from a side room, armed with a chair, 
rushed the lady EHsabctta Malipiero, wife of Gerolamo 
Cocco.wiiothusapostrophised the combatants: "Signori, 
che vergogna k (juesta avcrci fatte venir qui noi, voslrc 
gentildonne, per hallarc, e voi in un subito aver guasto 
la festaP Perb io mi protcsto, da parte di tutte le 
allre gentildonne, ctie se voi non metterete Io arme neili 
suoi foderi, che noi per I'altra scala ci partiremo, nh 
mai piii accetteremo di essere invitate da gentiluomo 
alcuno di Ridolto de Compagni." These words of the 
spirited lady, delta quale si ragionera per un pezio, says 
Molena, had the desired effect ; the swords were re- 
turned to their sheaths; the other ladies, to the number 
of cinqaantasei e le pih belle della cilia, came back to 
the ballroom, and dancing was resumed till dawn ; 
Bernardo, whose wound was not serious, shook hands 
with his assailant.' 

But sometimes these gay parties did end in blood. 
On February 17, ib48, the young friend of Charles V, 
Antonio Castriota, Duke of Ferrandina, who had 
reached Venice only a few days before, went over to 
Murano in the evening to a fete in the house of the 
Podesta Marco Venier. The Duko was masked and 
was not recognised. He wished to dance with Modesta 
Michiel. wife of Daniel Venier, but two young nobles, 
Mario Giustinian and Giorgio Contarini. raised oppo- 
sition which led to a violent quarrel. They drew 
swords ; the Duke was wounded in the head, and 
wounded by accident bis dearest friend, Diedo. Both 
died, and the Republic gave the Duke a splendid funeral 
and a tomb in the Sacristy of San Pietro Martire at 
Murano. 

I Arch, di Slato di FSranie. Film Medicea SgSi. CarttggiodiB.Ca^ 
pello. (o\. 58:, 58i. The letter wis published by Siltiai in tli« Fanfatb^ 
• - - * a (An. ni. Ho. 9). 



ii8 VENICE IN THE GOLDEN AGE 

Od the whole, however, bloodshed was very un- 
common ; and the ladies of Venice were able to in- 
dulge freely in the dance, to which all Venetians were 
so passionately addicted. The dance was not the 
formal matter that it is nowadays ; it was far freer 
in its measures, and women sometimes danced with 
women and men with men.' The chief point was to 
be light and graceful, yet digniiied in movement ; in a 
treatise of the fifteenth century we get the following 
instructions for the deportment of young ladies ; "11 
movimento suo corporeo vuole essere umile e man- 
sueto, con an portamento della sua persona degnio et 
signorile ; Icggiera in sul piedc, ed i suoi giesU bene 
formati ; e non sia cogU occhi suoi altiera o vagabonda, 
mirando or qua or I&, come molte fanno."* A writer of 
the Cinquecento has declared, with a fine perception of 
the fitness of things, tliat recreation is made for beau- 
tiful women and beautiful women for recreation ; for 
the ugly there are needlework and the rosary.^ Among 
recreations none is more graceful than the dance, where 
sinuous movements display the natural beauty and 
elegance of tiie person, both in women and in men, who 
were expected to study every detail of deportment 
down to the proper way of removing and holding the 
hat. We have minute descriptions and even drawings 
of the figures of some of these dances in Franco's and 
Fabrizio Garoao's* volumes. Some of the figures are 



ireme. 187^. 

} Ebroo. of Peuro, p. 3B. 



' Gregoroviiij, Lucre:ia Borgia. Lib. 11. F 
' Trattato dflVarte dell Ballo bj GugUolnii 
Bologna. Homagnoli, 1673. 

* Corso, Biaaldo, Diatogo del ballo, p. i. Venctii, l55S. 

* II batlarino ] di M. FahrJlJo Caroio \ Da Sermolel*. | Dtviso in du* 
Irittali -, I Mel primo de' quail si dimoslra la dirertiti dei nomi, che si 
danoo 1 gli atli, ct movimeDti, cbe ioloneagoao no i Balli, et con molle 
Regola b! dicbiira con quali creaate. et in che modo debbaoo tarsi. | Nal 
ncondo I'JDSFigriaao diverse sorti di fialli et Balletti tl aU'ueo d'llalia. coma 
i qiiello di Francii, ct Spasna | Omalo di mollc. Figure 1 et con I'latavola- 
lura di Liulo. ct 11 soprano della Musi» nelU iooaU di cioHun Bullo. | Alia 
Scren.™ Sig," Biaacii Capello Do M>^iri eran Duchessa di Touana. 



Veoelia, Ziletti, iSSi. 






dapted lo i 







cou 
I ton 



PRIVATE ENTERTAINMENTS 

dedicated to Venetian ladies ; for iDstance, Alba novella 
is inscribed to Bianca Cappello de' Medici, the Ballo 
del Fiore to Laura Moro Contarini, the Ballo del Pian- 
tone to Graziosa Bembo, llie Pavaniglia to the Doga- 
ressa Morosina Grimani. The Milanese Cesare Negri, 
called Trombone,^ describes various figures of dances 
for three and four persons, and in his treatise he 
mentions his pupil Orlando Botta of Pesaro, Giovan 
Stefano Martinello, and tho Veronese Gaspare Avanzi, 
who alt taught dancing in Venice. 

The dances known as the gagliarda. the cappello, the 
torcia, were in great vogue, and Torqualo Tasso records 
the pavana in one of his sonnets. In the first of these 
the spectators formed a circle round the dancers, en- 
couraging them with shouts and cries, " affinche," says 
Zuccolo da Cologna, " s'ingaghardissero a far hei trotti, 
Iti leggiadri, artificiosi fiorelti, velocissimi rivolgi- 
inti et molte rimesse et continenze dando del picde 
tempo a tempo in terra."* The hat dance and the 
torch dance were a kind of country dance with which 
a party usually wound up. Zuccolo thus descrihes 
the figure of the cappello dance, which he calls "the 
adulterous dance"; the men sat round in a circle 
waiting till invited. " L'innamorato 6 richiesto, et con 
un dolce riso et amoroso sguardo dalta sua vaga madama 
invitato et le pone la sua barretta corlegianescamenle 
basciata sopra le bionde trecce di lei, et clla medesi- 
mamente basciandola prima con belli incbini sopra 
il capo del suo leggiadro amante la ripone. Quanto 
felici, lieti, gioiosi et di contentezza pioni 

e>. The dcdicilioQi, loo, are changed. Tho Ballai-ino appeared in 
■Dotber edition undor tho title of NobilA di donne (Vcneiia, Muschio. 
i6o5), and in place of the tianica of the Venetian lidiei who figure in tha 
edition of iSSi vre fiud othera. nich ■■ that of lbs Dogaressa Morosina 
Grimani. 

! Gral'te it'Amore, dl Cesare Negri miUne»e, detlo il Trombone. 

* Zuccolo, Simeone, da Cologna. Lv paziia dtl ballo, p, so. Padova, 




lao VENICE IN THE GOLDEN AGE 

et colmi si ritrovano : ma piu assai scnza dubbio la 
pazzarcUa et baldanzosa femina rallegrar si suole in 
quella danza parendolc in quel ballo di esscr sopra 
rhuomo. per aver lei in quella dilettcvol hora il cap- 
pello in capo et per raggirare et dimenare quel sciocco 
senza barrelta per quelle ampic sale a suo diletto." ' 
In the lorch dance the lady, holding a torch in her 
hand, moved through the rooms till she came to her 
favourite cavalier, whom she invited to the dance by 
holding out her hand ; the torch was then given to a 
tliird dancer, who bad the unlucky role of portando il 
Intne.^ The pavanas name comes, not as some think 
from padovana, but from the slow step of the dancers 
who imitate the movement of the peacock [pavone) when 
it spreads its tail. There were other dances chiefly in 
vogue among the people, the veneziana, the passo e 
mezzo, the moresca. the mataccino, the bassadanza. the 
zoioso, the anelto, the oselino, the vanli di spagna, the 
sallarelh, and others that took their names from 
the first lines of the songs which accompanied them, as 
La bella Franceschina, Ta le ne parti cuor mio caro. La 
Rosinn, etc.^ 

In the dances of the upper classes, the steps were 
divided into riverenze, continenze. panlate, passi segaili. 
doppi. riprese, Irabucckelti, capriole inlrecciale e spezzate 
in aria, Jioretti, giraie, saltini a piedi pari rovescialt e 
tondi.* These caracoles and pirouetto8, which at first 
retained a certain dignity and decorum, gradually gave 
place to more loose and even indelicate movements, 
and Zuccolo and Garzoni both inveigh tlie hcense of 
the dance, which tliey call the vergogna del Crtslia- 
nesimo.^ The priest, Scardcone, who preached in 
defence of chastity, laments the days of his youth, 
when young men and maids, instead of dancing with 



1 Zuccolo, op. cit., p. 9l 
* Cono, Diatogo, p. 6. 



»93, S94. 



PRIVATE ENTERTAINMENTS lai 

\ their arms round each other in a close embrace, used 
[ to be content with simple and modest measures, whore 
\ the bands were permitted to touch only the hem of a 
dress or a cloak. ^ The dances of the people, too, lost 
their original, quiet dignity, when the women made 
the steps, bounds, and pirouettes with grace and mod- 
enty, and. as Calmo assures us. wore beneath their 
r petticoats le braghesse dormesin per no moslrar le ver- 
L gonze in lei voltarse in lei scambieti. But the new ago 
in its pursuit of pleasure called for greater freedom, 
and men and women gave themselves up to the frenzy 
of the dance, with shouts and cries and gestures, fre- 
quently immodest. The yoong men. loose in dress 
and in manners, bounded about a md slmioiti, pirouet- 
ting hke so many tops ; the maidens with robes unlaced 
took bounds che a malaslenle i pulesi. che salla cusl 
forte, poderare star saltU.^ Dancing became a strong 
incentive to license, and yet we find it patronised even 
by prelates — though in disguise — and by widowed 
matrons.^ For example, on September a3, i5i8, at a 
ball in Casa Cornaro, tliere were present the Cardinals 
Cybo, Pisani, and Cornaro, and tne Bishops of Corfu, 
Crete. Famagosta and Spalato ; numbers of ladies took 
part in the dance, and masqueraders con saioni di seda, 
efo balalo assai. After supper le done balono il ballo 
delcapello e lolseno lulli Ire 11 cardinali suso.* 

Paruta laid it down tliat display is a fine thing in 
itself, but it is not called for on every occasion of life ; 
among the occasions, however, on which it is impera- 
tively necessary to spend lavishly, he places weddings 
and banquets.^ And in fact, the banquets of those 
days were sumptuous in character ; the art of cooking 
and refinement in dressing the table united to tempt 

1 Scsrdoone, Df Caslilate. c. So^. Venetiis, i5Sa. 



* Cono, Diatogo, dt.. p. 6. 

' 5»nudo. Diart, XXVI. 53, 5*. 



la polUiea. p. i86. VeDUit, 1679. 



laa VENICE IN TFIE GOLDEN AGE 

the palate and delight the eye of the guests and some- 
times of the public, who were admitted as epectatorg. 
The Doge not only invited the patricians to refreshment 
in his private rooms, at which were served slorti, buzolai 
pignocadi, confelli pastarelli, et allre confetlione,^ but on 
Saint Mark's day, Ascension, and the festivals of San 
Vito and Santo Slefano sumptuous banquets were offered 
to the principal magistrates and ambassadors in the pub- 
lic apartments in the Ducal Palace.' On the Sunday 
after Ascension the Doge was bound to give a luncheon 
to the people of Poveglia, and another on the feast of 
San Girolamo to the nobles who that day were elected 
to some of the chief offices of State. The people of 
Poveglia obtained their privilege in recognition of the 
valour displayed by tlicir ancestors when fighting against 
Pepin, and the ceremony of their reception by the Doge 
was both simple and touching, His Serenity greeted 
the folk of Poveglia with the words, sie' i ben vegnudi; 
and they replied. Dio vi Jia el baon di Messer lo Dose, 
semo vegnudi a disnar con vil, and added, Volemo la 
nostra regalia. The Doge said, Votentiera. che coaa? 
and the people cried, Vi volemo basar. Then the Doge 
kissed each one on the lips, and they were ushered by 
his majordomo into the banaueling-room.^ 

On great occasions the tables loaded with silver plate, 
crystal, earthenware, cups, and flagons, offered a splen- 
did spectacle lo the public, who sometimes assisted. 
Beatnce, wife of Lodovico il Moro, speaks in one of her 
letters of a collation given in her honour in the Ducal 
Palace in ligS ; it was served to the sound of music, 
and was " composta di diverse cose tutte lavorate di 
Kuccaro dorate, che facevano el numero de 3oo ; cum 
inGniti piatti de confectione. et cope da bevare in mezo, 
li quali tuli se destcndevano per la salla che fu un 



' NothU iTaiiticKe eoltianame dei Zj 



* Notitu d'antkhe 



L special bOQqu«ting- 



it added lo tlie Doge'i miilo. 



PRIVATE ENTERTAINMENTS 




faellissimo spectaculo." Henry III also was given a 
banquet in the HaU of the Great Council, which waa 
cleared for the purpose, and on the place where the 
ducal throne stood, was raised a huge sideboard loaded 
with gold and silver plate to the value of two hundred 
thousand crowns ; facing this sideboard was the seat 
for the king, under a canopy of crimson embroidered 
with golden fleurs-de-lys. The guests numbered about 
three thousand, and the banquet was served, to the 
sound of music, by a whole army of carvers, waiters, 
and cupbearers , ^ On another day a colla tion was 
oQered to the king in the same hall ; the whole dress- 
ing of the table — bread, plates, knives, forks, table- 
cloths, napkins — were made of sugar so well imitated 
that it startled the king when his napkin broke in his 
band.' The dish set before the king represented a 
queen riding on two tigers who bore on their breasts 
me arms of France and of Poland. On the right of the 
royal table were two lions with Pallas and Justice ; to 
the left were San Marco and David. Tbe other tables 
bore statuettes of popes, kings, doges, deities, figures 
representing the planets, the arts, virtues, animals, 
fruit, flowers, and trees, all made in sugar from designs 
by Sansovino, executed by the druggist Niccold della 
Cavalliera, whose shop was at the sign of the Pigna.^ 
There were one thousand two hundred and sixty plates, 
and three hundred statuettes presented to the ladies. 
Two other tables were similarly adorned in the Sala 
deilo Scrutinio.* 



1 De Nothae lod Solerti. 



cil.. 



i3i. 



■ Delia Croce, Hialoria delta pabilica etfamota entrata. cil.. p. ij. 

■ De NolliBc »aA Solarti, op. ell., p. i48. Malcspini, Cetio (Nov.. 
Pirt I. p. II l) d«>cribo> I banquet given bt one of the rlubi of tho Caha, 
wfaer« Ibe " pistti, bncili. boccVli, coppe. laued'orned'argcnto elattrebel- 
liuime vuceU* diverae piene tutte di confeiionl. lelvaggiuiui. fnitl*, peici, 
uct«Ui. falere. figure e( litre cobg . . . ccinposli e fabbricali di tucchero 
da perfsltiiiimi artelici lanlo naturali. cheingaiinaiiano I'occhio di ognuna." 

* DelU Croce. Inc. cit. In order to ebon the liberality of Ihc g'ivi:?rii- 
■scnl towarda ill guBBls, we quote in Appendix, Doc. C, the eiponsei for 



lai VENICE IN THE GOLDEN AGE 

In the pictures of the great roasters, especially of 
Paolo Veronese, we get vivid representations of sach 
banquets. Christ, with the Saints of Scripture, ia 
seated side by side with ladies and patricians dressed in 
purple and gold ; the great halls have noble arches 
carried on columns of rare marbles; the architecture is 
of the richest and most stalely description, the company 
is joyous, the place flooded with light ; the grey- 
hounds, so dear to Paolo, run about the chamber. 

Music, song, epithalamiums, comedies, oielodrama. 
enlivened ihc oflicial ducal banquets, of which we find 
the first record in the coronation oath of Agostino 
Barbarigo {i<i85), though the custom is much older; 
and banquets were given to celebrate pubUc festivals, 
regattas, bull-fights, shooting-matches on the Lido.' 
In i5ii, in Casa Vcndramin on the Giudccca, there 
was a banquet of three hundred guests in honour of 
the wife of Alviano' ; and on January 5. i5a8, another, 
bellissimo di sonl et eanti, in the house of the Comer 
Piscopia, at San Luca, in honour of the Cypriol, 
Livio Podacataro, who was Archbishop of Nicosia from 
i5a4 to i55a.* The banquet given on May a. i5i3, 
in honour of the marriage of Federico Foscari and a 
daughter of Giovanni Venier, was worthy of the great 
family and the splendid palace which they inhabited. 
The guests numbered four hundred and twenty, and 
included Uie ambassadors of the Pope, Spain, and 

banqueU mil wUalioni offered to Reoala d'Este, Ducheu of Femr«, 
during hisr Elajr in Venico. Tlio notes are trauKribcd from the documents 
of the flflson Vechit, and are importaiil as rfiowiiig the price of food. 

< The folloniug menu of a banquol given in honour of the ihootiDg-maldi 
of Julj 36, 1673. i> curioui : "Sturioai, Varuoli grandi, Orao vsccbie, 
Barbooi, Cjquali, Sfogi, Pasere. Uraacipori, Cape lopghe, Botarghe. Bisi, 
Moronelle. Caviaro, Oio. formagio niaaeDlio, Susini datoaschin, lla piaaa, 
Cai de Ute grandi. Id. piccoli. ZoncJiiada. Late, Ovi venticiDque per torta, 
Hampaca. Madera, Anesi. Acqua rosa. Specie forte, Id. dolce. Maraue, 
Malvaiia. Via ocro, Via bianco. Aaedo. Pan, Butolai. Holoni. Ua. fighj, 
Nonlle, Mandorle, Peri jaiuoli, Verdaii, Susinl nogri, Suiiai bianchi, 
HoKhalo, Slechi." 

1 Sanudo, Diai-l. XVUl, a38. ' Ibid.. XLVI. 458. 



PRIVATE ENTERTAINMENTS 



135 



Hungary, and three sons of the Doge Loredan, uncle 
of the bride. Fa beliissimo ordine e iel pasio, says 
Sanudo ; and after the banquet a certain Galcazzo della 
Valle improvised a song to the cithern, while members 
of the Elerni Club, dressed as Envoys of the Pope, the 
Emperor, the Soldan, the Kings of France and Spain, 
and the Doge presented themselves in suitable terms to 
another of their company who was habited like a king. 
reslilo dargento e de sora ana caxacha e la greca d'oro 
e uno capello in lesta.^ Marco Foscari, before setting 
out on his mission to Florence on January 8, 1527. 
gave " uno banchetto beliissimo alia corlesana in 
argenti "^ in honour of Cosimo de' Medici, who was 
afterwards Duke of Tuscany, but was at that date only 
seven years old and had been brought by his parents 
to Venice along with his fourteen-year-old cousin. 
Lorenzino. in order to avoid the perils of war. 

Nor did that class of citizens who belonged to the 
ducal chancery and formed a kind of secondary 
nobility^ fall behind the patricians in the luxury of 
their table. For example, we hear of the excellent 
supper of partridges, pheasants, fried oyslcrB, march- 
pane, and bonbons offered by the Secretary Gasparo 
della Vedova in i5i7 lo a number of guests, including 
the members of the Ten themselves ; the feast was 
enlivened by the declamation of an eclogue accom- 
panied by music and song. " Et questo ha fatto," says 
Sanudo, with his usual shrewd directness, "perchfeel 
desidera easer Canrclier Grando."* 

Although we do not find in Venice, cither in the 
Ducal Palace or in the homes of the nobility, any 
class of domestics analogous to those who were intrusted 

I Siinudo, DiarS. XVI, »o6. 

* We must dwaji dislinsui-ih between the cit[ieDS wLa belooged to 
the diss of tecTBlirios and ttifi riliieni who had acquired privilegea for 
tnding and were under the jurisdictioD ot the Provreditotj di Comune. 

* Sanudo. Diari. XLUI, 365. 

* Ihid,, XXIU. &5s. 



1 



ia6 VENICE IN THE GOLDEN AGE 

with the preparation of papal banquets at Rome, or 
the entertainments given by the Cardinals,' still there 
were persons who made il their business to lay and 
serve banqueting-tables. The Doge's steward, who on 
certain public occasions walked in the ducal procession 
with un imperioso baslone in mano, is represented ia 
oneof Carpaccio's pictures. Stewards in ■private houset 
of the rich were intrusted with the delicate task of 
dressing the table ; ihe dining-room and the table it- 
self were adorned with sweet-smelling plants ; flab of 
all kinds swam in tanks placed among the shrubs ', 
from the bnmches hung gilded baskets full of fruit, and 
leverets, rabbits, and birds were tied to the stems by 
ribbons of silk.^ Art was displayed in all the decora- 
tions of the table : gold and silver candlesticks with ' 
coloured candles, beakers of enamelled gold and silver, 
damascened work, silver fountains, gilded spoons, knives ' 
with handles in niello, with figures, arms, and borders, 
kept company with majolica and porcelain plates, with 
cups and uagons of sparkling glass, marvellous for trans- ' 
parency and grace of form. The minutest details re- 
ceived attention. The copper wine-coolers were chased ' 
and damascened ; even the toothpicks were of gold.' 
and as early as the filleenth century forks had made 
tiicir appearance on some great tables, — a notable point 
when we remember that throughout the Cinquecento 
the fork was extremely rare, and even monarclis used 
their fingers.* The fork of the Dogaressa Sclvn, which 

1 La sin^olart doltrina di M. Damcnico Bomoli Bopnaamiaato PaauDlOi 
famosa scalco romaoo. Veuelii, ibQo. 

' // Trinclaate Ji M. Vinccnio Cervio, amjjliato e ridotto dal cavalier* 
ttealo FuEorilto da Nami, p. 5o. Venelia, iSg3. 

' In VeroDoie's " Mamage of Caoa" ia the Louvre we see a woman 
iiuDg a ^Id loolhpick. 

* Id Iha Weel tho carlienl meolioa at a Fork ia In an iDTealorj of Edward I 
of England, dated t397- In i368 we Rod a gold fork in ■□ inveotorj of 
Louis d'Anjou : but llie forks did not become well Luowd till 1 379, when 
•ne find them recorded among' tlie plalc of tho rojsl houjebold ; nor did Ihey 
lake iheir place as a common article till the end of the lixteenlh 
MoQlaigne declarei Ibal he made but llllle use of fork or spoon. Hi 



1^13; 






• • •• 



• • • 



• •. •• 



•• 



:> 









• 



• • 



^^^Bbeemed to 1 
^^^" an impious 

tha 

wa! 
I not 

8ei| 
I via 

^^ wh 



PRIVATE ENTERTAINMENTS 




med to the Venetians of the eleventh century to be 
an impious refinement, was adopted by Venice earlier 
than any other European State. Jacques te Saige, wbo 
was in the city in i5i8 and attended a ducal banquet, 
noted, as a novelty of whicb he approved, " que chcux 
seigneurs, quand ils voUoient mangier, prenoicnt la 
viande a toute (avec) une fourquette U'argent " ' ; 
while Sabba da CastigUone mealions forchetie alia vene- 
The table plate of gold and silver 

G p Pu pirooi 
illiore s baciui,"* 

looked SO sumptuous on the sideboard that the ambas- 
sador lletean was justified when be asserted, before the 
Imperial Diet at Augsburg in i5io, that the use of 
gold and silver plate was quite common in Venice, 
while sovereigns elsewhere ate off earthenware and 
base metals.' 

Trestles, benches, seats of all shapes were disposed 
along the tables. Napkins were folded in the form of 
mitres, turbans, columns, pyramids, and boats,' and were 
sometimes decorated with a little flag or with the arms 
of the guests.* Perfume was sprinkled everywhere, on 
tablecloths and napkins, on the artificial silk bouquets 

who OD bit waj Uirough Venici 
Ihein (Havard, Diet, lie I'ameubi 
Uiought a fork a superfluous luxurf. 

Sije for the firsl li — '— ' 
mmune of Floroi 
ontieo, pp. Si et seq. Torino. 1889.) 

I CI'/ uiita'aient Us gala, rtpaUtres rl dapeia que m. J. L. S. marehant 
it drapt de toye, demeurant ii Douaj, ay Jakt de Douaj a HieraiaUm, Vemie, 
etc. Cambrsv, iSio. 

* Rhonii, Veneiij, RegauoU, 1578. 

" Roast, v., Jacopo d'AI&iz.-oUo Guidi, eil., p. 4i3. SauaoviDo (Venelia), 

* Ora:ione d't Lod, Hdiano, cit. See Bargilli, Uanotcritti della Bibl. delta 
A. Acead. UilU. di Torino, p. 3^. Torioo. i<ju5. 

DJ, /( Teaira de earii e diceri'i ctrvelli mondan'i. p. 687. Veaetil, 



I. fourcheUe),buie\ 
e Venelian fork app 



The Venelian fork appears it 
1 the fourleenth cealurj' in an invanlorj of the 
B (i36l), <Sce Luoibroso. Mem. ital. del buoa U 



■ Cervio, H TriruianU, t 



..p. 48. 



ENICE IN THE GOLDEN AGE 

which stood beside each cover. At the beginning and 
at the close of the meal rose water was ponred over the 
hands from ewers of gold or silver.^ Seated at table, 
the banquet would begin amid the murmur of conver- 
sation, the clink of glasses and of plate; waiters and 
valets ^ in the family livery brought in and placed on 
the sideboard the long and complicated Ust of dishes. 
Sometimes, if a cardinal or a prince were at table, he 
was served by the young members of the Company of 
the Hose, who held it no dishonour to wait upon the 
great.* The carvers, whose profession had become al- 
most an art, cut the joints on the sideboard and laid the 
slices out on silver salvers, which were then borne round 
the room. The stewards were constantly studying new 
forms and names for dishes, entries, relhea. mounds 
of pastry or sugar, castles, columns, statuettes in march- 
pane, " insalate grandi lauorate di Cedro. littere di 
radici, castelli di rape, muraglie di hmoni adornate di 
Bommate, Presciulto sBlalo, Botlarghe, Arenghe, Ta- 
rantello, Alici, Cappari, Oliue, Cauiale, fiori, ed altre 
cose condite ; poi vi erano Pasticci di Aquile negre 
in piedi. Pasticci di fasani, che pareuano uiui, Pauni 
bianchi riuestiti adornatt con la rota della loro coda, e 
pieni di fettuccie di seta cd oro di diuersi colon con 
confetti longhi dorati a mo di pontali d'oro, che pen- 
deuano, da per tutto alii Pauoni, quali slauano in 
piedi come se fossero uiui, con vn profumo nel becco 
Bcceso de fuoco, et vn motto amoroso tra un piede e 
I'altro." * 

Sometimes the entertainment would end in an amaz- 
ing, or even occasionally a grotesque, exhihition. For 

' See AppeDdii. B, Doc. i (Inomlario Corrrr), 

' Not. aanl. cost, dei Dogi (p. 3o) ^ves the aiUries of aome of tho 
ducd servsnti in l55l| : the itBwiid, iG ducati even quarter: the foot- 
ineD and grooms, 4 ducats ■ moath ; (he Inker, a ducati • moBlh ; tha 

■ Sanuda, Diari, XXIX. 6^7. 
* Cervio, op. et loc. cit. 




PRIVATE ENTERTAINMENTS 




example, the entertainment offered to Farncse byGrimani, 
in 1 53a, closed with a dinner served to one hundred 
guests, which lasted four hours, and comprised ninety 
courses. The jotea of a number of clowns kept the 
company amused, and all of a sudden four masqueraders 
appeared on the scene ; they were dressed in a bizarre 
monkish costume of white satin frocks and cloth of silver 
hoods, and each hore a basket full of the most delicate 
needlework made by nuns, which was distributed to the 
ladies. When the pasties were opened, towards the end 
of the feast, out Hew a number of birds, and a scene of 
confusion ensued as the company sprang to its feet to 
catch ihem.' At another banquet in Palazzo Trevisan, 
also on the Giudecca, among other viands were served 
pasteUi. or pasties, and "in una man ussivano scliilati 
(small crabs) fuora, in I'altra confeti picoU, in I'altra 
oxelli, in I'altra uno gallo tulo spenacliiato le pene et 
taiata la cresta qual ando per tavota spandcndo gotti et 
ingistere."'-' 

The art of pleasing the palate was carried to a high 
pitch, and dishes varied with the season. The favourite 
savouries were trulTles. oysters, lettuce and carrots, sau- 
sages, ham and pork sausage ; among soups we find 
the zuppa dorata, English soup, vinegar soup, kid- 
broth, imperial and Neapolitan pottage.^ Favourite 
dishes were mortadella di Cremona, Milanese sausage 
J made of pigs' brains, cheese from Piacenza, tripe from 
\ Treviao, lampreys from Binasco, Ferrarese sturgeon, 
sausages from Modena, Genoese macaroni, Perugian 
thrushes, geese from the Romagna, and Lombard quails.* 
Partridges, pheasants, peacocks, and pigeons were stand- 
ing dishes.^ The Adriatic yielded fisli in abundance, 
both the finer quahties that went to the tables of the 
rich, and the coarser kinds that formed the staple food 



1 StDwdoDi. heltert, 

■ Staodo, Dioi'f, XL, 7go. 



* Ibid. 



<a\, 11 Teatn, pp. 566 et leq. 



ludo, Diarl, LVIl. ;(,a. 



i3o VENICE IN THE GOLDEN AGE 

of the poor.^ Fruit of all kinds loaded the board, — 
almonds, plums, cherries, pears, apricots, pumpkins, 
melons, grapes, peaches, as well as vegetables of all 
sorts, which the Venetians devoured so greedily that 
a doctor of that date declared them to be worth thou- 
sands of ducats to physicians, thanks to the diseases 
Ihey induced.^ 

The dressing of dishes was pecuhar ; not only was 
sugar used on roasts, game, fish, soup, and in all 
sauces which were not based on strong spices, but they 
added scented waters and even gold dust, to strengUien 
the heart, as they believed.^ Sometimes both bread 
and oysters were gilded for decorative purposes.* The 
use of spices and drugs was common. Mingled with 
the vulgar onion and the strong-smelling garlic, were 
the flavours of pepper, cloves, nutmeg, cinnamon, 
mace, juniper, benzom, ginger, cubebs, and such hke.^ 

I The commoDer Linds of flih al Vcoice were chad. dorj'. eel), gill-hesil 
grajliog, bream, tunoy. pike, guitgeoD, labtter, gurnet, red runlcl, lam- 
prej, sturgcoa, cuttlefi&h, winklea, cockloi. hog-Sah, shrimps, sud taloB. 

" Teia, Scipiont Ueituri, Eilract from Ihe " Atli e Mem. dell'Accad. 
di Padov*," p. tl. PidovB, 1903. 

' Vivlairi, Tratt. del eiatodire la lanita, p. 85. VenetU, i5a6. 

* Sanudo. DiarS. XXIX. 5S7. 

' Datl'IIarto, ia his HUiorm del lempttci aromaii (Veneiis, 1616), 
enimcrateB all the dniBa thai Ihcj brought from the East ladies. Ai ■ 
(ample at the taste of the daj, we mij quote fram Criatoforo di Heuii- 
burgo'* Libro Nooo nel gunl I'integna a far d'ogni lorte di oieande (Venetia, 
i563} the fullowiog roceipt for a '-black broth" which the author deuribei 
ti tUiiinuiimo (p. 81 aad index): " Piglia libra una d'uva aecca. overa 
Kbiava, civate I'lnime, libra una d! mandorle ambroBiane senii mondarla 
e una libra di pin taglialo in fetlc, cid una libra di fette di pane biicot- 
tato mogliate in AgreEto e pola bene ogai coia inilcme. e diitempcra con 
Lrodo <ii earns non troppo gvasaa, e pasaa ognl c<ua per la alamagna, e poni 
in una cassa stagnata lu la brasia, c fa boglioro ogiii coss per Epaiio d'uii 
quarto d'hora, con cincia uoa di cantioUa e un quarto di pevore posto. e 
one ie otto di mclfl cbiari&cato, poi piglia due cipoUp tagliale bon minute, 
o iKinile in una pigoattt in buouo Urdo piitaiiato. E quando laran colta 
Ie cipoUe, te peiterai e macioerai mollo bene iusiemi} col lardo dove lono 
eolle, e po! meltlle nella caiia dove <on la allro lopradelte coie. Ie farii 
bogliere un mcio quarto d'bora tulle inaieme, Poi haverai la tua came, 
o uccelli colli allessi in pezii. e li soSHgerai nella patella con buon lardo 
hcQ battuto, over distrulto, e li imbandirii nei pialli, poi li poirai aopra 
delta saporo." 




V-J 






^•. 






**#. 



PRIVATE ENTERTAINMENTS 



i3i 




Theae highly spiced dishes naturally stimulated thirst, 
which was quenched by an infinite variety of Tv-ines, 
salubri, slomacali, cordialt, malricali, gagUarili. mez- 
zani, and deboli. Wines mth a strong bouquet and 
body, such a3 greco. made from a grape that came 
originally from Crete, and malvaaia, made from a grape 
native to Cyprus, were preferred. Of local wines, the 
favourite in North Italy was the vemaccia, made from 
raisins and highly alcoholic, the greco and chiarello of 
Alba and Saluao, the chiarello of Acqui. the wines of 
Lodi, Crema, Como, Brescia, Verona, and Conegliano, 
which resembled vernaccia, and the brognoli of Friull.' 
These wines were frequently doctored with drugs and 
perfumes, like the famous hippocras. 

The most hustling, and in some ways the most im- 
portant, place in a Venetian house was the liitchen. full 
of every kind of utensil. We have pictures of all the 
details of a Venetian kitchen in the engravings which 
illustrate Bartolomeo Scappi's cookery hook, dedicated 
to a Venetian cook. The place was crowded with cal- 
drons, chums, basins, howls, pitchers, tubs, porringers, 
ladles, spits, skewers, large and small, dripping-pans, 
mortars, grinders, pestles, knives, graters, hesoms, and, 
above all, ■■ good store of wood."* 

The history of the ducal kitchen raises, as it were, a 
corner of that golden robe under which the private life 
of the prince was hidden. There was great aijundance, 
but the quality was simple ; tribute in kind supplied, 
for the most part, the food stuff in the ducal kitchen ; 
fish, especially sturgeon and soles, also wild duck, were 
furnished by the owners of the fisliing-grounds and by 
the fishermen of San Niccolo, who at Christmas made 
an offering of two hundred gurnets and twenty wild 

I SUcchetli (Guerrmi), U tafola < la cucina lui sec. XIV t XV. p. ii. 
FircDiF. i88i. Gindmi. Tapola. Cueina e Canlina, p. $7. Moden*, 1&89. 

* Measiiburgn. Libro tun-o, luc. ci(. Scippi. Bartolomeo. DetCarU dil 
Cucinare. dedicaled to Mag. M. Matl«o BariJicrl. famous Veaeliac cook 
•od ilewird, p. g. Veociia, iGio. 



i3a VENICE IN THE GOLDEN AGE 

dack ; wine and catahlcs were due from certain magis- 
tracies, communes, monasleries, and guilds. Chtoggia, 
for example, presented at Christmas a caak, " de quarte 
8 de boon vin dolce trchian col caralel condutta a sue 
spese fin in caneva del Dose," On tlie same anniver- 
sary the Commune of Muggia presented two and a 
half amphoraa of the favourite wine rilmola, and two 
" ambassadors " brought the gift from Istria, on board 
a boat manned by ten sailors, to whom the Doge gave 
a sumptuous feast. Some of the guilds paid tribute, 
not in money, but In kind ; the Cheesemongers, for 
instance, gave a pe:za de formazzo dolce del miglior. 
while the office of Uie liason vechie e niiove contributed 
at Christmas time twelve pigs, of two hundred pounds' 
weight each ; one pig of the same weight was also due 
from the monastery of the Santo Spirito, and one of a 
hundred and twenty pounds Irom Sant' Antonio. The 
Patriarch's quota was fifteen capons and fifteen pair of 
wild duck. Other monasteries made more refined 
contributions ; for example, San Zaccaria and San 
Lorenzo " erano tenuli dare ogni anno in 17 volte 
caliasoni (cakes), n' loao a doi mersori (baskets), 
per volta uc Go calisoni in tutti doi "; a basket contain- 
ing one hundred gill-covered cakes was presented to the 
Doge on the vigd of Santo Stefano by the monastery of 
San Giorgio, and in addition four gilded drinking-cups 
with the Doge's arms upon them, two containing Mus- 
catel wine and two vin de marcha.' Tribute in kind 
was paid to the Grand Chancellor, to some ofiicials. and 
to the ducal steward, cook, and baker. ^ 

After dweUiug thus on the riches and profusion of 
Venetian tables, we are bound to add that all this dis- 

Elay was reserved for State occasions ; in ordinary daily 
fe the meals even of the patricians were anything but 

• Not. d'anl. colt. 4ei Dogi, paBsim. 

* For inslance, On Maiindj Tliiirsdajr the Giudici del Proprio received 
"UDB leili de porro con 4 deili (linger longtht} di calla con hdr ntruuiin 
bocci." Ibid., p. 34. 



PRIVATE ENTERTAINMENTS i33 

Bumptuoas.i Modest, too, were the household habits of 
the bourgeoisie and of the people in their lilLle dining- 
rooms^ or round the kitchen fire. 

The display of eatabh's in the shops corresponded 
I to the profusion of the tables of the rich, and gave an 
air of perpetual holiday time to the city, while it en- 
raged trade in all such articles. Spices and drugs 
[ were still brought in abundance from the Eaal^; tlie 

1 The will of one of the Falier familj (A.rcb. di Slalo. Seiiono NotarilB) 
' ^VM US aa inlorosling uote of the duly cipeasci in ■ □oblomsa's bouu : 
Zugno t.>0(). Adl 5 lagtio :obia. 

A] noine do misiiier ihesu chritlo. por tripe soldi a e peuB psr zena 

' Qua «ar»no nalida tulle lo sprssa loldi 1 tomi loldi 3 

(iis mi ichaderano in dito latta el 

memorie, el (juil mese comonio por per bresole de ponta de Mhena 

peue et ovi leriesse erbe ■ Eoldi 7 Midi 3 

/di a .-u3«o .=Wo. porfi^i,.orbolb. ■ ■ ;; J 

P'^P8»»« wl''' J par uno .ruiQleiio do csrti d> 

pcrovicerbe - - ■ || 3 ecnverlellero perUguen . wldl 3 

per caroo per a lornt " p^^ barboiiiini per friier in 

Adi 6 :agno merchare. agrcit loldi > 

per charae de maiuo ■ soldi & > _i' e . > • c 

■^ f ■ 11 c f„ u Adi b oclabrio I BOO. 

per lai^mallo a. i5 Iresche per ' 

metter wtto al mio lotlo per cLaiar P""" "*''' 4 ^^ *■" comnrai a 

inmexi soldi 5 "'on de soldi is al hBCcio, chonpw 

per pe«so per disoar ot ovi per '^'" « L- = "''''> * 

teni ID tutto .... soldi 5 

.Idi g aetabrio morli. 
Adi a mono la^do. , 1 , - 

, P*' 'liiro 1 de lecDie compra 

Nolo chomo o comprado quarto miisier Piero de Chorlussi dolegnio 
3«^ di tela padoana per far roniar ^y; jg ^ „r condulura aoldi a, 
le mio mudando . . , soldi 6 ,oan soldi 3o - . L. 1 soldi 10 
^di la lagno vt:ilia (U mluier Santo 

Antonio. Adi i5 daembria tabado. 

per pease porcbo per miisier lo per far escbovar a chamini, 

patriarcha To comindalo grao zuni quel lo del a mia camera el quel o do 
per la ^era spisii tra pease o fruli la chamora de Zaobemardo 

■~ ^ulo Aoldi 5 soldi ( 

9 Xnb. di SiBlo r^lli dherti. Ml. B. Uiicttl.) eontains a ver? curious 
, _.. le mamiKripl book in which ao aoonjnioui writer of 1^60 has noted all 
liii table eipeu&os daj by day. Here ia the list for one dty : taiaca — 
iarago — taali-i — fioinei — nmygdalx — eaieia — cars ioDina — caro viUitiiui 
— porio putloram — pines arboin — piatet ophini. 

* Arch, di SUlo, Seuato, Mar, c. i5i (October 6. 1601). c. i53 (March 
t4, iSoa). 




i34 VENICE IN THE GOLDEN AGE 

price of pepper ruled the markets of the world, and one 
branch of tlie Mocenigo family, which had amassed 
riches from trade in this commodity, acquired the nick- 
name o{ dal pevare. 

We have noted how this ahundance of provisions dis- 
played throughout the whole town roused the wonder 
of Casola, who, like the good Milanese he was, dwells 
on the abandanlia delle I'iclualie, and, begging pardon 
of his fatherland, qual credeva fosse la piii abbundanle, 
he declares that Milan cannot compete with Venice 
even on this point. It is true that Casola thought, 
and thought wrongly, that the Venetians had no lime 
to devote to the table per esscre lanto intenli a le mer- 
cantie ' ; that nolwiths^nding U loco dove se vendono le 
Jarine i cost sintjolare cosa che al momlo non v'i una 
simile. The bread is so good and so beautiful to look 
at that it tempts even a full man to stufT himself; fowls 
are abundant, and so are altre generalloni d'uccelli per 
mangiare ; it is useless to record the inOnite variety of 
fish ; and as for butler and cheese Venice surpasses 
Milan, which dcve essere el fondaco di ctft. One would 
think that lutti li zardini del mondo were concentrated 
at Venice, such were the quantity and variety of fruit 
and vegetables. The good Milanese can find fault only 
with the meal, which is sold, as nowadays, con un 
grande pezzo de osso, and with the wine, which, though 
abundant, even incredibly so, is inferior to the wine 
of his native Milan. The really weak point, however, 
about Venice is the drinking water ; the wells are 
numerous ; but the only good water is the Brenta water, 
which is sold from boats that bring it into the city,* 



' Forsi^en held the eironeou* opiniort that the Vcoeliins were 
noileil in clothing ind epiriog in food. An SnglishniBn who saw Venice 
in t5gi itjs, '• VenstiaoB being mo^t apsrtng id diet aoil apparel." Morj' 
K>D, Fioes, An llintrarf. Part I, p. 88. London, ;6i7. 

> Cawla, op. cit.. pp. 8. 9. The Engliahman Tom Corjat. who WM ia 
Venice in 1608, declare! Ihnt food ond wine were more abundant in Venica 
t)iuita '-anjciljiolllalj. " Corjal'aC'iWifu'i, II, 39,70. Lundon, 1776, 



n 



PRIVATE ENTERTAINMENTS i35 

The government Huperviaed ihia great food-market. 
The Magislralo delta Uiustizia Veccftia e Nuova had, 
among its other duties, the regulation of weights and 
measures and the control of taverns. The Provveditori 
alle Biaoe and the officials at formento were charged to 
see that the grain supply never ran too low. The 
otTiciais delle Beccherie supervised the slaughter- houses ; 
oil was under the Ternuria noi'a ; firewood depended 
on the Provveditori sopra le legne e i boschi. The 
sanitary officers inspected all food and meat, — especially 
pork, which lent itself to the frauds of the sausago- 
makers, — all wine, oil,' and drugs, to detect and 

Eunish adulteration.^ Fish might not be sold till it 
ad been passed as sound by the inspectors of the Gsh- 
market.^ Every attention was paid to baking, and 
German bakers were preferred to the local hands and 
were condotti a posia by the Senate.* Bread was to 

■ In 1^98 the Sanitary Board wverelj puoiihtid cerlain persons 
Mcuted of having aold oil in which sjpliilitic pitienla had been immersed 
" ' "' ihe oil wu fouad to be full of immondilie t 



^ 



tporchtzi. UmliB, DelU Itggi di pabbl. igUne della Rejiabtica. Alii dell" 
Aleoeo Vanelo, Vol. U. Ser. U, p. 3i5. Veneiia. 1665. 

* Halflspini, Celio (JVire,, Part 11, p. 117) mentions a drug^sl, al 
Sin Manialc, who vru sued before the Giuitiiia Veccbia, the ronrt com- 
P«t«nl in auch ca<et. " Quel signuri Tanno contra limili dolinijuenli 
grandtssimo e leverissimo riieatimento e puniiione." 

■ Calmo {Lettere, p. 18) gives the Dames of vamj fish and et muodo t 
'leoitume de It arte del petcar, a patiOrer, a trezioU, a fosiina, a camin, 
a eana, a uuMgn, a rce, a :alera, a tiiini. a cogoto, a fartgar, and a tptntina. 

* Rangono. whom we have already quoted, makes this slaUmeat io 
' ' '» book Dt vita pratrahenila fVcneiia, 1577). " 



(Pia.-jo, p. 8a8), wilh his usual readiness to consure, remnrka that miinT 
Mkera are " furfanti e non mancano del debilo ancora loro ponondo dell' 
oglio Dcl pane ovvero della calcina viva, orvero della terra minuuala 
ovvera facendol mal levalo, accio rilenga meglio il peso, owero empiendolo 
ditemoto e di crusca. oYveroconmille^Itrefurfenlerie." The baker's trade, 
lajs Ganoni (p. 8a5). indudea baking " il pane, le fuguie. le piiie, le torte. 
)• ciambelle, onde vensono i lambelUrt. le brucf ialellc. o bianche. o niche 
rate o forti, i biicotelli. i burlenghi, il biscotto, Io nevole, i atoiii, gli 
occbietli, la festa, Is offelle, onde venvono gli OSellari ; i sosamelli, i mo»- 
tcuoli, le fogaccie, i rilortoUi. I ciatdoni, onde vengono i Ciildoniri, uve 
■ecche. peri cotti. e lutlo qucllo che sia buono da niangtare csaendo cotto 
Del forno : come la fonta. i confertini. dai quali son dimandall, i Confertl- 
luri. che ti fan di pepe, a meU, nelle forme loro iu foggie diversbiiime • 




i36 VENICE IN THE GOLDEN AGE 



be made of fine flour, " mondato dai pubUci crivellatori, 
trilato e macinato in ottimi molini . . . e con fer- 
menti sale e comino, accomodato con la gramola e cotlo 
ne i fomi publici e buoni." 

In order to protect the public the government fixed 
the maximum price for food stufla ; and in idjfS Sanudo 
tells us that beef could not be sold at more than two 
soldi the pound, oil or candles at more than four soldi, 
a waggon load of wood at more than twenty-eight soldi, 
and so on. The enforcement of tbe tariff was com- 
mitted to the carrizadori di Comun, who were charged 
to do justice el il dovere a cadauno.^ 

There were two flourishing fish-marketa, — one at 
Rialto, founded in i33a ; the other at the end of the 
Molo, under the Mint, — hence the name of tbe bridge, 
Ponle della Pescaria, which leads to the Royal Gardens. 
The butchers' shops also were at Saint Mark's, though 
the wholesale slaughterers had their market at Rialto. 
If we are to believe Sansovino, the weekly sale of flesh 
included five hundred oxen, two hundred and fifty 
calves, e an numero incredibile di caprelU e di pollame e 
daltri carnaggi che vengono di hora in hora dalla terra- 
Jerma? An enormous quantity of green food was 
brought into the city, not only from the mainland, but 

musimanisiilo in Ferrara. in Msnlova. in Milano. in Veneiia, In >'apoli, 
in Roma." The Guild of Vondian Bakers, founded in 14^7, had its hiU 
at the Midnnna dell'Orto, in Lha caflc that Icadi to ihe Campo doi MorT. 

' Sanudo, Qronaehelia, p. jg. Cecchelli, in hit Siigg'o lui preni, 
givGE the cot of lome article! of food after the middle of Ihc fifleeuth 
ceolurj : 



^ 



I pound of beef, a Boldi. 
I pound of veal, 3 tioldi. 
I pair of Hmall chicken), i3eold 

1 LCQ. 13 (Oldi. 

t capon. 18 aoldi. 

i53 oggi, 3 lire. 3 loldi, 

I woodcock. I lira, a soldi. 

3 turkp)' cocki, 10 coldi. 

a partridgea. ig soldi. 

1 blackcock, 18 toMi. 

' Samovioo, VeTutia, p. 3l6, 



8 soldi. 



I waggon of wood. 3^ soldi 
8 wax candlci, a pounds' 



gl-'. 

I buEbet of Paduaa wheat, 3 lire, 

1 5 soldi. 
I tenth of a bushel of salt, j lire. 
I basket of appicB, 7 lire. 




PRIVATE ENTERTAINMENTS 

I from the garden islands surrounding Venice, which 

I grew nothing herself, but was fully supplied with all 

Elhe required.' Sanudo, writing in iDai,^ says there 

I are aasa bolleghe difrullarie al presenle in <fuesta terra; 

land the fruiterers' business must have hcen nourishing 

lever since the beginning of the fifteenth century, for in 

l^o5 we find the corporation celebrating the election of 

the Doge in the manner suited to their trade : all the 

fruiterers in Venice and the gardeners of the island 

and of Chioggia, preceded by banners, trumpets, and 

fifes, went in procession to offer to the newly elected 

prince melons and carnations,' and in return they were 

entertained at a repast. 

The government, while it controlled the sale of food 

in the interests of public health, attempted to restrain 

excess of gluttony on the part of the populace, and pro- 

1 mulgated restrictive laws not always wise and almost 

■Always inefficient. The series begins in the fourteenth 

■century.* In ik^o the limit of expenditure on banquets 

■ was fixed al a ducat and a half per head,'" and that with 

iew to putting down the practice of giving cosily 

p entertainments in abhominio di Dio e del mondo.^ An 

effort was also made to check extravagance in the 

dressing of dinner-tables, the tablecloths and tlie gold 

and silver damascened plate.' In the sixteenth century 

(decrees were poured out, and simultaneously the elTorts 

Wto avoid ihem became more ingenious. Pheasants, 

' Ssnudo, Ci-onachttttt. p. /t8. 

» Id., Diari. XXXI. 97- . . 

* Ibid., loc. cil. Tho Fniiterort' Guild wm foundod m lisS, uader 
the protecliOD of Sid GiouratlD. The; had two uaote. — one at Sin 
Pietro di Culello, Ihe olher .t Sacila Maria Formosa. The Ei-baroti lad 
Naramieri formed Iwo diilinct brauchei of Ihe Fniileren' Guild. 

* See Pari I, Vol.11, p. 5! of this work. 

* Maloipim, Cclio {Nob., p. no) ■poiLing of a banquet where non li 
pUfaoano venli bocchr, M^fi: " dieci scudi a quei tempi baslavauo houoralia- 
nmameate per ogai apteodida ceaa." 

* Arch, di Stalo, Sonilo, Terra, Beg. i. c. iSg, Jaauarj U. l^Sg, o. ■. 
' Ibid., Reg. i, c. iZq. Itamrj g, 1469; Reg. la. c. 119, Jinuaij 

li. l49&> 




38 VENICE IN THE GOLDEN AGE 

peacocks, guinea fowl, blackcock, and woodcock were 
all declared illegal; trout and other fresh-water Gsh, 
especially from the Lago di Garda,' were prohihited, 
perhaps in order to favour the (ishcrs of the Adriatic 
coast. Venetian governors of the mainland provinces 
were bouud, under penalty of a fine of two hundred 
ducate, to observe the laws in force in Venice ; ihcy 
were forbidden to give presents of preserves and candied 
fruits, and four hundred ducats was the tine for serving 
both fish and meat at one meal. Finally, in order to 
ridurre le cose sommariamenle, per piii cfiiara intelligenlia 
de cadatmo. the law of l56a brought all previous regu- 
lations under one head, and declared that at bantpiets of 
any kind, whether in honour of weddings or di compagme 
pabbliche e private " non si possi dar piii che una man 
di rosto e una di lesso ncllc quali non vl siano piu di 
tre sorta di carne." The law especially prohibited le 
confection grosse, pignocade, pislachi, calisoni. fonzi de 
Savonia, oldani el confecli senza corpo, spongade, figure, 
fracle de zucaro,^ nor were marchpane and ordinary 
sweetmeats permitted. Cooks and stewards before 
taking service in private houses were compelled to 
declare to the Prowedilori sopra le Porape the names 
of their employers, and were further called on to make 
an aiBdavit of the number served on all great occasions. 
The penalty for omitting this duty was either a heavy 
fine or the pillory, or even the galleys colli ferri alii 
piedi per huome/ii di remo.^ The police had a right to 
enter the banqueting-halls and the kitchens to see that 
the regulations were enforced.^ The law of May 8, 
i5i2, provided for the punishment or the reward, as 
the case might be, of the servants and cooks in private 

' Arch, di Stato. ScnBto. Terra, Beg. 36, c. i35. i36. Sepl^mber i3 and 
17, t5^g. Provveditori alle Pompe, Cap. 1, January ai. iSgi), o. t. 

' SiDuda, Dian. XL, -jbi. Quoting > law of Lhe Seaite of Januarj 

' Parle dliierK et ordeni, cit,, p. 7. 
' Mutiuelli, Ltsiico Veiictti, p. 3ii. 



PRIVATE ENTERTAINMENTS iSg 

houses, who were required to conduct the police through 
the hanqueting-hall ; and it proceeded to declare that if 
any servant of the household ' ' o oualsiasi altra persona 
s'intromettera fra i nostri ufficiali o li impedira o li 
molestera in qualche modo, facendo uso di epiteti in- 
giuriosi, o scagliera pani od aranci sulle loro teste, come 
certe presuntuose persone hanno fatto, i camerieri 
dovranno lasciare immediatamente la casa ed avranno 
il loro salario intiero." 

But all this minute and stringent legislation not only 
failed of its object, but merely tended to heighten the 
evil. 



CHAPTEK XIV 

THE TYPE OF BEAUTY IN MEN AND WOMEN 
— SOCIETY — CULTURED WOMEN 



HISTORY has preserved for us the deeds, and art 
the hkcnesses, of the men who dwelt in this city 
of splendour and of pleasure. Side hy aide 
with the portraits of doges, magistrates, warriors of 
venerable aspect, we liave also portraits of Venetian 
men and women in the heyday of their youth, painted 
with such mastery that we can reconstruct the various 
social divisions of patrician, citizen, and plebeian at 
their prime. As crossing of blood occurred hut rarely, 
the characteristic features of the male type in patrician 
and plebeian, moulded upon long generation, which 
carefully preserved the distinction of social caste, are 
clearly pronounced. The highest type of the Venetian 
race is presented to us in certain unnamed portraits of 
Venetian gentlemen just entering on manhood. They 
clearly belong to the upper classes. In them tlic rude 
strength of their merchanl-warrior forefathers is veiled, 
as it were, by a certain air of refinement, not yet, 
however, carried so far as to blunt the characteristic 
outhnes of their ancestral vigour and activity, dis- 
played in the strong formation of the skull, in the 
energetic yet well-balanced outlines of the face, the 
clean-cut profile, the firm mouth, and the nose hooked 
like the beak of a bird of prey. The complexion is pale, 
the eyes grave, acute, penetrating, — the index of a 
strong will, — the brow frequently wrinkled ; the gen- 
eral expression one of reserve, of pride, ol seli-reliance. 



• I 






» • 



••r • 

•••V- 

• • •• 



•••. 



I 






•• • 



••• 






• •• 



• •• 
••• 






•A 




THE TYPE OF BEAUTY 



i5i 






of its power. The valiant fighter, the 
shrewd statesman, ol' the earlier days is gradually being 
moulded into the man of the world, the lover of 
letters, the patron of the arts : but if we compare these 
portraits with those of the later generations, it is clear 
that the race has not yet lost its vigour through the 
relaxation of manners. Later on, all that is virile in 
tiiese portraits is transformed into the fatuous, insolent, 
servile physiognomy characteristic of the Seicento, and 
then into the graceful, polite, smiling, insincere type 
of the eighteenth century. One feature of the type, 
however, remains unchanged, — the long aquiline nose. 
In the superiicial personalities of those two centuries 
the expression is never more than skin-deep, it never 
reveals the inner spirit ; and as in mind, so in counte- 
nance, the later Venetians dilTer widely from their 
ancestors, of the Cinquccento, whose portraits are 
instinct with character, nobility, and intense vitality ; 
and 83 the years passed over those strong personalities 
they did not weaken, but rather accentuated, this 
imprint of vitality, which stands out splendidly in the 
portraits of the men of middle age or of venerable 
Senators with long white beards, 

Venetian painters, while they show in certain por- 
lits their profound study of facial expression and of 
those spiritual qualities which are the key to the 
character of their sitters and have the significance of 
biographical documents, turn with equal intensity 
and greater pleasure to the nude, and seek for the 
display of physical beauty and strength in their youtli- 
ful models rather than for the subtle perturbations of 
the soul. It is impossible to accept the assertion that 
the masters of the Cinquccento did not study with 
diUgence the nude model, though they contented 
themselves with expressing the mental conception they 
Iiad acquired from such studies without insisting on 
,tiie meticulous realism which marks the moderns. 



1^7 

The I 



VENICE IN THE GOLDEN AGE 



I always 



Ech truth 1 



I artist i 
susceptible of artistic I 
appears transformed by liis own tUought and feeling. 
Tlie artistic medium is limited, nature is inGnitc, and 
so the artist is constrained to select and define his 
conception, moulding it as far as may be on reality. 
Wc have seen that Lotto, perhaps the most idea! of 
Venetian painters of the Cinquecento, noted in his 
diaries the sums he paid per relrar feinine nude. How- 
ever much expression and form reveal the individuality 
of the artist, his spirit cannot escape the domination 
of external nature that surrounds him, and thus it 
happens that not only portraits, hut also ideal figures 
in sacred and historical pictures, and the male and 
female nudes of imaginary subjects, will reveal the 
Venetian physical type even down to details in cor- 
poreal structure. Sculptors, on the contrary, did not 
spend much time on the study of the nude. 

Statues for the most part were amply draped, and 
we find few masters in Venice wlio give ua the human 
form unclothed. The finest nude statue in Venice is 
the Adam by Antonio Rizzo ; the works of Sansovino 
and of Vittoria, when undraped, are decorative rather 
than sculpturesque, symbolical rather than realistic. 
In Rizzo's figures we feel the living model as studied 
by the master, and in many paintings of the Venetian 
school the warm blood seems to vivify the flesh of 
classic gods or Christian saints. — above all, of Saint 
Sebastian, the Apollo of Christianity. The imagination 
of the artist becomes incarnate in forms drawn from 
the nude, in the harmoninus symmetry of youthful 
bodies and the firm live llcsh, solidly built up and 
skilfully handled, the soft contour of Umhs, the play 
of the muscles springing to life under the broad and 
genial sweep of the brush. The face tanned by ex- 
posure to the sea air is admirable in its play of light 
and shadow ; the curve ^~ • ■- 



i lips 



B jaw 




THE TYPE OF BEAUTY 



■nd neck powerful ; the nose straiglit and pointed ; 
the eyes sparkling yet kindly ; the forehead low, and 
the hair thick and often black and curly. 

The rich harmony of colour wiiich characterises the 
examples of Venetian female beauty is intimately con- 
nected with the limpid air and the joyous nature of 
Venetian life. At the opening of the Renaissance 
period the type of female beauty is defined in the 
Madonnas and saints of Carlo Crivelli. Giambellino, 
Carpaccio, Alvise Vivarini, Catena, and others, — an 
open oval face, high forehead, small mouth, Sue lips, 
straight nose, infinitely tender eyes, a delicate rosy 
complexion, — the wiiole countenance espreBsivc of an 
assured and quiet contentment, which is Lest suited to 
the needs of such a soul. As there always exists an in- 
timate connection between the forms created by art and 
the life by which that art is surrounded, we may be 
sure that Venetian painters found in their native city 
these types which they deemed worthy to represent the 
Mother of God and the saints of heaven. And this 
type of beauty in its purity seems to reveal to us the 
tranquil, gracious, gentle soul of the Venetian woman, 
bred mid the kindly occupations of the family life, in 
the modesty and quiet of home duties. And this was 
actually the case ; Venetian women passed a retired 
and tranquil existence tilt the period when manners 
began to demand a more refined development of the 
senses, and men fell a prey to the seduction of beauty 
that was no longer spiritual. When the purity and 
sincerity of Quattrocento art gave way to the passionate 
cult of beauty for its own sake, which animates the 
work of Giorgione. Titian, Palma, Bordon, Lotto, 
Paolo, and Tintoretto, plastic loveliness of face and form 
aroused an entiiusiasm that silenced the voice of envy 
even among women themselves. A Venetian noble lady, 
Bianca Cappello, whoso own beauty raised her to the 
height of fortune, but brought her also great mishaps, 



ifi3 1 

ited; I 

and I 

:s the J 



lU VENICE IN THE GOLDEN AGE 

when Grand Duchess of Tuscany . called to minu 
tho surpassing loveliness of her golden-haired compa- 
triots the patricians of Venice, and from her villa of 
Pralolino, in May of i58f5, she wrote to the patrician 
poet, Francesco Bembo, that aUe desired adornare il 
siio sfanzino. and accordingly had sent him two ivory 
hoxes, on which she wishes to be painted by a mas- 
ter hand two portraits. — one of Labia, quale inlendo 
esser molto vaga et bella, neU'altro ana delle pi'u belle 
gentildonne eke sieno a Venella ; the choice fell on 
Marina Marcello, celebrala per la plh belld donna che sia 
in Venelia.' 

We have very few portraits of Venetian ladies whose 
names and story are known to us. One of the excep- 
tions is Lavinia Sarcinelli, the favourite daughter of 
Titian. There are two portraits at Dresden which are 
said to represent Lavinia. One is certainly Titian's 
daughter, but she has notliing in common with the 
stout lady of the second canvas.'' Lavinia appears in 
two other pictures by Titian : one. at Berlin, represents 
her holding up a dish of fruit ; ^ tiio other is one of the 
treasures of Lord Cowper's collection in London, and 
shows us Lavinia with a casket of jewels.* Titian 
also painted the beautiful Irene da Spllimbergo, with 
her large, soft eyes which the Venetians call maghi ; but 
he worked from memory, as we gather from a sonnet hy 
Dolce. Irene's less beautiful sister, Emilia, he painted 
from the life. We have an engraving on copper by 

1 Cicogoi, Iicr., v. 564, 565. 

1 GBYnlcatclle e Crowo. Ti:iano. l\. -,Z. 

■ Bode, in the Cttilogua of Ihe Muicuin at Berlin (cJ. i()oj). iffirnu 
thlt the picture represanls Tiliio'i daughter. IJitalcaselie ileclirei thtt 
the Salomfi of IStadrid is derived from the Lavinia of Barlin, and is a cop; 
made by a pupil or an imitator. But Friuoni layi that " ammira pro- 
foudameule I'opera riveUnte in tulto e per lutto la diralta cresxione del 
pennello impBrcggiabile nonOEtaiite i danni sofferli per ester slata viubil- 
mente spelata ed aliumacata." ('riuoni thinks il is a Utile earlier Ihait 
the year i56a (Arcli. ttor. delVarle. Roma, A.a. VI, iSgS, p. t&o). 

