The dogaressas of Venice (the wives of the doges)

By Edgcumbe Staley

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Title: The dogaressas of Venice (the wives of the doges)

Author: Edgcumbe Staley

Release date: February 26, 2026 [eBook #78047]

Language: English

Original publication: New York: Charles Scribner's Sons, 1910

Credits: Hannah Wilson, Karin Spence and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE DOGARESSAS OF VENICE (THE WIVES OF THE DOGES) ***

[Illustration: DOGARESSA TEODORA SELVO

(as Cleopatra with Venetian Zilve).

PARIS BORDONE.]

THE DOGARESSAS
OF VENICE

(_THE WIVES OF THE DOGES_)

BY EDGCUMBE STALEY
AUTHOR OF “THE TRAGEDIES OF THE MEDICI” ETC.

_ILLUSTRATED_

[Illustration: THE DOGARESSA]

NEW YORK
CHARLES SCRIBNER’S SONS

TO THE MEMORY OF MY
MOTHER

FINETTA STALEY

PREFACE

The Story of the Dogaressas of Venice,--the Wives of the Doges,--has
not hitherto been told in English; but when my many appreciative
readers have finished this volume, I am confident they will agree
with me that there is much that is very interesting and unique in my
narrative.

The influence of good women upon the well-being of Society is
undeniable: that eloquent French _mot_:--“_Cherchez la Femme_,” has a
subtle and impressive meaning. In the election of a Doge of the Most
Serene Republic of Venice the personality of his spouse had often as
not considerable weight in the decision of the Lords of the Council.
My long list of the Ducal wearers of the lesser _Corno_ contains the
name of not one who failed to play her magnificent _rôle_ with infinite
credit to herself and with conspicuous benefit to the State.

In the compilation of my “_Libro d’Oro delle Dogaresse di Venezia_,”
I have found “_La Storia di Venezia_” and “_La Dogaressa di
Venezia_,”--the remarkably able works of Signore Pompeo Giovanni
Molmenti,--of the greatest service, and I now beg to offer that erudite
writer, if he is still alive, my heartiest acknowledgments. Mr W. C.
Hazlett’s “Venetian Republic,”--out and away the best English history
of Venice,--has been invaluable.

The “Roll” of the Most Serene Dogaressas is unique,--such a complete
list has never been published,--it will therefore be exceedingly useful
to students of history and lovers of romance.

With respect to illustrations it will be at once remarked how few
portraits of Dogaressas I offer. The fact is that Venetian painters,
great or small, painted fewer than a dozen of the noble First Ladies
of Venice. This is perhaps what might have been expected. Venetian
painters excelled all others in the delineation of youthful female
beauty,--they were the first to paint “_Venus Calva_,”--but the
middle-aged and the aged did not appeal to them. No, the Dogaressas
have nothing for which to thank painters, sculptors, or engravers: such
artists were directly under the patronage of the Doges not of their
Consorts.

Women of every age and clime care very little about the Fine Arts, so
called, they are themselves the finest of the Fine Arts, and their
sympathy goes out rather to the artistic Crafts, in search of objects
to add, if may be, to their own charms and attractiveness. In Venice
the “_Fragilie_,” or Trade-Guilds, were directly under the patronage
of the Dogaressas, and we shall find their personal attributes in the
beautiful and fragile glass of Murano, and the delicate and chaste
point-lace of Burano, in the lovely and costly ornaments of the
goldsmiths, in the superb brocades of silk and velvet and the splendid
tissues of gold and silver of the costumiers, and in the endless
fascinating adjuncts of the toilet and the table.

Many of my illustrations are characteristic scenes of Venetian life and
special features of Venetian fashion, and I think they prove the truth
of what Mr G. Howell in his “Familiar Letters” says of Venice:--“A
place where is nothing wanting that heart can wish.”

EDGCUMBE STALEY.

CONTENTS

PAGE

PREFACE v

INTRODUCTION--

I. VENICE--“The City of Venus” xiii

II. VENICE--“The City of Saints” xvi

III. VENICE--“The City of ‘Fair’ Women” xxiv

CHAPTER I.

“To the Lagunes!”--The dreaded Huns--Aquileia la
Bella--Adriana the Heroine--La Maga Irene--Degna
D’Aquileia--Viragoes--Hawsers of Women’s
Hair--_Venezia Seconda_--Longobards--Altino and the
Storks--The first Doge of Eraclea--Early Dress and
Manners--Charlemagne--The first Dogaressa--Rivo-Alto
Parent of Venice--Agnello and Elena Badoero--First Makers
of Venice--Houses--Customs--Love of Flowers--First
Ducal Palace--Translation of St Mark’s Body--Basilica
of San Marco Built--Doges and Dogaresses enter
Religion--Position of Women--Lovers--The _Pegne_--Marriage
Ceremonies--_Arcelle_--Legend of “La Boccola”--Festa
delle Marie--A Slave Dogaressa--The Rape of the
Brides--A low-born Mistress--Proud Valdrada da
Toscana--A Rich Dowry--Slaves--Athletic Sports--Fire
at the Palace--Assassination of Doge Pietro Candiano
IV.--Valdrada’s Vengeance--The Love-story of Gerardo Guoro
and Elena Candiano 1–41

CHAPTER II.

Legends--St Pietro Orseolo--The Pala D’Oro--A Hard
Biscuit--“Good” Dogaressa Felicia--Dress of the
Nobles--Light Blue--_Ninzioletti_--“A Stupid Man”--Seven
Sisters--An Amorous Gondolier--A Diplomatic Marriage--The
Princess Maria--The Flag of Venice--A Laurel-crowned
Dogaressa--“Venice wants for Nothing!”--Dogaressa
Teodora--A Splendid Court--Greek Menus--An Exquisite
Toilet--The Crusades--The Last of the Giustiniani--A
Nun’s Devotion--“A Miracle of Probity!”--Relics of
the Saints--The “Bigots”--Tragic death of Doge Vitale
Michielo--The Pope and the Emperor in Venice--The
“_Bucintoro_”--“The Marriage of the Sea”--Sports
Clubs--The Dogal Regalia--Prices current--“The Grand Old
Man of Venice”--The Oriflamme of San Marco--Many Widows in
Venice--“_Venus Calva_” 42–83

CHAPTER III.

The Legend of the Coral Net--Origin of Venetian
Point-Lace--The _Fragilie_ or Guilds--Dogaressa Maria
Baseggio’s son torn to pieces--A terrible Earthquake--A
Year of Jubilee--The _Marca Amorosa_--War of the
Gallants--Marriage--The Pledge of Peace--Dogal
Prerogatives curtailed--Vision of Rose-trees and
Doves--The “Flagellants”--Marriage Customs--Madonna
Catarussa and the Seller of Brooms--Picnics--A Table
of Etiquette--_La Donna della Misericordia_--The
Dogaressas-Patroness of the Crafts--A Sumptuous
Coronation--The _Ca’ Di Dio_--Prosperous Times--The
Dogaressa’s Wardrobe--An Autocratic Doge--State
Robes--The Bridge of Fisticuffs--The Castellani and
Nicolotti--The Gaiety of Life--The Sweet Legend of “La
Beata”--Strange Devotions--Revolutionary Movements
and Conspiracies--Giustina Rossi and her stone pan of
Carnations 84–125

CHAPTER IV.

“A Galley full of Demons!”--The Legend of “The Fisherman
and the Ring”--Doge Zorzi Il Santo--Dogaressa Franchesina
“Queen of Venice”--The pathetic Story of Soranza
Soranzo-Querino--A _Corno_ for the Dogaressa--The Solemn
Entry of Dogaressa Elisabetta--Brides of Stuff and
Wood--Sumptuary Laws and Bridal Trousseaux--The _Calar
Stola_--The Genesis of Venetian Painters--A learned
Doge--Infatuation for Isabella de’ Fieschi--The Black
Death--Francesco Petrarch--Marino Faliero--Michele
Steno’s Insult--The Conspiracy--“The Doge never
lies!”--Broken-hearted Dogaressa Aloycia--Frate Paolino
on “Woman’s Influence”--Platonic Ideas--Courtesans--The
Story of Veneranda Porta--The _Bravi_--A Dowdy
Dogaressa--“Slippers, Cabbages and Night-caps!”--Alvise
Venier’s Escapade--A Venetian “Brutus”--A Poetic Prophecy 126–166

CHAPTER V.

The Zenith of the Dogaressa--A grand religious
Function--The Ritual--Dogaressa Marina Galina-Steno’s
“_Gran Mercè_”--Venice the Conqueror--_Compagnia della
Calza_--_Cacci del Toro_--Sumptuous Dresses--Wooden
Pattens--_Zelve_--Pageants--_Uno Balordo_--A Doge
with an Iron Will--A Disputed Election--A Brave
Dogaressa--The Tragedy of Giacomo Foscari--The
longest _Dogado_--Quaint Wedding-customs--A Leg of
Mutton--A Magnificent Trousseau--Torture and Exile--A
Bitter Enemy--“He has Paid the Debt!”--An injured
Dogaressa--Dogaressa Giovanna Dandolo-Malipiero,
Patroness of Printing and Lace-making--The First
Published Book--_Buranelle_--Patriarchal Doges and
Dogaressas--Cheapness--Young Cavaliers’ Long Hair--Good
Dogaressa Cristina Sanudo-Moro--An Opulent Doge--Dogaressa
Dea--“The Venus of the Century!”--Who was Donna Laura
Nogarola? 167–209

CHAPTER VI.

The Gardens of Venice--Murano
Palace-Villas--Symposia--Pietro Bembo and the
_Litterati_--Ariosto and Aretino--“Venus the
Fruitful”--Venetian Dialect--Cristina Pisano and
Cassandra Fedele--Two Dogaressas--Gold Regalia--Dresses
worth £2000 apiece!--A Connoisseur Doge--Dowries with
Conditions--Venice Disgraced--Costly Gifts--Wild
Beasts--A Disastrous Fire--A Plague-stricken Dogaressa--A
Splendid Funeral--A Terrible Pestilence--Dogal-Fraternal
Disputes--Beauteous Slaves--Their Prices and
Uses--Discovery and Decline--Duchess Beatrice
D’Este--“Great Dolls!”--Nepotism--The Man of the Hour--A
Widower Doge--The League of Cambrai--Cream-coloured
horses for Henry VIII.--Disasters--No “Marriage of the
Sea”--_La Pace delle Donne_--Spectacular Plays--Gorgeous
Madonna Giovanna Emo--The Grimani Breviary--Wild-fowl--The
“_Osella_”--The Dogaressa’s Coronation banned--Doge Andrea
Gritti’s pompous Progress--Fat Pork and Onions!--Old
Marta--Peep at the Dogaressa in Bed!--Frate Pietro
Casola’s Account of Venetian Fashions--“What sort of a
wife has he got?” 210–251

CHAPTER VII.

A Doge and Dogaressa of the Fisher-Folk--Dogaressa
Zilia Dandolo-Priuli’s Coronation--“I am delighted
with everything!”--Gorgeous Obsequies--The
Republic at Peace--Talented Dogaressa Loredana
Marcello-Mocenigo--Visit of Henry III. of
France--Extravagant dissipation--Bold Courtesans--Veronica
Franco--A Venetian Sappho--Battle of Lepanto--A Hero
Doge--“The Golden Rose”--An Amiable Dogaressa--Bianca
Cappello--“Daughters of Venice”--Caterina
Cornaro--Dogaressa Morosina Morosini-Grimani--Lavish
Largesse--Laudatory Orations--Stamped gilded Leather--A
Magnificent State Robe--A Water-Pageant--Two hundred
thousand visitors--A Grand Naval Review--International
Sports--Dogaressa’s love of lace 252–291

CHAPTER VIII.

The Sun of Venice set!--Many short-lived Doges
and Dogaressas--Games at Cards--A stout unwieldy
Dogaressa!--Another Hero-Doge--The Morea conquered--“Woman
maketh Man!”--A wrinkled face--Loss of Candia--Universal
idleness and indulgence--Venice dying as a whirling
ballet-dancer!--A virtuous Dogaressa--Her cell a
treasure-house--A Princess-costumier--A dress of
solid gold!--A costly wedding--The Tragedy of Madonna
Francesca Grimani-Mocenigo--A Lady-bountiful--A
Cultured Dogaressa--Polissena--A Rope-dancer Dogal
spouse, Margherita Delmaz--“Stop that bell!”--Agnello
Emo the last Captain of Venice--The Last Scene--Feeble
Doge Lodovico Manin--A despairing Dogaressa--The
roar of cannon!--Abdication of the Doge--The Regalia
burnt--Buonaparte hands Venice over to Austria--“_La
Republica xe Morta_” 292–314

LIST OF ILLUSTRATIONS

An Ideal Portrait--Dogaressa Teodora Selvo, _Frontispiece_

La Maga Irene holding a Reception, _To face page_ 4

Il Sposalizio--The Betrothal Ring, „ 24

La Cazza del Toro--Bull-running, „ 36

A Typical Family Group, „ 46

The Dogaressa and her Maids of Honour, „ 62

Going to a Masked Ball, „ 76

A Mystic Dance, „ 92

Doge Reniero and Dogaressa Aloicia Zeno, „ 102

A Court Ball Parade, „ 118

Doge Francesco and Dogaressa Elisabetta Dandolo, „ 138

Two Courtesans and Pets, „ 152

Festa Campestre--Picnic on the Brenta, „ 162

La Ninfa--A Love Affair, „ 176

Marriage Reception in a Palace, „ 192

Fashionable Hair-dressing, „ 208

Dance in a Villa Garden, „ 216

Le Novizze--Brides in Gondolas, „ 226

A Bride’s Debut, „ 238

Dogaressas Zilia Dandolo-Priuli; Loredana
Marcello-Mocenigo; and Cecilia Contarini-Venier, „ 254

Dogaressa Loredana Marcello-Mocenigo, „ 268

Dogaressa Morosina Morosini-Grimani, „ 282

A Game at Cards--“_La Trappola_,” „ 294

The Fortune-Teller, „ 304

INTRODUCTION

VENICE--“THE CITY OF VENUS!”

The “Queen of the Adriatic” came into being quite as mysteriously and
almost as miraculously as did the “Queen of Beauty.”

Where the iridescent bubbles of the light zephyr-borne foam of the
ever-flowing sea-wash disperse, with intangible impact, upon the golden
strand of shallow shoals, all strewn with opal-hued sea-shells--making
plaintive cadences in the keen sea-breeze--there, there, was Venus
born--so too was Venice!

The fair form of the fascinating goddess lay prone--partly in and
partly out, of the generating water until the breath of life, skimming
over the crested ripples, exhilarated her blushing limbs. Most delicate
sprays of aromatic seaweed intermingled with the abundant tresses of
her rich auburn hair, flawless pearls of the ocean threaded themselves
around her shapely arms and bosom, her cincture was a cunning veil of
coloured sea-mist, and her feet were covered with glittering scales of
gold and silver fish.

Upon the aqueous shore the Four Seasons wait with their twelve
attendant lunar nymphs to cast about their “Venus calva” the emerald
and topaz girdle of virginity, and the ruby and sapphire mantle of
royalty. A merrily dancing chorus of seven times fifty-and-two dainty
fairies of the day, hand-in-hand, are ready to escort their Queen
through the amber grotto to her royal throne beneath the myrtle-grove.

All this is metaphorical of the “City of Venus”--Venice--for, to quote
Shelley’s tender ode:--

“Underneath day’s azure eyes,
Ocean’s darling, Venice, lies.”

Sea and silt united were the parents of the “daintie Citie.” Ebbing,
ever ebbing, the brackish head-waters of the gulf heaped up grain on
grain of terra-firma--the detritus of many a fruitful river and the
shifting rolling sea-sand. Thus was Venice formed, “born,” as Goethe
says, “out of the water.” “Venice calva” laid along the lagunes, her
graceful form reposed upon the _velme_ or _barene_ of Rivo-Alto,
Olivolo, and Poveglia--sand and seaweed submerged; her shapely feet
rested upon the firmer ground of Malamocco and Chioggia; and her comely
hands grasped the _tumbe_ or sedge-growth,--seldom covered by the
tide,--of Torcello, Burano, and Mazzorbo.

Rivo-Alto, or Rialto, was the first of sixty sisters of the languishing
lagunes. Over them silence and solitude reigned supreme, but the sun
shone with generous warmth and the breeze blew with healthful vigour,
and, almost imperceptibly variegated moss clothed the naked _rive_ and
_lidi_. Green math and rush covered the golden dunes, flowers of the
sea,--pinks and anemones,--and blossoms of the land,--lavender and
poppies, imparted colour and fragrance to the wastes of mud.

For hundreds of years, and hundreds more, those oozy quicksand swamps
were nesting-grounds for wild birds of the sea--the feeding-place of
feathered visitants migrating to other climes. The depths were choked
with fish, and the shallows reeked with creeping things, but no hold
was there for foot of man or spoor of beast.

Then, in historic times, into those sandy shifting channels came
strange forms, scaring both fish and fowl away--the coracles of daring
aborigines, from the contiguous shores in quest of food and what-not.
Uncouth men cast their nets and spread their snares amidst struggles
for proprietorship--the lagunes had changed their character.

Another era dawned, that of fire and storm, and fugitives from the
devastating wrath of Alaric and the Goths fled, crouching, scared, and
breathless, for sanctuary to the lagune fastnesses. With them appeared
corsairs of the coast, preying upon the hunted men and women and
seeking hiding-places for their pelf. Thus a ribald population grew up
amid the trackless ways of no-man’s land.

For bare existence had they to fight--no weakling child, no thriftless
woman, no loafing man could long endure that fierce survival of the
fittest. Stripped to their loin-cloths men worked to give stability to
their foothold in the swamp. Balks of timber from submerged forests
were clamped together and great piles of wood driven deep, deep down
into the ooze and silt. Women girding up their skirts waded knee-deep
in the sea-wash, weaving osier basket-work to retain what grains of
gravel rested beneath their feet. Children fetched and carried.

Flotsam and jetsam all came ready to hands which clawed and thewed for
mutual advantage. Shelters of dry mud or baked sunslime with boarded
roofs, windowless and without doors, were the homes of these strenuous
people. Then, by degrees, every safest stretch of sand had its dotting
of cottages and its hamlets. Besides the daily struggle to keep the
greedy water out and the slender soil retain, there was much to do for
one and all. Fishing, bird-snaring, carrying and piloting of goods and
craft were obvious occupations; and then came the rendering of salt and
bitumen, and the gradual cultivation of the bleak wind-swept islets.

Some sort of constitution was in force from the earliest date: the
best man of each collection of dwellings was looked upon as head and
guide, and he gathered the wisdom that he lacked from men next him in
years and influence. The people of the lagunes were not savages--they
were the descendants of men and women highly civilised. Invention and
creation were instinct in them all, and they were Christians too.
Their legislation and religion were based upon the examples of their
forebears in the mainland. All looked to Rivo-Alto,--the port of Padua,
it was called,--as the centre of their geographical economy, and there,
too, in 421, Padua sent consuls to regulate the lives and property of
the water-settlers and to safeguard the common weal from inroads of
barbarians.

* * * * *

VENICE--“THE CITY OF SAINTS!”

is quite as appropriate a title as any other bestowed upon the
“Queen of the Adriatic.” The translation of the body of Saint Mark
the Evangelist from Alexandria, in 829, excited in every class of
the population a fervid emotion and an insatiable ambition for the
possession of relics of the Saints, not alone as objects of devotion
but as mascots for protection.

Bodies--more or less entire--were exhumed, purchased, or stolen,
from scenes of fierce martyrdom, or from quiet resting places, and
reverently conveyed in Venetian galleys to the Lido for distribution
among the churches of the Lagunes. Each translation was an exhibition
of manly abasement and womanly devotion: Doge and Dogaressa, no less
than the poorest of the poor, took part in the ecstatic ceremonies.

Each saintly personage had ascriptions of peculiar benevolence, and
became the centre of special devotions; indeed many of the holy shrines
were regarded as objects of perpetual pilgrimages. Venetian manners,
Venetian poetry and literature, and Venetian vernacular, were all
marked by the hagiography of the saintly city.

In a very curious volume published in Venice by Giacomo Zoppi, in 1519,
entitled “Viaggia da Vinegia al Santo Sepolcro et al Monte Sinai,”
and illustrated by quaint wood-cuts of cities, peoples, and animals,
encountered by the way, is a list of the bodies of Saints enshrined in
Venetian Churches, in the following order:--

_San Marco_ “Messer San Marco”--St. Mark the Evangelist, from
Alexandria, under the high altar; (2) The glorious Martyr
Sant’ Isidoro, from the Island of Chios, in the Chapel of the
Crucifixion--(1125).

_San Pietro di Castello_:--SS. Sergio and Bacco, in a marble
tomb in the crypt of the Confession.

_San Danicle_:--San Giovanni, martyr from Alexandria.

_San Giovanbattista in Bragora_:--San Giovanni the Almsgiver,
Patron of Alexandria.

_Sant’ Antonino_:--“Messer San Sabba,” Abbot of Acre--(992).

_SS. Trinita_:--Venerable monk and martyr, Sant’ Anastatio.

_San Zaccaria_:--(1) “Messer San Zaccaria,” father of St.
John Baptist; (2) San Gregorio Nazanzino, Patriarch of
Constantinople; (3) San Teodoro, confessor, from the Island of
Samos; (4) San Pancrazio, martyr, in a marble sarcophagus; (5)
Santa Sabina, martyr of Acre, in a marble sarcophagus; (6) San
Tharaso, martyr, of Roumania, in the crypt; (7) San Ligerio,
martyr.

_San Lorenzo_:--SS. Giorgio, Barbaro, and Paul--Bishop, martyrs
all from Constantinople.

_San Sebastiano_:--Venerable Sebastiano, rector of San Giovanni
(head wanting!)

_Santa Marina_:--Venerable nun and patient martyr Marina, in the
choir, from Greece.

_San Salvadore_:--San Teodoro, martyr, from
Constantinople,--_martyr et cavalier di Dio_.

_San Paterniano_:--SS. Gondino and Epimaeo.

_San Giuliano Martiro_:--(1) San Floriano, martyr, from Greece;
(2) San Paolo, hermit (head wanting!)

_San Canciano_:--San Maximo, bishop and martyr.

_San Maria delli Crocichieri (Formosa)_:--

Venerable virgin and martyr Santa Barbara,--in a “_bella
cappella_.”

_San Geremia_:--Venerable Magno--Bishop of Altino, builder of
the first church in Venice.

_Santa Lucia_:--Venerable Santa Lucia, virgin and martyr, in a
chapel. Translated from Saragossa to Constantinople, and thence
to Venice.

_SS. Gervasio e Prothasio_--called “Sa Trovasi”--Santo
Grisogono, martyr from Zara.

_San Niccolo dai Mendigoli_:--San Niceto, martyr.

_San Raffaelo_:--Santa Niceta, virgin and martyr from Nicomedia.

_San Basileo_:--San Costantio, confessor, from Ancona, in a
coffer before the high altar.

_Sant’ Apollinare_--called “San Aponal”:--San Gioria, prophet.

_San Simeone Propheto_:--(1) _San Simeone_, from
Constantinople--in a marble sarcophagus before the high altar;
(2) San Hermoleo, priest and martyr, from Nicomedia--in a marble
sarcophagus in the middle of the nave.

_Sant’ Elena_:--“The glorious Queen Sant’ Elena”--(1205).

_San Niccolo di Lio (Lido)_:--(1) San Niccolo Magno, Archbishop
of Mirraea (1100); (2) San Niccolo, Bishop and Abbot of Mount
Sinai; (3) San Theodoro, Archbishop of Morea.

_San Giorgio Maggiore_:--(1) San Stefano, first martyr, in
a special chapel (1105); (2) San Paolo, Duke and martyr of
Constantinople; (3–4) SS. Cosimo and Damiano, martyrs; (5) San
Cosima, confessor and virgin, from Constantinople.

_San Clemente Papa_:--Sant’ Aniano, Patriarch of Alexandria,
disciple of Saint Mark.

_San Servilio_:--San Leo, Bishop of Modon--(819).

_San Secondo_:--San Secondo, martyr, from Aste.

_Santa Maria di Murano_:--(1) San Donato, bishop and martyr,
in the crypt--(1125); (2) San Gerardo, Bishop of Moravia and
martyr--a Venetian by birth.

_Sant’ Albano di Burano_:--(1) Sant’ Albano, Bishop; (2) Sant’
Orso, martyr; and (3) San Domenigo, hermit and confessor, both
from Armenia.

_Santa Maria di Torcello_:--Sant’ Eliodoro, Bishop of Altino and
martyr.

_Basilica di Torcello_:--San Fosca, virgin and martyr from
Aquileia.

_Sant’ Antonio di Torcello_:--Santa Cristina, virgin and martyr,
from Armenia.

_Basilica di Grado_:--(1) San Hermacoro, Patriarch of Aquileia;
(2) San Fortunato, archdeacon--both in the crypt.

_Santa Croce della Zecca_:--“The body of the most holy Doctor
Saint Athanasius, Patriarch of Alexandria.”

_Basilica di Chiosa_ (Chioggia):--SS. Felice and Fortunato (?)
from Aquileia.

_San Rocco di Chiosa_:--San Rocco.

In addition to these Bodies were very many other relics of Saints, for
example; arms of St. Andrew the Apostle, St. Barnabas the Apostle, St.
George of Cappadoccia, heads of St. Sixtus the martyr, S. Simeon the
Apostle, etc., etc. Every Church has its reliquary for veneration, and
in it a fragment of the True Cross.

Venice, moreover was a nursery of Saints: she numbered among her
honoured dead scions of nearly every noble family who, for one good
reason or another, had attained to the pre-eminence of Sanctity. Such
were San Pietro Orseolo, San Lorenzo Guistiniani and San Vincentio
Ferrar--to name but three. A religious atmosphere pervaded the islands
of the Lagunes and kept alight many a kindled shrine on mud-bank pile
and at _casa_ corner. Inside the homes of the Venetians also,
according to orthodox custom, were Ikons and Anconas with candles
burning in honour of favourite saints.

Nevertheless, and in spite of such a wealth of saintly environment, the
Venetians were undoubtedly backward in sending their sons to fight the
battles of the Cross in Palestine. On the other hand they were ready
with no niggard contributions in aid of Crusaders from other lands.
Venetian gold, Venetian ships, and Venetian seamen, carried the armies
of the Cross to foreign ports; and Venetian alms endowed hospitals and
funds for the benefit of the wounded and the sad, upon the islands of
the Lagunes.

In the “_Viaggia da Vinegia_” is a very simple but doubtless
efficacious recipe for the treatment of weary Crusaders:--“For pilgrims
suffering from the heat and tender feet, anoint with wine-lees mixed
with olive oil overnight; then, in the morning wash in a bath of sweet
herbs and sweet water.”

Perhaps the reason for the apparent luke-warmness in the defence of
the Holy Sepulchre may be seen in the isolation of the lagune dwellers.
They were not in such close touch with other communities as are nations
with artificial boundaries. Their charity began at home, and their
customs were unlike those of their neighbours. All islanders are so
differentiated from inhabitants of continents: citizens of the British
Isles are remarkable to-day for insular idiosyncrasies.

Venice is still one of the most religious cities in all Italy. Prayer
never ceases, the Blessed Sacrament is perpetually exposed, the
churches are open night and day, and the devotions have little that is
merely perfunctory.