* CiVKlcawUo e Crowe, op. cil., II, 37a. 



• • , 






• •• 









••• 



/•. 



•„• • 



• • 










THE TYPE OF BEAUTY 

Giuseppe Canale of a portrait by Titian, representing 
Elisabclta Quirini, sister of Girokrao, Patriarch of 
Venice ; Bembo was devoted to her for her brother's 
sake, and Monsignor della Casa wrote sonnets to her 
virtue and her beauty. Canale 's engraving shows us 
a stout young lady, with large breasts, and witli ring- 
lets falling over her high forehead.' Of the early 
beauty of Caterina Cornaro we have only the tradition 
of the Chronicles, for Gentile Bellini's portrait of her 
at Budapest^ shows her well on in years. Gentile 
painted the queen a second time in his picture of the 
" Miracle of the Cross," where she appears on the left 
of the picture at the bead of a line of noble ladies ; she 
wears her crown, and is kneeling with her hands folded. 
The painting dates from the year i5oo, wheu Caterina 
was in her forty-fifth year, and in fact lier form shows 
a matronly fulness. A portrait by an unknown artist, 
in the possession of Count Avogadro degli Azzoni of 
Treviso, shows Caterina with more obvious traces of 
youtiiful beauty, though here, loo, the queen is forty- 
five years of age, for the picture is dated i5oo.^ The 

> Cavalcaicltc B Crowa, op. ciL. I, /i66, i6-]. Delia Casa'i Mmnet 
begin! " Ben regg'to, Titiano. in forms Duove," 

' Dr. GuDthor, ia bi> villa it Gardone on the Ligo di Ganli, hu t 
coatemporirj copy of Ihit picturo. 

* In July, iSoo. in the casllc of A-solo. wu celebrated, the marria^ of 
FiammetlB Buccsri lo Bambaldo V degli Auoni Avogadro. The bride was 
the daughter of the Cavalier Liica Buecari, and mTiid-of-honour to Qunea 
Caterina, whom ihe had followiyl from Cjpnis after the abdication. 
Cateriaa gave Flammetla, on her wEddin^-dij, ■ piclin-e of llie Virgin bj 
AntoneUo da MexAioa and a portrait of heneit. The name of the painter 
ii aaknowQ, and the work it weak in drawing and feeble in colonr : but an 
an hiBloticat document it is of the highest value, and appean to ua tbc 
most authentic of all the llkeuosscs of the queen. Caterina is represented 
wearing her crown, her breait is barelj covered by a transparent veil, her 
right hand holds up tbe foldi of her rich dress, while her left makee a 
movement of greeting. In an angle of the picture we read a Latin inscrip- 
tion mentioning the gifts made hj the queen to the brido as follawi; 
" Calharina Cornelia dc Liisignano | Hjeruialem Cjpri ct Anoeniae 
negina I Quae I Flamettam Buchari Cvpriam | Pucllam mam Nob 11 em | 
Rambaldo Actionio Advocato | Nuptum datam An. Ssl. MD. | Picta Dei- 
parae Imagine | AntoncUi Mesaanensiii rarisloia in tab.' | Danaril." In iLa 




46 VENICE IN THE GOLDEN AGE 

other portraila of the queen which are to be found in 
many public and private galleries, must be considered 
apocryphal ; for example, the picture in the Uffizi 
attributed to Titian, who painted another portrait 
known as the " Bella Turca, ' which used to be in the 
Manfrin collection, though it has disappeared, and the 
portrait attributed to Veronese in the Belvedere Gallery 
at Vienna. Equally fantastic are other portraits of 
illustrious Venetian ladies ; for inslance, the so-called 
Queen Tomasina Morosini by Alessandro Varotari,^ and 
more than one portrait of Bianca Cappello. We may 
accept as genuine portraits of the too charming wife of 
the Grand Duke Francis I de' Medici three paintings by 
Alessandro AUori, named Brotizino : one in the Pitli,* 
and one fresco' and the oil-painting in the Uffizi. The 
UfHzi possesses no other genuine portraits of Bianca 
Cappello ; two that pass under her name most probably 
represent Eleonora da Toledo. Nor is the so-called 
portrait by herself of Marietta, Tintoretto's beloved 
daughter, of greater authenticity. The picture is in 
the Uflizi, and is badly drawn, badly painted, and 
badly retouched ; it represents a common-looking 
woman standing by a spinet with a book of mottets 
in her hand. 

Of the many Venetian women whose portraits have 

nuptial contract, dated Julj ii, i5oo, DO oolice of eitW tbe porlrail or 
the piclure occun, nor are Ihey meiitioued iu the l»o wills of Ihe couple 
daled Seplember ig, 1539, aad Julj 36. i5Ag, wbca Fiatnmelta wu 
■Ireadj a widow. The picture bj Antonclln it aieat'ioned in a deed of 
diviiiaa (December 8. 1601} between the brathcn Nctlore and Eigiimondo 
degli AuODi. Tbia deed, however, refers onlj to tbo objects in tLe Aiioni 
PalicQ at Treviso ; the portrait ma; wetl have been in tbe villa at Lin- 
iigo, where, indeed, it was a few jears a^. Bolb piclure lad portrait 
are meolioned in a caUloguo of 1701 . The tridilion o( these two pictures 
given to Figmmctti on bcr tuarriaj^e has oiislod for generation! in the 
Auoni ramilr. 

1 In the Palazio Morosini at San Giovioni LaleraDO in Vooice. 

* fironzino painted Biaoca sevcoteeo limes. Sec Sillini, Bianca Cap- 
ptUa e FranetKO I de' Medici, p. 34j. Fircnze, 1898. 

* The freaco was brought to the Ufliii from the cburcb o! Santa Maria 
•tOIaiiin 1871. 




THE TYPE OF BEAUTY 



I down to UB we do not know even the names, 
though some of them display that striking beauty which, 
according to Francesco Sansovino, was notabile fra le 
altre ilaliane, though it left Montaigne indifferent and 
cold.' In these pictures we get the young and radiant 
Doble maiden or the courtesan in all the pride of her 
seductive beauty. But be it the sweetness of the high- 
born lady or the smiling invitation of her frailer sister, 
both are depicted in an atmosphere of glowing and 
limpid light, but without passion ajid guileless of pro- 
found emotion. Flesh, muscle, blood, are all instinct 
with life, hut the eyes follow no spiritual vision, nor do 
they reveai a struggle of tlie soul ; they never wear 
that passionate expression of the modern woman. The 
physical form, so intensely attractive in itself, has do 
counterpart in a vivifying soul. 

The crowded canvases of the Venetian masters give 
ns likenesses of well-known courtesans or of women 
of the people, gorgeously dressed or in seductive dis- 
habille ; we see them in Olympus between Jove and 
Apollo, or on the rocks of Naxos, or at the court of 
Phcenician sovereigns, or in the groves of mythological 
story ; or else ihoy smile from the allar-pieccs where 
the Madonna appears hardly as the Mother of God, but 
only as the mother of men. stirred by passions that 
belong to this present world. The hair is yellow Uke 
ripe corn, the eyes blue, the cheeks round and rosy, 
the lips full and moist, the breast snow-white. We 
may lake it for certain that most of the models who 
eat to Venetian artists were women of the people, usu- 
ally full-bodied and large-limbed ; the Venetian tem- 
perament admired as the ideal of female beauty tlie 
slow movement, the abundant flanks, the full breasts 
of the noble matrons ; and as the taste of the upper 
classes was towards the blond type, the painters chose 

) MoDlaiKne, Viaggio in Italia net 1580 e 158t. e<tit. D'Ancoua. np. 
i3i-i37. 




i48 VENICE IN THE GOLDEN AGE 

their models from tlie blond women of the people who 
in most respecls could hardly be diatingiiished from the 
patrician dames. It is rare to meet with a brunette in 
Venetian painting, though the taste of the people, who 
admired a straight and pointed nose and tectit like a 
row of pearls,' wavered between the slim blond beauty 
and the abundant charms of the brunette. The cheeks 
missiae de lale e de riose, the high forehead pale as 
alabaster,^ fair hair,* blue eyes, were all admired, but 
the black eyes or the brown, with coal-black hair 
and a bronzed complexion, also found favour as giving 
promise of sturdy offspring: 



Women of this type are still lo be met with among 
the populace of Venice and its islands, especially at 
Borano. As it is probable that the type of the race is 
beat preserved there, and seeing that popular song, 
traditions, and proverbs are authorities of great weight, 
we are bound to conclude that during our period there 
existed, side by side with the blond, a type of brunette, 
slim in tigure, narrow- waisted, with small soil hands, 



While painting presents to us this healthy and robust 
type of womanhood, portrayed with admirable truth, 

' Cilmo, Ltllere, p. aSy. * Ibid,, loc. cit. 

' Sele bcleia ghe voria a UDtt don* 
Perche la to [HMlcsse ciamar bela : 
Lsrga de apalu e sirpla de sentura, 
Curta de pasao o 'db bcia stalura ; 
E kLb vorave do bei ooi in leiU, 
Nel so parlar cha la fossa ruodesU ; 
B ghe vorave qiialiro liionde draue: 
Altar «e pol ciamar seta belpiie. 

Beroooi, Canfipop. ten., puul. I. Veueiia, 1871. 

* Id. Credeaie pop. uen. Vencxia, 1674. 

* Olmo, Lettere, loc. cit. DL-rnooi. CreJatsc, cit. 



THE TYPE OP BEAUTY 



.49 



the literature of the day, with its feeble verse and 
involved prose, gives ua a type of woman lacking in 
life and in colour. PoliRlo describes his mistress at 
tedious length, with otiose particulars, animated not by 
passion, but by mere appetite ; his style is pedantic, 
bristling with Latinisms, and is in strange contrast with 
the splendid engravings that illustrate his work. A 
few Unes will suHicc as a sample of tliis heavy laboured 
stylo which Aretino has parodied in the Marescalco, and 
Camillo Scrofa of Vicenza in tlie Cantici di Fidenlio : 
PoliGlo declares that his mistress has ' ' nitidissima et 
delicatula came ct lactea cute . . . ampii Banchi . . . 
delicatamente tumidulo pecto . . . pudico alvo cum 
grate tumento . . . resistente et tremule natc, rotundo 
et piccolo ventre . . . distcsc bracce, longe mane, ornate 
di Bubtili ct tornatiii digiti, cum longiusculesurrubicun- 
dute, et lucide unguc . . . drito ct gallatco cello . . . 
Bpatioeo ct dcHtioao pecto . . . bianchissima gola . . . 
La biondissima testa cum explicata et soluta capiliatura 
sopra cl gratioso collo efTusi li tortuli et rcnidcnti crinuli 
copiosa appareva vedondose non attramentc che subtiUs- 
simi fill d'oro, inconstantementc rutilanli." 

Female beauty is praised and exalted, but always 
under fixed formulas which leave the impression vogue 
and undefined, even in the best poets, such as Pictro 
Bcmho, Andrea Navagcro, and Cello Magno, in whose 
verses the Pctrarcan psychology is crystallised in empty 
stereotyped phraseology. Here and there we meet with 
a transient touch of fancy or of imagination, but as a 
rule the woman is portrayed by means of violent an- 
titheses and cold conceits, never in language that bears 
Ihe imprint of genuine sentiment. Bembo himself, 
the best of the Venetian poets, paints his mistress in 
terms of frigid refinement. 

Crin d'oro croepo, o d'ambra terea e pun 
Ch'a Taun Bu la DOve ondefcgia e cole ; 



i5o VENICE IN THE GOLDEN AGE 

Bembo's fecUng is more apparent in his letters ; 
there we find him shaken by his passionate attachments, 
among which the longest livecl was his love for the 
beautiful Morosina ; he was not yet a priest, having 
received only the minor orders,' when he met her in 
Rome ; and she bore him Lucilio, Torquato, and Elena, 
— a family not blessed by the Church, it ia true, but 
nevertheless made happy in the bonds of genuine 
aOection. We have several of Bembo's love letters, 
notably those addressed to Lucrezia Borgia, and those 
still warmer epistles ad una donna, il cui nome si tace, 
who was, we know, a Venetian lady, both cultured 
and refined.^ It is to her that he addresses words 
of sincere devotion and thanks for having written to 
him, though ill herself- "Vengo," he says, "alle 
vostre dolcissime lettere di jeri scrittemi tuttavia con la 
mano inferma, e pure scrittemi abbondevolmente, O 
anima mia, che vi debbo io dir qui P Niuno spirito 
ho io, nion polso, e niuna vena in tutto me, che non 
vi renda mille grazie di si chiaro segno datomi dell' 
amore che mi porlate, e certo piu cortese uflicio non 
potevale voi verso me fare. Ma pure non posso non 
dolermi dclla fatica e disagio, che in vergare con tutto 
il male tanta carta h biaogno clic abbiate preao. Prie- 
govi non ve ne prendiate piti, se prima non siete 
gagliarda. Che io amo mollo meglio una picciola 
parte dclla vostra sanita che ogni gran somma di mio 
piacere. Basterammi un solo aaluto da voi." 

Francesco Sansovino published Bembo's letters in 
l563 ^ ; the press had already dilTused a number of 
amatory epistles or formularies of love in which there 
is no trace of genuine feeling and the phrases are 

' Bembo look jirieit's orders in iSSq, after hii election u Cardial). 

' Cian. Lftl. d'amore e aegretari galanii nel tempo antieo. Per none 
Migno-RomaDello. Pita, 1905. See ■ roview at Pislor'i GeickicMr, 
Vol. ni, in the Giornate itor. delta Lett. It.. XXIX. iib. i»6, 

' Leitere amoroie di dinert! huomini Ulialri raccolte da Id. Fr. Saata- 
MPW. VsQuii, i563. Bombo'i lellert iill Iho Grat volume. 




THE TYPE OF BEAUTY 



I confined to conceits and rhetorical generalities.' But it 
I was Bembo's Asolani that came to be considered as the 
[ real lover's code. The writer pictures the gardens of 
I Queen Caterina'fl castle at Asolo, when the wedding of 
one of her maids-of-honour was going on. Three young 
Venetian gentlemen discuss with three young and lovely 
maidens, Berenice, Lisa, and Sabinetta, "quale amore 
Bta buono e quale reo." One of the youths maintains 
that love is tne root of all evil, but a second protests, 
and, while admitting the affinity between donna and 
danno, amore and amaro, asserts that love is the fountain 
of all joy. The third youth, after a dissertation on the 
eenses and the platonic ideal, concludes that true love 
is desire of the beautiful. — not of earthly and mortal 
beauty, however, but of that divine and immortal beauty 
which will be found only in the contemplation of the 
Deity. As wc see. the whole theme is purely tlieoroti- 
cal. Giuseppe Betussi of Bas8ano(b. i5aocir.,d. 1075 
cir.) soon after wrote his Raverta, on the same theme. 
Under the formularies of dialectic the Venetian poetess 
Franccschina BaiTo discusses the essence and the dcGni- 
tioD of love with Lodovico Domenichi and Ottaviano 
Raverta.^ From pages such as these there breathes an 
air of frigid, arid psychology though Bembo here and 
there shows the lolly quality of his mind, while Betussi 
is not lacking in a certain vivacity of style. But for 
the most part the volumes of elegant verse which won 
so wide a circulation among the Venetian upper classes 
in the Cinquecento, thanks to the easy and ever open 
road of flattery, cannot inspire any sentiments but 
those of weariness and disgust. The allegorical form 
. of the classical authors was imitated by the servile and 

' The oldest of Iheso is tbe " Opera amorosa eht iniegna a eomponer let- 
! t a risponder a persone d'amor ferile, over in amor Diitritli, in loscha 
^ Sagaa compotla, con piaeer nan poro et dilclto di lull! gli amanti, la quale 41 

ehiama il Rifagio di Amaati. Veneiii. i533. 

* B«tusBi. // Raverta. with the Ufe of the author b; G. fi. Vcrci. 

Uiluo, Bibl, rar* DicUi, i86j. 



i6» VENICE IN THE GOLDEN AGE 

afTected sycophants of the day, and far-fetched allego- 
ries drawn from playing cards or any other trivial 
object served as a thread on which to hang fulsome 
flattery of their patrons. Every noble lady was at 
least the equal of the angels ; and in order to enhance 
the value of tlicir verses and to attract attention, the 
authors devised tlie most extravagant metaphors, the 
most sonorous phrases, the most ludicrous play upon 
words; as, for example, Giovambattista Dragoncino da 
Fano, who, in his volume in praise of noble Venetian 
dames, celebrated for the pensier casti e le mend pudiche, 
did not hesitate to write of a Badoar : 



and of a Gradenigo : 



Baroque of the Seicento had many precursors. Giro- 
lamo Parabosco, in bis Tempio delta Fama, dedicated 
to the clarissima el valorosissima Madonna Andriana 
Comaro, describes Fame in her temple and gardens 
pointing out to the poet the most beautiful auiong the 
Venetian ladies, especially the honesta e saggia Cecilia 
Badoaro, who 

Ovuaque ella premei co' doles et chitra 
VcKO. oaBccvi uii bel Icggtsdro flore 
Clio canUado dicci ijui regna amore.' 

Niccol6 Franco, the worthy rival of Arelino, com- 
posed, in 1526, a series of octaves full of flowery 
passages. He called the collection the Tempio di amore, 
and in it he praises various ladies ; for example, the 
Correr Memmo : 

1 DriRonciao, Stame in lode dellt no6il donne vadlimt del tttoto moiUno, 

3 PanboKo. Ttmpio dtlla Fama in iode di alcime genlitdonne veattiaite. 
Vinegii, i&48. 



THE TYPE OF BEAUTY 



Genaaro in mig^o, cd in gpnniro •prile 
Rilrovi tncor ae le bclleuo cote 
De ia belli Goirera alini gienlile. 



ir puo qud si 






N 



Another scribbler of loose verses, Trollo Pomeran 
da Cittaiiella, describes a group of noble ladies to each 
of whom he gives one of the emblems of the taroch 
cards * ; for instance. Andriana Cornaro carries the 
world, the Barbarigo has Justice, Isabella Sanudo the 
Guardian Angel, Bianca Contarini Fire. The Moce- 
nigo holds up the Traitor on the gibbet, and Laura 
Bollani the Devil, in order lo show 

Cho DOstra salute 
E (agpT vilio ed nbbracciar virlule. 

Death is home by Paula Cappello, Time by Maria Lion, 
Fortune by Paula Moro, Fortitude by the Querini, 
Love by Orsclta Foscolo, the Triumphal Car by Maria 
Loredan, Temperance by Bianca Zeno, the Pope by 
the Alberti, the Emperor by the Pisani, Pope Joan 
by the Zane, the Empress by Marietta Pasqualigo, the 
Bagatelle by Paula Valier. The point of each of these 
emblems is explained in childislily artiBciat verse. In 
allegory such as this wc trace the germs of the 
eighteenth-century satire, where we frequently find 
the names of men and women coupled witn tlie names 
and emblems of vices or defects. 

Lastly, we have an anonymous author who styles 
himself j4me/o Paslore, who, piling up all the extrava- 
gances of rhetoric, describes the charms of thirteen 
Venetian beauties of his day ; to Isabella PriuU he 
exclaims : 

* Franco, Temph d'Amore. Vinegii, Manolini, i536. 

* pMneran. Trollo, / Iriomphi composti topra li laneBhi m taudc ieUa 
fanuHt genlildoniu: di Yinegirt. Viocgia, Wicolini, i53i. 



l64 VENICE IN THE GOLDEN AGE 

Coitei con le boltezie tali « Uale 
Si forte »\ ciel di lima i1 grldo ipiegi. 
Cbe alia luca cd a1 io\. purch'eUa VDgt[a 
Tar cha liimo « spleodor uxretci e toglii.l 

But if the ladies of the upper classes are presented 
to U9 vague, colourless, without clearly marked feat- 
ures, in the vapid verses of these poets of adulation 
and servility, we get, on the other hand, in popular 
dialectic poetry strong, vivid, healthy sketches of the 
women of the people in the verses of MafFeo Venier, 
Caravia, Calmo, and the countless anonymous popular 
songs. We see them in their white slippers and loose 
bodices, as in the Canzonela delle Masserete, where the 
maid of all work 



Coo e 'I (iito 't peleueto. 

But the course of love docs not always run smooth ; 
and it sometimes feels the pangs of jealousy, and then 
the poet bursts out iu extravagant, rough, or trivial 
verses, very probably accompanied by the tinkle of 
the guitar : 

Mi tan tmlo inntmorio 

In doni PJioa mla vesioa 

Che ma dl gran ili<icipliDt 

Cfae ma vedo detperao 

Goao bao. baa gnao 

HI SOD LaDlo iauamona.* 

The Slrazzosa of Veniero, on the other hand, though 
poor and meanly clad, is of such beauty and gentleness 
as to win the heart of the patrician poet, who abandons 
all his other loves, to whom he addresses the following : 



ore anonimo del secolo XV!. 
IS of Venetian beaulj. Not 
' 1 pruM of EUiibella 



' Slants in lade di aleune dame nene:ianc rfi i 
Venoiii. i835. We might cite olher encomk 
la»t tboie of Paolo Barbo. whoee ineditad p 

Diedo, Andrisna and Chiara di Peiaro, Elena Piaaoi, Glisabetta and 
Girolami Vcaier. Marietta da Leize, Cecilia aod Laura Foscari, Catamua 
Comar, Elooa Dona, Beatrice Malipiero, Eiisabctla and Marina Grimani. 
Chiara Giiialinian. arc to bo found in tbe Uarciana, CI. U. Ital. Cod. 
LXVl. See Cicogna, her., VI, too. 

* FrotloU naime de Lataro da Cnitold id GudIm'* StrU degti icrilt. a,. 
dial. Ven., cit. 




THE TYPE OF BEAUTY 

Cercti^ Done d'aver ifoghi de piiati 

Rifoli de Kispiri 

E aempre tvaoti eterciti d'unan'* 

Formi niovi martiri. 

nutriTB cento dUnoii In t'i ochi 

Cbe tsDla i ciior coatriti : 

Cerche cbe mile liliti 

Ve M vegna ■ buUr morli in zroochi. 

Aleaaandro Caravia, with a vulgar but vivid sense 
of reality, depicts the loves of Naspo ; and Andrea 
Calmo in freaiier verse, that breathes the sharp salt 
air of the lagoons, describes his light adventures : 

Addando un lorno a Llo col nuo famegio 
Per veder a pucar tu la Marina 
TroviUi desmontaniJo una pulioa, 
Sorella del forner de Caniregio. 

The roysterer invites the girl into his boat, and she 
does not wait to be asked twice, and there, nnder the 

^ spell of sea and sky, be cries in a spasm of desire : 
TpDca da lalo do me fa morir 
Percbi COD poca cosa ti m'aidi. 
The women of the people are thus depicted with brio 
and colour by tlieir poets, but the noble ladies leave no 
clear impression either in the verse or in the prose 
of their admirers. Not a single female figure stands 
out from the crowd of patrician beauties, celebrated in 
endless volumes of prose. The type of such composi- 
tions is the Rilralli of Trissino, not absolutely lacking 
in merit, however, and which found an imitator in 
Firenzuola.' The Vicentine author composes a perfect 
type of woman by selecting from the qualities of five 
beauties of his day, as Zeuxis from the maids of Croton. 
Trissino's prototype is Isabella d'Este Gonzaga, and the 
five selected to compose the physical and spiritual graces 
of the prototype are Blanca Trissino of Vicenza; Ericina, 
also of Vicenza ; the Gontessa di Caiazzo. a Milanese ; 
the wife of Batto Spinola of Genoa, and Glemenza de' 



» MorwUn, I BUralli del Trillin 
del Imil. Ven." Ser. VII. [.ib. I., 
wrilleo id i5i3, aod liio DiKorii '» 



and I Diseorii del Fircniaota ( " A.tti 
II. Vcneiia, 1893). The Ailralli were 
i53o. 



H 



i56 VENICE IN THE GOLDEN AGE 

Pazzi of Florence. It was with a like intent that 
Federico Luigini, a noble of Udine, wrote his Libra 
delta bella donna (i55j5); he recounts to a certain 
monslgnore, an admirer of the fair sex, how in a 
dream be heard a number of gentlemen discussing the 
particular gifts which go to make up the perfect woman. 
Luigini, hke Trissino, adopts the synthetic method and 
creates his imaginary ideal, from the characterislic 
qaalities of ladies of his time. But this ideal woman 
remains vague, indefinite, unconvincing, in spite of the 
author's excessive insistence on her physical attractions, 
"poppe picclole. tonde, sode, e cnidette e tutle simili 
a due rotondi e doici pomi ; braccia delicate, grassette. 
c dolci al tatto ; rilevati i fiancbi ; dirilte e rotonde le 
gamhe, picdi bricvi, asciutti e ritondetti . " ^ In the 
same class of literature, only even more wearisome, 
are those long catalogues of Venetian ladies, each name 
accompanied by tlie nsual phrases of flattery. In the 
Nobilla delle (hnne of Lodovico Domenichi »e get in 
endless wearying procession Cecilia Cornaro, alia quale 
lanlo si ptib dar luogo principale fra le belle, come at 
sole tra le slelle minort ; Elena Barozzi Zantani, la quale 
in bellezza pareggia la greea el nelCkonesla la Homana 
Lucrezia ; Lugrezia Cappello, di maniere angelicke e 
celesli ; Paola Donate, cue pili tosto si dee chiamar cot 
nomediDea: PaoUria Pisam, la qualei tale che piit facile 
sarebbe ascondersi I'aarora nell'apparire del giorno, che 
celarsi la nobillh, la bellezza, U decora nel sembtante del 
sua moslrarsi; Marietta Pisani. la quale non pub rin- 
graziare la natura a baslanza, per gaella larga parte, che 
le ha cancesso di bellezza.^ GJrolamo Ruscelli^ and 

^ Luigini, II libra delta bella donna, sdil. E. Cimariai. MiltDo, BiU, 
nn DaelU, i863. 

* Domeiiichi, La NobilCh della donne. Vinetii, i55t. There are Gva 
long dialoBiiea, in the liit at which tho author recall! the mosl gricioul 
Udfei of IUl;f . 

* ButcoUi, Leltura topra an torullo deU'ill, Marehae della Tena alia 
divina ilgrmra Marehtsa del Vatlo, etc., p. 68. Venetii, t55a. 



^ 




i 

I n 

I 



SOCIETY 




Girolamo Parabosco add many oilier names to Do- 
menichi's list. The latter thus addresses the ladies of 
Venice: " Veramente c' si vede die la natura se dilet- 
tata di formare altrove donne, ma in qucsta citta sono 
angeli." ' Tliey were uncommonly human angels, 
with all the faults and defects of human nature. Here, 
for example, is a curious anecdote which throws not a 
little light on female society of that period. On the 
morning of March i, l5ia, the doors of the houses of 
Marcantonio Venier, Andrea Diedo, Niccolo Tron, and 
Antonio Cappello were found to have been defiled with 
pitch, while a pair of horns were hung on Venier's 
portal. He appealed to the Council of Ten, and cited 
the case of the Doge Antonio Venier, who had allowed 
his son to languish to death in prison for having per- 
petrated a similar insult on a Venetian gentleman. In 
the coarse of an inquiry it came to light that a certain 
Marietta Caravello, wife of a patrician, Moro, had 
chosen this vulgar way of revenging herself on the 
wives of the victims for having refused to accompany 
her to a party in the house of Ser Marco Griroani, 
Marietta was banished from Venice for ten years.^ But, 
as a rule, the life of noble ladies in Venice passed quietly 
enough ; not. of course, free from intrigues, revenge, 
and sins, hut not so corrupt as has been maintained ; 
it is sufficient to note that Henry III, an attractive 
youth of twenty-two years, very graceful in his person, 
did not succeed in carrying on an affair with any one 
of the many and beautiful ladies whom he met at the 
entertainments in bis honour, though we have abundant 
record that his sojourn in Venice was entirely devoted 
to the pleasures of the senses.' The gaiety and amuse- 
ments of the place and the lime did not prevent a large 
number of noble ladies from passing their hvcs in 



' De Kulhac lud Soterli. op, c 



i.3i3. 
, 56. 65. iSi, 558. 



i58 VENICE IN THE GOLDEN AGE 

unimpeachable virtue. But it is true that the yoni 
maidens brought up rigorously in tlic seclusion of their 
fathers' houses must have spent long hours in dreaiD- 
ing of the gay world, and when, on iheir marriage, they 
acquired their liberty at last, it was only natural that 
they should dedicate their whole attention to the graces 
of movement, of gesture, of dress, rather than to the 
development of their inlelleets. When their palaces 
were not thrown open for sumptuous bails and ban- 
quets, these great ladies would gather round them, of 
an evening, all that was refined and elegant in Venetian 
society. Games of all kinds were popular. The elder 
and more serious played chess and larocdn} Chess, 
especially, was in high repute. Vida wrote a poem' on 
it, and Sperone Speroni declared it to be an exercise 
worthy of fine wits and noble birth. In noble houses 
were to he found chess-hoards of artistic workmanship, 
in gold, silver, and precious stones, the pieces being m 
crystal. One of these boards was of such rare beauty 
that on January 7, i5a7, it was carried into the Senate 
Chamber to he shown to the Doge and the Cabinet, 
who wished to buy it as a present to the Sultan. It 
belonged to the patrician Giacomo Loredan of Santa 
Maria Formosa, and cost five thousand ducats. Marin 
Sanudo describes it thus : " uno scacchier grande belhs- 
aimo in tondo et alto lavoralo d'arzento et d'oro con 
calzedonie, diaspri ed altre zoie, et li scacchi di cristallo 
finisimo."' The better kind of larroch cards, with 
"hearts," "diamonds," "clubs," and "spades," were 
printed, by the permesso del Senalo, as early as l^gi ; 
ordinary cards — a new invention, as Garzoni calls them 
— were figured in "money," " cups," " swords, ' and 

' SperoDi. Ti'aHatelto del Gioto, in hi* Opert, V, jji, Vvoezii, 
17^0, See ibe Iiuiftihia of Flario Alberto Lollio igainst the gune of 
Tarocco, Veoeiia, Giolito. l5So, 

* LucB Pac[olo wrote a treatise De laJo icachorwn alraul i5iS, and id 
tbit jetT ioiigiit a copviiglit ; but it oever MW the liglil. 

■ Siaudu, Diai'i, XLIll, 699. 







^ 



SOCIETY 

*' clubs," and were in use among the lower clasBes, 
whose chief games were a primiera, a gili cot bresciano, 
a trionfetti, alia hasseita, a cricca, al tre/ita e quaranla, 
al Irentun per forza o per amore. 

The young people were more given to round games, 
which retained something primitive and childish about 
them, in contrast with the growing development of 
Bociety. Calmo has left us a long list of these games, 
confined for the most part to the populace but admitted 
also in pohte society. Of many we cannot explain the 
method, but of others both the name and the game itself 
survive. * For example, lira mola, maria orba, or Blind- 
man's buir (mo.*ca cieca), zira beta comandHa, rescosole. 
or hide and seek, compagno mio che li i da drio, where 
the player blindfolded has to guess who is toucliing 
him, parlare in reclua. where the players have to guess 
from signs what word or phrase was whispered in the 
ear of one of them, semota. or bran tub, zarh, a kind 
of roulette, afar la bolpe in cenere, where some animal 
was outlined in ashes and one of the players, looking 
the other way, had to guess what part of the animal 
was being touched, and such like childish games, that 
provoked laughter da schiopar el cuor, — to split the 
aides, as Calmo says.^ 

Otlier more ingenious games were not wanting. 
Sometimes lots would bo cast among the girls, and 
tliose on whom the lot fell were expected to recite a 
tale which ended in a riddle to be guessed by the 
company, occasionally giving scope for some licentious 
jest ; or a theme would be proposed, and under the 
guise of allegory and riddle tlie one would find out 
what was in the other's mind. Games of chance and 
cabalistic games were played by throwing dice ; the 
numbers that turned up referred to the page of one of 

' Calmo, Letlere, p. 3^6. 

* fioerio, Di:ianario, i. v. Zogar. BosBJ. V.. nolei to Calmo. p, SJT. 
Solerii (TralUnunenti di SocltUx io lh« Gai. Lett. Toriao, Deceiiilj«r 8, 



i6o VENICE IN THE GOLDEN AGE 

the numerous cabalistic books, ^ wbere ibe answer would 
be found as lo the future of the interrogator ; or else 
by scraps of folded paper so arranged that one con- 
tained a question, the other the answer.* Thus the 
oracles of antiquity, robbed of all their solemnity, were 
transformed into a pastime for the rich and acquired 
a special literature of their own. Some, like Marcolini's 
Le Sorli, thanks to its literary polish, acquired favour 
with the upper classes. Others, hke the Bagiardello,^ 
rude in substance and in appearance, were suited to 
the gatherings of the people and of the bourgeoisie.* 
One of the earliest examples known to us is a codex 
at the Museo Civico of Venice,-' dated about the middle 
of the Quattrocento. The questions and answers are 
given in quaint metrical form ; for instance, 

Chesia dona de ti ee gabcri 



Chestt dona vien mollo imada 
Da so mirio molto aprcitada. 

Of this same character and form are the proverbs, 
ballads, conundrums, riddles, and mottoes of the time. 
Bembo's MotH," written in his young days, contain 
worldly and sometimes even loose advice ; here are 
a few specimens : 

1 For eisinple, Parabosco't Oraeola (MS. Ckogna. Mui. Civ. B. iltl): 
Fanli's Trionfo dclla Forlma (Vinegia. i536) ; Marrolini'a Lt Sorli 
(VeDeiia, iSqo) : Ortensio Lando'a Oraeoti dti mnttrrai ingegni (Vanetia, 
■ S5o); Le riaposU circa U cose future (Vcnelia, BsmpauiilU). i565} ; /[ 
Romm e if Con.-ajo //. bj Tonjuato Thso, olc. Seo Rosii, Ultert del 
Calmo, pp. ii6, ibi, jga. 

^ Ciaa, " Haiti," iiwH., t icouMc. of Pictro Bembo. Voneiia. t888. 

■ Bugiardella opera piaemole da dar Ipasto, nclla ijuale ii eompreTuU varU 
infinite galanterie, ma tono lulte busie, modo di ritrovar it tonetio, Buttenti gli 
iadi e il panto che butterai lo tronerai aelli infraieritti mnetli. In Vaiwt. per 
MaUio Pagan, io Froiiaria al segno della Fede. 

* Clan, Giochi di loi-le venijicaii (in the UixeUaiua nar,, Boni'Teiii, 
pp. 85, 87. Bergamo, 1897). 

* Id., Motti del Bembo, pp. iget irq. 



^ 



SOCIETY 161 

Ben tia da viver Iteto e coosoUto 

Chi puotB dire amaudo Jo sodo amslo.— 

Nod ti doler te gran belti non bat : 

Chi place ad udo amaDtfl i liclla assai. — . 

Ella il dirla. ma pet •lergogni il lace. 

Clie il dormir sola troppo le dispiace.-- 

Still other amusements were suggested by the pur- 
suits of the flower-sellera and the jewellers, and gave 
an opening to pretty compliments ; lliey are described 
by the Bolognese Innoccnzo Ringhicri' and by the 
Sienese Scipione Bargagli (b. iSj^o. d. i6ia). Bar- 
gagH's Trallenimenti dove da vtigfte donne e da gtovani, 
rappresentali sono honesti e dileltevoU giockt, was printed 
in Venice by the Giunti in 1587, and we may possibly 
conclude from this that many of Bargagli's games had 
already found favour in Venetian houses. Among 
them was the game known as the Orlolani ; men and 
women dressed as gardeners discussed the qualities of 
the mind under the terms of horticulture ; the " lover's 
quarrel " ; the debate on such topics as whether the 
lover of a noble dame should dedicate himself to arms 
or to letters, whether one should make love openly or 
secretly. Then there was tlie game of the Bagno, in 
which each of the ladies took the name of some min- 
eral spring, and pledged herself to heal the love-sickness 
of the men who came to her for a cure ; also the Caccia 
where men and women named themselves after wild 
beasts and were hunted round the rooms, and at the 
close all joined hands and, dancing in a circle, sang : 

Se'n mirar di nua donoa il chiaro vim 

1 vagbi occhi, e '1 bel pEtlo 

Ch'ardcndo I'hm coiic|uIm. 

Seals allri quel diletto 

Ch'euer gli scnibra quasi in paradiw). 

Songs and stories formed a part of almost every 
I entertainment, and music and verses and loose tales 



4 



i6a VENICE IN THE GOLDEN AGE 

accompanied the free speech and action, the merry dia- 
logue, of the Venetian beau monde. Their favourite 
reading was the Madrigals of Luigi Cassola of Piacenza, 
the Corlegiano of Castiglione, which was frequently 
reprinted in Venice, the IS'obiUd delle donne by Cornelio 
Agrippa of Netteshcim. Spanish literature, too, began 
now to make its appearance in polite society, and 
several Spanish books, either in the original or in trans- 
lations, were issued by Da Sabbio and by the Gioliti, 
who had the assistance of Domcnico di Gatzelii, secre- 
tary to the ambassador Don Lopez di Soria and of the 
Spanish writer Alfonso UUoa, who had taken up his 
abode in Venice.^ Love stories were highly popular, 
and the most virtuous ladies did not blush to read and 
to listen to the suggestive tales of Cinzio Giraldi, Brevio, 
Bargagli, Malespini, Slraparola, Parabosco. Aretino 
declares that " i suoni, i canti, le lettere. che fanno le 
femmine sono le chiavi che aprono le port« della pudi- 
citia loro." ' The conversation of the ladies and gentle- 
men who used to meet in the house of Lucrezia Sforza, 
widow of Gianfrancesco Gonzaga, furnished Giovan 
Francesco Slraparola of Caravaggio with the subjects 
for his Tredici piacevolessimi aoUi, a collection of enigmas, 
apologues, fables, and romances which frequently pass 
the bounds of modesty in the effort to be entertaining. 
Side by side with the cultivation of a highly artificial 
literature wc find absolute cynicism in talking of all 
that relates to morals, and obscenity became a habit in 
the conversation of even the most upright men.* We 
Hnd Castiglione urging women not to be so coy as to 
avoid company and conversation merely because it was 
somewhat loose, and the Ferrarese Celio Calcagnini 
scribbled obscene epigrams over a statue in the gar- 
dens of Bembo's villa, while Bembo himself wrote his 

' Bongi. Ann. del GioUto, cit., latrod., p. ilvii. 

* Aroliuo, Leltere, 1. lo5, 

* VilUri. MaehiauelU, 1. a33, 3y4- 



Priapm 



In fact, art i 



ny of its aspects implied 



irninoraiity, and yet the Churcli sliut its eyes to t 
grosser manifestations in order the better to lull to sleep 
the human iDlelligence wliich had begun to doubt and 
to scrutinise the seated abysms of dogma; it preferred 
the indecent jest of Aretino to the grave argument of 
Pomponazzo, charged with all the audacity of independ- 
ent thought. The serenity and comfort of life kept the 
questionings of the brain at a distance, and in polite 
society free discussion of serious problems was never 
heard. This general decay of morals was not due 
solely to the revival of classical learning ; a vulgar 
sensuality had dominated Italy long before; but we 
cannot deny that the renaissance of antique studies 
introduced a false note into the habits of life. The 
new learning tended lo ennoble the pleasures of the 
senses ; poetry distilled its subtle filler of sensuality ; 
the stage ridiculed, despised, and vilified the family. 
Side by side with a rigid and unbending etiquette was 
to be met a lone of mind which even in our days, by no 
means exaggeratedly scrupulous, would seem immodest. 
Burckhardt has acutely observed that the prevailing 
note of female society was not tlie modern timidity 
which respects certain conventions and shrinks from 
touching certain mysteries, however universal, but the 
resolute pursuit of beauty and of pleasure. Thus the 
ethical point of view of the Middle Ages was dissolved 
in the artificial atmosphere of the new age. In many 
of the volumes dear to cultivated society, sophistical 
and licentious ideas are mingled with the ancient codes 
of chivalry. A man, for instance, was held a fool if ho 
Iiad not declared his love within six months ; on the 
other liand, a lady ought not and could not refuse the 
service of her knight. Love is likened to the bee who 
makes honey and fills the world with sweets, but the 
man who boasts his success is accounted base, and he 
wbo haunts at night the street where his lady dwells in 



m VENICE IN THE GOLDEN AGE 

order to make the world believe he has her favour de- 
serves to he huried aUve.' It is argued ttiat men are far 
wickeder than any woman; that woman has all three 
theological and all four cardinal virtues, and in moral 
and physical qualities is far above man.^ Women nat- 
urally accepted this view, which was maintained by a 
flood of adulation in the works of a hundred writers ; 
and we get Modorata Fonto and Lucrezia Marinello 
attempting to prove that their worth is so vastly superior 
lo man's that any comparison is otiose.* 

This superiority, however, so loudly proclaimed in 
writing, was not confirmed by fact. Courted by lovers, 
sung by poets, painted by the great masters, the Vene- 
tian ladies pass before us in all the pomp and splendour 
of magnificent apparel ; but rarely does a single figure 
emerge from the throng to impress upon us the qual- 
ities of her mind. The patrician lady whose life is 
best known to us did not live in Venice and is not a 
paragon of virtue. Bianca Cappello, by her flight with 
Pietro Bonaventuri, roused at first a storm of resentment 
in the ranks of the Venetian nobility, hut when from 
mistress she became affianced spouse of the Grand 
Duke of Tuscany , the Bepublio forgot its virtuous 
indignation and sent ambassadors to pay their respects 
to the new Grand Duchess, who was crowned by An- 
tonio Tiepolo, proclaimed vera e particohr Jlglia of the 
State and received the benediction of Giovanni Grimani, 
Patriarch of Aquileia.* Reasons of slate proved too 
strong for the sense of decency. The disgrace of these 
ill-racrited honours may, however, be countervailed 
by the reverent respect with which another vera e 



l&8^. 



' SciiltadiUuertait 



It di FermnU Patlaa, 



■.a Auerino. Venuii, 



* Dirdaoo. Im bella e Hotla difesa delle domtf. in iwno e proaa. p. 84. 
Viaena, l553. Parabotco. Diporti. clt. Domenichi, Nobitlh della donm, dl. 

•ModcriU FoQlc. U merito d,^IU doniu-- Venrti., itkw, MariaeUa 
Lucretia. Nobilta ed eecrtlen:a delle J-miie, VVnetia, 1611 . 

* Saltiui, Bianca Cuppetlo t Fr. de' Medici, pp. 69. :i63. 



CULTURED WOMEN 



i65 



particolar Jiglta was surrounded by the Republic. The 
kind and genllc Caterina Cornaro, who, as a con- 
temporary writes, did honorc alle venetinne domic, by 
her life of honesla el magnificentia,' forms a noble 
contrast to the seduclivc but restless GappcUo. Caa- 
gitndra Fcdele was also an honour to the ladies of 
Venice, and is counted among the most famous of all 
Italy, She died in i558. Poliziano proclaimed her 
decus Italiae virgo, and, writing to Lorenzo the Mag- 
niBcent on June ao, i^O'- he says: " Visitai icrsera 
Cassandra Fedele . . . E cosa, Lorenzo, mirahile, nh 
meno in vulgare die in latino; discrctissima, ct meia 
oculis ctiam bella. "^ In spite of the lavish display 
common to Venetian society. Cassandra never wore gold 
or jewels, nothing but the plainest white clothes. IJer 
i>eauty, well worthy of the brush of Giambellino who 
painted her, must have varied considerably from the 
ordinary Venetian type. But we have no likeness of 
her now save an ugly engraving in the De cluris muH- 
eribus of Fra Filippo Foresti of Bergamo.^ She married 
Giambattista Mapelh, but did not abandon her studies, 
though she never allowed them to distract her from 
her wifely duties, for she followed her husband on his 
long and trying journeys. Modcsta i*ozzo Zorzi, known 
under the namu of Modorata Fonte, was also a good 
mother and no mean poet. She died in i5ga, at the 
age of thirty-six, when giving birth to a son. Among 
other Venetian poelcsses we must mention Vinccnza 
Armani. Lucrezia Marinello, Rosa Levi, Veronica 
Franco, and others. Gaspara Slampa, the Paduan, 
is still better known. She has expressed in prose 

1 SibbadiDo 6ef\i AHcnti, Gynaiera de le elare danne, p. ioo. Bologni, 
i8«8. (SetlGi di e<irimU& lett., Di«p. CCWTII.) The Gjnmrra bears Iho 
Alio I&S3, «nd waa wrilton id honour of Giiievra Sfoni. nifo of Saote 
I BeatUaglio. 

I * Siinon»rcId, Zur OrtehklUf <Jer CaunnHra Fedele (in Studien zur LUlem- 
I largachichU, p. loo. llamlniri; unil Li^i|iiig. i8i|3). 
* Perttriae, Laur«atiui do Rubcii. I'lU?. 



i66 YENICE IN THE GOLDEN AGE 

and verse, especially in her letters to the Count of 
Collalto. the sorrow of her heart for the unrequited 
alTeclion he had inspired. The passion of the poor 
lady !fl full of touching tenderness. " Se accadra 
giammai die la mia povera c mesta casa sia fatla 
degna di ricevere il suo grand'oste, che siete voi, 
io sono Bicura che i letti, Ic camere, le sale, e tutlo 
racconteranno i lamenti, i singuiti, i sospiri e le lacrimc 
che giorno e notte ho sparse chiamando il vostro norae. 
benedicendo perb sempre nel mezzo de' miei maggiori 
(ormcnti i CieU e la mia buona sorle della cagionc d! 
essi ; perciocchft assai meglio m'h per voi, Conte. 
morire, che gioire per qualunque. "' Soon after writ- 
ing this, death came to release her. A note in the 
registers of the sanitary ofTice runs thus : 155^, 23 
nprilis, Mt Gasparina Slampa. za J5 giorni am', a S. 
Trovnso. She was only llurty-one. Her sister Cas- 
sandra published her poems posthumously with a 
dedicatory Epistle to Monsignor della Casa in which 
she commemorates the luckless poetess who has borne 
away with her tatic le sue speranze, tulle le consolazioni 
e la Vila slessa* 

PocteBses were not lacking among the ranks of the 
patrician ladies, and if posterity has forgotten their 
verses contemporaries did not stint their praise of the 
learned Olimpia Mallpiero, who engaged in poetic 
rivalry with Giulia Preraarino, Foscarina Foscarini 
Venier, Francesca Baffb, Veneranda Bargadin CavalH, 
Andriana Conlarini Trevisan, Chiara Pasqualigo, Gian- 
netta Tron, Laura Beatrice Cappello, and CeciUa Michiel.* 
The culture of the ladies of the Venetian upper classes, 
however, exercised but little influence on the intellectual 
and social development of their time, nor can it be said 



1 Gamba, Lettere di donne h. del lec. XVI. p. gi. Veneiii. iS3i. 

' Ibid., p. q3. 

* Bergstli, LuiBi. Compon. portici delle piu illustri rimatrieiit.. Part !. 

Veneiis. t-jiG- 






v . 






• • • 






• . • 






i 



CULTURED WOMEN 



that a poetess was a peculiar product of the Renaissance, 
nor yet that poetry was among the favourite pursuits 
of Venetian grandcs dames, ^ and the instances of those 
who felt the attraction of letters are few and far be- 
tween. Among ihc many Italian women eminent for 
their genius who carried on a correspondence with the 
savants of (heir day we Gnd the names of very few 
Venetians. Ortensio Lando, who wrote a number of 
letters under the assumed names of women to demon- 
strate that woman was no wliit man's inferior in learn- 
ing, makes mention of one Venetian only, Lucietta 
Soranxo, in whose mouth he places his animadversions 
on those who condemn blue stockings, citing from 
ancient and modern history numerous examples of 
women who lasciato I'ar/o paste si sono agli slu4i, whila 
he recommends them to devote themselves to letters in 
order to escape la Urannta (kgli aomini e per gaardarsi 
dalle hro insidic^ The Venetian noble lady received, it 
is true, a liberal education, but she shrank from the pro- 
fession of letters, from writing poetry, from learned 
discussions, from public speeches ; she preferred to 
keep her fair white hands free from the dust of erudi- 
tion, and looked upon study as a hindrance to the 
government of the family, the domain which she con- 
sidered most properly her own. Irene da Spilimbergo 
was looked on as a phenomenon when, after the death 
of her father and the second marriage of her mother, 
Giulia da Ponte, she came to Venice to live with her 
uncle Gian Paolo da Ponte in his palace at San Mau- 
rizio, and there presided over meetings of the learned, 
who tlockod around this young lady versed in literature, 
ancient and modern, a skilled performer on viol and 
lute and harpsichord, a sweet singer, and instructed in 

I GregoToviui, Lucraia Borgia, Lib. I. Fireme, 187^. JanitKhek, 
DU Gaetlscbafi der Raiaisiance und die Kunal, Slullgirl, 1679. 

Lindo, Orteniio, LcUtFe di molle valorott dannr, nrlU quali Maramenlt 




apparv non aaer ni lU etoqamtia ni di dolfrina atli huoniini 
33. ViDOgii, Ginlllo, i&48- 



S,/,ri 



i68 VENICE IN THE GOLDEN AGE 

paioting by Tilian himself.' Death overlook her, when 
barely twenty, in her castle of SpUimbergo, and cut oft 
a life of high promise ; her early decease may possibly 
explain why her name has come down to posterity with 
such an aureole of glory.''' Cardinal Bembo^ recalls 
with peculiar pleasure the name of Marcclla Marcello 
for her gifts in the composition of Greek and Italian 
verse. She was the daughter of Bembo's sister and 
wife of Giammaltco Bcmbo, a distinguished statesman 
who left a record of the various offices he liad held in 
an inscription on the facade of his palace at Santa 
Maria Nuova.* But neither severe studies nor belles 
lellrcs hindered Marcella from bestowing the most 
loving care on her eight children, among whom was 
Giulia, also a lady of superior intelligence, wife of 
Count Girolamo delta Torre; Francesco Sansovino 
wrote her life.' ■ This Giulia della Torre discussed tho 
works of Plutarch with Giorgio Gradenigo, and gave him 
advice as to the order in which he ought to arrange the 

1 Fabio di M»niflgo, ia his Storia dtlle belle arU frlalane (p. s45). b»ji 
tbat his family, is heirs of one branch of the Spilimhergo faaiiljr. possost 
throe picture! hj Itooe, the oulj ones we have, though thej are poor m 
work) of art. 

* La Vita if Irene lia Spillmliergo waa wrilleo hj Dionisio Atanigi di 
Cagli, in i5ei, after Ireno's death. 

* Bembo. Lelterr, II. ta. VoneiJa. I7S5. 

* On the facade of Paliuo Bcnilio at Smla Maria Nuova. tn a niche, 
there is a statue of an old man with a long beard. reprcMotiag Saturn or 
Time. He holds in his hand a sun. tinder the ntcho is the following 
inscription composed bj Ueinbo himself; he names the various cities 
where he was podetGi or caplaia, aod Ihe two authors. Paolo Giovio and 
Sobasliauo Muoslero, who had referred to his achievements: 

Dum volvilur hto 

lad. Ascr. lustinop. Ver. 

Salami s. Crela lovis 

Testu Erunt AcloT. 

P«. lo. So. M. 

wUch meant " Finchi girerk quests (sola) Zara, Cattaro. Canodistria, 

Verona, Cipro. Crota (ciilla di Giovo). faranno teslimooiaDsa dolle mia 

aiioni. PaJo Giovio. Sebastiano Munstero." Cicogna, her.. III. 3iS. 

' Vila della Matin ilgaora conltua Giulia Bembo delta Torn. Venciia, 




CULTURED WOMEN 

Moralia and the Lives. Gradcnigo praises the eloquence 
of Giulia. who, far from being elated, gently reproaches 
her friend for passing around her letters as if they were 
worthy of note.' 

The ladies of noble families, who, like Oriental 
women, lived much at home and appeared in public 
only on great occasions to display their jewels and 
brocades, had but few opportunities of meeting strangere. 
" L'uso oneslissimo," as a contemporary calls it, " che 
toglie loro gran parte della conversazione do' forestieri, 
non lascia che persone d'altra citta sicno degnc di 
godere i loro acuti motti, le pronto e sagge risposte, i 
leggiadri coslumi ed i soavi e casti ragionamenti. " ^ To 
display their learning to their fellow countrymen, who 
preferred the delights of love or the comforts of the 
family, must have seemed, even to the most learned of 
them, nothing short of pedantry. They endeavoured 
to carry out the maxim of Baldassare CastigHone that 
women should avoid every semblance of the masculine 
type, both in speech, movement, and carriage. It well 
may be that this sound principle of vital distinction be- 
tween the sexes exercised an important biological influ- 
ence on the women of Venice, destined chiefly to love 
and to maternity ; very likely it enabled them to transmit 
to their progeny that organic repose, that equilibrium of 
the appetites and the feelings, for which Venetians were 
80 much admired. The men, immersed as they were 
in the cares of Slate, had no time to waste on the lux- 
uries of sentiment. Their attachment to women was 
I not disturbed by sentimentality, but went straiglil to 
[ its mark, the enjoyment of physical beauty. Prom 
these serene and harmonious types of womanhood not 
only did the masters of the bniali draw their inspiration 
and tlieir marvellous colour, but statesmen, diplomats, 
warriors, acquired that virile energy which enabled 




I, Diporti, cit.. 



I70 VENICE IN THE GOLDKN AGE 

them to conquer difTiculltcs and to walk straight towards 
their goal, guided by the will alono and free of senti- 
mental weakness. 

In Venice, down lo the very close of the Republic, 
women never stepped outside their natural sphere, and 
if they exercised no direct influence on the mtcUcctual 
life of their city, still less did they aflect its pohcy. 
The carhcst chronicles mention the case of Elisabetta 
Zeno, sister of the Pope Paolo Barbo, who was found 
to be in illegal correspondence with tlie Court of Rome 
and. on February ig. li?^, was banished lo Capodis- 
tria' by the Council of Ten ; eventually, however, she 
obtained leave to go to Rome, where she died in i48o. 
But hers is a solitary case. 

Not even on the throne did the Venetian woman 
acquire any political weight ; she was obliged to con- 
tent herself with bestowing on society an air of kindly 
courtesy. One Venetian patrician, however, a lady of 
the house of Venior, seems to have played an impor- 
tant political role, though in a distant land. Slio was 
carried off" by the Turks from an island in the Levant 
in 1537, and was placed in the harem of Sultan Selim, 
to whom she bore a son, afterwards Murad III. By 
her ability she gained complete command of her hus- 
band and her son ; hers was the supreme influence 
during their reigns. She never forgot her distant 
fatherland, and not infrequently exerted her power in 
favour of Venetian interests in the East.' The career 
of this woman is an exception ; for as a rule Venetian 
ladies who ascended foreign thrones preserved their 
native dislike to meddling in affairs that did not con- 
cern their sex. Nevertheless we meet with examples 
gf sublime heroism on tlie part of Venetian women ; 
(Jneir legendary prototype is Anna Erizzo, daughter of 

, ' M«li[)icro, Annali, VII. 661. 

/ * AliDoat alt novclUU «ni] biatoriina have tpoLeo at Ihit Sullaaa m « 
/ msmber of the BiiTn fnmily. and have built nji a aeries at legends about 
f ber. Spagni, Una Sultana Vene^iana 




CULTURED WOMEN 



'71 



izzo, the gallant defender of Ncgroponte In ii"o. 
She was made prisoner Iiy Mahomcl 11, on the assur- 
ance that she should not lose her head ; but by a 
treacherous quibble she was sawn through the middle, 
and so, literally, did not lose her head. Posterity 
desiring, perhaps, to enhance the glory of her sacrifice, 
invented the legend, unconfirmed by documents or by 
contemporary historians, that Anna was slain because 
she repelled the advances of Mahomet. The story of 

IBelisandra Maraviglia. on the other hand, is confirmed 
by the admiration of her contemporaries. After vigor- 
ously defending the castle of San Teodoro near Canea, 
she was captured by the Turks and destined to slavery ; 
to save herself from this fate she fired the powder mag- 
uine on board the ship, and blew herself, the enemy, 
and above a thousand Christian slaves into the air.' 
Examples of heroic patriotism such as these throw 
a halo of glory round the women of Venice, whose 
story is often the subject for mingled pity and admira- 
tion. The love of Cecilia Barbarigo for her husband, 
■ love which is said to have induced her to starve 
herself to death rather than survive him.^ is, no doubt, 
B creation of romancers ; but history has handed down 
I to us the piteous tale of Marina Nani, wife of the Doge 

Francesco Foscari, who with her own eyes saw her 
Bon Jacopo after his body had been broken by torture ; 
and with loving care stood by her husband when, 
bowed by age. he was forced, for inexorable reasons 
of State, to descend from the ducal throne, and at 
his death rejected with scorn the offer of solemn public 
obsequies, declaring that such a proposal was an out- 
rage on her widowhood, for it was vain to honour the 
I dead who in life had been treated without respect. 
I Again there is the pitiful story of Lucrezia Sanudo 

I Ttwtuuil; of Bclisandra lived il Sia Troviio. near the bridge which 
' * ¥ tile name DelU MaraacjUe. 

atd. La virlS in gioco, oimeiv dame palrhie di Vene:ia famoit per 
Kf*' bUn^ pc anai, etc., p. 8a- Veoeiii, ParC, i6Si- 



17a 



VENICE IN THE GOLDEN AGE 



Cappcllo, wlio was slain in the night of July 1 



1 60a. 



An autograph letter from Domcnico BoUani, Bishop of 
Canea, to Vinccnzo Dandolo, ends thus : " Un Sanudo 
che sta in rio delta Croce alia Giudccca, fece Vallro 
hieri confessare sua moglie ch'cra Cappello, et la notle 
scgucnte, su lo cinque hore, li diede di un stiletto 
nella gola el la ammazz<5 : diccsi pcrcht non gli era 
fidelc, ma la conlrada la predica per una sanla."^ 
Sanudo was condemned lo banishment and to lose 
his head if he broke hia conGnes. The very papers 
of the Ten prove that his unlucky wife was truly una 
santa ; they tell us that Sanudo slew his wife when in 
bed.^ Priuli^ adds per suspelo vano, and that the mur- 
derer confessed to have incorso in error tale per sospello 
di honor, and implored the pardon of the Doge, which 
was granted on the intercession of Sauudo's childi-en. 
But scenes of blood, such as those which stained 
the house of the Medici, rarely happened to disturb the 
placid tenour of Venetian domestic life. Venetian his- 
tory, down lo the very close, is occupied solely with 
public events, the achievements of the glorious city, 
and women's names rarely if ever occur. They emerge 
in the splendour of a public festival or are hidden away 
in the shadow of the cloister. The convent for some 
proved but a dolorous prison appointed for their in- 
nocent young life by parental tyranny; for others 
it became, as wo shall see. a home of corruption and 
of vice ; hut for certain pious souls it oQcred an 

' The IcHer -was in Iha SUif«ni libf»rj, now dispersed. In VeeekU 
Slorie. p. 71 (Voaciia, itiSi), we have ilreadj rornarkcd thai Ibe idea 
of making a wife confen before kiUlog her — ■ Klarllinglv new idea ^niuit 
rocBll OLhello's qucatloa to DeidcniDna. Possiblj Sliakespeare may bave 
heard through the Vcnolian amhaEudor of this Sanudo case, and it ii not 
improbable that the slorj may have ini-pired the end of De^deiDona. Bill 
a liuudrcd wild conjectures Lave been applied to " Othello." while it it 
cortaip that Shakeapoaro's real Bourre is the famaui uovcl in the Eculommili 
ofCioiioGiraldi. 

' Arch, di Stain, Com. X., Criminal, Reg. lo, c. gi, 96. 

■ Genealogie, V, j8o6. 






CULTURED WOMEN 

asylum where at the foot of the altar tliey could find 
peace from tho Borrows and diBappointments of thi8__ 
life. Such were llluminata Bcmho, who along with 
Santa Caterina de' Vigris, founded in Bologna the 
Convent of the Body of Christ, wrote books of devo- 
.tion, and died there in the odour of sanctity in 1^83 ; 
and Sister Serahna Contarini, wortliy sister of that 
noble figure. Cardinal Gasparo Contarini, who in 15^3 
received from Viltoria Colonna words of grave and I 
lofty consolation for the death of her brother. Vit- J 
toria recalls le pie e dolci lellere of Serapina, c/ie viveva 
armala dilalli quegli scudi divini die non lasciano pas- 
sare troppo addenlro le piinle delle saelle iimane. 

Many other noble ladies of Venice longed for and 
sought tlie cloister; but as a good and wise prelate, Cor- 
neho Musso, Bishop of Bilonto, writes, " Ma la vita non 
h da Bprezzare, perche h dono di Dio." These words 
were addressed to Chiara Cornaro, who, on becoming 
a widow, neglected her family duties, gave herself up 

f to religion, and desired her daughters to become nuns 

^Uong with her ; hut the good bishop warned her that 
■^' h uno opponersi a Dio il non volere che le Bgliuole 

' si maritino."' The sacred domain of the family never 
found a more loving sovereign than Cliiara's father, 
Alvise Comaro. who in company with his wife, Ve- 
ronica dl Spilimhergo, his children and grandchildren, 
brought into harmony Christian charity and stoic tem- 
perance in a union that is worthy of the sages of 

I antitpiity. There were patrician homes where the 
toise of the groat world sounded merely like the roar 
fa distant stormy sea. 

^ Gtmbl, l.eUere di donne ilaliane del aecoto XVI, p. 4'. 

* MiietU. di varie optrttu, \IU. ijy-igi. Yeoeiii. DeUiDcIl), 1743. 