Saint Giustina was one of the saintly patrons of Venice. She was a
Paduan maiden of Royal birth--a daughter of King Vitalicinio. Haled
before the Roman Emperor she professed herself a Christian: in vain
did he strive to shake her resolution. Sentenced to be beheaded the
sword of her executioner turned upon himself, and this occurred three
times in succession. Eventually, in 303, she was cast into the sea and
drowned.

Mariners sailing along the Venetian Coast still, it is said, hear at
the hour of Vespers, the sighs of the holy martyr, and the devouter
sort cross themselves reverently and crave her guidance and patronage.
In Venetian art Saint Giustina accompanies Saint Mark, Saint George,
and Saint Catherine of Alexandria as assistants at the throne of the
Virgin Queen of Heaven. The unicorn generally accompanies her--the
mystic emblem of chastity.

The first church dedicated to her honour was built at Padua in 453 by
Orpillo, a pious citizen, in times of unrest and disaster. In Venice
Saint Giustina’s church was erected by Dogaressa Elena, spouse of
Doge Agnello Badoero: it was situated in the Calle del Te Deum but
suppressed and dismantled in the seventh century.

A very pretty legend is linked to the memory of Saint Giustina. It is
recorded that when the people of Altino and the other towns threatened
by the Longobards flew disconsolately to the islands of the lagunes,
a white cloud appeared to two holy priests Germaniano and Mauro and
out of it proceeded the sweetest of all voices--that of Saint Mary
the Consoler. With her conversed Saint Peter the Apostle, Saint John
the Baptist, Saint Antonio of Padua, and other holy martyrs. Saint
Giustina joined the sacred conclave and was deputed to indicate to
the faithful clerics the spots whereupon it was the will of Heaven
that churches should be built. Torcello, Burano and Mazzorbo owe their
sacred edifices to the girl Saint’s instruction. She also told Bishop
Magnus of Altino that wherever he found a vine there to erect a church.
At Padua one may see the prison of the Saint--a dungeon seven feet by
three. The martyrdom of Saint Giustina has tenderly inspired the pen of
the poet and the brush of the painter, and they have together handed
down a delightful tradition for Saint Giustina was regarded as the
“Patroness of the Dogaressa.”

VENICE--“THE CITY OF ‘FAIR’ WOMEN!”

The two things most famous and most remarkable in Venice, throughout
the whole of her fascinating story, are first of all the beauty of her
women, and secondly the splendour of her palaces. No city in the wide
wide world, ever did, or ever can, compare with Venice in the number
and magnificence of her palaces. They are as unique and as majestic,
individually and collectively, as is the Queenly City herself.
Concerning them, that trenchant epigram of Francesco Sansovino, the
historian, “_Veni Etiam_” is a truism--Come again and again, and
you shall always find some fresh beauty, some unimagined delight.

Venice had a greater distinction far, than the elegance of her private
and public buildings,--she was always full of beautiful women. “I never
beheld,” exclaimed the Cardinal of Lorraine to Doge Pasquale Malipiero,
“such a number of lovely women as I see everywhere in your bewitching
city!”

Nicolo Ciccio d’Arezzo, a poetaster of the fifteenth century, invited
all true poets to sing with him the praise and glory of “_Tanta
Donna_,” as he suggestively calls the woman-effigy of Venice.
He unites with Jacopo d’Albiggotto, and Guido da Firenze, in the
enthusiastic refrain:--

“_Di tutta Italia, Lombardia, e Toscana.
Secondo che si vede per effeto
Vinegia e la piu nobile e sovrana._”

Gianni Alfani, a poet of the thirteenth century, in his “_Gentildonne
di Vinegia_,” writes thus:--“I wish to sing with you about my
Mistress, because she is adorned with every virtue and every charm.”

The women of Venice were always distinguished for their natural
quickness and intelligence, their sprightliness and vivacity of manner,
their talkativeness and coaxing ways, and their fondness of music, song
and dance. Perhaps their most characteristic talent however was their
devotion to the toilet--their love of beauty and of clothes!

In person they were usually somewhat short of stature, but endowed with
grace of carriage. Their figures, especially their bosoms, were full
even to the degree of stoutness. This was in a great measure due to the
softness of the Venetian climate, which induced a natural and becoming
indolence. Nevertheless they were vigorous in action and quite able to
give a good account of themselves in marital and other squabbles!

Their features were clearly cut and yet not too severe, their heads
well shaped and borne, their eyes blue like their skies or grey like
their seas, and their hands and feet were small. Their most attractive
attributes were the fair satin peach-like delicacy of their skin, and
the brilliant lustre and golden sheen of their abundant light auburn
hair. Speaking of the consummate art and artifice of Venetian women
Pietro Aretino exclaimed:--

“_Sotto il nero trasparente velo
Veggonsi in carne gli angeoli del cielo!_”

That most fallacious saying,--“Beauty is but skin deep,”--never applied
to Venetian women. Their fair beauty, like all real beauty, not only
covered the whole person externally but it was instinct in their
blood, their muscle, and their nerve,--moreover it was hereditary.
The early parents of the race, or rather intermingled races, were
Trojans and Greeks: then Teutonic-Lombard fathers mated with mothers of
Veneto and the Lagunes, and the stock became stable in its properties
of strength, grace, and beauty. Pliny, of old time, truly cast their
horoscopes when he wrote of the first mothers of Venice thus:--“They
are chaste, simple, and modest, they never give themselves away even
when their men folk are idle and lascivious, their character and
demeanour are marked by Grecian calmness.” Surely he had in view the
line of the Dogaressas!

The treatment of the skin was a speciality of the Venetian women. The
use of the bath was one of their inheritances, they bathed the whole
body frequently, sometimes in the sea at the Lido, but every house
had its bath--in humble homes of wood or common metal, in patrician
palaces of porcelain, glass, or silver. With the water they mixed
simple or exotic perfumes. One of their secrets was to remain, with
the whole body immersed and motionless, for at least half an hour;
and another was, they never rubbed the skin but just dabbed it and
let it dry naturally. Then the nostrums of the masseusses’ art were
exploited. A not uncommon custom was to lay a slice of raw veal, dipped
in new milk, upon the face at night! For richer women other artifices
followed suit--puffs and powders to gently temper the epidermis or hide
unsightly blotches, and pigments,--rouge and others,--with which art
might most effectively colour crude or enervated nature.

Every woman and girl in Venice, at all times, painted,--even the
poorest of them. The cult is still practised at Chioggia, where you
never see a woman without artificial colour. There, by the way, may
be seen still the true Venetian type of female beauty, and the old
Venetian trait of sitting leisurely, under shade or shelter, while some
sympathetic voice reads Ariosto or some other favourite poet.

One very delightful attribute of Venetian women was their
fragrance,--their skins and their hair were always perfumed. Wherever
a _gentildonna_ passed she left behind her a delicious aroma, if she
paused the air around her became saturated with sweetest odours. This
seductive charm is still characteristic of the real Venetian: her love
of scent is hereditary and delightful. In a very real sort of way the
Venetian _gentildonna_ was a living embodiment of Venus--“the fairest
and the sweetest of all the Goddesses:” hence Venice has been quite
aptly called the “City of Venus,--the City of Fair Women.” A couplet
from San Gemignano is quite applicable to this delightful fancy:--

“_Donzellette, giovane, e garzoni
Servir portare amorose ghirlande._”

There was one especial favourite among all the delicious perfumes
which dispersed their sweet aroma all over Venice, and Count Lorenzo
Magalotti, in his “_Fiore d’Arancio_” tells us how it was made.
“Take,” he says, “the empty skin of an orange, with a little powdered
benzoin, with two pounded cloves, and a small stick of cinnamon, cover
them with the finest rose water and set to boil upon a brazier.”
In the sixteenth century the far-famed Portuguese _buccheri_ got to
Venice,--little charms of sweet-smelling clay--and they very soon
became every woman’s treasures. The odour dispersed when a _bucchero_
was dipped in hot water was very refreshing, and resembled the aroma
which arises from parched ground on a hot summer’s day after a copious
shower of rain. When dipped in essences they gave forth for ever so
long the sweetest of perfumes: women wore them in their bosoms, and
were accustomed to place them often upon their lips, so that their
kisses might be scented too!

Not only were the girls and women of “Venice--the City of Saints” much
drawn to the general claims and duties of religion but, in particular,
they were exponents of some of its minor behests. The Apostle speaks of
the hair of women and says it was given them to be a protection and a
glory. The Venetians exactly carried out the apostolic injunction.

From the very first foundation of Rivo-Alto, away in the fifth
century, the women of the lagunes were accustomed to resort daily to
the _altane_, or flat-roofs of their dwellings, and there spend much
time in combing and dressing their hair in the sunshine. This habit
they undoubtedly inherited from their Greek ancestresses. Homer sings
about “the beautiful fair hair of the Greeks,” and he has painted the
captivating Helen of Troy with abundant locks of gold. The general
colour of Grecian women’s hair was brown,--light and dark,--and such
naturally was the hue of Venetian women’s tresses. The poets however
made a dead set against that tint, and stated their case so broadly,
that brown hair was regarded with aversion as appertaining to traitors,
murderers, and other evil doers! The painters took up the cue, and we
rarely see in the pictures of Bellini, Giorgione, Titian, Tintoretto or
Veronese women with brown hair.

Auburn, or, as they called it,--golden, hair,--was the most popular,
most beautiful and most expressive. The more it glittered the better
was it liked, and what Nature marred Art embellished. A primitive but
withal most effective device in the Venetian artifices of the toilet
was the superimposition upon the top of the head,--the hair being
well combed-out and rippling over the shoulders,--of a crownless,
wide-brimmed straw hat called _solana_,--“sun-frame.” The brim
shielded the neck and bosom, while the sunlight, not the heat, got
at the roots of the hair and blanched its growth. Every _altana_ had
its group of animated “mushrooms”--each woman and girl sitting thus,
and ever and anon damping the exposed hair and cuticle with a small
sponge, stuck at the end of a spinning-spindle or some such sceptre,
and dipped in cunning tinctures. Beneath the brim of the _solana_ big
long-toothed combs of yellow tortoiseshell were used to keep the hair
supple, or frizzing-irons, or bones to make it curl or wave. This
method was admirably effective, and it is still adopted privately
by many a beautiful Venetian girl and buxom dame. With respect to
the recipes employed in the concoction of the tinctures little can
be authoritatively said, for each fair one kept her elixir and its
secret to herself. Anyhow, generally speaking, one may say that the
finest of fine Lido golden sand, crushed vitreous plaques of Murano,
ivory sawdust, pounded sea-shells and,--in exuberant and extravagant
humour,--even powdered pearls, and precious gold dust were employed.
Vegetable compounds--the juice of grapes, berberis, ivy-berries,
lemon-squash and orange-flavour, with aromatic powders of all sorts and
kinds were also used. Dyes, strictly so called, were not in favour:
their effect was ephemeral.

Venetian women and girls owed a good deal to Dogaressa Teodora Selvo,
in the eleventh century, for she introduced toilet batteries, fully
furnished with all the requisites for skin, hair, and teeth,--together
with delicious Eastern perfumes. Giovanni Marinello of Modena, in the
sixteenth century, gathered up all that was known of the artifices of
the coiffure in his classical work “_Gli Ornamenti delle Donne_.”

Venetians were past-mistresses in the mysteries of hair-dressing.
The Greek style was always the most in favour, where the hair, not
being too dry nor too tightly plaited, was drawn off the face and
neck, tied in a ribbon at the back, and then coiled round and round
the head, and stuck fast with combs and pins. The hard line of the
forehead was tempered by a small row of curls under a semi-diadem,
fillet, or crescent--called _gabbia_--literally “a cage”--and usually
made of precious metal and jewelled. This style Titian painted in the
well-known portrait of his daughter Lavinia presenting a golden dish of
ripe fruit.

Another fashion affected by gay and opulent courtesans was called
_al Corno_, with reference to the conventional head-dress of the
Dogaressas. Sometimes only one horn was projected, at others two
or even three or more. An invisible bandeau was hidden under the
hair, bearing spikes of tortoiseshell or whalebone, up which single
strands of hair were twisted and curled until they assumed the
appearance of vine spirals and tendrils. This vogue lasted quite
a long time--certainly from 1540 to 1630. It was a very difficult
feat to arrange these horns becomingly, so as to avoid any idea of
the ridiculous, the animal, or the demoniacal: _crescenti_ they
were euphemistically called, as suggestive of the crescent moon of
Diana,--the Huntress of the Gods! The painters never admired this style
of hair-dressing, and very few of them, if any, have depicted the _al
Corno_. Giacomo Franco and other engravers, however, have preserved for
us illustrations of this peculiar mode.

A third manner of hair-dressing was popular amongst quite young girls
and aged women--the two extremes--the cap of Juliet. The hair was
combed out and smoothed down, and then tight-fitting jaunty caps or
nets were fitted close over the head behind the ears, leaving the long
locks of hair spread out like fans upon the neck behind or in small
ringlets. These caps were usually very beautifully made, as often as
not of gold or silver thread or net, or wire and gemmed. A favourite
style was a delicate net of silk or very small artificial flowers of
blue, as contrasting most serenely with the golden glitter of the hair.

Fashionables always carried fans,--not those with which
we are familiar,--but little flags set on stems or poles;
_ventolini_--“windguards”--they were called. Strong sea-breezes, not
strong sunbeams, were to be warded off, for they disturbed the hair
and roughened the skin. Venetian beauties never, as we say, fanned
themselves: they had no need to do so, because the sea air always
tempered the sun’s heat. These fans were from six to twelve inches
square, and were made of cloth of gold, richly embroidered silk, Burano
lace, or feathers: they were fringed with beads and shells, through
which the wind whistled musically when shaken in the air. The stem,--a
foot or more long,--was usually of tortoiseshell, carved cedar-wood
or of gold and silver, and jewelled for State occasions. In 1522 the
_Provvidetori delle Pompe_ published a decree of the Council regulating
extravagant decoration of the _ventolini_.

Venetians never used parasols or sunshades; they wore their dress
sleeves short in order to expose the arm,--with its jewelled bracelets
above the elbow,--and their bare or lace-covered breasts, to the soft
sea air of the lagunes and the not too ardent rays of the golden
sun--nature’s assistants in the labours of the toilet.

“O fairest of the fair was she,
Dream of gold and cremisini;
Peach-silk her skin, golden her hair,
_Gentildonna di Venezia_.”

THE DOGARESSAS OF VENICE

CHAPTER I

“To the Lagunes!”--“To the Lagunes!”--“Attila Australis
plaga!”--“Attila Flagello di Dio!”--these were the despairing cries of
panic-stricken people in dire distress.

Ominous sounds came hustling over ragged peaks, and through dense
forests from the lofty snow-fields of the distant Alps; and, like the
storm-borne scum of tempestuous seas,--leaping and hissing,--they tore
along the hurrying torrents. Sweeping wildly over rippling lake and
rolling plain the warning cry re-echoes across the ruffled waters of
the salt marshes, and strikes terror in hearts of oak and pales brows
of bronze.

The heavy tread of barbarian hordes, their savage oaths, and
the clashing of their rude weapons, rush upon the wings of the
_tramontana_, as underfoot they trample the fertile lands of
Gallia Togata on their way to Rome.

The dreaded Huns are upon the prosperous Græco-Roman cities of Veneto,
with their noble civilisation, their graceful villas and gardens,
their well-equipped baths and theatres, their imperial palaces, their
arsenals, and their mints. “Splendid Veneto,” as Cassiodorus, the
Emperor Maximus’ famous minister of art and literature, in startled
admiration, calls the province,--is doomed to destruction.

The walls of Aquileia,--“Aquileia la Bella”--called so from the beauty
of her women, are the first to fall. Men and children are butchered
relentlessly--stalwart fathers and helpless babes lie side by side,
women are stripped and ravished, and the young girls carried along
by the intoxicated savages--the fairest spoils of war. A weeping
despairing band of fugitives alone escape the fury, and led by
Secundus, their Archbishop, with his clergy carrying relics of Saints
and sacred vessels, they hurry on till their blistered feet feel the
cool sea-wash at Grado.

Fruitful Concordia rooted up, her people fly to Caprule,--a swamp
of corncrakes, where, in place of working in the arts and crafts
as of yore, they are fain to tend sheep and goats for their
livelihood--Caorle they called it later on. Studious, lordly Padua
scatters her scholars and her patricians--Greek influence counts for
nought face to face with brute force--and makes common cause with busy
thriving Oderzo. Malamocco, with its sand-dunes, offers a shelter in
the storm to the Paduans; Eraclea and Jesolo, amid their pine-woods,
conceal the Oderzani; and Altino, smiling and fertile in times of
peace--in war-time a desert and a tomb, sends stragglers to Torcello.

Padua’s King, alone of leaders, withstands the brunt of battle in
421--brave Giano. Flight is not for him, and by his side stands, and
stand she will, or with her master fall, his wife, Queen Adriana the
Heroine.

Giano challenges Attila to personal conflict, whilst, wild and
remorseless as they are, the Huns look on with admiration and encourage
each valiant prince in turn. The Paduan skilfully parries the fierce
onslaught of the “Scourge of God” and, at last, although nigh bested,
he lays his enemy low, and the victims of Veneto are avenged!

The Queen has stood all through the fell encounter close behind her
consort, stripped ready for the fray, for, should Giano fall, then she
would try conclusions with Attila! Snatching the fallen chieftain’s
weapon, all gory with her husband’s blood--it had entered nearly into
his vitals--out of the death-grip of his strong right hand, she holds
it aloft calling upon Heaven to avenge the blood of her people.

To Rivo-Alto she bears it, in a lordly galley, a ghastly token of
deliverance, and, there, upon hallowed ground she sets it up, where she
plants her foot, in pledge of the church and convent which she vows she
will erect, in memory of a hardly-won victory, to the honour of holy
Raphael--the Archangelic healer of human wounds.

Quite a different story with respect to the death of Attila is set
forth eloquently in the erotic poem, “La Venezia Edificata,” composed
by Giulio Strozzi--a grandson of the great Filippo. Therein Oriana
Augusta, daughter of the Empress Galla Placida, titular Queen of
Dalmatia, is represented as consort by rape of the Hunnish King. Making
her escape from the camp of her captor she fled to Venetia-al-Lido
pursued by Attila. To prevent violation she leaped from the ship into
the sea and came near perishing, until rescued by kindly hands from
Aquileia.

The barbarian chieftain vowed to be avenged upon the Aquileiese, and,
they in their turn, vowed to guard the Queen. Attila had recourse
to a famous fortune-teller of Aquileia, “La Maga Irene,” who, in
consideration of a heavy bribe, consented to aid his vengeance. By
woman’s craft, or witch’s wiles, Irene contrived to set the people
of Aquileia all agog with their neighbours of the littoral, and at
variance with one another,--so that their quarrels might screen an
attack by the Huns. The enchantment entirely failed in its object,
for Giovanni Anafesto and Sostinio Rinieri,--leaders at Aquileia of
rival parties--joined hands to repel the invader. Irene, by the way,
had fooled them both by crossing them in love. Whether mesmerised by
the black art of the enchantress, or incited by personal jealousy
the captains of Attila’s host rose against him and against each
other. Intrigue and counterplot divided the councils of the Hunnish
chieftains. Nadasto, Attila’s second in command, made court to
Fulvia,--a lady of Altino--wife of his rival Aetis, and won over to his
cause her beauteous young daughter, Idilia, whom Attila had tried to
seduce.

[Illustration: LA MAGA IRENE HOLDS A RECEPTION.

FROM A WOODCUT AFTER A. PINELLI. 1624.

“La Veneta Edificata.”--Giulio Strozzi.]

One evening, when the incantatrice Irene had cast her spell upon the
Hunnish leader, and Ariana, her mystic-magic singer, had lulled him to
slumber in his tent, and when Nadasto had bribed and rendered drunk the
soldiers of his guard, Idilia stole silently through the darkness to
the couch whereon Attila was heavily sleeping. Like Jael she hesitated
not to make use of her opportunity to avenge her wrong and aid her
lover. Driving, with all the force of a strong desperate woman, the
sword she found by the sleeper’s side, she pierced Attila through the
breast, and pinned his body to the bed-board beneath. Thus died the
“Scourge of God,”--the ravisher of women--by a woman slain!

Not alone was heroic Adriana of Padua in deeds of
woman-prowess,--Martza d’Aquileia, standing astride her husband’s
stricken body, his sword in her hand, hurled bold defiance and hardy
blows together at her foes, until overborne by numbers she fell
fighting to the last!

Degna too, of Aquileia, daughter of the Queen of Dalmatia, dignified
and devoted matron that she was, her spouse and sons slaughtered
before her eyes, took refuge with her young daughters within the
gateway-tower, and thence threw down coping-stones and coals of fire
upon the heads of their enemies. Short was that attack on woman’s
valour, for brawny arms and hands were soon stretched out to seize the
brave defenders. Degna slew her children by dashing them to the ground,
and she, fearless of death, followed them to preserve their honour and
hers!

The skill and courage of the women of Veneto in the use of bow and
arrow, and in the casting of the javelin, came to be the undoing of
many a stalwart barbarian. The Huns were amazed at the heroism, no
less than at the beauty, of their fair opponents. Those viragoes had
in their veins the blood of Greek heroes, and their muscles were of
iron like the Romans. Noble and bold in heart were they, vigorous and
graceful in form and feature, and well dowered with mental capacity and
resource.

Not once, but many a time, when the rope-hawsers, which worked the
defenders’ catapults, gave out and the defence seemed doomed to
failure, the women and the girls of besieged towns cut off their
tresses of strong, fine, lustrous hair, with which to weave new stout
cords for the disabled machines!

Those were the women, who either stood shoulder-to-shoulder with
their lords and masters to repel the hateful foemen, or, blessed
with families of young children, fled for safety to the islets of
the lagunes, there to guard them from all ill, and ready to lay down
their lives in their defence. Among the fugitives men-folk were
rare,--grandsires and men past service and lads just entering on their
teens,--but the bones of the strongest and best lay bleaching and
unburied upon the desolate plains of Veneto.

This earliest settlement was a woman’s commonwealth, and mothers and
daughters nursed patiently a new generation. They inculcated lessons
of faith and devotion and inspired their boy-offspring with energy and
earnestness. Bereaved and comfortless themselves they looked to Holy
Church for consolation and direction. They listened, in their dreams,
to the soothing voices of the Saints, and loved to tell sweet stories
from tradition. Cells for holy men and women, released from the world,
were fixed on every sandy beach; and chapels, simple and primitive
enough, called by tinkling bells, holy souls to Mass and vespers.
Women prayed and children sang, till phœnix-like out of a cataclysm of
tribulations, arose a new Venice--“Venezia Seconda.”

Generation followed generation, and family cohesion banded the
scattered groups of islet dwellers together for mutual protection and
defence. The terror of invasion by barbarians became old men’s tales,
and mothers scared their children to make them good with stories of the
“Scourge of God.” Many lads, now grown, went back to terra-firma, and
rebuilt the homes of their grandparents, and married and settled there.

One hundred years rolled along almost uneventfully for “Venezia
Seconda” and the dwellers upon her shores, but, at length, times of
peace and comparative prosperity were rudely disturbed by another
fateful cry from the mountains!

Longobards,--Bavarians, Bulgarians, Swabians, and other mixed
races,--were said to be pouring over the passes into Italy, and late
in the autumn of 567, a mighty horde began to move over the plains
marching ever southwards. Terror once more struck home to the hearts
of the people of Veneto and of the islands of the lagunes. Were the
horrors of the almost forgotten invasions of the Goths and Huns to be
re-enacted? What was to become of them, and their children?

The only reply was the old, old cry “To the Lagunes!” Altino led the
way: her inhabitants were premonished by a startling apparition. The
storks, which made their nests upon the roof-trees of the houses,
suddenly began to circle round the city uttering shrill cries, then,
darting down with one accord they picked up in their long bills their
little fledgelings and made off right out to sea!

The people looked on amazed, but when they noted that the birds stayed
their flight over Torcello and her sister islets, they said one to
another--“This is a warning of Providence--which we must follow--it
is the ‘finger of God’!”

The Longobards, however, were not intent so much on conquest as on
settlement. Tales of the fertility of the soil of Italy, and stories
of the profitable industries of her cities, had found their way to
northern lands, and had excited, in the hearers, vehement desires to
share such good things. They came not in serried ranks of warriors but
in caravans in peaceful guise, with their household goods and chattels
upon their waggons, and their old folk and little children securely
mounted on the top. To them Veneto was the Land of Promise.

If the peaceful inhabitants of the province were not slain as in the
days of Alaric and Attila, they were scattered, for the Longobards
meant to have and to hold what they seized. Dressed in skins of beasts,
with linen tunics of many colours, loose breeches girded with leathern
belts, and shod in wooden and metal sandals, they presented a marked
contrast to the natives of Veneto. They shaved the back of their heads,
but wore the hair low upon the foreheads with ringlets, and the men
were bearded.

Their conduct towards the people they had come to dispossess of lands
and homes was marked by consideration, and they made an excellent
impression by not meddling with matters ecclesiastical. Indeed so
suave and gentle were they in their bearing that not a few of the less
fearful maidens looked kindly upon the invaders, and not one but many
brides of Veneto were mated to Longobard grooms! Surely this was a rare
exhibition of the old and world-wide sentiment--_noblesse oblige_!
A new and healthy strain was thus intermingled with blue Græco-Roman
blood, and, whereas, the citizens of the Eastern Empire, at large,
dwindled and deteriorated, the men and women of “Venezia Seconda” grew
in numbers, strength, and comeliness.

The Greek protection of Veneto and the lagunes was withdrawn in 641,
and then at once it was borne in upon the elders of the families and
the leaders in their councils that unbounded liberty was a dangerous
expedient. Parliaments representative of every class--work-people,
middle class, and patricians,--with the clergy at their head, were
called together for deliberation and unity of action.

If it is true--maybe it is--that each hundred years of a nation’s
development corresponds to a decade of human growth, then the
Commonwealth of the islets of the lagunes attained its maturity in 697
or thereabouts. The infant Venice,--nursed in her Malamocco cradle by
her father and motherland of Padua some two hundred years before,--was
now a vigorous maiden and of age.

Her sponsors, wisely chosen, one from each of twelve most important
settlements, who had exercised their tribuneship to good account,
forgathered at Eraclea to elect a worthy guardian of the State, a
leader--“Dux,” “Doxe” or “Doge” of the Venetians. Some of them were
Veneto-Greeks, like the Partecipazi and the Michieli, and some of them
were Veneto-Romans, like the Candiani and the Orseoli, with rivalries,
domestic and political to unite and disunite them, but all were fired
with the new idea of mutual life and independence.

From every _lido_ and _riva_ came barca and gondola, gaily dressed with
flowers and greenery: the helm held stoutly by men--brave as they
were wise, whilst at the prow, beauty and youth sang tuneful melodies.
Well-stored with food and delicacies were those festal galleys, for
their crews were bent on pleasure as well as business. Matron and maid
in holiday attire accompanied their lords and sweethearts to the solemn
happy ceremonial--it was a domestic celebration in simple homely state.

Where manly strength and wisdom make of life a scene of wear and tear
ungarnished and uncharmed by women’s ways, true femininity intervening
administers juice of grapes to gladden man’s heart, and oil of olives
to make him of a cheerful countenance,--so to paraphrase the holy
psalmist. At Eraclea grace and force embraced one another.

The women and the girls of the islands brought with them to Eraclea
armfuls of sea-pinks and sprays of jessamine, red poppies and yellow
flags, fragrant orange flowers and the sweet bays of myrtle, gathered
from their gardens. They wove gay garlands with the tenacious dime
rushes and coiled them about with the tendrils of the vine. Every
street shrine in Eraclea, every Virgin ikon in her modest homes, was
adorned with floral offerings, and the altars of her sanctuaries were
covered with pure white fragrant Mary lilies.