CFIAPTER XV 

THE FAMILY IN THE UPPER AND LOWER 
CLASSES — CEREMONIES ATTENDING MAR- 
RIAGE AND RIRTH — FUNERAL FUNCTIONS 
AND THE GRAVE 



OF the intimate side of Venetian family life we 
know but little. Chroniclea and ancient docu- 
ments alike leave it in obscurity. Those same 
men who show their quality in the thick of the fight, 
at the Council board, at public ceremonies, or in the 
gatherings of polite society, seem to draw a veil over 
the intimacies of their private life, which, nevertheless, 
must have aObrdcd both comfort to their bodies and 
recreation to their minds continually immersed in grave 
and varied pursuits. Accordingly we find but little 
that throws light on Venetian family life, either in the 
chronicles or m the literature of the epoch, or only on 
such external aspects of it as concern the more impor- 
tant functions, — birth, marriage, and death. Most of 
the treatises which deal with the family abound in 
moral maxims, but never give us a picture of domestic 
life. For example, a volume by Cardinal Agostino 
Valier, Rishop of Verona, hardly gives us the smallest 
indications of how Venetian wives and mothers really 
felt. In i56o Laura Valier married Giorgio Gradenigo, 
and in honour of this event her brother, the Cardimd, 
dedicated a volume of precepts and injunctions to the 
bride. Among other advice he counsels his sister not 
to show excessive love for her lord, as that may breed 
in her jealousy, by which women are wont to torment 



THE FAMILY 175 

I themselves anil iheir relations ; she should avoid all 

I prying inlo her husband's secrets, especially into tliose 

I which afTect the family ; and as far as possihlc she 

I should absent herself from public festivals, shows, and 

1 comedies. * " lo non credo." says Valier, ' ■ che ia 

I vanita dellc donne sia scmpre accompagnata da dia- 

honesta ; anzi credo che moltc donne vane sieno oneste : 

ma ben atTcrmerci che non potesscro esscr chiamate 

donne savie e buone niadri di tamiglia." ' 

Sperone SpcronJ, in one of his dialogues, places in 
the mouth of Piotro Pomponazzo excellent maxims 
[ as lo the government of the family and on the true 
f way in which to live in peace with one's husband, 
e rara ai di nostri.^ " La moglie." says Pompo- 
nazzo, " deve spogiiare il suo arbltrio di liberty sotlo- 
meltendolo al marito ; I'onor della donna, il quale h 
I fiore che ogni fialo di tristo vcnto guaata c distrugge, 
I non si conserva altramente che nel voiere del marito, 
t'amore a lui non deve smarrire ah contaminare 
giammai per niuna sua infcnnittl si dctranlmo come 
del corpo ; d'opra c di cibo deve ahbondar La famiglia, 
perchfe ozio nfc fame non I'assaUsca mai, e la casa deve 
essere disposta con qucU'ordine che fc forma e pcr- 
fezionc d'ogni coaa." He goes on to cite, as a living 
exemplar of all that is good and beautiful in the fore- 
going precepts, a Venetian lady whom he does not 
name, but who unites supreme comeliness and the most 
reSned qualities of amiability, grace, and gentleness, — 
a lady whose acquaintance Pomponazzo had made 
during his sojourn in (he lagoons. 

Wise advice lo mothers is not wanting, even from 
tliose who had less right to give it, For esample, the 
printer and man of letters Francesco Marcolini, the 

' htruzhnt del modo ili vivrrt delU dnnnr morilole drt Cariinatt Agotl'mo 
Valitr, oetcmio di Vrrona. a madonna Laiiiii Cruibnigo sun torelta. Printed 
Ua Ihe Mono Minmni-GruleTiigo, op. III. V, Vtl, XI. Vencu 

• Speroni, Oprrt, I, 76. Voania, 1740. 




^ 



176 VENICE IN THE GOLDEN AGE 

author, as it would seem, of the pomograpliic Stan:e 
della Menta,^ writes, with what sincerity we know not, 
in his Sorti : 

Nob 4 COM piu MnU dclU moglic ; 
Elli govMna i Tigli. ella la ca». 
Ed ogni aflanno del niarito (oglie.^ 

Others advise women not to spend too much time 
in the society of ladies and their lovers, not only not 
to neglect the laooro ingenioso e bello del mccamare, 
but also to become skilful housewives, to decorate the 
rooms, to see to the beds, to take care that all the 
household goods are carefully arranged, and even 
to learn the details of cooking and serving the food. 
It is true that these sage counsellors did not expect 
their advice to be followed, for, as they admit, women 
" stimavano piu bella lode imparare in clie guisa si 
compongano i belletti."^ 



\i Sianie 

di cultura supra </li hmt'i dr le donnf di Luigi Taiuillo, oolU Stan:e in lode 
delta Menta. 

* Le Soiil, oil., o. i66. The aoBwers in ler:a rima wcrowritlea bj 
Lodovlco Dolce. Cicogna, Mem, intorno la oila e It opere di L. Dotea, 
p. 71. Cisili, Ann. delta tip. Marmlini, p. lag. Forli. 1861. 

■ Dolco, L.. Delia imtilation della donna, p. 19. Vinciia, i559. Thi« 
ii I free rendering of Lodovico Vives : De inilUulione fatminne elirutunoit, 
pubtisbed in iSaj- Sco Bongi, Aimali del Gialilo, 1, 101. As an 
eiample of wiiolj nbncgalion Dolco (pp. 4^1 &9) tolls the following tale, 

CrobabW invented bj himself, for wo doubl whelher the good lady, »fter 
aving lived with her husband and home him children, still remained tana 
e bella: " ISolla noalra citta. ncca di ogni virlii, et abondevole di ogni 
laudevole cl bel costume, vive sncora una hooesU Donna : la quale cueado 
marilata belllsstma et mollo laaciullB, la prima nolle, cho col uiarilo ai 
giacque, I'avvide, che egli ha^eva Id coscie fa«ciatc, el iiidi a pochi di il 
inarilo infcrmaodo fu leopcrto lui eascre olTcso da quel male, cbe Itnli na 
ba pi gusBti per lulta t Europi, il quale ottrc procedendo, lo tenne nel ' 
letto di«ci anni ; ot t Ul forma lo riduue, che 'I mitero huomo pib a corpo 
morlo. cbe a buomo vivo asaomigliava. nel qual lutlo lenipo elta god tanta 
aolleoitudine atteadcva alia cura del mirito. et aerviva ai hisogni della 
CBia, cbe lie hora, ne puntodi tempo haveva da rospiraro. Di lua niano 
^i oiedieava le pigghe : gli aoiminiBtrava le vivande : cl (ema acbifecaa 
■icuna pib pietoaa a tui. ch'a to medctlma, trallara aemprc e roondava 
quelle parti, cbe craoo orribili da riguardare. Mori IiiGnc il niurito : et ella 
t tiniasla cun due figliuoli, aaoa et belli come il printo giortio cbe iiac<jae." 




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THE FAMILY 

■And yet these noble ladies, even those who cared 
more for splendour and luxury than for the duties of 
the house, had all passed through a hard childhood 
and had been brought up under a discipline almost 
too harsh. Children were taught to use towards their 
parents that obsequiousness and servility which crushed 
alt childlike tenderness ; it was held to he less danger- 
ous to err on the side of severity than of indulgence, 
— the one teaches, the other corrupts.' Cardinal Valiar 
advises mothers to leach their chddren the fear of God, 
non perdonando alia vcrga and ' • tenendo ascoso piil 
che 81 pub con loro il grande amore volendo in ogni 
modo essere obbedita la madre ed esercitar imperio in 
quests loro tencra eta."' As we have already noted, 
the boys were intrusted to tutors, who after the tedium 
of school hours, taught them to admire the beauties 
of nature and to study the essential qualities of tilings 
and people. The girls, on the contrary, were confined 
to special apartments in the palace, where they lived in 
the charge of governesses ; the custom of sending tbem 
to convents for their education was introduced later 
on. Though destined to great marriages, they hardly 
knew anything of the iusury which reigned m other 
parts of the family palace. They grew up in wearisome 
idleness, relieved only by needlework, — work which was 
not without its mcriU, for it is certain that those beau- 
tiful books of designs for embroidery and lace which 
are common all down the Cinqueccnto served as pat- 
terns for tliese noble ladies and their modes in the 
creation of those lovely specimens of lace wliich went 
to adorn the wedding trousseau. Hours and hours were 
dedicated to devotions, and the young ladies and their 
attendants would recite together the Sahe Regina, the 
Ave Maris Stella, the Veiii Creator Spiritual The books 



178 VENICE IN THE GOLDEN AGE 

which were read again and again were books of prayer 
and of precepts " ofiicieti grandi, mczani et mezanelli 
ct piccoli . . . tutti istoHadi cum frixi et Ggure. et 
in minialure in diaegno. facte de intajo, compendi de 
oration, oiTicioh de Maria Verginc." ' 

The boys frequently went to church, and received 
religious instruction in the puhhc schools opened for 
that purpose on festivals. For use in these schools 
were printed hooks of catechisms with questions and 
answers.'' But the girls were rarely allowed to leave 
the honse,^ not even to go to church, and on the few 
occasions when they appeared on the street they were 
attended by armed servants,* and wore great veils (ne/a 
sabtilia) of white sitk which covered the head and 
the breast.^ " ita " as Casola says " che non so come 
possano vedere andare per la via,"* This rigid custom 
of conGning the young ladies to their houses may have 
helped to create the habit of having an oratory in each 

I Fulin, Doe. pfr la itarla dflla ilampa (Anh. Vm.. XXIII. 180. 188). 

■ Modo breiK et facile, utile et necmario in forma di dialogo di amiiuuttrttre 
ifigliaoti nuaaiU tlfemine rl quelli ehe non tanna nellt diootioiti et baoni eot- 
tumi del oiiKr Chritliaito. The inonjrmous tuthor informB tho reader (hit 
(he book WBi composed for use in tho public scbool opened in Venice, to 
teich ChrisliaD Doclrine on Tosat da^ra. If the 8od> of palricUns altoiided 
thew schools which wer« fremienled by lbs children of the bourgeoisie and 
of the people, it is caHaia thai their daugbtors did not. The Veuctiti 
preas pubUsbcd ratnj books of questions and a 



wen, of Uuds and ti 



' appropnali 



^iriali da far recitare alii putti nolle scuob la fesla e 
BOUDaeslrarb oella santa diKiplini et dottrina di Christo." 

I On Seplcmher 38, i5g3. the Patriarch, Lorecuo Priuli. in an eiaggei^ 
ation, it tnaj be, of religious and pitriolic leal. nTote to Cardinul MulU: 
" Quasi tutle le povani vergint di condiiione, le quali per antico costume 
non si lasciano redere. tii oscono di can, prima cbe si maritino, appeaa il 
giomo di Pasqua e di Nllole per pigliar la S. Comunione." GalliccioUi, 

* GalliccioUi (II, &35). in order to show that !l was nol safe to allow 
maidens lo go through the streets without aa escort, quotes Sanudo, who 
■Hjs : "nel liSa, 3 mario, al tragoto vecchio di S, Thomado fo rapido la 
Sa de Zuan d! Riviara doninlla cbe andava 1 Messi con U madre per Fran- 
cesco Zucata di Sior Polio, qual era travcslido. To ifierrada e messa in 
barca per fona e menata via. Parse tal cosa di novo a tulti, ideo per gli 
Avogidori di ComuD fu poato io bands di terre e luoghi con taja L. Sooo 



* Yecellio, Habiti, p. g5. 



* Cuola, op. cit., p. i5. 



CEREMONIES ATTENDIA'G MARRIAGE 



'79 



firivate house. The Venetians, though proud of their 
reetloin from ecclesiastical interference, and frequently 
ostentatious in the display of mundane pomp, were 
Btill fervent Catholics in church and strict ohservers 
of all religious ceremonies ; their children at the proper 
cononical age proceeded to the rites of confirmation, 
confession, and the Eucharist.' The patricians never 
ceased to build new churches and to adorn them mag- 
nificently, in order to display tlicir devotion and at 
the same time to satisfy their vanity. But though the 
nobles enjoyed seals apart from the people in the parish 
churches,^ most of them had chapels in their private 
houses ; and this custom reached such a pitch that the 
Patriarch GIrolamo Quirini forbade priests, under pain 
of excommunication, to celebrate in private chapels 
even of those /ai~«/('i(<?m Apostolicam fmhenliam. This 
prohibition was removed by Clement VII, to the great 
satisfaction of the patriciate, who thus satisfied their 
pride and at the same time wore able to keep their 
daughters in cloistral seclusion. Thus the young 
ladies of Venice were reared like hot-house plants, and 
bred to a life of monotony all their youth, till one day 
they found themselves, with perilous rapidity, flung 
amid Uie agitations of the great world. 

In fact, if the maiden were not destined to the clois- 
ter, her parents, as soon as she reached marriageable 
age, proceeded to arrange a match which by wealth 
and lineage might add to tlie family honour. But 
in this matter of marriage the State itself intervened. 
While leaving to the Church all that related to the 
marriage knot and its dissolution, the civil magistrates 
supervised the contract, dower, alimony, custody, and 
legitimacy of offspring.^ The laws relating to the 

1 Gillicciolli. II, 3^1 ot >eq. 

* Aretino (LeUere. VI, 6^) hs^s that he naw " Dei di festivi ' 
fuora del lempio le vili brigste e abietle e solo (dagiani nei luogl 
e Dei teggi le persDne qualiScalo e pompose." 

• Cecchelti, La Republiea lil Vaie:ia e la Carte di Roma, I, 67. 



i8o VENICE IN THE GOLDEN AGE 

family had for their main object to exclude from the 
sovereign body in the State all undesirable persons, such 
as illegitimates.' sons of nobles born from atchana fan- 
lesca Jemina di villa, ovver qaalanque allra di abjella e 
vil condition, even if the father had subseqaently mar- 
ried the mother.* On August 3i, i5o6, it was resolved 
that sons born in wedlock must be registered within 
eight days of birth, in the office of the Avogadori di 
Comun, either by the father or by the mother or by 
two of the nearest relations, who must declare "el 
zorno del nascimento, et etiam quelle esser de Icgitimo 
matrimonio nasciuto. speciHcando cl nomc primo e 
secondo de esse fiol," and the name, birthplace, and 
social status of the mother.^ This most important 
measure gave rise to the Libra di Niiscile, a species of 
register of noble births. On his marriage a patrician 
and his wife were bound to present themselves within 
a month before tlie Avogadori di Comune. along with 
two of his relations and two of liers, who were called 
on to swear ' ' queila esser sua mogUc Icgitima c sposata 
con decbiarir la quality del padre e condition di essa 
donna, accio che se '1 matrimonio non sar& delli pro- 
hibiti dalle leze nostrc el sli notato sopra un iibro 
separate ... el sia sottoscritto per tulti tre gl' Avo- 
gadori."* This decree, which bears the date April 
a6, i5a6,crealed the second register, or LiVjro^a/rimoni; 
the Libro delle nascilc and the Libra mntrimani together 
formed the Libro d'oro, which was kept by the Avoga- 
dori down to the fall of the Republic. On March 9, 
i533, it was resolved that should any doubt as to the 



' On October 37, 1177, iL was rosolvcJ that no LaslarJ pntail eligi de 
Majori Coniilio (Arch, di SUto, M. C, Camane, 1, c. io). This Uw wil 
r^iUd on Decembar a8. 1376 ; March 8. i4i4 ; M»rch 5. i43o, 

' Exceplioii, however, wat made iu tlie ciie of a patrician wfao hiJ 
annauQceJ his marriags with a woman of iiiV ctmdilion ou Ibe daj it wag 
celebrated {Ibid.. M. C. Una. c. 39, M>; aG. i4>3). 

» Ibid.. Cona. X. Muii. Rog. 3iic. 6a. 

* Ibid., Coniuni, Beg. a, c. 16. 




CEREMONIES ATTENDING MARRIAGE i8i 



^ 



status of the wife arise in the minds of the Avogadori 
they were to suspend all deliberations and refer the 
matter to a committee composed of the Doge, the 
six Ducal Councillors, and the heads of the Quarantia,' 
which held an inquiry on the father and grandfather of 
the bride as to whether they had " esercilato arte mec- 
canica et manuale owero di altra condizione simile a 
questa, semprc in lendendosi che la donna che haveift 
lenuto vita inhonesta non possi esscr admeasa,"' 

After the middle of the sixteenth century the mar- 
riages of the cifladini originari were also placed under 
ipccial laws. A decree of July 3, 1069, declared posts 
in the Chancery "non possano dalla Quarantta cri- 
rainale conferirsi che a cittadini nostri originarj nati di 
legittimo matrimonio, i quali siano obbligati provar all" 
omcio dell'Avogaria predctta non solamente la civilta 
sua originaria, ma il legittimo nasciraenlo loro et dclli 
loro padri et avi."^ 

Otner laws, for example, on August aa, i^ao, were 
enacted to check, excess in dowers which threatened 
to ruin private estates and tempted the nobility to 
abandon trade, as the young men found it more 
pleasant to enrich themselves by marriage.* Dowers, 
towards the close of the Quallrocento, thictuated be- 
tween three and ten thousand ducats.^ On occasion, 
however, they readied a far more conspicuous figure, 
Calerina Cornaro, for example, the fourth of eight 
children, brought with her a dower of one thousand 
pounds of gold, equal to one hundred thousand ducats," 
Sometimes the dower took the form of house property. 
Pellegrina Foscari, for instance, in i/tj)!, brought to 
her husband, Alvise Mocenigo, the houses on both sides 



» Arch, ili Slalo, M. C, Libra Jon 



XI. t 



* niid,, Spnalo. Terra, Beg. Sg, e. 35, Jut 
» Ibid.. M. C, Angela!, c. 34. 

* Ibid., Senilo, Terra. Beg. »8, c. i3o. 

* SiDudo. Diari, 1, 8S6. 

* Siraomfcld, Calerina Cornaro, loc, cil., p. 



1S89. 



r84 VENICE IN THE GOLDEN AGE 

a crowd of noble friends, who made a passage for her 
progress. Guided by and leaning on an old retainer 
called the ballerino. she advanced towards the gueets, in 
front of whom she made " un passo e mezzo poi un 
sallarello modesto et inchlnandosi con un hello inchino 
pigllava licenza da loro."' Then, to the sound of 
trumpets and fifes, the contract was signed, and the 
bride descended to her gondola to pay visits to those 
convents where any of her relations might be as nuns ; 
on the way the bride sat outside the fehe on a bench 
{trasio), hence tlie phrase andar in trasto. The gon- 
dola of the bride was followed by many others, wliile 
the crowd along the quays saluted and acclaimed. 
Etiquette in every detail of dress and fittings had to be 
strictly observed, and if, for example, the bride's gon- 
doliers were not wearing scarlet silk stockings, the 
other gondoliers pursued them with groans and hissing 
and uproar.^ On the day appointed for the ceremony 
in the church, Uie palaces of the young couple and of 
their nearest relations were hung with valuable carpels 
and tapestries, depending from the windows. Al ear- 
liest dawn the bride, in white silk or crimson velvet, 
and the bridegroom in the robes of a patrician, de- 
scended between two rows of domestics whose hats 
and liveries were adorned with gold and silver cords,' 
and todk their way to the church, preceded by fifes and 
trumpets* and followed by a procession of friends and 
relations, all sumptuously dressed. After the wedding 
knot was tied, the couple went to pay their respects to 
the Doge ; but after looi this custom was discontinued, 
except in the case of the Doge's relations. Besides the 



' Franco. Habid detlt donne ix 

* Areliao. Leiiere, I. 170. 

' Legge pi-ohihilioa del Scnalo (Ofllobor 8, i5Ca). 

* Sunudo, Oiarl, \I, i'ji. •' CoUo trombe e piffi 
Geminlan fo !>|K>sk U aetia di ler Alvico Paiqualigo i 
Marniini. Coi> che ila snni non «t fa. nit, kI iposa in ci 
te ft la kill. Ma colic tromlic e I'llTeri & il vero e buoo 1 







i 




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• •• 



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- . »• •■ 



CEREMONIES ATTENDING MARRIAGE i85 

witnosscB to the contract there was also the medinlor or 
compare. In early days there was only one compare 
deUanello, or beat man, but in i5i7 we find for the 
first time, on the marriage of the niece of the Doge 
Venier' wilh Giambattista Grimani, two groomsmen. 
" Etfucosa nova," says Sanudo/'docompari di Tanello: 
sier Marco Antonio Bernardo e flier Ferigo Conlarini 
. . . che piu non si uso tal cosa. " As time went on, 
the number of compart increased till they sometimes 
reached a total of forty. Each one of them gave a 
present, which occasionally touched the value of two 
oandred ducats, and on the day following the wedding 
they presented the bridegroom wilh bonbons of pine 
kernels and sugar and fresh eggs, and tlie bride with 
work-baskets, housewives full of Damascus needles, 
and a silver ring stand, all beautifully wrought in 
Damascene or chasing.' As early as the fifteenlti cen- 
tury the custom prevailed of adoresstng the couple in 
nuptial orations and poems in Latin or in the vulgar 
tongue. Mummers, too, began to play their part at wed- 
ding feasts, where tlic display of gold and silver plate 
was accompanied by a growing refinement in the quality 
of the dishes, especially of the sweets,' until it became 
necessary to proiiihtt confectionery of excessive costli- 
ness and to limit this course to scalelte e confetii menudi.* 
These wedding feasts were kept up, sometimes for 
many consecutive days, and Malipiero tells us that 
the patrician Giorgio Cornaro, on tne marriage of his 

I SiDudo (Diarf, XXTV, 608) uya: " ¥0 epotato. queiU miltini 

(AuguBt 36, >5i7) U 6> di nvr Zii«n Alvlee Venier . . . ant dil principo 

.1^/ omlro. fi» di so- fc « te l l o . " There must be an error of Iho copjijt here, for 

• Anlonio Voaier wai Dogo from l38l to t .'|O0. anil Fraaceico Vsoier from 

t55j U> t5£i6. Id 1S17 the Doge wi> I^nntrdo L.oredaaa. 

* Arelino, LctUre. I. 197. Mutiuelli, Costume Vttuiiano. p. iia. 
Venetia. i83i. 

* Arch, dl Slato, Lrggi prohibitive. Scnalo. Jamiarj aq, t4g3 (0. t.); 
J»DuarT ra. i5t.3 (o. s-): No*flniberai, i5o4 ; Oelobpr 8, i5Ga. 

* MorelU. J.. Solennith t pompe nuiind* (in Opentit. I, i46), StaUttt 
(eiamlielte) wers round ciLei. Hence Ibo name tcaletlerL 



i86 VENICE IN THE GOLDEN AGE 

daaghler with Giovaiuu Soranzo, " a legou molti di de 
longo corte bandia e ha fatto convito a ceato e piii 
nobili la volta perche " — he adds, not without a touch 
of malice — ' ' con l«l arte ramhition sla io essercit'o, 
e i invitati sou piu facili ai so bisogni e a seguir le so 
domande." ' 

Wedding feasts were often enlivened by the pres- 
ence of the Companions of the Hose, who. in honour 
of some patrician marriage, would don scarlet for the 
eight days preceding the ceremony.' On such occa- 
sions they would erect a new Club, as for example in 
l5o6, when the Conlenti were instituted lo celebrate 
the wedding of Sebastian Contarini with a Grimani.' 
As on all other pubUc occasions, the Venetians insisted 
on almost excessive display at weddings with the intent, 
ahove all, to impress strangers. Tan Gavardino, Am- 
bassador of the Soldan of Eg>-pt. must have felt a sense 
of amazement when, on October h- i5o6, accompa- 
nied by ten negroes, he entered the Palaao Nani at SS, 
Gcrvasio e Prolasio. where fifty nohle ladies were assist- 
ing at the wedding of a Nani and a gentleman of the 
Badoer family.* The ambassadors of France and of 
Ferrara also were invited to the feast and joined in the 
dance which, on June a6, i5ai, were given in honour 
of tlie marriage of a Grimani with a lady of the Pisani 
family: two barges were hung with flags and caq>ets, the 
ladies and gentlemen took their places on board, and, 
followed by a crowd of boats, passed down the Grand 
Canal amid the applause of the spectators who thronged 
the windows.* We have records of other splendid cere- 
monies which reached the height of magnificence if the 
couple happened to be related to the Doge. In i5aJl. 
when the marriage of Vienna, niece of the Doge Gritti. 
to Paolo Contarini degh Scrigni, took place, his Serenity, 



' Amaii. Pari II. p. 70!, 



Diart. XXXVn. 396. 



* Ibid.. \1. 437. 



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CEREMONIES ATTENDING MARRIAGE 



dressed in crimson velvet and surrounded by the Signoria, 
received the bridegroom and ^dl his relations in the Ducal 
Palace. The day following, the Senate Chamber was 
tbrown open for a ball which ended with a sumptuous 
■upper. On the wedding day a hundred noble ladies, 
wearing silver ornamenta, pearls, and jewels, accom- 
panied the bride, who was dressed in rose-coloured 
velvet, to the cburcb of San Marco ; the bridegroom 
was in black robes. The torch-bearera, trumpeters, 
captains of the guard, headed the procession. The 
church and the piazza were thronged with people, and, 
at the conclusion of the Mass, the ladies issued from 
the great door, and after passing along the Procuralie 
they returned to the Palace, where a banquet was served 
at which six women of the people, upon special invita- 
tion, had a seat. After the banquet the bride, before 
taking leave, flung herself in tears at the Doge's feet ; 
then, followed by the whole train, she embarked on board 
the Bucentaur, where dancing began. Amid the blare of 
trumpets and llic roar of guns the gilded ship passed up 
the Grand Canal to the home of the Contarini at SS, 
Gervasio c Protasio. The whole palace was hung 
with carpets and tapestry, and the chambers were ablaze 
witli a hundred flambeaox. Among the gifts oflered 
by the groomsmen to the bride, that of Bernardo 
Cappello attracted particular attention ; it consisted of 
a great silver basket containing a stuOed sable with a 
gold collar round its neck.^ 

This passion for magnificent marriage functions was 
strong enough to override the terrors of the Ten ; for 
in April of i5o7 we hnd a Priuli who bad been ban- 
ished from Venice, wedding, at Mestrc. a daughter of 
Giorgio Comaro, nicceof the Queen of Cyprus, and many 
nobles, including the Procurator! Tomaso Mocenigo 
and Domenico Trevisan, assisted at the ceremony. * In 



i88 VENICE IN THE GOLDEN AGE 

i5o5 the Palazzo Cornaro at San CassJano opened ita 
doors for more decorous functions wlien, in the presence 
of Queen Caterina, her namesake and niece married 
Carlo Malatesta of Rimini, and in t5o9, when another 
niece, a Vcnier, wedded Count Guido BrandoUn." 

Nearly the same display is to be ohserved in the 
mairiagea of the cUladini originari, who were admitted 
to the service of the Venetian chancery. They were 
rich, and modelled their habits of life upon those of the 
governing caste. The family of Frescni, for instance, 
repeatedly opened its house at San Basso for magnifi- 
cent marriage feasts. There is an interesting and curi- 
ous codex at the Marciana which preserves the memoirs 
of this family and shows ua the wedding dresses of 
several generations, beginning with Tomaso Davide 
Freschi (i367-i^5a). IIis first wife was named 
Caterina, his second Eltsahctta. IIis son Giovanni 
Davide (b. i4i3) had by his wife Elisabelta Penzina, 
Beatrice (b. l^b^), who married Pietro BafTo ; Zac- 
chcria (b. i456), Becretary lo the Ten. who married 
Dorotea ; and Davide. who in 1^97 wedded Maria 
Bianco. This last union was honoured hy festivities 
for several days before its celebration, and during this 
period ihe bridegroom and his immediate relations 
appeared in public in patrician red with stoles of black 
velvet. On titc wedding day the bride wore a robe 
with a long train of white silk, with open sleeves that 
fell to the ground, a band of pearls in her hair, a neck- 
lace and bodice flasliing with gems. A band with the 
trumpeters of the Ducal Court headed the procession. 
In i5o4 a lady named Samaritana of the Freschi family 
married Melcniorre della Nave, a Venetian citizen, and 
again the Casa Freschi renewed its functions, banquets, 
music, and dances. The bride was conducted to visit the 
Doge, ^a practice which, as we have said, was abandoned 
after i5oi , — while twenty matrons, preceded by music 
1 Smudo, Dkri. VI. ii55. »nd VII. 756. 



CEREMONIES ATTENDING BIRTH 

and fifes, led her to ihc altar. She wore a double 
of crimson velvet and a bodice and sleeves woven in 
gold ; her ornaments were pearls and gems and a 
golden band tliat circled her head like a coronet.' 

The mind of the principal actors in such scenes of 
dazzling splendour must have been oppressed and ham- 
pered. The girl plighted her troth without, perhaps, 
ever having once experienced a throb of the heart for 
the man with whom she was to share life's joys and 
sorrows. This absence of all alTection in marriages, 
which were concluded to satisfy family convenience 
and family pride, was the prime factor in the break- 
down of the family. The memoirs of the day. and 
especially Sanudo, who gives us the voice of truth as 
regards the diurnal life of Venice, tell us of fesllvals, 
balls, dresses, but never of love, of modesty, of virtue 
in the bride, who up to the moment of her wedding 
had been carefully guarded in the paternal home, only 
to be launched at a moment's notice into the midst 
of temptations, without even a superficial acquaintance 
with the ways of the world whicli even in early years 
may be acquired by mingling with one's fellow beings. 
The modest and retiring dress was summarily cast 
aside, and the young bride was called upon suddenly 
to show herself in public in gorgeous raiment of 
brocade, habillemens descouverts, mountrant loules leg 
etpautles, as a stranger remarked with an approval not 
free from malignity, after he had seen many belles 
femmes, nouvellement marides? 

Nor was the bride left free to the enjoyment of the 
noblest of all alTections even after she had become a 
mother. Aristocratic hauteur surrounded even the 
cradle with pompous ceremonies. Casola, speaking of 
the patricians, declared Uiat they were haughty even in 

•morie deU'UI. FamioUa Frtiehi. MS. Svajer. now id Ibe Marciini. 
t-Q. VII iul.. Cod. i65. Jacopo Morelll uaa Utc &rat to cull atlcntiou to 
iouB cwloK. OpertlU, I, iij ct loij. 
■ Uwvouiiu, Vojage, clt. 



H .89 1 

jle skirt ■ 

oven in ' 



I go 



VENICE IN THE GOLDEN AGE 



their own homes, forse per U grande dominio che lumno, 
and " quando nascc uno Bolo ad uno venetiano, per se 
dicono : e/e nalo tin signore al mondo." ' And later 
on, Garzoni, speaking in general of all llie richer Vene- 
tians, tells us, with his somewhat coarse wit, that the 
mother, when she received the bahe thp moment it 
was born, announced its sex at the lop of her voice, 
and if it was a boy, al once demanded "una mancia 
dal padre, c aspetlando molte volte il cancaro e il 
malanno quando gli dava nuova che era femmina, 
perchfi la robba per le femmine va fuori di casa e per 
gli maschi v'entra dentro."' We have seen how Car- 
paccio, in his picture "The Nativity of the Virgin." 
nas portrayed every detail of the aspect of a birth- 
chamber, and the care that was at once bestowed od 
a new-born babe.' Other Venetian painters, too, among 
whom we may record the Bergamasque Santa Croce 
and Carotti the Veronese, have drawn the same scene 
with realistic vigour. Wo must not omit to mention 
here, among the utensils connected with childbirth, 
the saucer, or piadena, called tlie impaUiala da puerpera, 
in which they brought brotli or other strengthening 
food to the mother. We still have specimens of these 
vessels made of fine majolica, the saucer itself, piadena, 
and the cover, laier, some gracefully painted, some in 
plain wliite, and made of various sizes, so that they can 
fit into each other, forming a kind of urn on the top 
of which came tlie salt-cellar and the egg-cup. The 
mother is represented in these contemporary pictures 
as lying in bed dressed for a reception, and in fact 
on the days immediately following a hirlh Venetian 
women were wont to receive the friends of the family 
in their rooms sumptuously filled up for the occasion. 
The bedquills were woven in gold, silver, and silk ; 
the nightgown, the jacket, of finest Unen embroidered 

1 CasoU, op. cH., p. li. 

» Ganoiii. Pia!:a. p. 836. 

I Cf. P.rt i. Vol. I, p. 68 of Uii. wwL 




CEREMONIES ATTENDING BIRTH 



and fringed witli lace.^ Casola, on his journey back 
from the Holy Land (rig^), stopped once more in ihe 
lagoons before returning to Milan to take up bis post 
SB canon in the Cathedral, and in company with the 
Papal Nuncio and the ambassadors of France and of 
the Duke jf Milan, be was taken to pay a visit in the 
house of one of the Dolfm family, whose wife had lately 
given hirtli to a child, in order that be might see 
la pompa e la grande magnificentia dei ^uelli zentilr- 
komini. Casola describes the splendid hedchamher 
of the in/anlata, noting thai neither the Queen of 
France nor the Duchess of Milan would in similar 
circumstances have enjoyed lania pompa, and he adds, 
" De li ornamenti del lecto e de la donna, ciofe copert« 
e cossini, h quali erano sei e altre cortine, ho pensato 
pill presto de taccrle che dirle, dubilando non me siano 
credute. Erano invero piene de admiratione." But 
Casola was not a Milanese for nothing, and in the midst 
of his admiration he bethought him that the pleasures 
of the palate also deserve their place, and adds regret- 
fully : " E slato li per un pezo, contemplata la camera 
e le pcrsone li erano ogni homo bc parti digiuno, ser- 
vendosi altro costume non si fa a Milano . . . dove 
in simili visitationi se fanno dc solenne refectione. 
Credo che a Venelia fanno pensero cb"el reficere de 
li ogi basti." " But in truth parsimony was not exactly 
Venetian virtue, and the severity of the law was 
powerless to inculcate it. Expenses on entertainments 
of every description, even down to the refections 
offered on the occasion of a hirlh or a baptism, grew 
so excessive that in i537 the Senate forbade noble, 
citizen, or plebeian alike to receive any visits except 
those of relations during the period of lying-in, under 
penalty of a fine of thirty ducats. Midwives who failed 
notify a birth with the name and address of the 

' Arch, di Suto, Sonato, Terra, Reg. 3i, c. ga. 
■ ChoIi, op. cil., pp. 107, no. 



^ 



iga VENICE IN THE GOLDEN AGE 

father within three days of the event were liable to a 
fine of ten ducata. The notary of the sumptuary office 
was authorized to issue a warrant to visit tlie house, 
and more especially the bedroom, where the woman 
was lying in ; and if any opposition were offered the 
fine was one hundred ducats for nobles or citizens, 
prison, outlawry, or the galleys for the people.' Tbe 
mother rarely suckled her own child,' and wet nurses 
were sought for, especially in Friuli, where they 
were sound and healthy. On the day of the christen- 
ing the nurses decked the infant out with ornaments, 
wrapped it in swaddling clothes fringed with lace, and 
carried it to the "mother"^ church (ckiesa matrice) 
on a tray or under a magnificent canopy.* By 
a decree of the Council of Ten (August 3i, i5o6). 
the parish priests were bound, under pain of perpetual 
banishment, to declare, within three days of the cere- 
mony, the baptism of a nobly born child, ^ and on March 
a^t i5o3, the Patriarch ordered the names of all who 
were baptized to be entered in the parish registers.^ 
The godfathers, who in some cases numbered as many 
as a hundred and fifty, whereas custom required three 
only, were for the most part dependants and clients 
of the family ; for, while it was permitted to the patri- 
cians to act as groomsmen to each other, a decree of 
the Ten (August g, i5o5) forbade nobles to accept 
the duties of godfather to the offspring of other nobles, 
in order that this bond, which constituted a kind of 
spiritual relationship, might not eventually present 

I Arch, di St4h>, Senito, Terra. Eeg. 39, c. iSa. December 7, i537, 
ind Hog. 14. e. Sg. 

' Laiido. Orlemio, Letlere di moltf vatorose doane, ditcuMCi pregniocj, 
pariurilion. lucLling, lod inch lopici 



a ibe eirliesl day* Ihere wis onlv one baptismal font il 

Uie cil* began ta grow, ^ 
v opeaod in different churches, called, Iherefore. baptaimala, or, 
..,:..- f;,!ir„..:.>ii; 11 ti. 



n the CathoJrBl ; but when Oie citv began to ^ow, other baplift- 
teriea were opened in different churches, calf ~ ' '' ' i . - . 
in the vulgar, matrlci. Gailicciolli, II. 34a, 

• Arch, di SlDto, Senato. Terra. Reg. ii. c. 5g. October i5, t56i. 

* Sanudo. Dkrt, VI, 4o6. « Gallicclolli, II, 363. 





THE FAMILY LIFE 

raiflicultics in t!io way of marriages between the noble 
houses so connected. Thai was llic pretext ; but more 
probahly the true motive was to prevent an ambilious 
patrician from forming those wide and close connec- 
tions among his peers which were always an object 
of suspicion to the State.' 

This legislation, which compelled the noble to seek, 
godfathers for his children from among the people, 
formed a moat beneficent bond between the two classes, 
and removed, at least in the spiritual region, the ex- 
cessive dilTerences of the social status. These differ- 
ences were particularly apparent in the sad or joyful 
events of family hfe, marriages, births, and deaths, 
where the absence of wealth, luxury, and aristocratic 
Iiauteur gave a greater simplicity and genuineness to 
those functions among the lower classes. But the 
intimate life of the people, at the period under discus- 
sion, is involved in shadow no less than the domestic 
life of tlie nobiUty. We may, in part, recover it 
with the help of documents, traditions, popular songs, 
proverbs, legends, which preserve customs not yd died 
out, but which certainly belong to a far earlier period, 
language changes and customs vary, but the people 
always preserved intact certain Instincts and prejudices 
and certain rites and symbols handed down from genera- 
tion to generation. Many proverbs and popular songs 
have come down to our own day, and if the diction is 
not absolutely antique, the thought, feeling, movement, 
and very often the versification, certainly are.^ Under 
the form of the language, which was gradually modern- 
ised from age to age, we can stiU discover the thread 
of ideas which bound the popular customs of a remote 
age to the customs perhaps of to-day, undoubtedly to 
the customs of tlie period we are now discussing. The 
talcs, fables, legends, proverbs, and poetry, which to-day 



1867. Bemoni. Canii pop. 
'tneiiani. Treviio, iStJl. 



> Samoviao. Veiutia, p. joi. 



._. . Gallicciolli, 

' Datmedico, Cantidel p/^lo iien. Veoeiia. 
MiiB, 187a, C873. Paiquiliga, Pnmerbi 



Iff TEHICE a THB GOLOE5 AGE 






AckKsatalr m lhe.^i»i»^iilii id m 
We piker Ike iinlliiiii i I i tt *e pnl 
erfhct *e.alawk «t i. fc «M *;. n». S» 

" TW 



BiwiiliiiM' ifiiiHyh»ie.tW 

■■d BW dlollnA. UHV ■■■Bf kens M HK CBHRlh 



dm Ike (iii. Uriag gotkerk 
kerM f^tKjUatmiit lke| 



. >m^ knfa. iTknir..«- .k.ii iil^fcr- 
cat c flW , ■■■■■Nnc, ngonivM. nrae ^gsKs, vtaU ^ 
to paj their cant, dicHed a«t is WiMklulfa or vtlrcft. 
combed and peHamed. eaefa wiA Us ^tgpr (cnfaedss) 
at Iw prdfe.* Hw fint Ach ia ti ow oTtorc «» bm^ 



^ Ike B^ B *• iMnM 



C«a 






I. 
Cm^ mi U* Nm* 






B M ne vm Ml la p^m poEo, 

Dcpano fin e^ natoo i«alu. 

Cbe 1 •* d> boo a la looUiia oo Bno, 
Tanio gilaole. ch'el do par dc qneU. 
Cbe di^iri in Anmal dali e icarprli . 



THE FAMILY LIFE 



195 



by singing under the fair one's window. After a while 
the young man made his formal request to the parents, 
and if he were accepted both families met at dinner. 
The lover gave the girl the betrothal ring of gold. 
Then followed an exchange of presents between the 
pair ; the girl gave her betrothed silk neckties or 
embroidered handkerchiefs, while he brought her 
a bun at Easter, almond cake and preserves (moslarda) 
al Christmas, chestnuts at Martinmas, and a rosebud 
on Saint Mark's day.^ As is common among most 
people of Italy, it was the custom to taboo presents 
which might be of bad omen, such as combs, which 
might assist in witchcraft ; images of saints, which were 
supposed to engender quarrels ; scissors, which sig- 
nified calumny and backbiting ; pins, which implied 
something pungent and painful.' The groomsman 
chosen by the bridegroom sent a present of jewelry 
and a box of bonbons along with a bouquet of artificial 
flowers for the bride, and twelve bottles of malaga, 
Cyprus, and rosolio to be served at the banquet. 
Besides tliis it was his duty to tip the sacristan and to 
present four wax candles to the church where the 
wedding took place. Sunday was the usual day.^ 
The bride was dressed in her best, with fine while 
collar and gold chains called maniiti, and petticoat of 
brilliant colours,* lace cuffs, and apron worked in gold, 
pleated bodice, while stockings, and embroidered slip- 
pers. " Dopo pareciada," so run the instructions in 
touching directness of the dialect, "e avanti che riva el 
Bposo, la sposa va in camera de so pare, e IS la se ghe 

' BerDODi, Trad, pop.. Punt. IV. Vcneiii, 1877. 
» Ibid. « Ibiil. 

* Red wu tbe ravourite, and we fiud frequent reference to il io populu 
■ongi: 
Morwo belo. Aa le feslo semo; 



igfi VENICE IN THE GOLDEN AGE 

buta in zenocion, e. pianzando la glie dixe clie el ghe 
perdoiia sc la ga fallo qunlcusa, e la ghc domanda ta 
BO benedizion . Qucsto xe un giorno die la sposa 
pianze e ride." ' Tben, accompanied by her relations, 
the bride proceeded to church, and aflcr the ceremony 
was over, they all returned to her house, where the 
refection took place and then towards sundown the 
banquet, at the close of which the bride and Uie com- 
pare opened the dance. Caravia, in his Naspo BUaro, 
gives us an account of the rich food and the noisy 
dance. l\'aspo, after trotting many times a day between 
his house at Castello and the Biri where his Ca(« lived, 
tormented by love and jealousy, in the hope of closing 
bis days da ChrUlian bat'uao, ends by wedding con 
allegrezza bis pretty biriola : 

Fa coniar, Cato, id ordeno la corto, 

Cho luiii. □ marti te uoi4 spOhar, 

E con bon cbiuchio (with gooil wmo). rosll. lesii a torts 

AlicgraniBnlo la faremo andar : 

Vori), che sempro slit aucrlc te porle, 

Che clii uori tuli vegna a balar. 

Con eoni. e canli, o 'I itibio sumpre a tomo 

Tula la noto jnfin I'alba del lorno. 

In tbe midst of this revelry Naspo never gives a 
thought to the future nor to the disillusionment which 
matrimony sometlmeB has In reserve,* tliougb even in 
those days it was usual to invoke the blessing of Heaven 
and tbe favours of fortune in hundreds of dilFcrcnt 
supplications and formularies of love. Above tbo mar- 
riage bed they cither painted an angel or bung one 
carved in wood, that the children about to be born 
might resemble ihem, it being an old belief that the 
woman would give birth to children resembling the 
person or picture she had seen most frequently during 

' BerQooi. Trad. pop. 

^ Maapo Bi:aro con la Zonta del lamtitto ehe 'I fa per havenc prntio lit 
haver (poian CaU Bioada Biriota. Vcaetia. iGoi. In the Sogno (Veneiia. 
i6/ti) DDotber poem of Cutvi*'*, he also eiprewea the infdicit^r ^r conjugti 




A Wedmug Ktnotig til 
from the poem, " >as 



THE FAMILY LIFE 



^97 



pregnancy.' The couple were never lo sleep in sepa- 
rate beds or rooms, so that perfect harmony might be 
maintained ; friendly relations with the parents on both 
sides must be preserved under pain of unhappy child- 
bed. Images of saints, medals, and scapularies were 
fastened to the swaddling clothes of infants when being 
carried to their baptism '■' in order lo ward olT demons 
and witches. The growth of the babe was surrounded 
by blessings and exorcisms : its naiU were not to be 
cut, else the child would grow up to be a thief; the 
length or shortness of tlie ears foretold the duration of 
life; the ears, even of tlie boys, were often pierced, not 
so much for the adornment of ear-rings as to prevent 
convulsions, 3 Mothers crooned over the cradle the soft- 
est of lullabies. The father on his return from work 
was greeted by wife and children, and found the table 
laid, and after the meal was over the family gathered 
together to play games or to listen to fables or legends.* 
Art is of little help Lo us in picturing the Venetian 
family, whether in the patrician or the lower classes. 
Venetian painters were attracted by the outdoor life of 
the city ratlier than by Uic quiet round of daily routine 
in the home. They lack the sentiment of repose, and 
find little satisfaction in placidity ; they feel themselves 
called upon to depict rather the deeds of saints and 
heroes, in the open air, under a dazzling sun that flames 
upon the crimson standard with the golden Hon, flashes 
on cuirass and sword, glints on stuQs of satin or brocade. 



1 Boraoiii. Crtrlfme popolari Vcnetiaae. Veneiia. 187J. Da Guber- 
nalU. Si. camp, ileijli lui nalathii in /I., pp. Ito, Si. MiUno, 1878. 

' la Ibe ca»o of DflspriDg Id bourgeois or plebeian families Ihe Etceatori 
contro la hesleiaia required llie parith pnesb lo regisler iniODg Ihe 
legTlimBta births onlj those about whom tbcj were aure. In cases of 
douhl ibej were to call for Ihe marriage certiflclto. Thia rule, however, 
was broken ; adulterous ofl'spring being sometimes onlorod u children of 
weddcxl couples. Cuccbolli. La rep, Ji Vtnnia e la Corle di Roma. 1, 55. 

' Beroonl, Cred. pop. 

* Veiifltisn popular lileralure is rich io luch productloQ). Sm 
Bemoui's colleclioiii. 



igS VENICE IN THE GOLDEN AGE 

Some whole families are represented in the pomp 
of their gala costume. — the Pesaro, for instance, by 
Titian ; the Pisani by Veronese, who also painted the 
citizen family of Coccina ; they are kneeling at the feet 
of some saint or some conqueror of old, but arc never 
represented in tlic intimacy of the house. The Brr- 
gamasquc painters alone, especially Cariani and Licinio, 
give us family groups, properly so called, but ihey are 
not Venetian families, any more than is that family 
group painted hy Lotto. In the Venetian maRtcrs it is 
their Madonnas or their sacred groups seated in the 
shade of groves that better serve to introduce us to 
the poetry of the home life. For example, there is the 
family group, so realistic in treatment, in a picture at- 
tributed, on excellent grounds, to Carpaccio and now 
in the Staedel Institute at Frankfort. The figures rep- 
resent the Virgin, the Child, and St. John. The divine 
babe of the early prayer books has become a child in 
Quattrocento dress; he is seated, and is turning the 
leaves of an illuminated book, while another child in 
the same costume is pointing with his finger to the 
page. These two chubby children are, possibly, the 
sons of the unknown person who ordered the picture, 
and very likely a portrait of their mother is to he rec- 
ognized in the Madonna, who stands looking on with 
folded hands in grave and serious attitude. We may 
also note a family of the people in a Holy Family by 
Catena, where we have the father, the mother, and 
the doting grandmother gathered round the cliild. nor 
has the painter in his patient care omitted to introduce 
the baby's go-cart. 

The writers of this epoch, as a rule, pay no more 
attention than the painters to the description of inti- 
mate family felicity. Bat there is one exception. Calmo. 
a son of the people, introduces us to the innermost 
sanctuary of an honest Venetian household. He dwells 
with pleasure on el star pacijico with a muier da ben who 



FUNERAL FUNCTIONS 199 

B withoai fiel in corpo or lengua in boca, bona massera, 
fadighente e ben accosluma ; no quarrels, no criori, no 
biasleme, no zelosie. When the wife hears the hus- 
band's whistle, she runs to meet him, crying, sieu el ben 
vegnao, and helps liim off with his clollies. Dinner is 
ready cofi certi saoreti, dinstae garli, d'inverno dolci; 



and after dinner she puts his bead in her lap, and the 
possamaijar 
Andemo in Iclo," continues lliis 



r poela in 



two enjoy el piU soave sonelo, che possamai 
lengua volgar. "Andemo 

jovial writer, " si lievo a bon'ora, subito la lieva in pie 
... Si I'fe d'instac soto la nostra pergola se consa el 
desco ; si I'e d'inverno intel nostro camerin aprcsso la 
cusina, clic par una stua, col so vin caUlo, el pan in 
bruo, con un bozzolao forte infra tutti do, un puoco de 
rostcto, i so maroni o peri coti daspuo pasto : c man a 
rasonamenti piascvoli, tignandosc 'I brazzo al colo e tal 
fiae el nostro baseto . . . Ognl sera la revedc i colari 
de Ic mic camisc c repczza le acarpetc ; ogni sabo la me 
scurta i caveli, la me tagia Ic ongie e si me lava i pie, 
la tempera el vin intet arnaso, la fa de le fugazze de 
semolci per la fantesca e compartisse el companadego 
per el disnar e per la cena . . . " ' 

Rutpoichi a sto mondo no ghe vol nissun de contenlo, 
when death entered the dwellings of the people, the 
whole house was fdled with waihng and loud lamenta- 
tions. Death, no less than love, was the subject of 
superstitious prognostications. If the bell that accom- 
panied the viaticum was cracked, or if it rained while 
the priest was crossing the threshold, then all hope 
for the sufferer was at an end. On the other hand, 
if rain fell on the bier of the departed, that was a hope- 
ful sign for the welfare of the soul ; it was also pro- 
pitious to die on a Saturday.^ Popular fancy was full 
of stories of apparitions of the dead. The Venetian 
-temperament in high and low, rich and poor alike. 

' Cilmo. Lctlcrt. cit., pp. ^37, iSg, ago, 
' Bernoni, Credemt popolari. 



aoo VENICE IN THE GOLDEN AGE 

Bhrank from tlic idea of death as fi'om something harsh 
and bitter. Not that we cannot record many a Vene- 
tian who calmly awaited the supreme hour of a well- 
Bpent day. as though it were rfa (ransilare d'uiia in allra 
casa. in tlic phrase of Alvise Cornaro, who died with 
a hymn of Bcmho's' on his lips; but it was only 
natural that a people which felt so acutely the thrill 
of a healthy life lull of enjoyment should shrink from 
the darkness of the tomb. In the memorials of this 
age we may find some soldier who had proved his 
courage on the field of battle, some statesman of weight 
in council, bowing their heads in despair under the 
oppression of adverse fortune and dying of a broken 
heart; but instances of suicide arc not to be met, and 
if by chance some sick soul feels itself unequal to the 
burden of life the desperate resolve takes the appear- 
ance of insanity grotesque even in its very horror. 
For example, that strange suicide of Lorenzo PriuH. 
young, gentle, cultured, dear to Pope Leo X. who, finding 
himself in Rome, was attacked by a suicidal mania ; he 
threw himself into the river, but was saved ; then, 
eluding the vigilance of his custodians, he cut his 
throat with a dagger, but careful nursing brought him 
round; finally one day, when to all appearance he 
was cured both in mind and body, he jumped from a 
high window, breaking his bones Cut falling again to 
kill himself; he was picked up. and once more the 
doctors would have succeeded in saving him, only he 
refused all food and died of starvation.^ If the story 
were not confirmed on excellent authority, we should 
be inclined to take it as an invention intended to ridi- 
cule those who reject the blessing of fife. 

The profound melancholy of death finds no expres- 
sion even in Venetian poetry, and the sonneteers and 
lyrists who mourn their departed parents or friends 

' U Vila Sofcrin, clt.. Pref., p. iHv. 

* Valeriuii, Dt UUei'otorum ii^eticiUile, p. 45. Veuetiis, 1630. 



I 

in 



FUNERAL FUNCTIONS aoi 

produce little else save exercises in stylo. Even Bembo, 
who was HO deeply attached to his friends and is so 
sincere and frank in his letters, is sonorous and stately, 
it is true, but cold and hollow, when mourning the 
departed in verse. In i5o5, when his brother Carlo, 
whom he tenderly loved, was taken from him, the grief 
of the poet is often diluted by empty generalisations : 



OdiH< 

O dispictsta 

Quil ru gia, 



doloroie toiapre 1 



for does Celio Magno, though one of the best Vene- 
tian poets, succeed in giving expression to the intense 
grief he undoubtedly felt for the death of his father, 
in a lyric which lacks the genuine cry and is spun 
out with otiose and far-fetclied images and conceits 
t never succeed in toucliing the heart. 

Sorgi da t'ciDilo rimr pallido e moeto, 

Faccia prendcndo al mio dolor utnile, 

PieloEO Febo. o meco a piaogere riedi. 

Questo h '1 di ch'a rapir I'alma geolila I 

Del mio buoD padre. oim£, fu 1 ciel d prealo. 

So Magno opens, though be proceeds in happier vein ; 
other poets begin and end worse, and seem to be 
competing with the sonorous hyperboles of set funeral 
orations. In the midst of all tliis blatant bombast 
which surrounds the tomb, we are arrested by one 
sincere note of sorrow. Domizio Brocardi's lament for 
bis wife and children ; the Paduan poet's rough verses 
convey a genuine cry of the heart, more especially 
when he is bewailing his beloved daughter Gigliola : 

Quel giglio ch' era il fior delU mi* vila 



Che aurace al viver mio doglia iofioiu.' 



' D'Xaconi, Nel prima 



MM VEMCE \^ THE GOLDEN AGE 

Nor are the last houn preceding decease, and all tbt 
agony thai gathers the family aboat the death-bed, 
adequately represented by painters of tlie day, ihoagli 
tbcir opportunilie* were STiperior to those of the pocb. 
Thai gnet which bows the head and breaks forth in 
wailing among the pious folk who surround the dead 
Cbriftt or dying Virgin assumes the aspects of horror 
and of agonised despair in ifac masters of the Quattro- 
cento such as Crivelli. Giambellino, and Carpaccio, 
but in the artists of the full-blown Renaissance the 
epcelacic of death docs not evoke terror or amazement 
or extreme despair, and before the tragedy of Golgotha 
itself we hnd the women expressing the emotion of 
pity, the men quiet dignity, but all in studied poses 
as though upon the stage. None of these lighl-liearled 
transcribers of the daily life of Venice has ventured to 
introduce us to the interior of a household, to allow ua 
to assist at the last moments of a beloved life with its 
attendant agony. Among all tiic pictorial represen- 
tations of this age we can recall hut one rude illuim> 
nation which takes us to the threshold of the chamber 
where the viaticum is being administered by a priest. 
while other priests willi lighted candles assist at this 
supreme rite, either kneehng or on foot, and three 
women are waihng in a corner of the room. The 
miniature is in the mariegola of the Confraternity of 
the Body of Christ; it is dated i5o3. and was brought 
from the church of San Cassiano to the Museo Civico. 
When death had supervened and the body was to be 
carried to the tomb, the grief which hitherto had been 
confined within the domestic walls now broke out in 
clamour in the street and even in the church. The 
dark and gloomy funeral rites of the Middle Ages had 
disappeared, and, as time went on, funerals, asSansovino 
says, had become so splendid thai nulla si potea veder 
di piu magnifico. And, in fact, a funeral assumed the 
aspect of a festival rather than of mourning- The belli 




FUNERAL FUNCTIONS 



I were tolled for the death of a citizen, but were pealed 
when a patrician or other great personage passed away. 
If a shop-keeper departed this life, his shop was shut; 
and it would seem that as early as the sixteenth century 
il became the custom to affix to the door a notice ' ' per 
la morle del padrone." At the same time the ofTicial 
death registers were eslabhshed in the office of the 
Board of Health.' On the day of the funeral of a 
patrician all the shops were shut ; the whole palace 
was placed in mourning ; the walls were hung with 
black cloth and great curtains of black velvet with gold 
fringes. The body, either enclosed in a coffin or laid 
on a bier, was carried to the church, which was hung 
in black ; in the middle was a catafalque, covered with 
black and gold, hearing the arms of San Marco and of 
the deceased's family.* The enormous cortege which 
preceded and followed the bier passed by San Marco 
and Rialto before entering the church which held the 
family tomb. The procession was headed by the vari- 
ous guilds with their hundreds of standards and pen- 
nons, the brethren, in tunics of red, blue, and white, 
bearing enormous gilded candles, painted in figures and 
flowers. Then came the Capitular canons chanting 
psalms, and the rest of the clergy ; then the coffin, sur- 
rounded by sailors and domestics in mourning with 
candles in their hands. Behind the coffin walked the 
Grand Chancellor, the Ambassadors, the Procuratori. 
magistrates, and patricians, led, on some occasions, by 
the Doge in person, dressed in crimson velvet ; lastly, 
a great crowd of the people. At the church, when the 
religious ceremony was over, an orator, chosen from 
among the most notable scholars of the day, mounted 



o3 1 

led 



■ GaUictblli. n. 53[. 680. 



" !o ijucsla 
I Aluolo uno Kilor fatlo i: 



I (Novcnibtr a3, iSti) vtdi i 



ir Aleiandro BoUoi 



SBiDudo, Xin, a63. 



2o4 VENICE IN THE GOLDEN AGE 

a platform hung with black clotli and pronounced 
funeral oration. Among the crowd in the streets and 
in the church, crouching low to the ground and dodg- 
ing between the legs of the people, a strange figure 
glided here and there ; this was the cerone. Carpaccio 
has preserved a recoril of him in his pictures, and the 
name ia to be found in ancient documenlB ; the creature 
was eo called because lus business was to gather the 
drippings of the wax candles, wliich he stored in a sack 
hung round his neck. Out the priests thcmscIvcB were 
more avaricious than tlie cerone, and we often hear of 
disputes arising over the burial fees. In fact, fierce 
struggles raged round the death dues, decime fimebrt. 
which in ancient days really represented a tithe of the 
deceased's property which went to the Church ; these 
tithes were commuted, in later limes, for a certain defi- 
nite sum, sometimes of trifling amount. In the sixteenth 
century the tithes were replaced by a regular contract 
between the clergy and the heirs of the defunct, but 
this did not put an end to disputes among the clergy of 
the various churches for the right of the stole and for 
funeral dues. Quarrels took place even over the divi- 
sion of the wax, and learned treatises were written on 
the subject such as Don Mario Vidal's ' Cerlamen paciji- 
cum, published in i68a. Tbe funerals of the Doge, the 
Dogaresaa, the Procurators, and the Grand Chancellor, 
dilTered in no way from the funerals of patricians ex- 
cept in additional pomp. The moment a Doge had 
breathed his last, bis majordomo, dressed in mourn- 
ing and followed by tlie chaplain and the household 
clergy, went straight to the Cabinet to announce the 
event to tbe Senior Councillor or to the Vice-Doge and 
to the other members of the Ducal Council. They 
thereupon gave solemn notification to the provinces 
and subject lands that the Prince had deceased. The 
following day the body of the Doge was taken to the 
1 GalliccioUi. U, 536. 



the 1 




FUNERAL FUNCTIONS 



oivate audience chamber, eitbcr enclosed in a coiGn 
*r lying on a carpet, surrounded Ly candles. Towards 
■waning the canons of San Marco and the Doge's chap- 
*lain imparted tlie benediction to the corpse, and it was 
conveyed to the church wliere it was to be buried. 
Meanwhile, in the Chamber of the Piovego, where the 
Doge received congratulations on the day of his corona- 
tion, a great platform covered in crimson velvet with 
the arms of San Marco had been erected, and on it 
was laid out a wax image of the dead Doge dressed in 
I fais State robes, tlie golden mantle, the ducal bonnet, 
Hpurs, and gilded sword.* Priests, patricians, and Sen- 
rators kept vigil around it for three days, and on the 
third tlie bier was carried in long and slow procession 
round the Piazza di San Marco and then to SS. Gio- 
vanni e Paolo, w here the obsequies were closed.' Sen- 
ators attended a ducal funeral in their red robes, not 
in mourning, as though to emphasise the fact that the 
mourning was private and personal, and that although 
the Doge were dead the Republic would go on forever. 
The transitoriness of human greatness was impressed 
upon the Doge on the day of his election, and warnings 
to remember his death were calculated to moderate his 
satisfaction in his new honours and at the same lime 
to check personal ambitions, which the State always 

k feared. So, too, the Dogareasa. who entered the Pal- 
ace amid joyous acclaim, was welcomed by the magis- 
trates with these rude words : " Voslra Serenila si come 
vive h venula in questo loclio a luor il possesso del pa- 
lazzo, cosl vi fo mtender et sapere chc quando sarete 
raorta vi saranno cavate le cervelle, li occhi, et le 
budelle, et sarete portata in questo loco medesimo dove 
che per tre giomi havcrete a stare avanti che siate 
sepolta." If the Dogarcssa died during her husband's 
lifetime, she received the most magnificent funeral. 




ao6 VENICE IN THE GOLDEN AGE 

The earliest funeral of a Dogarcssa of which we have 
record is that of Taddea Micliiel (d. October aS, i47J)). 
wife of Giovanni Mocenigo, who was accompanied to 
the tomb in SS. Giovanni e Paolo by all the congrega- 
tions of regulars, by the chapters of San Pielro and of 
San Marco, by the Guilds, the Signory, the Ambassa- 
dors, patricians, and people.' Caterina Cornaro, an- 
other Venetian lady who had worthily won a crown, 
likewise received notable obsequies. She died on July 
lO, i5io, de doja di stomacho, as Sanudo informs us, 
and her body, in the humble habit of the order of 
Saint Francis, was carried from her palace at San 
Cassian, accompanied, notwithstanding the tempo teri- 
belissimo di venlo ptoza e tempesla. by the Signory, 
the Vice Doge, the Patriarch, and several bishops, by 
her relations and by the people, as far as the church of 
tlie Sanli ApostoU.^ There it lay till 1570, when the 
church was restored and the queen's ashes were re- 
moved to San Salvatore, where they were inhumed, 
and on the wall above them was placed a monument 
by Bernardino Conlino, as wretched as it is ornate. 

But funeral honours were not reserved solely for 
those who by privilege of birtli had been enabled lo 
serve their country, they were extended to those also 
who had conferred honour on her by their genius. 
Even the necessary sanitary precautions did not pre- 
vent the Stale from granting solemn obsequies to Titian, 
when, in 1576, he died of the plague then raging in 
Venice. The law which forbade funeral honours to be 
paid to those who had fallen victims to the terrible 
malady, and which had insisted on the sepulture of 
the Doge Giovanni Mocenigo — who succumbed to 
tiie scourge in i^gS, — witliout any ceremony what- 
soever, made an exception in favour of the great 

1 Rossi. Leggi e Coslami., MS. MarcisDi. XII, l3o. 
* CcDlelU. Caterina Cornaro, p. i5i. Veneiia. 1891. Sfe alto the 
Dotei by Fiells on Siwomrelds «ork (Arch. I'm., XXI. 5i, 78)- 




FUNERAL FUNCTIONS ao? 