The twelve electors held their parliament in the modest basilica and
cast their votes in secret, but all were satisfied when Paolo Lucio
Anafesto of Aquileia was hailed as the first of Venice Doges--judge,
general, and pope combined.

Promptly the Patriarch of Grado blessed the new Head of the
State, and the twelve electors joined in crowning him with the
“_Corno_”--the horned Phrygian bonnet of renown and liberty. The
day’s solemnities performed all held picnic in the woods; Eraclea kept
open house. Night fell all too soon and lines of gaily-lighted gondolas
made off to homes across the phosphorescent waves and the summer moon
smiled upon a scene of perfect peace and content.

Alas for the stability of mundane matters--two short years were
scarcely spent when Doge Anafesto met with his death, lamentably
enough, in a conflict between the citizens of Eraclea and Jesolo. This
was a calamity, perhaps, rare in Venetian history, for, if Martino
Sanudo, the quaint and voluminous chronicler, may be believed:--“The
inhabitants of Venezia were a lowly peaceful people, esteeming love and
mercy highly, and above all religious--they cared not for honours but
were ever ready to help one another, regardless of class and station.”

Three Doges only ruled at Eraclea, and then in 742 the seat of the
Government was removed to Malamocco as being less open to attack, and
more favourably placed for the development of trade with the east.
The Doge was elected for life and his family, if of plebeian origin,
ennobled: his wife however had no precedence and was regarded pretty
much as one of her spouse’s goods and chattels.

The citizens of the Commonwealth enjoyed a lengthy period of peace
and prosperity, during which they were building up a national and
self-reliant character. Men, women, and children gained urbanity
and repose of manners, and were animated alike by vivacity and
gravity of bearing. The women especially were remarkable for their
good-breeding and refinement--vulgarity and pretence were non-apparent.
As mothers they had a softening yet wholesome influence upon their
families and households. Many Latin writers have noted these feminine
characteristics.

In matters of dress and personal adornment the _gentildonne_
followed more closely than their humbler sisters the Greek modes. The
mosaics at San Marco’s show that velvets and brocades were worn with
handsome furs and folds of lace. Blue was the favourite colour with all
classes--a cerulean tint, like the reflection of the azure skies in the
still waters of the lagunes.

When Charlemagne came to Friuli to hunt big game in 776, he made
friends with the heads of noble Venetian families, and adopted their
more graceful garments in lieu of his semi-savage state. He had set
his heart upon seeing Venice and seizing what he could of her outlying
islets. Her romantic story appealed strongly to his imagination and
he even made proposals that Frankish brides should find their way to
the lagunes. His ideas were actually adapted in the dogado of Obelario
Antenorio (804–809), for his consort was a Frank princess.

The Franks shared the sporting instincts of the Venetians and they
were emulous of the boasts of the men of Venice:--“One can catch
more fish in a month in the lagunes than in a whole year in all the
Mediterranean!”, and, “One can entrap more birds at Malamocco than
anywhere else in Italy!” Grebe-shooting was a favourite pastime, and
ladies entered into the sport quite as enthusiastically as their lords.
Cross-bows and clay pellets were the weapons, snaring was barred as
unsportsmanlike, and heads were nailed on barn doors as trophies.

Whilst Charlemagne and his courtiers were pleased to meet the
Venetians, in sport, or when on marriage bent, he and they never quite
concealed their designs upon the lagunes; but the monarch’s chagrin was
bitter when he was forced to admit the impossibility of success. “As my
brand sinks out of sight, nor ever shall appear to me again, so let all
thoughts of seizing Venice vanish from my will,”--he once exclaimed,
as, standing upon his royal galley off the coast of Padua, he cast his
sword far, far away, out into the sea!

The first actual Dogaressa--not merely the wife of the Doge, but the
First Lady in Venice and his official consort, was a Frenchwoman--the
Countess Carola,--a lady of honour at the Court of Aix-la-Chapelle.
Obelario Antenorio and his brother Beato, who was associated with him
in the dogado, were the guests of Charlemagne at Aix, and there the
Doge saw and wooed his bride. How they got there nobody knows: it was a
stupendous journey in those days. Perhaps fortune favoured Obelario and
Beato and brought the maiden in the suite of the Empress into Southern
France to Aix in Provence! The Emperor approved the match and promised
his friendship and protection for the island Republic.

Carola was a woman of great energy of character, remarkable for the
exercise of a strong will, and endowed with the faculty of attracting
respect and obedience. She had a difficult _rôle_, for the ladies of
Venice resented the introduction of a Frenchwoman as consort of their
Doge.

Beato Antenorio, it appears, played a double part, for whilst acting
as best man to his brother and paying court to Countess Carola, he
was negotiating with the Emperor at Constantinople for a union with a
Byzantine princess with a view to supplant the Doge and Dogaressa.

Carola very soon took the measure of Beato’s perfidy, and when he
brought his imperial bride to Venice, she adroitly placed Valentino,
her husband’s youngest brother, an attractive youth, in the young
girl’s way. There was little love lost between Beato and Cassandra,
and the brothers very soon became estranged, and thus the Dogaressa
held her own triumphantly. The story goes however that, consistent with
woman’s ever changing mood, having set Beato against his wife, the
Dogaressa became her rival in the affections of Valentino.

Perhaps the Venetian saying was true of her in a very special
way:--“_El segreto dele femene no lo sa nessun altro che mi e vu, e
tuto il commun!_”--“A woman’s secret is known to none save me, and
you, and all the town!”

Obelario Antenorio, who had been Tribune of Malamocco, was “an indolent
man, irresolute and faithless.” When a Greek fleet approached the
lagunes with peaceful intentions, but viewed by the Doge as supporting
the pretensions of Beato, he had recourse to the French Court for
assistance. This was regarded by the Greeks as an hostile act, and they
attacked and destroyed Eraclea, Jesolo, Fossone, Chioggia, and other
Venetian ports. The chief men of Venice were slain or taken captive,
and Obelario and Beato Antenorio were carried away as hostages to
Constantinople, where they and their wives, Carola and Cassandra, died.

The first “Grand” Doge and Founder of Venice was Agnello Badoero,
better known perhaps to historians by his Greek title “Ipato” or
“Protospataro,”--in the Rialto vernacular Partecipazio. The Badoeri,
originally from Padua and one of the twelve premier families of the
Commonwealth, were descended from Giovanni d’Eraclea, who was among the
twelve Tribunes voting at the election of Paolo Lucio Anafesto as first
Doge of the Lagunes in 697.

Agnello was Tribune of Malamocco, although a native of Eraclea, a man
of many parts, he exhibited remarkable talents in almost every walk of
life. A Greek of the Greeks by descent, he was a pronounced humanist
in the school of Plato. A born legislator, he was by inclination an
engineer and builder, and excelled his peers in mercantile industry and
political acumen.

Long before he was called to the supreme office of Doge he had fixed
ideas about, and matured plans for, the conservation and development
of the conditions of the islands of the Lagunes. Immediately after
his election in 810, he broke with the traditions of the dogado, by
removing the seat of Government to Rivo-Alto as being far and away a
more convenient centre and at the same being much more secure from the
attacks of enemies. Already there was a considerable population in
the new capital and churches and houses of some importance had been
erected--many of them of stone.

All the same the ordinary Rivo-Alto dwellings were of modest dimensions
and few rose beyond one storey in height. A marked feature of them
all was the outside staircase, which gave access to the living rooms,
and also led directly to the _altana_ or look-out tower upon the flat
roof. They were furnished with a _solario_ or _liago_--an open balcony
whereupon the inmates could sit and take the air and hold chit-chats
with their friends.

Upon the flat roof the women of the household performed their toilet,
combing out their hair and exposing it to the sunshine. Various
domestic duties also were transacted upon the “sun-traps,” for example
newly-washed linen bleached nowhere as effectively as there. Bedrooms
occupied the upper part, and the plan of the ground floor provided
kitchens and offices with rooms for meals and the reception of guests.
These, in the large structures, were arranged upon three sides of a
square forming a courtyard or garden patch.

Such a habitation was occupied by Doge Agnello and Dogaressa Elena
with their growing family. It was situated upon what was subsequently
known as the Campiello della Cason, adjoining the ancient church SS.
Apostoli, and facing towards the neighbouring island of Murano, just
where a small canal, the Rio Hadran, entered the Lagune. The principal
entrance was in Calle della Cason with a postern at the corner for
observation and defence. At the back, giving on a narrow back lane, was
another doorway which led to a small garden and an orchard.

Donna Elena occupied herself in cultivating “simples” and
sweet-smelling flowers, without which no Venetian considered his home
complete. Perhaps no people set greater store by fragrant flowers
and succulent herbs than did those Venetian children of the sea-mists
and salt-sands. The simplest bloom that the saline breeze allowed to
grow was as precious as the most luxuriant rambler-rose, or flowering
laurel. Vines grew everywhere and throve amazingly, and everybody had a
floral or arboreal hobby.

Having established himself in his primitive palace, Doge Agnello set to
work to carry out his ideas of utility and expansion. First of all, in
view of the many inroads of ruthless invaders into Veneto, he turned
his attention to the strengthening of the defences of the islands.
Strong cables were slung across the narrower channels, disused hulks of
vessels were sunk in the deeper water-ways, and a system of signals by
day and of beacons by night was established.

The chief life’s work of the sapient Head of the State was the
protection of the low-lying _lidi_ from floods and denudation.
Thousands and thousands of great timber balks from the Pineta of
Ravenna were secured and driven far down into the yielding mud and
sand. From pile to pile was woven a basket-work of unbreakable osiers,
and then the pumping out of needless channels and the draining of wet
marsh-lands was followed by the sinking of innumerable loads of solid
earth and gravel, until the reclaimed areas assumed something of the
appearance and consistency of terra-firma.

With such primitive appliances as were at hand, the success achieved
was little short of marvellous. To his new-made plots of land Doge
Agnello gave the name of “_Fondamenti_.” To Rivo-Alto as the centre of
his plan, he connected all the neighbouring islands by throwing across
the water-ways wooden bridges,--thus Venice assumed her present form.

Well may we, in imagination, behold the noble-hearted Doge, habited
in simple guise and grey-bearded, yet, vigorous of frame with eagle
eyes and firm set brow and mouth, ferried day by day, over the Grand
Canal,--the actual channel of the river which Livy calls Præ-altus.
To the _fondamento_ of San Giacomo--that earliest holy shrine of the
Venetian fugitives he is bound, there to superintend the works he has
initiated. With plans in hand, elaborated with Grecian geometrical
precision, he watches and directs the work-people, both men and
women--at their toil. No master was more solicitous for the welfare of
his working people than Doge Agnello Badoero.

Much of her time the Dogaressa spent with her husband on the
_fondamento_, where her presence cheered him. Thickly veiled, as was
the custom of good women, and modestly attired she moved among the
women workers, pouring out sympathy and affording relief.

The crowning labour of Doge Agnello Badoero, so far as the building of
Venice was concerned, was the erection of the Ducal Palace in 820. This
was purely Byzantine in design, very large, and built of rare marbles
and mosaics: “Il Palazzo” it was called, for there was nothing like it
in new Venice, or at Eraclea. Probably it resembled in some respects
the _Fondaco de’ Turchi_ built at the same period and by the same
master-builder--Doge Agnello. Unhappily nothing now remains of this
earliest official residence of the Doges of Rialto.

Francesco Donato has painted in a few words the character of Doge
Agnello Badoero:--“He rose,” he says, “easily above all parties, a man
very stable and dependable, a true Catholic, upright and devoted to
the true interests of the Commonwealth.” This encomium assuredly was
deserved by Dogaressa Elena as well.

The times were strenuous and many an one, weary of the toil of the
world and yearning for the consolation of religion was irresistibly
drawn to assume the habit of the monastery. Men and women of worth
became founders of religious houses and, among them, Doge Agnello and
Dogaressa Elena, who with their eldest son Giustiniano, built the
monasteries of Sant’ Ilario and San Zaccaria. This they did as the
Codice Trevisiano records, “revelatione Domini Omnipotentis.”

Following the example of his predecessors in the dogado Doge Agnello
Badoero, towards the end of his life, associated his two eldest sons
Giustiniano and Giovanni with himself in the direction in the affairs
of State. The two young men had been carefully trained for the duties
of government by their father, and by their mother, in the observances
of religion and the exercise of moralities.

Doge Agnello died in 827, and his two sons were elected to succeed him.
No record is preserved concerning the death of the good Dogaressa.
Probably they were both buried in the church of San Zaccaria.

The example of Doge Agnello and Dogaressa Elena, with respect to the
daily exercise of religion, was followed by their sons, their wives
and families. Mass always found them in attendance. Every day at dawn
the _Marangona_ or Mass-bell awoke the slumbering citizens, and
again at midday, and at dusk were the faithful summoned to devotion.
With singular simplicity the pious sons and daughters of Venice served
their God and served their city in the best way they could: none were
hypocrites.

The brief and quiet reign of Giustiniano Badoero was remarkable for
one eminent event--the translation of the body of Saint Mark the
Evangelist, from Alexandria to Venice.

The pious Venetians were well aware of the importance of possession of
relics of the Saints. At Aquileia, Eraclea, Padua and the other cities,
whence their forebears had fled to the islets of the lagunes, the
churches were the depositories of such treasures, and the revenues of
the ecclesiastical authorities were greatly augmented by the devotion
of the religiously minded inhabitants. Besides, such holy shrines
drew pilgrims and visitors from other states and so enhanced their
reputation. A quotation from the Zancarol Chronicle in the Library of
San Marco, exactly expresses the current idea:--“_La qual citade e
stada hedificada da veri e boni Cristiani_.”

Venetian envoys to Constantinople and travellers generally in the
Orient were admonished to secure if possible relics for translation
to the lagune city. Accordingly in 828 news reached Venice that two
sea captains of Venetian merchant galleys, wintering in the port of
Alexandria, had entered into relations with the ruler of the city. On
their part they were to smuggle arms and provisions for the use of the
Egyptian forces against the Eastern Emperor, and in exchange to take
whatever they might like from ruined temples near the sea-shore,--one
was the traditional burial-place of the second Evangelist.

Treasures of all sorts were unearthed, and, at length, the tomb of the
Saint yielded up a corpse undecayed and arrayed in episcopal vestments.
Acknowledged and venerated upon the spot the hallowed remains were
reverently conveyed to Venice, and received there with tumultuous
acclamations and temporarily enshrined within the ancient church of San
Pietro di Castello.

Doge Giustiniano and Dogaressa Felicita presided at the religious
ceremonies, which brought together and cemented the people of the
outlying islands and the inhabitants of the coast towns of terra-firma.
Religious fervour overspread all Venice, men and women surrendered
themselves, their children, and their goods, in honour of the Saint,
who then and there was hailed one of the patrons of Venice, sharing the
distinction with St Mary the Virgin, St Teodoro, and St Giustina of
Padua.

That must have been a busy time for the Dogaressa and her ladies, and,
indeed, for all the well-disposed women-folk of Venice. There were rich
hangings to embroider, fine linen to weave and stitch, delicate lace to
fret out, flowers to arrange, and sweet odours to confection. For St
Mark nothing was spared, and even the poorest of the poor put on the
best attire she could obtain and made festival with her richer sisters.

Not content with the splendours of the day of translation, the last day
of January was for ever set apart as an annual festival in honour of St
Mark; and with it was associated the ancient and beautiful custom of
public marriage upon the Eve of the Feast of the Purification.

Giustiniano Badoero very soon wearied of the responsibilities of office
and retired, with Donna Felicita his wife into the cloister of San
Servilio, which he had enriched by gifts of lands near the coast city
of Abondia Vigilia.

To the third Doge of the Badoero family, Giovanni, second son of the
“Grand Agnello,” belongs the glory of founding “the most resplendent
Christian shrine in Europe,” San Marco di Venezia. He succeeded his
brother as sole Doge in 829. What special part he and his Dogaressa
took in the actual building and first dedicatory celebration, history
has not recorded.

The reign of Giovanni Badoero lasted seven years--a season of
consolidation of Venetian power and also of family influence. The house
of Partecipazio gave seven Doges to Venice,--men of approved probity,
ruling their households and themselves with simple dignity, and the
State with firmness and distinction.

They one and all, with their consorts, when public cares and duties
became excessive, sought the solace of the cloister. What a very
sensible custom was this, and how conducive to efficiency in the
service of the State, and withal how indicative of the influence of the
Church in human affairs!

Women and girls in the times of the first three Badoeri Doges were
treated less harshly than they had been in earlier days, but still
they were under restrictions which were almost Oriental in character.
Their men-folk professed themselves jealous of the family honour and
were eager to uphold their autocratic rights over their own households
against all intruders.

In public women were veiled,--matrons in black, maidens in
white,--except upon festivals, which happily, for the sake of dear
Prince Cupid, were frequent enough, when they were allowed to appear at
church, on the Piazza, and in barca or gondola uncovered,--these were
lovers’ opportunities!

When a youth had become familiar with the form and carriage of a
girl, and was taken therewith, he was wont to haunt the neighbourhood
of her father’s house, in order to get a good look at her features
and expression when she came out. If the opinion he had formed was
confirmed then he was accustomed of a night to stand beneath the
iron-barred window of his _innamorata_, and there breathe out his
love ditty, or twang amorously the strings of his guitar.

If the girl responded to the youth’s ecstasy, she was permitted to
flash a light through the open shutter. The repetition of this signal
was an intimation that the wooer might address himself to her father,
requesting acceptance as a “novice in the form and art of love-making.”

The father’s consent was regarded as the first step of the betrothal,
and then the happy young couple were required to await the festal day
of good San Marco, for the public acknowledgment of the suit. Liberty
was meanwhile allowed for interviews, and negotiations were put on foot
with respect to equality of family and amount of dowry, etc.

The girl dressed simply in white was permitted to receive visits from
her lover and his young companions. Upon the eve of the festival when
many friends were assembled, serious and gay, the bridegroom-elect
took his bride’s hand in his and slipped upon her finger a
ring,--_penge_ they called it,--as a pledge of his honourable
intentions. The girl immediately withdrew with her mother, whilst the
guests were feasted.

Nobody went to bed that night, for there was much to be done in
preparation for the morrow’s nuptials. The bride had to be bathed and
her hair plaited in two great coils, her dress and her ornaments had to
be arranged, and finishing touches put to the festal decorations of the
house.

Attendance at early Mass was _de rigueur_, and then the bride,
covered with a lace or fine net veil knelt to receive her father’s
blessing, and at the same time she had placed in her hands by her
two sponsors--the most estimable and influential of her father’s
acquaintances--a casket or purse, in which was deposited her
dowry. These receptacles were called _arcella_ and were objects of
considerable value from an artistic point of view. If caskets they
were of embossed silver, or carved wood, or painted by hand, and if
they took the form of purses they were of the richest material, very
beautifully embroidered, and often enough ornamented with pearls and
precious stones.

A procession was formed of gaily-decorated gondolas with the wedding
guests--the bride’s contained herself, and her father with her
sponsors, and bore silken streamers of blue and white with two captive
white doves at the prow; and all made for the island cathedral of San
Pietro di Castello.

[Illustration: SPOSALIZO.

LORENZO. LOTTO.

PRADO MADRID]

The bride bearing her _arcella_ suspended from her neck by a blue
silk ribbon knelt by her father’s side before the Bishop, and then
the groom, ushered by his witnesses, took his place at her right hand
offering the wedding-ring for the episcopal benediction. Removing the
_penge_,--which he slipped upon his own finger,--he replaced it with
the golden hoop of matrimony. Lighted candles were placed in the hands
of the couple, whilst the Bishop blessed their union. An offering in
their behalf is made by the bridegroom’s next friend, and the religious
ceremony ended with the singing of a marriage ode.

A merry, happy party betook themselves one and all to the fleet of gala
gondolas, scattering on their way sweetmeats and small current coins,
among the bystanders. A banquet with dancing and singing filled the
afternoon and, at dark, the minstrel band led the newly-married pair to
the bridegroom’s brilliantly lighted house.

The best man held a position of importance, he it was who found the
beverages for the guests, toasted the nuptial couple, and gave drink
and money all round. Early in the morning following the marriage he
repaired to the nuptial chamber, and knocking loudly at the door,
offered the happy spouse two fresh-laid eggs,--often enough stained
and painted exquisitely,--and a casket of aromatic pastilles--tokens
of good wishes for marital felicity. The bride’s girl friends too laid
beside the door little wicker-work baskets beautifully trimmed with
silk and decorated with fresh flowers, and full of delicious sweetmeats
and fresh fruit--emblematic again of what married life should ever be.
Such were some of the pretty wedding observances in old Venice.

One of the prettiest of the many charming customs, which illustrate so
delightfully the ever-fascinating story of Venice,--“the Venus City
of the Adriatic,”--was the annual presentation of the _boccola_--the
rose nosegay of San Marco. For its origin we must hie us back to a very
distant century--the ninth.

Doge Orso Badoero, grandson of the “Grand” Doge Agnello Partecipazio,
had a lovely only daughter, Maria was her name in baptism, but, by
reason of the ardent flashes of her brilliant jet-black eyes she was
known as Vulcana--“Vulcana of the black eyes!” Then one day, there came
from far Provence a handsome troubadour with his light guitar. He was
called Tancred--a child of chance as it appears; and he sang outside
the dark-eyed beauty’s iron-barred window the doughty deeds of knightly
prowess and the conquering charms of maiden troth.

Prince Cupid set to work, as busy as could be, and began to shoot his
love-dipped arrows up and down, till he had transfixed both Vulcana and
Tancredo. Alas! the maiden knew full well her father would never listen
to the plea of a simple singing youth, and so she wept and sighed, and
sighed and wept!

“Go, gentle minstrel,” she cried, “tarry not, seek the Court of the
King of France, and clothe thyself with the glory of martial renown, I,
thy Maria, will wait for thee!”

With a tender embrace, and the maiden’s thin gauze scarf for guerdon
tied round his arm, the troubadour set off to fight the Moors.

Seasons came and seasons went and beauteous Maria Vulcana upon the
_altana_ of her father’s palace scanned in vain the wide lagune
for signs of the warrior’s return. “Will Tancredo never come back?”
she asked herself, and she wept and yearned for him. At last rumours
of bold adventure and the names of many goodly knights were banded
from tongue to tongue. The dreaded Moors had been vanquished, and the
hero of the fights was a youthful soldier of fortune one Tancredo of
Provence!

Well-a-day, an embassy presently arrived in Venice from great
Charlemagne, its leader was Sir Roland the Invincible. He sought here
and there for Maria Badoero the Doge’s weeping daughter, but she never
showed herself--her heart was with Tancredo--she cared for none beside.
At length they met and Roland bending over her, sighing, said, “Lady
fair, I kiss thy hand for brave Tancredo, and bid thee weep no more for
him, he died in these arms of mine breathing out thy name,--see he bid
me with his last words give thee this red rosebud, which he had plucked
for thee, saying, ‘Bid her pray for me always.’”

Maria was silent, she paled, her heart gave no more than one big throb,
as she placed the pledge of her Tancredo’s love between her breasts,
and then she laid her down and died!

This is the “Legend of the Boccola.”

The day that heart-broken Maria Vulcana breathed her last was the
name-day of Saint Mark the Evangelist, 25th April. Thereafter every
lovelorn lad in the islets of the lagunes offered to the girl he
loved best a freshly gathered red rosebud as a fragrant pledge of his
devotions. The _innamorate_ were accustomed to place the sweet tokens
in their open bosoms, as did the beauteous but unhappy maiden of old
times, and proudly wear it all that livelong day. Sometimes to be sure,
the girl rejected her admirer’s tender gift, but she who could show no
rosebud in her bosom suffered mighty heart-burns all the same, and her
girl companions and the young men of her acquaintance looked askance at
her.

At the sounding of the curfew all were safe of course indoors, and then
the simple offering, withered as it was, was taken lovingly between
both the maiden’s hands, caressed affectionately, and placed in the
most secret hiding-place she had. It might be a long, or it might be a
little, while before her parents acknowledged the successful suitor;
but that frail blossom of early summer never lost its fragrance, and
many a dewdrop of a tear fell upon the faded petals, whilst the loved
one waited impatiently for the next _Festa delle Marie_.

III

Perhaps the proudest of all the proud families of old Venice was that
of the Candiani--an offshoot of the ruling clan of Sanudi, in ancient
times in Padua. Their name they derived from the village whence they
sprang, just outside the proud city,--_Candiana_. In the eighth and
ninth centuries, as Counts of the Western Empire, they ruled over Padua
and Vicenza and were endowed with lands and titles by Otto I.

The first member of the family to wear the ducal bonnet was Pietro, the
descendant of an earlier Pietro, who, in 697 was one of the twelve
electors of the first Doge, Paolo Lucio Anafesto. His election in
886 was due, in a considerable measure, to the extreme youth of Doge
Giovanni Badoero’s son Orso, but especially in view of the need of
a strong man to deal with the incipient feuds of the rival families
of the Polani, Giustiniani, and Barozzi, and the Burbolani, Iscoli,
and Selvi. Doge Pietro was a man of war, he led twelve armed galleys
against his city’s constant foes, the pirates of the coasts of Istria
and Dalmatia, and died at sea after one short year of office.

His son and grandson, both Pietro, were sandwiched between Orso Badoero
II. and Pietro Badoero,--so keen was the rivalry and so equal the
opportunities of the two families. All four, with their consorts, were
conspicuous for their devotion to their public duties and for their
piety. Daily they attended Mass and evening devotions, and observed
frugality in dress and table.

Pietro Candiano III. married Archielda or Richielda, who brought him
neither dowry nor social distinction. Who she was nobody has recorded,
probably she was the child of one of the Slav women who were brought
captive to Venice in 887, by the expedition, which destroyed the nests
of Narentian pirates in the Adriatic, under Pietro Candiano I.

All we seem to know about the Dogaressa Archielda is that, when her
consort died, she according to Venetian rule, was cloistered. Doubtless
she suffered much when her son Pietro raised a party against his father.

One other son of Archielda is named by Dandolo the chronicler,
Domenigo, who became Bishop of Torcello. She survived her husband
many years, under whose will she inherited a rich vineyard and a
dwelling-house in the marches of Veneto, which she seems to have passed
over to the nuns of San Zaccaria.

The name of Pietro Candiano III. has come down to us in gracious
valiant guise. It was the Feast of the Purification in the year 944,
and the “Brides of Venice” were kneeling before the Bishop in the
church of San Pietro di Castello. The Doge and Dogaressa, and their
household were assisting at the ceremony, when, suddenly wild figures
of daring buccaneers from Trieste dashed into the sacred building.
Robbery not rape was their primary intention, for the maidens’
_arcelle_ were well worth the risk the robbers ran. The girls held
tightly to their dowries, and so they were borne off bodily by their
captors, _arcelle_ and all!

Recovering from their consternation the men-folk of the congregation
and the hangers-on outside laid hands on weapons, tools and anything,
and were swiftly on the heels of the ravishers. Luckily the barcas of
the Guild of Marriage-chest makers were moored in the canal, and so
available for use.

Doge Pietro, divesting himself of his State mantle, and girding on his
sword, headed the pursuers. Calling on Heaven for vengeance he boarded
the foremost boat and bade every armed man to follow: it was the barca
of Andrea de’ Cappelli of the _fondamento_ of Santa Maria Formosa,--the
quarter of the makers of hats. He was one of the bridegrooms-elect,
and, mad with rage, he and his companions swore to be avenged and to
bring back their brides to Venice.

That was a stern chase to be sure, the robbers rowed their hardest,
and the lovers of the “Brides” bent to their sweeps with all their
wind and thew. Not till the pirates had crossed the Caorle lagune did
Andrea de’ Cappelli’s boat grapple with the quarry. Then it was a
fight hand-to-hand, pole-to-pole,--but at last, Andrea, leaping into
the _batello_ of the pirate chief struck the villain down, and
gathered to his breast his fainting bedraggled bride. Bearing her light
form under his left arm he neatly beheaded his enemy and, holding aloft
the gory trophy, regained his boat.

Victory,--as by well-bound convention,--crowned virtue, and back to
Venice rowed swiftly the proud flotilla--the happy maidens waving
aloft their bridal veils in token of their deliverance. Landing at the
_campo_ of Santa Maria Formosa all entered the sacred edifice, hard by,
where the clergy sang “Te Deum.” The assembly broke up hilariously to
spend the evening in universal merriment.

Coming out of the church the Master of the Guild of Hat-Makers
requested a favour of the Doge,--by whose side walked the motherly
figure of the Dogaressa, her face radiant with smiles,--namely that an
annual commemoration of the gallant rescue of the “Brides of Venice”
should be instituted whereat the Doge and Dogaressa should preside.

Dandolo gives an amusing account of the interview:--

“But if it rains?” asked Doge Candiano.

“Why, we will give you hats to cover you!”

“And if we come hungry?”

“Well then you shall have the finest catch of fish and the sweetest
basket of fruit.”

“But if we are thirsty too?”

“We will refresh you with the best vintage we possess!”

And so it came to pass. Every year the Doge and Dogaressa, with
all their households and the members of the Grand Council, paid a
ceremonial visit to Santa Maria Formosa. Each dignitary received a
brand-new straw hat,--richly gilt and decorated with flowers, a flask
of finest Malvaggia,--ruddy and rare, and a silver fish with a golden
orange apiece. This is the origin of the _Festa delle Marie_.

The superb painting which adorns the first altar of the right aisle at
Santa Maria Formosa--Palma Vecchio’s _chef d’œuvre_, and entitled
“Santa Barbara,” may well have been inspired by the story of the
“Brides.” She is the patroness of the brave--and the old adage--“None
but the brave deserve the fair” never had a fuller vindication than on
that memorable day of the rape of the Venetian brides.

Candiano III. had a son--his second, the stormy petrel of his race, the
vulture of his family. In 959 Pietro Candiano IV. declared his father
incapable of reigning, and with the utmost effrontery, he assumed the
ducal bonnet and estate, apparently no man saying him nay. Alas! How
soon noble deeds are forgotten, how easily the knee is bent to the
supplanter!

The good old Doge and Dogaressa were ousted from the ducal palace, and
the usurper dared to introduce therein the giddy woman with whom he
cohabited. This was such a glaring scandal that he was obliged to bow
to public opinion and put away Giovanniccia--a _divorcée_, whom he
had picked up clandestinely, defying her quondam husband.

No woman of high degree, no _gentildonna_, would cross the threshold of
the palace so long as the Doge kept his mistress there, none greeted
her upon the Piazza--and she became an object of scorn and derision.
At length Pietro yielded to the popular feeling, and fascinating if
corrupt, Giovanniccia was compelled to take the vow of chastity and to
enter the noble convent of San Zaccaria,--the refuge of widowed and
discredited Dogaressas.

In the Museo Civico, in Venice, is an ancient pack of playing-cards
with illustrations of some of the earlier Dogaressas. The Four
of Hearts has a representation of Giovanniccia Candiano with a
_ventilino_,--a fan, in her hand, and accompanied by the following
legend:--“Giovanniccia, wife of Pietro Candiano, divorced, being able
to avenge herself did not do it, so, her husband being slain by the
people, she would not survive--‘If I am not the spouse of Ulysses I am
Death’s’!”

The chronicler, Pietro Diacono, adds that the repudiated Giovanniccia
disowned her child, Vitale, and left the little fellow to be fostered
by a serving-woman who subsequently placed him in a monastery school.
This Vitale Candiano, in 987, was consecrated Bishop of Aquileia, and a
few years later was translated to the Patriarchal See of Grado, where
he ended his days--the last of his family,--in 1018.

No sooner had Pietro Candiano divorced his adulterous wife than the
Emperor Otto III. stepped in and gave him the hand, if not the heart,
of Gualdrada--Valdrada in Venetian--the young sister of Ugo il Grande,
Marquis of Tuscany, of whom Dante speaks thus in his “_Paradiso_,”
Canto XVI.:--

“The great Baron, he whose name and worth
The festival of Thomas still recalls.”

Ugo’s granddaughter was the famous Countess Matilda, the virile ruler
of all Tuscany and the beneficent foundress of the liberties of
Florence.

Countess Valdrada brought to her ducal husband as rich a dowry as any
of the royal brides of Venice had brought. Estates at Trivigiano,
Friuli, Ferrara, and Adria, with castles and well-trained retainers;
a host of slaves, and money-bags well filled with gold, enriched and
ennobled proud Pietro Candiano.

At her betrothal a custom entirely new to the Venetians was introduced,
the so-called “Morgencap” or “Mundio” whereby the Doge conferred a
fourth part of his private income upon his consort. Never stepped
upon the Piazzetta a prouder Dogaressa. Had she been own daughter
of the Emperor she could not have borne herself more haughtily, nor
have treated both her husband and his suite more disdainfully. The
acclamations of the populace she treated with ill-concealed contempt
and turned to ridicule the decorations in her honour.

The Venetians were to a man noted for their self-esteem and high
bearing and the keynote of their character was a spirit of proud and
contemptuous isolation, but they regarded this display of feminine
arrogance with annoyance and disgust. To add to the unfavourable
impression Valdrada made, the armed Florentine guard, which accompanied
her and stood sentry at her beck and call, called forth violent
protests. Altogether the Doge’s marriage was not an unmixed blessing to
himself or his people. Nevertheless Pietro and Valdrada seemed happy
together: he humoured her petulance and she fanned his self-esteem. Two
children were the fruits of this union, Pietro and Marina.

Two important questions were exercising men’s minds in Venice what
time Dogaressa Valdrada mounted the ducal throne--the treatment of
slaves and the expedition against the Saracens. With the first Valdrada
was keenly interested, indeed it was the spectacle of her retinue of
slaves, and their abject condition, that drew special attention to a
very knotty question.

The Doge tried to persuade his wife to dismiss these unfortunate
people, or at all events to reduce their number, but her
ill-conditioned temper would brook no interference. She threw in his
teeth the fact that she was the special _protégée_ of the Emperor,
a descendant of a royal race, and the first Italian Dogaressa to share
the honours of the dogado.

Valdrada was a virago in more senses than one--clever she was and
talented, as well as strong-willed and hard-hearted. To her directly
was due the introduction from Tuscany of the Roman bull-fight, and
this took the quiet and undemonstrative Venetians by storm, and,
incidentally, led to the division of the community into two camps--the
Castellani and the Nicolotti.

Rings were formed at the Lido each Monday in September and October
when the whole of Venice thronged the beach in gondolas. In November
the rendezvous was moved to the gardens of Olivolo, by the church of
San Pietro di Castello; and December saw the bull-baiting transferred
to the site of the Piazza. The Dogaressa was accustomed to preside at
these combats in person, assuming all the attributes of a sovereign.
Popular enough were the sports, for very shrewdly, she added prizes for
athletic contests of all kinds and for regattas on the canals; but the
patricians looked on with anything but kindly eyes.

Doge Pietro IV. was, perhaps, the proudest of all the proud men who
ever occupied the highest position in the Commonwealth, and his wife’s
assumptions and pretensions added greatly to his self-importance. His
name of derision in Rialto was “Superbossimo,” the “Vain-glorious!”
His _entourage_ was largely composed of unscrupulous Tuscans,
truculent Greeks and self-seeking Germans: he kept royal state and
treated the nobles and the officials with coldness and disdain. At the
same time he rallied all the different branches of his family, which
were established in and about Padua and Vicenza, and formed a family
league which threatened to overthrow the constitution of Venice.

Startled at last, by the imminence of the danger to their liberties,
nobles and citizens took arms, in the autumn of 976, and marched to the
Ducal palace. They were received by a deadly volley from the foreign
mercenaries, and, maddened by this treachery, the people acted with a
promptitude which admitted of no quarter. Fire was laid to the great
portal of the palace, and logs of wood dipped in pitch were flung
through the closed windows.

[Illustration: LA CAZZA DEL TORO IN CARNIVAL TIME.

FROM A PRINT. 1560.

“Habiti Delle Donne.”--G. Franco.]

The flames spread rapidly, and eventually enveloped more than three
hundred houses, and the splendid churches of San Marco, San Teodoro,
and Santa Maria Zobenigo. The lust for vengeance and destruction
swept over the calm, but, if once roused, impetuous, populace, and
nobody and nothing was spared.

The Doge fled distractedly from room to room, holding in his arms
his only boy--the infant Pietro. The Dogaressa with Marina rushed
panic-stricken after him. Escape from the crumbling blazing ruins
was only possible by a little wicket which gave upon the courtyard
of San Marco. Here, progress was stayed by a posse of armed nobles
and citizens, among whom the unhappy Doge recognised several of his
personal friends. Of the latter he begged his life and the safety of
his family.

“You, my friends,” he cried in anguish, “have chosen to join in my
destruction. If I have transgressed in any way, either in words or
actions, I crave my life, whilst I promise to satisfy every demand.
Speak and let me pass.”

Words were of no avail, such justice as the popular will required was
swift and drastic. Not one, but many swords clove through ducal bonnet
and robe of state, and Doge Pietro Candiano IV. lay quivering, a livid
mass upon that blood-dyed floor. Not content with this butchery brutal
hands seized the unoffending princeling, and neither his innocence nor
Valdrada’s pleas sufficed to save him. She was cast aside as a foul
thing too hateful for any man to slay, and her child was impaled upon a
spear, stuck into the body of his father!

At eventide a poor man, one who abhorred the foul deed, Giovanni
Gradenigo, came with a company of pious friends and took away the
mutilated bodies and laid them reverently in the crypt of Sant’ Ilario.

The Dogaressa, with her young daughter Marina, succeeded in
escaping,--perhaps she was allowed to do so to avoid difficulties
with the Imperial Court and the arrogant Marquis of Tuscany. She fled
to Verona and threw herself at the feet of the Empress Adelheid the
Emperor’s mother, who resided there.

To be avenged of the Venetians was now her one and only purpose. Her
imperious temperament yielded to a violence of hatred almost diabolical
in its intensity. She appealed to Otto to set fire to Venice, to
take the nobles captive, to cast the citizens into prison, and to
make slaves of the women and children! She demanded the repayment of
the gold she had carried with her to Venice, the restitution by the
Candiani of the estates with which she had dowered her husband, and
demanded a huge tribute by way of compensation for her wrongs.

Pietro Orseolo, who had been elected Doge, after the assassination of
Pietro Candiano, by the tumultuous voice of the people, despatched
Domenigo Grimani to Piacenza where the Emperor was in residence
to discuss the claims of the widowed Dogaressa. By a rare display
of urbanity and tact Valdrada’s vehemence was soothed, her claims
modified, and an agreement was come to agreeable to all parties.

She acknowledged her love for her husband and exclaimed before the full
Court:--“A wife is not given by nature to be her husband’s judge but as
his companion.” She refused however to enter a convent, as became a
widowed Dogaressa, but returned to her brother’s Court in Tuscany, and
apparently ended her days at the castle of Pisa at the end of 997. By
her will, dated 24th November of that year, she bequeathed a castle and
an estate situated in the Adige to her brother, who gave them to the
abbey of Vangadizza.

The web of human life, strained at times and knotted, is never long
spun out before romance and tragedy cross it in the woof. Each man and
woman’s work in the tapestry of fate is run with needles sharp and
blunt. None need look to fiction for inspiration whilst fact is so
devious and so amazing. Cupid and Mars ever were inveterate enemies;
but “Love’s Labour” is _never_ “Lost”--for Love is stronger, after
all, than death!

The love-story of Gerardo Guoro and Elena Candiano is as touching as
any in the gentle annals of romance. She was the daughter of Doge
Pietro Candiano III.,--a girl in whose veins coursed the bluest of
noble Venetian blood, whilst her lover was base-born, though of a
respectable family. He was probably as the Venetian proverb has it
“_Erser in Candia_,”--“Without a farthing in his pocket!” Such
unequal affairs of the heart, as the world has always called them, are
just where the romance of love runs riot!

It was so when Gerardo and Elena, the originals of Shakespeare’s
“Romeo and Juliet,” plighted their troth secretly, and told nobody but
Elena’s doting old nurse Marta, who contrived the interviews, bore the
messages, and shielded the secret from the Doge and Dogaressa.

Perhaps matters might have gone differently “had not Cupid,” as
the Bard of Avon says, in his “Much Ado About Nothing,” “spent all
his arrows in Venice!” With the very first bud of their rosetree of
happiness, alas, gallant Gerardo was summoned to join his company and
to embark for the Orient. Elena’s mother, noting the girl’s tearful
pallor, decided that matrimony was the only remedy.

“A maiden fretting
Is cured by wedding.”

A very eligible partner appeared duly on the scene, one Messir Vettor
Belegno, a patrician of ripe age and wealthy, whose widowed home looked
for a new mistress. Broken-hearted Elena refused her rich paramour,
but a daughter of the Doge has no will of her own, and the marriage
contract was duly signed, and she, more dead than alive, ever fretting
for her absent Gerardo, was led to her nuptials in San Pietro di
Castello.

The fatal knot was tied, but it had nearly compassed a fatality,
for, no sooner had the ring of the wedded wife been slipped upon her
finger, than poor Elena, clad in her bridal garb of purity, swooned in
Belegno’s arms. A speechless awe pervaded the brilliant wedding party,
for when the beauteous bride came not back again to consciousness, the
Bishop pronounced her dead! The joyous notes of the nuptial ceremony
were abruptly changed to the dirge of burial, and, there, wrapped in
her bridal dress, she lay crowned with fresh spring flowers until a
place was prepared for her cold body in the crypt.

As fate would have it the morrow of her funeral, when the fair
alabaster-like form of the lovely girl lay alone in that dark place,
saw brave Gerardo’s troop of gallant warriors landed at the Lido. News
of the tragedy was swiftly conveyed to the fleet, and the disconsolate
young husband hastened fearfully to the old church on Olivolo. Slipping
aside the heavy marble cover of Elena’s tomb, he kneeled upon his knees
imploring Heaven’s pardon and Heaven’s favour.

Then, in a paroxysm of grief he stretched his body along the silent
form of his beloved one, and, looking into her eyes, he pressed his
breast to hers, and there they lay. Presently he is conscious of a
pulse and a movement in the bridal shrouded corpse, and, joy of joys,
her eyes open, and she knows that her Gerardo has come home to claim
her!

Beside himself with transports of love and sorrow he carries the
unresisting girl to his mother, by whose care and Gerardo’s kisses,
she is nursed back to life and happiness. But who shall break the
news to the Doge and Dogaressa? Gerardo answers the query manfully.
He has gained laurels in the East, and his grateful city has honours
to bestow. Kneeling before the Doge to receive his guerdon he bravely
recounts the story he has to tell. The Doge is incredulous, but
confirmation is ready to hand, when his daughter, running to Gerardo,
takes his hand in hers, and craves her father’s benediction.

The bridegroom of the tragedy gracefully stepping aside renounces,
quite nobly, the marriage dowry, and joins the Doge and Dogaressa
in sanctioning Elena’s secret wedding with Gerardo. As story-books
relate--they lived ever after in perfect happiness and great content.

CHAPTER II

The Legends of the Middle Ages were the fruitful source of the Poetry
of the Renascence. Greek mythology and Roman mysticism yielded place
to the humanistic tenets of Platonism and the heroic narratives of
Christianity. Every temple and church and every monument and monastery
became the treasury of moral and religious stories. Traditions of the
past were the foundation of the histories of the present and these
superstructures the forecasts of the future.

Venice, by the reason of her unique environment, gathered all that was
fairest, noblest and most moving of the life above and around her. The
charms of allegory found in the people of the lagunes ready acceptance,
and the halo of romance shed a brilliant light in the homes of every
family.

“If to-day be another’s, to-morrow is yours,” was a sentiment deep down
in the hearts and minds of every man, woman, and child. Venice was the
apple of each eye; each individual cared for her before self-interest.

“_La Campagna me consola,
Me Venegia ze la sola
Che me posa contenter
O Venegia benedetta
Nole vogio pia la sar!_”--

So ran the popular barcarolle.

Each family had its own legends and its peculiar characteristics,--the
very names were indicative of an eventful past--each had its symbol and
its story.

* * * * *

The family of Ursoilo or the Orseoli, “Little Bears!” was one of the
four great ruling families in the early days of the Venetian Republic.
They originally came from Aquileia when the Huns devastated Veneto.
Their arms were two dancing brown bears, shaggy and obese, upon a blue
field. With the Badoeri, Candiani and Michieli they shared the unique
distinction of supplying Doges for full two hundred years.

Pietro dal’ Orseolo (976–978) was the first representative of the
family to mount the ducal Chair of State. He succeeded upon the
assassination of Pietro Candiano IV., in which atrocious act he was
reported to have a share, although probably, it was another Pietro, a
namesake, who plotted against the Candiani.

The new Doge was an excellent man, “_laudato di tutti_” as it was
said of him,--but hardly the sort of ruler needed in such turbulent
times. His first work was to remedy the excesses of the popular
outbreak, and next he set himself the task of rebuilding both the
basilica and the palace. To him is due the unique _Pala d’oro_ or
Altar-front of beaten and embossed silver-gilt, made at Constantinople.

His spouse, of a gentle loving nature like his own, was Donna Felicia
Malipiero, by whom he had two sons--Pietro and Domenigo. The Doge
and Dogaressa were devoted to the exercises of religion and their
modest home during the rebuilding of the Ducal palace was thronged by
ecclesiastics, both regular and secular, native and foreign-born.

Everything which had to be done was laid before these clerical
advisers--quite naturally exciting the resentment of the nobles of the
Council. The Ducal _mênage_ was very staid and meagre, and the
merry maidens and modish matrons of the city had no countenance from
devout Donna Felicia.

By degrees the Doge and Dogaressa altogether withdrew from State
affairs: partly because they were weary of the importunities of Dowager
Dogaressa Valdrada, whose dowry the Doge at length paid out of his
privy purse, and partly because they had ceased to be in touch with
the worldly occupations of their fellow-citizens. To pious works they
addressed themselves, and first, in memory of Doge Pietro Tradonico,
who, in 837, was murdered on the patronal festival of Saint Mark,
they founded a hospital for poor pilgrims on their way to Palestine.
The site chosen was a piece of waste ground (now included in the
Piazza) belonging to the nuns of San Zaccaria. Whilst the Doge spent
his leisure in devotions before the shrine, the Dogaressa visited the
patients in the hospital and performed the most menial of offices.

After two years of dignity Doge Pietro Orseolo abdicated his high
office, and, accompanied by the Abbot Guarino of the Monastery of
Saint Michele de Cassano in Aquitaine--a priest, of whom he had made a
personal confidant--he withdrew secretly to France, and died many years
after in his lonely cell at Longuedére near Cassano.

A characteristic story is told of the cloistered Doge, who had placed
himself under the guidance of the far-famed and ascetic Abbot Romoaldo,
the founder of the strictest rule of the Camaldolites. Being unable
to bear the austerity of his life, and suffering from hunger and the
hardships of heavy manual labour, Brother Pietro Orseolo asked the holy
man for some relaxation.

“Father,” said he, “I have a gross body and I cannot, for my many sins,
support my strength upon the daily morsel of hard biscuit, grant me, I
pray thee, a more generous fare.”

“My son,” replied Romoaldo, “thy body must be kept under, nevertheless
I will allow thee one half biscuit more a day.”

Dogaressa Felicia survived her husband many years--cloistered in
the convent of San Zaccaria. She was much comforted by the filial
devotion of her two sons, to whom she was never tired of repeating
their father’s pious advice:--“Take care to preserve the rights of the
Church, and be drawn aside from doing justice neither by love nor hate.”

The fame of Pietro Orseolo’s renunciation and good works reached the
ears of the Sovereign Pontiff, who authorised the necessary steps to
be taken for his canonisation; and thus Saint Pietro Orseolo took his
place among the many venerated saints of Venice. In the year 1732, his
right arm was brought back from Cassano, and was deposited in San Marco
among the holy relics.

In the Museo Civico, in Venice, is a quaint painting, quite Byzantine
in style, by the Venetian painter Giovanni Santacroce of the Madonna
and Bambino attended by a choir of cherubs. Upon either side of
Saint Mary kneel Pietro and Felicia Orseolo. He is clad in an ermine
cape over a monkish habit and upon his head he wears a plain horned
bonnet. The Dogaressa is attired in the rochet of a nun and wears the
close-fitting wimple of the cloister.

The ordinary dress for nobles and men of commanding talent and wealth
consisted of long stuff tunics or cassocks with leather belts, full
cloaks of silk lined with fur and fastened on the left shoulder, in the
Greek fashion, by a plain gold brooch. Upon their heads they wore caps
or bonnets of a Phrygian pattern with a band of interlaced coloured
silk ribbons. Full beards and flowing locks were worn by all classes
of the community until the middle of the tenth century, when the Roman
mode of clean-shaven faces and short cropped hair became universal.

The gentlewomen of Venice had long trailing skirts of coloured stuff
or silk,--blue most favoured,--the bodices were cut square and low
exposing the breast. In winter they superimposed silken mantles,
generally of light blue--much like their lords’ cloaks. A cincture
with a jewelled clasp made of metal, beads, or amber kept the folds
of the garment in position. The hair was well combed out, not plaited
but worn loose beneath natty light blue caps of silk cord or chenille.
Girls had _tonde_,--circular white veils,--in public and matrons
black _ninziolette_--mantillas. Jewels were sparingly worn,--a
single row of pearls round the throat, one ruby or red-stone ring, and
a tortoiseshell comb. The richer ladies added chains of gold with cameo
pendants of Greek origin.

[Illustration: A NOBLE VENETIAN FAMILY.

Lorenzo Lotto.

NATIONAL GALLERY, LONDON.]

Pietro Orseolo II. was the second “Grand” Doge of Venice. The son of
pious, if misguided, parents who sought the good of others rather
than their own, he learnt, at his mother’s knee, lessons of
self-restraint and generosity. He was but seventeen years old when the
abdication of his father left the Ducal office vacant.

Too young of course to succeed he was placed under able tutors who
inculcated the duties appertaining to the _rôle_ of a leader and
ruler of men. The hereditary principle was constantly and repeatedly
affirmed in Venice notwithstanding the universal fear of a personal
rule. Given a wise father and a good mother, the child was bound to be
a worthy citizen--so they held.

The dogado of Tribolo Memo (979–991) was disturbed by the feuds of the
Morosini and Caloprini. The former supported by the Orseoli were in
favour of a democratic alliance with the Empire of the East, whilst the
latter, aided by the Candiani desired an aristocratic arrangement with
the Emperor of the West.

The Doge was much too weak a man and far too feeble a ruler to deal
effectively with the situation, they stigmatised him in Venice as “a
stupid man!” Matters came to a head in 983 when, one day Domenigo
Morosini was found stripped of his clothes and dead in a ditch near
the Piazza of San Pietro di Castello. His followers accused Stefano
Caloprini of being privy to the deed. He fled to the Court of the
Emperor Otto and sought protection from the Imperial Court sitting at
Verona, and he gained the ear of the gracious old Empress Adelheid, she
who had befriended the imperious Valdrada.

A truce was effected and the two parties joined in the deposition of
the Doge. As by convention bound he sought the repose of religion and
Dogaressa Marina, the daughter of Pietro Candiano IV.--who had escaped
almost miraculously with her mother Valdrada from the fire at the Ducal
Palace,--assumed the nun’s veil in the convent of S. Trinita.

It was in the dogado of Memo that seven unmarried sisters--a prodigious
number of spinsters as Venice society went--lived together in their own
house opposite the Ponte della Maravigie just below the Palazzo Bembo.
Six were plain and one was fair, the youngest--and their spinsterhood
was regarded with suspicion. One day there chanced along the Rivo di
San Trovaso a gondolier who had just gained laurels at the regatta.
Something constrained the stalwart youth to linger by the iron-grilled
window of the spinsters’ home, but strange sensations pervaded his
whole anatomy so that he became weak and incapable of movement.

His companions chided him and threw the name of the least prepossessing
of the sextet, Dulcina, in his teeth, and they said he was bewitched!
No face was shown at the lattice, and no sound issued from the darkened
room, still poor Giovanni was rooted to the spot. At last with a fierce
effort he threw off the enchantment, if such it was, and determined to
unfathom the mystery, and if the sisters were witches to out upon them!
Good Friday came round and Giovanni sought once more the mysterious
dwelling. It was broad daylight and climbing up the grille he peered
into a room, and there beheld not Dulcina, but Marina, the pretty
sister, upon her knees before a crucifix!

The athlete entered the room, and, as he did so, he beheld in the water
of the canal the reflection of seven brilliant stars,--all paled, as he
looked up, but one,--and that one flashed its beams upon the kneeling
girl. She was astounded at his presence, and, when he straightly
charged her with witchcraft, she weepingly replied:--“My art is not
that of a witch, goodly youth, but of Cupid. I have prayed for thee,
that Heaven would make thee strong and true. See, my star is shining
o’er thy head--”

“And my arms,” exclaimed the enraptured Giovanni, “are around thy
breast, witch or no witch thou hast gained me for thine own.” With that
he held her tightly to his bosom, and, unresisted planted hot kisses
upon her lips and with his finger removed her tears.

No doubt there was a wedding, and possibly the six plain bridesmaids
were transformed into comely brides as well: but the story has no such
ending. No,--alas,--brave Giovanni was stabbed in a night affray and
beauteous Marina drowned herself in the canal! Sometimes they say,
an eerie sound comes round the corner of the bridge--people call it
“Marina’s Wail.”

Young Orseolo, now grown into man’s estate, was hailed as sole Doge of
Venice. At once he showed his mettle by crushing party differences.
Such feuds never assumed the terrible proportions which made Florence,
Siena and other Tuscan towns the scenes of fraternal bloodshed times
out of mind. The new ruler proclaimed a strong policy abroad, and set
to work to equip a navy of armed vessels, wherewith to make the name of
Venice feared in all seas.

The Dogaressa was Maria the only daughter of Vitale Candiano, brother
of Pietro Candiano IV. Very diplomatic was this union, linking, as
it did, the two most renowned families in Venice, and offering a
safeguard to the ambitions of the rival Caloprini and Morosini. Seven
children were the offspring of this marriage, and their baptisms and
marriages the Doge tactfully made the occasions of adding to the
honours of the family and to the renown of Venice.

Giovanni, the first born, was betrothed to the Princess Maria, daughter
of the younger brother of the Emperors Basil and Constantine,--Prince
Agroupoulos. The wedding was celebrated in Constantinople with great
pomp, the bride’s dowry was rich and rare, and upon the groom was
bestowed the rank and privilege of a Prince of Byzantium. The two were
crowned, at their nuptials, with imperial diadems of gold. A Venetian
navy escorted the bridal pair to the lagune city, where royal honours
were rendered. It was an auspicious home-coming, and the pigeons,
which had already made their home in the Piazza, flew round the young
couple’s heads in emulation of the popular ovation.