I tiaster, and permitted his body to be carried to the 
Frari, wearing the insignia of Imperial Knighthood, 
and to be interred at tlie foot of the altar of the Cross.^ 
Ambassadors were buried at the public expense ; we 
have an example in the case of the Cremoneae Giam- 
batlista Sfondrati, envoy of Lodovico il Moro, who 
died at Venice in September of 1^97 ; the Republic 
decreed him a funeral of the same character as had 
been given to another ambassador of the Duke, Sca- 
rampo Scarampi, who also had died in Venice in i485. 
The body of Sfondrati was taken from Caaa Contarini at 
San \Iois& to the church, followed by the magistrates, 
ambassadors, great personages, and by the Doge him- 
self vestido <li vetudo cremexin con ana barela ili ruso 
in capo.^ The funeral oration was deUvered by Raflaele 
Regio, professor of rhetoric in ihc University of Padua. 
Francois de Rossi, a native of Brittany and ambassa- 
dor of Francis I, in Venice, appeared for his first 
audience, in April, i5ao. dressed in raxo negro Jino in 
terra. The Doge and the Signoria judged him to be 
leziero e colerico, though be was undoubtedly of a frank 
disposition and a lively wit. He had studied at 
Bologna and Padua, and was attached to Italy and 
especially to Venice. In bis residence in Casa Dandolo 
at San Moise on July 7, i5a6, he gave a splendid 
entertainment to celebrate the election of the Doge 
Antonio Grimani. During his sojourn in the lagoons 
he had the sad duty of burying that brave French 

> Ctvilciielle, Id hit Viia di Ti:iano (II. io), remarks llial no one took 
■nf trouble about Perugioo tnd Ghirlandajo when they died. -'Ma per 
il Cadorino." lie u;r*> "verso il quale i veaBiisn! Dudrivaao grandiisima 
afTetlo e »Bneraiiore, la cuia Tu divers* e malgrado dei Icmpi tanlo <alami' 
losi. per lui li fece una derogaiiooe allc lee^ aanilirie. la quale tone hod 
ai narebbe ralla per il primo Magislralo della Repubblica." Grooiu. how- 
ever, in his Vila di Tiiiano. referriDg to Ridolfi, as iodeed does Caval- 
catelle, telli ui that Titian /u bensi sepprllito nel mado put toriBtnienlt rim 
permitf qofl Umpo, but his eolpmn obsequies were deferred to a more 
favourable occasioD and never took place at all owiog to disseouoiis 
■moDg tbe artiils. 

' Samido, Diaii, I. 78a-79i>. 



ao8 VENICE IN THE GOLDEN AGE 

soldier, de Cliialus. who waa murdt-red in Juno, i5ao, 
by some peasants of Onngo.^ A liUle more tlian a 
year later de RoHsi himself died of mal franzoso. and 
was publicly buried con honor grandisstmo. Sanudo 
has left us a detailed description of the ceremony, and 
adds that it cost i63 ducate, so, 19. and that the 
oration was delivered by Vetlor Fausto.* Another 
Frenchman, one of the most conspicuous political 
personages of the reign of Henry II. Cardinal Bcrlrandi, 
waa on his way through Venice, in i56o, when death 
overtook liim. Before sepulture in the churcti of 
Santo Stefano, the State accorded him a magnificent 
funeral, details of which are preserved in a letter written 
from Venice to the family of the Cardinal.' These 
public honours ofTered to the dead served the double 
purpose of assisting the State in its relations with 
foreign powers and of impressing upon its own citizens 
that the Republic would reward devotion, both in life 
and death, as surely as it would mete out vengeance 
upon infidelity. Bartolomeo Alviano was a general 
upon whose operations fortune seldom smded ; his 
victories in Friuli and Cadore were quite inadequate 
to counterbalance the crushing blow at Ghiaradadda, 
which was due largely to his impetuosity coupled with 
the excessive caution of the general in supreme com- 
mand, the Count of Pitigliano. Yet the Repuhhc 
never ceased to encourage Alviano to affront his adverse 
fortune, and when, onOctober7, l5i5. while still fight- 
ing under the banner of San Marco, a mortal sickness 
struck him down, his body was embalmed, brought to 
Venice, and buried in Santo Stefano, after a magnificent 
funeral at which Andrea Navagero delivered the oration. 
In the case of private persons the funeral ceremonies 

' Cicogni, her,. III. 387. 
' S«Dudo. Diarl. XXXII. 37, 45. Sg. 

• Auvrajr. l^i funirailUt ifu Cardinal Btrtraniii a Vtniie {Rev. d'hiil. 
dip. Piris. juillel, lyoo). 





FUNERAL FUNCTIONS 

rVere arranged either by ihe family or in accordance 
with the will of the deceased. Vpnetian wills are full 
of instructions, not merely as regards bequests and 
masses for repose of the soul, but also as to funeral 
and sepulture. Sometimes the deceased desires his 
body to be sumptuously dressed, sometimes to be 
wrapped in the habit of a monk ; the coffin is to be 
quite plain or it is to be adorned with the family arms 
and devices. The will of the physician Tomaso Ran- 
gone. of Riivcnna, displays the vanity of the man and 
of his times. He desired to be followed by a large 
cortege, which, before arriving at the church of San 
Giuliano, the place of sepulture, is to pass through 
many streets, to the pcaUng of bells. One pompous 
funeral oration was not enough, he must have tnree 
to blazon his achievements. It came to be the custom 
to render honours to scholars in a special manner, — the 
bier of a lawyer, for example, would be surrounded 
by copies of the Code and the Digest ; a physician's 
coffin would be piled with the works of Hippocrates 
and Galen.' The coffin of Aldus Manutius lay in the 
church of San Palernian con iibr'i allorno.'^ Hangone 
desired that not only the books he had written, open 
at certain pages he indicated, should be borne after his 
coffin, hut tiiat many precious ornaments of his house 
and a model of the church of San Giuliano, which he 
had in large part restored, should follow him to the 
grave. He even determined the number of rings they 
were to put upon Iiis fingers, and what clothes his 
librarian was to wear when preceding the coffin to the 
church,^ Still stranger is the will of Pietro Bernardo 
(d. i538). He desired that hia body should be washed 
in vinegar and scented with musk and then placed in a 
great leaden coffin Blled with aromatic herbs; this 



.. Diai-t. XlX, SaS. 



aio VENICE IN THE GOLDEN AGE 

again was to be enclosed in an oulcr coHin oF cypress 
wood, covered with pitch. The bizarre patnciaa 
further provided that on bis marble lomb. which was 
to cost six hundred ducats, there should be carved 
eight hexameters describing his achievements. The 
verses were to be legible at a distance of twenty-five 
feel, and the poet was to receive one sequin for each 
couple of verses- His effigy twenty-five feet off was 
to give the impression of a man of great stature. He 
left a bequest to the writer of a poem of eight hundred 
verses in honour of the Bernardo family, and another 
to the twenty friars who on the first Sunday of every 
month should recite psalms and prayers before his urn. 
Not all of these quaint provisions were carried out, but 
Bernardo's tomb, of exquisite grace, by an unknown 
Lombardesque artist, was erected in the church of the 
Frari.^ 

In the midst of all this pomp and ceremony which 
excluded the possibility of genuine feeling, Sanudo has 
left us one scene of heartfelt grief which is far more 
touching and convincing than all the elegiacs of the 
poets, the eulogies of orators, the epitaphs dictated by 
empty rhetoricians.' Pantasilea Baglioni, widow of 
Alviano. finding herself in straitened circumstances, 
presented herself in mourning before the Signory, with 
a babe but a few months old, veslilo di nero con saio. 
and three httle girls at her skirts. Amid tears and 
sighs she threw herself on the Doge's generosity, and 
all present were touched to the heart.' His Serenity 

I On tho beautiful tomb (re Ihe three 6gure9 of Chnst, Saint Peter, 
ind the deceased kneelms- Tho rcraas Bernarda ordered sro waating. but 
an inscription placed od the lomh thirtj' jroars after his deatli. ity hi> >oiii 
Girolamo and Lorenio, would lead ui lu stippoae that the mouumenl wai 
eroded during Bernardo's lifetime. — Sib'i vieena fecit. 

' The following epitaph io the vulgar tongue, quoted b^ MoKhiai 
(Guida di MaroBO, p. l2g, Veneiia, 1808) i> worth all the EOiiorous Latin of 
the ordinarj inKriptioni: "Andrea Boldii Senator Integer I Baiii che 10 fui 
chome ti ! e cfae toroerai chome mi | e lu prcga per mi ] M D die V luio." 

* Sanudo, Diari, XXI, a'40. 




FUNERAL FUNCTIONS 

rqwke words of comfort, and the Republic made ample 
provision for the widow and her orphan children.' Bui 




as a rule patrician dignity forbade outbursts of grief. 
It was the custom tliat on the day following the funeral 
ihe retationB of the deceased should assemble in the 
courtyard of the palace or under the porticoes at Rialto, 
to receive condolences from friends, to which they 
made no reply, but merely aliook hands. Mourning 
was worn for a fixed number of days, according to the 
nearness of relationship. The corrotlo, or mourning 
Tobe. was a black cloak, or scarlet in the case of 

^magistrates, with a long train. ^ The ancient custom of 

allowing the beard to grow in sign of grief was not en- 

"rety extinct.^ tiut fashions changed even in mourning, 

hich occasionally aa3ume(i a certain coquetry. For 

■instance, we hear of a lady of the Emo family who 
'ent to an entertainment " con una veslura di restagno 

id'oro e di sopra frisato negro per corrotto, taiada clie 
Ml vedeva I'oro."* The government itself, in its desire 
not to ruin the joyous aspect of the city on certain 
great occasions, prescribed coloured dresses for every- 
body eliam quelli che lianno corrollo. 

The external and vainglorious pomp of Venetian 
funerals demanded a like quality in the tombs and 
epitaphs which were to hand down to posterity the 
gifts and the virtues of the deceased. In many wills 
we find the testator ordering a monumentum marmoreum 
cam collumnis mannoreiaJ' The honours of a monument 



< TLej iisi^ecl her liilj duoU « month. ■ comfortable houto in Ihe 
cilj, inJ erButetl her eiemptioD from octroi. Thej alto provided a dower 
of Ihroe Ihoueaod ducats for the tliree Kirli, PortU. Lucrclia, and Ifabella, 
on their oiarriige. Romanin. Sloria di Ventzia, V, 3o8. 

' "A di t8 febbraio, t533, il Seretiiisimo vene \a Gallegio p«r la 
e di la lorella di luo pidra . . . vntito con uq manlello di icarlatlo." 
ido, £»iarf. LVII. 5a&, 617. 
* Sanudo. Diari, VII. SoJ. And again in the Crvaachelta. p. 3j, he 
ilea: "Et quando [i patriii| hanno corrollo poriaoo barba ceiio tempo, 
IT padre Ire anai. pur madre doi aoni, per fradello ud anno." 
■ •■ Diait. XIX. a/,3. 

hetii. Fun. e up. dii Vea. ant. (Ank. Yentio, XXXIV, iG5). 



aia VENICE IN THE GOLDEN AGE 

in church, which in the early days used to be re- 
served for persons of real distinction, became common 
at the period of which we are speaking. The ceme- 
teries • round the churches were abandoned to the 
common folk, while persons of birth sought sepulture 
inside the church. Family pride, which endeavoured 
to create or to enhance the glory of the house, even with 
the help of the dead, is severely condemned by a con- 
temporary in the following words : "Ma vorrei bene, 
cbe conoscendosi i marmi, i bronzi, gli ori, gli intagli, 
i grandi cpitafi, et Ic statue ; ondc si fabbricano et 
adornano le sepolture a morti inutili ; la spesa, clie in 
queste vane pompe. et pegni della nostra superbia, si 
consuma, s'impiegasse utilmente nelle opcre della 
carita . . . Vera limosina h sovvenire alle vedove, a 
miseri orfani, a gli spedali, et ovc il bisogno apparisce 
maggiore : et non in lasciar le grosse entrate a ricchi 
convcnti, perchfe si faccia al nostro corpo un sontuoso 
sepolcro, o una cappella in nostra mcmoria con le 
insegne della famigha . . . Ma che diro io d'alcune 
vedove : le quali per piii superbamente ornar di sepoltura 
il corpo del morto marito, prettermcttono di sncldisfare 
a debili che egli vivendo haveva conlratli?"^ But 
wise counsel proved of no avail. The very resiriclions 
imposed by the Patriarch Girolamo Quirini, on October 
a8, i538, who wished to limit sepuUure in the churches 
to prelates, men of saintly Uves or of great civic worth 
or of the noblest blood, produced the very opposite 
effect, for the decree contained the phrase "or tliose 
habenles sepoltnraa proprias in Ecclesia."^ and from 
this period onwards the churches and sacristies were 



> Severil of tbeie cemelenca 
the cllj -, Tor eiample, Uio cemetorj of ! 
Others nere abindooed aft^r the burial 
tim». The ceroeterj of those who had b 

2»ociri« (Gallicciolli, n, 4i3), 

* Dolce, Delia aaiilution delta donna, p. ^a. 

> GiUicciolli, II, 146. 



removed because they obftracted 
f SS- Fillppo e Giaconio Id a65- 

" ' *■ nj plflgue-Btricken vic- 
i;XM:uled Hat at Sui 



FUNERAL FUNCTIONS 



3l3 



w 



encambered with tombs, statues, busts, memorials, 
inscriptions. Among these numerous sepulchres of 
the unknown dead the gorgeous mausoleums of the 
patricians stand up to tell us of their greatness. The 
image of the deceased, which on mediaival tombs was 
always represented recumbent in the rigidity of death, 
begins, in the Renaissance, to be surrounded with all 
the symbols wliich indicate hfe ; the efligy is either 
standing upright or kneeling in prayer as though ihe 
person represented were still In tlie land of the living. 
The monument of Vetlor Cappello, the brave soldier 
who died in Negropont, tn 1^67, of heartbreak at his 
defeat by the Turks at Patras,' is represented, on his 
sepulchral monument, as kneeling to receive the gen- 
eral's baton from Sanl' Elena. Another general. Mel- 
chiorre Trevisan, was no more fortunate, and he too 
died broken-hearted at Ccphalonia after a repulse by 
the Turks. His body was brought to Venice, and to 
the valorous but unfortunate soldier were conceded the 
honours of a tomb in the Frari. Vinccnzo Cappello 
(d. i5di) was an able commander, and defeated the 
Turks at Risano ; we see his monument by Domenico 
da Salo above the door of Santa Maria Formosa — the 
soldier stands firmly planted on his feel and holds in 
his band his baton. Many of the monuments of Doges, 
generals, patricians, wliich adorn the churches of Venice, 
especially SS. Giovanni e Paolo, and ttie Fran, have 
mythological figures, garlands, flowers, emblems which 
certainly have little to do with the sentiment of mourn- 
ling. The mausoleum of the Doge Niccold Tron, 
erected to his memory by Antonio Rizzo in the Frari, 
represents the Doge standing upright, full of vigour, 
surrounded by figures of women singing and playing, 
of warriors in bold relief, of charming children playing 
about among vases filled with fruit. In the same 

' Thit defeat ii lupposed lo have given rira to the phnie. andare a 
PatratM, wblck meuu -- to die." But the phrase is found also ioTuscaDj. 



aii VENICE IN THE GOLDEN AGE 

church, on the tomh of ihe Admiral Benedetto Pesaro 
we find the figures of Mars and Neptune, and on that 
of the Bishop Jacopo Pesaro two genii are leaning on 
two inverted torches. The Lombardesque monument 
of Pietro Mocenigo (d. 1476) at SS. Giovanni e Paolo, 
shows us the Doge on foot, supported by two genii, 
and a highly decorated urn, carried by three caryatids 
and flanked by figures of warriors and by reUefs repre- 
senting two episodes in the myth of Hercules which 
are in strange contrast with the reliefs in the attic, 
representing Mary at the lonih. Fra FeUi Faber saw 
this monument before it was quite finished, and ex- 
pressed his amazement that side by side with symbols 
of the Redemption should be placed the records of 
paganism. So, too, in the monument to the Do|^ 
Andrea Vendramin (d. 1478). perhaps the most ex- 
quisite of all, the work of Alesaandro Leopardi. the 
refined and delicate beauty of medieval art joins hands 
with the florid splendour of the Renaissance. On the 
sarcophagus lies the recumbent figure of the Doge with 
the Theological Virtues about him ; but the figure is 
repeated again in the lunette, where the Doge is kneel- 
ing before the Virgin. The architectural design is su- 
perb and of the purest style, and is adorned with fneses, 
medallions, cameos, eagles, sirens, and symboUcat 
emblems in which the pagan spirit is triumphant 
though transformed by the taste of the epoch.' 

The horse, which was hardly ever seen in the streets 
of Venice, adorns the upper gallery on the facade of 
Saint Mark's, in a way Uial is strangely pagan, and 
brings its restless vivacity into the very churches. 
Early Venice had but one out-of-doors equestrian 
statue, that of CoUconi ; but in the Frari there was 
the monument to the Roman Paolo Savelli, a general 

' When Iho mooumcnl was broughl from the church of the Sorrite* 
to SS. Giov«nni Paolo, two statues uf Adam and Eve, b^ Tullio Loin- 
turdo. wcro removed, » lacking llie jevcrelj religious quiUlj and were 
■ubalituled bj two 6gurM of Sainla. 



^ 


4AMVS£ik 




h 


?:_ia. 


1 







MoiiHBJT in Honour of 1 lie Dope AiiHr.' 
by Aleiunclm l^oiiiirdi. (Vi'iiice, Uli 
Oinnnni e r>»lii} 



FUNERAL FUNCTIONS 

in the pay of the Republic, who fell in the wars of 
l4o5 against the Carraresi ; while along the inner 
walla of SS. Giovanni e Paolo stands a row of four 
splendid chargers, each nlth a mailed warrior on hia 
hack: first, Niccolb Orsini (d. loog), commander-in- 
chief of the Venetian forces against the allies of Cam- 
bray ; then Leonardo da Prato, who fell in the same 
wars in i5ii; Pompeo Giustiniani, a Genoese, killed 
in battle against the Austrians in Friuli in 1616 ; and 
Orazio RagUoni. who fell a year later fighting the same 
foe. These monuments to Doges, magistrates, gen- 
erals, which adorn the churches of Venice, display, in 
the excellence of their execution, the love of splendour 
and the pride of lineage. 

But there are many other sepulchral monuments in 
Venice worthy of attention, not for their artistic merit, 
but for the memories they evoke. The tomb of Fran- 
cesco Foscari (d. 1457), al the Frari, recalls a troubled 
period of Venetian history ; that of his predecessor 
Tomaso Mocenigo (d. iia3), at SS. Giovanni e Paolo, 
brings to mind the grandeur, power, and empire of the 
Republic, while the monument to Andrea Gritti (d. 
1 538), in San Francesco della Vigna, evokes the mem- 
ories of an epoch of splendour in art and in life. The 
urn of the heroic defender of Famagosta, Marcantonio 
Bragadin, who at the head of little more than seven 
thousand men held at bay more than two hundred 
thousand Turks, awakens the sentiment of admiration 
for duly and self-sacrifice. When surrender became 
inevitable, Bragadin was guaranteed his life, but by a 
shameful act of treachery he was flayed alive, and the 
hero expired, affirming his faith in God, from whom he 
awaited the reward of duty fulfilled towards both bis 
country and his creed. His skin, pickled in vinegar 
and salt, made the round of the Levantine ports, hung 
from the yards of the enemy's ships, until it was re- 
covered by Bragadin's descendants and placed in an 



ai6 VENICE IN THE GOLDEN AGE 

urn, which is remarkable, not for ila artistic quaUty, 
but for the rehc it contains. Wc sec the growing 
exaggerations of the barroque style in the tomb of 
Paolo Paruta (d, i5g8) in the church of the Spirito 
Santo. The redundance of the decoration hut ill ac- 
cords with the refined intelligence of tlie historian, 
whose hfe and writings were distinguished by reserve 
and repose, who had the rare gift to divine the univer- 
sal laws which underlie the events of every-day life. 
The fame of many other distinguished Venetians was 
not intrusted to storied stones : for instance, Sebastiano 
Veniero chose as iiis last resting-place a modest grave in 
Santa Maria dcgli Angcli at Murano. Nor were the 
sepulchres of many who by their art lent fresh glory 
to Venice, remarkable for splendour. Paolo Veronese 
closed liis busy life in i588, and his body lies in the 
church of San Sebastiano, resplendent with the crea- 
tions of his genius, enshrined in an unpretentious sar- 
cophagus which contrasts strangely with its emphatically 
worded inscription.' So, too, Alessandro Vittorio, fan- 
tastic as were the creations of his brain, designed for 
himself a modest tomb In San Zaccaria.' Al the Ma- 
donna deU'Orto, where sleep the Ramusi and several 
of the Contarini, among them the great Cardinal 
Gaspare, a plain tomb in the pavement, belonging to 
Marco de Vescovi, father-in-law of Tintoretto, holds the 
bones of Jacopo and of his children Domenico and 
Marietta. Finally, many monuments have been rifled, 
destroyed, ruined, lost, and the ashes dispersed ; for ex- 
ample, the bones wliich used to repose In the church 
of San Luca, of four men of letters, dllTcring widely 
in their genius, — Pielro Aretino. Lodovico Dolce, Dio- 
geni Atanagi, and Girolamo Ruscelli, — have all been 
scattered ; we do not know what has become of the 



' ■■Paolo CJUri Veroneo 
■upenlili fitit, rimim victuro. 

^ The inscriplioD 
■atrmure tuUiu." 



Piclori. Qtlune emulo, nrlii minculo, 
Aleiuider Vietorii, qui tivcos viva duiit e 



s • 






• •• 



• • • • • 



• ••• 






•• • 









FUNERAL FUNCTIONS 217 

tomb of Gassandra Fedele, once in the church of San 
Domenico at Castello ; not a stone is left of Sabellico's 
monument on the island of Santa Maria delle Grazie, nor 
of Leopardi*s in the cloister of the Madonna dell'Orto, 
to mention only a few of the names which have occurred 
in the course of our history. 



CHAPTER XVI 

THE CORRUPTION OF MANNERS 



A CIVILISATION which has carried refinement to 
tno liigh a pilch almost always bears the imprint 
of vice. We cannot therefore be surprised if we 
find that in the heyday of her art and learning the cor- 
ruption of manners spread wide and deep in Venice, 
and cast a sinister shadow over the peace, the pros- 
perity, the security, the freedom, tlie brilliant art, and 
the joyous life of the city. Not that corruption bit 
deeper here than elsewhere in Italy and abroad. Fran- 
cesco Sansovino even declares that Venice, however 
greedy of material pleasure, was less corrupt than 
most other States, " ae bene in ogni tempo rifugio de 
i forestieri, i quali sogliono introdurre in casa altrtii 
!c usanzc loro." This is, doubtless, too lenient a 
judgment, though it is certain that in the universal 
spread of corruption the population of Venice was not 
the most depraved, in spite of the facilities which the 
conditions of the city olVered for debauchery. In this 
period, so full of glory and of shame, people of every 
conceivable condition mingled on the piazza and on 
the quay of San Marco, the rendezvous as it were of 
all the splendour, all the poverty, and all the vice of the 
world. But such lenient judgments as Sansovino's 
are counterbalanced by the stern condemnation ex- 
pressed by tliat austere critic Alvise Cornaro, who, in 
i558, lamented that there were " inlrodotli in Italia 
da non molto in qua, anzi alia mia etadc, Ire mali cos- 
tumi : il primo h I'adulazione e la ceremonia ; I'altro 
il viver secondo I'opinionc Lulerana, che pur da alcuuck 



THE CORRUPTION OF MANNERS aig 

I ai pone a gran torto in uso ; il terzo la crapula : 

I i quali tre vizii, anz! mo9trt crudeli della vita umana, 

I hanno tolto ai nostri tempi a deprimere la sinceritft 

del vivere civile, la religione deU'anima e la samta del 

corpo." ' That son of the people. Andrea Calmo, as a 

laudator lemporis acli, bewails the days of tiis youth, 

when "giercrao zeneralincnte tutti angeli, riverenti el 

Bovine al so mazor" ; not in search of a wife with a 

large dower, niina delle case , but a zenlil crealura nassua 

de bon sangue e che lavorasse benissimo de ago. The 

youth of to-day is of very different kidney, " caveatri 

da forche, insolcnti, luBsuriosi, lenguaizi. faBtidiosi. con 

I puoche lettere e manco ccrvelo,"' The merchant 

I Martino Merlini is even more explicit; writing at the 

date of the league of Cambray, he says : " chonvegnimo 

L lechognoserse davanti la miserichordia de Dio di nostri 

[ mensfati, chomc xe el biastemar, la pocha justizia. e 

I ffran superbia, usure, ranpinc, sodomie, e sacrilcgi. 

in questa tcra de questi tal pechadi puzava fin al 

liello ; bexogna mudar vczo a tulc queste chose " ^ : and 

an anonymous satire adds : 

Ail povera Vcnelti I . . . 
Za lempo intata e TeriCDS 
Per cosluml Uconichi . . . 
Adcsso iporca fEmena.* 

In homing phrases the clergy attacked the " evils 
which infested the world. Bernardino da Siena raised 
his voice in the streets of Venice, and in i45o his 
disciple, Fra Santo, anticipating Savonarola, erected a 
pyro in the Campo San Polo, whereon many flung 
their drcze, franze, drappi, vezzi, and other vanities. 
Venice would have witnessed very different holocausts 
had not the government intervened to hold excessive 

' Comaro, La vita sobria, p. I. 

' Calmo. Letlere. p. »3». 

■ Dalla Santa, La Ltga di Cambray deuritta da an mere. Vtn., eil.,p- 13. 

* Pilot, Di aUuni veni inediti talla petta del t5-j5. 



230 VENICE IN THE GOLDEN AGE 

religious zeal in check and to prevent persecution even 
of the Jews. For example, in April, i5ia, the magis- 
trates severely reprimanded the Franciscan Ru0ino 
Lovato for preaching at San Polo against the Jews, and 
declaring in the course of lus sermon " che saria bon 
tuorli tutlo quelle che hanno ct poncrli a sacho, pcrch^ 
queala terra e pieua di zudei fuziti qui."' Sermons 
in the open air, which had been prohibited, were 
permitted once more in the sixteenth century, and 
every Sunday they were delivered under the porticoes 
of the Ducal Palace and at Rialto by priests and friars, 
who were not content with fostering Christian virtue, 
but prophesied disasters and tlircatened the vengeance 
of God. The earthquake on the morning of March 
36, i5ii, was thought to be a visitation of heaven, 
and the Patriarch Antonio Contarini exhorted the terri- 
fied citizens to penitence for their sins and to a three 
days' fast on bread and water, with proceBsionB, psalms, 
and hlanies, " Cosse," as Sanudo with his excellent 
common-sense remarks, "che 10 Ic laudo quanto ad 
boQOS mores ct ad religionem, ma quanto a rcmedii 
di teramoti, ch'b cossa natural, nihil valcbat."^ The 
crowd that gathered round the pielra del Bando on May 
18, iSsg, to bsten to a hermit of Perugia, who, half 
naked and with breast lacerated by stones, foretold 
the imminent end of the world and called on his 
hearers to repent, showing signs of abject terror.' Such 
menaces as these stirred the imagination of the popu- 
lace, and the religious sentiment broke down into wild 
superstition. The belief in evil spirits and the dread 
of diabolical influence became an ever-present incu- 
bus, and we have an example in the legend attached 
to the angel on the facade of the Palazzo Soranzo in 
the Canal dell' Angela which has taken its name from 

* Sanudo, Diarl, XII, 98. 
< Ibid.. XII. 85. 
i Ibid..L. 34i.3ij. 



THE CORRUPTION OF MANNERS aai 

the monumrnt. It is a gracBful piece of work by an 
unknown arlist of ihc Quattrocento, undoubtedly in- 
tended by the owner of the house to satisfy his senti- 
ments as a Christian and an artist : but popular tradition 
tells us of an advocate of the Ducal Courts, a miser 
and skinflint, who lived in tills house and kept a Uve 
monkey, possessed by the devil in order to gain the 
soul of Its master. A pious friar was called in to 
exorcise the demon, and the diaboltcai animal, flying 
the house, left a great hole in the wall, which the 
lawyer, with earnest resolve to change his mode of 
life, filled up by this image of the angel in a tabernacle. 
A childish dread of hell played upon the popular 
fancy, terrifying it but leaving morals as loose as ever. 
The clergy themselves set the bad example, though we 
find now and then a cleric of exemplary life. It is 
true that the Council of Trent, which closed its labours 
in i56.3, had done much to restore discipline and to 
correct morals. I3ut its action was slow, and the clergy 
of Italy as a whole did not oiTer to their brethren of 
Venice examples of austerity ; enough to mention the 
single fact that when the Cardinal Ippolito de' Medici 
' came to the lagoons in l532 as guest of the Imperial 

Ambassador, he was not ashamed to pass the night 
with that famous courtesan ZaUetta.' 

In the judgments of the criminal courts we fre- 
quently find priests receiving punishment for blas- 
phemy, theft, assassination, in short, for all the vulgar 
crimes against the commission of which their cloth 
seems to have been no safeguard^ ; thougli these facts 
are not suihcient to warrant us in condemning the 
whole class. It cannot be said that tlie Patriarchs 
were too lenient ; their admonitions are frequent, and 
they intervene to put an end to quarrels over collation 
^^^to benefices, and exaction of tithes, or to punish the 
^^■^^gy who showed themselves indiflerent to all but 
^^^K > SiDudo. DUrl. LVIt, 36. a GiUicciolli, 11, tli68. 




993 VENICE IN THE GOLDEN AGE 

money. 1 On this point the priest GallicciolU, whi 
teetimony is above suspicion, tells the following story 
in i5o3, in the church of San Tom^. Marina, widow of 
Niccolb Quirini, presented iierself at communion on 
Easter day ; the priest refused to administer the sacra- 
ment on the ground that she had failed to pay the tithes 
on her deceased husband's properly. The widow stoutly 
maintained that she had paid all that was due, and 
protested against this method of svergognazzarla coram 
populo : " Perch^ no me voleu dare i sacramenti ? 
che songio excomunicadaP " she exclaimed, and ap- 
pealed to the courts to inflict on the priest lal ponitione, 
che qaela siu exempio ad altro.^ 

In some of the monasteries the early discipline was 
still maintained, e si faceva gran aisfinenlia^ ; but 
many of them had become veritable pleasure houses 
which answered precisely to Calmo's caustic descrip- 
tion : " puoca fatiga, bela gesia, buon monastier, ga- 
lante orto, bcl sito, san liogo, aasae conversazion, degno 
prior, rica segrestia, superba intrada, gran cancva e mior 
graner, e vuove e formazo sine fine."* The picture 
is not edifying, and yet there were oilier monastic 
houses which gave cause for graver scandals, as, for 
example, the limiliati at the Madonna dell' Orto, who 
were expelled in the fifleenlh century by a Papal decree 
issued by Pius II, at the request of the Council of Ten. 

But the conduct of the nuns was stilt more riotous 
and scandalous ; corruption was favoured by the preva- 
lence of the custom of monks and nuns inhabiting the 
same cloister or at least of living close together,^ The 
panegyrist of the Doge Andrea Contarini (i368-i38a) 
extols him for having withstood the seductions of the 
nuns, — a merit which he shares with another Doge, 

> GalliccioUt. IT. ko-]. iaS4. 
' Ibid.. II, 4g8. 

* StDudo. Diari. XXXtX, SgS. 
' C»1mo, iMUre. p. 193. 

* Gdlicciolli. II. 5i3. 



fiose 1 



THE CORRUPTION OF MANNERS aaS 

GriBtoforo Moro (i46a-i47i). who, although still a 
young man, compelled a nun who had oOTered herself 
to him to return to her convent' untouched. As 
early as June ag, iS^g, the Great Council passed a law 
contra illos qui eommiltant fornicaliones in monasleriig 
monialium. Theae persona were known under the ex.-^ 
pressive name of monachini or moncghini, and against 
them were directed all the rigours of the law. It was 
also provided that the chaplains in nunneries must be 
at least Gfty yoars old, and conressors sixty ; the ap- 
pointment of the latter lay with the Doge.''' The law 
which excluded slaves from civil rights permitted slaves 
in convents to give evidence in cases wliure the vow of 
chastity was in question. But the temptations to a 
breach of the vow were numerous, and the rules of 
claustral life were not rigorously enforced, for on 
May 3g, 1009, the Patriarch was constrained to issue 
an order to the abbesses forbidding them to allow nuns 1 
to leave the convent or to go per civilalem in caxe de 
secalari, in piazza di San Marco. vesUde da secular}_\ 
This explains how it was possible for Fra Timoteo of 
Lucca, when preaching before the Doge in Ban Marco 
at Christmas of 1^97, to declare that the monasteries 
Vfere postriboli e bordelli puhilici.* 

Among the numerous scandals of the cloister during 
this period we will cite one or two, suiDcient to throw 
light on this unsavoury subject. 

In August of i5oa a certain Sister Mary, prioress of 
Santa Maria Maggiore, was banished to Cypnia for a 
love-ailair with a priest, Francesco di Sant' Eustachio, 

' PipadopoU, C/mn. Fala\>.. I, 5i. 

* GiJliccioUi, 11, 5oi, iSay. 
■ [bid., U. i8t&, 1818. 

* Suiudo, Diarl, I, 836. Lorsoio Priulj. ■mbistidor it Rome, wrote 
to lbs Sigaon, on NovombBr 3o, i585 : '■ 1! Pontelice 4 italo iDformilo. 
ebe iDolli dolli maaittorii dl tnoniDhe di Venatii delU diocosi di Torcslla 
loDO in mdaUto, e rldolti ileum di Inro t pubblici prusliboli." Mulinelli, 
Star. an. tdaaedd. iTIl. rattuntata dai Vm. araboKialuri, 1, 170. Veneui, 



9a4 VENICE IN THE GOLDEN AGE 

who was condemned to ten years' impriflonmenl.i An- 
other priest, Francesco Persicini, had a child by the 
abbess of the Ognissanti ; both culprits were impris- 
oned in February, i5o6." In April, i5i8, one of the 
Venier family was imprisoned as the monachtno of Sister 
Paola Taghapielra, in the nunnery of Sanla Maria. 
The Papal Nuncio in Venice, Ippolito Capilupi, of 
Mantua, in a letter dated November. i56i, recounts to 
Cardinal Carlo Borromeo the appalling state of things' 
in the convent of the Converlile on the Giudecca. A 
priest, Giovan Pietro Leon of Valcamonica, rector and 
confessor in that convent, under the cloak of piety had 
deceived people right and left, beginning with the Doge 
and the superior oRicers of State, who consulted liim 
on the subject of pious undertakings. All llie lime 
he was living in abominable sin with the nuns com- 
mitted to his care, who numbered about four hundred, 
el la mag gior parte giovani el belle. Inside the convent 
walls he laid aside the mask of hypocrisy and showed 
himself in liis true colours, as a lecnerous tyrant. He 
made use of the confessional to seduce the nuns, and if 
he met with resistance, he had recourse to imprison- 
ment and torture. In Summer he made the fairest of 
the sisters strip and bathe in tlie boat-house, while he 
played the nSle of the Elders in the story of Susanna. 
If any of these hapless creatures became with child, he 

firocured abortion, or drowned the fruits of his unholy 
oves. He stole the money bequeathed to the convent, 
and enriched himself by the embroidery and needle- 
work which he exacted from the nuns. His table was 
loaded with pheasants, partridges, and exquisite wines, 
and his room was full of comfits and cordials. Some 
of the nuns, being able to stand it no longer, (led and 
denounced the enormities of the priest which he had 
carried on for nineteen years without the civil or 

1 Stnudo, Diarl. IV. ij3. 
> Ibid., VI. ggi. 



THE CORRUPTION OF MANNERS aaS 

ecclesiastical authorities ever having word of them. 
Leon was condemned to he beheaded, and his hody 
hurned ; he met his death professing sorrow for bis sins, 
and on the scaffold he declared that the abbess was 
innocent, but, this notwithstanding, she finished her 
days in prison. " Et parve," writes Capilupi, " che Dio 
gh volesse dar maggior pena di quella che gU sia stata 
costituita dalla giustizia . . . perchfe il boia gU diede 
piii di otto colpi coUa mazza sulla accetta che gli aveva 
posto Bul collo et non pott tagliarglielo"; so one of the 
victim's assistants seized the mallet and gave another 
blow, bul to no purpose ; the horrible scene ended only 
by the executioner's severing the head from the trunk, 
with a knife.' 

But punishments were powerless to reform manners. 
In 1 565 the Ten resolved to examine eliam con torlara 
the young patricians, Cornaro, Priuli, and Contariniv 
charged with having conosciato carnalmente monache.^ 
In the Convent of the Spirito Santo we meet with a 
whole succession of misdeeds. The nunnery was 
founded by Sister Maria Caroldo, who in ligi was 
put on trial for impious liaisons with a priest, a 
young Greek, and a doctor. In i4gi two young 
nobles, Marco Balbi and Francesco Tagbapietra, broke 
into the convent with intent to rape the nuns, for which 
they were tried and condemned. In i563 Sister Cris- 
tina Dolfin fled from the Spirito Santo with the Advo- 
cate Girolamo Dolfin, and in 1567 Sister Camilla 
Rota with Girolamo Comer : Sister Clemenza Fosca- 
rini went oiT with Bernardo Contarini, and eventually 
became the mistress of a Pizzamano, who was brought 
to trial by the Holy Office.' The volumes of trials 
relating to the monasteries and convents are full of 

tempo (in the Arth. Star. LBmbardo, 
. iSgS). Leon'i diicoune o n the 



Kaffatd is preterved it tha Muaeo Ci< 



i' krchrm SUlo, Con.. X. fol. 58. 

* Tisiiai, Curiojiia Vene~iane, cit., p. 69s. 



336 VENICE IN THE GOLDEN AGE 

sach iniquities.' We need not dwell longer on the 
matter ; sniBce it to say, that the Patriarchs were con- 
stantly obliged to appeal to the Council of Ten and lo 
the Avogadori for the application of vigorous tneasures 
against those who ne U monasteri -le le conlrade usano 
eon monache? It cannot be said that tlie Patriarchs, 
among whom Antonio Contarini (i5o8) may be reck- 
oned the sternest, found the government remiss on 
this point. During the sixteenth century the Ten pro- 
vided that no one extraneous to the convent might nave 
interviews with nuns ; it threatened severe penalties for 
carrying olT nuns ; it permitted friars to hear confes- 
sions only at the grille of the church ; it prohibited 
banquets on the taking of the veil, and, in short, did all 
it could to regulate la non bona e licentiosa vita de mo- 
nasteri de manache} The Doge himself sometimes in- 
terposed his authority, and the Monastic Commission- 
ers were occupied more with the morals than with the 
property of the religious houses. 

As a matter of fact the convents, which in the early 
days used lo receive only women of genuine piety, had 
now become unendurable prison-houses where luckless 
maidens were confined by their parents to suit family 
convenience or for less laudable motives. We catch an 
echo of this dolorous life in the songs so popular in 
ancient and modem Italian poetry ; there we get the 
cry of agony or of thwarted liberty uttered by the nun 
Imprisoned against her will and rebellious.* The motif 
is almost invariably the daughter who declares her 
repugnance to the cloister and confesses that her heart 

' The irchiYei of the CouDcil of Ten relating lo this tubject hive been 
de*tro<red. But tlie Archive of the Proweditori «ipra Mouuteri contuD* 
twenti ToluDiei of iriilB, ilmoit all for evil livioK- 

■ Sanudo. Diorf, XXV. 35i. 

■ A.rch. di Stito. Coot, X., Villi. August 9. i5ij, Beg. 37. c. 78; 
Auguat 3a. iSi4. e. 99; May 4, i5ig, Reg. 43, c. ai ; June ai, 
i547 ; ComuDe. Be^. lE. c. 34. 

* HfiDier, Appunti lul conlroilo fra \a modre e la figliuola bramota cii 
nuriiQ ( ID the Uitceil. No:. Boui-Teiu. Bergamo. 1S97). 



t 



THE CORRUPTION OF MANNERS aa? 

is caught by other loves. One of these poems in a 
Veneto-ltahan dialect ofl'ers notable variants on the 
usual theme. It opens with the proposals of the mother 
which are wanting in the other versions ' ; she urges 
her daughter to take the veil and to serve God fiu>r dei 
travagli del mondo, to flee matrimony, which, h sa per 
prova, renders women slaves and unhappy : 

Figli* mi* file rooDtca 

ti farb far la totiica 
hor li vogli porlir, 
fuor d'ogni aOannD 
■tarai ■ officii e a meiM 
e appreuo alia bidma 
lu poral tempre ttar. 

The girl who feels le fiamme d'amore, is deaf to this 
advice of her mother, who, after all. cannot have 
found matrimony such a disillusionment, as she had 
led it twice : 



che non mi voslio far, 
DOD mi lagliar la tallica 
che Don la vol portar, 
itir tulto el lorno 
■ veipero ed a meiaa 
poi la madro badraea 

Hot che ua bel gioTancUo 

« (i mi ila dcI potto 

che bo lempre il piuMOor, 

larei bea paua 

e a veapero. e a compieta 



But the tyranny of the family usually overrode all 
reluctance, and many of these hapless victims, buried 
away in convents, grew rebellious, and gave their whole 
minds up to worldly thoughts and the frivolities of 




Pilot, Figiia mia fate monica (in tbe Niecolo 1 
1. Ar«uo, lyoEi). 



in the 1 



938 VEMCE IN THE GOLDE\ AGE 

dress and of fashion.' They adorned themselves i 
most sumptuoas raiment, refused to have their hair 
cut. and studied how to amuse themselves n-ith files. 
music, and dances. For instance, in 1009, in the 
convent of the Celeslia a number of young patricians 
took part in a ball, and danced all night widi the nuns 
to the sound of trumpets and fifes.' In the same 
convent, where, as Bemi says, 

ficeaa li Puqui come i] Camevale. 

the Patriarch, accompanied by many officers of the 
Republic, made a surprise visit, and had Uttle difEcultv 
in noting various breaches of the claustral discipline. 
Among others, he saw a young nun without a veil 
and with her hair in ringlets, upon which he was so 
angry that he himself li tajh li cavelli. He wished to 
carry off two of the nuns to lock them up in prison. 
but ' ' tutte le altre comenzono a cridar et metterst alia 
porta sicchfe non fonno lassade metter."^ We have 
other instances of a similar rebellion on the part of 
these " servants of the Lord." When, in July, i5.i4, it 
was proposed to close the parlour at San Zaccaria. on 
the ground that it was frequented by moneghim, the 
nuns rose and attacked the oflicials with stones, and the 
Patriarch himself had to come on the scene to cpiiet 
them.* In 1617 the sisters of the convent of Santa 

1 Popular poetry biots «l the corruptioa of the coaventi : 

Mil mire yoI che vadi munis»eli 
Per spgrsgnar U dole a mia sorela, 
£ mi per obedir la mama mia, 
Tagio i capelli e muniuela >la. 

La prima note ch'o dormilo in celt, 
aenDo lo mio amore a ipaMiure ; 
Vago tlabawio per aprir ta porta, 
Ma la madre badoisa le n'e incorla. 

E la nie di>e : muniiiela 6a. 
Gulo la freva o leslu ioamorata f 

fieraooi, Canii pop. wn.. Part VI, a. ai. 

* Sanudo. Diarl. VUI, 307, 
' Ibid-. XXXIX. 3i5, Auguil a5, iB»5. 

• Ibid., XVIU. 3a3. 



■<tjalerina- refused to allow one of the Michiels to be con- 
' 'aecrated, and shut the door in the face of the Patriarchal 
Vicar ; the Patriarch appealed to the secular arm. and 
when the pohce arrived to break, open the convent 
doors, the nuns retired to the campanile and rang the 
. tocain.i 
- . The curse of vicious living continued to spread 
through every tissue of Venetian life, but more espe- 
cially among the upper clasBcs, though even there ex- 
amples of vigorous and virtuous careers are not lacking. 
Among the nobUily were still to he found those who 
would risk their lives for their country or place their 
genius at the public service with a magnanimity worthy 
of the spirit which inspired their ancestors. For exam- 
ple, Andrea Morosini. when, on May i3, i5oo, his son 
was brought before the Senate on the charge of having 
in the public streets bash una dona e loUoli uno zoiello, 
rose in his place, as Sanudo tells us, and cried, Impi- 
chello taieli la testa ! ct cassl Ju condannato? This 
instance of justice carried to the verge of cruelty is 
matched by the severity of Pietro Lando, elected Doge 
in i53g; when he was Podesta in Padua, he ordered 
the decapitation of a natural son found guilty of having 
kissed a girl, with whom he was in love, on the pubUc 
street.^ 

It is certain that no impunity was conceded to the 
crimes of the nobility in spite of their wide privileges. 
The law was impartial, and severely punished excesses 
which, though not involving fatal consequences, tended 
to lower the prestige of the governing class. Especially 
rigorous were the edicts against blasphemous language. 
To the statesmen of Venice, who, in obedience to the 
spirit of their native dialect, were given to the frequent 
> Sanudo, Diarl. XXV, 36- 

I n.i<i.. III. 3t&. 3i5. 

• The whole story, recounted bj Mitteatii (Rag. PalU.,v. 69, Veneiia, 
■ Sis') ant] b;r Luigi ContKrioi {Vaga edilrlt. giariliiio. ulc. V^noiii, l6ig), 
U called iQ question bj hisloriaoB of repute. Cico^a, licr,, 1, 168. 



33o VENICE IN THE GOLDEN AGE 

use of stereotyped phrases and interjections,' foul lan- 
guage or oaths seemed like an insult to the religion of 
their fathers, to the dignity of a race that won universal 
respect, and an outrage on their language. But the 
bahit of using imprecations was common to patricians, 
priestfi, and populace alike,^ in spite of the fact that 
laymen were punished by the loss of a hand, or of the 
tongue, or of the eyes, while the clerics were exposed 
in the chebaA In i5io an attempt was made to put 
down swearing among the troops, hut the Proweditori 
in Campo declared that there was only one way of 
achieving tliis object : that was to adopt the Turkish 
punishment and to saw the offenders in two.^ The 
government did not require suggestions for appalling 
punishments; on May 5, i5ig, for example, Marin 



a di Marino Sanuto (Mumo Cirico, 

□ of Ihe slock phrases used by the 

J course o( their speeches. These 

1 the Aleneo Vemto, Ma;r-Juae, 



' The Miicetltmea di Cronaea y'encl 
Cod. Cicagni, 9^1) contains ■ colleclioi 
more promment patricisDs in the uiuu 
were published b; Dr. Cesire MuMtli, 
1905, but (he; trc worth quoting hero : 

" Ditti uinwino Senator'i m renijha al tempo io era in Pregadi, 

" D.Do Au^slia Bb. {Barbarigo) ityteluuitbonaBoloaliebona d'apotithn: 
Lues Zca, el eettra ama I'anenui ntia; ZuiD Horesin. per Famor <Si Dio: 
Domenego PolUni, 11 pro quia; Domeoego Moresiai procurator, lautme 
favolar: Antonio Trun, vfie uhe; Nicolo Moceuigo procuralor. dffe Kigefc de 
Dio; Filippo Trwn procurator, in lumma conjede e earita; Nicolti Trevisin 
procurator, pion (l« ni : LunardoLoredaapnKurator.signori; Nine Bollam. 
colal e il ; Francesco Foscarini Panisella, pun te ve puue ; Marco Antonio 
Moretioi el K.,(e voitre etcellentie; Pietro Balbi. per lo eero Dio : Alviae d« 
Molio Fiimmetti, eJii no dittingue nan m the dir; Pietro Duodo, lignori 
(tnrnisiimi; Lunardo Grimiai. ei i itdenaro; Piero Cipello. ion de qaeUi; 
Loreoio di Prioli. i^noH fuiuem miserieordiae Dei; Paolo Pisaa!, eha 
trudttlh t ifaesta ; FraDC°. Trun, non i obrdientia : Alvise Halipiero, la V. 
Srrtiulade; fiat. Juitinian, mo? de V. Ecctlterttit ; Polo Basso procurator, 
in tffetto: Zorai Comer. Koto dir cuill,' Zoni Emo, vacahaVt cnme PoUphUo; 
Fen^ Comar procurator, lactipana (campaoa) tonupcr no; Ant': Grimani, 
vcrdtve (icfnari. 

" Ditii veechij awinli it mia tempo : 

"Bernardo Giust." Proc% dominie ita : Vidal Sando. credette a VitaU; 
Piero di Prioli Proc', ett no dabito ; Franc? Sanudo. li pro quia : Thoina 
Trivisan Proc', p. mierentia de Dio ; D, no Marco Bb. (Barbarigoj ffl dose. I'ua 
in I'altra I'altro in lui. . ." 

' Priuli. in his Diario for tity, l5tl, taji that beitemmia era utatA da 
0<rni qrado di penona, 

* Ualipiero, itnnafi. Part II, p. 639- * Sanudo, Diart, X, 33. 



THE CORRUPTION OF MANNERS 

Sanudo writes with revolting indiflercnce : "Etiamcri, da 
poi disnar, in Quarantia criminal fono espediti tre bia»- 
tematori, quali quella setimana santa biastemono molto 
in rhostaria di! Bo a Rialto. Era in taa compagnia un 
prele, et h ritenuti tutti. Fo preso, Sabato a di 5 poi 
nona mandarli in una piata per Canal grando, cridando 
la sua colpa, poi a Rialto per mezo I'hostaria predita 
gli sia taja la lingua, demun a San Marco in mezo le 
do colone conduli li sia cava li occbi et la man destra, 
e sia confinati in questa terra a esempio di altri."' 
And even the kind-hearted Sanudo adds, " Fo bella 
parte et cossa notanda." The vice of swearing was so 
deep-rooted and widespread that ia 1^37 the govern- 
ment was compelled to create the office of the Esecu- 
iori conlro la beslemmia. Blasphemy against religion 
aod insulting language against the State were put on a 
par.* But the habit of swearing found vent in other 
ways, and the streets were full of songs containing 
moUe cose dishoneste e vilaperose ; the people even hit 
upon turns of phrase that veiled a blasphemy ; for ex- 
ample, al dispeilo di Dio takes the form at conspetto di 
Dio € al conspettazzo de Dio te romperb i brazzi, te cavero 
el cuor, which, as the Ten remark, are " parole che 
80no indubitate biastemme. per sutterfugire la merilata 
pena," namely, galia, corda, /rasta, prigionia et bandi, 
ouero altre sorle di pene.^ 

The Esecutori contro la Bestemmia were also charged 
with the surveillance of morals, more especially as re> 
gards gambling, which originally came under the vigi- 
lance of the Signori di Notte and of the Avogadori di 
Comune. Gambling with cards was a very prevalent 
vice, and in i5o6 and again in loSg the Ten intervened 

I Sanudo, Diart. XXVII. jii. 

9 Id November. i5ii. " to liiM* U lengui ■ Berairdio MilizU ptdoao 
fo birbi«r. lu UDO loter io meio le do colone . . . per parole dicte contra 
lo *U(o." SiQudo. Diart. XIII, 360. 

• Leggedtltefebhraio. ItiUG, \a \.\it, Parte praahj\htCoJa. X (OeloboT 
See alto the rsKtlutioD o[ ibe H. C, Auguit 11. iSSg. 



,OT- 



a3a VENICE IN THE GOLDEN AGE 

in view of the ruin which had overtaken many families ; 
ganxhUng was prohibited, and also the sale of cards and 
dice ; servants were called upon to denounce their 
masters who held gaming-tables in their houses.' In 
15^2 the Eseculori made an effort to extirpate the evil, 
and threatened heavy fines for those who kept gaming- 
tables, especially the Jews who made a large profit out 
of the ruinous passion of the young patricians, inciting 
them "a giocar a carti e giuochi illeciti guadagnau- 
doli denari contadi. " But in spite of all these meas- 
ures private gambUng-bouses sprang up all over the 
city, and in the sixteenth century we hear of them at 
San Bamaba, at the Carmini, in the Corte dei Ragu- 
sei, at Rialto, at San Geremia in orlo dilo di pre Galante, 
at San Moisfe in the house of a certain Helena Compa- 
gnessa.' The Magistracy accordingly, on February 37, 
1567, issued a general prohibition, and in subsequent 
decrees they offered rewards for those who denounced 
gaming-houses, and increased the penalties for gamblers, 
while all the servants employed in such houses were 
rendered hable to the pillory for the first offence, and 
to the loss of nose and ears for the second ; tlie sen- 
tence to be carried out between the two columns of the 
piazzetta on the spot where about four centuries earlier 
the government had granted license to Niccolb Barat- 
tieri to set up gaming-tables. This custom of gam- 
bling between the two columns was continued down to 
the reign of Andrea Gritti. when it was abolished. But 
gambling had taken such a strong hold on the Vene- 
tians that decrees were powerless to suppress il.^ The 
trials of this period give us not only the names of 

1 Sanudo. Diort. VI.3ai-3»». 

: Zdekiucr, !l ginoco a Vene:in salla fine 
XXXVIII. iSaet.™.). 

' Doicotti, Lefriiche e i7 jioeorf'oirordo, VeneiU, : 
ies the queitioii cbieQj with regard to the eighleealli 
' s goveromantil 



:olo XVI (_Arch. Venelo. 
<)o3. Dolcetii Elud- 



D tbe card tai. 



n belt, c 



on lecret aod public Jolteriei, etc. 



L the right to arreit gambler 



1 the matter; alio 




THE CORRUPTION OF MANNERS 

I inany of the noblest Venetian families, but we find also 
that the common people were confirmed gamblers with 
dice, at cards, at mora, and at basselta, in the hostclries, 
the taverns, on the squares, the bridges, the courtyards 
of the city, in the gondola or the courtyard of the Ducal 
Palace, and even in church. The Esecutori, finding 
that their proclamations, written, printed, or publicly 
cried, were all of no avail, went the length ol having 
them cut in stone, but with no better result.' 

While the government was endeavouring on the one 
hand to suppress gambling, by a curious contradiction 
it encouraged the public lottery which made its bane- 
ful appearance for the first time in i5o^, when a decree 
of the Senate dated March 19th granted leave for a 
lottery.^ In i53i at lUalto a kind of lottery was es- 
tabhshed, with prizes of carpets, furniture, pictures, 
clothes, and jewels. Sanudo thus describes the matter : 
■ ' A Rialto h sussiUi un novo modo di vadagnar, metando 
poco cavedal a fortuna : e fu comenza in cosse basse ; 
auctor Hieronimo Bambarara strazaruol, poi k venuto 
pill in grosso. Prima cadaun che voleva dava pizoU 
30. poi vene a lire 3, poi a ducali uno, et si meteva li 
precii tapedi, spaliere, e altre cosse ; hor h venuto 
arzenti per zerca ducati 300, ed altri a messo una peza 
di ristagno d'oro dando ducati uno per nome. Et si 
fa a questo modo : chi vol esser si nota sopra uno 
sfoio di carta, e d^ contadi fuora li denari . . . Tutti 
chi ha messo si reduseno in certe botege a questo de- 
putade, dove in do sacheti h tanti boletini quanti quelli 
oanno deposita in uno sacheto ; et in rallro boletini 
pur scriti ; chi disc el tal precio, chi dise pacienlia. 
Et cussi reduti tutti, si chiama uno putin et si fo ben 
masscdar li boletini in deti sacheti, poi cava fuori el 
nome del primo sacheto e va al sccondo : si vien precio 
^elo li tocha h suo : si vien el boletin che k scrito 

I Zdekiuer. op. el loc. cit. 

' Muaeo Civieo, Cico^a. Schedt, B. igS. 



a34 VENICE IN THE GOLDEN AGE 

pacienlia non vadagna nula et h so disaventura. Sich^ 
ogni di in Rialto si sta su queste pratiche et par che 
Ludovico de La Faita vogli metter ducati ^ooo. contro 
tutti chi vol esser, per quanti bolelioi i vogliono, a 
ducati X per boletin."' These lotteries became so 
common and found such favour witb tbe public that 
frequently non si atlertdea ad altro, and the whole city 
resounded to the cries of names that were being drawn 
ni si udiva aitro per tutta la terra che pacienlia over 
priezio} The invention of the public lottery is 
ascribed to the Genoese ^ ; it appears under the auspices 
of the Venetian government in the year 1690, when, in 
order to meet the cost of the Rialto Bridge, a lottery for 
one hundred thousand crowns was issued at the price 
of two crowns a ticket.* 

We have other cases where the ruling class set a bad 
example. Bribery became common among the upper 
ranks of the State officials ; insults and tumults dis- 
turbed the assemblies ; the judges on tbe bench were 
threatened ; debts became rife ; private houses were 
filled with brai'i. The poorer members of the aristoc- 
racy descended to any meanness in their efforts to 
secure highly paid posts, and were called sguizari^ 
by way of contempt. These pauper nobles would 
present themselves to their richer peers in humiliating 
attitudes of submission and supplication, "lowering 
their stole," as it was called, that is, hanging it over 
the arm instead of wearing it over the shoulder. All 
this went on in public, under tbe porticoes of the Ducal 
Palace, in the place known as the brolio. or 6ro/o. and 

■ S.nudo. DiWi-. XXxn. 468. 5oo. 

' Ibid.XXXJU. i3. 

> FriDcii, JohD, Chronicia and Charaettn 0/ tkeStoek Exchange, Chap. 

vra. p, S5. 

* Arch, di Stilo. Pregadi. March 9, iSoo. But in the foUawing June. 
owiog to the molle diJjtcaWh. the SeailB ordered the monejr |d be relumed 
to the lubscriberi. Dolcetlt, ap. cil., Appendii V, p. ai6. 

' SiDudo (Diart. XXVIll. 65) sajri, " Chi vol honor bito^i dtr dtDui 
•d ilcuui poveri lenlilhomeai. i quui i chiamati tgainwi. 



■ PuJ 

i 



THE CORRUPTION OF MANNERS a35 

hence the words brogio and brogiar, meaning " ■ intrigue " 
and " to intrigue," The word brogio gives us also 
brogelo. the name for the voting papers in the Senate 
on which appeared the number of votes and tlie name 
of the successful candidate. An anonymous poet of 
the Cinquecento thus laments the disastrous conse- 
qaences of the brogio : 

Adewo DO gb'e pi cfai >■■ liurier. 

No gfa'i chi vadi pi eon railUe : 

L'adulir, I'oer dopio i ua bel meitlar. 
Perchi chi >!■ su iDcniai e tbaretie 

E chi n megio fenier >l fridelo. 

H* quauti onori i vuot in >Ib fiUe. 
Chi ba chiamar per Dome quento e quelo. 

Quel vioQ ilimio e quel vien meiio in (ielo.' 

Sanudo too condemns the preferment to puhlic 
offices not of lliose wlio deserve them but of those wlio 
pay best, " et cussi va ia giusttzia di questa terra, che 
h matto chi se fatica di piu " ; and in i5i6, in the 
Senate, he attacked the head of the Supreme Court for 
putting up to public auction government ofBces, de- 
claring that it was quite legitimate to make much of 
those who offered their money for the beneBt of the 
State, but that it should never be said that in Venice 
public posts were for sale to the highest bidder. The 
government threatened severe punishment against the 
intriguers of the broglio who endeavoured to secure 
per mezzi indiretti, magistrali, offtlii, reggimenti, et allre 
dignita, la distribuzione delle quali conviene che sia /alia 
con giustizia e sincerita.^ 

If the law was powerless to suppress vice in the puh- 
lic relations of civil life, far less did it prove efficacious 
in the intimacy of the family, where the arm of the law 
could reach less readily. 

1 Capitolo contra 't Brogio. hbc. XVI. Marciana, CI. JX ital.. Cod. 178. 
Pubtiihml b; Borghi ia the jVuoiv Vrglie Veneiiaiu. ISos. q- 
1895. See the article b; Pilot in the Atateo Venelo. tgoX, 

3 Ajch. di Stato. Cods. X. October 13, i558 : Codi. X, October 1 
■6i3. 








TLTn^lLf^ 




JiM tfAufna^ ^tjctore Phllakte PolviopieQB ''OrtesBo 
^Ai^ 1 036. Id iiK^e tDfAenU if 
»Mre t<w tbe woiDeo who unrie i mny M tg rt,* in dnm vitk 
tnd (rivet UMtn •oucihJ adrice io this cmioiii fooDcC, dkr 
(UtfMOM, a. rX iUK. Cod. 369, foL 81; : 

Donn^, an Mcreto ▼€ Togiio inwgiiare« 
de H«arve con 6ona contdeRlaa 
chi mai ri sari dato penitentia 
dal frate cbe ri andate a confemic. 

La prima volta re conrien pigliare 
graffo de honestade e de prudemiia^ 
oglio de vergogna e continentia 
t col tcmor d'infamia mescolare. 

Sermo, mo<Uitia, tilentio agiongete ; 
con bianca purUh fate Tunguento : 

3iianto vi piace di quel ve ponete. 
i voi uisirli uno olimento 
che cbi ve vedri voi consolarete. 




of 



THE CORRUPTION OF MANNERS aSy 

for the malignity of some authors, we cannot deny that 
family life did suffer from the corrosion of vice and 
that the family tie was gradualty relaxed. That grave 
abuse of early times, the custom of celebrating mar- 
riages without the religious rite and merely in the 
presence of witnesses, continued down to the seven- 
teenth century, and gave opportunity to the evilly 
disposed to marry a series of wives. For example, we 
hear of a Ser Paulo da Canal, who was condemned on 
April a4. 1 53a, for having married Orst a courtesan 
and then a noble lady of the Valier family.' The 
decrees of the Council of Trent seem to have had little 
effect, for on August a8, 1577, we find the Council of 
Ten threatening severe penalties against quel scelerali 
che sotto preleslo di malrimonio pigliano donne colla sola 
paroh de praesenti . . . e che dofx) violate e godale per 
qaalche tempo, le lassano ncercando la dissoluzione del 
malrimonio dalli giudici ecclesiaslici. There was no 
kind of check on illicit relations, and natural children 
were often treated with the same care and affection 
as legitimate offspring, with whom they frequently 
shared in the paternal inheritance. Marin Sanudo, 
for instance, made provision for two natural daughters, 
and the austere and upright Sebastian Venier had two 
natural sons : Filippo, who became a priest, and Marco, 
on whom he lavished as much affection quasi pia che se 
fossero stali legiltimi ; he named them in his will along 
with his lawful wife Elena and his son-in-law Fran- 
cesco Morosini. Side by side with the legitimate family 
we find the natural family, living in perfect harmony ; 
even in the priesthood there were cases where clerics 
bestowed affection on their bastard progeny, and at the 
moment of baptism merely declared a false parentage 

Et di cifi Dio DC lari contaola ; 
e poi Del suo conveato 
ve iccetleri nel Sincto P>r*(liso, 
M uil di queslo ve idoroaU il vim. 
inudo. Diari. LVl, 57. 



a38 VENICE IN THE GOLDEN AGE 

or hid their own under the formula hoe loco nominart 
non licet.' 