They were a remarkably handsome couple: Giovanni possessed all the good
looks for which his family was famed, and Princess Maria, according
to old Giovanni Diacono,--the busy chronicler of Venice and the
Venetians,--was “a lovely bride.” Her effigy, if not her portrait, is
preserved upon the Ten of Spades in the suit of playing-cards preserved
at the Museo Civico with the following legend:--

“Dogaressa Maria Orseolo, niece of two Emperors of the East, Basil
and Constantine, wife of Giovanni Orseolo, son of the Doge of Venice,
fair and compassionate, a goddess who is so beautiful can never be
hard-hearted!”

Some historians say that the Princess Maria took after her aunt, the
Empress Teofanea, wife of Otto II., Emperor of the West, who introduced
into Germany the luxury and extravagance of her brother’s court at
Constantinople. She was greatly admired for her beauty, her grace,
and her erudition. German chroniclers speak of Teofanea’s “modesty
and strong compassionate character,” and praise her as “a woman of
unsullied virtue.”

Giovanni’s imperial consort probably prepared the way for a still more
luxurious and attractive Greek Dogaressa, Teodora, the consort of Doge
Domenigo Selvo. Alas, both Giovanni and Maria Orseolo, with their only
child, died of the plague in 1006.

Doge Pietro Orseolo’s conduct of state affairs, in spite of the
limitations placed upon the Ducal prerogatives by the jealousies of
the nobles, was marked by a vigour quite new to the Venetians. His
enthusiasm fired their imaginations for they saw that the favourable
commercial treaties he contracted, both in the East and in the West,
opened out new possibilities of aggrandisement and opulence.

The flag of Venice was unfurled in every foreign port and was accorded
a respect shown to no other national emblem. Pirates of the Gulf alone
braved the displeasure of the Lion of San Marco, and, to overawe
them, a punitive expedition was despatched to the coast of Istria
and Dalmatia,--the first actual fleet of battleships sent forth from
Venice. The Doge took command in person and Bishop Gradenigo, in the
church of San Pietro di Castello, delivered into his hand the great
red oriflamme of the Patron Saint, which had been embroidered by the
skilful hands of the Dogaressa and her ladies. Upon the finial of the
pole she tied, with a great bow of blue silk ribbon, a floral wreath of
sea-pinks and carnations.

The expedition was an unqualified success. Everywhere Venice triumphed,
and, when Lesina, the pirate capital, capitulated, the climax was
reached. The Doge forthwith annexed the whole littoral to the dominions
of Venetia, assuming for himself and his successors the title of “Duke
of Dalmatia and the Islands of the East.”

The conquered towns were laid under heavy contributions:--Pola in two
thousand pounds’ worth of purest olive oil, and one thousand yards of
fine spun linen, twenty sables and a bale of thinnest silver gauze,
for the Dogaressa’s use. Thus Doge Pietro Orseolo laid the foundation
of Venetian greatness abroad just as Doge Agnello Badoero had done at
home, at Rivo-Alto a hundred and twenty years before.

The home-coming of the fleet was a magnificent triumph, the first of
those splendid aquatic pageants which became so remarkable in the
annals of Venice. Among those who hastened to welcome the Venetian Doge
was the Emperor Otto III. who spent seven days as the guest of the Doge
and Dogaressa.

Peace with honour having now placed laurel leaves around the heads
of the Ducal pair they addressed themselves to the pleasant task of
decorating the new basilica of San Marco and adorning the new ducal
palace; but, alas, whilst superintending these undulatings, Doge Pietro
Orseolo “fell ill of a fever” and died on the tenth anniversary of the
fall of Lesina, at the early age of forty-nine. By his will he divided
his property into three parts:--one third for the one observance of
the “_Festa delle Marie_,” one third to the Church and certain
monasteries, and one third for his widow and his children.

“Pietro Orseolo has come down to us as a good prince, beloved by his
fellow-citizens and feared by the enemies and the rivals of Venice.”
The Dogaressa Maria took, as it behoved her to do, the vow of chastity
and became an inmate of the convent of the nuns of San Zaccaria. In
the crypt of the monastic church was laid the body of her husband,
“buried,” as chroniclers have related, “_per la trista Citta e
lachrimosa_”; and she found a last resting-place by his side--“a
good woman and a great Dogaressa.”

The Doge’s second son named Pietro,--but renamed Otto or Ottone, in
honour of the visit of the Emperor of the West,--married Grimelda,
sister of Geiso, King of Hungary, in 1003, and succeeded to the ducal
Estate on the death of his father. Little is recorded of him save that
he had been created by his father Count of Ragusa after the Venetian
conquest of Dalmatia. He and his consort were not made of their
parents’ grit, for, alas, when the rising family of Gradenigo preferred
claims to the dogado, they fled to Constantinople, and there they died.
Dandolo, the historian, says:--“The Dogaressa Grimelda was a woman
of sweet disposition, of considerable attainments and of remarkable
nobility of character.”

The third son of Pietro Orseolo II. and Maria was christened Orso and
early dedicated to a monastic career. Domenigo, the youngest of the
family married Imelda, granddaughter of Pietro Candiano III. and
Richielda. The three daughters were, Icella married in 999 to Stefan,
son of Surigno, Prince of Croatia; Imelda who died young and unmarried;
and Felicia, Abbess of Sant’ Antonio di Torcello.

With the death of Pietro,--grandson of the “Great” Pietro, son of
the fugitive Ottone, in 1038 ended the famous family of Orseolo. The
“dancing bears” ceased their gambols but the blue sky of Venice still
cast its effulgence upon the mirrored waters of the canals.

The long reign of Doge Domenigo Contarini (1043–1076)--the longest on
record--was uneventful. It presented no special features--for Venice
was at peace both at home and abroad. Family feuds were hushed, though
doubtless the Morosini ill-brooked the elevation of a rival house.

Those were days of repose and plenty when it was boastfully said by
her citizens:--“Venice wants for nothing!” Such seasons of rest are
occasionally granted to States, when leisure is found to apply the
lessons of the past and to prepare for the developments of the future.

Contarini was the premier of a triumvirate of Doges--the “Tribunal
system”--as it was called,--being again enforced to limit personal
autocracy. His co-Doges were Domenigo Selvo and Vitale Faliero--the
former being especially the representative of the democratic section of
the community.

Selvo belonged to an ancient family of Greek extraction. In the eighth
century his ancestors the Dorsoduri, or, in the Venetian vernacular,
Spinalunge, were exiled by the Emperor Emmanuel from Byzantium and
settled at Aitino in Veneto. By the time, however, of Domenigo, all
such antecedents were forgotten, and he was received cordially as
the Ambassador of Venice by the Emperor Constantine Ducas. Upon the
death of the venerated Doge in 1071, Domenigo Selvo was unanimously
chosen by the Council and vociferously acclaimed by the citizens as
his successor. The cry was raised upon the Piazzetta:--“_Noi volemo
Dose Domenigo Selvo, e lo laudiano!_” and hoisted upon the shoulders
of his friends he was borne in riotous procession to his coronation.
Passing the open doors of the grand basilica he leaped out of the arms
of his bearers, and, kneeling humbly upon the tesselated pavement, he
devoutly implored the help of Heaven and the blessing of the Church.

The dogado of Selvo was perhaps less remarkable for the potentiality of
the new Doge--strong man as he was no doubt--than for the personality
of the haughty princess he brought to Venice to share the honours of
the ducal State.

Dogaressa Teodora Ducas was the daughter of the Emperor Constantine and
her betrothal to the Doge of Venice was brought about by her brother
Michael, who in 1067 succeeded his father as Emperor of the East. She
landed on the Lido first for Mass, and then at the Piazzetta, wearing
the imperial diadem with which her brother had crowned her at the
nuptials in Constantinople.

At the same time everybody noted that His Serenity the Doge’s bonnet
of Estate was encircled by a richly wrought band of pure red Grecian
gold, encrusted with precious stones! No Doge had ever worn such a
conspicuous mark of royalty, and many a noble lord looked askance at
the wearer--doubting in his mind whether it was intended as an emblem
of sovereignty! Feelings of alarm filled the minds of the citizens and
the welcome accorded to the ducal pair was cold and formal.

The new Dogaressa was accompanied by a very numerous retinue, such as
no previous consort of the Chief Magistrate had presumed to gather
round her. Secretly the Venetians liked well their Doges and their
nobles to contract splendid foreign marriages, and no “Brides of
Venice” were more thoroughly admired than the “_donne Greche fonte di
cortesia at amorevolezza_!”

Teodora unfortunately did nothing to propitiate the insular
prejudice of the men and women of Venice. Her autocratic bearing
and her ill-disguised contempt for the “women of the Rialto” caused
head-shakings and tongue-waggings in every circle of society. From the
first she was as unpopular as her consort, the Doge, was beloved.

In the Ducal Palace the Dogaressa set up an Imperial Court and required
the nobles and state officials to render the honours to which she had
been accustomed at Constantinople. She had her ladies of honour, her
chamberlains, her pages and her slaves. Superbly robed and glittering
with precious ornaments, Teodora Selvo offered an amazing contrast to
Elena--the homely consort of the first “Grand” Doge--Agnello Badoero!

Teodora was an Athenian of the Athenians, with all the predilections
of a Sultana of the harem. Pomp and pettiness were strongly mingled in
her character. The corruption of the Byzantine Court, in which she had
been reared, had laid their indelible marks upon her: she shocked the
susceptibilities of the simple, homely Venetians by her voluptuousness,
her petulance, and her extravagance.

Still, there was something about the Dogaressa which attracted
sympathy, for were not the people of Rialto and her linked-up islets,
descendants of Greek colonists in Veneto, and did they not preserve
many traits and idiosyncrasies of their ancestors! Then, too, many a
sea-faring Venetian, conquered by the artifices of Cupid in the Orient,
had brought home a Greek bride to be the mother of his children, so the
ways of the Dogaressa were not altogether without appeal.

Teodora lived delicately: the plain fare and simple service of her
consort’s establishment, which also obtained too in the casas of the
nobles, were not to her liking. She introduced exquisite cooking--the
Greek cuisine in place of the crude joints and inartistic concoctions
of the Roman menu. Costly wines and liqueurs from Syria and the remote
East supplanted the heavier beverages of the lagunes. Her table service
was of pure gold and costly rock-crystal.

Unlike the primitive ways of the unsophisticated Venetians, who were
content to convey their food to their mouths with their fingers or
with ladles, and to share cup and plate, the Dogaressa introduced a
Grecian fork--an entirely new instrument in Western Empire--which
was of solid gold, two-pronged, and beautifully chased, with which
she ate dainty morsels, neatly carved and arranged by the eunuchs
of the table. Moreover, she made constant use of fingerglass and
finger-napkin--things which were unknown in Venice. Great wax candles
were lighted after dark, and stuck into costly sconces--in spite of the
archaic regulations of the curfew.

Teodora Selvo rarely walked in the Piazza--the gondola was for her
an ideal conveyance, it ministered to her love of ease and admirably
served her secret flirtations. In public she always wore gloves,
scented with aromatic herbs, and in this she set a fashion, which, no
Venetian noble or simple of to-day, fails to observe.

Into the mysteries of the Dogaressa’s toilet we may also most
fortunately be admitted, through the grace of those who kept her
diaries. The air of her apartments was perfumed each day before she
rose for her _levée_. Beautiful scent-scatterers of blown grass,
and elegant pastille stands were carried up and down by her attendants.
This little bit of extravagance we may all thoroughly endorse, for
doubtless, in her day, the odours of the canals were as bad if not
worse, than in our own!

The morning bath was administered with perfumed water, or white wine,
and sometimes with freshly-gathered dew from the flower petals and
green sward of her garden. If the Latins were especially careful as
to washing their feet, the Greeks were equally particular about their
heads: they found the douche healthful and invigorating. The more
exquisite Athenians had a special perfume and wash for each portion of
the body. It was said that simple-minded peasant Paris was directly
influenced, in the bestowal of his golden apple, by the seductive
odours exhaled by the massaged, painted, powdered, well-laved person
of the fascinating Queen of Beauty!

No doubt Teodora carried with her into the Ducal Palace a full battery
of toilet requisites and delicacies--for example: for her arms,
sweetened mint, clearest oil of palms for her lips and breast, sweet
marjoram mixed with the pomades for hair and eyebrows, and for knees
and neck essence of ground-ivy--such was the custom of her people.

The Dogaressa’s clothing, if not quite “of fine gold” was of the
richest damask and the fairest linen procurable; her marriage coffer
was full of marvels. Everything she wore was heavily scented, so that
wherever she went a delicious perfume was scattered around and about.

Probably Cleopatra was Teodora’s best-loved model, not indeed that she
ever went so far as to dissolve pearls in sour wine or place biting
vipers in her bosom! There is a very beautiful painting by a pupil of
Paris Bordone--perhaps by the master himself--of a “_Gentildonna
Venetta_” in the dress of the Eastern queen--may it not have been
inspired by the story of the Dogaressa Teodora!

What a thousand pities it is that art was too crude in the eleventh
century to permit of an actual portrait of the Venetian Queen of
Fashion Teodora!

We know not whether she was fair or dark, tall or short, embonpoint
or thin. The probabilities are that she was blonde, as most Greek
beauties were, but any attractions her figure may have offered as a
bride possibly were diminished when she became a matron. High living,
sensuous conduct and idleness bring their punishment to most men and
women, and Teodora Selvo was no exception to the rule.

Plain old Pietro Diacono,--that unmercifully exact chronicler of
things Venetian,--speaks of Teodora’s “_Tanta delicatezza_.”
He says:--“Her Serenity’s sinful voluptuousness and inordinate
self-indulgence brought with them a judgment. About two years after her
marriage with the Lord Selvo the Dogaressa was attacked by a putrid
fever. The malady became at last so insufferably distasteful that the
proud daughter of Constantine was an object in her latest moments of
mingled compassion and abhorrence to all around her. She was left to
die alone almost, the victim of outrageous splendour and outrageous
uncleanness!”

The Dogaressa Teodora died in 1083.

As to the exact negotiation which ended in Domenigo Selvo leading home
an imperial bride, we have no information. That he was astute enough
to get the best of a bargain goes without saying, for, in common with
the generality of Venetians he was able to weigh the promises of one
favourable alliance against the presumed advantages of another.

Possessed of immense wealth and of the faculty of ever adding to it,
fortuitously enough for him, the Imperial Government at Constantinople
was at the period of Selvo’s embassy in dire need of funds. The Army
was mutinous through the non-payment of the troops, the Navy was
undermanned and unready for action, and the Exchequer was depleted.

Selvo, and those who saw what he saw, feared oppression from the
Germans and the French, and when another power,--the Norsemen,--as
mighty or mightier than Venice on the Seas pushed conquests along
the Mediterranean shores, all eyes turned to their natural ally at
Constantinople. An alliance was arranged, Venetian ships and men were
placed at the service of the Imperial Government, and the hand of the
Emperor’s sister was thrown into the bargain.

The Doge took command in person of the fleet which gave battle to the
bold Norsemen under Roberto Guiscardo at Durazzo and vanquished them,
but, alas, he was defeated later on at Corfu. Nevertheless, Selvo
showed splendidly the grit that was in him and wore the laurels he
gained triumphantly.

One other enterprise--a peaceful one also endeared him to his
fellow-citizens--his love for the Ducal Palace and for San Marco. With
rare munificence he embellished both edifices with rare marbles and
mosaics which he had collected in the Orient, and dowered both edifices
with revenues.

The manner of his death is not recorded, some say he abdicated, soon
after the arrival of the Dogaressa, in favour of his son, Michele, and
ended his days in a monastery. Anyhow he survived his unhappy wife but
a short twelve months and left the direction of State affairs to the
care of his former coadjutor Vitale Faliero who in 1085 assumed the
proud title of Doge of Venice, Croatia, and Dalmatia.

Teodora Selvo was not forgotten by the Venetians. She had, in all her
recklessness of life, been a splendid figure-head for the State, no
less than a generous patroness of the industries of her adopted city.
Much of the extravagance which marked the manners of the nobles, at the
end of the eleventh century, was due to her example.

One very excellent fashion survived her--and still survives--the love
of perfumes. The botteghe of the apothecaries and perfumers in the
Merceria were made, by the Dogaressa’s example, the fashionable daily
rendezvous of the best people in Venice and so they have remained. None
to-day are so fond of scent and cosmétiques as the Venetians of all
classes. Still in Chioggia, and other outlying portions of the lagunes,
women of every station, are remarkable for the painting of the face,
the dyeing of the hair, and other gentle artifices.

The Tuscan motto:--“L’Uomo fa le legge--la donna i costumi”--was true
of Venice what time the fascinating Dogaressa Teodora set the fashions
in the Piazza.

III

The last of the four chief or “Apostolic” ruling families of Venice
to gain the _dogado_ was that of the Michieli. The designation
“Apostolic” was assigned to each of the twelve foremost families in the
roll of nobility--the families of the twelve Tribunes who joined in
the election of the first Doge Paolo Lucio Anafesto. Their names were
enrolled in 709 at Eraclea:--Badoeri (Orseoli), Candiani, Contarini,
Morosini, Gradenighi, Memi, Falieri, Michieli, Dandoli, Poli, Barozzi,
and Tiepoli.

The very name “Michielo” indicates their origin--descendants of Greek
colonists in Veneto. They were among the fugitives from Altino, who
fled to the lagunes on the approach of the Longobards, and settled on
the _lido_ of Torcello.

[Illustration: A DOGARESSA AND HER MAIDS OF HONOUR.

FROM A PRINT. 1560.

“Habiti d’Huomini e Donne.”--G. Franco.]

The first Michielo to be elected Doge was Vitale, in 1096, in
succession to Vitale Faliero, under whom the new Republic shattered
the last shreds of vassalage to the Byzantine Empire. Vitale Faliero’s
consort was Cornella Bembo, who presented her spouse with a daughter to
whom he gave the name of Enrica, after her sponsor, the Emperor Enrico,
thus confirming the new alliance with the Germanic powers.

The Bembi came from Eraclea and were reckoned one of the four noble
families of the second grade, who, in 800, signed the roll of nobility
in the church of San Giorgio Maggiore. They, with the Giustiniani,
Cornari and Bragadini, were styled “Evangelistic.”

Vitale Michielo married Donna Felicia Cornaro,--“gracious in speech,
modest in bearing, the goodness of her soul shone out in the sweetness
of her countenance,”--so is she spoken of by the chronicler. Perhaps
too Sansovino’s estimate of the women of the Michielo period may be
most strictly applied to the Dogaressa Felicia:--“Having made it their
aim to be peaceful and religious, they kept on an equality with one
another, that equality might induce stability and concord. They made
their dress a matter of conscience, conformable to their seriousness
of demeanour--concealing the figure.” This was undoubtedly a reaction
from the dazzling personality of Dogaressa Teodora and the fascinating
frivolities of her regime.

Tales of the sufferings endured by Christian pilgrims in Palestine
reached Venice what time the virtuous Dogaressa Felicia influenced
the counsels of her husband for good. At first they attracted little
sympathy, for the Venetians were too much absorbed with their own
domestic development and with the condition of their home politics, to
take much heed to foreign affairs.

To the Dogaressa directly was due the initiations of efforts on behalf
of the poor Syrians and the strangers within their gates. She persuaded
the Doge to convene a meeting of the heads of families in support of
the Crusade so eloquently preached by Peter the Hermit, and other
holy men. By way of raising funds to assist in the sacred enterprise
Dogaressa Felicia set an example of self-denial and liberality, by
giving up her splendid jewels and dresses for sale; she also greatly
restricted her personal pleasures and the hospitalities of the Ducal
Palace.

This noble conduct, which was provocative of the best results, was
recorded upon her tomb in the portico of San Marco. The lengthy
inscription states that “Felicia Vitalis lived and died in the fear and
love of God; she hated luxury and was an example for all good women.”

So great was her influence that in 1099 two hundred ships assembled at
the Lido, each of which carried at her helm the hallowed ensign she
presented to their commanders. Sailors, troops and equipment from every
European state were poured into Venice, and her fleet conveyed them
safely to Syrian ports.

The Doge and Dogaressa spared not their own family, for their
first-born, Giovanni, a mere youth, sailed with the leader of the
Venetian contingent, Arrigo Contarini, Bishop of Castello. Mothers of
Venetian lads hastened to follow the good Dogaressa’s example, and
parted tearfully but prayerfully with their dearest and their best.

After the departure of the Crusaders the Dogaressa busied herself in
the foundation of hospitals and homes of rest for pilgrims on their
way to the Holy Sepulchre. Preparations too were made for the care of
the wounded, the ailing and the sad on their return from service under
the Cross. Women’s work is never so noble as when it links the care of
suffering humanity to the cause of faith and hope. Dogaressa Felicia
was messenger of pity and angel of love to all around her.

The Crusade met with vicissitudes of course, but at length, their aim
attained, the saintly Crusaders returned to Venice, bearing with them
the body of Saint Nicholas of Myra or Morea. Well may we imagine the
rejoicings of the mothers and sweethearts of Venice when they descried
the coloured sails of the home-coming vessels making for the Lido! The
battle-songs and hymns of the Christian warriors were wafted over the
gently rippling blue water, and they found an ecstatic response in the
sweet voices of women and children gathered all along the sandy beach.

The holy relics were landed ceremoniously at the Lido, and, with pomp
and circumstance escorted to the church of San Niccolo: they were the
undeniable tokens of fervent and successful devotion in the service
of Christ’s cross and sepulchre. Women almost forgot the sadness of
bereavement,--for many homes were desolate,--in their joy and gladness
at the accomplishment of the holy enterprise.

One other notable event in the _dogado_ of Vitale Michielo I. was
the appeal of the great Countess Matilda of Tuscany to the Dogaressa
Felicia to use her influence with the Venetians,--who were devoted to
her,--for the recovery of Ferrara which had revolted. She recognised
that the noble spouse of the Doge of Venice possessed all the
attributes of religion, justice, and benevolence. The plea was not in
vain, and ships and seamen of Venice regained for the Countess the
rebel city.

Doge Vitale Michielo died in 1102, and Dogaressa Felicia in 1111. They
were both buried at San Zaccaria.

The most famous of the Michieli Doges was Domenigo (1117–1130) grandson
of Vitale I. His immediate predecessor was Ordelafo Faliero whose
_dogado_ was memorable by reason of its terrors--earthquakes, floods,
fires and pestilence! Dogaressa Matelda, cousin, or as some say, sister
of Baldwin, King of Jerusalem, headed the crowd of panic-stricken
women who thronged the churches to supplicate Heaven for pity and
forgiveness. She tried to dissuade her husband from personally leading
the naval demonstration, which Venice made against the Greeks, saying
that:--“The place of the Doge, as the father of his people, is in
their midst during tribulation.” Dandolo speaks of her as a “miracle
of probity,” and says, “Her fame was widely spread about as a model of
what a good wife should be.” Nevertheless Doge Faliero went on board
his war-galley and met under the walls of Zara a hero’s death.

Sad was Dogaressa Matelda as she met the returning warships, and
broken-hearted as she took possession of her beloved husband’s body.
Slightly comforted was she however, when his lieutenant placed in her
hands holy reliquaries, wherein reposed a splinter of the True Cross,
and relics of St James the Less, and of Saint Plato the Confessor
of Constantinople. She assisted in the solemn procession which
accompanied these holy treasures to their last resting-place in San
Giorgio Maggiore. Then she quietly retired, as a good example, to her
contemplative cell at San Zaccaria.

Another story relates that Doge Faliero was only wounded at Zara, and,
having accomplished his mission and administered punishment to the
Greek pirates of the Gulf, he sailed on to Constantinople, and there
secured the venerable relics and with them returned to Venice. With
the Dogaressa he shared the honours of the translation of the precious
prizes he had obtained, and helped to bear on his shoulder the body of
Saint Stephen to its last resting-place in the chapel of San Giorgio
Maggiore; then he and she renounced their high station and humbly
dedicated the residue of their lives to the peace of the cloister.

Domenigo Michielo was cast in a sterner mould. Pious, no doubt as most
Venetians were, and imbued with a spirit of reverence as a devoted son
of the Church, he has come down to us with the title “_Cattolico Uomo
e Audace!_”

The desire that the people of Venice expressed for the possession of
relics of the Saints became almost an infatuation. It was the popular
belief that the terrors of Heaven and the disasters of earth could best
be met by the deposition of the bodies of martyrs on Venetian ground.
Hence Doge Domenigo acquired the body of Saint Isidoro from the island
of Sio, and that of Saint Donato Bishop of Eurœa from Cephalonia, and
with the latter the bones of the dragon, which beast he slew!

These were some of the spoils of the Second Crusade wherein Venice
took an active and noble part, and from which she obtained great
political results and immense booty. Very acrimonious were the debates
and consultations on the part of the Crusader chiefs and keen their
rivalries for saintly distinctions and profit. Each of them had an eye
to personal advancement and shirked the hardships of the campaign.
Domenigo reproved them sternly:--“Those,” he said, “who share the glory
of our enterprise must be prepared to share its trials.”

The fleet of Venice not only aided greatly the pilgrims and the forces
despatched from all lands to Palestine, but, turning homewards, ravaged
the Grecian Archipelago. The name of Venice was renowned as that
of--“The Greatest Sea Power of Europe,” and Doge Michielo was hailed
as--the epitaph upon his tomb in San Giorgio Maggiore--“The Terror of
the Greeks and the Glory of Venice.”

In his train he brought to Venice many distinguished captives, among
them the Lady Sofia--a beautiful Eastern houri, who was carried off
by Domenigo Morosini, by him raised to the Ducal seat, and, at last,
buried with him in the church of Santa Croce.

Years of peace and prosperity followed, such as Venice had rarely
experienced. She was coming to be looked upon as the nursery of the
Fine Arts and the boudoir of the Graces, as well as Patroness of the
Crafts and the “Mistress of the Seas.”

The frequent and often protracted absences of the Doge in command of
fleets, from time to time despatched to punish pirates and marauders
and maintain the prestige of the flag of Venice in foreign waters, by
no means diminished the importance and privileges of the Dogaressa.

As the First Lady of the Commonwealth she had many responsibilities
which were greatly enlarged when her Consort was not in residence.
If she had no position with respect to the Council of State and had
nothing whatever to do with politics, there were numerous duties
which devolved upon her. The patronage and direction of charities of
all kinds--whether eleemosynary or educational, the maintenance of
the Ducal hospitalities, the reception of ambassadors, the claims of
family, and the encouragement of arts and crafts gave her Serenity much
to devise and do.

As Consort of a militant Head of the State she was expected to exhibit
all the virtues of a virago, and to introduce virility into all the
feminine avocations of the day. If indeed her powers for usefulness
were limited by restrictions she easily cast aside many of the
conventions of her position. Such was the _rôle_ in particular of
the Donna Alicia, the able wife of Doge Domenigo Michielo. She lived up
to the reputation of her husband, sharing his anxieties, his ambitions
and his success.

When stricken by the labours and responsibilities of his office he
sought relief in abdication and seclusion in the monastery, Dogaressa
Alicia, however, asserted herself, and, instead of retiring to a
convent, as she was expected to do, she determined that neither the
prayers and meditations of the cloister, nor the self-effacement and
bigotry of a recluse should enslave her energies.

The _Societa de’ Pinzocchere_--“Bigots!”--to which many of the
noble widows of Venice belonged, had no attraction for Donna Alicia.
To be merely a hired mourner at State funerals was no life for her.
She had her children to put out into the world and, in particular, she
had her sons to prepare for high places under Government. Whilst, by
necessity she had to yield the pre-eminence to the actual Dogaressa,
her successor, she remained a free agent and a very useful and
dependable confidante for men and women who had shared the toils and
the rewards of her husband’s _dogado_. In due time Dogaressa
Alicia’s prescience had its reward. Her son Vitale Michielo II.--the
child of his mother’s solicitude, was elected Doge in 1156.

By his high tone and probity he raised the position of Doge to its
highest level and reigned almost as a Sovereign Prince. His two sons
he married well--Leonardo, created Count of Osero, to Alecia daughter
of the King of Servia, and Niccolo, Count of Arbe, to Maria niece of
Stefano, King of Hungary. To him was due the admission annually of
forty young nobles to the rank of “Barbarini” among the members of the
Grand Council; and the first silver coinage of Venice, together with
the foundation of the first public Bank.

Alas Doge Vitale, who espoused the cause of the Papacy against the
Emperor Frederic Barbarossa, came to an untimely end. Seeking sanctuary
one day from a crowd of ruffians,--many of alien origin,--who demanded
largesse he knocked at the gate of the convent of San Zaccaria. Before
the porter could open to him the ill-conditioned wretches were upon
him and offering personal violence if their claims were not satisfied.
The Doge turned to address the men, and as he did so, one, Casiolo, a
discharged gondolier lately in the Ducal service, struck him with his
stiletto. This was the signal for a brutal assault, and before succour
could arrive Vitale Michielo’s body was hacked to pieces in the street!

Dogaressa Felicita Maria, daughter of Boemodo Prince of Antioch, it was
said was at the time paying a visit to the nuns: so dumbfounded was
she at the tragedy that nothing could shake her resolution never to
leave the convent,--and there she remained and died. She and her sons
were great benefactors to Venice. They greatly enriched the patrimony
of San Zaccaria, and endowed the monastery and built the church of San
Giovanni Evangelista.

A very pathetic and romantic episode in the history of the family of
Doge Vitale II. and Dogaressa Felicita Maria Michielo was the marriage
of their daughter Anna. Inspired by the holy example and goodly
precepts of her mother Anna Michielo had taken the vows of an enclosed
nun at the convent of Sant’ Adriana d’Amiano, where she meditated
deeply upon the trials of the Christians in Syria, and prayed for the
weal of sons of Venice gone forth to the Holy War.

In the disastrous expedition in 1170 against the Emperor Emmanuel
Commeno all the young men of the Venetian family of Giustiniani were
slain--save one. Niccolo Giustiniani was a monk in the Benedictine
monastery of San Niccolo di Lido, where he had been professed when Anna
Michielo renounced her love for him to become, by fervent self-denial,
a Bride of Christ.

The extinction of a noble family in those days was a thing of
rare occurrence: the State usually stepped in to prevent such
a catastrophe. This was the course adopted with respect to the
Giustiniani. Niccolo at San Niccolo and Anna at Sant’ Adriana were
summoned from their cells, and, with the express permission of Pope
Alexander III., were joined together, vows or no vows, in the holy
estate of matrimony.

Never was there a happier conjunction of kindred souls, and never so
auspicious a resuscitation of a family-tree. Anna Giustiniani gave
to her husband--her true and only love--twelve pledges of marital
affection. Nine of them were sons. So worthy Anna was in truth and deed
the “Mother of the Giustiniani!”

All twelve olive-branches reached maturity and then, Niccolo and Anna,
freed from family cares, agreed to separate once more and, as the
highest act of self-denial, to renew the sacred vow of chastity, and
again entered upon the seclusion and the silence of the cell. With holy
Anna went her three young daughters Martha, Margherita and Bartoletta.
The two former returned to the world upon their marriage, but
Bartoletta followed her mother’s example and became a nun. Soon after,
and during saintly Anna’s life, the nuns were removed from the island
convent of Sant’ Adriana to Venice proper, and took possession of their
new home at Santa Caterina, of which Bartoletta was named first Abbess.

Anna died in the odour of sanctity, and she is still remembered by
devout Venetian women in prayer and example as “Beata Anna Giustiniani.”

It was in the days of Doge Vitale Michielo II. that three brothers
came to Venice from Morea, and settled themselves and their goods
in a small _casa_ on the Fondaco de’ Mastelli. Rioba, Sando,
and Africo were their names, but because of their origin they were
popularly called Mori, and their arms displayed a Moor leading a laden
camel--the most stupid of beasts. They soon acquired wealth and set
about rebuilding their humble residence. At the corner of the new
palace, on the Campo de’ Mori, they stuck up three sculptured figures
of themselves under the guise of Saints Mark, Theodore, and John
Baptist. They were very highly coloured and soon became laughing-stocks
to passers-by.

Two of the figures disappeared mysteriously, and the Baptist alone
remained, but his name was changed to “Sior Antonio Rioba Pantaleone.”
It became a custom for jocular Venetians to send unsophisticated
youths and over-trustful strangers with messages to the “Sior,” much
as we were wont to treat our friends on “April-Fool Day!” At a later
date “Sior Rioba’s” mouth became the receptacle for denunciations of
enemies--so fitful are the customs of people!

The splendid _dogado_ of Sebastiano Ziani (1172–1178) was remarkable
for one event, at least, of romantic and historic interest--the first
“Espousals of Venice and the Sea.”

In March 1177 Pope Alexander III. arrived at the Lido after weary
stately wanderings through Europe. He was received with joy and honour
by all classes of the community: they were fervent Catholics and cared
little about questions and parties for or against Papacy which moved
other States. Residing pompously at the Palace of the Patriarch of
Grado, his Holiness entered fully into the ecclesiastical and political
affairs of the city.

Doge Ziani was absent in command of the Venetian fleet, and in May news
reached Venice that he had gained a decisive victory at Salboro over
the Emperor Frederic Barbarossa, and that his son and heir, Prince
Otto, was a prisoner of war. The whole city turned out to welcome the
victors, with their rich booty and many captives. Upon the beach of
Lido stood the Pontiff--the centre of a notable group of dignitaries
in full robes of state. Alexander was the first to congratulate the
victorious Doge, and at the same time he publicly blessed the brave
seamen and their leaders. Raising the kneeling Doge to his feet the
Pope embraced him, and, taking off one of his own signet rings, he
placed it upon Ziani’s thumb.

“Take this, my son,” he said, “as a token of the true and perpetual
dominion of the sea, which thou and thy successors shall wed every year
upon this auspicious festival of the Ascension, that all men may know
that the sea belongs to Venice, and that she is indissolubly joined
thereto as a bride to her husband.”

Then the whole company adjourned to the venerable church of San Niccolo
where “Te Deum” was sung pontifically. By gondola, and barca, and in
flat-keeled galley, a water pageant made its way to the Piazzetta, and
the rest of the day was spent in general merry-making.

The annual commemoration was made the occasion of universal rejoicing
and pageantry. The Doge and the most distinguished members of the
Council and the foreign ambassadors to Venice took their places on
board a wonderful vessel “_Bucintoro_,” it was called, and in stately
procession went off to the Lido. We must not suppose that only
statesmen and seamen took part in the pageant, for, obviously, it was
an occasion for the display of the personal charms and elegant fashions
of the _gentildonne_. For the use of the Dogaressa and her ladies a
splendid galley was built, shaped like a Grecian temple, and tethered
to a pair of wooden sea-monsters, wherein the forty rowers were seated.

Arrived at the historic spot the Doge and Dogaressa, with their
ecclesiastical and official attendants, embarked in a gaily decorated
boat and set out to sea. Thence the Doge cast a superb ring into the
deep--a ring of gold, enriched with onyx, lapis-lazuli, and malachite,
engraved with the sign of St Mark holding a book of the Gospel.
“Sponsamus te mare nostrum in signum veri et perpetui dominii,”
were the words he uttered solemnly, whilst the clergy from golden
vases sprinkled holy water upon the company and upon the smiling
rippling sea. The Dogaressa and the ladies of her suite cast into the
clear water the lovely nosegays they had brought with them--roses,
carnations, and lilies.

Returning to Venice, after devotions in San Niccolo, the Doge gave a
magnificent banquet in the palace to the notables of the city, and
then all the lovely girls and the comely youths of every class were
entertained at a vast ball, which overflowed the Piazza, and found
relief only in the most distant _calli_. By old prescription
the workmen of the Arsenal were entertained at supper by the Doge
and Dogaressa. Each man had the privilege of keeping his knife and
spoon, his glass and his napkin, and he received besides a silver
medal--bearing the effigies of the Most Serene couple, a case of useful
medicines, a beautiful box of comfits, and a flask of Greek Muscat wine.

In later times the “Marriage of the Sea” was made a second
carnival--lasting fifteen days, during which a great fair was held in
the Piazza with fireworks such as Venetians only knew how to make, each
evening at the Lido.

From Doge Ziani’s day came the annual athletic festival on the Lido.
Lads turned fifteen, and young men up to thirty, after careful
training in their various _sestieri_ or city wards, went off to
the butts and tracks set up upon the beach to contest for prizes
in shooting, wrestling, boxing, running, and other sports. The
competitors were arranged in twelve groups called, “_Duodene_” and
every one was expected to be a proficient bowman. Merchant ships always
carried a certain number of such expert young bowmen. All “catches”
were permissible--indeed kicking, wringing the neck, and all the
features,--brutal as they were,--of the Olympian grievous boxing were
not disallowed. Bamboos as well as fists were used! All classes of the
male folk of the islands were eligible to compete in every contest and
upon equal terms. Matrons and maids thronged to watch and encourage
sons and sweethearts, each fair one scrupulously careful about her
dress and veil. Many a Venetian “Venus du Milo” doubtless longed to
try herself against her companions, but such maiden contests were
inadmissible by the State laws.

[Illustration: GOING TO A MASKED BALL.

FROM A PRINT. 1560.

“Habiti d’Huomini e Donne.”--G. Franco.]

Incidentally these sports, which revived the athletic contests
inaugurated by the Dogaressa Teodora Selvo, gave rise to rivalries
between the inhabitants of the eastern and western halves of the
City, which were ultimately resolved into two opposing parties--the
“_Castellani_” and the “_Nicolotti_.” A neutral zone was ultimately
marked out, whereupon stood the church of San Trovaso. The sacred
building had doors opening west and east so that adherents of both
parties might attend the Divine Offices without encountering one
another. Difficulties however soon arose through the wantonness of
women: maidens of one party were constantly falling in love with men of
the other, and then trouble ensued!

The Emperor Frederic Barbarossa himself came to Venice in July
1177--reconciling himself to the power of the world in the person of
Doge Sebastiano Ziani, and to the power of the Church in the person
of Pope Alexander III. He was sumptuously entertained by the Doge and
Dogaressa. Conquerors and conquered joined together in scenes of gaiety
and splendour. The Doge appeared in regal guise, accompanied by the new
insignia of office, bestowed by the Sovereign Pontiff,--a folding Chair
of State, a Royal Cushion, a golden Sword of State, a great painted
lighted candle, and four silver trumpets. The Dogaressa wore a jewelled
diadem around her Ducal horned cap, the gift of the Pope, and a cape or
mantle of gold brocade, bearing the Imperial cognisance placed around
her shoulders by the Emperor.

Happily Sebastiano Ziani was a wealthy man and so was able to maintain
the Ducal dignity without reproach. He was born in 1102--the son of
Marino Ziani of Santa Giustina in Castello, a noble of ambassadorial
rank. A curious legend was treasured in the family: an ancestor at
Altino, discovered among the ruins of the Temple of Juno, a cow
moulded in solid gold! This was the foundation of the vast riches of
the family,--the wealthiest by far of all in Venice, and known by the
sobriquet “_Famiglia della Vacca d’oro_.” “_L’haver de Ziani!_” became
a proverb--synonymous of the possession of great wealth.

Sebastiano lavished munificence unstintingly in Venice--new bridges,
new facades to buildings, new churches, were witnesses to his
benevolence, and dying, in 1175, he left the bulk of his fortune for
the decoration of San Marco. He abdicated in 1170 and entered the
monastery of San Giorgio Maggiore. No historian has preserved the date
of Dogaressa Cecilia’s death,--probably she too found a refuge in the
ducal convent of San Zaccaria.

It may be interesting to note the prices current during the
_dogado_ of Sebastiano Zani for certain commodities of everyday
life. The following is a brief table of the Autumn sales in 1173:--

Wine (except Greek) 21 soldi per libbra (pound)
Beef--a fair average quality 21 „ „ „
Oil „ „ „ 25 lire „ 1000 libbre
Corn „ „ „ 16–17 soldi per staio (bushel)
Eggs 25 soldi per 400
Fish, sturgeon, trout, and ray 3½ „ „ libbra
„ tench and pike 3 „ „ „
„ gudgeon, red-mullet and gunard 2½ „ „ „

These prices were quoted on the Ponte di Rialto and at the retail
markets on the _fundamenti_: they were controlled by the _Corte
della Giustizia_ which Doge Ziani empanelled.

Games of chance and gambling were always restricted in old Venice, but
in 1175 Niccolo Barattieri, as a reward--_onesta grazia_,--in
the words of the Doge,--for having succeeded when many others had
failed, in lifting and placing the two great pillars of Samos granite
at the end of the Piazzetta, claimed the privilege of opening a
gaming saloon or tent, between the columns. The promise could not
be gainsaid--“whatever the successful engineer likes to ask”--but
to prevent so far as possible the success of the undertaking it was
ordained that all public executions should be carried out on the spot.
Between the two pillars a raised flat stone was placed, and upon it
“are laid, and hath ever been, for the space of three days and three
nights, the heads of all such as are enemies or traitors to the State,
or some notorious offender.”

* * * * *

In all the gorgeous pageantry of Venetian Story, perhaps, no scene is
more striking and more affecting than that which was enacted upon the
Feast of the Nativity of Christ in 1202, within the storied walls of
the most wonderful of all the basilicas of Christendom--San Marco.

In due order within the noble choir were gathered together
representatives of the seventy-and-two churches, and more than
seventy-and-two monasteries of the islands. Before the great screen
stood Christian knights from every European state--clothed in complete
armour and bearing upon their hearts the red cross of pilgrimage. The
great white oriflamme of the Crusade, charged with the red cross of the
Captain of Salvation, was held unfurled by Lord Boniface, Marquis of
Montferrat, commander of the French contingent. It had been wreathed
by ladies of the Doge’s household with white lilies of the Annunciation
and red carnations of the Crucifixion. Around the great pulpit was
assembled all that was fair and virtuous and all that was frail and
voluptuous in Venice. The women’s great black veils, and the girls’
veils of purest white linen, modestly gathered in around their full
open bosoms, revealed beauteous classical features and abundant golden
tresses.

All were fired with ecstatic devotion as, kneeling humbly upon the
stone pavement, they uttered with deep emotion their “_Aves_” and their
“_Paternosters_.” Like the chromatic ripples of a summer sea re-echoed
the orisons aloft upon the resonant mosaics of the lofty roof, and the
devout dropping of innumerable rosary-beads resembled the rolling of
beach pebbles by the beating waves. The women of Venice were gathered
together to encourage their men folk to be true and brave for Christ
and home!

The age and youth of Venice alike mustered there no less wrapt in
devotion than their wives and sweethearts; each man’s _berretta_
is in his hand, his right grasps his sword-hilt, and his knees are bent
in self-dedication. The stripling kneels alongside his sire, and he
again supports a more venerable man,--the grandsire, for the Crusaders
knew no age limit.

A wide avenue down the centre of the great church is left for the
progress of the magistrates, and furtively are eyes turned to the
great open portal as the solemn procession comes into view. Their
Excellencies pass to their places, and, last of all, wearing his full
Ducal State, marches, with the stalwart step Arrigo Dandolo--the Doge.
Lightly, as upon few, sit his ninety-and-four years, his lameness is
hardly noticeable, his back is no longer bent, and his eyes are keen:
his Serenity bears the marks of a hero approaching the zenith of his
career. All eyes are riveted upon the “Grand Old Man of Venice.”

Dandolo makes his obeisance to the Sacred Host,--exposed above the
famous _Pala d’oro_, but, to the universal wonderment, he ascends
not his Ducal seat beside the altar, but mounts the stairway of the
pulpit. With hand raised aloft, and voice piercing and full of purpose,
he cries out:--“Sirs, we are here assembled to engage in the highest of
all human enterprises, Christ calls Venice to fight for His sepulchre
profaned by the hated Turk. I that speak in His Name, am old and feeble
in appearance, but my heart is that of the Lion of Saint Mark. If you
bid me, I am ready to lead you right on to Jerusalem. I will take up my
cross now, and set forth to conquer and to die!”

An intense sensation runs through the immense concourse, and every
man’s sword is raised on high, as the white-headed leader kneels humbly
before the Patriarch, who places the red cross upon his jewelled horned
cap. Women’s sobs mingle in the “_Te Deum_” chanted by the clergy
and choristers, and every bell in every campanile clangs, if not in
harmony still in full-toned sympathy.

Not a man hesitates longer, if Venice has been lukewarm in the matter
of the Crusades, she shall be so no more. The women and the girls
emulously pin the Crusaders’ badges upon the breasts of fathers,
brothers, husbands, sons, and sweethearts, and lead them ungrudgingly
to the water-side, where boats are waiting to carry the warriors
on board the galleys--three hundred of them. The fleet sailed
that evening. In the van were three giant vessels--“_Pelegrina_,”
“_Paradiso_” and “_Aquila_”--upon the latter Doge Dandolo
embarked--holding in his hand the gorgeous crimson banner of San Marco.

“_Veni Creator_” resounded from church to church, _fundamento_ to
_fundamento_, ship to ship, as the fleet sailed out of sight, and then
upon every _riva_ and in every _calle_ were girls and women weeping and
disconsolate--theirs was the true sacrifice, for had they not dedicated
all that was dearest to them to the service of their Lord! The bride
of a day lay clasped in the arms of her who had kept her jubilee, and
little children left their games crying bitterly for fathers and for
brothers they would never see again.

Venice was a city of the dead, no one was there to sing and dance:
women had to turn their hands to manly avocations,--none repined,
and their devotions were redoubled. From noble church, before humble
shrine, and out of simple homes arose passionate appeals. All the nine
patron saints of Venice were invoked, along with Christ’s gracious
Mother. They knew that their suppliant cries would be as efficacious
for the rescue of the Holy Places as the deeds of daring of their men.

The Crusade was a glorious success: wreaths of fame crowned the brow of
Christian warriors and the women of Venice wove garlands of sweetest
flowers to wind lovingly around their necks. The heroes came not
however straight home to Venice but went aside to punish the hateful
Turk in his capital. Doge Dandolo led the attack, but alas, with the
fall of Constantinople fell many of the bravest Venetians, and among
them the venerable Doge. They buried him in the basilica of Saint
Sophia and put up his epitaph:--“_Mult ere sages et proz_”--“One
of the wisest and the best of the Sons of Venice!”--and then they
set sail for home. It was the time of the budding of the rose tree:
the fresh fragrant blossoms of a new life,--a new world,--a new
people,--the year 1205.

* * * * *

The prelude of the “Cantata” of the new century was pitched in the
minor key, but the feeble treble of fatherless children harmonised
pathetically with the full contralto of their mothers:--

“_Misere nobis infelicissime, Maria
Requiescant in pace omnes, Domine._”

Fathers, brothers, husbands, sons and sweethearts returned not to
Venice. She was once more “_Venus Calva_”--Venice, bereft of her
stalwart sons, stripped of her trusty councillors, naked and bereaved.

“Some lay unshrouded in Palestine, and
Some lay in the deep.
For man must go forth to fight and to die
And women must weep.”

There were many widows in Venice.

CHAPTER III

Upon the smiling little islet of San Giorgio in Alga, midway between
the Punta di Santa Maria--the westernmost limit of Venice proper, and
Fusina--the principal port of the Laguna Morta, there lived, once upon
a time, a good-looking young fisherman. Zian Zorzio della Laguna,--so
named after his patron Saint, Saint George of Cappadoccia,--as skilful
in his calling as he was comely in his person.

Zorzio had wooed and won the prettiest girl in all Rialto, as
hard-working as himself and as good to look upon. One day Bella offered
her lover an extraordinarily fine fishing-net which she had, unknown
to him, knotted with her own fair hands; and, Zorzio delighted with
the gift, tossing it over his shoulder, went off to dedicate it to his
saintly patron in the island Sanctuary.

Kissed on both cheeks, coloured with the ripest peach-bloom, her golden
hair coiled neatly around her shapely head, save for one rebellious
love-knot upon her brow, the beauteous _innamorata_ waved loving
farewells to her Zorzio as he sculled off in his light _barca_ to
make trial of his treasure.

With a daring cast the spider-web-like mesh sank beneath the gentle
ripples of the lambent water, and the young fellow, confident of a
worthy haul, presently began to pull in his net. “Per Bacco!” cried he,
for something eerie had caught itself in the all but invisible strands
of Bella’s handiwork. A piece of petrified seaweed,--very delicate in
form, very beautiful in colour, very exquisite in texture, verily a
scudding flake of opalescent sea-foam transformed by the mermaids of
the deep into lovely coral lace,--yielded itself to his ready hand.
Zorzio had never beheld such a perfectly beautiful object, and in a
transport of delight he hailed his prize as the pledge of his success
in life. Speeding homewards in the evening he made Bella the sharer of
his good fortune, and she locked up the bit of coral lace safely in the
simple home they had prepared against the next festival of the “Brides.”

Alas, the even tenor of their lives was rudely shattered by a call to
arms, and brave Zorzio was enrolled among seamen drafted for service
in the Orient. Broken-hearted Bella surveyed his empty seat, and her
tears fell fast. Should she ever see her Zorzio again she wondered and
whispered. Looking up at last, her eyes fell upon her lover’s gift--the
lovely spray of coral seaweed. An inspiration seized her mind, and with
alacrity she reached down her lace-pillow, and guided by an unseen
power, she crossed and crossed her bobbins of fine thread until she had
completed, in interlacing arabesques, a similitude of her treasured
model. Thus was invented the far-famed and precious _merletto a
piombini_--the point-lace of Venice. It is a charming story and it
has a striking moral. That piece of coral seaweed was the mascot of the
Venetian Renaissance.

In the morning of the “_Vita Nuova_”--it was the hour of
“Lauds,”--Commerce,--strenuous father, and Industry,--faithful mother,
were busy rearing their numerous family--the vigorous progeny of the
Crafts. Away back in the ninth century, in the days of the “Grand” Doge
Agnello Partecipazio, the Emperor Lothair issued his “_Constitutiones
Olonenses_,” wherein eight cities and towns of Northern Italy are
named as suitable centres for the establishment of the revived Roman
“_Collegia_” or “_Scholæ_”:--Bologna, Cremona, Firenze, Ivrea, Milano,
Padua, Torino and Rivoalto (Venice). In each place the designation of
the _Scholæ_ varied: in Venice they were called “_Fragilia_,”--from
“_Flagelli_,”--whips,--the exact meaning of which it is difficult to
state, perhaps “training schools” wherein learners were _whipped_ into
shape!

Each “_Fragilia_” had its teachers, its pupils, its officers, its
constitution, its duties, and its bylaws. The earliest distinct
mention of a “Trade” is in 826, when a maker of lead pipes for
organs was working away near San Giacomo di Rialto: doubtless the
artificer in question was a Greek, his name has not been preserved.
Orso Partecipazio employed clock-makers in 864 and silversmiths
and carvers of ivory: these craftsmen were Greeks however. The
“_Cassellari_”--makers of _arcelle_ and _cassoni_--formed already a
vigorous Corporation in the time of the rape of the “Venetian Brides.”
The first notice of “_Fabbri_”--blacksmiths, was in 1184 as forming
a “_Fragilia_,” but the _Calle de’ Fabbri_ was a well-known lane in
the tenth century. The Altino Chronicle names Fishermen, Smiths,
Saddlers, Carriers by water, Shepherds, Butchers, Masons, Carpenters,
Cabinet-makers, Shoemakers and Furriers as the earliest incorporated
craftsmen in the islands of the lagunes. “_Marzeri_” or silk-mercers
were established in Rivoalto in 942.

Doge Pietro Polani, in 1143 drafted a “Table of Precedence,” which
established as the premier “_Fragilia_” or Trade-Guild, the Corporation
of Fishermen. Thirty years later Doge Sebastiano Ziani set up the first
“_Corte della Giutizia_” in the interest of traders and operatives.
Thereafter numerous other Crafts are named in Venetian history; but
Venice never attained to the eminence of Florence in the development
of her Guilds--she was _sui generis_ a great sea-port rather than a
metropolis of industry. The thirteenth century first saw the cradle
of the Crafts rocking effectively,--just as the fourteenth furnished
the nursery of the Fine Arts,--and Venice felt the impulse of the new
industries, along with the rest of Italy.

Doge Arrigo Dandolo had annexed one-fourth of the old Roman Empire
to the tutelage of Venice, and ten great Turkish galleons brought
home, with the remnant of her forces, vast treasures,--the loot of
Constantinople and the islands of the Greek Archipelago. Upon the
Piazzetta was outpoured the wealth of the Levant. Never before had
Venetian eyes and hands beheld or handled such creations of art and
craft. Every church and monastery, every palace and mansion, and every
poor man’s home, were enriched by things of joy and beauty. Mothers
and maidens laid up in honoured hiding-places tokens of their heroes
resting in Paradise, and all the sons of Venice gathered objects of
interest which engrossed their intelligences and set their minds and
hands at work to imitate--the fall of Constantinople was the rise of
craftsmanship in the Lagunes.

The Conquest of Constantinople--a notable turning-point in the history
of Venice--was the initial mark of a new era throughout Europe. By
common consent every class of the Venetians welcomed the promise of
new conditions,--social and political,--and set to work to exchange
Oriental ideas and sympathies for the pushful methods and modes of
Northern and Western Europe. The first step was the election of a Doge,
who should be, not only a desirable figure-head for the State, but who,
by his force of character and personal experience, should lead the
Commonwealth along progressive ways.

The qualifications for the _Dogado_ were: (1) Ripe age; (2) Urbane
temperament; (3) Good birth; and (4) Ample private means. One man,
and one man alone, stood out head-and-shoulders above his peers,
as possessed of these four qualities, a man whose thirty years of
distinguished public service placed him in the unique position of first
citizen of Venice. By universal acclamation Pietro Ziani was chosen
to wear the laurel-wreathed _berretta_ of the great Dandolo. The son
of one of the most distinguished of the Doges--Sebastiano Ziani--he
had borne himself nobly as a successful naval commander, a tactful
ambassador, and an upright magistrate. Handsome above the ordinary,
pious without hypocrisy, talented in linguistic and forensic aptitude,
and passionately loyal to the Constitution, he was calmly awaiting his
destiny at his country residence at Arbe in Dalmatia.

A deputation of the Lords of the Council boarded the magnificent
“_Bucintoro_,” and accompanied by thirty galleys, all splendidly
decorated with rare brocades and tapestries, set off to meet and escort
the new Doge. Pietro Ziani’s progress was a triumphal procession,
calling to mind the unanimous and felicitous election of Domenigo Selvo
one hundred and fifty years before. Almost the first act of the new
regime was the affirmation of the cordial relations which his father,
Sebastiano, had entered into with Guglielmo II.--“The Good,” King of
Sicily. Dante refers to the death of this distinguished Sovereign in
Canto XX of the _Paradiso_:--

“William whom the land bewails
So well beloved in Heaven.”

In confirmation of the new treaty the new Doge, in 1213, sought and
gained the hand of the Princess Costanza, daughter of King Tancredo,
Guglielmo’s son and successor. She was the first Norman Dogaressa of
Venice, daughter of a brave and ardent race, a woman of conspicuous
ability and ambition, and an ideal consort for the Head of a
rejuvenated Venice.