There was one vice especially rampant among the 
clergy and men of letters, which stains the life of the 
Italian Renaissance, that most degTBding of vices, sod- 
omy. Rome was Its chief hot-bed, but Venice was 
not exempt. Even such distinguished personages as 
Marin Sanudo and Celio Magno do not escape the 
charge. In Sanudo's case it seems to have been a 
calumny, and we are loath to blacken the memory of 
the great diarist with so foul a blot.* Magno has left 
verses which do not, perhaps, prove his guilt, but in 
which he confesses his preference for (7 i'o/(o del auo 
Tirsi almo e sereno} It is certain tliat tlie abominan- 
dum vitium figures largely in the decrees of the Republic, 
and to uproot it (eradicelur de dvilate tiosira) recourse 
was hod to the cheba and to capital punislimcnt. In 
i4ga the patrician Bernardino Correr,* and in i545 
the priest Francesco Fabrizio, were condemned to 
decapitation between the columns of the piazzelta, and 
their bodies were burned.^ A law of May i6, i455, 
permitted the two nobles appointed in each parish for 
the suppression of this vice, to carry arms : while two 
decrees of the Ten. one in i455 ' and the other in ii58. 
declare that in domo multorum sckalelarionim huiiu 

1 Sm a baptiwnil certiScile of 1J9S in which the fither nai ia iJl 
wobabilily the cinon and mailer Gioxnoi Aureiio Au^retlo. See 
Biicaro. Lorcnio Marcello. p. |6. 

* The iccutstioD i« broa^ht in ■ Ictlar dated Januarr 3a. l5lg, 
wrilteD by MalateiU. Iho Marquia of Mantua's ambaiMdar id Venice. S«e 
Luao. PUtro Aritino nei primi taoi anni a Vrntsia, p. ii. 

* Pilot. Anche Celio Afu^no. Veneiia, i6g5. 

* "Ai tl d'oltubrio (ligi) per decretodel Conaiglio dei X. i aU tank 
la teita e hraA BemardiQ Correr. per haver voluto Kfortar Gi 
can, q.m Urban." Matlpiero. Annali. The law w» lee 
patrician, Giudioian. who wai banjihed for Ifaia crims, 
■baolved and married to « lady of the Hani familir, i 
AgoitiDo Barbarigo. 

* Arch, di Stalo, Mitti. XX, 169. Cnminafi, VI, 7^. 
« Ibid.. CoD). X. Miili, Keg. i5. c. So. 



n 

mart ] 





THE CORRUPTION OF MANNERS 

nostrae civilalis, multi juvenes el alii diversarum aelatam 
et condiiionum se reducunt de die et de node ubi fenenlur 
ludi. where they commit maltas inhonestales el sodomie. 
But decrees were ineffectual for the suppression of the 
publici ed in/ami redatli di giuoco. di crapula et d'allre 
dishonesth, and 1627, i586, and i5g8 saw fresh laws 
passed by the Eaecutori contro la Bestemmia.^ Men 
even took to dressing in habiio femmineo, and still more 
frequently the loose women of the town put on male 
attire, quod est species quedam sodomie. Tliey hid half 
the face with their hair, which was gathered up in a 
great knot on the top of the head called a fungo, — 
a mode of dressing tne hair wliich was severely pro- 
hibited by a law of the Ten, passed on March 5. liSo. 
Some writers tell us that the government took certain 
strange measures in order to bring the men back to 
natural appetite in these matters ; for instance, it re- 
quired the courtesans to sit on their window-sills with 
their legs dangling and bodices unloosed ; but for this 
provision we have no documentary authorily.^ 

Female slaves were a more effectual means for com- 
bating unnatural desires. The slave population forms 
a dark background to Venetian life. The trade, it is 
true, gradually fell off, but did not cease entirely ; for 
even in the fifteenth century we find the Senate im- 

Sosing a duty of five ducats on every slave exported 
-om Venice, and even later, at the close of the six- 
teenth century (iSgS), cargoes of slaves still arrived 
in the city.^ Wills and contracts furnish us with a 

1 Arch, dl Sltla, Coat. X, Comwte, Reg. ^8, c. no. 

' Gallicciotli, 111, 3, givei lhi> biiirre preKriptioii without (Tuotiiig 
■ulborit<i. According to tome wrilen, the Ponte dt It tele it San Ca»i>n 
derived ili name from thii uoge, Tho hirloli were confiDed to the 
quxier called Caranijiane. where no doubt the<r did Daunt themiolvei half 
Diked at the doon lud wiudowt. 



Cibrari 



'a ichiaeiOi et dtl leroaggio. Mill 



•od Laiari. Del faf- 



I Jfeo et delta condUione degl'i tchimti. It i* not Liiown with certatntr when 
" B traffic ceued in Venice. Veoetiao lubjecti coutiDued to miLe iliv 



ado VENICE IN THE GOLDEN AGE 

pretty accurate idea of the condition of slaves at this 
period ; as a rule, ihey were baptised and their names 
changed. Their Ufe nas not a hard one ; indeed, they 
were better treated than domestic servants, and we find 
that houses and considerable sums of money are some- 
times devised in favour of female slaves, more espe- 
cially if they had borne children, while this never 
happens in the case of domestic servants. An inhab- 
itant of San Silveslro provides in his will that one of 
his slaves is to serve his mistress for seven years, at 
the close of wliich he is to be manumitted and to re- 
ceive a legacy. Black slaves frequently served as gon- 
doliers. Women slaves were employed as wet nurses.' 
We have contracts of purchase in which the price Is 
very high. Young and good-looking slaves were re- 
served for intimate service. One priest sells a female 
slave to another, but the following day the contract is 
annulled, as she is found to be with child. Nor can 
we omit the report of a Milanese ambassador, that the 
Doge Pietro Mocenigo, though seventy years old, had 
two handsome Turkish slaves as concubines, whom he 
had brought with him from the Levant.^ The Vene- 
tians, who like rohbe sode, morbide e frescke. and cared 
not foT pelrarchescarie ."^ found food for their appetite in 
the serving-maids and the nurses imported from the 

without «nj oppositioD bj the governmeDt. till after tbe middl« of the 
(eventeentb cenLurj. In 1661 GiaDrriDceico Oria, ProTveditora al 
CaUiro, wrilot la the Seaate to aaj Ihal trade in ilave) was the principalt, 
an^i Vunico alimento o( the MorUchs and Haiduchi, nuovamentf vraati 
aU'antwa devot'ione. The Provvedilore had ahsttiacd from interfering ao ■■ 
not to disgust the populace and prirarti del atUdiimo loitmtimento, uiough 
he took ipecial care to see that among the aUvea were neither Chrittiaaa 
nor Venetiaa auhjecti. Traffic id Turks aad infideli wai quite Irte. 
Con qutiti foadamenti, tays the Provveditore, ho rilaieiilto U ftdi e 



I Arcb. diStato. Sei. Not., Alti FiloKifi* Domeoico, l^oS. Ill, a, S. 
Attide Paolo. i4i5. Ill, i. 6. 

< Arch, di Stato di Milaoo. Carteggio diptomalico, Dispaccio, Februarjr 
II, 1S75. 

' Arctiao, Ragionamtnli, Part II, p. iS, edit. Beagv>di, 1584- 



THE CORRUPTION OF MANNERS adi 




mainland and especially from Friuli, the home of 
sound and healthy women. On April i5, iSgo, the 
Council of Udine condemn the action of a nuniher of 
procuresses who sent to Venice " le halio e le serve dei 
citladini udincsi a proslituirsi," which resulted in a 
lack of nurses and servants, and also damaged the good 
name of Friuli. i 

Prostitution flourished hcyond all hounds in spite of 
excellent legislation. By law the courtesans were 
ohiiged to live in the Castelletlo at San Matleo at Itialto, 
and in the Carampane at San CassJano ; hut Bandello" 
lella us that in his day they had grown so numerous 
that tliey had spread all over the city. Tom Coryat, 
with the carelessness common to the passing tourist, 
asserts that at the time of his sojourn in Venice in 1608 
there were at least twenty thousand.^ These ligurea arc 
fantastic. We know that from the close of tlie sixteenth 
century and onwards prostitution was on the decline. 
Sanudo gives the number of courtesans in his day as 
1 1 ,654.* and we should have thought even that an exag- 
geration, were not the statement supported by a truthful 
witness, Merlini, the merchant, whom we have already 
quoted.' Bernardino Occhino, in one of his sermons, ex- 
claims : ' ' Dcsccndi in forse dieci o dodici mila case da 
meretrici in questa cilta clie sono state tanti inferni 
doue hanno ruhbato e assassinato tante animc e toltali 
la gratia de Iddio."' Coryat says that this leniency to- 
wards prostitution was conceded ad vitanda maiora mala; 
otherwise family honour would have been assailed, 
wives seduced, and husbands copricornified, which 
was the indignity least endurahle to a Venetian. We 
may doubt whether such was the real motive of the 

1 Marcol^, Donne e monache. p. a>3. Fireeie, i884. 
< \0MtU. Put III, nov. 3i. 

* Cor)itl, Ci'iulilUa, II, ^o. 

• S.Dudo. Diori, VIII, Jii. 
' Dalla Sant*. La Lega di Caialrmj, etc.. p, 3i. 
■ Occhino, Prediche, a. 3. 



«4a VENICE !N THE GOLDEN AGE 

goveromenl' when we remember ihat ihej drew a 
revenue from ihe trade and imposed taxes on prosti- 
tutes, as on Octo[>er 33, i5ij, when the income was 
applied to the enlargement of the arsenal.' But the 
pimp and the pander drew a larger profit tlian did the 
government from this shameless trallic. They were 
not always drawn from the dregs of society, and they 
sometimes boasted a certain culture, especially in poetry, 
music, and the graceful accomplishments.^ We find 
among them priests, friars, and patricians, unless, in- 
deed, the passage in Taddeo ^imercati's despatch of 
June 30, i^ga, be a calumny. Vimcrcati was the 
Milanese ambassador In Venice, and he says: "Che 
per li bandi, chc in qucsti giorni solamcnte fuerono dati 
a rufliani di questa terra, sono levatt dc qua sine al 
presente giorno cento undici zentliilhuomeni quah len- 
evano femine in guadagno, cd eserciveno el ruuanesmo, 
ultra moiti pretti et fratti."' Anyway, the business 
must have been widespread if the Council of Ten found 
it necessary to publish, in January, i5i8, a decree of 
banishment for all pimps, who were to leave the city 
within three days,^ Sometimes the guilty were held 
up to the derision and acorn of the mob, being placed 
in the pillory with their heads crowned with coronets 
and mitres painted all over with devils. On July to, 
i5o3, a man of the people, by name Alvise Beneto, 
who bad sunk so low as to trallic in his wife's honour 
and to teep a note of bis gains, was condemned to be 
led round the city on an ass, dressed in yellow and 
with a great born on bis bead.* On July 9, 1607, tliree 

> Thii view ii ttill held. See Caoello, Storia della letleratura Ualiana 
nedecoloXVI. Miltno. 1880. 
' 9.nudo. Dlart. XIX. i65. 

* Ganaui, Piaxia, p. C>o5. 

* Arch, di Sltto di Miluio, Carleggio diplomalico dtgli oralori mitanesi, 
Dispiccro, JuDe a5, i\()3. 

' Siniido, Diar',. XXV. 397-398. 

* Ibid., IV, 391. PuDishmcnl similar lo thii was meted out for olber 
□flencei. On March a3, iSi4, an advocale of ihe Tribunda dol FoiMtier 




•Hd 








• • 






• -■ • 



•• •• 



m 

9 

• -. * 



v./ 






•-^ * 



to fc 





THE CORRUPTION OF MANNERS 2^3 

Rromen Found guilty of liaving lain wilh Turks' were 
flogged all the way along ihc Mcrceria, This was the 
punishment awarded to any courtesan who admitted 
Mussulmans and Jews. 

Along Willi the corruption of morals came the under- 
mining of public health by the inroads of that terrible 
disease, unknown lo the Middle Ages, but which 
appeared about the time the French invaded Italy under 
Charles VIIl." The unfortunate victims of the nial 
francese, the luckless women who passed from the 
brothel to the hospital, roused a general feeling of 
contempt and scorn which finds expression in popular 
poetry.^ 

In such a society, where moral degradation was 
united to physical infirmity, we cannot wonder that 
crime came in their train, and sometimes the woman 
who had lost all sense of shame became an assassin. 
For instance, in i5o6. a widow of Mirano, having taken 
to a loose life, found herself one night in the house of 
a smith who had a liaison with her. She killed the 
smith and stole his hard-earned gains, and then set fire 
to tlie house to cover the traces of her crime. But she 
was discovered, after all, and paid the penalty by losing 
her hand and by being decapitated.* In the shady 



was pUced in the pillorj at San Mar 
Ilia head, for giiing falie evideace in 
XVIII. 63. 



>. with I crown at devili od 
. power of attoroej. Saiiudo, 



' Ibii 



. Vll, 



1 TLe Spaniard Delgsdo. In one of hU rODiiDceB, La Loiana Andaluia, 
deals with the origin o( lliie terrible dieeaso. Uelgido, wLo livod long 
in Venice, published there ■ book entitled Et mwlo <li adopeitii'e el legao 
di India occidentale lalaiifei'o remedio a ogm plai/a e li guariict it mal 
franceie. See Ln atwtUana a Venue et la pot. del nueui'i a Veaiie. pp. 
5o. 5i. Bordoaui. 1886, 

* Roui. v.. Letlere di-f Catmo. Rossi cites 1 roundel of Stttttoit'i fatio 
per el mal framoio, which wu transcribed bj Marin Sanudo. Both prieitB 
and patricians were victims of the loathsome disease. Sanudo, VI, 9{)i, 
and VlII, 35&. relates that on February ti, i5o6. Andrea Lando, Arch- 
bishop of Crete, died of it. and on Maj 16, iSog, Paolo Cappello declined 
the poEl of Proweditore in Campo rijudoe tcutandoti per aoer mal /roiuOH). 

' Sanudo, Diari, VI, 388, aSg. 



aW VENICE IN THE GOLDEN AGE 

purlieus of this vicious society it was an easy matter to 
hatch plots against the State, and the government found 
itself obliged to keep such women in its pay and to 
reward their espionage.' Antonio Landi, secretary to 
the Senate, an old man of seventy years, separated 
from his wife, who was living at Padua, was, in spite 
of his age and his position, entangled in an alTair with 
a certain Laura Troilo. who lived at Santa Ternita. 
The house of his mistress seemed to him a convenient 
place for selling the secrets of ttie Republic. He liad 
as accomplice another Venetian, an emissary of the 
Duke of Mantua. At their meetings they talked Latin, 
which roused the suspicions of tlie woman. She told 
another lover of hers, who hid himself behind the bed 
and discovered that I^ndi betrayed to his com[Kinion 
the cipher code of the Senate. The Ten were In- 
formed, and on March 95, i^gi, old Landi was arrested 
at Troilo's bouse. lie was taken to the Palazzo, tried 
the following morning, and the same evening, dressed 
just as he was, in a robe with large sleeves, he was sent 
to the gibbet between the two columns. A rope was 
not at baixt, and the shops were all shut; so a cord 
was brought from the arsenal. In the pitch dark of 
the night the culprit was swung off; the rope broke, 
and Landi fell to tne ground, fracturing his arm, but he 
was strung up a second time and strangled. Laura 
Troilo received twenly-Gve ducats db the reward of her 
treachery.* 

Gradually, as society grew more and more refined, 
investing vice itself with attractive colours, the common 
type of courtesan, ignorant and coarse, came to be 
despised, and the world began to look for the woman 
who possessed spiritual as well as physical charms, 
who was capable of being a friend as well as a mistress 
and yet did not entail tlic burdens and responsibilities 




THE CORRUPTION OF MANNERS adS 

of a wife.' And thus there came into being a kind of 

aristocracy inside the class of courtesans. The woman 

who had sold herself and earned an opprobrious epithet, 

in Venice was called by the gentle title of cortigtana, 

. and, curiously enough, enjoyed the further designation 

\ of honorata} The women of this class carried on their 

trade in their own houses, and arc not to be confounded 

I with their luckless sisters, who, though often styled 

I corli'jiane, passed their wretched existence in brothels : 

Qua! di gran case C c^uai di Caramjiano.' 

Poet, historian, and sovereign of this vicious world 
was Pietro Aretino. Marslon, the dramatist, in fact 
[ describes Venice as a school of lechery in which 
[ Aretino was the head master.* He was the embodiment 
of the corruption of his day, and concentrated in his 
own person all its shame and ail its hypocrisy. The 
man who could write bead ijli inchioslri. beale le penne, 
beaie le carte, which were dedicated to the service of the 
Madonna,* who could compose La passione di Gesh, La 
vita delta Vergi/ie, and other works of devotion, wasalso 
the author of the nogionamenli, in which obscenity 
becomes absolutely disgusting. Aretino had a school 
of imitators who were, in fact, adventurers about on a 
par with the courtesans. There was that scurrilous 
libeller, Niccolo Franco of Beneventum (h. i5i5), at 
first a warm supporter but later a bitter rival of Aretino 
in their efforts to squeeze the pockets of ttio rich. The 
quarrel between the precious paii- reached such a pitch 
-ioat Ambrogio Euscbi, husband of Marietta, one of 

< Canello, Slona dtlla Iflteratura italiaaa, p. 33. Graf, AUraveno il 

I Cinqueceitio {Una eortlginna fra mille). p. 317. 

I * Tho womoo of easy virtue, who lived wilh their amplojon, wore 

I e*lled. in Venice, manuile. 

I " Though Ihe tonn "courtcaan" was apjiliod indl«criininatol} lo all 

[' women who said Ihcmtelvcs. still Ihora was a distinction bolween Ihe 
COiirtcsoa and tbo harloli of Carampanr (Citolini, Tipocoimia, p. 443, 
VenCEiB, i56[). Carampana means, even to-daj. a woman of the loosest life. 

* Sjrmonds. II Rin. in Ila(. (L'cra dei Tinuuii). p. 3gi. Torino, 1900. 

* AJelino, Lttltre, 11, i6d. 






a46 VENICE IN THE GOLDEN AGE 

Aretino's mistrcssos, Blaahcd Franco in the face with a 
dagger in ib^Q. Arctino not only supported the com- 

filacent husband when before the court, but encouraged 
lim to go on insulting Franco by walking up and 
down before Franco's houBC, which was the worst scorn 
he could put upon the man he had wounded.' Franco 
made up liis mind to leave Venice, and after a stormy 
existence he was hanged by Pope Pius V in iSyo. Celio 
Malespini was another of the same kidney. He was 
descended from the ancient lords of the Lunigiana, but 
was born at Venice, according to some, at Verona, 
according to others, in the year i53i ; he was a forger, 
a spy, and a rake.' 

Adventurers like these and the most shameless cour- 
tesans formed the company in Aretino's house, but 
foreigners of real distinction and nobles of Venice, such 
as MaJRo Lion and Francesco Mocenigo, neighbours 
of Arelino, were not ashamed to frequent his salons. 
There Uved with him several of his mistresses, who 
were known under the general title of Areline. The 
names of some have come down to us. There was 
Marietta Eusebi, already mentioned, and Angela del 
Moro, called la ZalFetta, who had managed to porre al 
volto delta lascivia la maschera dell'onesfa,^ and Calerina 

' Aretino, Letlere. I], 97, Bongi. Annali di Gabriel Gialilo, cil. 

* Salliiii, Di Cetio Uainpini (io the Archivlo Storico Italiano. XITI. 35. 
Fin-uiB. :894). 

> ArelioD, Leltere, I, ajS. Among all ihe Areiine Aogcli del 
Horo wtt the moat notoriout. chicD* because Lereoio Veniero allRDkod her 
in ■ poom entitled La Zajjelta, ma because >be wai the victim of « mon- 
atmun prietical joke, pUjod on hnr bj Vonier about ia3o. Venier was 
rcaolved In bo revongod on La Zaflctta fur having repelled bia advaooet; 
he lempted her to Chioggia, where he forced her to vield her period to 
the embraroi of tbirlj-one paromours in a single night (La trrnte el on 
de la Zaffelta. text and Irsnilalion. Parii, Liseiii, i883). Aretino himwlf 
haa recorded the ad>cn(ure in liio fourth act and third acene of the 
Corliyiana, Apo^Iolo Zeno thinks that this episode gave rite to the 
commoD phrase Aver rin tretituno, that is, to get the devil of a frisht. Se«, 
CciMJ itor. e lei/gi eirca il libertinaggio in Vtri. Veneiia. 1886. It it, 
however, certain that La Zaffetta never endured thii indignity, and Veruer'i 
owo word« prove it. Graf, op. cil,, p. 161. 



THE CORRUPTION OF MANNERS a^? 

Sandella, wlio bore him a daughter named Adria.'and the 
Contessa Madrina, and Franceschina, Madonna Paolina, 
Chiara. and Margheiila^ ; lastly, Pcnna Riccia, to whom 
Aretino seemB to have been genuinely attached, in 
spite of her infidelity, for she died in his arms and he 
mourned her long.^ The Arefine enjoyed the pomp 
of silLs, brocades, gold chains, pearls, every comfort, 
honour, and respect.* Angela Tomimlieni, wife of 
Giannantonio Sirena (d. i5^io), is not to he reckoned 
among the ^1 reliiie, though her conduct was not ahove re- 
proach. She was an authoress and a poet ; and Aretino, 
when declaring his devotion, addressed to her sisly 
stanzas, which, though he pronounced them cnsOssi- 
matnenle composte, gave such umbrage to the lady's 
husband and relations that the domestic harmony was 
ruined, and the unfortunate Angela fell into despair 
and died prematurely.* Aretino lived in Casa Bollani, 
at the Santi Apostoli, for upwards of twenty years, till, 
in i55r, he moved to the parish of San Luca, to the 
house of Leonardo Dandolo on the riva del Carbon. 
Here he spent the remaining years of his life in low 
intrigues. Tradition has it that he found an ignoble 
end to an ignoble life ; it is said that in a fit of im- 
moderate laughter at some filthy joke he lost his 
balance, fell off bis stool, and cracked bis skull ; but as 



1, 1763) reproduce ■ 

00 tbe ohverse, ind on 
filia. Adria marriea 

1 dower of ■ tbouBiad 



I Muiucchelli (Vila d't Pielro Aretino, BreKi 
medal vHth > portrait of (be mother, CaUrina maltr. 
Die reverse Ibe daughter, IlaHria divi Petri Arelin 
in iSSc), Diotallevi Bala, and her falhor gave her . 

' Arellno, wriling in January. iSJo, lo Marcolini. nyt: "Marietta, 
Chiara et Margherita. Ria mio masBaro el hora eigDoro . . . >{ chiamano 
TAretltie." Letteit. III. 89. 

* See tfao tetter in Book III to Marietta Riccia, mother al Perina. 

■ Aretino, Letttrr, I, 311. The murrey-coloured dress of lafleta miivd 
with gold, the aleovca of purple velvet embroidered in ailver. the coif of 
greeo silk with gold design, which the Marchesa Hangone sent to Aretino, 
were reserved for Perioa Riccia nan manco adorna di virtii cJie te foue nalv 
in parodito (Ltttere, I. 78). 

* Mauucohellj, Vila, p. gS. 




ai8 TEMCE IN THE GOLDEN AGE 

■ nnUcT of &ct he died of apoplexT, — tbe venr death 
h* hiBMdf dcMvd, as he ars in one of his letters 



t did BO* dnw mhtle distinctions ; she oBered 
lo t utu c ms poverty and to Daunting vice in- 
From all quarters of the globe advca- 
moA omiteaans flocked a patcolare in le itostre 
lagmim.* Tme has obliterated the names of many 
Tiftaou hdies who paaaed their days in the honourable 
rapoae of the doaMstie circle, but we have super- 
abandant recoids of the names and careers of others 
who acquired the ooenviable notoricly conferred by 
Tke. La Signorv Hina enjoyed a n-idcspread repu- 
tation in ^enice. though Rome seems lo have smted 
her better.* Vienna lUni also made a fortune there. 
She began her career timidly and modestly in A'enice. 
hot in Rome she became talta aUrosa, (utata de resposte, 
iengmna plena de aeeenti toseani.* The Lady Hono- 
randa. too. abandoned her native Venetian, and adopted 
Tuscan and foreign pronunciation and speech. She 
plastered her Bice with cosmetics till she looked like 
a matehera di Modena. and she walked the streets of 
Venice with her maggiordomo innanzi. col pa^gio che 
portata il aalino, et con fanti el massnre} Wc meet 
with other names in the anonymous pamphlets, where 
the poetaster under the impulse of revenge or of mali- 
ciousness, wallows in a mire of obscenity and slander. 
There is a Uttle volume' of Urza rima, undoubtedly 

> Wa have ihe dedtriticn of Pietro Piolo Decnetrio. tb« parish priest 
of San Luca. dated Seplembcr 31, i58l. io which be BU«Bt« thai ATclino 
died of apoplexj. and wa> buried in Iho church, ujd adds that he confcMCi] 
tnd communictlcd before his death. 

* Calmo. Lettcrt, p. t-jH. 

* Aretino, letlerr. III. 3i3. 

* Calmo. LtUtre, p. 9J8. 

■ LeUere di dheni Aatori raeeolU per Vtntarin Raffiaelti. Firsl and onlj 
volume. Uanlua, iSi;. Quoletl br Clan, GalarUtrU Uatiane del sec. XVI. 
p. 56. 

* Tariff/! ae. ooero najionamento dtt Foresliere el del Gentilaomo : nft 
jBoIc II dinola U prei2'> e la guoJila di tuUa It cortiQiaae di Vtauia. 



THE CORRUPTION OF MANNERS afig 

from tbe forge of Aretino and his pupil Yenier, which 
gives us the names of the principal courtesans who 
swarmed in Venice : 

. . . quanta rano ha in te paluiire fondo 

la terra formiche e Gori i prati. 

According to the foul-mouthed versifier very few of these 
women possessed the altraclions demanded by their 
profession. The Lomliard woman who came to Venice 
quite poor soon got together a good sum of money 
thanks not to her beauty, hul per lo injegno siio sottile. 
Cornelia GriiTo asked forty scudi for her favours, 

ma queilo effli i pur preuo dlibonoslo 

e forte miglior robbe ne i borduiti 

ba per due (oldi licun che porta il cetto. 

Angela ZalTetta has a loathsome malady. Lucrczia 
Squarcia tries in vain lo hide her vulgarity of mind 
' nnder the garb of a poetess, and 

recBodo ipeteo 11 Polnrcbolto ia mano, 
Bigola and Cumea seek to conceal tbe ravftgcs of time 
with rouges and enamels. The lowest trollop Is lo bo 
preferred to Tullia d'Aragona. Angela Sarra is shaino 
and ugliness personified. One and all Hoece their 
uicautious admirers. Very few are favourably handled 
by lliis merciless judge. Lucia dagli Albert is beau- 
tiful and well-born. Inella has a sweet cipreMion. 
Stellina, who ia only fifteen, has eyes that stah, Rut 
there is one of such rare heauty 

cbe a dir di loi vongon lo voei meno. 

She is not named, and this strange reserve on Uic part 
of such a writer suggests that he refers lo his oitb 

mistress, which would account for his vicious Itam 

of the otliers. Equally scurrilous is the ProrioiUeo a 

Venmia, i535: reprintod at Paris. Liseut. i883. L«no (Pittr* A 
ne' primi auoi anni a Vemriia. cil,. p. lai) >ijgge,u di«l ■ ufUla J 
Cavallino, creature and pupil of Arelino. ma; hare b*«e Um MthM 

Tariifa- 




la 



25o VENICE IN THE GOLDEN AGE 

Villola in the Paduon dialect by the cxcellente doUore 
M. Salvaor deWAnguillara.^ He mentions especially 
those 

povere e iciigiirnle cortigiane 
che cibo ion dell* minuU geate.' 

Beginning with the hrotheU of the Carampi 
writer passes in review the unfortunateB 

eosl mtseramente , 

e coii con gran rieota 
Ic paeserl biib viti. 

Still more curious is the Calalogo di latte le principal et 
•ill hoiiorate coriigiane* which gives us many particu- 
lars of this world of corruption. 

And yet this hot-bed of vice is illuminated sometimes 
by rays of pure beauty, and the women who are vilified 
in scurrilous verse, branded with shame in the tarilTe and 
the stern decrees of tlie government, appear transfigured 
on the canvases of the great masters, who undoubtedly 
chose for their models these women who did not 
shrink from that full display of their charms which we 
find reproduced in those superb Vcnusea of Giorgione 

I PubliBhocJ in iS58 bj Mallio Pagan in Freraria aWiaugna lie In F«Je. 
It WIS reprinted bj Loremi in Ihe Leggi e Memarie Vtnelt talla pntttitaiione 
fino alia cadulo delta Hepublica, Vcinezia. for Lord Orford, 1S70-1873. 

» Tariffa. cil. 

' Catalogo di tutte U primipal et piix honarale eorligianf di Vmetia ; if 
name lam et il name delle Ion pieze et le ilantk ove loro abitano, el di put 
aneor vi narra la contrada ove sono U loro stanlte, et eliam il namem de li 
ilinari che haimo da pagar guetU Genlilhomini et ai ehe deiiderano entrar nelta 
taa gratia. PubliBhed bj LoreDii, Op. cU., p. I. The price varied from 
a half crown to (hirtj crowua. Liuia Analiaa a San Uarcilian pieta Maria 
Vilcntina et Meneghlna ila in Corte de Ca Badoer al pante dci Sollini ir. S5. 
e Paolina. fila caneuo, a Santa Lucia, piera una to moueiti k. 30. TheM ara 
Iho Lwo moHl eipensire. Among lbs courtesani we find inarried womcD. 
Amlriana Schiavonelta a Santa Foica donna maridada, pie:a lO mare, leudi 6. 
— Calerina da Todi donna maridada a San Via piera la so maarra tc. /. 
The pimping was oftea done bj men neither belonging lo Ihe tunWj nor 
relations. Calerina Calrghera a Santa Aponal piezi li faechiai di campo je. 
2. — Franeeichina Vtnolla. al ponU de Suai, piezo matro Zor:i lotadar de 
paaai li arente tc. 1. The Catalogue ends with Iheso words ; ■■ II numem 
di auesto SiKDOre h 3i5 et cbi vol haver amicilia do tutte biiogna pagar 



THE CORRUPTION OF MANNERS a5i 

or of Titian, the contemplation of which can rouse no 
baser feeling than an intense admiration for beauty 
in its highest manifestation. Paris Cordon's superb 
courtesan, in the National Gallery of London, has noth- 
ing provocative in her glance, and yet critics, not given 
lo fanciful conjectures, believe thai we have in lier the 
donna lascivissima of whom Vasari speaks, and maybe 
even the portrait of the notorious ZalTella herself.^ 
Another picture by Gordon, now in the Museum at 
Vienna.^ is supposed to give us a portrait of ZafTetta ; 
there the woman has her breast bare, but there is 
nothing sensual in the lovely face, expressive only of 
gentleness and grace. Nor, again, is the Sedmione by 
Bordon a lascivious picture in any sense. In the 
sweet face of the gir) and the eager and anxious 
expression of the man it would seem almost as though 
the painter had attempted lo idealise a scene vulgar 
in itself, for it is not passion or love that is leading the 
girl to yield to the man who has his arm already round 
her. but the gift of a golden chain wliich she has taken 
in her hand, while in the background a sinister indi- 
vidual — a dislanl cousin of Mephlstopheles — watches 
the proceedings. In face of this supreme art. the mor- 
ally repugnant nature of ihe subject Is forgotten and 
disappears. 

Among the courtesans themselves there were some 
who redeemed lo a certain extent their ignoble profes- 
sion by a note of intellectual culture, who aimed at 
achieving the position of the Greek helairai. Some of 
them came of good cillien families, like Veronica Franco, 
LIvia Azzallna, Cornelia Grifib, Bianca Saraton, and 
could not, even in the degrading conditions of their 
life, fail to reveal In their manners, aspect, and carriage 
the slock from which they sprang, Francesco Grazzini, 



I Bailo and Biscam, Parii Bonlon, pp, 53. tao. !□ Ihe CiUlogues the 
ciUcd ■ ladv. Her age i> piialed on the bickground of the picture: 
.*;i.li.»uffl Ann. XVII." 

< Bailo and Bitcaro, op. cit., p. 186. 




a53 VENICE IN THE GOLDEN AGE 

called n Lasca, recalls the graceful, gracious, fascinating 
Aqutltna of Venice,^ and Bernardo Tasso offers lo Mari- 
etta Mirtilla noble words of comfort for the death of 
her lover Antonio Brocardo,^ the pupil of TrifonGabriele 
and a good poet, cut off in the prime of his days. The 
letters of Brocardo to his Mirlilla breathe a spirit of 
tender affection absolutely free from a shadow of shame- 
Icsancss. He calls her cara sorelletta mia, and desires 
lo kiss her hand, la bella. honorala, virtaosa, gentile e 
cortese mano.^ and he endeavours lo appease her when 
she reproaches him for not having sent a volume of his 
poems to her sooner than to any one else,* These cul- 
tured courtesans were bent on rivalling the great ladies 
of Venice, and they were often successful ; their houses, 
where the Uterary coteries used lo meet, became naovi 
parnasi.^ They appealed to men's sensibilities not only 
by the charm of their eonversation and by their skill 
in versi6cation, but also by their graceful dancing and 
their singing to the lute. Lucia Trevisan dona dl tempo 
lata cortesana canlava per excelenlia, and at her house 

I Graumi. Rime burleifhe. Firenic. 1883. GraiiiDi givee the; follow- 
ing BiKicE to Iha Vonolitn courtcsao who h on Iho poiol of Kiting out for 

altendere quei nroli a veDdemmiaro 
c'hlnnn groaso Iiadio e grouo entrite 
D de' daoar cion Ban quol che si fare 
godondo alltgri a toiiluosa meui. 
Further on (p. 3g7) ha writes of AquilJna : 

qiiclla cho ttnlo I'aroa e progia 
graiia o beitcui c valor pl!i che umvici, 
c'ba in m ta vaga e leggindra Aquilina, 
a cui U torra, il maro □ il cici s iocliina. 
■ Tiuo, Boraardo, liime. Venciia, i5Bo. Tasso's Bonnel begim 1 
Pcrch6 la nevo, o'l piiro avorio, notto 
Bagni di pianto : con doglloni accenti 
Percuoli d'ogni inlorno I'Bria. e i venti 
Chilmaado liii, che fu qusggiu perfetlo. 

* LtUtre di dhicrti, nobilitaimi haonuni, cit., I, i<)7 ot seq. 

* Ibid., pp. 3o4 et acq. 

* Ciimo, Lttlere, p. 38. 




THE CORRUPTION OF MANNERS a53 

B reduceva latle le virlii in the musical world ; at her 
death, on Octoher 16, i5i4. she was honoured by a 
solemn funeral and choral mass in the church of Santa 
Caterina,' just as if she had practised the moral virtues 
all her life. No one could equal the Signora Frances- 
china " nel dare lo spirito dellarmonia agli Btrumeoti e 
la voce della musica al canto " '-^ ; so, too, the unknown 
courtesan whom Michelc Parraaio hns painted playing 
the lute. Is clearly an expert on iho instrument. The 
most celebrated of all tlicse ladies was Veronica Franco 
(h. 15^1)); her hcauly and her wit were famous. In 
the Calaloffo delle cortigiane her name occurs thus : 
Vero. Franca a Santa Mar. Formo. p'leza so mare, scudi '2. 
This low price would lead us to suppose that there 
must be an error, or else that Veronica had only just 
begun her ignoble calling. Among her many lovers 
we find Lorenzo Ilambcrti, the man who in i5.^9 saved 
his own brother. Pietro, from the infamy of a public 
execution, by supplying lum willi poison, when he was 
condemned for the murder of their aunt with intent to 
rob. In his will, which is certainly apochryphal, Ham- 
herti leaves to his son certain property to be enjoyed 
by him and his mother Veronica. The testator declares 
that he finds himself " con qualche pericolo del corpo 
81 per I'eth mia conic per Ii moiti disordini che 
fazito con la mia dilettissima madonna Veronica Franco 
alia quale lascio un huon letto di piume, perch^ la ghc 
no poderave haver gran hisogno, col patto che la nol 
possa nh vender, nfc impegnar, ne dar a Zudii "; he 
concludes by ordering for his tomb un deposilodi piere 
colle, on which is to be carved an epitaph in Italian 
verse " azzb sieno intesi da tutti ct sotto di essi sia 
deslagia un V grando ed un F in mcmoria che sono 
stati tatti dalla dottissima Veronica Franco. "^ Veronica 



1 SiQudo. Diiirl. XIX 

• Aretino, LeUtrr, IV, aj^ 

» Cicogna, /«r., VI, H&k- 



38. 



a54 VENICE IN THE GOLDEN AGE 

was the subject of many eatlrcs, among olhers a poem 
in which the anonymous writer declares that he will 
not pay the rich and elegant courtesan the price of 
her favours: 

Sivou chi cbc u paga ' «16 mastere, 
Ste (Iruiette. cbe caota in molliaeUo. 
Ste fie de putUne e Uvandcre.' 

This vulgar abuse is in violent contrast with the glowing 
praises, both in prose and verse, addressed to Veronica 
by her many adorers, and with the remarkable honour 
bestowed upon this Venetian AspasJa by men of dis- 
tinction and of honourable life, like Tintoretto, Domenico 
Veniero, and the Veronese prelate Marc' Antonio Delia 
Torre. Henry 111, on his journey through Venice, paid 
a visit, in the quiet of the night, to the lovely courtesan, 
who was then living at San Giovanni Grisostomo. The 
young sovereign must have retained a tender memory 
of his interview, for be took back witli him to France 
a portrait of Veronica in enamel, while she apparently 
was equally pleased, for she recalls her royal lover in 
her sonnets : 

In srmi e ia pace ■ mille prove csperlo, 

though she closes with higher aspirations : 

D'altarmi al cie\ d* queslo stato iaiegoo 

and these she carried into etTect. Site abandoned her 
onoralo mestter, and took to penitence'; in i58o she 
founded the pious institution of the Soccorso for the 
shelter of fallen women who repented, and died in 
1591. 

The life of Veronica Franco is in a certain way 
paralleled by that of the Roman Tullia d'Aragona, who 
wove the laurels of a poetess in the yellow veil of the 

> Marciana. Q. IX ital.. Cod. 173, p. jog- 

* Gambi, LeUeit di danae iUliane net tec. XVI. p. S07. 




THE CORRUPTION OF MANNERS a55 

lourtcsan.^ She had many admirers, among them 
Spcroni, who introduces her into his Dinlogo detCamore, 
where the speakers are Tullia herself, Bernardo Tasso, 
Molza, and Nicola Grazia. Tulhaputs forward views of 
extreme freedom, hut all of a sudden she is terrified at 
the thought that she may lose her lover's affection, 
and she breaks out into a confession : " lo so chi sono, 
e chi bisognerebbe ch'io fossi per merilare I'araore di 
lui, ma io cangerb vita, e saro donna del mio dovere." 
Then, to comfort her, Nicola Grazia, Ihe gentlest 
personage in the dialogue, tells her how Antonio Bro- 
cardo had written an oration in praise of courtesans, in 
which he lauds them in such wise that if LucreUa re- 
suscitasse el I'adisse, elta non merierebbe allra vila. 
According to Brocardo, " H costumi cortigianeschi (se 
quelli ben estimiamo) son via e scala alia cognizione 
della natura e del cielo ; cho cos! come la cortigiana per 
diverse cagioni suole amar molli e diversi , . . dando 
ella con buon giudizio il huon del cuore ad un solo, e 
compiacendosi e trasformandosi in colui solo : cost it 
cielo naturalmente a diverse cose naturalmente fa di s& 
grazia a qual piii ed a qual meno, secondo che alia lor 
specie fe mestieri."'^ The costumi cortigianeschi of 
Venice were the envy of foreign ladies, and M. de 
Brantome, in his Vie des dames galanles, makes a noble 
damsel exclaim : " H^las I si nous eussions fait porter 
tout notre vatllant en cc tieu-la (Venise) par lettre de 
hanque, et que nous y fussions pour faire cette vie 
courtisanesque. plaisante et heureuse, a la quelle toute 
autre ne scauroint approcher. quand bien nous serions 
emperieres de lout le monde."^ Tom Coryat wished 

' Le rime di Tuttia d'Aragana coriig'iana del ifcolo XVI. Edited bj 
Eorico Colani. Bologm. HomagDoU, i8gi. Bougi. 11 velo i/iaUodi Tuttia 
d'Aivgona. Firenu, 1886. Biagl, G., Un' ettra i-omana. Tullia d'Ai-agona. 
Firon.e. 1897. 

" Speroni, Opere, I, a6. Tho dialoguo seta forlh Brctcardo's vtswi. 
Speroni wis lubsequunllY sniitttu willi remone, and wrote an Ora^ioia ci»- 
tro le Cortigiatif. whom he Ihero calls moiulri iajelici. Ibid., Ill, l[)l. 

* Discoun IV, ed. Lalanae. Paris. 



a56 VENICE IN THE GOLDEN AGE 

to see what one of those world-famous courtesans of 
Venice was like on close acquaintance. He accordingly 

Said a visit to one of the most gracious and elegant, 
largherita Emiliani. The bizarre writer has introduced 
into his work a portrait of himself and Margherita. 
though he takes care to assure his readers that his visit 
was made not to satisfy his appetites but in the interests 
of historical research, for cognitio mali non esl mala. 
His description of Venetian courtesans is certainly 
quaint, ana as it is but little known, we give it here, 
though stripped of much that is otiose and worthless. 

"Many of tbcm," he saya, "live in palaces fit for 
great princes, and when you enter one of them you 
seem to be approaching the paradise of Venus, Their 
rooms are brilliantly lighted and furmshcd ; the walls 
hung with rich tapestries and stamped leather. . . . 
The courtesan comes forward to meet you dressed like 
a queen or the Goddess of Love. . . . Her face is 
wonderfully beautiful ; the lily and the rose wage war 
on her clieeks ; her hair is raised in two points on her 
head so as to look almost like a pyramid. Her orna- 
ments are so splendid that she at once arouses and cap- 
tivates your senses, and causes you to lose your wits. 
You will find her like a second Cleopatra, covered with 
gold, chains, pearls, rings, diamonds, and other pre- 
cious stones, witli pendants of infinite value in her 
ears. Her skirl is of damask, with a fine fringe of 
gold or else of gold lace ; tlie chemise of red talTeta 
with gold fringes ; stockings of red silk ; her dress 
and her whole person perfumed so as to attract you 
more. Moreover, she will try to fascinate you by 
drawing sweet melodies from the lute, which she can 
play like a professor, or else by the tones of ber voice, 
which go straight to your heart. You will find in her 
(if she is a person of distinction) an elegant conver- 
sationalist, and if she does not captivate you by the 
other arts I have named, slie will try the charms of 



• • • 

. ••• 



•• • 
• •• 



*• * 

•A 






• • 



•.:•;• 



• • 






•• • 

• *• 

•• • 

* ••• 



• • •• . 



THE CORRUPTION OF MANNERS 357 

speech. To complete her sorceries she will subject 
you to the greatest temptation of all by taking you 
into her room. Here you will find painted furni- 
ture and numberless beautiful objects, a white canopy 
wrought with needlework, a silk coverlid sewn with 
gold thread, all breathing most delicious perfumes. 
Amid all these objects of luxury she will show you 
one only, and that an object which suggests morti- 
fication rather than delight ; by her bed — a strange 
thing to find among all tliese irritamenla malorum — 
under a glass is a picture of the Madonna with Christ 
in her arms. When llieir youthful fire is spent, these 
women devote themselves to God. After dedicating 
their youth to ttic devil, they enter a monastery, where 
they live comfortably, as they have put by a good sum 
of money to pay for their keep. If by any chance a 
child is born to them, — a tiling that rarely happens, 
for the proverb says i migliori Jalegnanti Janno meno 
tracioU, — the creature is either reared at its mother's 
charges or is sent to one of the homes especially 
founded for that purpose. I saw these homes in the 
eastern part of the city near San Marco. In the wall of 
the house is a grating covering a hole : below is a large 
flat stone. The hole is just large enough io allow a 
new-born babe to be shoved in. The mother, or some 
one on her behalf, brings the babe, and pushes it into 
the hole, and goes away without a word ; but if the babe 
is too big to go into tlic hole, she takes it home again 
and brings it up there as best she can. The boys who 
come out of the foundling hospital are for the most 
part enrolled in the army, or go to the arsenal, or serve 
on board the galleys. Many of the girls, if at all good- 
looking, imitate their motliers and gain thoir livelihood 
as whores." ^ 

Montaigne, who visited the lagoons in i58o, made 
a Dote on the subject of the Venetian courtesans, ' ' cela 

' Corj.l. Ci-udilut. 11. ila. 



i 




258 VENICE IN THE GOLDEN AGE 

lui sembia aulant admirable que nulle autre chose, d'cn 
voir un lei nombre. commc de cent cinquanle ou eo- 
viroD, faisant une depcnse en meuhles et vestcmans 
de princesses ; n'ayant aulre fens a ses meintenir que 
de celte traflque." ' The loose women walked about 
the streets si ben ornate et vestile that they differed in 
no respect from the patrician ladies ; the law intervened 
to forbid courtesans to wear gold, silver, silk, rings, 
pearls, and jewels, but only with its usual ineificacy,* 
The luxury in their houses was intended to stir the 
senses, as Coryat observes. The alcove, with its cano- 
pies of satin, was hung with lascivious paintings. 
The beds were of intarsia work, and had silk coverhds, 
fine linen sheets, and embroidered pillows. Turkish 
carpets were on the floors, velvet cushions on the chairs, 
and all around were tapestries and stamped leather, 
carved furniture, pictures, statues, and precious vases.* 
They adopted magmUcenl head-dresses, gloves tanned 
with Spanish jasmine, or carnations, and, setting tlie 
law at deliancc, they adorned their persons with 
brooches, chains, pendants, and diadems. The Senate 
published decree after decree in its alarm at the in- 
creasing number of these women, " le quali, posposta 
ogni erubescenza et vergogna, pubblicamente vanno per 
le strade e chicse ad altrove si ben ornate e vestite, 
che molte volte le nobih e cittadinc nostre, per non 
esscre diScrenti dal veslire delle dette, non solum dalli 
forestieri, ma dalti ahitanti non cooosciute sono le huone 
dalle triste." * In fact, con acandalo de baoni et mat 

' Monlaigne. Gionale del viagglo, withnotei bj D'Ancooa, pp. i34-i35. 
CUli di Caatello, 1889. 

' Parte presa jopra il vestlrt el omamtnt'i di eaaa de le lleretrice ebs 
haiitano in tjuetia cilOi. VeDeiia, Marcolioi. iSJa. 

* "No BC parla tie lopnliore, d'i tipoi, del pavion de damiico, de U 
cariola indorft, de lo caiso dopeale, d'i pavioDi brcsciani e d'i peltri da 
cusina ; no le inveslure una ton laltra i niento ; le pcrle t ud fumo; 
i aaelli fi unacosm minima." Calmo. LetUre. p. 3o5. Ganoni, Pia-ia, 



• Arch, di Slalo, Senato, Februarr a 



ibii. 



i 



THE CORRUPTION OF MANNERS aSg 

esempio <lc cadauno, llie light women were often lo be 
seen ill churches at the time of service, without thetr 
badge required by law, namely, a yellow handkerchief; 
ihey would even somelimea wear the white veil of a 
young maiden, usually worn by marriageable girls or 
those (/a mo/iacar.' A law of July ii, 1579, condemned 
courtesans wlio had transgressed the sumptuary regu- 
lations to slur per il meno mesi Ire in prigion serrate.'* 

The lawa were severe enough, but the individual 
magistrates were indulgent. For example, in June of 
l532, a cerUiin Vienna, a well-known lady of Venice, 
was tried for having removed without leave from the 
foundling hospital a girl whom she afterwards sent 
back. She was acquitted because, as Sanudo says, 
" havia uno favor grandissimo di noslri zenlilhomeni, 
ne meritava per queslo esser condanada. "^ The se- 
ductions of the fair sex were irresistible, and tlie 
courtesans took ihc minutest pains to cultivate their 
patrimony of beauty. Not only were they to be seen 
in the streets dressed like great ladies, but tliey took 
more particular care of their persons than did the great 
ladies. They bathed frequently, not only at home, 
but also in the stae, a species of public balh which for 
the most part was little else than a brothel.* The 

> Arch, di Slilo, Prom, alle ixunpe. September l3, lSg8. 

* Lorcnii, Lfyy't lulla proititu:ioru, cil., p. II. 
■ Smudo, Diart, LVI, 897. 

* Both id lul}r sDd ibroail public balhi were known u *!>>/*■ If 
Venire Ibev were Ibe ihopi of cbeop eurgeoru and corn-cullen. The bath 
iDGD (ilueri) had hot w«ler alwaji readj- Gariont, Piaiia, p. 81 5. Male- 
Bpiai. Cello, Nan., Part I. p. 353. nabut«ul. De la proitit. en Eanpe, 
p. '^3. Paris, 1881. Id tfie lHario del Concilio di Batilea. wrillnn I17 
Aodrea Gatari (ii33-it35) (edit. Coggiolaiu CoiaUtum BiuitKiue, p. SSa. 
Bawl, luo^), one of these public batht U deicribed. The Emperor Si^ia- 
mund, along with the Vcnetiati legates, entered Zurich in 1^35. " il Ken 
va per mezo." of the cilj. " et k du! belliuimi putili che paua Ben. nu 
Ii ijuali r'^ ^'>B belliuime foDtine cbe lita aomure aqua, et in cava du uno 
de quesli ponli ai i una bellisKinia loia la (|uile ii looga vargi 3o. tuso la 
qiiallc b una belliBsima iluva limga quanto i li loia, coperta de pietre 
Toete e verdc." Tbe MS. at the Mareiana (□. 365, CI. \U ital.) contaioi 
the -' Diario deth ipedilione deliitl-' et ece— Atviie da Molin CaV alia CorU 



] 




a6o VENICE IN THE GOLDEN AGE 

water for the balU was scented with aromatic berbs 
that gave a delicate perfume to tbe body, like that 
which "eBce da panni lini de bucato pur allora tratii 
dal forziere,"' When the courtesan left her bath, she 
was carefully dried by her maids, and her body per- 
fumed, her nails polished — we can see the process in 
some of the pictures representing Susanna and the 
Elders, where very likely the artist took the oppor- 
tunity of depicting the physical charms of some cele- 
brated Venetian of light fame. Tbe looking-glass took 
up many hours, and it was the special duty of waiting- 
maids to render their mistresses attractive, using cos- 
metics, and dressing tbe hair in ringlets, rolls, and 
tresses, loading the arms with bracelets, the fingers 
with rings, the cars with pendants, and putting on the 
most sumptuous raiment.' When this elaborate toilette 
was finished, they would send tlieir pages with notes, 
full of phrases of aflection, to their lovers, signing 
themselves Gincvro, Virginia. Isabella, Olimpia, Elena, 
Diana, Livia, Vitloria. Laura, Dovizia, Lavinia, Lu- 
crezia, Stella, Delia, Flora, " per cattivare con la va- 
ghezza dei nomi i cuori giovanili." ' While awaiting 
their lovers' arrival, they would seat themselves at tbe 
window or on the loggia, surrounded with pet animals, 
the hltle dog, neto e zenl'd. which had been taught to 
stand on its liind legs, that vuogava can la zata, por- 
lava 'n boca un yuanlo, and the kitten aswhile as tbe 
driven snow, which lay coiled up at iheir feet, or the 
monkey that could play tricks, or the parrot tliat kept 
up a ceaseless chatter.* Carpaccio has given us a 

dtt Gran S'ignore (1668)." On p. 71 the siilhor »pe«k« of Jsanini. id 
Turkej, »nd, describing Ihe citj »ni! ils mannen and cuitomt. he mjs: . 
■' Piel ritoruo a cass desnimo un'occhiata ad uqo de" loro baeni. che molli e 
frequentisiimi Bono nella Turchla, fatti per Javarsi prima deirorntioni loro, 



I. Ragioi 



, Piaaa, p. 5gg. 
* Calmo, Letttre, p. 353. 



i, GioTD. Ill, p. 85. ed. di Beogodi, i584. 



THE CORRUPTION OF MANNERS a6i 

portrait of two of these Venetian courtesans sealed on 
a balcony, gorgeously dressed and surrounded by dogs, 
doves, ilowers, and fruit. Tliey are gazing slraiglit in 
front of them as though lost in thought, while Die sun- 
light pours upon the liigh roofs of the houses, and from 
below rises Uic noise of the gay streets. Tlieir splendid 
apartments, heavy with perfumes, were often thrown 
open for banquets, evening parties, feasts, entertain- 
ments, and concerts ; if they were not invited out (o the 
houses of the nobles, they received at home, and had 
private theatricals, balls and suppers — cosa per opinion 
mia verf/of/nosa a quesla ben islHitla rcpuhblica — says 
Sanudo.* For instance, on tiie evening of January 37, 
\bi'i, at Murano, in the house of Leonardo Gtustinlan, 
fifteen of these courtesans, splendidly dressed, were 
invited to a dance and supper along with several nobles, 
among whom were the three grave and reverend Pro- 
curators of San Marco, a Molin, a Priuli, and aGriraani.^ 
On other occasions companies of these women with 
their men would make for one of the islands of the 
lagoon, and there, to the sound of lutes and fifes, they 
would spend the day In the shady alleys, bathing 
together in tlie lagoon, and supping late in the evening, 
when jests and jokes grew free, and the night gave 
opportunity for still more doubtful adventures.' The 
people, of course, followed the lead of the upper classes ; 
servants copied their masters, and we have the record 
of a curious entertainment, given on February i4, iSaiS, 
in a house at Santa Maria Formosa, by a lot of gentle- 
men's lacqueys. Each of the men brought his para- 
mour, and they spent the night in singing and daucing.* 

» Sinudo. Diari. XXVI, 5oi , 

* Ibid., XXXV, 375. 

* Milci^ioL, Cclio {Nov., Part II, p. aa), hu described ono of tbeM 

5 leisure trips to the Vignolo. The character of the man and of the book 
o not inspire GOnfideDce in Iho veracit}' at his etorj ; but the detaJli as to 
Venctiin Itte ua both gcniiine sod ialerOstiDg. 

* StDudo, Diavl. XXXVll, 578. 



a6a VENICE IN THE GOLDEN AGE 

U sometimes happened that a man who got mixed up 
in an intrigue with a woman of this sort, skilled in aU 
the tricks of kisses, il loccar delle mani, i risi e le dormi- 
lure,' would end by bestowing upon her his name ; we 
even find a patrician, now and then, who smirches the 
honour of his house by such a marriage. That famous 
courtesan, Cornelia Griffo, so rudely handled by the 
anonymous poet of the Tnrijfa. though Sanudo calls her 
ricca, somplaosa el bellissima merclrice, must have 
possessed extraordinary attractions, if she could induce 
Andrea Michiel to marry her. The wedding took place, 
in 1626, in the convent of San Giovanni at Torcello.' 

There were others, again, who did not go the length 
of marriage, but supplied the means to allow their 
mistresses to keep gondolas, servants, a sumptuous 
tcible, and ended by having tlieir purses "gelded," to 
use a vulgar but cfTicacious phrase of Calmo's, and 
their fortunes ruined : 

Pcro rhi Kpcndc '1 no luasurjando 
S'spparccchia d'aodar llmcBinarjilo.* 

The poet and musician Parabosco learned this to his 
cost; 8 courtesan named Polissena had emptied his 
purse for him, and he bursts out : 

Slgnora PolisMQa. il votiro amore 
mi coiXt fin' ■ qui tinti qrialtrini 
ch'a ripcQsnrlo i vo lulto in audore. 

But Parabosco, the scapegrace, had worse still to com- 

[dain of; he had fallen in love with a certain Madda- 
ena and tried to win her favours, not with money, but 
by verse and song; one day.' as he was knocking at her 
door, he received on bis head a bucket full of lioiling 
water and ashes, and was scalded and had bis clothes 
mined.* 

> Areliao, Lelltre. I, »i3. 
' Saniido. Dkrt. XU, 166. 
» Calmo. iMtrre. pp. a85, a86. 

' HitncWtDi. G. Parnboifo, p. 17. BianchiDi Ibiok* this Maddaleni may 
havo bceu ono o( tlie Iwo recorded in Ibo Catalo^o we bivc quoted ; either 



THE CORRUPTION OF MANNERS 263 

This kind of life degraded love, imperilled the family, 
and ruined for ever the liabits of the young, and even 
thus early we come acrosa those perfumed and simper- 
ing fop3, the zerbini 

Tutii agli odor! e a le liscivie intoQti.i 

of whom the finished specimen appears in the eigh- 
teenth century. Here is Garzoni's speaking likeness of 
the type : " Caminan tutto il giorno come ninfati Nar^ 
cisi, col fiore ncUe orecchia, coUa rosa in mano, coi 
suoi guanlelli profuraati, con la gamba attillata, col 
passo artificioso, col motto galantino. coll'andaF lesto, 
che paiono Daini di Soria, e qui fcrmano un tratto, 
danno un'occhiata, fanno un cenno. tranno un sospiro, 
ealutan sollovocc. si raccomandano alquanto, rice- 
vono un risctto maliziosctto, c alloia col farselto pien 
di gioia, partono cantando e vanno a comporre una 
sestina o un madrigaletlo." ' Even the older men were 
ruled by the caprices of these women, and were prod- 
igal of bows, hand kissing, and compliments che la 
Spagna ci haveria perdulo.' Bui the worst feature of 
all was that the courtesans, as we have seen, received 
the tribute of honour and respect from men of blame- 
less lives and of remarkable intellect, and even from 
eminent ecclesiastics. The artistic temperament of the 
Italians threw a glamour of refinement and grace over 
vice itself; the aesthetic supplanted the moral judgment ; 
the search for pleasure passed all limits, and voluptu- 
ous living surely and steadily, day by day, sapped the 
energy of the brain and the vigour of tlie arm. 

Maddalena Muwhiora e San Li'o dno la gc^ii pieio baler la porta t andar 
tu. . ■ ■ Kudi I, or Maddaleni de J^iroma de Ormetiai a San SimioD 
grando, pieta ana so iiiuht« . . . acudi i. 
' Tariffa, p. 6a. 



I * Aretioo, LetUrt, 



:a. p. 700. 



t 



f i 



' il 



[<■ 



!( 



APPENDIX 



/ 



I, 



v! 



I 
f 




I. IlliiitriMinio Principe et Exrctl'™ signoro i 
simo, Scripsfl hen eira sla Bignoria voslra do la Gionta Doslra in Uhioia. 
Qucsia matina oldile rnossa in una capclla scrrala In una ealollo. duvo io •!- 
logiai, alia quale intervenero li canton ol no hcbbo gran piacore apiritualo, 
faccndo nicscr Cardiere molto bene o) dehila eun, como foce anchor! heri 
malini chocortoro una consolatjone aacntirto forado li altri. Da poidiaU 
naisimo ct ala mil bom montasnimo aopra li buciDlori, divideadoiio cum la 
coropagnia aopra Io meiano et picolo cl aopra qiialche gondolo, che crano 
prcparalo per andare piTi liicuro, perche el lompo era pur auchora il ijuanto 
tiirbido. La illuBlriBBima Madona mia matre, so rodusse aopra Io Bucinloro 
piuijo cum Io illuBlre signor Don AlphoiiBO, roadona Anna et mo ot aleutii 
pochisaimi scrvilori : li altri do done ct homini da comlo TenUrano nel 
Bucinlora mczano ot in alcuno altra gondoln. ct in monLai anchora da puol 
■opra un allra goiidnla cum Io Signor Hicroajmo, moMir Vowonlo ct alcuni 
attri pochi per alleieriro ol bucintoro piculo ot andaro nni pIii conii, como 
ogniuno diceva che andariamo. Com jxiBli a camino arrivaanmo al porta 
do Chioza, dovo cominiando ballarc Io navo. io haveva grando piacoro a 
rederte et per gratia do Dio nan bcbbo una allerationo al mundo. Ma Bcio 
dire alia nlgnoria voslra che li fu in la coropagnia che lomclteno mollo 
bene, tra li qiiali fuo ol cavaloro Ursina, Nicolo di Nigri, madana Ilelisa- 
bet: cl ancbora ol eignor Hioranimo, ben<^h& fuBso eUIo aobria, Icmoti 
ancbora liii, ma niuna ba rcsa conclo do questi picoplo madona Fleliiabet 
al porta do Malamocba et la cavalora {Jrsino. Do ti altri el maiime du le 
dono mie aviso la signona vo»lra che la magiorc pnrlo rcBina conclo. 