Pietro Ziani had but lately buried his first wife, the modest and
beautiful Countess Maria Baseggio--whose father held the high
office of Procurator of San Marco--_nobilis et decora nimis Maria
Dukessa_--as she is called in the Altino Chronicle. The sole
offspring of this union was a son, Giorgio, but, alas, when yet a
child, he was torn to pieces by the savage mastiff watch-dogs of the
monastery of San Giorgio Maggiore. It was said that the Doge was so
infuriated by this misfortune that he ordered the church and monastery
with all the animals,--_the poor monks as well_,--to be consumed
with fire: one may hope the innocent Religious escaped the fury. Anyhow
the rest were all burnt, and then the remorse of Ziani was pitiable. By
way of reparation he set to work at once to rebuild and re-endow what
he had so petulantly sacrificed.

Dogaressa Costanza was handsome and gracious, and wore her Royal
honours with distinction. Palazzi wrote thus of her--“A Queen by birth,
Dogaressa of Venice by marriage, she exhibited all the attributes
of her royal station,--she was also Duchess of Calabria,--and her
high breeding, no less than her beauty, raised her above all petty
jealousies.” In the ancient pack of playing-cards, at the Venetian
Museo Civico, we find her represented upon the “Ten of Spades,” with
the following legend:--“Costanza, daughter of Tancredo King of Naples,
wife of Doge Pietro Ziani, was accustomed to meet all the malcontents
against the Doge and herself with the saying:--‘I have nothing to do
with you!’”

The State being involved in tremendous financial difficulties on
account of the cost of the Crusades, and also in behalf of the
purchase of the island of Crete, in view of the Doge’s great private
wealth,--“_L’haver Ziani_” was quite as true of Pietro as of
Sebastiano--reduced his official salary to 2800 lire, with 100 thrown
in as a free gift. It was further decreed that all tributes to the Doge
should henceforth be shared between him and the treasury of San Marco.
Moreover he was required to make an offering of three silver trumpets
for ceremonial processions, and to undertake the repairs of the Ducal
Palace,--rather a one-sided bargain!

Fifteen years of marital happiness fell to the lot of the Doge and
Dogaressa. Three children were borne by imperious Costanza--Marco,
Marchesina, and Maria. Some authorities say that the Dogaressa died
suddenly in 1228 and that the Doge, broken-hearted, followed her
within a month. The Altino Chronicle however records the abdication
of Pietro Ziani, and adds that he and his Consort, with their family,
retired into private life and went to reside in their palace upon the
_fondamento_ of Santa Giustina, where he died, and then received
sepulture in the church of San Giorgio Maggiore, in the tomb of his
father Sebastiano.

There is still a third version of the deaths of Doge Pietro and
Dogaressa Costanza. In the terrible earthquake of 1220, when the
church and monastery of San Giorgio Maggiore were destroyed, and the
islands of Amiano and Costanzina swallowed up, it was said that many
people died of fright, and among them the Dogaressa. The Doge, sharing
the universal sense of insecurity in Venice, proposed to move the
seat of Government to Constantinople, but, upon the cessation of the
seismic disturbances, wiser counsels prevailed, and he set to work to
rebuild the shattered edifices. In 1229 Pietro Ziani exchanged the
silk-brocaded robe of State for the worsted habit of a Benedictine, and
ended his days in the new monastery of San Giorgio which he had built.

During his _dogado_ a year of Jubilee was appointed by the
Pope--1214--in thankfulness for the general peace; and every Italian
State held festivals and fêtes. Treviso led the way, for nothing could
exceed the beauty and the human interest of the “_Marca Amorosa_.”
The centre of the most fruitful and delightful region of all Northern
Italy, Treviso, with her borders, was renowned for the richness of her
vegetation, the salubrity of her climate, the beauty of her women,
and chivalry of her cavaliers. The rallying-point too of knights and
champions from the vigorous Teutonic north and the vivacious Frankish
west Treviso was the fascinating rendezvous of all that was romantic,
brave and fair.

The Crusades had been the making of the soldiery of all Europe,--not
indeed in the elements of warfare but in the courtesies of the
battle-field. Men went forth to fight the Saracen and the Turk to
vindicate the nobility of the Cross and the gentleness of the Son of
Mary. For the weak and the oppressed they gave and took sword-thrust
and arrow-tip, and not as men fighting men alone. Heroes returned to
Venetian, Trevisan and Paduan homes famous for their valour and their
virtue: the Crusades were schools of Christian chivalry. To fight for
women and for children in Palestine meant to honour and exalt those of
their own dear land, but this was quite a new idea. Saint Mary and the
Saints of God held the hands of their own babes and youths, the hands
of their own girls and women, and men worshipped at human shrines as
well as in saintly sanctuaries.

[Illustration: MYSTIC DANCE.

Michelino da Bedozzo.

PALAZZO BONARDO, MILAN.]

Treviso put forth her best efforts in the way of pageant, spectacle,
and mask--albeit she did not forget to dress her altars, light
her candles, and burn her incense, in honour of the Jubilee. In
the centre of the Piazza della Spineda, the Guild of Carpenters
erected a grandiose palace--“Castle of Love” it was named, overlaid
with gilding and painting, and decorated with rich silk velvets,
costly furs, and precious tapestries. Trophies from Palestine and
spoils from Constantinople were raised aloft, with rose-trees full
of roses, myrtles in white flower, and jessamine, the marriage
bloom, and many another decorative feature. All this bravery was the
_mise-en-scène_ for such a castle garrison as no knight’s eyes had
beheld nor indeed his heart imagined.

Two hundred of the fairest damsels of Treviso and Padua, and with them
not a few noble matrons of attractive personality, manned or shall we
say “womaned” the lofty battlements. Dressed in most becoming garbs and
covered with jewels, with faces painted and hair coiffured in exquisite
taste, the fascinating amazons have at hand no weapons or grenades
of lethal warfare, but baskets of sweet flowers, cornucopias of ripe
fruit, and crystal vases filled with delicious scents, ready for the
besiegers.

Three Companies in turn assault the “Castle of Beauty”--gallant
knights and esquires of Venice, Padua, and Treviso. Strange are their
battle-cries. Lately singing Litanies to the Saints, their lips have
learned compelling dulcet tones, as they have prayed at or for the
Holy Sepulchre, and now they again give forth the refrain “_Ora pro
Nobis_”--addressed not to St Giustina, St Catherine, or St Barbara,
but to Donna Beatrice, Donna Fioretta, Donna Felicita, and to all the
beauteous two hundred!

Amid the plaudits of thousands of spectators on pavement, in window,
on balcony, on roof, drawn from all the plains of Lombardy the
Company of Treviso--as gallant goodly lads as ever donned tight
hose and well-shaped tunic,--deliver the first attack, making trial
of their knighthood. Appealing to the tender unsullied hearts of
the fair defenders of the Castle, with gentle words, they shower
such things as affect most the eye of woman--lovely flowers, amorous
_billets-doux_, and delicate scent-sachets. Not so can they
gain the battlements, and falling back, the second line of attack is
opened out by the Company from Padua. Clever pleasant youths are they
and full of artistic fancies, well groomed too, they rally to the
charge with such things as may please their ladies’ palates,--boxes of
expensive sweetmeats, baskets of delicious fruits, and fresh rissoles
of fish and chicken. The fair ones catch all they can, but yield
not their portcullis. Now comes the turn of the fresh-complexioned,
well-figured, fair-haired, silent, haughty young Venetians. They step
boldly forward, in silken tights, each lad a lord in self-esteem:
they have special ammunition for their service, attractive to all the
senses of woman-kind,--scented walnuts, Oriental sweeties, and sugared
rose-leaves, but, in their scarlet satchels they have a wealth of good
gold ducats, and with them the day is won, for the maidens toss the
glittering spoil from hand to hand and laugh and sing right merrily!

But before the conquerors can carry off their bewitching prisoners,
the defeated warriors rally to the call of “Down with Venice,” and
rush the standard-bearers. In a trice the red banner of San Marco
is trailing on the ground and the Venetians have whipped out their
swords! Messer Paolo da Sermedole, the Master of the Pageant, and his
assistants intervene, and the tears of the captured maidens arrest the
flow of blood, but the Venetians leave the “_Marca Amorosa_”
vowing vengeance for the insult. War was declared forthwith against the
sister cities and the end of it came not till two years had passed,
when at Bebe near Chioggia, the Paduans accepted the Venetian terms.
Doge Pietro Ziani stipulated, as a condition of peace, that twenty-five
Paduan Knights, who had participated in the “_Marca Amorosa_” at
Treviso, should present themselves at the Ducal Palace, submissive to
the orders of his Serenity.

In Venice the gallant Company was welcomed right nobly, as became
magnanimous foes, feasted for ten days, and well laden with costly
presents, and so were speeded home again. History has not exactly told
us whether any, or all of that gallant band, took away things more
precious still than the splendid offerings,--the hearts of Venetian
maidens! The revenge of the conquered, in true chivalry, is the
spoiling of the conqueror. Anyhow at least one Venetian bride was led
away to Padua, and with her went a goodly trousseau:--“One bed, two
down-quilts, a whole piece of scarlet ‘noble’ cloth, four linen sheets,
two feather pillows, two striped silk petticoats, two robes, or gowns,
of silk brocade, four bodices of lawn, one fur mantle with silver
buttons, one silver bell, a silver rosary, seven ornaments of gold, two
of pearls, a coronal of pearls, seven fine amber beads, etc., etc.”

When she reached Padua the bride was to receive from her husband a
purse full of money, to pay for musicians at the home-coming, for the
cooks, and for her chaperon--one Donna Riccidoni--and for herself she
might retain twelve silver _soldi_ as pin-money. The bridegroom was
mulcted at the same time in dealings in beef, veal, fresh fish and
fruit, cakes, eggs, bread, wine and oil, and for the payment of the
boatmen who had rowed them up the Brenta. Alas the chronicler in the
“_Archivio_” has failed to give the names of the interesting couple,
but apparently Venice and Padua were at one upon the question of
matrimony!

* * * * *

“_Maridite! Maridite! Donzela;
Che dona maridada è sempre bela:
Maridite! finchè la foglia è verde,
Perchè la zoventu presto se perde!_”
VENETIAN “BARCAROLLE.”

(“Marry! Marry! pretty maid,
Lest ye lose your youth and fade--
The young girl’s her husband’s Queen
Marry whilst the leaves are green!”)

The last years of Doge Pietro Ziani were embittered by the rivalries of
the families of Tiepolo and Dandolo--partisans of both sides eagerly
grasping the Ducal chair, and impatient of the demise of its occupant.
The Doge and Dogaressa were so worried and oppressed by these unseemly
contentions that he executed a deed of abdication, and returned to his
private residence, leaving the distinguished but thankless office to be
filled by another.

Giacomo Tiepolo represented the _old_ ideas and Marino Dandolo the
_new_, and the votes of the Council were equally divided; but at last,
a majority was found for the former. Tiepolo was out and away the most
enlightened and intellectual man of his time. He came of an ancient
family, one of the “Apostolic” order of nobility--“Teupolo” in the old
spelling, and originally from Rome. Bartoldo Teupolo, the head of the
family in 697, was one of the electors of Doge Paolo Lucio Anafesto.
In 1204, when so many Venetian nobles assumed territorial titles of
sovereignty over islands in the Greek Archipelago consequent upon the
fall of Constantinople, Giacomo Tiepolo was named Duke of Candia. His
father was Lorenzo, Procurator of San Marco in 1207, and Podesta of
Treviso.

“Duke” Tiepolo took to wife Maria Storiato--a Venetian gentlewoman
of no high degree, but a good and faithful spouse and mother. She
was received as Dogaressa the day of Giacomo’s election in 1228, but
alas, she died in 1240, having given him three sons as pledges of
her devotion--Pietro, Lorenzo, and Giovanni. The eldest became Count
of Sant’ Agostino and Podesta of Milan and Treviso, but, being taken
prisoner by the Emperor Frederic II., he was treacherously beheaded.

A two years’ widowerhood found the Doge once more at the feet of an
attractive woman, not indeed a simple Venetian maiden but a Princess
of Royal degree,--Valdrada, the daughter of King Tancredo of Sicily.
The new Dogaressa, like her brother King Ruggero, was famed for good
commonsense, and sound probity of life, and she assumed at once an
unquestioned control over the actions of her Consort, strong man though
he was. Like her sister, the Dowager Dogaressa Costanza, she was a
_virago_, in the sense of a strong personality; and she followed
in her sister’s steps, ruling not alone her husband, but bending to
her will all with whom she was thrown in contact.

Perhaps the new Dogaressa’s ostentation of Regal rank in the Venetian
Court was a decisive factor in the promulgation of what was called
the “_Promissione_”--perhaps best translated by the French term,
_Protocol_--of 1242, the provisions of which greatly restricted the
power and liberty of the Doge and Dogaressa. The Doge was henceforth
to be, not the executive Head of the State, but the executor of the
orders of the Council. Acts of homage were no longer to be rendered to
him, nor was he to be addressed as “_Domine Dominus_.” In times gone by
the deputation of nobles, commissioned to acquaint a new Doge of his
election, were accustomed to greet him thus:--“Welcome, Messer Doge,
God give you Messer Doge a good morrow, we are come to dine with you,
we await your orders, and we wish to kiss your hand.” The Dogaressa
also shared the new restrictive conventions, and neither relatives
of hers, nor of the Doge, were eligible for any public office. Their
household was limited--only twenty-five free retainers were allowed and
a like number of unpaid dependent slaves.

“_Il Statuto di Giacomo Tiepolo_,” or “_Il Statuto Veneto_,” as it was
called, was a compilation, by Doge Tiepolo, of laws in five books,
which treated of the domestic relations of married people. The husband
was required to render an account to his wife of his use of her dowry,
and the capital sum remained in her power to will as she chose. An
unfaithful wife forfeited her dowry, but a widow enjoyed her husband’s
patrimony till her second marriage or death. If ever a couple decided
to renounce secular life and enter Religion, the united property was
shared equally, each being free to do what he or she liked with the
money. Children, if any and under age, were provided for equally by
each parent. Many sections of the “_Statuto_” dealt with the vexed
questions of Slavery and Prostitution--all aiming at the amelioration
and moralisation of manners.

Doge Giacomo Tiepolo’s time was much occupied with the settlement of
internal jealousies and factions, and by the conduct of naval and
military expeditions. While he was so employed Dogaressa Valdrada
gave her whole time to the patronage and support of the Trade
Corporations--a _rôle_ maintained by all her successors.

At length, in 1209, the Doge, wearied alike by the exertions of his
foreign enterprises and by the keenness of political rivalries at home,
executed a deed of abdication, and, with Dogaressa Valdrada and her two
young children retired to his private residence at Sant’ Agostino, in
the _sestiere_ of San Polo or Paolo. He did not long survive his
retirement from office, and both he and his Consort, who outlived him
three years, were buried in SS. Giovanni e Paolo. In every sense of the
word Giacomo Tiepolo--“The Legislator”--was a “Grand” Doge--the sixth
upon whom that title may be properly bestowed.

In his “_Stones of Venice_” Ruskin tells a well-known and
characteristic story of Doge Giacomo Tiepolo. The noble church of
SS. Giovanni e Paolo--San Zanipolo in the vernacular--was begun by
the monks of San Domenigo in the year 1234, under the patronage of
the Tiepolo family. Three years before Giacomo was called upon to
succeed Pietro Ziani, he dreamed a dream wherein he beheld all the
ground around the rising building covered with rose-bushes in full and
fragrant bloom. Flitting to-and-fro and imbibing the floral nectar were
numbers of white doves with golden crosses upon their breasts. Whilst
the dreamer wondered what it all meant forty angelic beings appeared
out of a crimson cloud, bearing in their hands smoking censers, and,
circling around the lovely garden, they flung hither and thither
their sweet incense smoke. Then a rich clarion voice proclaimed from
somewhere above the rose-trees:--“This is the place I have chosen
for my preachers.” The solemn words awoke the sleeper, and he went
straightway to the Council and declared what he had seen and heard.
They agreed to grant forty paces of ground for the extension of the
monastery and Messer Tiepolo, out of his private munificence, endowed
the brotherhood with a noble revenue.

Upon either side of the entrance of the church are the two Roman
sarcophagi, in which were interred the bodies of Doge Giacomo and
his son Doge Lorenzo Tiepolo. Ever after Doge Giacomo Tiepolo’s
solemn obsequies the bodies of all the Venetian Doges and many of the
Dogaressas were laid in State and their funeral rites were performed
within the choir of the great Dominican church.

Marco, or Marino Morosini’s _dogado_ (1249–1252), was quite uneventful,
except for the establishment of the Holy Inquisition in Venice. Its
operations however were only allowed upon sufferance, and its decrees
required the _imprimatur_ of the Council before being carried into
effect. Doge Morosini, nearly seventy years of age at the time of
the election, was of venerable appearance, amiable disposition, and
irreproachable character. His Consort’s name has not been preserved. He
is credited with the initiation of the _Scola de’ Battitori_,--Guild
of Flagellants,--which attracted very many of the more devout of
the citizens. Men and women were equally affected by this call to
asceticism, and were accustomed to lash themselves both publicly and
in private with “_Scope_” birchrods or “disciplines,” whilst they sang
_Miserere_ and other doleful chants! The _furore_ had a brief duration,
for the commonsense of all classes checked exhibitions of infatuation.
There was however one admirable feature in the movement--the devotion
of vast sums of money, rich lands, and fine houses, to the cause
of charity: in one year (1251), 80,000 _lire_ were contributed to
deserving objects, and the “_Battitori_” numbered at least 12,000.

Marco Morosini was buried with full honours, clad in State robes with
his jewelled sword by his side, whilst women made loud lamentations
and men forsook their avocations to touch his bier, and pray for his
soul. These solemn burial scenes were swiftly followed by the gorgeous
installation ceremony of the new Doge--Reniero Zeno (1252–1268).

Where had been scattered branches of yew and cypress, and where had
swayed great lengths of dismal black cloth, now flaunted in the fresh
sea-breeze, the emblazoned banners of the “_Fragilie_” and the splendid
silk draperies of the nobles, whilst garlands of freshly woven fragrant
blossoms shed their painted petals upon the path where along a comely
Dogaressa was borne by gallant escort to the Palace. There was just
one “fly in the ointment” of satisfaction--for Loicia da Prata,--as
attractive as any of her predecessors, indeed she had charms surpassed
by few,--was alas from Friuli, and “nothing good for Venice,” it was
said, “ever came thence!”

The new Doge belonged to the most recent order of the nobility,
that composed of men whose ancestors had purchased their patents in
celebration of the last war with Candia--the Videmani, Labio, Zenobio,
Fini, Manini, Gambarri, Zeno, and others. Whether Messir Reniero,
the son of Ser Pietro Zeno, possessed all the qualifications sought
in the person of the Head of the State we know not, but we know that
he was a man of great wealth--perhaps, as times went then and as
they go now, _the_ most valuable consideration! This being so, the
Council considered it a favourable opportunity for further curtailing
the privileges of the Doge and Dogaressa, for, by the way, it was a
certainty that they would be the recipients of considerable offerings
on behalf of the Trade Corporations, seeing that the Doge was engaged
in active commercial pursuits and was a great employer of labour.

[Illustration: DOGE RENIER ZENO AND DOGARESSA LUICIA DI PRATA.

Palma Il Giovine.

ORATORIA DE’ CROCIFERI. VENICE.]

By the new “_Promissione_” the Doge, the Dogaressa, their sons and
daughter, and daughters-in-law, were debarred from receiving food
stuffs, cattle and horses, poultry and game, etc., etc., except upon
due payment. The Dogaressa was directed not to promise situations or
offices to those who sought her aid, nor to write recommendations of
such suppliants to the Doge or to the Council, and also not to make
gifts to any official dependant. If she bestowed her patronage upon
Craftsmen they were forbidden to make capital out of it. On the other
hand, no limits were put to the private charities of her Serenity,
and, as Dogaressa Loicia was famed for her benevolence, this freedom
of action granted to her by the _Promissione_, had an astute and sly
significance. As a matter of fact she did exhibit her piety in a
remarkable way by the erection and endowment of a Hospital, upon the
site originally occupied by that of Doge Pietro Orseolo II., with an
Oratory,--_Oratorio del Crocifisso_,--still in existence near the great
Campanile of San Marco.

During the _dogado_ of Reniero Zeno, in 1255, a writ was put forth
by the Government regulating the marriages of nobles and citizens.
Banns of marriage had been asked, time out of mind in all the Venetian
churches, but gradually they had ceased to be regarded as necessary,
and clandestine unions were the fashion. A priest had come to be
regarded as at anybody’s beck and call, whether in a public consecrated
building or in the privacy of the domestic parlour; and, instead of
many sponsors, one witness was deemed sufficient. Often as not a
priestly personage was not requisitioned at all--times were easy, so
were manners.

Quite a characteristic and amusing story has been preserved
illustrating the new mode of wedding contracts. Madonna Catarussa of
San Gervaso, lingering one evening at her house door, awaiting her
late home-coming spouse, was accosted by one, Ser Pierino da Trento,
an itinerant seller of brooms and brushes. Noting the Madonna’s
abstraction he passed a courteous greeting:--“Good Lady,” he said,
“can you find a poor devil like me a pretty girl I wonder?” Madonna
Catarussa was indignant and used pretty freely not too pretty Venetian
expletives!

“No! no! not that dear Lady, not that,” interjected Ser Pierino, “I
mean marriage now and honourable, a little wife and a modest dowry!”

“Well, well, if that be your true wish I will see what I can do. Come
again to-morrow about this time. Fare you well fond lover!”

Madonna Catarussa knew well a very charming girl, just what the amorous
pedlar wanted,--Donna Marina Contarini. She broached the subject of Ser
Pierino’s commission, and because he was of good reputation and withal
a good-looking fellow, the girl agreed to the assignation. Without
delay or preparation, upon the morrow, in Madonna Catarussa’s best
parlour, the couple met and with them one, Menigo Moïse, a friend of
the Madonna, prepared to carry out an impromptu matrimonial _rôle_.

“Ser Pierino, does Donna Marina suit you?--Donna Marina, does Ser
Pierino please you?--Say ye both”--asked he.

A ready double “Yes” sprang from the nuptial couple and promptly and
with glee Ser Moïse joined their hands. Thereafter congratulations
were showered upon the newly-married pair, and a merry party sat down
to a hearty wedding breakfast. Company is never wanting when marriage
festivities are on the go, and so it was in Madonna Catarussa’s
_calle_--perhaps Ser Giovanni was at sea--fishing!

Doge Zeno died in 1208, but Dogaressa Luicia survived him many years.
He left to her absolutely the bulk of his property and she continued
to reside in the great _Casa Zeno_, whence she administered the
munificent gifts he and she had made to religious bodies, to churches
and hospitals. At her death,--the date is not recorded,--she devised
her personal effects for the benefit of her _Ospedale di Santa Maria
per gl’Incurabili_, namely bedding, mattresses, coverlets, gowns,
furs, her nuptial chests, plumes of feathers, six reading easels,
chests of medicines, and very many personal and domestic comforts. Thus
the attractive, virtuous, and benevolent Dogaressa passed quietly, and
we may hope peacefully, from the people and the scenes she loved so
well. Many warm hearts beat for her and salt tears fell, for she was
well beloved in Venice.

III

Lorenzo Tiepolo mounted the Ducal throne in 1268, with a splendid,
well-nigh unique, reputation, and he sustained its dignity admirably
for seven eventful years. He was the Head of a strong and wealthy
republic, which, surrounded with high honours, was rejoicing in
every kind of delight and ostentation. The son of a “Grand” Doge,
blessed by his father’s reputation, renowned for his personal bravery
and courtesy, and endowed with the wherewithal to minister to his
own luxuries and to the dissipations of a brilliant court without
restraint, the second Tiepolo Doge was the man of the moment, the
plaything of fortune.

Venice was like a spoilt woman, dowered with beauty and ability,
jealous of her freedom, a fierce foe to her enemies, a dangerous
vixen to her friends, loving adulation, commanding obedience, proud,
selfish, cruel, and revengeful--this was the Venice which Lorenzo,
the champion of the _Giostre_ had to control. The spirit of the
time was wholly favourable to the new Doge’s government. Harmony and
healthful rivalry existed between the craftsmen and the masters. In
1271 the _Gastaldi_--Heads of Guilds--met under the presidency of
the Doge; and agreed to devote a goodly portion of their Guild revenues
to the relief of the poor and sick, provide pensions for the widows
and families of deceased members, attend funerals, and keep the lamps
burning in their Guild Chapels. They gave, as their incentive to these
pious works, the sententious aphorism:--“_Stare in lo amor di Dio e
di Santa Paxe_.”

Venetians loved music, dancing, birds, and flowers. Picnics were held
in the gardens of Murano, in the orchards of San Giorgio Maggiore, in
the vineyards of San Zaccaria, in the olive-yards of Malamocco, and
by the aviaries of San Giobbe. Everyone had his own garden,--great
or small,--and in it rare exotics mingled with homely plants. At
all windows and balconies were boxes of carnations and cages full
of singing birds. Venice too was the shop of Europe, whether for
tasty culinary delicacies or for the fashionable fripperies of the
fair sex. All the good things of the East were displayed upon her
_fundamenti_ and in her markets. The banquets she set before her
guests were sumptuous and unrivalled: the beef of Aquileia, the veal
of Chioggia, and the pork of Friuli were as famous as the sausages of
Bologna. Her wines, her fruits, and her sweetmeats were celebrated.

Two meals a day were the rule in Doge Lorenzo Tiepolo’s time--dinner
before noon, supper between seven and eight. For dinner, the better
classes had soup,--_grasso_ or _magro_,--fish and meat with vegetables,
fruit, cakes, and wine. Elegant little baskets of silver and gold were
placed upon the tables filled with freshly-made sweetmeats. The poorer
people’s dietary was chiefly fish, bread, oil, and fruit,--meat was
beyond their means and vegetables were also dear.

The Venetians had not been noted for refinement of manners, in fact
they had rather prided themselves that they were “less effeminate” than
their neighbours on the mainland; but, under the patronage and example
of the foreign modes of the nobles and richer citizens, there sprang
up, in the middle of the thirteenth century, a marked improvement with
a corresponding growth of courtesy. Very quaintly a worthy friar of
Milan, Bonvesino da Riva, drew out a “Table of Etiquette.” “Thou shalt
remember,” he wrote, “the poor when thou sittest at table. Thou shalt
be gentle in offering water for the hands. Thou shalt not eat nor drink
to excess. Thou shalt sit easily, show courtesy, be cheerful, thy dress
well arranged. Thou shalt not fill thy mouth too full. Thou shalt take
thy cup of wine and put it to thy lips with both hands, so as not to
spill any, and, when thou hast moderately drank, thou shalt not pass
it on to another but place it carefully upon the table. If thou shalt
happen to sneeze or cough, draw thyself away a little, never complain
of the seasoning of the dishes. Thou must not soak thy bread in thy
wine. Thou shalt always offer thy guest the best cut. Thou shalt be
scrupulous about the cleanliness of thy servants; thou and they must
always have clean hands. Thou shalt not thrust thy hands into thy mouth
nor pick thy teeth. Thou shalt not fondle thy neck, nor thine ears. At
table thou shalt not relate sad news....” And so the writer goes on
giving excellent lessons in good deportment.