Hon in queiito caininaro, Io tnmpo »e anda coniando tanto cho Rfiiai a 
boDhora gionsimo alia terra do Matamorho. Qui trovaFiimo circa mm 
tentilhomeoi, cum tn plalti mollo ban parati et posti ad ordine: cum quelli 
cho polcvano lUre in uno piatlo intrassimo in nno l>eiiit3imo paralo et 
asHtlati honorevnlmenle in popa. Eisendo alcuni deli iRnlilhomini intrati 
nel piatio noiiro, uno motor Francosea Chapollo vestito d'uno msnto grande 
a la giiiaa sua do bracalo bianco raro do ligum d'ora, hobbo una oraliono 
do queata Mnlentia che havondo la illuslristima sigoaria acnlilo la vonuta 
dolla ligDoria voilra a Fcrrara per dcmoaalrarli I'amore li porta, li haveva 
mandato duy ambassatori a v!»ilarla, po! aenlcnda la venula dfl la III.'"* 
madona mla matre ot mla a Vcnelta, haveva mandalo a Chioia qiiclli allri 
iI per fare medeimo officio et aucceaaivamonte per demoiutnrt) 



»C* DOCUMENTS 




tuMfintrf anrrr* Lavtmn nandbli ifirr< a 

ndrjan «l grmu paceif ia%rv» It ilmoruuiDa wfrHna ^ W 

is tpuut wt tecufiorrait cum L csSea.. nmiiirsBdD cnoK- Id iDsL' 





ftf litnunrTK ft ajqvmM* iim «iii|ttiHiDr oftsrte. Li 
wuMO^noc mi* ixca:7t u«t c«uo« iiiucK*aia cunBudt cL*ii> rrMpoBdemm d 
cjfiOv ii« |«r»*^ a ^flbrif wntA^ cait & rii 1 1 rvam fovfoaa^ 4r dire 
iv ^uairiife ctibt Ma nmi iiohxK pin prcAf' icniilC' db psiarv la 
»u* cirtr cvtuauLKUlkf a guf*lk* ii^ifaf la arviianr A paoi ii allri coraBO a 
UKx:an; la fuau*. cuziit Proerv ul j^nrui- manlr^ ia nado aoe pair' ^R 
^uediocra k» dtswckviu nuu m. nun per cicaui 

Se ia*'UMii2if9 «<9-M> '^ iiifllia edinuoe ciif- pome 
dcwe io UL'^^ p-ixfcipe ue cspcKtv^iu ik^ vcaMliiH< ia 

■kjIHo iieufr in crdinc. onaB xie aafaitaraDc« nm li iiBJini6 d s^iopiB de 
AwitiaHa ti. drcilo a quelii «««€-raiiD doe- fuAc nude a tute 
tkmMMt uhn liartiie onialc- a ar6^:r ciie iaar«-aiiD imo fnade d Mk 
veione. infitiiU- barcbe de dooe «l hnmhn totania 4Mmtfim v ^Mm o ^vdi bb 
anoT—ytapwropo a aaulo Oanenle : qui trcn-afiomo mko {raade fiifc iM e 
coptvto difr pamx>« dcni fimoataiiidnw d esMsido li Tkaiao k> QL** Ihiti p e 
€im tut «xf«ficUra cum lo Bmrintoro bdo. cpK> ODonib com la B^naria «A 
vcxteiifM; fo ooaira fia al okzo del pariiiooe, dcnne ne rBorvdi 
fmr*At clue fuacumo ie b« Tcnnie a confeo eraiao anckcra 
deMdi/niUr H€htt li liiustriKuiu s^Don Doca mk' Padrr c€ la agDoria 
Bfxt li iforiaxio Lavere facto mapore piaoere cokdo a mai x iai pf, H dLt 
padre fibe v<dera vokioteraL, coax> ae vedaz» Ic fiole reoaetleodoie poi a diia 
piu c4tra quaido li occorreria per deciararz>e I'aiDore chd ne porta. Foo 
per L> JiJ."^ Madociaa mia matre el per me rc-&|TanaU la Escellentia Sua 
cum paroU; cocjYeriieoie; ei oou a^iaAciofe puoi per ictrare al Bocintoro, 
\o ill.-^ prifjcipe pijdio la ilL"^ dooa mia matre a mane drita ei me a man 
MrfMrttra H la illu»4.riMnja madooa Anna apre<«o a me et apresso ala illiis- 
trifrfciriia rnadona mia matre el marchess <k: Mantua ei lo signor Doo Al- 
\Ahfm^j quale marcbfrtre comparse cum el principe, ei cosi venefido sopra 
lo hiMinUjro aridat^Mmo la iUufirifis^ima madonna mia matre io et madooa 
Afifia i^er tUit: kchierc de damiselle dreto al Principe tocando la mane a 
tutf.', |Xii a^i»^itUti in f>opa cum medesimo online che intrassimo tutte le 
dtmtu: 4ii la oriipagnia andomo a tocbarc la mane al Principe ed asseiiate se 
miftb'rmo a camir»o, nd quale comparseno poi altre gilcc omali&sime, fusie, 
barchc ei barchcic infinite, ci fra I'altrc comparse una fiista cbe ha in popa 
La raprcftcntaiione de Neptuno et Minerva, assettaii, Neptuno cum lo trii- 
dcfiti in mano, Minerva cum el dardo, per sconlro li era un monie quale 
baveva in cima una rocha, sopra la quale erano Tarma del Papa de lo illua- 
irinainio aignore nostro et do la signoria vostra et de la iUuslritsima signoria. 
Kaltd Neptuno cum balli ct Bcambietlc sonando alcuni tamburini et ballato 
uno fKizo cufu scambiclli, vcne poi dreto Minerva faccndo il simile, et 
accoHaudote ballorouo iofiema : poi Minerva dedi del dardo nel monio et 



DOCUMENTS 369 

lalilo fora una ollira: Ncptuno ili>di del IriH^Dln ct ulila fora iinn cnvalo. 
C(3 urano alcuni aI*to al maulo cum libri quail vignificavcpo e) judicio >e 
dovcva dare dol nomc sehaveva mcltore a la citapriacipiata la quelle uioate, 
cl fu judlcalo in favore dc Minerva, et peru so concludo quesia repre&cala- 
tione clie cum la uuinnB do la pacs so niauteagano li stati el pera iipectire 
■ cLI fa simili elTecti ol poncrii el nome, como Minerva pose a (juella 
nominandola Athene dnvn Tu el fundRmento del sLudIo secuado m dice. 

Pssuudo pill Inante companiao allre galoc fusle. et barctie pur l>cae 
ornate, fra Id quale era una galea arniala de Mllaneai cuiu uao moro in 
sedin, cum un'anna in mano a giiisa d'uoa ua et tarchoui Ducali el da la 
■ignoria vo»tra cum bandcro allaralc ala prora ct pops. In cerca al qual 
moro erano la mpicntia cum cl scilo in niatio. la forlcia, temperaiua et 
juitkia. II quali feccno boIlMaima npectaculo cum tiraro do £chiopctll btun- 
barde el razo chel era una grande zentilcza. 

Aprcsio li erano motto barchc ben omato facto da lulo Ic arte, che repre- 
tentavano li suol csercllij o facevano aoo bcl vcdcre ct cosi eutrBssimo nel 
caiialegrandeovololllustrissimo PriDcl[>e. ultra cLc gia havcue coiiiinincialci 
ad utaro gran domlalichcia cum uui parlando dc diverso cose, havcva gran 
piaccro in uicnlrarno li pBJatij dc quOEta cita et in tpelio le damisello, la 
quale oltra i3ii erano ncl buclnloro ofnallsiirao de inSnite gioj^e itavguo ale 
feneslre, tulte anchora loro bcu ornate ct certo era stupcndlsajma cona a 
vedere, et (ulto la allre co90 nolahile lln che giungcsslmo al palaio de lo 
illustrlssimo wgDOr mio palrc, duvl Bianio alloiatl ct qui volso el Principe 
montaro el accompagnamo fin alia camera, bcnchi la itluslrissima msdona 
mia matre et io ricusawimo assai. TrevasBimo lullo cl palaio lutto coperto 
de tapeiaria ct cum molte armc Ducalo el de la gignoria vostra el li cell 
eoperti de pauni de rata. In le camore et in lo sale de pauni alia Bforcesci, 
in modo che de boua ciora. do compagnia, de apparati non tl porin deside- 
rare meglio. 

Qucita sira lono poi venuii tri leotiUiomini a visilame in nonie de la 
aigncria, ufTerendo lanto Urgnmenle che piii non se porria dire per piacere 



Dumatiua bc c tollo posta dc Taudicntia de qucllo se^ira piil oltra ns 
Bvi^ro la signoria voalra, alia quale me ricomaudo. Venelils iitu Ma^ 
11S93. 

ExccllealigiC Veetrae 

consors cordialissima 
Beatrix Sforlia VIcocomes etc. 

II, niuslrisslmo ed eicellentisiimorignore nilo eonsorte observandisiimo. 
Sequitando I'ordlao In Eignificare atla cicdlcnlia voslra tuto qucllo che ■ 
di per dl mi occorre, I'aviso couio quests raallna la lllustriEsima madoDi 
mia malrc, el siguoro Don AJphonao. M' Anna cd lo cum tula la compagnia 
■e pouesslmu ■ camiua per audaro ad oldire la messa a Santo Marco, dove 
el principe ne haveva invitali cum li nostri cauturi et per mooslrame el 



J70 



DoccMEyrs 






ft H=: ««dM: la cia 

ilui d caoaure kro ct ia ifiacBe ^ Carfiera. d «Bile ka 
grifli^ ita£o de bca atefare al koaofe^ la 
■MM* M a^UMUbo per ool pRadpe al locodd ikeuro, acl 
la prattle iPoStrtnrfiae 3ei |»fQk> cW era cu o u» »d 
linOjt, daraMuw> la maghir Catica <lel 
iM^AMit Ofoi COM per fare dav« kco cridaulo fia al priadpe, d qnaie prin- 
cipe p!r la pvi cpuila lu Cocxa Be abaacioBase d Be lasase intrare noi 
cum pxbi clue fai pM aadkora com gran fatirha Inlrati Tfilf wimo a eon 
per COM el ibeMro, cbe oe f a de gran piacere et per caicrli infinite el befla 
g¥>je cum alconi difniwimi ras. Uacili andaaamo per la piaia de Santo 
Marco ftopra le boCeche de la fera, dore troraHiiBO tanta oopia de TCiri belli 
cIm; n<«ra ano alupore, et qui oe fa forxa detuof are gran peso et xedendo 
elae ll^jra Mr facera tarda le arias&iiDO a ca§a a disnare cbe crano xth hore. 
lo era vettita de la Tekte de paDoo morello recamalo con li pecti revenati 
c\vn bavevano d cadaceo; harera d Tcao de perle a coUo et lo robino in 
\t*:t^f» a 1« qtjali gioie, et in iftpetie al rubioo, se guardara lanto et si par- 
lava cum dire ** quelle ha poslo runo di, non ha posto Taltro ** ; che ce fii 
de quelli che mi mi»ano <}uasi I'ochi fin aopra d pecto per gnardarlo, et 
vfffleodo, tanta anxieta, io li disae do^essino Tenire a casa che gli lo mon- 
fttraria Yoluntera. Questo ^ quello io che se e consumato questa matina ; 
pofto ditnare, andaremo a la festa ordinata in palaao et del seguito ne avisaro 
la Excelleotia Vo»tra» a la quale me recomando. — Venecijs ; xxx maij, 
1^93. 

Excell. vestrae consors cordialissima 
Beatrix Sfortia Vicecomes etc. 

(a tergo) : H."*** principe et excell. domino et consorti meo obsenrandis- 
timo domino Lodo^ico M.' Sfortie Vicecomti etc. ubi 

tit cito. 

III. IllubtrisMmo ed Ex"*^ sigoor mio consorte obser\'aDdissimo. Re- 
poH^ati uii poco [K>o el desnarc veneteno molti zentilhomini a le^'ame, per 



tceompagnarno a PaUio n U toils, cl cosi ordiDalamenle »o inviaBimo sopra 
li piatti ; ct giocti al Palaio. roromo accompngDati a la salla graude. dove 
era in lests udo tribunalo grando che facova duo alio drclo ai mura al loiigii 
du la sails, et nel incio de la hIU era UDO trJbunale quadra facto per bal- 
larli. el hia \o rcprctcDtalione te feccno. Mootali aopra lo tribuaalc grande 
Inivassimo gran numcro dc aeQlildone veauLiane, quale ae dice eraiio l34 
lulu bcDG ornale de gioje. Al alia da niaDD drila al iulrare suso era el 
bignore de la Compaguia de li I'oleuti sopra una sodia cum lo teslale do 
brocalo d'oTO riio, dovo ncdeva approsso el sigoor Don AlphotiM) a matio 
drila per esscro de la compagnia. Nu}' andasiinio o eedcru a I'allra alia, 
iiiBDdaodri madona Anna a star appre9H> el signor do la compagnia. £1 
PriiicineDonliinlervepcti por non wntir^ gagliardoa stare a quesle umile 
rosle. ma lasso una mciser Constantino Privolo, quale tenelo el loco auo, 
queilo k de la sigooria cl piii veccliio. El priucipio de la Testa fu de baU 
Ure qiii^Ue letitildone. Ire o qualiro per volla : poj rccercatidosi che faces- 
Kimo ballaro qualcbuno dc b Dostro cum li uo&lri, li compiaceisimo per 
deinoslrare domcilicbeua, rt cosi ballo ol Conlino. Hieronjmo da Pigino 
ed atcuni altri, Du le done balld la mogliere del conte Francesco Sforia, 
le (Sole de messer Sigismondit, et de inesser Raj^oaldo, et alcune allre, la 
quesla ballare |>er cl gran caldo faceva el per sGDlime alqusDlo grave la 
leila cum uiio poco de dotore ue la golU, mi tcvai et redussimo in una 
camera dove repossaj una bora. Pol turuai lopra la feila, dove FaceEidoie 
sira, apizale loo tone sopra legni atatcati «1 celo, iu facto una reproMuta- 
lione, in la quale comparuQo dui aoiniali grand! cum duo grao come in 
testa, et sopra cavalcova uno travcslilo por ciaKbuno molto adomo cum una 
balla d'uro in mane, cbe pireva una copa coperta facta a foglie i dreto 
queili duj, rumparse uno caro trlumphalo supra el quale era la Juslltia 
cum Is spala in mane ; al meio de la quale ipal* era unu breve cbe diceva 
cddcordia ed era cinto d'una palma od oliva. Pohi luj sopra lo medcsmo 
caru era uoo bove cum li |)ede Itvali in nieio d'uno Santo Marco, et de la 
bii'^a : ad uno archivollo facto de vcrdura era sopra la cima una losta do 
Muro cincta da la palina. et da la oliva cbe emineva sopra el bote Santo 
Marco et bisaa. Queito signilicava la lega conio puo bene iotendere la S. 
V. el como in ogni ragiouameulo cl Principe el questi gentilbomini fano la 
S. V. auctore de la pace et Irantjuilili do ilglia ; cosi I'banoo eipresso in 
quesla dcmoostralione ponendola sopra queilo archivolto sopra I'allri. Dreto 
queslo caro erana duj serpent!, a cavalo di qua!! eraoo duj altri loven! clie 
slavano conio li prim! ; qiicsti lull se cundussino al tribunsle quale era net 
metu do la salla. et emontati feceno molti belli balli stando la justicia in 
meiD, el batlalo un pcio, nel ballare rouuil! icbiopi cum foco da quelle 
balle, quale aprendoso dcmoDstrarono in cpsc uDO bove, uno lione, una 
bissa, el una lesla de moro, el cum epai continuarona el ballare slaodo 
sempre la justicia in nieio. al quale poslo fine comparse la collalione cum 
■ono de troniLeti acconipagnala da iiiGnite lorcbe. Prima comparte sopra 
d'uuo asse Iu Papa, el Principe, el lo duca de Milauo cum Ic aruie loro, et 




wm» tmm bOcrc dnw knna. rdtea 4» tMlm l> bmu. ElMla ^nedi 
■ ■WTMM^wlwcfilriimpfcig.-r— > J. li^Mlim !!>»».» rdtoow. 
b Hdtte, w r«hf« b Mt>« d« Uakaen. ■> » akn •»» >kai ikri cmi 
v«* la mmm»: tf** tfirM cmwi anoa^ A ■ S pcnoaBper ciMriin, it 
iMli cnaa faeli per upmnliiw h lila <!• WeJwgwi. yal eaa WG h 
muMW^^i ilil ■■■■■■■■111 (ill Jli Mnli mJlii JifiUMli B&«Ma 
b bbnb nria motlo kngo. JiiiMriiriifci Gduo ^ b ofoa ww dit n i 
«Mi<pal0fD portoGoca b EnU. El MoaMi m bam tcnaroBob 4 hon 
bmtut Uutitao a cau. lo ha*e*a ^fRHD d tmooto qoab per pbeerli 
pnoM el itan a taolo caUo qiuDlo bcera io qndh talb com rl Dsaara b 
eaw ID longo, ma faceia ridcre Unto qnanio wiAnse anaj, et io per haiarna 
nagiore farta diceva aempro die andun cs dc en, el cbe TaiiilaTa Bne ■ 
rfl. per moda mi to cb lanio (UMce d ■eotirlo UmenUre pl irdera cocno n 
(teodna mb lopra udo lalo, 111& aopn I'altro, dicvnda lu; ■■ ia bo raogaLa 
In ffambn ; qiuodo faaveri mal Eoequeda feaU, ciij piu noa ce *eiig(i" 
till: Uiilo me ilcletlb qoiolo I* fc*U. Veauli a casa, ceoai lobriamente, at 
jHij anJll ■ dormire che erauo aei ore. 

El roatire de pora ditaare fu <le Tabi d'oco incanialo ; e( la Kfaitia <b 
Kiiijo in luata, lo veceto de p«r1e cum lo Harotic peodenle. Etccomaudomi 
a la 8. V. 

Vanetiia. nt Ma; 14^3. 
EiMllonllo Ve»lr« 

Conton utrdinlliiinia Bcatrii Sfur 



DOCUMENTS 



ergo) lUiutrissioio Principi et ei< 
diBBimo Doininu Ludovic 
Via tit. cito, cito. 



o obterTaii- 



IV. lUuBlriBBimo ct cici^UtiiilisBimo Signore mio coQBoKe ohurvuidiB- 
»!nio. Queslo poio disnire siamo iDdati ■ Paluo accumpagnati hoaurc- 
volmeote da moUi tcDtilhomiiii veaiciaoi per vederc gI Coaailio Graud^, et 
eBtendo guidati slla sails grindc, al raeta d'epia ealla Irotasiimo cl priocipe, 
quile era diKeso dal loco Euoper venirpe a recevere el cosi oc accompagod 
al Tribunale, dove ledcEsimo sccondo I'ordioo de I'allro volte ct coinenioroiiii 
el CoDBilio ID dare via ilui olficij cho aon ^ ttalo attro clia balolare per diveni 
modi. Fornito quedo coDsiglio la illustriBBima msdonn miamstre riogralib 
lo prmcipo deli bonori ricevuli toleodo liceotia, el io doppo la Eigooria wa 
fees e] medesmo cos! per quello mi ha acripto la cicellcnlia voslra commo 
per quello cho cogriiMcevi essere ditbilo mio de fore, oDorendomi ali comandi 
luoi commo Rola. ReBpo»e el principo che non bisognova la riDgraiiasMs 
perch£ havevBDO faclo quello apectava al patro verBO la fiola, cicusaodo ae 
in alcuoa cosa si fosse maocalo eL pregando nou se imputassti a loro ma aU 
mioblri, exlcndcndosi cbe la vuloata sua aoo porria essere itala ne eBsero 
meliore, et qui replica t'araore pnleroo quale porUno alo illuEt.™ Bignore. 
alia excelleolia voilra el a me otTercnJose de dovo per el slalo, per le pcr< 
■one el per lo govcrno dela Signoria Voelra, cum parols mollo larghe, ira- 
pooendomi cbe aalutaase et conforiasse la signoria voBtra a viv^ro de bono 
■nimo, ct che la signoria aoa acceplava le oCTerte mio el le uiaria ali bisoga! 
facoodoDO capitale. Per me li fu aocora replicate alcune parole a propoulo 
dele sue, Avinando pero la Eicellenlia VoBtra commo el diclo principo 
g!l inaate cbe lO tolesso Itceolia uto molte amorevote parole dels Signoria 
Voslra cum mi diccodo la dovesae coDforlara et salutara el che la doveiM 
bavere bona cura de la pcraaoa sua. L! Coosiglieri le prcacalarono ancora 
loro et moDsigDorc de Coiiiitio molto accomodatameule feca el ringratia- 
meato suo rcpctendo le oflerto commo as couvcno et (oleodo liceolia. Per 
et princLpe fu aacora rcaposto copiosamenlo comnio aera ben faro in cod- 
sonantie de quollo disss a me, el cbo dod replicarb iltrameDte per uon 
faalidire la Eicellentia Voslra. 

Se levb puoj el principo ot nuij insicma ol ne accompagno fin de solto 
do due «calle ei qiii tocalono la mane ne lasM>. Siamo puoi andal! a visi- 
lare la regina do Cipri a Morano, dovo ne ha riccviilo cum honore et dstono 
una bella collationc. Ilavomo ancora visilalo el corpo da aaocla LuHa et 
coa'i habiamo fomilo la gioruata de hogi ot doiiiano ciim U gratia de Dio 
ale II ore to molterimo a camloo. De novo no dice messcr Tbadeo havcre 
del re de Frania ai & gravemcnlo dotuto da 
moriro per qucata ill."" Signoria el approtao 
I de IliapaDia por via do tnercadaati, per la 
de la pace fra el re de Iliapania 



inleso commo rand>ascialor( 
quelio corsaro quale fu facli 
baveva aentilo easergli letlei 



FcatuaB< 



solio in nulla et |>arliLi li uubuHdori diacordi. A la querela 



e che li illuttrissinii signorit ftbbia respoilo coaaaa 
I'hoevaDO posiuto fare per haveiio tronalo id {rigniil« criiraine et biTcrio 
preto net mare sua. RicomaddaiidiHiii tl* EiccUentu Voslra, Veocllii i 
JuDij iSg3. 



(K tergo) Illtutriuimo et eicellenti»iaM Domino coDsorti meo otMer- 
viadiisimo domiuo I.udovico Mirie Srarlie, elc. 
Ubi lit cilo cilo. 




Beatrice d'EUe.) 



Anno nstivititii eiusdom minesimo q 

leiimo vigesimo primo dia decimo septimo lugusti, iodictione v 

Domioui Au^stiDui Biduario filiui mtgnilici domini AJouiiij tunquun 

> quondani mDj^lfici domini Sebastitai B*duario aiui 

Voleiu saliafacere coDKieatia sue el Lonori, et legibui rogavit me 

1 iurrucriptum ul de bonis cotnmiuario dicti doniini Sebaatiaui 

publicum couficerem invenlarium. Idea tic Hribam el annotabo. 

In una casaeta do nogara ; iu uno aachoto de tela roH fo Irovuli ducati 

qualrocGDio d'oro lr> veaitiani et ODgari. 
Item in uno altro lacbelo ducati otanlsolo fra dopioni el Gorini. 
Item laie de irzcnlo de liga cipriola cum p' 

llcni bocati danentu cum piodi et roaoega de dlla liga uumero do. 
Itpm una doicna de cualier de anetilo de dita liga. 
llcm pironi do dila tiga d'anento numoro ijuindcie. 
llcm una corloliera dariento breaan fbrnida et nuovi. 
I lorn corleli breisni uiadi numero undeie. 

o quatro de Una cipriota, loe slramaii. 
llcm cusin! de pii 

llom uua coltra uiada lialada lali cl roanoa de bolma. 
Item do colire bianche de bolana una graude et una piioli. 

:o colire da fameja vocbio. 
Iti'm uno moBcbeto de bolani uxido, 
llcm uetuuoli de lella para numero sie fri 
Item uno mautil de rem uiado de braia si 
Item miutilBti da tavaU numero quatro. 






a tro ruode. brut cinqne- 



DOCUMENTS 

Item lovaioli numero tie. 

llem ruuoli da mau ounnoro tie. 

inlimele pira Dumoro (jualro. 

fuoleti de dieo numoro sic. 
Item tovaio undo numero do. 

mo lapcdo ds tavola ci 
Item tspaji a moKhGli de Ian 

p tipedi uiadi da mods Diimpni sete. 
n una feUada barbareu» rosa et vecbia. 
IlaiD do corlioG ds lota rosa doradc cum rannc 

jno saion de daiuischiri negro Todra de ci 

ina ongareaca roaam fodra de volpe. 

jDi Fodra vechii de reudi roi 

ino beco do acarlato vechio. 

ino beco de voludo cremetin vechio. 
Item do peii de spaliere dc panoo verde. 
Item BCclii de ramo numero quatro. 

ina caia de lesia. ot una de aqua de r, 
lua dldiers da lusla de eeulii tele el u 
Jleiii padelc cum tuoi coorchi dc rame numt 

loa calderuola de mezo eocbio. 
Item fersore numoro do. 
Item cadene ds fuogo numero do. 
n do Bpedi de rostir uno grando el u 
n UDo rampegon do !vro. 
a uno paro de cavodoui con euoi fomimeati de lalOD. 
n UDO paro de cavcdoui de fero con luo foraimeota. 

n albuoto, roncoto, ancla, tamiso o burato. 

n uno scagno de aogara tob deaco. 
Item cariege de aogara numero oto. 

m caue rose uumcro quatro, vcrde Dumero do, rorcieri numero do vecbij. 

n una credonia granda, et una credeociera vecbia. 

n bancbe da portego numero quatro. 

n da Bcagni da manzar buio. 

ID uno homo do Icguo, 

:ii uno quadro dc nostra dona. 

■a una tecbieloto de laton. con lui caiela. 

:a una bacil et uno ramin de lilon. 

m candelieri de laton numero sie. 
Item tre bote tuode. 
Item tra carateli, et do mciaruole vuode. 



Item o 



ieli . 



I granil 



i, piadene de piera, laieri de legQo, et caie. 




Die 12 attoltru t53i. 

Nobilis domina Clm relicia vlri nobilla domiai Joannis Frsnciwi Hir- 
celto q." domini Antonii, poilqiiani comprobsbil de sua dole et rcpromiaa 
cum tua TadimOD]' carta quod e«t de ducatii quioquo niillibus sub die X*" 
(pptembnt proiima olapii, pretonlatit le^ bona infrucrtpta. lideticel. 

Et prima . Lclti de dWene sorle a." qualordcK — Ciuiiii de direna 
aorte d." XI compulaDdo do de lana, un allro cu<iu — Stramaii grandi t).* 
lie computtodo do de pello sie tap«di cimiseasa picali^Tapedi de diverM 
(orte turcbcschi ii.° dodese, et uno grando da lavola vecchi — Va 
de raao cremiain fodra de v»ri el dosii — Un covcrtor de panno de Fiaadri 
de monto valiei cum un gano de raso verde fodrade de t: ' 
co*erU da lello do onnetin lurchin cum ormesin roaso iQlorao fodra do 
telU — Una collra de ormesin cremesin laYOradn do Oro pendonle ci 

ro monlcnie. uua collra de chamocha verds 
. el tquaiaron — Un lomolelo de bochatin hianeho 
lavorado do frania ocgre cum tua covcrU da Iclo, ot octo c 
baccbaleto el cinque Bquaiaroui — Collrine do bochatin biancho. el lor- 
Dolelo pcii n." nuove do divcrso iK>rtc, do baocbaleli de bochasin biaucbo, 
jui de diverse sorie num." dodeie — Sctle peii de coltrine tnet 
lamuloto do saria vcrdo cum un aquaiaron, una coverla da lello de una 
verde — 'Cinque peii de laraa verde voccbi do diverse sorla — SquaiaroQl 
do diveree anrle n," nuovc vcccbi — Un pavlon do tclla biaacha vccebio 
cuin «uo CBpollo lavorado ala moresclia ^Ud perde collrine dc »rea aegn 
— Coltrine de Lochailn, et Idle verde n. " selle — Un dulimgn de panno 
paouaio valla drelo rovcr^o — Una carpola de panno biancho cum alguni 
cordoni intomo — Una aDtiporla a brocbo — ^ Do anliporte a verdure vee- 
cliio — Un rato a verdure verchie — Trc banchali do spaliere de raio vecchi 
ilraiadi — Un per de Epeliere a verdure bnsse — Un peieto simile de braia 
tre — Un |ier de spaliere in tre peii a broche vecchi — Tre caved de f aoni 




DOCUMENTS 

divihaili — Una eovorti da careU do panno paoauo fodra drctn r 
Una callra liiava vccchia — Coltre de tella bochasin verchie iinboltdc verde 
Ft biava □." oclo, computa una cmombra — Da folildQ rosso vcr/^hie — 
Un bGraiiuD camaaon vocchio — Coltro bUnclio de divorso miie de bocha- 
tin el lolls, ct una niEia collra vecehia straia biancho a." telle — Do covortB 
de cordola biancha — Una collra do lella bUva imbolida — Tre caniiMili 
biantJii vocchi, un covortor dc paono Uclao ugnolo, un altro laito fodra 
do polio Bgneline veichi ^ Do eovertori do polio agnolinc vecchi, do 
echiaviDO Tocchie — bandiorc de sUmegna depeolo d.° duovo — Colli de 
CBoevBiB over sarhi n." quiudcra — Ud per dc niozuoli solliti de lella 
cambra cum IrineUe el cordBlle inloroo — iJa per de dinzuoll de lella 
lolilli — Niiuuoli de diverse Borle pera a." diose vecchi — Item ainiuoli 
de diverse soria pera n." die«e grosii — Niniuoli do diverse torto per* do 
el moid groui Tcwhi ol >lruadi — Un manlil de rons de brazi dieie alio 
quarie diete — DoMantitlida brua ocio alio quarle 8 de rens — Mantili 
de renso gTO»i de dtvcne sorte n.° diese — Un manlil de crcdeoiieri de 
braza quairo de rem tile q." 8 — Tovaglio de diverse »ortO de rens num." 
nuove — Do niaiitlli de rem vocchi itraiadi — Sie manlili de lerlise vecchi 

— Tovaglioli do diverse sorlo de rem num." vintiuno — Tre ninioleli da 
(runa do rem Uvoradi cum aio ruiene — Do paneseli de rens Isvoradi d'aie 
ruicne — Do pineteli de foilagno bi»nco— Un peloral o»er corparuol 
divisado — Un altro corparuol divisado ■ — Uno camisuol da pulo — Qualro 
taiuoli da gpechio lavoradi do divor»c torle^ — Sie faiuoll de tclla fifrnndi 
Ywchi — Iiilcmele do divcrao sorlo pera pum." diese oL racia — Un ban- 
cbileto dl Ictlode borhasin bianco — Una cirpota de Itsaro da Tanlolin — 
Una pcia do bochasin bianco de levanlo dc braza vinlido — Un caveio do 
bochsi^inda Icvanlc do braia qiiindcse — Do pura de intimele dn rambra 
lavorado non compide — Up faiuol dc lisaro tuin cum sui cnl a la morescha 

— Una fassa do lella cambra lavora — I'omoli de iolemelo u.° dodcse una 
lira do bavole fdla grasso — Un quadra dc una ccna in lella — Un quadro 
do una Europpa — Un raslcllo grando tndorado cum un apecbio de vcro 
dcnlro dicio restello cum algune figure — Una lesla d'un CriBlo indorado 

— Tre qiiarcU picol! — Poliri dc divorMi sorle lire dusento e oltanlacinquo 
nelli do lara— Un quadro in una anchona, do nostra Donna indorado a 
I'antiga — Un fpcchio picolo do vera indorado — Un rcsteilo picolo indo- 
rado — Una ancbora dc ferro da barcha — Una cescndello ala damaKhina 
cum el sno ceEppdellii — Do candelieri ala damascliina — Qualiro canae 
depenle cum I'arma Marzolla — Un scrigno de nogcra Terrado de dcnlra — 
Cinque cafse dcp^nlo de diverse sorlo — Una mr>ia cassa — Un forcier 
pclloao picolo^ Do raselelo do nogera da rcrillure — Un' altra caselela 
inlaraiada veccbia — Do sciiolc do porcelnna — Tre allre piadcne do maio- 
lic* bcretino — Un gollo do vera lavorado — Un pcrfumego Uvorado ala 
damaschina in pomo — Un per de lollcle de avolio fomide daneolo — 
Un corlollo con rl manego do peso con tuo piron ct vazina fornida d«r- 
Mnla — Udo busolo lavorado tdla duntKbina — Do bandinel de ceodado 




— Qiialfti cmIoob da fiMfo — Tra Ined de 
till Itoibifo Je niiMi — Ud* fc^en de rw 
iini •lull* — Do piel« da noM — InlJuii □ 
HI ^ Ilnm uo* pifoU — Qusiro sjwi 



Do I 

«d«c 

- Uoa cnogoou de r 

a gnnti rl uo ptcofa) — 
— Qaatrt) frrrare. cocnptita 
□um.' li de rune — Do gratt*- 
uo* pifoU — Qusiro sjwi — Il«m un iltro picolo. tr> gnndi 
Una pati^U da faago — Una p»UruiJa min ipalro ferri da 
alar -^ l>n gradello — Do roorleri de piera con »uB maue — Una KUgiera 
Unn liiMlIn — Tni patlele da friter — Tre altra caM — Una Itime— - 
IJoa ullora da aal — NiiOTe lagieri de legno — A-lguni Tem da carstla — 
Do naajii — Un p« da curto~^ Do con«iU el do albuoli — Una gramolla 
tnfliii —Do piteri da ofpo da lerra — Un pilar picollo da aqua da Icrra ^ 
Matlcll! n." iRlto tra f^andi el picollj «1 quatro UvoUe. 
Fuil nt u.)bili« D. Joanne. Vcncrio jihIci. 



pntlar -^ I>n gradello - 



DOCUMENTS a; 

Fuerunt enlimatotes wr loannes Maria « barba Tartanis do Bricia p 
l«tus ei pnrlo Vironim nobiliiim rtomlnnnim Marci el Anlonii Marrirl 
et aer Domiaicua atraiaroliit preco ei parle aupratcripte miiliari!. 

Que DTnnia bona eitimaU fuerunt auris ducalU quingeDtiB el vlgtii 
pro pirls elui dolis videlicet due. Sio. 

(Venerw, Arvhioio di Slalo, Proprio-Mobili reg. 5, t. 370, IV i»93-) 



Ml 

J. BoiTBOi BKL MSBCtl-IB PI SsT* P. N. Db Bh.CCI 

In Chriiti Nomine Aram. 

Anno Nalivilatii eiuadem miUe?imo quingentsFimn quidrageaimo die 
vera Veneris quinlo mensis Novembria indicliooe lerlio decioii. InTen^ 
Urium rerum, i>t bonorum apotbero a terico He rations quondam bonora- 
bilu Viri ler PiMalit Nicotai de Brachtia ■ terico poslle in RiToalto. factum 
et deacriptum per me Bonlfacium Saliauum □□Urium ad iaaUDliam Domiae 
Lucretio oioris aer Yoauiiis Petri Vita sororis. et tanquam Comitsarie ex 
(Mtamenlo oiuadem quondim scr Paicalis rogata penes mo Notarium >ub 
die il mensia acllembrit MDXXXVII ibidem preacDtis et rsquireDtis eliam 
promiaM signo f) lequilur ut infra. 

UnapcKedrRamGrcmcaiom,' IiOOO de b.' 78 ;^ 

Una pciia do Rato CremeiiD m.* lo5oo de " 78 — 

Una peira dc Haio Cremeain in.* 1 1000 da " 5x — 

Una pciiade RaMCremeiin m.* i[5oo de ■' 73 — 

Una peiia pc Raio Cromeain m." t jooo de '• 74 J^ 

Una peua do Raw) Cremojin m.* loSoo de " 75 Ji 

Una poua de Raso Cremeiin m.* de " 68 ^4 

Una peiia de Ram Cremoaia de " 71 J^ 

Ilem una peiia de Raao Crcmeain non coma m.* Io5oo . de " 79 }i 
Una peua do Baso C. non coma m.* i looo . . , . de " 7a — 
Una peua de Rato C. non conta ni.' 1 1000 . . . . de " 7! J^ 
Una poua da Raio G. non coma m.' 10000 . . . . de ■■ 7! — 
Una peiia de Raso C. non cnuia m.* 1 i5oo . . . . de " 7^ — 
Item una peua do Raao Pavonauo Crcmeain non coma 

m.* 9900 de " 79 — 

Un Caveuo de Raau Paonuio Cremeeio Don coma m.* 

10000 de ■■ 55 — 

Una peua do Riao Faooauo Crcmeain non coma m.* 

9000 da " 7! ij 

Una peua de Raaa Pannaua Crcmeain non coma m,* 

ii5oo de " 70 — 

Una pou de Raao Paonauo Creroeiin non coma m.* 

10000 de •■ 78 — 

Una peua de Raso Paonaiio Cremcaia m.* gSoo . . . dc " 73 ^ 



a8o DOCUMENTS 

Una pezza de Raso negro oonxa m.% loooo . . . • ' • de b.* 70 — 

Una peua de Raso negro coma m.* i i5oo . . . • ' . de " 89 — 

Una pezia de Raso negro coma m.* io5oo de ** 80 — 

Una pexia de Raso negro conza m.* de " 7^— ^ 

Una pezsa de Raso negro desconia m.* de " 'jkyi 

Una pezsa de Raso Rovan conza m.* 9000 de " 74 — 

Item Gavezzi de pani de seda de pin sorte zo& 

Velludo Paonazzo uno brazo e meia quarta b.* i €f}^ 

Damasco Rovan "89 

Damasco Rovan "10 — 

Danusco negro '* 11 3 

Damasco negro "63 

Damasco Gremisin "3 — 

Damasco Rovan in 4 Gavezi in tutto "4 — 

Damasco Paonazzo in 4 Cavezi "53 

Damasco bianco in due Cavezi "93 

Damasco Gremisin in due Cavezi ** 99 

Velludo negro uno Gavezzo ** 3 9 

Raso verde in uno Gavezo "73 

Raso fesiachin uno Gavezo "9 — 

Raso Rovan in uno Gavezzo "6 — 

Raso negro uno Gavezzo '* 9 — 

Raso negro un altro Gavezzo " a6 9 

Item tabi negro senza mangano "11 — 

Tabi bianco senza mangano . . . . • "3 — 

Tabi Rovan senza mangano " i3 3 

Tabi Paonazo Gremesin manganado "193 

Tabi Turchin Manganado *' ^—^H 

Tabi Paonazo Gremesin senza mangano "31 — 

Item due Gavezi de Raso Gremesin conzi ** 37 3 

Uno Gavezo de Raso Paonazo Gremesin conzo " i3 a 

Item sede de pili sorte zoi 

Orsogli Paesani L. 10 9 

Peli filadi spagnuoli rcmondi "io3 — 

Peli filadi spagnoli non rcmondi '* 53 6 

Orsogli spagnoli remondi, et non remondi '* so 6 

Ugnoli spagnoli tondi "47 — 

Torti spagnoli tondi *' 4o — 

Ugnoli Galavresi '* 56 

Item Malifili " 

Item Peli fior di Morea, et GalaxTCsi "si — 

Sedaze de piii sorte " 48 6 

Fior di Morea et Galavresi ugnoli e dopij " 3^ 6 

Doppioni " 3 — 



DOCUMENTS 381 

It^ni orwglio CremiMD I., i a 

Tmih» Paonaiii " 3 i 

Item Rocholi lie ornoglio CremeuD Q.° 13 ...... " — t}i 

Trims Boasa do Voriiu . *■ 3 3 

Tcitoglio Pionazio " t — 

litem una baUaii con li tui peii oipr marchi et udo bruo- 
Ur do ferro. litem Ctstcio do Balleg* a." XVII. et akuoi 
Bochelli. litem uDO Cavciio de Panno DCgro illo b.* - ■ " a4 — 
Actum Venetiis in Hupnscripta Apotect ■ lerico atipriicripti qiiondim 
tor Piicil» nicolaj de Brachiii potita Id RIvoalto presealibuB ibidem 
Hoanrebilii Virii D. Joanes Maria Zonla quondam D. Luco Antonij, et 
Mr Alopio Guarini de BargaaliJB tostibus vocalia adhibitia et rogalii. 

Eiuidem Anno et iaditlone die vero Veneris dcc'imonono tupnicripli 
iDUlrii NovembriE conlinuando lupTiKriptum iuvenUrium ad iaelaiitiam 
lapraicnple D. Lucrotie ComJitarie in Damo habilationia lupratcripli 
quondam >cr Paaqualii in Confinia SS. Apuatolorum rapcria fucruot in- 
frucripti bona Videlicet 

Cromeai Marchiani in uno lacho li qual pcsano alia lUtil 

coniputando lo alio lACO L. ittr) — 

Creraew negro in un allro sao po«a ul lupra " i55 — 

Item Irame fior di Moroa remunde et da romondar . . . ■■ g4 — 

Item iiQO cavcio de Rcttagtio doro B.'l3^ 

Un allro Cavcio do Beslaftnodoro " l6!^ 

Uno Caveio de Boatagno dura " l3^j 

Ud allro CiTOia do Rchtagno dora " tl}4 

Item Pani •carlaliiii alii che aono in sii la volta ditta dalli 

Corona peie cinquanta una cioi PeioSi — 

libro de Boltega ordinario Dopio aignado A. 
cororto da cuoro rovan scritto fiaa caKe 107 con lo sua 
Zoraal cbe priucipia adi primi Mano MDWXVI. el U 
partida dice por Cassa a ser FrancoKo de Chriato- 
pholo di MuBchi cootadi da lul ducali 10 val L. 1 gr. — 
r ultima paiiida adi 37 Oltubrio MDXXXX par Caua 
cr ZuambaltL»ta Anlelmi conladi da Domenico Tanle 
I nuova per la obligation de L. 3 al meao io pin Rade 
da primo Zngno MDXXXVIII como appar in libro de 
accordi. et qui lotlo dlttinto vidolicet Ducati Xllj g. t 
p. 17 fuora L. 1 «. 6 gr. 1. p. 17, 
Actum Veneliigin auprascrlpta lK>mo habitalionii suprascripll quoudam 
«cr Ptscali* in Confinio Sanctorum Apoalolorum proaeotibus ibidem aupra- 
■criplo wT Alojulo do BergonlliB. rt Magialro Joanne Antonio quondam 
Joannis de Naioleoii de vollelina pelinano de dicto conBnio teatibua rogatia- 
(Ven/:ia, Archivio di Sinto ^ InquUilori di Slalo — Htgatro TestamenU 
ri70-l692. Bulla a." 912). 






DOCUMENTS 



bmriuo Coasn 

In Chrirti nomina Am.n. Anno D>ti>iutis eiusjem milledmo quio- 
gcnteaintDortuigesiino qi»rlo lodicUoue Duodeciou Dia lunae muHo 
deumo nieiuii nia;. 

iDvenlino do lulli 11 bem mobili rilrov.li ndls o.a ddlhJriIi«one Qu. 
CI.— n)e». Loreoio Correr, dim dipiissimo di S. M»rco pracunlore, posU 
imU* coQir) di S. SimeoQ GraoHo fallo ad intlanUa del CI'" met. Aiuolii 
Correr fo del CI™ m«. Hjeroulmo el del mag" mei. AimoIo Cottct to 
del a— VLmbmo per nomo «uo. el del m.g™ mei. Ma rt:' Antonio >ua 
(^ in eU roiuor ciMtiluilo, tutli napoli del twdclto q. CJ™ procuralore, el 
queslo eon la prCMlu* «i inlervcnto delli CI"* mca. Bernardo Zana fo del 



Hiei 



'' K.'. ct olim digniss 



o di St Mar 



1 procurator ct del 



S' Zuane Comer fo del O" mes MarD'Anl*" Comuni parent! d'esn mas- 
nifici Gorrari el prima: Bauili quatro d'argonto uno indortto, ot I'altri 
COD unpocho d'oro«cbielli. et unoOvato; Runini n." qualro doi dorati rt 
dd ■chiclli d'argento ; Una coppa col »uo copcrlo dorata d'argento ; doi 
golti dorati d'argeDlo : Una follocnppa con un gollo, el coperta cho fa Vaw 
d'acqua lulU dorati d'argenlo : Tro tcilto coppe : Olto Candelieri d'argento : 
Uno Mchiclclo con doi maneghi d'acipia ; Uno boMletto da Zucaro dir- 
^nlo — qualro laliero d'lrgento — qiialro bo»oli da speliaria d'argento 
IndoTRti con la >iia piria d'argento ; sedici scuUcri d'argento — Una apiii- 
marola di Zonghia d'argento : — Vinli pironi d'argtrnio — Doi pironi d'orali 
col maoego di Criitalo: On Torcicrctlo con maneghi di CorteKo, et altre 
cotette di pocco momcnlo — Uoa talitra di ramo dorata — Do diamante I 
facetle piccolo ligalo— Doi relogeti piccoli — Un forcierello piccolo con 
una medsglia, et coo un pondonia, ed doi allri pendonti piccoli di diaspro. U 
quali luLti argenli furono ritrvvati in un acrigno di ferro — Una pannalier* 
d'argento con doi cortclli el doi cuchiari d'argento — Una ecudolla d'argento 

— Una Commission del CI™ procurator Correr fomila de lame d'argento 
eleopertadi veluto — Una filia de toodini do diaspro, con una roiDlla — 
CinquB cuchiari d'argento, una vagina de quoro fomila d'argvnto con an 
pirone el cortctlo col manego dc diaspro — Scudi trcsento e cinquanta «etl« 
6 meto, Un Ongaro — Gechini conto e cinquantanove — Moneda ducati 
quaranta^ Moneda e qualrini ducati aoanta : Ducali mille o vent) doi in 
tanta moneda — Una corona roiaa d'oiio di Spagna — Una CampanelU di 
argento. 

In Camera granda Doi qnadri, Uno con I'effigie di Papa Gi«gorio XII 
Corraro, et I'altra del S' Antonio Corraro Cardinal: Una littier* d'orata 
con quallro pirnmido con il pomolo da pavion ; Otto Cnsse de nogara d'orata 

— Una tavola di pielra negra con li >uoi picdi d'orali. Un para de Cave- 
doni di bronio lavorati et d'orali con li cuoi fomimenli — Dch atramati 






DOCUMENTS 

Un paglisHzo — Un» Vesia ducal di raso cremiBioo fodrali dc tpbolini — 
Una Ducal Hi raso CrrmieiD fodr* Ai lovi cervien. Una ducal dc r»o 

odra d'armolini, Cno Ducal de uia negra fodra dc martori. 

I do panno pannaito fodra de dossi. Uoa ducal de aaia negn 
Todra de varl. Von ducal dc psnno negro de volpe. Uai ducal cioi fodra 
do doBsi neota coppria — Una ducal de Van fodrata KDia coperta — Una 
Romana de damasco ncgra fodrata dc martori — Una RoDnana dc Zambe- 
lotlo negro fodra de lebelioi vecchi ^ — Una Roroana de daniasco fodra de 
rocolini — Una Romana de lambclolto fodra dc conigli — -Una romaua de 
zambelotto fodra de volpe — Una Romaoa di fcrandina fodra di code 
dc marlori — Una Roniaua d'ortueeln fodra ds accDali de marlori — Un 
Gonellino do lambelollo fodra do Gambotli — Doi vesle ducal Cremisine de 
labi — Una ducal de damasco fodra d-ormfisin cremeain — Una ducal de raso 
f;rcme«ina fodra d'orroesin— Una ducal do (carlalo fodra dormeain — Do! 
ducal depaono pavouaiiD fodra d'omioiD — Doi ducal de panno no^o fodra 
d'ormesin — Doi vealo ducal do pano pavonajio eeuza fodra — Tro dural de 
lambelollo paonauo col mariio — Tre dtical de lambelotlo seiua inariio 
negro — Una ducal da vcludo cremoain fodra d'ormeain — Una ducal da 
■mbaiciator do "reluta nogro fodra d'ormenin — Una ducal de rano negro 
fodra di felpa manca le gionlo — Una ducal de raio negro fodra d'ormoiin 

— Una ducal do labr ugnola — Una ducal do dsmaaco ugnola — Una ducal 
de raso ugnola — Una romana do raso vcccbta fodra d'omtesin — Una ro- 
mana de damasco fodra de folpa — Una d'ormesin imbnlida — Una di voludo 
fodra di damauhelto — Una d'ormeain — Una dc ra»o fodra d'ormoiin- — 
Una de raso fodra de frlpa — Tre de damaico ugnotc Doi de lambelolto 
cromiain, una Todra di goton et I'allra non — Una vestina di ormssin 
paonaiio imboLida— Una vealina d'ormcsin cremosin — Una vostlna de lebl 
fodra di veludo — Una veslina di voludo fodra di folpa — Una veUina ugnola 
di rajo — Doi ve^tine di damaacbo — Tre vesline d'ormeain ugnolo^-Uo 
capotlo de damasco fodra dc felpa — Un capollo di canovaia fodra dl raw — 
Un capollo di canetaia fodra dl tafatk^Un ^upon paonazio di raso — Un 
giupon de labT mariialo cremisin^Uo sagioUo di iimbelolto negro fodra 
di rovcrso — Doi lupponi di damasco * acachi — Doi lupponi di raso negro 

— Doi inpponi d'ormesin crcmesin^Un paro di braghcsM di damasco 
cremesin — E)ni para di BragbosM di raso paonaio — Un paro de bragbesse 
d'ormesin cremesin^ — Un paro de braghcsso d'ormeain nogro — Doi feraroli 
di forrandina — Un feraniol do lambelotlo — Un mantel do aaja con la coda 

— Una atola d'oro all'c ba»o — Doi atolo di velulo cremesiu alt'e basso^ 
Doi itolo di velulo cromosin ugnole — Una atola di voUilo paonatio—Tro 
atolc di panno negro — Doi atole di saja paonaia — Una stola di acarlato^ 
Una porliera di veludo liircbin ricamala d'oro con I'Arma Corrara in moio 

— Tre porliera de panno cremesin lagiade- — Una porliera do panno rosao 
cremoBiD intagia de vehido verde- — Un fomimento turcbin de damaicho 
con cordclle d'oro da litliera da campo con suoi forcieri et alramazz! ^Doi 
cosMui di veludo cremesin — Doi cossini di veludo ncgro^Una collra 




DOCUMENTS 

lerJe — Tr« cellre bi'aoebe di t*l» b 
Un* coltra da nio colDmbia lodrt da tela ula — Una colln > 
4 lodr* di Ml rosu — L'o« colira de raso giiU fnln 
biiDcbe — Un baiiclialelo de nto turchin mn fnuiu 
d'ora^ Uu* Mipncofwfia da tella di Telado oogm da cavakar — Una aopi- 
coperU da adU di corune— I'd panon di ns«tti cremicitia inl^a de n» 
Tcrde — Ur pavioD de wmita (Irica di cordelle larcliii>e — Un fbmimeato 
a ciibi da liltiera d! damuco rcrde vecchio — Un romimeiita ■ Cuba i» 
Ubi T«n)c ml mariio — Un fomimpulo a cuba de borglio di aeda vachio — 
Va fomimeDlo a cnba do panao rerdc intiero — Tro collTioe d'onnoia 
basao da Gnotra — Ua tapedo da iD^nocchiani di veludo cremian — Laa 
coUrina d'onueiiii giallo fudra di tela turcbina — Un pa&oo da lavola >erde 
vecchio Uriiado di leludo giallo — DodesA brua de veludo negro in pom 

— Doi capelli di nso cremedn — Doi fadoti da teste ^Un lapedo da UvoU 
pernan — Un tapedo cigiarin da li>ola quadra ~Un tapndoda latola simit- 
casa longo braia wile e ipeio — Un ajlro Hmile Wgo braia cinque — Un 
Upsdo limiicaia loago braia cinque e Ire tjnarli — Un altro aimile Icmgho 
braia qualro e mem — Un tapedo pereian longo olio braia e tneio — Un 
iapedo turchesco da lavola lungo b.* diese e mej« — Un tapedo aimiKin 
lougo b.* tic — Un (Iramato alia lurchetca dj Iapedo— -Tipeti da una 
aimticasa n." olio — Tapedi da cassa moKhelli n." dieM — Tre lapodi da cua) 
vecbi n." Ire — Olio pem di raiio a boneagia luadi per romimenlo della 
camera graodc — Olto peui di rauo a bo»cagia per romimenlo delta ramcra 
del pergolo usadl — Selte peni di r»«o ■ bnscagia uiadi per fomimenlo 
dclla camera eopra la Callc dll pislor — Cinque pcni di ruii a bosragii 
d'alteua di b' tre in circa con tre peiielti per Ic fiiieslrc ot aono pel forni- 
mento del mcti d'oro — Cinque peni grandi el ipialro pinoli de raui a 
figure per romimenlo delmeiado )pp.° quello d'oro — Cinque pcni de rjizi 
a figure vec4:bi per for° del mciada wleva habilar i) Ct ' procurator — Qua- 
lro \teai di apalicra col Anna del Papa et Cardinal Corrari — Doi peui de 
raui avaniali d'una muda ctic forao vcnduli lagiali — Vent! pcce de spalicn 
a btocca con I'arma di Cl Correr^ScUe portiere e( doi peuelli picoli — 
Un peno di tpaticra a boscagia anlico — Un fomimento d« quori d'oro deDa 
Camera graude — Un fomim" do quori d'oro dclla Camera de) pergolo — 
Un romimenlo de quori d'oro nolla Camera topra la calls del pistor — Un 
fomimenlo de quori d'oro por il poKigo uudi cod doi quori d'ora per lavole 

— Un fomimenlo de quori d'oro d'uD Camcrin toleva habilar il CI"" pro- 
curator — Doi portiere di cuori d'oro coo I'Anna di Ca Correr — Un »lT»- 
maiio di raso verde della lelicra — Un pavion de mutsolo biancho — Doi 
Cordclate — Quarautaciuque faciolotti da n»o de rcmio — Comcm n' at 

— Sef9(intalr£ camiic da huomo ^ Trodisi facioli da man-Quatordeie acuffie 
imbotlide — Cinque para de calsette di tella — Un eomeaio di rovenn — 
Un paro di calicttc di roverso scaveto — Qualro entimclle grandc et qualro 
piciolc— Pecc da tcsla Q' lo- — Cinque para di calsetle di lella — Un bulla 
di boUoua ugaolo scnia manigba^ Qualro brata i 




DOCUMENTS 



a85 



n I'efigio 



Oltanln olio lovaglioU novi — Sip lovngHoli novida man^Unn tovagli* do 
mao Duova — Treotalr^ maatili — Dodesi lovagUoli uovi caa i capi poitiii 

— Dodesi tovaglioli Dovi con I cap! poslizi coo gaii strangolali — Diets 
(ovaglie da man — Quatordose lovaglioli alruatl — Do! lavaglie da mm — 
Cioque peuoda barca — Olio pczzc da barca — Uodcsi para ds linsioli novi 
COD i Eapi poslici — Sella para de linaiol solilli — Nunvo para de limrioli 
groasi — Uo linciol vccchi» — Dodeso para de MncioM che aono nei letli — 
Manlili in Mer h' 60, de slopa — Scllinta lire de liti Dlado aulil — Veoli 
lire do lio dn filar — SetUnU lim do Rl do ilopps — Diistnlo e leBsanta 
lire de pcltri di diyene sorlB^Qualordcso rodolle — Venliquatro Ira Ala- 
barde el Spedi — Dodoei A.1abardo fornilo do vcludo — Otlo arcbi Ibraiti lUa 
turchesca co' auoi Carcasi — II Scudo di Caia col Elmo et Slocco — Dodesi 
lancie — Doi aloDdardi — Una bauderuola — Una Turchesca. 

Nella Cameiv ove soleva liaiitar U S' Pi'Oc^ 
Un quadro eon I'effigio del PalriarchaCorraro^Un quadro 
del S' K' Corraro — Un lellicra do nogbera con la Cuba — Doi ■ 
un pagliariio — Una (ilzada rossa — Una collra de rasa imlolida ^ Una 
lavoJa de noghcra — Sei cancghe dc cuoro di uogbera — Niove fcagni di 
noghera ron la copcrta di voludo — Un paro do Cavedoni di lataii — Uno 
■crignatto de laton — Una scrignclto di noghera — Un Krilloiello picola 
oopciio di cuoro — Dai cabsc di noghera inlagiadc a mcia scala. 

Nella Camrra di donna Andriana : 
Do! Caue di noghera inUgiadc— Un muaa ca»> di noghera all' antiea 

— Tro acagni di noghera — Un forcier da campo^Una Ciina de noghera 

— Doi hotie d'acqua riosa grande — Un prescpio da batliiar indoralo — 
Una mpiiaCasaa inlagiadadi noghcra — Una Casiia di nogliera — Una sella 
aJU (urcbeua da cavalcar — Littierc indoraile in pcci con altra sorts ds 
legooini et latsro veccbie posto in sofEUa — Dodesi larghe alia lurchesca — 
Tre busle da viaggio — Una valisa do cuoro— Doi capai da pavigtioni 
d'oraLi, el rolU — Un lello da canipo — Un letlo da carapo vechio. 

In Seraglia piecola : 
vecchie, el casso vcccbie. et allri rottami, piii Inslo da brusar 
loi — Una cariola di noghcra. 



che d'altro — Una forfe da 

In taffila : 
Un Torcicr da eampo — Ca»o n" eintjne -vecchie — Caseoni da Tarlni u" 
cinquo — Un armaro — Quatro slraniaci — Doi pagliarici^Doi Cavezali — 
Qiialro Cussini — Doi ca:<ie di noghcra ialagiado — Un armaro da Upe- 
larie — Un armar veechio da lihri— Uoa lavola de noghera co' suoi piedi 
su le cadone di delta soffila — Una litliera de noghera inlagiada airantica, 
el alq' lincie su detlc Cadene — Un scaguo di veludo rollo~Una bioca 



386 DOCUMENTS 

Ntl luoyo liout ti fa pan : 
Vm fogheri granda con il mo r«[>ercluo <1« ferro — Vau bunUnuii 
•111 Ifdesca — Una f^moU — Doi lelti piuina too UD> roperta — Utl lUncil 
el paiiaruc4 — U'ni fo^era da camera — Qualro concoli da pan. 



InS. 
Do! Kagiu di Doghen — Tre bouB da eaiie*e{la di sligno Vut asa 

Piilll di banda alia fnocete ovali n" 63 — Una rinlnKadm di mw 

— Candelieri n" lo — Una conca di ramc — Tre wchi di rame — Vu Mchia 
grande cho si liene onliDiriameDle al pouo — Doi cane di nine — Doi 
■calda vivande de latoD — Sctte caue di Terra — Un l)roQU> col mo coifr- 
diio — Doi cazio di rune da broetlo — Una |»delia d* cufiDar ovi granJi 

— Una licarda di ramc — Nore candelieri damaschim parte roKi el piria 

buoDJ — Qualro ttagnade — Doi caldiere — Uo cap«lletta di ferro Udi 

ilagoada — Doi dagierc. una granda el una piccola —Tie cadcae da taogi 

— Trwpedi — Ud parti de catedoni di fcrro — Tre fersore^Tre gradelle — 
Ud feral — Tre scaldaletli- — Ud mortirde broiuo con auo pislon — Uo bacil 
Yeccbio — Una moletia vecchia — Doi gratacau — Doi trcpii. 

Nel laogo eiei iguataro : 
Doi cavaletii con uno Btramauo et ud pagiarito et una aJiiaviaa — la 
(olGtIa in una casta doi stagicre grande da mercanlia — Una tatola da lunr 

Ncl magazea Mia Ukui : 
CinquB pile di pietra viva^—Doi farnelU con le lue caldiere — Una cam 
da liscia — Doi maitelli — Tre loUe da lavar — Una plU da olio granda. 

h Tinello : 
Una lavola con un pano verde vechio — Dot bancbe da seders — Panni 
rosti a coUone aLlomo. 

/n Camtra di S' Angola: 
Un Uvolin di nogtera lavoralo^ Uno specchin con la raiia di legno — 
Un qiiadro d'uua luadooa con S. Is^ppo — Tre scagnelli de noghera — Tre 
carieghe de uogLera senza fraiua — Tre scagni di noghera. 

In Camera (Tot-o; 

Un lello di piuraa — Un pagliariio — Un capeuale — Una litiera de 

noghera — Una collra di bordo^Un uoralello — Nove Caue di no^iera 

- — Un stramaio. et un pagUoriio cl un capeiale — Un paro d« (^avgdum 

di Inlon con una molella et uu ferro da Tuogo. 



Uni imagiiiedi u 

— Scagni di noghcri 



Nei 
Chriit 



DOCUMENTS 

■:aili de S' Amolo: 



287 



Un Krillor di DOghera con diverse cosctte 
~ Caneglie di nogberi rornile ili cuoro 
con irauie — Una lavDla dt Dogtiera con una copurla roana — Doi meil 
forcieri da cimpo — Una lavoletla da cuntar soldi iatirsiata d'svoglio^ 
Carieglie forriile di veludo crcmcsio — Una carioga fornila di cuoro rosto 
per dormir — Un Uvolin coo ii euo velulo di aopra vecbio di color vorde. 



Nel ituiUo 01 



\o per la maggior parte iibri di diueni aulhori : 

\ euo capezale. 1 



Ntl mezado de tn«. Guci'tiier: 
Li suoi paui verdi attomo — Caviletti di ferro — Tre ilramaui. un 
cappciale — Uoi Cossini coti Ic loro ntimello — Una coltra di raso vechia 
— Un altra coltra di lei] ■ — Una 6tiada liianca^Un tavolia di Dogbera 
con un pano sopri — Doi torcieri da campo — Doi cariegbe di cuoro — 
Doi Bcagni di DOgbora. 

In Camera del met. Hier^° : 
Puini rossi atlomo — Doi pag;iariii — Una UvoU load*. 

In portigo da baSio : 

Va feral. 

Nel me:ado del tpeniUtor ; 
Doi slramaci, doi pagliarici — Doi achiavioe una roua, ttna biuci — 
Una collra vecbia — Doi caricghe di paglia — Una (avola de noghera con 
un pano aopra — 11 meiado la mils foroiLo de pannl verdi vecbi — Ua 
paro de Ctvaletti de ferro el un par di legno. 

In la Camera di lemitorl : 

Doi litliere di Cavaletli di legno — Un pagiariio, un atramaio. un 

raveial — Una (cbaiavina — Una coverta bianca rolta — Un pagiariio — 

Un lelto di piuma veciiio el uu caveiale -^ Una tchiavina — Una coperta 

aiura — UnalavoU. 

Nel mezado one toteva ilor H prele : 
I.i «ii»i panni lali allorno a collone — Una lavola di nnghera — Un 
forcipr da rampo — Una busla da canipo — Una cariega rolla — ^ Un p»g- 
liariio, un ecaguo — Un par di cavaletli con le sue tavole. 

Nel mezado del dattor: 
rotto — Una tsvola di no^era — Carieghe rornile 
In pagliarizo, Doi ilnmkci — Doi eoltre. un Capeial 



i 



n<» 



388 DOCUMENTS 

Nel mezmio M S^ Proemrmtar: 

Una Uvola di noghera coo li tooi piedi el *^»— **llit — Una eariaga 
dormir comodo — Carieghe n® 3 — Un altra Cariega da far i moi }iao{ 
— Uo par de cavedoni co parte di looi fomimenti. 

Nel Miadio : 

Una busta — Libri di divene torti di Gooti con tuoi cnoii d'c 
attomo. 

Nel mezado del S" Mareo : 

Tre forcieri da campo — Uo par de CaYaletti di ferro — Doi ttramai 
no pagiarixxo — Una coverta biaoca — Una corerta di raso naraniata- 
Doi carieghe, tre icagni, un capexal, nn cusiin. 

Inventor to delle robbe che $i hano condotio da Padona a Vena ei prima: 

Quatordet i pezzi de panni Yerdi soraialli — Panni Yerdi depinii pa 
19 — Panni rossi sorazalli pezxi n° 4 — Panni rossi ickieUi peaii n. 7 - 
Panni zali con oro pezzi n^ 5 — Una coperta paonazza di damaico odd 
; suo bancale — Doi couini graodi di raio rosao con Gordelle bianche - 

! Doi picoli al simile — Uo adomameoto da letti — Coaaini afomiti n^ 4 - 

Un paviglione di seda a Cuba coo il suo fomimento — Un parigiooe c 
bavella vergato — Un paviglione di panno verde a cuba con il suo forni 
meoto — Uo pariglione di seta vergato con il mo bancale — Gaaae n* m 
con suoi tapedi, 6. 

BianearU : 

Linciuoli sotilli para n^ 3 — Lincioli grossi para 4 — Una busta co 
cortelli 6 — Pironi sie — Cuchiari tie — Tovagioli a5 — Sahriette 4 - 
Inlimelle para i — Mantili 6 — Pezze da cusina 4 — Quadri grandi 4- 
Doi para de cavaletti dorati di ferro — Quatro para de cavaletti con le lu 
tavole — Un ciel da paviglione — Setto stramazi — Pagliarizi n® lie - 
Capezali n? cinque et un letto di piuma — IX)i littiere a cuba — Dc 
collre verde et doi schiavine — Sette Carieghe di corame da poggio- 
Tavole di noghera n'^ tre con li suoi piedi — Scagni di nogara n® xi- 
Un par de Cavedoni da Camera grandi con cinque ferri ed il foUo — Dc 
para de Cavedoni da camera con ferri sette et candelieri n? cinque - 
Settanta un pczzo de peltri et doi cadini — Una padella da torte et n 
spedo, una Cadcna ed un paro de cavedoni, la fontana et rani|ba ecc. 

{Venez'uif Mateo Civico). 



DOCUMENTS 



IlTIRTlHIO PoLlUin 




DU 7 jmuvij 1590. 

Qarissima domiot Miria relicla quondim Clirissim domini Hieromini 
PoUfttii quoadam CUriwiini doiniui Jacubi. Posl quam comprobaitit d« 
nit docte et re proiniuB ut codbIbI eiu« vidimonio Id prpwati offilio ellen- 
cito lul) die 17 decemiiHi (iroume pietcriti presealivit boaa inrraicriplB. 

Una veslura de Uliio do ■rieDto et oro t opera uiida — Uo'iltra ve>- 
lura de veludo ■ opera iacirnado c biBDCO — Va'ailta de broccadello da 
tro colori uxada — Lu allra de ormesia lallo - — Un'nUrn pjBcchiadi — Va 
allra do brocadcUo de quattro colloH — Un allra de ormesin da pravema 
bianca con Cordelia d'oro ^ Una maniia do lebellinj covcrta de vuludo a 
open con dodese boltoDi do perlelle da ctua — -Una vuiU da dona da 
veludo a opera negra — Un allra de ormesin rergado nova — Un nitra da 
brocato oegro ^ Ud iltra de ormesin Dcgro Blraiado — Un allra de dama- 
■chetlo a opera voccbia- — Una veslura de brocato canellado uxada— Una 
carpolta de broccadoUo do piu collori uiada -~ Una carpelta de velluda 
lallo intagiada voccbia — Un habito da donaa de fante da raao sguardo — 
Un altro de pinno biancbo — Un Bcbiavoncllo de tella chiara lavorado 
veccliio — Un ventolo do pagU col manego d'anenlo — Una fodra de cai^ 
petia de voipe usada — Una maniia dc marlori voccbia coverla d« veludo 
a opera — Un venlagio. do penaa oegra — Ua ipeccbio di crislal rollo con 
la caua intagiada e dorada — Cuori d'ora aJti briua igiiallro braua vinli 
nova e meuo veccbi — - Cuori rossi el doro el arxento braua ciuquania Ire 
aiti quarte dieie mcia veccbi — Doi rornimcnti do cuori d'oro a Iti quarto 
dieM meia de pello numcro 3i-j — Coverlo da tolle dc cuoro rosw tra 
voccbia et nove numero cinque — Qualiro ijuldri de relralto con le lous 
d'orade et inlagiado — Un quadro di un Crislo uno delta ccua et udo del 
ooitro Signor che fa oration luKi con le eoaie dorado — Qualiro cuasini 
de cuoia — Sci caue do noghara intaginde et dorado coa la lilLicra com- 
pigna ucsda — Sei tapodi lalH da casea — Un Bpoccbio de aiat — -Doi 
quadrelli veccbi el doi piti grandi — Un pavion do grogran cremoiio in- 
lagili de raao lallo — Una logia da Pivioo — Un lello do piuma — Un 
■Iramaio — Un Pagiaio — Do! collrc de Soria dcpenle — Una coverta de 
grogran crcmeiin — - Un pavion do dainaubclto crcmesin et lallo con li 
>u« copcrlB el banca letto ^ Itasi a ligurclle brata Ircnla un, alii braia 
qualiro — Spaiiere a boechagia alto quarto dieto braia vealinovo — Undeii 
tapped! cimiscata da caua uiadi — Trcdese camise da dooa bone el dodeie 
vecchie — Ud lapedo a marcbe da lolla alto braza Ire mcio tango braia 6.3 
— Un pavion dn grogran crcmcsin achletio alio braia clnquo — Pauni roau 
a collori alii braia Ire quarto braia quaranta — Doi para de cavedooi de 
lalton con luoi fomimenti — Qualiro para do leniuoli do lella la voradi da 



I I r ■ IT * 



F* * I ifc ir« > 



k^^A..,.. 



■B^ 



^— >i»— ?»— C- »fc» «»- J— fc Wi^ n tUHml 



pwj — QmH« pars 4i IhhE ^ lMM(n — L'a icagM ^ aopn 
pi^MaMpkoDlo — Hm^— ^c^b» — Doi AifB^e— Ua per 

ill n ifi-"- — ■-- '-' «-^--.-c--j — J '— i^'' 

frtto te *»ca — Efa« pBM J> kns p«M— U> «nUI Id««> kM Mi 
— Dni amam Je Afca U» »a- *t Am 4a •«*«•— VuU ipMlIra 
ll^ibl Jl fciMii M^ii — Cm can ^ xi^Ba ^iiaia «■ aw pccola— Dot 
tdHtnit liwHIn ■!*» pnnfe— lU MMtaE pM«S at In picnli — 



Qm ^Hia Mfra Arti ban wtwiiili fawurt 4aMti 
octngiMb Mfla^Hb briboi pro pwto «iw dortii Ik *S;S. 



(L'tmrMorio (Una ruO* ift^m RmattM Stfmi dl PflMdi). 




i 



DOCUMENTS agi 



G — DETAILS OF EXPENDITURE FOR 

BANQUETS 

/ 53^ — adi XI marzo. 

Spese fatte per el mtgoifico meuer Hettor Loredtn Official tile Ruon 

Vecchie per It venutt in quesit Cittt dellt Dlustristimt Signort It Sig>- 
nort Rbomet Duchesst de Fertrt come per It cent de hozii et per il 

disnar de domtn fttto a Ghiozt t lei et lut comptgnit et tltre tpexe et 
primt. 

per came de vedello L. 348 1 1. 5 It lirt . . • • L. 87 — 

per came de mtnzo L. aSS t s. 3 It lirt • • • ** 37 — i. 16 — 

per came de castrato L. 497 1 1. B}i It lirt • . . '* 87 — 

per cortdellt et figadi ** 4 — i. la — 

per capretti la t L. 3 s. i5 luno " 45 — 

per ctponi pert 90 a L. 3 i. 10 al paro ••..*' 3i5 — 

per columbini pera io5 a s. aa el paro *' Ii5 — a. 10 — 

per pani n*' a463 t §. a Iudo " a46 — §. 6 -^ 

per Yin bitnco big. * 3 a L. i3 el big.^ ....*' 39 — 

per vio negro big. * i4 t L. la el big.® . . . . " 168 — 

per lardo L. 38 a s. 7 la lira " I9 — 

per stliizoni L. la cremonesi a s. i a la lirt . . . " 7 — §.4 — 

per ovi n. aSo a a. 5o al cento ** 6 — §.5 — 

per ovi freschi per la matina n** 4o a a. 3 . • • . " i — a. 6 — 

per formaio dolce parmeaan L. 17 a a. 10 . . . . *' 8 — a. 10 — 

per descolado de porco L. la t a. 6 la lira . . • . " 3 — a. la — 

per onto aottil L. x8 a a. 7 la lira " 6 — a. 6 — 

per noUo de cento taglieri de attgno " a — a. 10 — 

per oglio .' . •• 3 — a. i5 — 

per aaedo L. a latte a. 3o — in tutto " 3 — a. 10 — 

per zucharo fin lire 6 onze 90 a a. i4 ** 4 — a. i4 — 

per zucbaro fin tolto a Cbiozt *' a — a. a — 

per zucbaro de Madera L. 16 a a. la la lira . . . '* 9 — a. la — 

per naranze i56 a. aa — limoni 5o a. a8 in tutto " a — a. 10 — 

per apetie dolce et forte " a — a. 10 — 

per zaflaran ** a — a. 4 — 

per garofibli et pevere *' i — a. a — 

Sommt L. i a38 — a. a — 

per zenzaro peato L. a. 10 — 

per canella pesta fina a. 10 — integra a. 10 in tutto . ** i — 

per uva paasa a. 8 mandole L. 10 a a. 4 la lira in tutto ** a — a. 8 — 

per far maaenar le mandole ** a. la — 

per mandole compertte t Cbiozt *' i — 



dga DOCUMENTS 

per MlaU peretemolo herbeCte par le toite od altro 

herbe oUoee , , |^ ^ §.1 — 

per m1 negro et biancho «« ^ i.i~ 

per qMnxi man i3o •« j Elo- 
per favt el bifli , . , , «• i t.7 — 

per granzipori et granaeola •• ^ t.is~ 

per acquarota lire 5 •• , 1.10 — 

per ceriese •« 5 

per acqua metta nelli poii del poteiU eC de aer Alex- 

andro Roia •• ^ •.« — 

perspago §.9- 

per candeUe de mto L. 8 a a. 7 •• j a. 16 — 

per caodelie de cera mazi do — Torn ao — <|aarelti 

n<» i5 — fo L. 300 a i. ia>^ lalira . , . , •• ^^5 

per confetti L. xoo a §. la la lira •• 5q 

per pignocade L. 46 a s. i3 la lira •• jg g, |« . 

per marzapani L. 49 a s. la la lira •« jg g^g. 

per ztiche lire 2o a s. 30 la lira •• ^q 

per amesi confetti L. a a s. la la lira •••..•« 

per meglio et sorgo per manzar di poli •• 

per Malvaaia tolta a Chioza •« 

per carbon sachetti 17^ comprati a Chioza . . . •• 

lume •• 

per malvasia q.* 1* cum la q.* «• 

per legne carra ao^ tolto a Chioza §. 33 . • • . •• 

per fassime fasai et zochi •« 

per candeUe de cera tolte a Chioza «■ 

per farina •* 

per scovoli •« 

per stores per far perfumego • . •« 

per ingistere 94 — gotti 1 39 tra peni et rotti, boccali 

et cadini. — In tutto •• 

L. 

per fachini et barche et gondole per le loprascritte robbe L. 

per noUo de gotti ed ingistere •* 

per homeni 6 serviteno alia cusina per zomi 3, ed 

altri servitij a s. i4 per uno al zomo . . . *• 
per femene 3 et un homo serviteno a lavar in cusina '* 
per uno homo aervito al scalco preditto ....*• 
per do barche conduseno le robbe li homeni et li 

cuogi cum le sue massarie a Chioza ....<* 9 -^ 
per una barcha cum homeni 4 steteno al servitio del 

magnifico messer Hettor Loredan zomi 3 a s. 3o 

al zorno per uno '■ la — 



I — 


•. 4- 


« — 


•. 4- 


3 — 


i. 17- 





a. 33 — 


19 — 


a. 5- 


i5 — 


i. 4- 


3j — 


a. 16 — 


3 — 


1. i3 — 


I — 


1. 13 — 


I — 


■. i4 — 


1 


1. 3 — 


1 — 1 


1. 16 — 


j5 — 1 


1. 11 — 


4io — 1 


'• 9- 


3 — 1 


. 6 — 


I — s 


• 7 — 


8 — . 


. 8 — 


I — • 


. 4- 


• 


. 16- 



DOCUMENTS 

per pitj tpeio del lorno se sndo a Chioia in dilta bam 
per con to ■ P^rniet cl Fompagni porlo vin et le^a i 

pallaiiD a Chioia per lorni dus 

per uDs barca fu fpaik da Chloia Veoelia una letlera 

a posta ot lorno a Chioia una letlera della Sig- 

Dora fo iodIb bomeni do in dilta harcha . 
per una bari^a conduste ie robbo do cuogi el tuUa la 

masnarla a Venelii el lorno cho venc la Duchenaa 
per barcba una So sptii per la Signori a Chioia cum 



lei 



peru 



ar)3 



ot 



per 1 cuogi (ono 3 masln cum Ie 

5 Taiaegli per do pa>ti per peraona da 35o 

per barche 1 4 a homeni 6 per barchi a a. 3o per 

homo li qiial romurchio burchi et barche della 
aopraicritla Diiehessa come per fede del magai- 
fico poleiti da Chioia appar — nelle qual barchs 
m bomini 8 poata nella dilta id 



rUia . 



per el 



:1 aoalco 



opraicritlo 



n el >uo (amej 



n compagno di 

per Belts barbieri venoro da Veneiia el lervi di Ire 
official! 5 per uno 

per ono notlro homo «olicilb tuiti li allotamentl io- 
tiema cum ol forior della Ducbeisa el do cut- 
lodia di e^si ct continuamente Tece che Ie camera 
fuitero ben apartde , . , 



^^^^ Speie della robba fu tnandata alia casi 
•era vene la Duchota de ferrara : 
per vedelli 6 >ivi L, j5i a a, 17 et coato 
per capretti 1 3 peio L. ijo a ■. 5 la lira 
per caponi pora 3o a L. 3 b. 10 ot per . 
per colombini pera 60 a a. 94 el per 
per polaslri pera 3o a >. si el per . . 
Dsr came do manzo lire 19a .... 



del Signor Duea de Ferara U 



394 DOCUMENTS 

per lengoe pert 8 a i. 3a el per L. is •. i6 — 

per malvaiia moscatella L. 7 — per el carrettello per 

metter la ditia •• 37 §. 5 — 

per torzi i5 — quaretti a5 — man 4 de candelle da 

iavola gardenalescha pexo L. 9a8 a §. ii}i . . " i4a t. 10 .. 

per speiie dolco et forte L. 3 a t. 44 " 6 8.1a 

et zucaro fin pani 10 L. as a s. i4 " i5 t. 8 

per laffaran onze 6 *« g 

per pani n.° 1000 •• 5o 

per vin bianco big." 4 a L. i4 " 56 > 

per vin negro big.° 4 a L. la *« 48 -^ 

per una barcha de fachini porib le soprascritte robbe 

fo bomini doi iieteno tutto el lomo . . . • ** a •. i5 

per uno fachin serri tutto el zomo '* i 

per barcbe ando a tuor li vedelli alia Zudecba . . '• a. 8 

per scortegadori mazo li vedelli loprascritti . . . '* i — a. 4 — 

per noUo de do botte per metter el loprascritto vin . *' 5 la 

per un facbin porto el pan in barcha *' a. 3 

per barca fo per avanti in piu volte *' i — a. la — 

per una barca vene li compagni a tuor le tone la 

prima volta " la — a. la — 

per facbin porto le torze in buzentoro a S. Marco ** t. 7 

per confetti L. 4o a s. la ** a4 — 

per marzapani 16 L. 64 a s. la " 38 — a. 8 — 

per conto alii piifari sono in buzentoro quando vene 

la duchessa fo de ordene de mc5ser Piero Antonio 

Michel compagno " a4 — a. 16 — 

per conto alii fachini porto el vin alia casa della duchessa * * a — t. 8 — 

L. 8ig — 

per do botte et un carattello fo porta alia casa del 

duca de Ferrara per la cena fo messo cl vin den- 

tro et fo ritenuti li ditti amesi per el mastro de 

casa dicendo che erano stati anchor quelli donadi 

et che erano sua regalia ** 10 — a. 10 — 

per sachi 5 li fo dati cum el pan *' 6 — 

per torze 100 fo manda al busentoro pexo L. 817 et 

fo de L. 8 et do L. 10 et de L. la a s. ia>^ la 

lira monta L. 5 10 s. la delli qual fo restituito 

torze 61 — pexo L. 43o a a. io){ la lira monta 

L. aa5 a. i5 quali fo abbatter dalli soprascritti 

L.5i08.ia — fu tolte alia spitiaria del Cuor retta " a84 — •• x 7 — 

L. 3ii — a. 7 — 

L. 819 — 

L. iiao — a. 7 — 





m 


wm 


f DOCUMENTS 




t.95 m 


1 idi 17 msno. 




1 


Spew fatto per U lollationo cl iotdo delU fe«li rtando Is 


Signor. 1 


duchcisM in biiicnioro, el fo ipparocchinU ilta Dohanna 




colUlion in buiontoro governaU per U compagnia ot prim 


a: 


■ 


1 p«r spoDgade d." 63 lolte dal opitier delli Pigaa a 




^^^^B 


Sua Polo pcio L. 700 a B. 34 la L L 


84o- 


^^^^H 


per Taogi, piNtnrhiero. et caliuom, dot, pinlachiere L. 




^^^H 


ig — foQgi L. 85'^— caliHoni L. 96— In tiilto 






L. nio'i cum le me coperlo lulloda lucharo fin 




^^VH 


etdorideas. ao ■■ 


a3o — 




perpignocade L. 8B;i a a. iSIalira " 


57- 


B. 10- 


per boiolladi 100 fu Talli per le mtiDege della Ce- 






lealia pieni, el por allre upose faUc per li dilti 






per oro et allro '■ 


5i — 


- 7 — 


percoFifelliL. Sooa*. 13 U lira " 


d8o — 




per leriiia L. 60 ;^ a a. 7 lalira '• 


109- 


. 6 — 


per boioladi inmcharadi d.' 3oo a a. 1" luno et per 






fugaiinen." 5oo a (],"a al loldo '■ 


'7 — 


. 10 — 


per vin bianco big.' i viccnlin dolce a lire 17 at big." " 


68 — 




per vio Dogro big.' 6 a L. 13 al b!g.° ■' 


■J3- 




per tavols deponte et civiere per portar el presenle 






della ducheiat per metter iolto li ipoDgade . . " 


4 — 


. 16 — 


.gio- 


'9 — 


per Dollo de tavole et Iretpedi L. 


, — 


. S — 


per iogislere n." 35o perse et per gotti lio persi — 






In lullo " 


45 — 




per boccaJli la grand! a i. 3 tuoo " 




. 16 — 


per corbelle 3o a E. 7 luna ■■ 






percariege 5o a t. i luna per porlar in bnzenlDro 












per condutLura del vin al magazen alia dobanna in 






barche et fachini •• 


3 — 




per conto a sor Piero Antanio Michiel per piu apeie 






fatte per lui '■ 


33 — 


. iB — 


per conlo »1 depentor depooso le apoogade . , . " 






per battoni have el ecalco per li conipagni fu com- 








6 — 


. i5 — 


per do homeai servi quel tomo " 




^J 








>1 magazeD alia dohanoa ■■ 










^^^H 


iiio conlo appar per piii speie falto . . . . " 


35 — 


^^ 


per coDlo aUipiiTari mintoaui s. G •• 


io — 


1 


per una bare* aorvi ol lorco a do remi " 




2 



ag6 DOCUMENTS 

per tpeie da mtiuMr per li homini lenri d nmo el 

bardiamoU L 9 — i. i5 — 

per cooto t Zuan Muit dal Gometto per U fua per- 

tona dtcordo icudi 9 " 60 — s. i5 — 

per conto al vitto per caparra della musica granda '* i35 — 

per coDto a ler Piero Antonio Michiel compagno per 

barche 6 depenie per far largo " i6a — 

per conto al nonxolo della compagnia per le regate 

della lUiifirissima agnora come per mandato 

appar due. lao " 744 — 

per fachini et barclie porto li torn in buxintoro ** a. la — 

per bandiere n.^ 38 cioi brazsa 18 de tella a a. 9 — 

franxa brazza 84 — L. 4 *• 4 — fattura de depen- 

zar B. 34 Itina L. 33 — s. la — in tutto . . . " 45 — t. 18 — 
per una bandiera de cendado cremesin per la barcha 

della Signora braxa un e mezo L. 9 — !• 6 — 

fattura et oro deUa ditta L. i5 — franza creme- 

sina onze 3 a L. 3 longa L. 6 — In tutto . . " 3o — s. 6 — 
per nollo de mezolere 34 " x — t- 4 — 

L. i385 — t. 17 — 

per una mezolera pena L. t. la — 

per pififari todeschi et trombetti n.** 6 *' 30 — t. 5 — 

per violoni 6 *• ao — s. 5 — 

per contadi a Zuan Maria dal Gometto per resto della 

musica granda ** 83 — s. is ^- 

per trombe squarzade n.® 4 cbe ando avanti la eola- 
tion adoperati nella regata et battaglia . . . " i3 — s. 10 — 

per conto a quel del fontego dalle campanelle cbe 

sona nella musica granda " i3 — s. 10 — 

per bozzoladi inzucharadi Goo ** 6 — s. 5 — 

per conto al scalco zeneral govemo la collation scudi 
5 per bomeni la send alii zentil homeni alia 
ditta collation cbe tono sotto scalchi a §. a4 
Inno L. i4 — s- 8 — In tutto ** 48 — a. 3 -* 

per tre barille vuode fo messo in barcha de com- 
pagni piene de vin as. 3i luna et con li 
sestini <• 4 — •. i3 — 

per quatro caneveri tendete nel ditto zomo . . . '* 4 — s. 16 — 

per fachini et barche fo tomato indriedo tavole 3 

spedi botte et altre robbe " 9 — 

per torzi So da L. 10 luno fu accompagnato la Sig- 
nora in buzintoro a casa fo consignati alli com- 
pagni pexo L. 470 a s. 12}^ la lira se abbate lire 
4o s. 18 per torze brusade tornade indriedo resta *' 353 — a. 17 — 



DOCUMENTS 

tirocbs cum enla nuoro 



brua 5, 6 per loruj ii a s. ao i 
farocba da mooiigiior arciptMOpo 



8 — 
'9 — 



m conla ADtODio Zuan Maria Moroaini javio de 
ordetii por lo meUer in otdetif delli paUfichcrmi 
at fo per avanti hc^bbeli dilii csmerlenghi per 
name inio adi g maio due. 76 vale .... 

m conta alia llliislrissima Signori ducheua di 
Ferrara ducali milte d'oro in piQ fiado comeo- 






inclui 






3 juita lordeue de coUegio m)DO 
17 fu per lorni 10 continui . 



ducali 1088 «. 17 fu per lorni 10 continui . . " 6760 — 
{Vaiaia. Arch, di Slalo — UffieiiM aUt Raton vtcehia — Notatorio — Htg. 



k 



D — MARRUGE CONTRACTS 



COTTT 



n Ftm 



i 



Die quinto Januarij 1506 [m. v.]. 
Coram MsgnificiB ac Gencroais Dominis Thadeo Coatareno «t Joanna 
Cornario hnnorabilibtia Aduocaloribus comuDii compiruerunl viri aobllea 
sor FantinuB Zeuo quondam aer Autonij, et aer Franciicus Veaerio quon- 
dam ler Alojaij uti coininiiuriormn quondam viri nobilia ler Joaonia 
Alojiij Diindulo quondam »or Leonardi : ac viri nobiles »er Leo di Molino, 
et ser Leonardus di Motino fralres quondam >er Nicolai quondam wr Leonii, 
uli sponsi, ct uti commiBsi Dominanim Andrisne ol Laure Dandulo Gli- 

publico inatrumenio manu Georgij de Majuardi* notarii public! diei 17 
meniis Januarij i507 more Imperij, nominal! in iofrascripto coolracto. et 
juraterunl hunc esse verum et auteoticum nolarium juxU legem «uper- 
iodo edilam, cuius tenor tali* eat: 

Al nome do Dio et del Spirilo Sancto. e de h glorioaa madre de Dlo 
Retina noalrs le Nobel Done madont Andriana el madooa Laura Eiole cbs 
fo del Magnifico miter Lunardo Dandolo quondam miser Piero, lono con- 
lenle luoj- per (uo miridi li nobol bomeni miser Lion da Molin et misar 



jgS 



DOCUMENTS 



Lunirifo FrBclr'Ui Goli To del Magnilico misor Nicolo d« Mdin To dc muer 
LioQ. et lo dile lulc do ao obliga el promette dar per dot* et coriodi ducad 
siomillii km ducili 6000, •cgonda U pirla nova, e, prima promeUv. e 
Gu»»i IB obbliga le prodilo madona Aodrlana. e Madona Laura a i sopradili 
miter Liou o miwr Lunirdo por dola el coredi de Ic dile done do. ducali 
600a Bopradm, a queilo modo toe, una caxa di (talio pcsla Id San Luca 
hv cl Canal grando cum sue bolcgo magucni ct riue soto la dila. in la 
qiial al prcsCDlo lo dile Iiablta per proiio Cl acordo do ducati doamillii « 
rinqiieconto, loe duciti l5uu. llom una can meua in el confio de 5. 
Polio con una torren vacuo, cho vien lopra el Canal grando, la qual un 
nprcBHi raiur ftitUMaoa Bernardo puga de fito ducati vinti al ■nno. qucrto 
HI mctto dacordo ducati ijualrocculo c cinquaota coc ducati ibo. Ittem 
\p dito da una caia cum buo Icrrcn vacuo, potla ■ San Vido vien topra el 
(jaual grando, psga ducali vinti, cum tiile luc habentio, s pertinaDtia 
dacordo in ducali j5o. zoo ducali !i5o. Itleni una ponsONian de nmpi 
Yinliuinque loe a5 torre, cl csmp! □." cinque loe cinque de boschi, in 
Into campi n." Irenta loe 3o posle in la villa de Rubegan do con de 
Mosire, paga de Gto llara vintiEio formenta Irivisaui, cara do e mam (in, 
o porcho, ct lo Bue onorauiD dacordo in duciti >ic cento loe ducatt 6c». 



llleni 



quar 






mi»scr Liioardo Dandolo quondam mister Piero do sue grarcite el lauie 
i qual moula ducali aciccnlo vcnlilrc toe ducali 633. litem aiienli per 
ducali Irownlo. llteia contadi ducati duaento. Itlem panni de aeda et 
robo per buo vcslir per ducali iiKotito xoo ducntj 600, ouendo cuhi sli- 
niadc. litem uno crodito al officio di camarlengi fhe >e dicno hauer *l suo 
maridar per una parte prcia in prcgadi ducali ccnlo quaraoLa a>e ducali 
i^lO. Itlem promotle de dar uno crodito de danari conladi posli no] 
bancho di Lipjiamaul i qual dice bo liaucra subito de contadt tooo ducali 
cento e dieso 100 ducali 1 10, e ducali cento do pro corronti che dlUo 
bancho 11 ha obligadi a miser Zuan AIuIk Dandulo quondam miter 
l.unardo fradello do le dite. meto a ducali 37 el cento, che summa le 
BoprsBcritle parlido ducati bio milia too ducati siemillia. di qua! do teni 
Eo die meter in carta, Cl uno tcno so inlende esser donadi ali dilti fradelli, 
BPgondo ueania do la Icrra, de la cpial luta lopradila dola che «ara mem 
in carta che sara ducali qualromillia i dill fradoHi *e le chiama lopra luti 
I sua boni. do lo qual tule le aopradile cnaae alabcUo como poBsesaton et 
monte nouo, et Dllro cho i dili abudo in dota da le dile. Into o parte do 
quello CO inleuda per paclo eipressa cbcl sia in liberia de diti fradelli 
quelle poler vcndoro ad ogni euo bon piagor. 

Con qucala condiclion che i ducati qualromillia che i sara messo in 
carta a le dile done votcndo i dili euo maridi vender el ctabolle dadoga 
in dola che i dili possa vender, ma cum quesla condiclion, che I dilti 
assegurs tu allro itabclle de i dili fradelli per (solo quanto li vuendera 
come e tuslo ot se loccorosse cl cargo de la desolullon. quod dens auertal 
de quaiche uno de loro, haueudotH (eftituir luna, duet lute do le dote« 



DOCUMENTS 



»99 



no quplla parte chc tara mcssa in carta, in qiieslo caio el se dechiara cho 
■IrouaDdoHiO di tapraKripli beni zoe del *tabcllo pOEses&lon. o moDto 
Duovo, el Ilia id liberta He i dil[ maridi, oucr bud hercdi. rottituirli do 
quelle coise ■ le dile done, per el inodo ot prexio cbe loro Ic abude, a- 
■eodo le dite ouer suo hcredi obUgadi luorto. ot ai per caio ol fosse bla 
falo spcxa alguna, ct natime nol Blabollo, quelle liaoo oDtimate, o per la 
slima et mi baliiaDO a luor. luta volta volcndo ciusi i maridi ol luo heredi 
|ir<<|;andn miser Domenedio i coDBcnia longamcnie lute le parte : 

l.a dimiiisoria p«r vigor del roaiduo lasado a le dite madona Andriana 
el madona Laura per el quondam misser Zuan A-lvi^o Dandolo suo rradello 
Mtno le sotoKcrite cosae e, prima mobele do caia c ducali qualroconto loe 
Hiic. 4oo< litem el alabclio de Sao Barlolomio cho bou caio cum la riua 
In quatro (iUion. paga ducati otanta, cum quarto dodoie via di qua) do 
ten! son libcri cl uno torio condictiooado ; el libero son ducali ciDquanta 
gro»i 8 al anno, e quarto olo viu. Ittem zoio ct poric per ducali dunenlo. 
ittom uno roilo de pro corronli son ducali nonanta do! bancho di Lip- 
paraani, i acritto a miser Aluiso Dandolo to fradello. Itlem al officio de 
le caiude certo soprabondante de una caia fo veodiila per dito ofEcto son 
ducali cenla e cinquanta. litem alguni altri debili per ducali ceolo a 
cinquanta. litem id banco vcchio di Ganoni ducati qualrocenlo e Betanta- 
cinque loe ducili j65, de la uiUma mita de danari de dito bancbo, le 
qual Bopradile coase sooo el se iutondano per dimissoria de le dito do flolle 
del quondam miter J.unardo Dandolo, come herede del quondam miser 
Zuan Aluise suo fradcllo come per el loUmciilo spar : 

Promcttando le dile dona dc mantegoir tuto qiicllo le k dado in dota 
a i Bopraditi miaer Lion cl miser Liinardo suo maridi dc mantcgnir et 
varenlir sopra li sua dimisMiria sopradita, e apecialmento Kipra el stabeUe 
da San Bortbolamio che le dite hauo per so dimissoria. et tuto quelle le 
60 atrovassTTo hauer per conlo de la dita so dimlesoria el tuti i allri suo 
beni comodocumque cbe le podesso avor et aquiatir 

adi i^decembrio i5o6. 



mi Andriana el Laura Dandolo sci 


no contonte ut 


supra. 


lo Fsnlin Zen fo do miser Anlouio como con 


nmcssario de scr Zuan 


Aluiso Dandolo eremo sla prescato 


a tuto quanlo 


falo de volunla dc le 








io Francesco Vanier fu de miser 


AluiMi come 




AluiiO Dandolo semo sta preseole a li 




^^hideus Contarcno Advocator con 






^■pMiuiea Cornario Advocalor comu 


nis eiibticripsi 






Paulus 


di Porria Officlj 


w 


advocator < 


i^munis coadiutor. 



{Vmeiia, Arehivio di Stato — .luo^ria dtl Comun •• ConlmCIf di n 
BegiMtro n." 75— CarU 60-41). 



3oo DOCUMENTS 

rSOfi Pif Xyif^ JaaaariJ [«. r.| 
GonipiniFniDl corun mkguiGciii IkuninU Thvleo Contareno. «l Jounw 
Corntrro hoiKiraliilibiis A^^vocitortbua Camtoxinis in maicn-j Oonulio DobJlii 
lir Joinnw Pi>i)o Gridoniro piler cpooaae. ot nobilis vir SebutJimn 
■ponsu* ConlarcDo: ac ler Bemardintu de Maiiinu mediator infrump- 
taruni DUptiirum et eorum jurameato iffinniruat hunc e«M tenim. bI 
•uleaticuiD canlricluin iuila fannam Icgis niperinde capU« ; Cuitu laDcr 

Laiu Deo i5o6 ia Venotia : 

U Rome ria de lo Omnipoleale Idio, el de la gtorion Venene Van), 
el M S|nrito Sanclo: Pacti el Convcnlion malrimonial celebndi In J 
□obeli homeni -. El magntGco miser Zutopaulo GradoDico To del magnifica 
miter Jutlo da una parte ct dukt SibailiaD Contarini to del ma^ifin 
miser Antonio da lallra parte cuni i oiodi et coodiction qui aolliMcripL 
e prima : Promctte el piodicto magDifiro miKT Zuampaulo Grad«iiigo id 
quaoto chel predicta mi>or Sabaitian CoDtarini coD»ei]U de luor madau 
Gradonica eua Gola per luo leplima ipota, et dilecta moglicr corns ceauai* 
Idio cl la tancla tnadre chiotia de darli per dolta e eoriedj duoti In 
milUa in (jueito modo : loe ducati 3700 contadi : i quali el baocho di 
miser Alujite Pitaoi li die promMter de farii la parlida immediale, dapni 
IranwlucU Ihauera la dicia madona Gradraiga sua moglier : Id quolo 
modo lOe ducali mille corrcnti. el ducati f^oo: in termeae de anai tre. 
loe el primo adno cheiera i5n7 ducali oclocpnio; el »ecuodo kiidd i5o8. 
loe mille cinqueceola oelo ducali 5oo: ol leno anoo sera tboQ, dueali 
joo : et COM per lo uesllr de la diets dona ducati 3oo - che suma id tuHo ; 
i topradicti ducali 3ooo ul lupra : Alincontro pmmelte el aopradicio nuMT 
SabiitiaD Contarini iipo«o de meltar in carta a la supradicta madona Gf«- 
deniga lua tpoaa ducali doamillia doro per doi teni de la supradicta data, et 
■ecurada lopra tuti i tuo bfai mobeli ttabeli preBenIi, el Tuturi. et ol reflo 
chc SOD ducali 1000. per el leno do li dicta doU li Taman donadi a] dicU) 
fpma tecundo uaania de la lerra: Item promelte etjam miwr Larcnia 
ConUHoi «iio Tradetlo, el auecura la topradicl* doli. sopra lull i sua beni 
mobclli. slabelli prosenli et futiiri. ct etiam dechiariuo cbc lulo qiielto 
che dicti fradelli *e alrovano al mondo hauex te iotendi ener per conlo de 
fratcrna, el che uno non co^osci uno soldo piii de I'allro : et ppr chiami 
tun io Boniardin dl Martini moann de le predicle Doce Krlpai percbJ) 
cu«Bi coneluai dacordo cum le parte, die Idio et nostra Doaa. i lisd oiuer 
loogamenle ct iniicme rum Baoila. pace, el coDtenlo, el fioli amea : 1&06 
in Venetia adi 31 dcceinbrio: 

lo Zuampaulo Gradenigo To do miser Juslo turn conteoto ijiianla k 
luprascripto: 

lo Lorenzo Contarini fo dc miser Antonio cum coDlcnlo de quinto a 
tupraicripto : 



DOCUMENTS 



To Sabaslian ConUreno fo da n 



r Antonio m(0 coDtealo tie ijuauto e 



wCora 



o Advo 



[tor Comuuis subBcripsi. 
ir Comunii lubKripu. 



Die XVII-" Jaauarij 1506. 

Ego Ludouicui tie ZamLcrlis notarius ofBcij Aduocarie, prMsai fui 
preseoUlioDi prosenlis conlracliis facLi par parle;. el nipJiatores mperios 
Domioalot el jiiramenlo per eos preslilo luita rorroitu lugis, el me iub- 
acripii preMQlibuE suprBscriplis magnificia DoDiinis Advocitoribui qui w 
eli«ni BubKripierunl ut supra. 
{V«ne:ia, Archif'io tli Stato ^ Auogar'ia del Comun " Contratli di lurze" — 

Rtgiiti-o n.' 75 — Carle BC-S?;. 



Marriage contract briuieen the Paduan nobleman Bonifaeio Conti and Bea- 
IrUe Cota:;a, of a noble foreign family lohiek had been natarali:eil.* The 
contracting partiei with wilnenet appcartd before Oie Anagadori del Comme 
and llie form of the contract doet not differ from the preceding. Bat the 
folimuing note in the wmaealar added to the Latin of the contract may be of 



M. D. V. Adi Xlllj notxmbrio. 
nifeeto a chi vidcri el presentfi 



In V 



me Del Millei inio 
e di sapTBScripto. nel nome da lo etemo Idio. de la Sacratitsima sua madre, 
del gtorioMi miser S. Marcho proteclor nostra, e da San Zoni e tuli la 
Celeste Carle, lo lUustre siguor Zuane Cossaii fimosUsimo coDduliero de 
Doslra SereniaBima Signoria de Venctia promotle la Mag." Midona Beatrice 
>ua lorella. per nome suo o de la lllustre M.* Malgarila lua matre, per 
legitima tpoia e moglicre a miser Bonifacio Cotile figlio del M.™ CoDto 
miaer Bernardino di Conti nobillo paduaao, I'uno e Tallra preMOle a qucslo 

' Natura Illation as a nobleman waa confarred on Stofano Coiazia 
(Kotaija'), duko of S. Saba. 1 1 November, l ibb, aod tbe grant is found in 
the Commrmoriali, lib. uv, c. 173. The Giovauai named in the cootract 
was no doubt tho last duko obliged lo Qco from his owo domiuiooi b; lite 
invasions of ihe Turks about i^So, aud became a Venetian. For hit 
niaiulenance the Signoria probably gave him a eondolla in bianco, or pen- 
tioD, as was somclimiis done. |Cf. Regeili CommemoriaU, lib. iv, n. i3.j 
The Cosaica familj became extinct in the nn cenlurj. The Conti were 
one of the ooblo families of Padua, of Lombard origin, who were Counta 
of Padua in the 11 centurj, and from lliia title Ihej took Ibcir family name. 
Tbe; are said lo have common origin with the Conli of Vicenie, from 
whom tbe Grimani are defcended. In faci, the arms of the two familiea 
are analogous. [Cf. verbum Conti in ifae Blaione vieentino bj Rumor 
l^Mixellanta dtlla Dcp." di Storia patria, Sea. 11, *, 04)-] 



3oa 



DOCUMENTS 



contralo. et Iti! fniscr Bonifalio promctlo iccoplarU per lua Ir^ilim* tpmj 
e mogliere. E per dole du la predita M.'-' M." Beatrice didi llluatrc 5ig- 
nnr Zuanne. per sua notno proprio e do U prcdicia Illuitrc M.* Malgiriu, 
obligindo I'un per I'altro in Eotidum c loro e luti gli suo i>eni presenti a 
futuri. promotto dnr et cum effeclo pagar a! prediclo Magaifico tni^er 
Bemardina Coote ducali IrGamillia d'oro, loe 3ooo : in questo modo : loe 
ducati cinquecODlD cODUdi t\ prescntu, e v(>s([r oltra qupsti la predicla 
Magnifica M.' Beatrice come haoo parlato insiome, »i de vcillmeDti come 
do iQggie etc. El residua da dicli ducati clnifucconta e quelli clie we 
■penderano in veitir dicta Magoillca M.' ot lupra in luio. aua tignoria 
pramelte per i aomi predict! darli cum cSetlo a] predicio M™ mii. Ber- 
nardin da mo ■ raeii dui procimi cbe hano a vemr. Et ii Antdo di 
Aleaandri citadin de Veuelia ho scrito quests de mia propria dud a dl e 
millesimo Kipra<cripto de volunla de le prodicte parlo le qual se aoloacrive- 
raiio di Bua propria maoo. Laut Deo. 

lo Margarita de Marchaao predita too contenta e prometo quanta e 
coma i aoprauricto. de mil man propria. 

lo Joane Coiaza predicto son coulenlo e prametto quaoto e ttato icrito 
et come et loprascriplo et de mia man propria o aoto scripto. 

Id Bemardin Conte per noma mio et de Bonifacio mio liol ton coDtaolo et 
prometo quantoet come i Eopraacripto, et. de mia man propria bo aotoicripto. 

Hieronirmus Quirino aduocatar u. 

Anloniiis Justinianus advocator h. 
PrezeolttuB dio XX novcmbrit i5o5. 

Andreas Paris 

Beheeen the note of appearance and llie text of the rontracl it found Ihr 
faltowing addition: 

Die X februarii l5o& [m. y.|. Juraueruot eliam utrumque Comei 

BemantinuB et Mag.'' D.* Margharila infrascripti coram M. D. HieronTiDO 

Quirino at Antonio Justiniano doct.. honornndis iduocatoribus communlf. 

(Cefteria Arch, di Stato— Avogaria del Camun, " Conlraiti di Nozze" — 

ilUti, Itg. I, e. I.). 

II. 
Contracts between Nititb CinzBss. 



Die Vlllapritli 1506. 

Comparueninl odicio coram Hagnlficia Dominis Adiocatoribus comu- 
nia Ventura de Camal mediator infra icriplarum nuplisrum. wr Jacobm 
aramatariua ad insigno pomi auri ct circumspeclui ser Albertbus Tedaldioi 
dncslis secrelanui inrranominiti. ct presenlavenint inrrascrifitum ooi^- 
tractum, et in omnibus el per omnia Juxta formam Iegi&. 

lesua. i5c>G. adi j april. Id Venelia. 

Nel nome de la Oivina Trinila. Padre e Fiolo e Spirito Saoclo. e de U 



DOCUMENTS 

gloriofa Vcricne Maria lua madre e de lull li sanrli. Quceto cODtrilo 
pratirado et coqcIuso per mi Veolura da Carnal meian Ira miser Piaro dl 
Etambcrti dc niliier Jacamo dal porno d'oni da uoa parto; et niKloDn 
Helena fioli che To del quondam apotsbela miser Chimoato TbesldiDi Mcre- 
lario do la 111."^^ Slgnoria do Vcoclia da I'allra parte, iu quc«to modo, aoS 
Cbel diciD miwr Piero luol et accepla per Icgitima spoia e moier la topra- 
dita M.* Helena come comanda Dio o la Sancta Madre Gieiia. cum modi e 
condition qui lolo •cripli. El prima promele miier Alberto ThraldiDi 
fradello de la sapradita madona Hekna aua lorella per dola o per Dome de 
dota de li dicU «ua sorelU al aopradiclo miser Piero ducati Ireiento d'oro, 
tochado li avera la roan, e duciti Ireieuto d'oro da poi transducla la dicia 
madona HelcDa, Item promotio ct sopradito miter Alberto al Eopradtto 
miser Piero due. loo al officio del sal del iSgi, i qualli prometo farli 
Kriver a ogni bon placer o voler del diclo miter Piero. Item promalte el 
sopradilo miser Alberto al iwpradito miser Piero una vestidura de veludo 
cremesin in do pelli [peuiP], una investidure de raio vorde, uD Inveslidura 
de damaschiii cremexin, una investidura de raxo bianco, e molle altre cossb 
per omamcDlo do la dicta madoDi Hctona. Le qual Eono nuove per valuta de 
ducati Ireicnlo. loe Ircienlo. le qual dcblano etser slimade per doj comuni 
amici. La qua] luta dota asceodera a la summa do ducati mille toll looo. 
Dechiariodo chol sopradito miser Alberto fradello de la sopradili M.* Helena 
promelle e si obliga lutti i soi beni mobelli e slabelli. presenli e fuluri al 
sopradito miser Piero Gna a la Integra satisfaction do li topradicli ducal! milJe. 
Dechiaraodo che miser Jacomo padrs del aopradilo miser Piero, e miser 
Piero iusieme cum suo padre tuol assegurar, e cussl asogurano la iopradila 
dota cliadaun de loro in parte o in luto per ducati 800, loi octoeenlo sopra 
lull i >oi beni mobelli e ttabolli. presenti s fulitri. B M sopraditi due. 100 
die ascendono a la summa de i ducali mille romagnaDO al sopradito miier 
Piero per don eorieri. E ouui le soprascripte parte sotloscrivcraao esser 
contenle di quanlo i soprascriplo in queslo contrato. Che Dio e In ma 
gloriosa madre Vencna Maria li lassi viveT lougamenle sopra la terra in 
tanila, alegreia e coosolitioD de te anlme e de corpi. Amep. 

lo Jacomo Ramborti *picicr at pomo d'oro son conlento di quanlo i 
■oprascriplo. 

lo Albertho Thcdaldinl ducal secretario q. miser Chimento son contento 
de quanta i toprstcripto. 

lo Piero Ramberti de miser Jacomo son cootento qnanta h sopra acrito 

Pranciscua Aurin si. 

Hieronjrmus Quirious Advocator as. 
e VIII aprilis l5a6 



{Veiutia, Arch, di Slato — Avogaria del Comaa 
U'ati, rrg. I. e. 61. o). 



3o4 



DOCUMENTS 



^ 



Laos Deo, adi k Agoila 1582 — In Venelia. 

Si dictuara per la preseole scHllura come d giomo de ho^[i li ha oon* 
cluw vero, el Ipgilimo oialrinianio (n il migniGcQ Signor Dioniuo Boldi 
(u deU'Ecceltente Signor Borlolomio et U inagniiio Signora CalLheriaa fo 
Gglia del maguilico Metser Aoioln Bertochi cod li patt) iufrBscrilli- La 
dole veramenle e la faculU ch« eua magnifica Signora Callariaa li Itoti 
Itavcr ioao le COM infrMcrile. Ic qual ghe le da liberamenW per dota. 

Una cass Id coolri de Sao Simeon graodo U qual ■! prBsente i Todi 
loliU alKtarii ducati l8. iLem un'altra casa tit domina Angelica FonncDlj 
paga de aOiUo ducali i5. Iteoi un'altra cata Bla damina Margarita vedoii 
paga de afiilta dural! lo. Ilem un'illra casa >la Nicolo ManiD paga da 
aUillo ducati a l ■ Un'allra cafelta ila domina Giulia vodaa psga de aflStlo 
ducati 6 ti motte per ducali 3^00. Item cavedal de monle novisumo n»- 
eidio. et cecha ducati io3o. 

Ittcin robbo per luo uto per ducati 5o. >ono in lutlo ducati tnmUle, 
et cioquecento, 

Et iu caeo de restitution dc dolte della noviua habbli a perder il Idrrtii 
M iia guadagnalo per il ^poeo. over da tuoi harcdi. 

S« ba da pagar a cinque monegbe aiti Amoli da Muran ducati 6a ogni 
anno finchi le vivo, cloi a Suor Gabrif-la ducili i5. a Suor Inncmnlii 
ducati t5. a Suor Eufratia ducati to. a Suor Concordia ducati 10, a Suor 
Pacifica ducati 10. 

So da liberta al detto inagniljco Signor Dionisio di vendsr eaai rialieli 
dumojodo li danari ^iano iaveBtiti in poiieation livelll. □ etabeli per legnrti 
della ditti dote. Et 10 Antonio Buora ha concluBO le aoprascritte nolle a 
die, milleaimo sopraiirritto, ct bo urilto de volonta delle parti. 

lo Ettor di Fraoceschi fui preaentc. ot tolloicrisu per nome detla topra- 
ECritta magofica madona Cattarina per non taper jcriver. 

lo Mattia Sabadluo fui presento a quanto di nopra ti cciDtien. 

Et in Dioaiaio Boldi conteoto a quanlo 6 di 9opra uritto. 
1601. die 5 Octobria presentata in officio Advocalorum comunii per domi- 

Dum Jacobum Bcrlendi nomine de Catberini Glia q. de. Angeli Ber- 

toccbi. suprascripi. 
(Vent:ia, Arth. di Stato ^ AtiogBria del Comm — Regutro 88, carte 23S). 

< The index or approbation of cittadinaiua orig'inaria per uJfUi di Canetl- 
Uria (SegretarC) begins with the year i56o. This contract of later data u 
Iborelore cboaen because it ii certain that the namea of the famllie* do not 
appear therein. 



DOCUMENTS 3o5 



E — SLAVERY. 

CoirT«*CT HM TUB PmcB*aB OB Slum, 

t588 a di 3 Giugno inVeDetii. 

Ravendo riuoluto Meuer Gio : Anbroiio Benedelli del Mag.'? Andrei 
■ndire In le pirti di Scgna, et tuogbi circoDvicini del Ser."*" Arciduca 
Carlo d'Auslria per cumpra de tcbiavi a eompagnia can ineaser Gio ; Audrea 
Deraice di?l q.'° Mag.'" Aalooio. si dicbiara per la prcieuta. che delta 
Beaedelli ha ricevuto iu conlaoli dal dello Gio : Audrea ducatli quallro- 
cenla correDll moneta di Veuelia per dovorli ioipiegara iosieme coo iltaDla 
BomiDi lua propria in detU compora dc tchiav! di natioD Turca quali 
havri a far condiirre o condurro n ipose commune in Genoa dove no fari 
veodita a quol ma^gior pretio >i potrli. Dichiarandoii, cbe tulti doi ti 
coDtcolBDD corror un iitosao risica di tuile quelle diigralie poleueno per 
qualsivoglia modo occorrere a delli acbiavi, ns la compra do quali detto 
Gio: Andrea >i cootenla, si rOHta loddiifalto, cbo detto Gio: Ambrosia si 
goverai nel modo. cbe inogllo a lui parert w nel prclio loro come nel coQ- 
durli per mire, o per terra in tulti quetli luogbi aaranno da lui giudicati 
piu cauti, et ucuri. Airincontro detto Gio; Ambrogio ae obliga darbuono, 
el real conto a detio Uio : Andrea di dclti ducaiti qiialtrocooto >i come dvlli 
ulili di eiji tanlo qua in Venetia, come in ogni allro luogo del Mondo, 
voleudo di pari voloula che questa ecriltura abbi quel vigors, comn se toiae 
instrumealo rogatopor niano di notaro pubblico renonciaudo I'uoo airultru. 
et I'altro all'uDo tutle quelle ragioni cbo « fare quanto eopra >i cooLcaa 
poleseero addur in conlrario. Volendo obe queslo negotio wgua con ogni 
amoro el carila come >a fra dui fradelli leguiste et non allramente. In 
redo di cho i'b falta la prenento quale iuKiemo coo un allra simile laranna 
wittotcrilto per mano di sudctli Gio: Ambrogio, et Gio: Andrea iu pre- 
senlia dolli infrascrilti testimonij in Venetia il Bud " giorno, inese. si anno. 

lo Gio: Amb.° Bencdelti aObrmo o promello quanto lopra d! mia maa 

lo Gio : Andrea Demice promelto e mi obbigo quaolo sopra di mia man 
propria. 

lo Giovanni Crinlorori preaenle alia BolloFcrltliono di queila. 

lo Paolo Ger. Galliano fui preiente alia aottoscril lions di qunla. 
(Vene:ia, Amhimo di Slalo — Miicellanta Gregotin — Carte piioate lee. XV~ 

xvrn, b. m (Sai.-sis.). 

KoTi. — Other records with contract] between the same pariios, relating to 
tlavei, are found in Uuetllaaai di AIti Diixrti ManoKriUi Jil:a I3i, 
/ok. 6). 



DOCUMENTS 



HiMOKumt or EtPBroimo*. 



. ig Giugoo in Fiuioe. 






Compra de SchiiTi ■ Compi^ia cod Giovuai Aodrei 
Dernioe, deie per ipe>e fatte da 1 1 ilaate, da Venetia 
(in qua in barci vilto e cavali el lUrg L. 

E ■ 31 della per rosta dci si laclieti per le eadene . 

E ■ 36 detio per villo e camera da 19 alia ten .... 

G ■ 17 d' in Segna per Barca e vilto da Fiume iid ijua 

E ■ detto e fu ■ iS ia Trieite per coito de 13 colari M 
illante {allre laale) mmele 1 L. 5. 5 per paro . ■ 

E per cotlo de 1 1 peio dj cideoi a loldi 3o 

B per porta di delta ferameDla a Cavalo 

E a a5 d' per datti al Canceliero per le feddi della Compra 
deUi Schiari 

E per pagati al Carceriero per lua mercede 

E per ipeie de vilto laolo uoiire come delli ichiavi da 17 
pauallo lino ad hoggi 

E 1 36 tuglio in Fiume per barci e speea de villa linto de 






o delli 1 



ardia 



baverk !■ soma del presente conto cbc aiaoti li tira 

E ■ 3t> luglio e fu prima per cotlo de i3 ichiavi el una 
•cbiiva. compri, dot 7 ■ ducsti io. cinque • ducali 
35, uno a ducali 35 el uo allro ganonelo per ducati 
li lutli da L. 6 che >□ K>ma kona ducali ^9^ da L 6 

E a d" e fu a 1& ia Segoa per fitlo della elautia dove alo- 
giavamo con doi letli 

E ■ 39 d" in Trieate per tpesa de vilto da a6 alia aera in 
Fiume como aoco per sirida cavalcalure, laulo per 
conto noslro como per li ichiavi e da 5 homiui ttdii 
per guardia el allro 

E per pigali a 5 soldati toll! per guardia aino a Segna ■ 



3pcru 

.la Mr. 



• per villo da sS all* *«ra cod ichiavi et altri 



E per dali al Cavalero per aprire le porte . . . 

E per pan. vin et iltro per barca 

E per ducali 38 per luo nolo a Giovanni Siidee 

Goto L. G4 

L. 3919.1a 



s6 — 

3o — 
3yig 13 

396i~ 




DOCUMENTS So? 

AH 31 Luglio in Venetia 

Compn d« «cbiavi ■ Compigni como idietro deve p«r U 

>omiui del conto > dietro tcritto L. 8919 ta 

E 1 3 ■goBlo in Goro per Bpes> ho hlio da Trleile per U 

vU de Veuetii in barche e vitto " 37 — 

E ■ i d,° per speae Tatle bone > Giovanni Matorglo o lia 

Aatooio luo figlio per il vitio de icbiavi et attri . . " 37 i4 
E a 6 d° a PoDle de Lsgo acuro per caroie da Francolino 

in Perrara liDO in d.° loco " 9 — 

£ ■ 8 d. in Brecelles per barca da Goro in d." loco Due. 

E per apesa de villo lino in d." loco *' 38 — 

E a i3 d." in Genoa per apese de vitIo cavalli nollo de fre- 
gala da Seslrl, traniiti ed altto da Brecelea lio qua in 

Genoa due. ao da I. 7 '* tjo — 

E ■ 5 ■allembre per spes* de vitto de idtiavi da i3 paiialto 

■ L. 3 )o mooeta di Genoa II di L. iB D. ii di L. 

7 10 moneta d'Venella " 167 lo 

E per L, 1 15 di Genoa per il datio de 11 ichiavi eitimati 

D-Sol'uno »5p. c°D. a8?ii. L. 7 10 . . . . •' ii5 11 >{ 
Hiveri in ritrsto de una achiaveta et hq Khiaieto venduli 

a Pietro KoV Gieiia per D. 133 }4 dal-i di Ueuova 

cLe a L. 7 10 d'Venetii fono " 918 l5 

E in ritrato de la ichiavi vunduli al S' Alleiiandro Clgatla 

■ D. ()& d'oro in oro I'udo. cbe 1000 L. SigS lo di 
Genoa e fano D. 8i3 ^ da L. A cbe contati a L, 7 10 

per duca to moo eta de Venetia " £179 — 

E io icosii per la speia delle a acbiaveta e a balls del S.' 

FurioMoliB " 3o — 

E in rilralto de ferramenla da vendenl liaiita in Genoa ■ " 

L. V^l i5~ 
L.,.37.5 



B a 5 lellembre in Genoa per D. to dalli a Gio. Battiili 

Valdetaro per la ^ del avanx) del ganone cbe lerve 

per 11 iuo«iUriod« L. 7 10 L. 76 — 

E per dilli I uno crovito lolto per luterpetre e ^ardia da 

icbiavi U. 4 da L. 7 10 ■• 3o — 

EperMuwria D. 5daL- 7 ro " 8710 

£ ■ 18 d.° in Venetia per apeil da Genoa qua con mio 

cugaalo D. i5 da L. 7 lu " 1 la to 



3o8 DOCUMENTS 

AcO 84 LagUo in Segm 

Bianio Stambadii da Lexena deve per Dacali i5o da L. 6, 
li ho laiciato per far oompra de ichiaYi turchi cbe alia 
giomata anderanno capitando in tatto como per il 
Gontrato apare rogato per mano de meeaer Gerolamo 
d'Argento Ganoeliero L. 900 — 

Haverd in ritrato delK i4 ichiaYi a L. 3o aco«e per la 

•peia fatta per il S' Furio Molia " 719715 



{Vmezia, Areh. di SMo^MkeelloMa di AUi Dioeni ManowerUti, filza iSU, 
fate. 7). 



INDEX 



^^^P INDEX ^H 


ABBonii, AoloDio, ctUed Scarp*- 


Anderion. Robert, i. aid 


gniuo. i, 68, loo, to3 : >i, 5i 


Andreioi. WbelU. ii. lo. ii-aa 


Acdemiei. 1.385-389; ii. 66 


ADgetl, Marino, hii Kheme of lltlen. 


Aecai. Uie. i. gon., 91a. 


i. 36n. 


AcquipeDdoBtc, Fabriiio d', i. no 


Anne, wife of Ladiilu VI. at 




Venice, i. 86; ii. 38 


Advocales. i. 3o 


AnnibaleofPadua, ii, 36 


Agauiri, Agoatino. ii, 33 


AnnichiQi, Frauceico, ud boiu, 


AgaelU. Beuedelto. «Dd Titi*n. i. 


i, 138 


190 


Appeal, i, ag 


AgncBo. BatlitU. i, ao8 


Aquila, Marco dal)'. ji. 37 


Agoilini. AgoBliiio degli. chronicloa 


Aragona. Tullia d'. ii. 35^-355 


of. i. aa3 


Arbilralon. i, 38 


Alberghclti. Ciovanoi. i. io5. lai 


Archilccluro. i. 97-110 


Albarghelto. Alfon.o. i. i3t 


Arttine, the. ii. aS6-3i7 


Albcrgo. the word, i, gin. 


Arotino. Plelro, on the climate of 


Albertl. Lctndro. quoted on the irt 




ofHur.no. i. .37 


market, 69; on paintings, 116; 


Albert!. Leop BtttitU. i, 3io 


teller of condolenoe, 166; and 


Alchomj. i. ai5 


Tintoretto, 17a; on Titian. 188; 


Alcionio. Pielro. i. aSt 


hia life and wrilinga, i]5-aa6, 


A]dLne Aodemj, i. i85 




Aldo, i« Mxiuiio 


plajwrigbl, ii. l3: on Odoni's 






Aloaurue. i. aio 


Harcotini'B garden, 6a -. on »/iU, 




I li ; on Udiet' reading, 163 ; on 


ii. ao8 


nobles in Iho churcbei. 17911. ; 


Amidi, FrancoKo. i. aag 


Ws moral*, ai5-a48 






tiiDs wilb regard to. i. lo-ti; 


rioa Comaro, ii. t6S 


col ebral ions at the recepllont of. 


Aristolclc. Nicol6 d'. caUod Zoppiiw, 


83-g$; bitriil of. ii. 307 


i, lion. 


Amelia. Plaeidio di. i. a56 


Armani. Viocenw. ii, ai 


Anelo Pailore. the. ii. i53-iSi 


Annomo. Fra Giovanni, ii. 11 


Amulio. Marcantooio. i, 3i8 


Armouriet. ii, 57 


Aocona, d-. OD th« popular longa of 


Arms and armour, i, i3o-l3l 


lUJj. ii, I94n. 


Armj, the. i, 43-45 



3ia 



INDEX 



Aron, Pietro, his book on the theory 

of music, ii, 3o 
Arrigoni, Francesco, i, i3, i4n. 
Arsenal, enlargement of, i, 43 ; the 

TatULt 43, 108; the great gate of, 

98 

Art, Venetian and Florentine, com- 
pared, i, lao; applied to indus- 
try, iai-i48; love of, among the 
people, ii, 60; immorality in, 
i63 

Artillery, i, 44 

Artists, private life of, i, i49-903 ; 
guild of, aoi-ao3 

Ascension Day, i, 9a, 94 

Assassination, i, 89 

Associations, i, 28-39 

Astrology, i, ai3-ai4 

Astronomy, i, ai4 

Atanagi, Dionigi, i, a3o 

Audcbert, Germain, poem in praise 
of Venice, i, i3, 4i« 64 

Augurello, Giovanni Aurelio, i, 
139, ai5 

Automatons of the Gaorlini, i, i3o 

Avanzi, i, ia8 

Averoldi, Bishop Altobello, i, 1 95 

Badoaro, Federigo, i, a86-a88 

Badoaro, Pictro, i, a3o 

Baglioni, Paniasiiea, ii, aio-aii 

Balhi, Gaspare, i, ao6 

Balbi, Girolamo, Bishop, i, ai4 

Balls, ii, iia-iai, 187 

Banquets, ii, 114-117, iai-i33, 
137-189 ; wedding, 1 85- 188, 196 

Baptism, ii, 19a, 197 

Barbari, de', plan of Venice at- 
tributed to, i, 60 

Barbarigo, Agostino, ii, 38 

Barbarigo, Cecilia, ii, 171 

Barbarigo, Niccolo, on Andrea 
Gritti, ii, 9 

Barb arc, Daniole, translator of 
Vitruvius, i, a 10 ; historian, aaa ; 



Patriarch of Aquileia, 337 ; his 
book on oratory, aSo ; engraving 
of an organ in hia edition of Vi- 
truvius, ii, 3 ID.; his museum, 
58; his villa, 7a 
Barbaro, Ermolao, created an acad- 
emy of philosophers, i, a85 ; his 
museum, ii, 58 
Barbaro, Ga^arino, i, 9i4 
Barbaro, Giosafatte, quoted, i, S07 
Barbaro, Marcantonio, i, 397 ; villa 

of, ii, 7a 
Bari>aro, Marco, i, 998 
Barbo, family of, chrDnicleri, i, 

933 

Barbo, Paolo, poet, ii, i54n. 
Barcelloni, Griambattisia, i, i3i 
BargagU, Scipione, ii, 161 
Barozzi, Elena, ii, 39 
Barozzi, Francesco, i, 910 
Baruzzi, Andrea, i, i95 
Basaiti, Marco, i, ii4, i56 
Bastiani, Lazzaro, i, 119, ao9 
Baths, ii, 359-960 
Battistt, Carlo, his text of the 

Ca/inia of Polentoo, ii, i4n. 
Beatrice, wife of Lodorico il Moro, 

ii, laa 
Beauty, type of, in men and women, 

ii, i4o-i57 
Beazzano, Agostino, i, 99an., 939 
Bellano, i, laa 
Bellay, Joachim du, satire against 

the Venetians, quoted, i, 3 
BeUi, Valerie, i, ia8 
Bellini, Gentile, character of his 

pictures, i, ii3, ii4, 119; his 

life, 1 49-1 56 
Bellini, Giovanni, modelled the 

medallion of Mahomet II, i, io4; 

his life, 1 49-1 56 
Bellini, Jacopo, i, 119 
Bembo, Bernardo, i, 980 
Bcmbo, Giammatteo, ii, 168 
Dcmbo, Marco, i, 907 



INDEX 3i3 ^ 


Bembo. Pielro. sonnet of, 1, i5i ; 




lelter to the MirihiDncs. Goo- 


ti«n of. i. 87 




Bongy. Laltanilo. i, 4G 


rapher, an : hii life, 33a-i3i ; 


Bonifaccio, quoted, i. 45n.; ii. 68n. 


bis Itbrtrj, 381 ; his miiMum. 


Bonifaiio, painter, i, loi. 117; 


ii.58; <inU.eg.rd™ofMur.Do. 


life of. 169-171 


65; hi. villi. 76-77; on hi. 




mislrou, 149; hit love loHor». 


Bonriuo, Alvise, ii, aa 


i5o; his A$olaiu. i5i ; his Molii. 




160; his Priapiis. :6j-i63; ou 


Books, i. 369-383 


M«rceU. Mircello. 168; on the 


Booksellers, i, 373 


death of his hrothor, aoi 


Bordon, Pari., painter, i, lot. 




117; life of, 174-177; and 




Titian. 189 


Banedelti. Giovanni BattiiU. i. 309 


Bordone, Benedetto, plan of Venice 


Beniocioa, GruioHi, of Ancont, i. 


by, i. 60; hhlsolaria. 308 


108 


Borgo, Pielro. i. 30() 


Benlco. Angelo, called Ruiisnic. ii. 


Botta. Leonardo, his account of the 


'9 


reception of the Tartar envoji. 




■.89-9° 


Rfrlina, the. i. 38 


Boja. i, aiS; ii. 177-178 


Bernardino, i. lil 


Bragadin. Marcantonio, ii, 31& 


Bernardo, Giamhatliila. i, 31 1 




Bernardo. Pietro, ii. aog-iio 




Beroascom. Ce.are. tiled, i. iBpn, 


Bregni. or Brignoni, the. i, 100. 


Bertelli, producer of atlase>. 1. ao8 


l33 


BeHololti. Gaiparo, ii. 33 


Brenls. the, ii, 71 


Bertrandi. Cardinal, ii, ao8 


Breacia. famed for arms. i. l3l 


Belussi, Giuseppe. hi> Rmxrta. ii. 


Brevio, Giovanni, i, 339 


i5i 


Bribery, ii. 334 


BiagioofFaenza. i. i33 


Bridge of Sighs, i. 35 


Bianchini, Vidcemo and Domenico. 


Brighi-Ua. ii. i5 


i. i38. i84 


Brioaco. Andrea, i, 133 


Bindings, i. 380 


Brocatdi. Domiiio. his lament, ii. 


Biondo. Michelangiolo. i, 3I3 


aot 


Births, ii, 190-193 


Broeardi. Pellegrino. i, 307 


Bleaching the hair. ii. 93 


Brocardo, Antonio, i, aSi, 333 


Board of Health, i, 54 


Bro Die-workers, i, 133-136 1 


Bode, cited, ii. i4Sn. 


Brulo, Alberto de. i. i33 ^^^H 


BoUani. Candiano. i. 3i4 




BoUani. Domenico. ii. 173 


Brulo. Eugenio. an ^^^H 






Bolianio. Fra Urbano, i, i5i 


Bruto. Pietro, i, 339 ^M 




BtiaDConiiglio, (liovanni. called H 




Maresolco, i. loi. 113 ■ 



^■^ 3i4 INDEX ^ 


^^H BuonMon^o, Vitni*io, called 


117: 00 poKelaiD, t35: or 1 


^^M Vilrutlo, iSi 


aUmped leather. ,i-;o. 


^^H BuoDo, Bartolomoo. t. 65. 67. to3 


Canal. Paolo, i. 319 


^^^1 Bunra, GioviDDi, lo3 


Canile. Criiloforo da, quoted on 


^^^1 Burattino, titt. ii, l5 


Venetian fleeta. i. 5 ; hii work 


^^H BurcUiardl. cited, i. io5 ; ii. i63 


Delia mitUia marilima. loS 


^^H Buii. GioviQDi, called Ciritni. 


Candi. Giovanni, i. io3 


^^H 


Caootii. the, i. tSl 








i5on. 


^^H CoDililutioD, i. 18. 19 


CaorUno. Lodovico. i. i>8. I3g. 




i3o 


^^H Cibot, JohD, 3o5 


CapelU, cited, ii. 36n. 


^^^M Cabot. SebiiliaD. i. 3o6 


Capilupi. quoted, ii. »5 


^^H Caccioi. GiuliD. li. U 




^^H Galdiera, Giovanni. llj 


CappclUui. i. ii 


^^^1 Caliari, Paolo, of Verooa, painter, 


Cappetlo, Bernardo, i. i3> 


^^H i, lui : character of hii art. 118, 


Cappello. Bianca, i. 17; ii, liS. 


^H 179-180; life of. 167-169. 


ii6, i64 


^^^H anecdote of. 178; content with 


CappeUo, Lucreaia Sanudo. ii, 171- 


^^^1 modeil auDU. 190; hii piclurei 


171 






H a,u..,.6 


■ 55. igin. 


^^ Calmo. Andres, on the climate of 


Card!, playing, ii. i58 


Venice, i. B8n.; on Venetian 


Cariani. i» Buii 


honomcn. 71 ; bia poetry. 335, 


Cariti, Convent of the, i. 107 


9i3: plajwright, ii, 19-30; on 


Carnival, i, 76. 76 


Venetian gardens, 64^ CD del 


Caroldo, Gian Giacomo. i. >ia 


Sal.iati-i villa. 6g ; on fobioDS. 


Caroio. Franco and Fahririo. u. 


io5 ; on dancing, 130-111; an 


n8. 130 


fith. i35n.; on Venetian women. 




i48n.; on hi. love adveoHirei, 


Carpaccio, Pietro. i. 167 


l55 1 on gamea, iSg; hi* deacrip- 


Carpaccio. Vetlor, charaoler of hia 


tion of a Venetian household. 




198-199 : on the daja of Ua boj- 


life of. i. 1&6-158 ; hii picture of 


hood. 319; on moauleriei, aia; 


■ chamber in a Venetian boota. 




ii, 55 ; bit picture of the Doge'a 


Camelio, Vittore. i, l53 


ateward, 136 ; bti picture of two 


Camera dtl Purgo, i. !« 




Cmori, i, 308 


Carving, i. (33 


Campagna, GiroUmo, i, 107 


Case, Monrignor Giovanni deUa. 


Campanalo. Pietro, i, lo5, isi 


in praise of Venice, i, i3. l5: 


Campanato, Simone. i, ii3 


author of the GaUtto. i5. a68; 


Campanile, the. i, 67-68 


on men", dreaa. ii. 99-100 


Campori, od Venetian ailver, i, 


Casaleri, Uura. i, 317. aiSn. 



INDEX 3i^^^^ 


Cuoli. Pielro. hi* dMcription of 


Ceramica. i, i3(-t36 




Cerelo, Laura, on mode* of drew- 


of the Corpui Domioi, -ji; on 


ing the hair. ii. 93 ; on relaxed 


church org»ii», ii. 3ln.; on Ve- 




DstiiD bedcbamben. 55. lyi ; on 


Cemidf, i. 44 


greenerj in Venice, 6i ; on Vt>- 


Cervio. quoted, ii, 118 ' 


oeti.n women. 89. 96^ on gem. 


Cbapeli, in Venetian bouM.ii. 55 


(□d Jewell, 90 ; on mode of drCM- 


Cbaritj, i, 47 


bg the hair, 91 ; on dreu of 






ChtlM, the, i. 37, 345 


dtnce of proviaioni in Venice. 


Chemiitr]'. i, ii5 


i3i; on dre» of girli. 178; on 


CheH, ii, i58 


the pitriciani, 189 


Chiihrera. Gibriello. poem in 


Cuotli. Giovanni Bitliila. on the 


praite of Venice, quoted, i. i3 


library of the monatterj of Sin 


Children, legitimate, and Ibe palria 




potestai. i. 36; illegitimate, their 


CitUldi. Comelio. poem 00 the 


lighla, 16, ii. 137 : adoption of. 


Garden! of Murano. il, 6i 


i. 37; figliuoli d'anima, 37 1 mar- 


Cailaldo, Jicopo. i. ao8 


riage of daughter*. 37; truning. 




education, and bahiti of, 3(8; M 


painter.!. 101. iia. iSiMifeor, 


^^H 




Cbiona. Fraocetco. i, 107 ^^^^H 


Titian. 189 


Cbriateniog. ii. 193 ^^^H 


CiileUani. Ihe. i, 91 


Cbrunicle*. i, ii3 ^^ 




Church and State, relation* of. i. 


Cartiglione. Balda«»re. i, 70 


Ji-a6 


Ciriiglione. Sabba da. >i. 137 


Cian. bii relection of Cavawicoa 


Caalriola, Antonio, ii. 117 


•ongB. i. 1470.; ii. i4n. 


Caleaa. Vincenw. i, 301 ; ii, 53 


Cipetli. Giambattitla. i, 319 


CatUneo, Danese, i. 107, 111 


Cirnoo, Pietro. i, 356 




Qergj. privilege* aad duties of, t. 


del Coniglio. i, i65 ; on Titian* 




portrait of Aretino. ii&a.; on 


and ignorance of. 35, li, 331- 


funeral bonourt. ii. J07n. 


336. 337 ; docile, modeit. and 


Cavalli. Marino, quoUd on the wool- 


prudent, j6 ; dre*t of. ij. loi 


tnde. i. Ii3 


Climate, i. 5o. 53. 67-58 


Ct^tj. i. W 


Clock, the great, i. 65 


Gavaauco. Bartoloueo, i, 3J7 


Code. i» Law. 


Cecchetli. on the Kwt of article* of 


Codicei. a valuable article of trade 


food, ii, i36n. 


in liitcenth centurj. i. 6 




Coducci. Mauro. i. 65. loj. loS 


i. 16a 




Cecilia, wife of Titian, i. i63-i64 




Census, of population of Veniea in 


CoUege. of M, XV, XX. ud XXV. 




i. ibh.. »» 



^^3i6 INDEX ^^^1" 






nonunietit to. i, 99. io5. ii3 




ColoDDi. FriDccKO. uxl lui »rp- 


of. i6a;bi>ridor. aoS 


Herotomaehia, i. 98. 939 




CoboQ., Vitlorl.. i. 937: ii. 173 


Corner. Mttro. i. 3(1 




Coron.tioii* of Diwe and Donr«Mi. 


Cocnsd;. ii. io~t3 


i.78-8t 




Corror, Grefrorio. ii. ■ 


i3o 


Corniplion of minnm. ii. 3i8-i63 




Coni. Jiccpo. ii. ii 


B «i.turj. i. 3. S 


Cono. Giin GiMoma. i. aSi 


^P Commioe.. PhilipM de. qtK>t«d. 


Cortivo, Donato di tUceotb dl). i. 


^ i.6l;ii.4 


108 




Cor7.t. Thonui. it. i34d., iji. 


Cinu. lifBof. i. Hi. iSg 


355-356 


Cl»>tr«li. i. 38 


CoHi. Pietro. i. i6i 


^B CoDfrilemil; of the CniciQi. the. 


C0.IU1. Uilt4M. i. t36ii. ^^m 


H 


CoiUnu). Toiio. i. 7I ^^H 


^^P CongreRitioni, of Venetiin ctsrg;, 


Go<t-.me. ii. 8.-^. 97-,., ^^M 


V 


Coterie., Iileni7. i. iSi-iSf ^^^| 




CotiKooU. Betuna di. qaalad Ob 


18-31: ecclHiutical. 11-16: ju- 


Venire, i. 16 


dicial, iMn militirr. 4t-4a : 


Gotrone. MurfaioneM of, h«r n- 


economic. 46-ig 


ceplion. i. 85 


CooUrini. Alviw. i. >5e. jsi 


Council of Ten. duUM of. i. ig, 


CoDUnoi. FrtDCOKO, I. ill 


10. 33. 33 


CoDtinni. Gupiro. i. ill. 118 


Courtwn.. ii. aU-a6i ; ut Prc- 


Contirini. Giovinoi. i, 180 


lilulion 


Cottttrini. Pietro, t]iiol«il. ii. hi 


Court., procedure in, i. ag-3i 


GonUrim. Ser.fiD«. n. 173 


Coui. the. i, i33 


Conlirini, Ztectrit. ii. 18 


Criipo. G B., of GJbpoU. ouoted. 




i. i4n. 


Conli. Andre, de. .ullior of Ihe 


Croce. Giovinni Andrea ddla, i. 


Cranaea Sa«ina. i, J»3n. 


Ill 


CodU, Kiccol&de", i, i3i 


Crown, law officer* of due. i, it 1 


CoovbdU. ii. 111-318 


Curelli. Federico. i, 133 ^^^H 


Coopet. ). 106 


^H 


Coppo, Pietro. i. 3o8 


Du-HATUN.. 1. IQI ^^^^H 


CopjrighU. i. 376 


Dance., ii, 113-111 ^^^H 


CordegIi.g*i. we PreYiUli 


D.ndolo. Benedetlo. i. 307 ' 


Corniro. Alriie, hit Vila lofrria, i. 


Dandolo. ZHii, coronaUon of, i. 80 


311: hi. m.nner of life. ii. 78. 


Daniel. Matter, of Capodijin*, i. 


l-;3 ; on the inlroduclion of new 


356 ^^_ 


cu.tamsinlo ItJj, 3l8 


Dardano, AIvJM, i. a3g ^^^^| 


Corn.ro, C.lerin.. .dopted bj the 


Daiiiri, Niccolb. i, 9t4 ^^H 



INDEX 3i7 ^^^ 


Deith.ti. 199-103; tMFuoeril rites 




Degrofu it Uoivsnit; of Pidui, i. 


Faoo. ii. tSs 


i6fr.i6i 


Drama. K« Stage, Tragedj, Com- 




edy, Musical Drutta 


Delgido. !i. 943a. 


Dress, lee Costume 


DeiiJerio of Florencfl. i. 1 1 ■ 


Dueil Palace, prison in, i, 34: 


Deipott, rise of, I, a 




DevoUint. Philippe, quoled. 11, 90 


ii. S7-48; ceiling, of. 5o-6i: 


DiiDi. Benedetlo, i. 66. iis. ii3 


the chamber dei Scarlatti. 5l ; 




cbimooj'piecM of, 5i ; coll«o- 




tioD of arms in, 67-68 


aoa% of. i. 78-81 ; dre.. of, Li. 


DJirer. Albert, i. ii3. 310 


85; eiempirromiumplu*r]rUw>. 


Djer.. 1. i43-ii5 


hi; funflr,lof. ao5 3o6 




Do^. place of, in Venellan Couiti- 
■howing tudioDce of. l8n.; coro- 


E-Eo.Guglielmo.qnoled.ii. ,18 


i. 3»-»6 




Economic constitution of Venice. 


79; of the fiiber folk, 91-91: 


i. 46-49 


tiif dre«. ii. 98; eiempt from 




■umpluarj liw>. 1 1 1 ; hii kitchea. 




l3i-i33 ; fuDeral of. lo4-aaS 


of. i. 53 


DogUoni. G. N..i. i7, m 


Election., celebrated, i. 79 


Dolce. Lodovico, a verutlie writer. 


Elim. Louit. quoted, i. 16 


i, jag: ■ facile pUjwrighl, ii. 




l3; tiled, ig ; his Lt Troiane. 


Embroidery, i. i38-i39 


io: (ale told b;. 1760.: od 


Emo, Uonardo. GiovaoDi, and 


famil; pride. 111 


Lunardo, ii, 76 


Dolcetti. 00 gamLUng. ii, iSan. 


EDterlainmeDls, private, ii, 113- 


Dolel. Elieone, i, 169 


.33. .37. 39 


Dolfin, the. chronicters. I. Ji3 


Erasmoda VilviMone, ii. 71 


Dolfin. Marco, i. aja 


Eraamus, home life of the Torresini 


Domenicbi. Lodovico, i. 119: ii, I. 


and of Aldus described bj. i. 175 


i56. i64(i. 


EriHo. Anna. Ii. 170-171 


Dominicii, Frutceuo de. i, 191 


Eriiso. Sebastian, bis Set ganuM, 


Donl. AntOQio, i, ai3 


i. 339. 367 


Donk. GioTaDDi. I. aSo 


Este. .Mfonso d'. reception of. i. 86 


Don a to. Fraoceico, i. iiSd. 








Dooato. Leonardo, Doge, on the 


Eitienne. Henri, on Venetian horse- 


diilinclion between affairs tem- 


man, i, 71 : on Iha custom of 


poral and ipirilual. i, 31 


leaving the breaiti bare, ii, 94a. 


Don!. AQtonfraDceico. oo VeoeliMi 




muiic, ii. 39: on villas, 69. 70D. 




Dowriei, i. 37; ii. 181 -i83 


i33u. 



^^HP^i 


■^^^H 


^^^^5i8^^ INDEX 


^^H p4Bn. Fn Fdica. on priMxu. i. 


Fiorence, mailen of. i. 1 19 : puUit 


^^H 36d.; on Venice. 63: oo glin- 


life io. 119; art in, 119 


^^H workert, i37: on Veneliin 


Floridi, ll.«. i. 900. 


^^B ladiet. ii. 8i-8b 


FoglietU. UrobeHo. i, s»j 


^^H Fabri, Aleuindro. cited, ii, Sio. 


Foil. Add« de. (pjoled. i. 64 


^H F>bricio. GiroUmo, j. a63 


FondimsDla. Caffaro, ii. 60 


^^H Faechino. ihe. ii. i5 


FoDte. Modernta. >i. 4a 


^^H FsctioDi. gi 


Foresto, Giovanni, i. s49 


^H P.ieoce work. i. 131-136 


Forkt, u, .36 


^H Fakonetlo. GiovuiDi M*n>. i. 106 


Fortauo of Verona, i. >o8 


^H Filier. Viule. Doge. i. 71 


Fortificitioa, i. 44 


^H F>liero. Angelo. i. 60 




^^^1 Fimilj life, ii, 17&-317 ; comiption 


i. 9 


^H in. i35-i63 


FoKsri. the viUa of Ihe. ii. 71-71 


^M 9' 


FoKanui, Mareo. on the Caboti. i. 


^^B Faati. the, i. 3l-3l 


aofio.; OD Sarpi, aig; propowd 


^^V Farce. >i. 1 j 




^H F»bi0D>. ii. 81-111 


poet», »3an. ; on amateur «ol- 


^^1 Fuiol, Pietro, the itorr of. probiblj 


lecton. ii. 58 


^H > m^lh, 37 


Fo«.rim. Seba.tiano, i. 111 


^H F.uito. Vettor, i. ji. 3o8. >65 


Fowi.. Ketro de. ii, 34 


^H Fedete. CuiDdr*. <i. 4i. i05 


Fraoceua. Piero deU.. i. 1.0 


^H Fsdohci. Genre, i, ao6 


Fraaceuo, verMi of, in priioD call. 


^H Fallre. Morlo J». i. i6j 


i.34 


Feairolo. MoDsi^or, quoled, ii. 


Franchino. Fraoceieo, iMLer vt, ii. 


39 


'7 


, Ferr«Dte. Ben>.rdiao. i. i33 


Franco, BattiiU, i. 103 




Franco. Gi.como. 1, io3 ; »J. 46. 


H .3. 


.8,i 


^H Ferr.r>. Girol.mo d«. i. in 


Franco, Niccolo. ver»e (pioled. ii. 


^V Feilivili, i. 73^9^ ; <» FJM 


i5a-i53: quarrel with AreliiM. 


] ft'(«. i. 73-94; ii. 3-10. I1J-I33. 


a45-a46 


.37.39 


Franco. Veromca, ii. a53-l6i 


Figliuofi ifaninia. i, 17 




Filiberto. EmiDuele. i, l3] 


Fratema, the. i. 48 




Fr«>chi family, ii, 188 


i. 56n.. 570.: OD miker. of niu- 


Friaoni, 'quoted, ii. i4tB. 


(lc«l iiutnimeaU. ii, 3la.; on 


Fulin. quoted, ii, 178 


perfume lellen, 970. 
Fire-arms, i. l3l 
FireniuDU. ii. iG5 


Funeral rilei, ii, SOI->ti 


GiawBLi. Aagelo, i, »g 


Fire>, ;. 108-tio 


Gabriele, Jaeopo, i. si4 


FiJi.ii, IJ9-.3..I35. i36 


Gabriele, Trifone. i, 139, a3t : iJ. 


Ftiminio. Anlooio, I, 36S 


65.68 


Fleet, i, 4.-43 


Gaetani. Daaiello. i, gio 





nl^^^^^^^^^^^^viC^^^^^^^H 


INDEX 3i9 ^ 


Galileo ('Antonio d« Pcmriii). 


Giovio, Paolo, quoted, i, iS J 


quoted, i. »3-j 


Girli. ii. 177-179 ^^^1 


Galileo, i. 67, aig 




GalliccioUi, (I017 told bj, ii, iia 


Giudecca, the, ii, 61 ^^^H 


Gallo, quoted, i, 6911. 


Ginitiniin, Bernardo, i, an ^^^1 


GaUo. Od, brolhen, i, i3S 




Garoa, Vasco di, i. 306 


of Venice, i. M 


Gambello. Anton Marco, i. lOi 


Giuiliniao. Orgatlo, i, a33 




GiuEliman. P.ncraiio and Pieiro, 


i, ii3, i3o 


i, 333 




GUdovicb, Pieiro, i, 3Sa. 


Game.. 1. 78-74 ; ii. i58-i6i 


Gtao-workera, i, i36-l38 


GaniariDi, Tito Giovanni, da Scao- 


Gobbo di Rialto. tbe, i. Sio-. i36 


di.no, Lii Cintgelim. ii, 71 


Godfalhen, ii, 193-193 


Garden), of Murano. ii, 63-«6; 


Goldunitb, art of. i. .36-i3o 


■» Villas 


Golliiu., Giulio. pUtei engraved bj. 


Gardin, Cattioa, i, i39 


i, 760. 




Gondolas, i, 71-73 


i. 570.; on melbodn of working 


Goniagi. Francesco, i. xb^ 


in lin and pewter, iiSn.; on 


Goniagi. Isabella d'Exe. Marcbion- 


glau-worken, 137; on the 


eM. i. i5i-i56 


woyen riufli, elc. of Venice. 


Gradeoigo. Giorgio, u, 77-78, 168- 


1^31 00 the wool-trade, i&3 ; 


.69 


on Ihe htbiU of bo;>, a^iSti.: l>i> 


Gridi, Serafino, i, 317 


account of comediani. ii, l8 : 


Grido, the Pairiarchale of. i, a& 


on the Armani, 11 ; 00 patlena. 


Grapiglia, Giovinni. i, 107 


89: inveighi tgaioil the licenu 


Grauini. Francesco, ii. a5i-a6a 


of the dance. I30; on baken. 


Great Council, the. i. 19, aan. 


i35n.i 00 InTthi, igo; on fopa, 


Greek, stud; of, in the tchoob. i. 


i63 


a5o. 353-a53 


Cailaldo, i. 908 


Grevembroch. i. 56 


G.ulhiei. HP Ike portraiU of Are- 


Grigi. Guglielmo. i. 66 


tino. i. »5n. 


Grimani, the familj of, i, 79, 338, 


Gerini, quoted, i, aSan. 


38,; Ii. 58-59, <'3. Mi. >3g 


Ghetaldi. Muino, >. 130 


Griogore. Pierre, quoted on Venice. 


Ghirardini, cited, ii, 670. 


i. 16 


Ghiii, Giorgio, i, i3o 


Griaelini, Francesco, i, aao 




Grilli. Andrea, Doge, his repliea to 


Giancarti, Luigi, ii, 19 


the ambassadors, i, 1 1 ; a digni- 


Giaocarlo of Rcggio. i. 65 


fied presence, ii. 9; introduces 


Giannoiti, Donald. J. 113 


changes in dress, 98: reqnirea 


Giocondo, Fra, i, 106 


slnct adherence lo law, 106 


Giorgione, i, 68 


Groppo, Anionio. cited, ii, il 


Giovane, Palma il, i, tfll 


Groto. Luigi, called 11 Ciecod'Adrii, 




i, a33 



^^r ^^^INDE^^^^^^^^I 




til ^^^H 




Kilcheni, ii, i3l ^^^ 


^^H Guilds, i. So. 81. 117a., 101. >77: 


Kortiug, cited, ii. Sn. 


^H 






LacB-M4uas. i. i3S-iti 


^^M GuiUvu.. King <,( Sweden, i. s63 


Lsgoopt, eh«r«elM- of. injnrta. ( 




5o. 5i 


^^^H Ham. model of dreuing. ii, ga-gS. 


Laadl. Anlonio. ii. lii 


^^M 


Undo, Orteoaio. hia list of num. 


^^H Htrf, Arnold voo. quoted, i. 6i: 


ci.n.. ii. 370- ; on ganleni. 6S; 


^^^1 101 


his letteta under the »>uaMi 




naniB. of women, 167; hia laieo- 


^^H loa 


tivB a gainst Veoetiaa wooiea. 


^^H H»d-drM>. ii. 86. 93, 108 


i36a.; death of. 343a. 


^^1 lledth. puUIc, i, 50-54: U. al3 


Luigolia, Criitoforo. 00 the gardM 


^^1 lit 


of N.vagero, ii, 65 


^^^M homes in Venice, i. 70 




^H Horto, D.11-. died, ii. i3oii. 


i.63 


^^^1 Hose. Compaoj of iLe, i, yo ; ii, 6. 


Lanai, quoted, i. 166 


^^^1 10, io3, iiS, 186 


Latin, studj of. in the Kihnd*. i. 




a5o, a5a-353 ; tragediM aii4 






^^M HouM^, ii. j5-lji 1 lie ViU» 


10-33 


^^H HiuiMDiim. i, 117. afii 


Law, Venetian, eccleHiiUce!, 1. Si; 




ci>il and criminal, 36: in tbf 


^H Ikoiek, tr.de »ItL. i. 3, i 


Univeraitj of Padua. 363 


^^M laduBlr]. irt ipplied to, 1. iai-l4e 




^^H 


U.gueofCaiiibr.j, i. 6-9 


^^H lagegaeri. Angiolo, i. iii-343; ii. 


Loathe r-mak in g. itain[>od, i, 147 


^^M 


L™n. Giovan Pietro, ii. aiA 




LeonliruBO. Lorenio, i. 167 




Leonico, i, abi 


iDijuitilon, i, a3. 33 




Inlu-tia. i. iJa. i33 


loj. 106. 133. i3i. i84 


InleHicU oa the RepubUe, i, lU. 


Lepaoto. battle of. celebralion at 


lalrigue. ii, lii-iib 


news of. i, 75 ; testinal in corn- 






JlSOLO. i, 5l 


Letter cirrien, i, 9^ 


Jewelry, ii, 90-91. 109 


Libnriet, i, 66, 107. 878-383 


Jew>, liws affecting, i, 38 


Libri. quoted, i. 3090. ' 




Liburoio. Niccolo, i. sag 


1 =6-4 t 


Licinio, the, i, 196-197 1 


^^H Jurisprudence, i. 3ii 




^^m Juilice. method of idmloislering 


Literature, Venetian, i. .18-147; 1 


^H .ndappljing. i. 3j-Si 


type of woman io. ii, (49-t67;.l 



^^^ INDEX 3ai ^^^^ 


OiB iljle or. m r>vour in VsDetiia 


ii, tua.; on a praclical joke of 


society. i6a 


the Patriarch Grimanl. 70d.: on 


LoggelU, the, i. 6S. io5, 107, in 


clubs, io3 ; on binquati. t33u.. 


LombirdeK|uo »ljlo, origia of mine. 


1370.; on a dniggi.l who wni 




.uod, .35n,; h>> life and char- 


Loinb.nii, the. i. 100. lOi. loi. 


«itor. i46 


.o5. ij4; ii. 5i 




Longovilj, of Veoolians. i, 53 


clock lower, i. 65n.-, an Antonio 




Riao, l8in.; his Aanali. ia3 ; 


Loredaa, Andrea. Buppusod bu«t of. 


on wedding foaaU, ii. i85 


i. 111; Dimeumof. ii. 58 


Malipiero. Fra Girotamo. i, 333 


Loredao. Leontrdo. Doge, i, 6 




Loredm, Loreiuo, i. 56ii, 


.39 


Lorenn.GioviTim, i, >!ig 




LorenioofP.via.i. i33, i55. i56q. 


Malombra Palace at San MaurUio. 


LorenM, aoa of Vincemo of Tranl, 


i. ;og 


i. i33 


Manisgo. Fabio di. ciled, ii. i68n. 


Lorraine, CardiDal of. hi« reception, 


Manin. Daniel«. i, 36 


i.87 


Mionen, eorruplioo of. ii. ai8-i63 


Lotteries ii, i33-a3j 


Maoolesso, Emiiio Maria, i, i:>i 


Lolto. Lorenio. painter, i. iti. 


Mantneti. Giovanoi. >. i>j. i>3 


117, 119; life of, 173-17S; 




appiralus of hit studio, 300 ; 


Mantua, Marchioneia of, reception. ' 


his portrait of Adoni, ii. 61 


i, 85; Marqui. of, reception, 86 


Lovalo, HuSno, ii, no 


Maniuio. Teobaldo Pio, called Aido. 


Loyola. I^atiui, i. j8n. 






a39, ^69-370, J71, 373. 374-376 


Ludwig, cited, i, i63n., le^n.. 


Ma(^makiog, i, !.o« 


.93n., I95n.; ii. 53. 97n. 




Lugano, Sebutiano da. i, 100 




Lugo, BirtolomBo Ricci di, i, a57 


i. loi 


Loigim. Federico, hii Li6ro <Uila 


Harcello. Marcella, ii. 168 


bella doa«a. u, i56 


Mareallo, Nlccolb. monmnBnt to. 


Hao.»>., Giamhatti>la, i, >U 


Marecllo, Pialro, i, 333 


M.ggiorCor..iglio, ii. 5l 




Magi, patrician family of. i, iSn.: 


Utrcolini. Krancesco, rertalilily of. 


will of Charloi. i, i8n. 


i. lo4 ; Lr Sorli. ij. 160 ; quoted. 


Uagaifieo, the, ii, i5 


'75 


Maguo. Celio, i, i33 ; ii, it. C6. 


Marconi. Rocco. i. 117 


iQ., 1.38 


Maria. Fri Giovanni, ii. ii 




Mariani. Camillo. i. 107 


a»3: romemnof. ii. 58 




UaUmUnta. the Villa delU. ii, 71 


M-rini, maker of iu(«ai«. i. i38 


Maletpini. Cello, on ihe Vignoie, 


Marioi, FranceKo, cited, i, 333n. 


^^^ TOt. n— at 


^^^ 



p 


399 INDEX^^^^^^^^ 




UtrUU. ii. I31-.37 


Hincl«>fiUT>, u. s 




Mirot, ClemeDl. i. 169 


Hincoli. the. i. toi. to5 


^^H 


M«ri.g«. ii. 179-189. 195. »3:; 


UiiOMo. Ftwce«a utd Gngorio. 


^^^1 


coDlricU, 181-18S; feuU, itt5- 


i. .9> 




187. .96 


MirrOTt. !. 138 


^^H 


HirtiDouj. reut of. i. 93 




^^H 




UooeBigo, Alviie. i. m», »l^ 


^^^1 




Uoeenico. Andre*. 1. »i 




Huh. Kiocoli.. i. >■> 


MoMoigo. Gio**im>, Doge. i. 84. 


^^^1 




io5 


^^1 


lUaltactino. Um, i. 76: ii. i5 


Mocenigo. PiMra. Doge. mooniDeat 




Mudici. FnSirtcitie'. i. »9 


to. i. 101 


^^H 


Medici. Lorenziiio de'. t, iSt: ii. 


Moceoi^. Tomuo. Doge. hi> 


^^^H 


39-io 


.dvice 10 the CouDCil. J, 1 


^^H 


M^iciDo. i. 56. Ml, >6i 




F 


i. 95l 


V,„ice, i. .3 
Uodetli. the. i. 90a. 




MeldoU. AAdrai. called Sckiivoae, 


Moleni. Fr.iice«K.. hU MWttBt ot » 




piinUr. I, ti7. i3i; life of. 


b>U. II. 116 


1 


167; hiipoverlj. 190-191 


Molin. Girol.mo. quotcJ, i, 187 




Memmo. [>'» Dioni.io. II. 36 


Udlioo. ADtoDio di. ii. 19 


^^H 


Mexxno. Gi-> Muii. hii book dd 


Hoouleriei. ii. 91 3- a 16 


^^H 


onlorj. i. l3o 


Hoodelli, Geleuio. i, taS 


■ 


MeniQi, clt«d. ii. m 


MonU. ii, 3ai-ii6 


H 


Mraio. A.ndrBi. i, 967 






Merlini, M.rtino. letter •^tUfd on 


Venice, i. S 


H 


Uie Lei^e of Cimbrij. i. 7. S. 






9 : DQ the corruption of hit lime. 


MoDtello. the forest of. it. 70 


' 


ii. iig. ail 


Morili. dec>j of. i, t63. >i8->63 




Merulo. Claudio. ii, 33, 36. iO. il 


Mortiuone. ibe. i. iSi 




MesMOt, Anlonello di. i, ii4 


Morelli, GioYumi. citod, i. 16911.. 


1 




.93n. 




Mi*oi. GeroUmo. i, (8 


Morelli. Jicopo. cited, ii. 3 


I 


Michi«l. MarciDtonio. kit Diari, i. 


Moretii, Marcaaloaio Midiiel. ciM. 




833 






Michleli. ADdrei, ciUed Squirtolt 


59 




orSlrtuola. i. i5>, iSS. i35 


Moretto. i, 117 




MiglioriDi, Scbuliano. i, 317 


Mori. P.0I0. ii. >8 


1 




MorlegUiDO, Bon«lo da. pumah- 




4. -45 


meDt of. >. 38 




Mimes, ii, i6-a3 


HOTOai. i, 117 




Minio. Tiiiano, i. iii 


Morcini. benefactor, i. 4, 




MinUler ofW.r. i. 43 


MoroEtni, Alviie, banquet Rioen b>. 




Hiniilrj of Commorce. i, i 


ii. 1.5 


r 
It 


Mint, i. 66. 107, III 





INDEX 3a3 | 




Occaiwo. Fr» Bernardino, oo 


phor. i, Jig 


Venice, i. ,i, r»U of U. life. 




i4o.: 00 the b>blU of VeneliiQ 


1. 80. 81 ; ber pilrouige of Uct- 




maken, 139 


ill 


Morjson, Fioei. quoted, ii, i3ia. 


Occult icienoe*, i. 3i3-]l7 


MoKbim, Giiau.Dloi>io. died. i. 


Od.u. TiB. i. 367 


167. '6911. 


Odoni. Aodret. ii. 60. 61 


Motheri. .dyirtto. ii. i-;5 


Oldoini. Gregorio. in praiie of 




Venice, i. ,3 


Mull. HtrciDtonio d>. hu book on 


Olivieri. H.Beo. i. iiS 


oritorj. i. s3o 


Orjlorj. i. i3o 


Mummerie.. ii, 3>io 


Orefici. ScuoU degli, i, I37n. 


Mur.Do, glu^bWm of. i. 63. 


Org.0.. ii, 3.-33 


i36, 137, i38; girdeai of. ii. 


Orlandiai, Antonio, i, 117 


63-«6 


Orlandini. Giovanni, La GmJoU. l. 




Tin.. 710. 


of Venice, i. i3: it Venioo. 169 


Oneolo. Pietro. i. 67 


Muwuim. privetB, ii, 67-61 


Orsini, Michele, i. ill 


Muiic. ii. 3»-ii 


Orlolani. Ibe. ii. 111. 116 


Uu«e.tdr.m.. ii. io-U 


0.t.ni. cited, i. lion. 


Ul»iciJ iDsln>me»tl. ii. 30-33 


Ottoboni. i. a63 






Huito. Conielio. u, 173 


PicioLo. Fr» LuM, i, »B5. »57. 173 


Mjilerj-pltji. u, ■ 






lion of the recoterj of. i. 810.; 


N*H. MiriDi, ii, 171 


bronie-working in, I3>-Il3; 


N>m. VieD. Veodnmia, >. lio 


Univertitj of. 158-367 


Niturit tcience. i, ill 


PigeUo. Birtolomeo. io pruM of 


Nivigero. Andrea, poel. i. i3, l33 ; 


Venice, i. i3 




Paglia, Ponle delli, i, 107 




Punting. iccouDt of, i, Ill-IM; 


HiMl »Tcbit«!lure. i. 108 


tbe nude in. ii. i4i-i4» : poi^ 


Negri. Domcnico M.rii. i. 107 


Inili in. l44-lS7 ; Ijpo of 


Kegro. FriDcesco. i, 519 


woman in. l47-l48;litllef>a>ilj 




life depicted bj Venelian painlen. 


Pitriirchile of Gndo. i. i4 


.97-198; deali. «ene. depicts) 


KiEololli. llie. i. gi. 91 


bj VeDeliiD painter*, 103 


NoiiU Vigonie optu, i, 167 


Palace), i. 6t-65 ; ii, 45-6i ; tt* 




Palauo. Vitlu 


U, >i 


P«luio. dei Canerlenghi, i. 68 ; 




Comaro. ii, fig; Comer, i, 106 ; 


Nude, in punting, ii, i4.-i4j ; in 


Correr. at San Simeone Grande. 


«wiptuw. li* 


ii. 57;Fo«rari. 49-5o;GrJn.anl. 


Num. ii, sia-»8 


._,...„ 


^^^B^ 


J 



^^r^3a^^^ INDEX ^^| 


^^1 ■! Su Uo. loi ; LcMdu. loi 


Puxino, Elena, i. 117 


^^H Huio, 106; Tiepolo. ii. (g; 


Pellegrino. Antonio, i, >i( 




Perfume.. U, gi. 96 


^^H lerfi. 49: v( PalicM 


Pwi. Jacopo. ii, U 


^^H PiUtdio. Andrei, irehitacl of Iba 


Perier. E.. quoted, i. 58a. 


^^^^h RedeDlorc. i, 77 1 bii view* oa 




^^^B Ihe Iibru7. 107: buil<lings 


Perionio. GioTiduDO, quoted, ii. 3 




Penio, Antonio, ii. 37, ySu. 


^^H 7611 ; chiricterofkii ■». i. 107. 


Penpective. ttudj of. i. *to 


■ 108 ; hU miQOor. |8. ; object of 


Pesiro. Antonio. >. 136 




Petrucci, Ottaviano de'. lui palnl 


L 35-38 




^^— Palm, it Voodtio. i. 111. 117. 


38n. 


^^^L IgSn,, 198-000 


Peutinger. CoDr«l. i, aG4 1 


^^H Pilmio. B«Dedeno. boacbclor. i. 


Pc»ier. i. laS 


^H 


Pbiliutone. ii, gJD. ' 


^^H PaiUaloon. t. 76 : il. to 


Pyiowphj. i. 110. 36> 


^^^B Pauletti, quotfn will of > jewelier. 


PhjiiologJ, i, 911 


^H 


PianU. Franceaco, i. 171 


^^H Piolo of MtDtui. i. r33 


Piaiione. Stef.no. i. lig. i55 


^^B PiriboKo. Glrolwno. proUfic 




^H wriler. J»9; fr«<,ueiil«r of 


.35 


^^H Veniero'i ulaoni, aS3 ; ii, 39: 


Pieragnolo. France«;o. i, l35 


^^M (ilajffrighl, l3 ; bit Tempio delta 


Pietr* of Fieota. i. 133 


^^H Famd. iSl; on tbe Uditn of 


PielTo, Fra. of Padua, i. i33 


^^H Vsnica, i57, l6gn.; empide of. 




^V 363 


idin. 


^^ P.r«iiH. Pwlo. i. a55 


Pkmti. the. i, 35 


P.rT«io. Micbele. i. 181 


PiomLo. ue Luciani 


PiruU, Piolo. i. Ill : ii. isi 


Pla^e. i. H 






Patria polatas, i. >6 


Poeleuei. ii. 165-167 


PalHirch. Ihe, i. l4 


Poetrj. i. 33l-.*7; ii, SOO-MI. 


Pitriciani, trade and iDduitry de- 


336.»8 


ipiud bj. 1. 1 : their policj iflcr 


Poel». on Venico, !. 11-17; 00 


the Lea^e of Canibra;. 10. i5 ; 


beautj. love. etc.. ii. lis 1&7 


their priociple of beredilarj allien. 


PoflgHo, OD Venetiao honemeii, i. 71 


men. lO; and lower order*, (5 


Poi»ninB. i. 39 


Patricio, Fabio. i. nia 


Polentou. Sicoo. ii. ij 


P.tlen*. ii. 89 




Paul 11. Pope. OD cUxical •ludiea. 


Potifib. ii. 91D.. ijg 


i. 35l 


Polilic.l constitution of Venice, i. 


Pauper., i. S6 


r8-3i 


1 Pa.anelb. cil«l. i. iSgn. 




1 P»»ari, Bemardu. ii. 3i 


Polo, Anlonio. i. »t 



INDEX 3a5 f 


Pamenn. Troilo. d« CilUdelii. ii. 




t53 




Pomp*. Le, i, lio 


dutieiof, i, 3j 1 


Poote, Antonio i; i. 68 


Purification. Fewil of the. i. 93 1 


PoDle, Frtncosco d». i, 177-178 


m 




QaamnlU, the, i. tg, 30. ig ^^^^| 


lot. 107. 177 


Quirini. EliadratU, ii. i45 ^^H 


PonioDe, Matteo, i. igi 


Quirini. Giovanni, i. 9&1 ^^H 




Quirini. Vincenio. i, jsg ^^M 


piag of modern timei. i. a 


' 


Porcicchi. Tammiao. i, sSo 




PorcU. C<.DleJ.«.podi. ii. Bi 


of Pietro Arotino. i. 335n. 




Bainieri. Gi.n Paolo, i. 65 


ciUed Sichienu. De SicUi. or 


Ramberti, Benedetto, i. 3o8 


Ropillo. i. 166-167 




PorroofPadu*. i. 308 


R.mo>. GiroUma Coru, !. (58 


Porlo. Luigi dt. on ths diji of the 




League of Cimbrij. i, 6; hit 


rapher, i. 307; muieum of, ii. 


•Itilude toward Venire. 8; it 


58 


Venice. 169; 00 «ren.dM.ii.3o 


Ramuaio, P.oio. i. 313 


PortniU,i<. tii-tin 


Rangone.TomaMtGi.nnotti. i. 53n.. 


Portuguese, (oreign conquesla md 


105.3.3: ii. 88n., i35n., 309 


trtde of, i. i 


RmIi, the. i. 9cm..giti. 




Receptions of digailiriM, 1, 73-7 j. 


Previlili. Andre., died Cordejli- 


83-94;ii. Ill 


DjW. i. 193: ii. 68 


Rector ot Univeriit; of Pulu*. t. 


Price, of food-«lufl». ii. i36 


360 


PHnting-preu, i, 169-378 


Redentore. ceremonj which acflom- 


PriecisnCM, FrancsMO. i, 181 


p.nied the l.jing of the founda- 




tion Mona of, i. 76-78 ; deiigned 


Pri»ni, i, 33-36 


bj Pall.dio, 77. 107 


Prinli. Andre., i. 3ti. 361 




Priuli. Antonio, quoted, i. 67-68 




Priuli. GiroUmo. bi> Owri. i, aiS ; 




quoted, ii, loS, 173 


p.inting of. 119: the minds of 


Priuli. Lorenzo, quoted, ii. I78n . 


men received* new bent in. so4- 


3a3n.: iuicide of, aoo 


3o5 


Priuli. Piero di Lorenio, ii, 101 


Renier. Diniele. i, aio, sag 


Procewons, i. 73-9^ 


Reilttlo. the. u, 53 


Procur.tor> of Saint Mirk, i. 30 


RoTerli. Hatteo, i. loO 




Ri.llo. i. 61. 6i, 68, 107 


Pitipert;. l.wi .fleeting, i. 38 


Riario, Girolamo, reception of. i. 




H 


Protection, principle of, in force .t 


Ricri. Michelangelo, i, aogo. 


Venice, i, 5 


Ridolfi, Carlo, character of bU 



3iS 



INDEX 



boot. i. 1 19; etl«d. 160. tGt ; 

<{iioled. 191 
Ilinghiari, lanoMoio, ii. 161 
Rinuccini. OOnio. ii. M 
RIlio, Duiel, quotaJ, i, iSn. 
Rivoli, Due ie, quoted, i. &5n- 
Riuo. Aotooio, hi* worhi. i. idi- 

1(13, toi, na . hi* crinm, i8(; 

hi* (Ulu* at Aden, ii, lia 






116 



Rii40. Paolo, i. 116 

BobuiL. iteopo, $M Tintoretto 

RoutbondU. Pietro, i, iii 

Romaoioo, i, 1 17 

Ronciaotto. Luigi. i, >o6 

RoMetii. GioTfovealun, bii Plicia, 

i. ii4 
Roui. Ihi. of Pinna, i. 7! 
RoHi, PriDcoii da, ii. 307-108 
Rubini, Virgilio aad Ago*tiiio, i. 



SiBBtDixo. CriilofoTo, of Chioggii, 


Undo in. i, iH 
Sao Zaccaria. i, loa 


quolod. i, 61; copper-pUlei of. 


»o8 


SS. Gioranni • P«olo. i. 101. loS, 


Sabollico, Marcantonio. io praite of 


.3i. 13711. 


VenicB, i, i3; cited. 6a, .37; 




hiatoHiD, 331: laacber. 354 


Vamco.i. .3, .4«. 


Sagra of Smta Maria, i. ga 




Sigredo, Gianfrtnceuo, 1, sit 




Saige. Jacques le, i>. 137 


Cardinal Grimaui. ii. ■ i3. 119 


Salo, ADtooio Scaioo da, ii, 70D. 


Sanse^erino. Roberto, aoos of. I. 7I 


Saio, Pielro and Domenicoda, i, 1 1 1 


Santovioo. Franccu-o. od goM aad 


Salvago. quolfd. i. l5 


ixher object of art. i. 1371 oa 


Sammicbeli. Mlehelo. i. 106, 183. 


helmet with four crowni. 139- 


1 83 


■ 3o; oninUrsi.. i33 1 onchiirck 


San FrancBKO delU Vigna, i. 106. 


of San Giorinni GriMxtamOt 


107 


i6on.; author, aig; on oom«d]r. 


Sao GemiDiaoo. cburtb of, i. 66. 


ii, 17: on music, ag ; on mun- 


to6 




San Giorgio, church of. i. 107 


palace>. 46 : oo well-being ot 




Venetian populaco, 571 on m)- 


of. i. .37''- 

i 


lecton of objecU of art. 58 ; h>l 



lan Girela^K>, atalue «f, ■ 

of Sanio Slefano. i, lo4 
San Jacopo. altar to. is Si 

i. »aS 
Su Marco. cfanrcJa. Ihm two k^ 

on Ibo fof^o of. 1. 37 ; thBA 

beautj of, 61. 63. 61. ii^lb 

piiua. 66; ibe boafHtaf of. i-,, 

Scnola di. t(>3. 10&. lU. lU. 

ii. 48: Cappella Zmao at Aunk. 

i, lo5. 133, i33: Prvabjiarit'. 

■ aS; choir of. ii. 34. 3& 
San Hirtioo, i, loS 
San Paolo, altar to. in Saa Uana. 

i. to4 : >Ulu« of. ia ckottb if 

Santo Slefano, io4 
Sao Rocco. Scnola di, i. toS; u. 

48 
San Silvatore. cburdi of, i, IM 

n Sebaitiano. cborch of, CaffA 



^^^Hl^^^^H 


INDEX Sa^^^B 




33S; on eloquence. 33oo.; on ^^^H 




Andre. Mirhieli. a36 ; on w.hooia. ^^^ 


OD chiDged eharactor of VcnicB, 


ife. a53n., ubin.. 3570,; on 1 


io5; publiahtd Bembo'. letler., 


binquek at Padua. 361 ; hia Ii- 1 


t5o: wroU ILfe of Giulia dell. 




Torre. 168; on corniption of 


i-10; oncomedj. iiionmuaic. ^^^H 


Venice. 118 


36-38 ; on Venelltn palace.. 45- ^^H 




16. i7n.; on ciirtaina. 6-ia.: on ^^^H 




Grimini'a louseum. Sg; on coe- ^^^H 


io5. .06. no. 113. uS. 3i3-. 


tump. 90-91. 99, lua, ta3; on ^^^H 


drew of. 180; enlortsi nod sump- 


ro»dj parlio), n6; on Un- ^^H 


tuously. 181 ;life of. 186-187; 


qiielt. 135; on fruiterera, 1 371 ^^^H 


hii receipt for material, aoon.; 


on a cbeaa-board. t58: on ^^M 


hii 6gure of Apollo oa the Log- 


danger in tlio ilreets, l^Sn.; on ^^^H 


gelli. ii. sg; quoted, in. iiS, 


dowrioi. l83n.; oa wadding ^^^H 


1 36 


t8in.. i85n.; on funeralt. 9o3a,. ^^^| 


S>nf Andrea at the CwtoH. church 


OB prayeni and tmling. ^^^| 


of. i. IO» 


J3o; on Andrei Morocini. 339; ^^^H 


Sank- Andrea. Caitel. at Uie Udo. 


on btleries, 333 ; on prefcrmeDt ^^H 


i. 106 


to public oBices. 335 ; morila of, ^^H 


Sanla Crocc, famil; of. i, igSo.. 


337, 338; on coiirteaiQi. l^i. 


.95 


"59 


Santa Maria ddla Omatiiii, or 


Saor. i. ^3 


deUi Buoni Morle, i. 36 


Sircinclli. Lavinii, ii. tU 


Santa Marti, foait of. i. 91 


Sirpi. Paolo, i. 3i8-S9l 


SanlcC.tUneo. villi of. ii.6s 


Satire, i, i6, 936-J47 




Sauni.ii*. Claude, i. 910 


i, 133 


Saverio. Frioceico. i. 48q. 


Sanlo glefano. I, ii3. iil 


Savin. Piolo. i. 134. i33 


Sanlorio, quoted, ii. 610. 


Scili Conlirini dal Bovolo. i. io3 


Sinudo. Livio, i. sio 


Scala dei Giyanti. the, 1. 101 ; ii, ^7 








Scamoui, Vincemo. i, 67. 107 ; ii. 


Venice.], an. ; on LeagueofCim- 


33 


br.j. 6: on efcla.i»»li«, sin.; 


Scappi, Bartolomso. hi* cookorj 


on Inqultlloriil procedure, 33 ; 


book, ii. i3i 


on puniahmenls. 38-39 ' °° '"^^' 




of property. 6in.; on festival at 




Sao Marco. 7^-75; on fealiviU. 


Schiavone. $ee Meldoli 


85; 00 6re>, gfi. io<|-noi on 


School!, i, 35o 


memorial to Colleoni. 99; on 


Schrader. Lanreni. cited, i. 343 


Gioviuni Bcltiai. ni; on trade. 


Science, i. 3o4-3ji 


,38-139; '"' «''l<^'>™« g^"^" h 


Scoto. quoted, ii. 6an. 


Engliih to Vpnelian travellpr. 


Sculpture, i. io4 in; the nude 


aoCn.; his life ind writings. 333- 


in, ii. i43 



^^n^3a8 INDEX | 


^^H Sob»liaDJ. Liuiro. i. 66 


SUge. the. ii. i-a8 1 




SUirraaca. ii, (7-48 ' 


^^^^1 SegiU, FrmceKd. i. ili 


Stamp.. G»para. oiled Anawlia. 


^^^1 Senate, dutioi of, i. 19: eonatitii- 


i. a33:ii. i65 1 


^^1 Uon of. 90 : elected cich new 


Slate and Chunb. rdatiooi of. in J 


^^M jnT. 90i ID limo of war. jiS 


Venice, i. >.^.6 | 


^m Sepulchre. ii,»n-,., 


Sticiano. Fra Aurelio. i. 317 1 


^^M Serlio. SebisliiD. ii. i4 


Stradano. Giovanoi. i. 173 I 


^^H SeroioaeU, Ptbriiio Ciroto d*. 


StredioUL. i. ii 11 


^H riled, ii, go 


StWiU of Veoiw. i. 53 1 




Students, i. sSj. a6i. >63-j57 


^^H Sfoni. Calcrini. reeeplion at, i. 84 


Suet. lalLmua of. project of (be 




Venetiana for cutting, i. & 1 


^H men! of. !. 86 


Suicide, ii. 100 1 


^H Ship*. Vendl.a. Uck of, id the lii- 


Sumptuary lawi. ii, 88d.. 10&-111. 1 


^^M teenlh cenlunr. i. 5 


iij. i37-i3g, igi-i9» 




Supreme Court of Juitlce. the. i. 19 , 


^^M Signork. the. i. 19 


Supreme Courta of App«d, i. 19 ] 


^H ,ii 


Surgerj. i. 56. aiJ . 




Swearios, ii, iag-i3t 


^B S«<fi<t.the. i. 11 


1 


^^^H SioT AdIodio Riohi, i, 137 


TtoLiE. Niccole de le. 1. js 1 


^H Sbve.. ii. 33g->i. 


Tailora, ii, 8a^84. lai. 109 1 


^H 5M7a. Ihs. ii. 53 


Tana. the. i, 4i. 108 1 


^H Sobie«ki. John. King of Pelud. i. 


Tanaillo. Luigi. ii. 1760. 


^M 963 




^^P Societ]', il. 1&7-164 


Tartaglia. Niocolo. f*et> of faia life. 


^^ Sodomj. ii. »38-s39 


i, aog, »55; bialibrari. 3790. 


' Sol, Pliniodal. i. 18S 


Tartan. fwepUon of, 1. 89-90 


Soljminll. i. iig 




Sonp, p^ar. ii. igS-igfi. ja6- 


aSln.; cited, i. b39u. 


aa8 


Taiu, Torquato, quoted, (t, 11 ; 


Sorimo. Lucietti, ii. 167 


cited, ,,9 


Sorjii. Fr» Paolo, i, 33 




Sorto, Giulio and Criitoforo, i. 


Tavern,, i. 96 


108; ii, 5i 


Tarranova. at Saint Mlfk'e. priKni 




at the. i. 3i 


Sp«laclet, i. 73-9S; ii, 3^33. 


TcEBicr. A., cited, ii, in. ' 


il-Si 


To«U. Laudedeo. cited, i, tSon. 


Speroni. Sperone. ii, 19. i58n.. 


Te»ti. Lodovico. on the longo»itj of 


175. 355 


the Venotiani. 1. 53n. ' 




Thaufiog. quoted, i. ii3n.; cited. 


Spilimbergo, Irene and Emilia da. 


ii. 590. 1 


ii. i<4. .67 


Theatrei. 6r>t permanent, ii. i3- ' 


Spirilo Santo, cooveol of. ii, saS 


>8 : *ee SUS« , 



^V^WH^^^HI^H 


INDEX Sag ^ 


ThcoioR. i, IM 


UBBa-n. FrancBKO. i. j68 




Univenitj of Padua, i. »58-a67 


ThuMDo, cited, i. i5in. 


UrbiDo. Ducbeat of, reception of. 


Ticoiii. cited, i. i63n. 


i. 85 


Tiepolo, Jacopo, Doge, code pub- 




liihed by. \. -,6 


V»uiiuw. Adriauo. ii. 11 


Tinlorelto (Jacopo Robuiti). ebar- 


Valier, AgoBtino, i. tag: ii. 174. 




'77 


ll8. 1191 Dame of. 1^5: life 


Valier, Gaspare, the caie of, i. 4o 




Valier. Vilerio.!. Ill 




Valla. Giorgio, i. 354 


^^* giiii. 190; hit pwntingi iu the 


Vallisniori. Antonio, letter of. i. 


■ Ducd Pd»e«. ii. 61 


53n, 


Titian, cLjracler o( work, i, 68. 


V.lois, Henri d«. hia .i«l to Venice, 


1.6-117. 119; lifeot. t63-i66. 


i. 87-89 


i8i-i8a. i83; his evidence iu 


Varano. Giulia. reception of. i, 87 


Zuccilo cat«, 187; hii cliar- 


V.rolari. Dario. i. 17S ; ii, O9 


acler. iSS-iSg; bis portrait of 


Vaaari, quoted or cited, 1. io6. 


PielTO \retino. isS 


116, 118, i5i. 160. 161, )6a. 


TiiitDO. Girolwiw di. i. i65n. 


176. 180, 1S91 it, aS. a6. 59n.. 


Tomeo, Niccolb Loonico. J. an 


69Q,. 75; hia "UYei" unlru.t- 


Tomitano. Beruirdioo, in praise of 


worthj. i, 149 1 


Venice, i. i3 


Vamllo. Francesco, i, 6n. 


Torre. Fn Giotcchino della. i. iii 


VaYaisor«. Andrei, called Vada- 


Torre. Giulia Bembo della, ii. 168 


gniDO. plan of Venice bj, i, 6d 


Torretani, Andrea, di Awla. i, aSg. 


Ve«hi, Oruio. ii. 44 


»74-»7^ 


Vecchia. Delia, i. ia6 


TorreulU. i. 34 


Vttchlo. the. ii. i5 


Torture, i. 38 


Vecellio. quoted, ii. io4. "" 


Toscanella. Oruio, ii. Bg 


Vedoa, Gasparo della, i. sjo 




Veils, ii. 86 


Tower, 1.65, ia3 


Vendramin, Andrea, Doge, lamb 


Trade, despiaed in the beginoing of 


of, i, loSi ii, ai4; museum of. 


modem timei, i, a ; ttite of. in 


58 


liiteealh Eenturj, 3; ue Com- 


Venetians, character of, i. 11, I». 


merce 






tjpe of beauty in.il. l4o-l57 


Tragedj. ii, .(.-.3. a6 




Trevibiii. Andrea, i, aig 




Triaea. 1. 67 




Trinc^eUo. Viltore, i. tii 


century, a ; trade of. in Bixtuenib 


TriMino. Giin Giorgio, ii. i3. 4o. 


century, a. 3 : League of Cam- 


i55 


brajt formed against. 6-9 : condi- 


TroD, Doge, monumeDl to, i. io4 


tion of, after the league of 


Tutor*, i, »55-a57 


Cambraj. 9-11; poliej of, 10; 



^■^■^^1 


ii^^^H 


^^r 33o INDEX ^ 




Vidal. Don Mario, hii Ol«iMn 


^^H ciliieni, 1 1 ittilude of. toward 


patifieum. ii. loi 


^^^1 her dependeola. m ropre- 


Vidaore. Andrea, i. t36 


^^H ■cnted b; Piolo Veroneie ia Ihe 


Vilhao. Ihe. ii. l5 


^^^1 Duc*l Ptiice, 13; pocmi od, 


Villaaova. Amoldo da. quoted, u. 


^^^1 coDrtitation, poliltul. 


93 




ViUa., ii. 63-80 




ViIlle^^ati. Taddeo. ii. iSi 




Vinceiuo. Fra. of Verona, i. l33 




Vinciolo. Fedenco, cited, i, i4od 


^^H 46-^9 : dimile ind public health 


Violin, the. ii. 35 




Vilrulio. arlial, i. 91 


^^M chsDget in iU ilreeti. 6o : 


Vitruviui, on the air between 8.- 


^^H npect of, 61-70; honei lod 


teona and Aquileia. i. So ; hi< 


^^H gondolu Id. 70-71 : fortivals. 




^^H receptions, fetn of. 73-94 : ho^ 


the rules of, 1 10 


^^^H lelries in. 9! C|6: trchitedure. 


Vttlore da Fellre. i. i33 




Vittoria. AlMaandro. i. 111. Il4. 


^^H I3u; srti applied to iodudrr in. 


117. .77. 190 


^^M iii-iiS; irtitt^ in. t4g-ao3 ; 


Vollerra. Giacomo <l«. i, 8i 


^^H leience and lilorilure in, ao^- 


Vivarini. Antonio, i, lu 


^^H 1^7 ; tcbooU in. 9^8-357; the 




^^B preis in. l^6^i^8■, librtriea in. 


.14. .49 


^^B 178-381 ; literirj coteries and 


Voting, method nf, i. 19 






and music in, ii. i-4i ; palacei 


W».LTB. i. tS 


■Dd houMs of. 45-8o ; faJuon.. 


Weaver., i, i4i-iSJ 


coilume, in, 81-111; private 




GatertaiDmeati in, Ii3-i3g: 


WiUtert. Adriano. ii. 34 


■ocietj in, ljo-l73; marriage. 


Window., ii, 46 


birth, burial, in, 174-317; cor- 


Winds. In Venice, i. S3 


niptioo of mannera in, 3iS-363 


Winei. ii, i3t 


' Vaoiero, Domenico. hit coterie, i. 


Wilchcnifl. i, 317 


s83 ; ii. 39 


Women, in painting., ii. t4,-,48; 


Venioro. Lorenio. i. i35 


in lileralnre, i4g-i57: euhond. 


Veniem, Maffoo.i. »3i. ai3;ii.i54 


i64-i6g; kept to their .phere. 


1 Veni«ro, Seba.llano. aod the Voi- 


169-170; eiimple. of anblilM 


1 vode of Dragomerir«, i. 3g: moii- 




umcnt lo. 106 


in Iha cl<M.tor. 173-173 


Veolimiglia. Aprotio da. quoted, 


Wooing, ii. ,g4-.95 


' ii. gi 


WcxtUrade. 1. 143 


1 Vergerio. Pielro Paolo, ii, 1 


Wotlon, i, aso 


VerODioe. Paolo, $ct Calieri 




Verrocchio. Andre, del. i. 106. i85 


ZAFmt.. u, 34s, 361 


VianeUo, Micbele. i. i54. i65. i56n. 


Zsacaruola, Gasparo, i. *93 



INDEX 



33i 



Zaneiti, Vincenxo, cited, i, loin., 

1690. 
Zanni, the, i» 76 ; ii, i5 
Zantani, Antonio, ii, Sg 
Zarlino, Giuseppe, cited, ii, 34 ; his 

works, 35, ii 
Zenatti, cited, ii, 33n. 
Zeno, Antonio, named Polioola, i, 

Zeno, Battista, Cardinal, i, I33 
Zeno, Carlo, letter of, ii, 9 
Zeno, Elisabetta, ii, 170 
Zeno, Niccolo, i, 33a 



Zenoi, i, 308 

Ziani, Pietro, Doge, his plan to 

migrate to Constantinople, i, 69 
Ziliolo, Vittore, i, 310 
Zoni, Modesta Posso, known as 

Moderata Fonte, ii, i64, i65 
Zotto, i, III 
Zuccato, Francesco and Valerio, i, 

1 38, 187 
Zuccheri, Federico, ii, 36 
Zuccolo, Simeone, da Gologna, 

quoted on dancing, ii, 119, iso 
Zurla, i, 308 



End op Part II, Yolumb' U 



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