Lorenzo Tiepolo had made himself a great name before he came to the
_dogado_. He had humbled Genoa and in the East he had commanded
a victorious Venetian fleet which had brought back twenty-five prize
galleys, great stores of booty, and above all, the venerated body
of Santa Saba. In 1264 he was Podesta of Padua, and, when there, he
married Donna Agnese Ghisi, whose family held the titular marquisate of
Stampiala in the Greek Archipelago. She gave her husband two sons who,
when grown, married, Giacomo,--a princess of Dalmatia, and Pietro,--a
rich countess of Vincenza. Very little is known about Dogaressa Agnese
except that she was a patroness of Hospitals and a friend of those
in distress. Out of her dowry she endowed a Maternity and Lying-in
Hospital for poor women, and a Hostel for prisoners condemned to death.
The good Dogaressa went by the gracious title--“_La Donna della
Misericordia_.”

Soon after the death of his first wife Lorenzo Tiepolo married again.
The Venetians, whilst controlling the privileges and the liberty of the
Consort of the Doge, were exigent that he should have a spouse, if for
no other reason, than as an additional ornament to the State. The new
Dogaressa was Marchesina, daughter of Boemondo da Brienne, King of
Rascia and Servia, who was brother of the Emperor John. If we have no
authentic portrait of her, Palazzi’s pack of cards in the Museo Civico
has upon the “Nine of Clubs”:--“_Dogaressa Thiepolo aggrandisce ed
arrichisce cole noze la prole Nobilita langue ove ricchezzo manca_.”
Perhaps briefly Englished “A noble and a wealthy heiress!”

The recognition ceremonies of the new Dogaressa were accompanied by a
splendid pageant two days later. Whilst the citizens were content to
leave all matters of State policy and the details of the Administration
to the governing class, represented by the Doge without demur, to
the Dogaressa, craftsmen looked for protection and patronage in the
prosecution of their industries. Accordingly the _Gastaldi_, or
Masters of the several Guilds,--there were just thirty of them,--met in
Council, and resolved to arrange an exhibition of their various Crafts
at the Ducal Palace in honour of the new Dogaressa.

To accompany her Serenity to her Coronation and to secure her presence
at the inauguration of the Exhibition a huge procession set off to
the Tiepolo palace, which Doge Giacomo had enlarged and decorated so
lavishly. Headed by banners and trumpets and drums first march the
“Smiths” with garlands upon their heads; next the “Furriers,” wearing
costly furs; the “Wool-weavers” followed,--an imposing detail of the
pageant,--singing ballads to the accompaniment of horns and cymbals,
and carrying silver goblets and flasks full of red wine. Fourth in
order came the “Tailors” in white garments covered with scarlet stars
and over their shoulders cloaks lined with fur; “Woollendrapers”
succeeded with branches of olives in their hands and olive crowns
upon their heads--the Masters of the Craft wore fustian mantles;
“Makers of Doublets and Coverlets” were ranged alongside, wearing
white capes sewn with blue lilies. The eighth Guild by reason of the
costliness of its manufactures commanded universal admiration--the
“Makers of gold and silver cloth,”--whose members wore caps decorated
with fine filigree work and sewn with pearls; following came the
“Shoemakers,” the “Mercers,”--clothed from head to foot in silk; the
“Pork-butchers,” in scarlet cloaks lined with vair; the “Glass-blowers”
and the “Carding-comb Makers” made way for a gorgeous detachment--the
“Goldsmiths,” adorned with gems and precious stones. It would be
tedious to name all the “Trades” in that vast procession, which wound
up with the “Barber-surgeons,” who certainly made the most of their
opportunity. They marched with their heads dressed in the latest
fashion and wearing gold ornaments and pearls. Two mounted men, in the
armour of Knight-errants, conducted four lovely young girls in white,
their rich golden hair all over their shoulders, and each supposed to
represent one of the four great foreign States,--France, Germany, Spain
and England.

Having passed under the windows of the Dogaressa, the two Knights
dismounted and addressed her Serenity as follows:--“Duchess, we are two
wandering Knights, and we have ridden forth in search of adventures and
have carried off from persecution and wrong these noble maidens. Now if
there should be any warriors who will come forth to prove their valour,
we are prepared to defend the damsels and sustain our honour.” The
Dogaressa smiled her approval, and waved her hand that she was ready to
accompany her honourable escort to the Palace.

Taking her place by the side of the Doge she received the courteous
salutation of the assembled nobles, and then passed through the
ante-room and reached the Hall of Exhibition, where she was received
by the Masters and Officials of the Guilds, and from whom, in spite of
all “_Promissioni_” she accepted characteristic presents. To each
Master she addressed a few pleasant words and invited him to sup with
her that night in the Ducal Palace, whilst the Doge entertained the
Lords of the Council and other Dignitaries of State.

The Dogaressa Marchesina was part-founder in 1272 of the celebrated
Ca’ di Dio--House of God--for the reception of ladies of good birth
but reduced to poverty. Hitherto such unfortunate gentlewomen had been
cared for along with the widows of craftsmen, and they felt keenly the
degradation: they were certainly “the poor who feel shame.” Not many
years elapsed before the joy of prosperity in Venice was turned into
the sorrow of want--the splendid hospitalities of the Ducal Palace gave
place to plain spreads for starving people. Famine followed feasting
and Doge and Dogaressa were occupied with the leading nobles in dealing
with scarcity and unemployment.

Doge Lorenzo Tiepolo died in 1275, and Marino da Canale, the
chronicler, wrote of him:--“There was no one in all the Venetian nation
who did not lament with reason the loss of such an excellent ruler.” He
was buried with his father, and his brother Giovanni, at SS. Giovanni
e Paolo. Of the Dogaressa Marchesina’s death and burial we have found
no record.

Lorenzo Tiepolo’s successor, Giacomo Contarini,--a member of a
prominent family of the “Apostolic” order of nobility,--was in
every way an estimable man and not suspected of any ulterior aims
with respect to the aggrandisement of his family. Nevertheless the
Government demanded sworn promises that “neither he nor Madonna
Jacobina, his spouse, should accept any fee or fief, nor undertake
commissions of any kind and, in particular, that the Dogaressa
should on no account contract debts with the citizens nor enter into
speculations, in salt, cheese, or wine!”

The Doge was forbidden to hold land outside Venice, his sons were
forbidden to marry foreign wives, except with the approval of the
Council (two were already married and the third was a Religious), and
whatever was required for the Ducal household was ordered to be paid
for within eight days. The Dogaressa and her daughters were expressly
prohibited from receiving gifts or samples from tradesmen. In other
respects the _dogado_ of Contarini was uneventful, and after
a short reign of five years in 1280 he abdicated his office, and
retired into private life upon a pension of fifteen hundred _lire di
piccioli_,--a beggarly sum indeed, but he was glad enough of it, for
he was a poor man, perhaps the least wealthy of all the Doges, though
he came of a wealthy family.

How Dogaressa Jacobina submitted to the severe restrictions upon her
liberty of action we know not, nor indeed anything whatever about her,
except her name. The Doge died shortly after his vacation of office,
and was buried quietly in the church of the Frati Minori,--Santa Maria
Gloriosa de’ Frari,--in a marble sarcophagus which was enriched with
mosaic figures of the Doge and Dogaressa upon their knees,--comely
in their lives: in death they were undivided. The epitaph is very
brief:--“_Heic requiescit Dominus Jacobus Contarinus, Dux inclytus
Venetiarum, et Domina Jacobina, ejus uxor, Ducissa_.”

Bearing a great name Giovanni Dandolo a descendant of the “Grand” Doge
Arrigo Dandolo was peacefully living at his country villa at Arbe in
Dalmatia,--that favourite resort for wealthy Venetians who there could
indulge in the chiefest of their hobbies the cultivation of flower
gardens, and fruit orchards, and in the pleasures of the chase,--when
news of Doge Contarini’s abdication reached him. Apparently neither
he nor his good spouse were unprepared for a summons home, for they
started towards Venice before the deputation of nobles sent to salute
them reached their domicile.

The new Doge had all the high moral tone, firmness, and energy, of his
great ancestor, but he was lame and somewhat uncourtly in his manner.
Morose in disposition and possessed of peculiar habits, he seemed to
be hardly the sort of man for the onerous post to which he was called,
moreover he was credited with democratic tendencies.

The times were tranquil and, as a consequence, prosperous, and Venice
and the Venetians were approaching the zenith of success. She was the
emporium of the world: the business of all Europe and of the East was
transacted in and about the Piazza di San Giacomo di Rialto. Each
trading nation had its warehouses and its consular staff. In front of
the _Fondaco de’ Tedeschi_, just beyond the bridge, were anchored ships
from Northern ports, and upon the wharves were dumped all sorts of
foreign merchandise. Higher up the canal were fleets of great barges
laden with casks of oil and wine. The _Fundamenta Toscana_ was filled
with Florentine merchants and choice wares from Tuscany, the _Fondaco
de’ Turchi_ and the _Campo de’ Mori_, were thronged with traders from
the radiant East. Jews and Armenians traversed _calli_ and _rive_ at
will, bartering their commodities.

Right away from the Rialto bridge to the Piazza di San Marco, all
along the Merceria, were shops overflowing with costly objects, rare
perfumes, and the latest modes. There strutted young gallants of Venice
with slender, graceful figures, fair-haired, and clad in well-fitting
hosen and tunics, richly trimmed, with natty shoes and jaunty red
_berrette_, peering as they sidled up and down into screened doorways
for revelations of feminine charms and fashions. If, as it was said,
matrons frequented that famous rendezvous to study mannikins draped
to show forth the smartest costumes, and ostentatiously to give their
alms, we may be sure maidens, perhaps clandestinely, found themselves
there too, with their white veils coyly arranged to please their
admirers--young and old.

Giovanni Dandolo splashed no red mark upon the escutcheon of the
City, the white lily of a virtuous life was not denied him, but he
wearied of his dignity, and, in 1289, retired to his restful home
in Dalmatia, and there he lived till 1320. When dying he left by
will to his lamenting consort, the Dogaressa Caterina, “many chests
full of fair linen, vests, shawls, and coverlets, with a couple of
_ningoli_--chemises (?), and many other things.” The wearing of
under linen was unusual then, and, be it said _sotto voce_, little
care was taken in the matter of cleanliness--the wearer went on wearing
till the garments were worn out! A _Sonetto_, written about the
Venetians, by Antonio Beccario da Ferrara, refers amusingly to this
_peccadiglio_:--

“_Nun s’no da mutar lur pani lini
E cho’ mantegli vannu dimezatti,
Porton solete chalzertti.
Tal che impegna boriz e cholterlini._”

The chemise--and its complement--were luxuries in the year 1307, when
Donna Sofia Battango, in her will, bequeathed one of each garment, with
special injunctions, to two of her dearest friends--Donne Reni and
Donadi.

Dogaressa Caterina Dandolo survived her husband many years and died,
if the record may be believed in 1341, when she must have been quite a
centenarian. At any rate there is extant the Inventory of her wardrobe,
which contained a wealth of rich and costly dresses, viz.: “a robe of
white silk serge pleated with silver; a robe of cerulean-blue cloth
lined with grey fur; a tunic of red brocade trimmed with braid and
buttons of silver; a cape or cloth of gold and watered silk; and train
of fine thin scarlet cloth covered with silver trimmings; two silk
hoods lined with ermine, several lace caps covered with pearls--etc.,
etc.” Possibly some of her belongings got into the hands of _Venditori
di Panni Vecchi_,--dealers in old clothes, who in 1283 had been
subjected to strict inspection. Women were allowed to buy and sell, but
all shops had to be closed on festivals and Sundays, which, in Venice,
totalled up to half the year. Perhaps the good Dogaressa bestowed
her wardrobe, or some of her garments, upon the members of that most
curious Guild of all the Guilds of Venice--the “_Zonfi_”--the lame and
blind; for it was incorporated under her patronage.

Of those days indeed the words of the quattrocento poet of Padua,
Giovanni Sanguinacci, were true:--

“Venice rich and free wears the world’s crown high--
Queen of the Sea, of the Shore, of the Sky.”

Upon the abdication of Giovanni Dandolo the popular choice of a
successor fell upon Giacomo, Doge Lorenzo Tiepolo’s eldest son,--a
prudent and unselfish man--“_un huomo de bene_” as he was called;
but he refused the honour, and promptly went off to his estate at
Mestre, and set to work farming. Eventually Pietro or Perazzo--“Proud
Peter”--Gradenigo was elected. His character was marked by gentleness
of disposition, equability of temper, tenacity of purpose, and strength
of will,--all very desirable traits in one chosen to fill such a
cumbered-about and difficult position as the Dogeship of Venice.

Moreover he had strong views concerning the status of the Dogaressa.
He had himself sought no foreign Princess, as had the men of the
house of Tiepolo, but had taken his wife from a Venetian family,
as illustrious as his own--both were of the “Apostolic,” or twelve
premier, families--Tommasina Morosini. She presented him with five sons
and a daughter,--Paolo, Marco, Niccolo, Giacomo, Giovanni, with Anna,
who lived to be the consort of Giacomo da Carrara, Lord of Padua.

Convinced, by diligent study and close observation, that an autocracy
was the only satisfactory form of government for Venice, as opposed
to the intricate jealousies of the aristocracy, and to the varying
pretensions of the democracy, the new Doge caused the Great Council
to pass a law which fixed the administration of the State in the
hands of the Doge and the Council of Ten. With a stroke of the pen
the popular Government, established under Doge Sebastiano Ziani,
in 1172, was abolished, and the Venetian Republic came perilously
near being controlled by the will of one strong man. More or less to
allay the apprehensions of his fellow-nobles Gradenigo instituted
the “_Libro d’Oro de’ Quarantia_.” Almost the first action of
“the Forty,”--quite characteristic, but at the same time grimly
humorous,--was to hedge the ambitious Doge about with greater
restrictions than ever. He was never to leave Venice under any pretext,
and never to walk about the City unattended. His official income was
fixed at 14,000 ducats (say £2000) for the worthy support of his family
and for the entertainment at dinner, four times a year, of the Lords
of the Council. The State robes to be worn by Doge and Dogaressa were
also exactly indicated:--for the Doge, over a close-fitting long tunic
or cassock of silver cloth, a full mantle of cloth of gold lined with
ermine, and an ermine hood. The _Corno_ was of crimson silk-velvet
with a plain band of gold, and he was shod with crimson shoes. The
Dogaressa’s Court robe was similar to that of her husband; she wore
her bodice cut low, her veil was white gauze,--other ladies wore
black,--and she exhibited what jewels she liked.

In 1312 the Dogaressa was required, by a pettifogging edict, which the
Council passed ironically, to be careful about her payments. She was
not to incur debts, but to pay ready cash, and to be particular to
pass no longer the smaller copper coins, but to make use of new silver
ducats. Her alms too in the Basilica and other churches were to be in
gold--perhaps the Dogaressa Tommasina had been chary of her offerings!

Doge Pietro Gradenigo was a politician pure and simple, he cared
neither for military or naval questions, nor did he give heed to the
interests of the industrial classes. A fluent speaker, he dissembled
where he could not convince; and he gained the people’s ears by
his much talking, while he restrained their tongues with lavish
hospitalities. Like the Medici of Firenze, in later times, his motto
was:--“Do nothing without the people,” and his practice was to amuse
them. Call this Macchiavellian if you like--that mischievously misused
designation for two-faced and hypothetic policies and politicians.

[Illustration: THE PROMENADE AT A COURT BALL.

FROM A PRINT. 1610.

“Habiti d’Huomini e Donne.”--G. Franco.]

Venice became a vast pleasure fair,--all kinds of vulgar excesses were
tolerated, and incentives to abstention from politics were scattered
broadcast, in the form of constant panderings to popular fancy.
Shooting-butts were set up in the piazzas, and boxing and general
pugilistic encounters were established upon the bridges. These latter
sports took fast hold upon the people’s taste, and resulted in pitched
battles between champions of the various _sestieri_. The Ponte di
San Barnaba was the favourite “coign of battle,” or as it came to be
called “_Ponte de’ Pugni_”--“Bridge of Fisticuffs!” At Carnival
and on Public Holidays the whole city forgathered to applaud those who
held the Bridge, and to deride those who toppled over into the water.
Combatants usually ranged themselves under two flags--the red of the
“_Castellani_” and the black of the “_Nicolotti_.” Their
rivalries were fierce and entered into their daily lives, where lie met
lie and boast foiled boast. “Reds” mocked “Blacks” and vice versa:--

“Swine that ye be, all ye Nicolotti
How can ye expect the girls to love ye?”

* * * * *

“Have ye no care for Donne--Domini?
Thieves that ye be, all ye Castellani!”

Regattas were ever popular and Doge Gradenigo and Dogaressa Tommasina
emulated the far-off example of Doge Domenigo and Dogaressa Teodora
Selvo by presiding at the contests and personally distributing the
prizes. The first prize was a crimson silk purse full of gold ducats;
the second, green full of silver coins; the third, blue filled with
coppers; the fourth, yellow and empty, but with the addition of a model
of a little black pig! Whilst Padua had its Passion Plays and Fruili
its Religious Masks, Venice, under the Gradenigo Doges, had no such
pious orgies: Venetians loved the drama and the ballad--the mysteries
and the passions of actual life. Dancing in the piazzas, and serenades
upon the Grand Canal--such were their manners.

We gather very little of the Dogaressa Tommasina from the history of
her husband’s _dogado_: Some say she died in 1300, and that the
Doge married, in the following year, Donna Agnese, the daughter of
Pietro Zantani--“a woman of the people”--who survived him, and dying,
left her personal property to her only son Pietro. Another woman’s name
is associated with that of the Doge, one Sabba Minotti, but who and
what she was we do not know. Domestic morality under Pietro Gradenigo
did not attain a very distinctively high mark!

At the close of the thirteenth century, and throughout the whole of the
fourteenth, Venice was agitated by revolutionary projects. The year
1300 was marked by the conspiracy of Marco Bocconio, a man of great
wealth with a great following of suborned adherents. He aimed at the
deposition of Doge Pietro Gradenigo and the substitution of himself as
Supreme Lord of Venice. Bocconio and ten of his principal supporters
were hanged between the two marble columns of evil augury upon the
Piazzetta.

The conspiracy of Marco Quirino and Baiamonte Tiepolo was a more
serious affair, and the ancient families of the Badoeri, Barozzi and
Dori and many others, were implicated. Pietro Gradenigo was again the
obstacle in the way of the conspirators, he appeared to have attained
to such a measure of personal pre-eminence that nothing less than his
head could save the situation. Never before in all her history had
Venice witnessed such a spectacle of personal ambition and personal
animosity. Marco Quirino,--the father-in-law of Baiamonte Tiepolo,
aimed at the absolute Lordship, with its devolution upon his second
in command. They were possessed of immense resources, and had large
retinues of highly-trained servants and well-drilled slaves. Baiamonte
appealed to the populace in his character of “_Il gran Cavaliere_”
by which title he was known and respected. The Doge, with a firmness
of the hard man that he was,--he was in truth “_Un’Atila_”--“a
merciless man,”--crushed the rebellion. Marco Quirino was beheaded and
his mansion, on the Grand Canal, turned into a shambles, and Baiamonte
Tiepolo exiled with the confiscation of all his property.

There is a story in connection with the Quirino-Tiepolo rising which
is quite worth while the telling. Baiamonte Tiepolo, at the head of
his armed mercenaries, was passing noisily along the Merceria, on
his way to the Ducal Palace, when suddenly the lattice of a window
was thrown back and a woman looked out,--an action unwarrantable and
criminal. Without a moment’s hesitation she seized the heavy stone
pan, full of growing red carnations, and dropped it upon the head of
the standard-bearer! The confusion which followed the fall of their
leader’s banner gave the Doge’s men the chance of a decisive charge,
and the rebels were driven back. Giustina Rossi, such was her name, was
taken before his Serenity, publicly thanked, and offered a handsome
reward. However she declined every proposal but at length she said she
would accept two favours:--“that she might hang out of her window a
banner of San Marco upon the anniversary of St Vito’s day; and that
her rent should never be raised beyond fifteen gold ducats a year.”
Both requests were at once granted, and the “Casa Giustina” as it was
called, just beyond the Arco del Cappello, was ever after a landmark in
Venice. A white stone on the pavement still marks the spot, and a bust
of the heroine Giustina was placed near the arch in 1841.

Little more can be recorded of “Proud Peter.” That he raised the
position of Doge to the highest point cannot be doubted, and his
treaties with European States,--England included,--caused his fame to
resound far and wide. His death was somewhat inglorious, he had gained
no man’s goodwill and no one mourned for him. The usual burial rites
of Doges were not accorded him, but privately his remains were removed
to the island of Murano, and secretly buried in the vaults of San
Cipriano:--it was in the winter of 1310.

One of the sweetest stories of old Venice is that of “La Beattina” or
“Beata.” In the Campo San Vio (Vito), close to the Palazzo Loredan,
there was, in the thirteenth century, a notable _casa_, where
resided Count Pier Nicolo Tagliapietra, a soldier of fortune in the
service of the Republic, and ennobled by the Emperor. One bright sunny
day in June, in the year 1289,--when Pietro Gradenigo was Doge,--the
Countess Elena presented her husband with a lovely baby girl--as
delicate as a daisy, as lovely as a lily. No name was found for the
child more suitable than “Maria Beata”; and, as she grew, the beauty of
her little person was matched by the sweetness of her disposition. “A
little saint come to earth,” was she called. Like all the mothers of
Venice Countess Elena was as devout in her religious duties as she was
devoted to her husband and her child. Daily she was one of the foremost
at Mass and Vespers, and, as soon as little Beata could toddle across
the _riva_ she accompanied her good mother in her visits to the
church of her choice, San Maurizio, across the Grand Canal.

There were no gondolas in those days so little Beata made friends with
the _barca_ men at the landing-place, any one of whom would ferry
the little Countess to the other side as often as she willed. After
a time the Count became uneasy at his daughter’s marked predilection
for Church and Convent,--he had in his mind a favourable marriage
scheme;--for girls were betrothed often as not whilst barely in their
teens. Beata would not listen to his proposals, and moreover disobeyed
his prohibition of her devotional exercises. The only way to check
his daughter’s visits to San Maurizio was to bribe the boatmen not to
ferry her across. A day came when, in spite of the girl’s startled
entreaties, not a man of them would do her service,--almost with tears
they refused her request. So Beata knelt upon the rough pavement of
the _riva_, and, holding up her hands to Heaven, she begged
Saint Mary and Saint Maurice both to help her in her trouble. Then,
approaching the canal side, she untied her pinafore, and, in sight of
her admirers, she spread it out upon the water, and stepped gently upon
it. It bore her weight and, wonder of wonders, began to move her from
her supporting boat-pile, and, wafted by a gentle breeze, La Beata was
soon at the other side of the canal!

Dumbfounded the boatmen and the _riva_ loungers stood gazing at the
wondrous scene, and then, with one accord all shouted “_Uno miracolo!
Uno Miracolo!_” The news was carried over the Campo, right down each
_riva_ and _calle_, until all Venice knew that they possessed another
Saint,--a holy virgin, a new companion for their beloved Santa Giustina.

Whatever might have been Count Tagliapietra’s plan for Beata’s
betrothal mattered little, for every eligible youth in Venice promptly
made an offer for her hand; but no suitor received encouragement, for
“La Beata” professed herself a “Bride of Christ,”--the bride of none
beside,--the convent cell should be her marriage bed, the altar her
_cassone_,--so resolved she prayed most earnestly for death; life had
no charms for her.

A merciful Providence, perhaps, granted the child-saint’s request, for,
from no apparent cause, save only her earnest wish, she surrendered her
young beauteous life on the eve of All Saints’ in 1308--it was in her
one-and-twentieth year. All Venice followed “La Beata” to her burial
at San Vito with tears of joy and words of sorrow. Never since the
strict sumptuary laws were passed did so many wax candles illuminate
church and _casa_. Everybody burned one to the young saint’s
honour, and then her sepulchre became a shrine,--a place for special
prayer, a rendezvous for pilgrims. Annually the Doge and Dogaressa
with their official household made a State visit to San Vito and left
their offerings at “La Beata’s” altar. Strangest of all strange
devotions,--a custom sprang up in Venice, “the City of Saints,” on All
Saints’ Day. “La Beata’s” coffin was uncovered, and mothers came from
far and near to lay their new-born babes upon the saintly bones--a
certain preventive from drowning! The devotion to Santa Beata became
so absorbing that at last, to avoid scandals, it was decided by the
Ecclesiastical authorities to seal her tomb and forbid her votaries.
Nevertheless from that time to this the church of St Vito is thronged
at the yearly festival of All Saints with mothers and their young
children who have learned from them the story and the virtues of “the
sweetest of the Saints of Venice.”

CHAPTER IV

“A Galley full of demons” is by no means an inapt title for the
fourteenth century in Venice! The legend of “_Il Pescatore e
l’Anello_” is as well-known as any of the stories in the boudoir
of the “Queen of the Adriatic,” moreover, in a strangely weird and
prophetic way, it epitomises the storm and calm of the new century’s
course from start to finish.

“An old boatman, caught in the raging flood of February the
twenty-fifth, in the year 1340,--when all Venice was three feet under
water,--and hardly making St Mark’s quay, with his frail craft, was
told by a haughty stranger to ferry him across the wild waves to San
Giorgio Maggiore. There, another passenger joined the pair, and the
timorous gondolier was directed to make for San Niccolo di Lido. ‘Row
boldly and thou shalt be well rewarded’ was the order. At the Lido
another stranger came on board, and the oarsman was commanded to push
his boat out into the open sea. The ocean churned in fury, and, out of
the fume, the affrighted boatman beheld a huge galley bearing down upon
his barca; it was full of mad demons! But lo, at the sign of the Cross
the awesome vessel vanished, and the tumultuous elements became still.
Back to Venice rowed the old man, and demanded his due. ‘Go to the
Procurator, he shall pay thee for me,’ replied the stranger. ‘Who art
thou?’ asked the man,--‘I am Saint Mark, and my companions are Saint
George and Saint Nicholas,--take this ring and give it to the Doge.’”

Andrea Dandolo was the Procurator and Bartolommeo Gradenigo the Doge,
Paris Bordone and Palma Vecchio painted the legend and their pictures
hang in the Accademia.

The new century saw the demise of the first political Doge of
Venice--Pietro Gradenigo, and his successor was not sought among men
of like sympathies,--the electors were afraid. Meeting after meeting
was held, apparently in vain, no noble appeared willing to accept, or
eligible for, the vacant dignity. At last, one day, standing at an open
window of the Ducal Palace, which gave upon the Piazza, some weary
nobles of the Council discerned an old man hobbling upon his stick and
bearing a basket filled with loaves of bread, he was Messir Marino
Zorzi or Giorgio.

“That’s our Doge!” they cried together, and so it came to pass that the
vacant _dogado_ went to a man unknown in political and warlike
circles but very highly esteemed for his philanthropy. He was in fact,
at that very moment on his way to the Hospital of San Domenigo for
destitute children, which he had recently founded. His fame for charity
was so widely spread, that he had gained the popular title of “_Zorzi
il Santo_.” He and his Consort, Madonna Agnese, were greatly
interested in the prosperity of the silk industry in Venice, and when
the people of Lucca fled from the troops of the Condottiere Castruccio
Castracane, thirty families of spinners and weavers of silken tissue
were welcomed by the Doge and Dogaressa, and, by their influence,
housed in the Calle della Bissa, near the church of San Giovanni
Crisostomo, in the very centre of the silk quarter of the city. By
Dogaressa Agnese’s intervention Lucca silk-masters were appointed to
train apprentices and generally to superintend the production of silk
fabrics in the workshops of the Venetian “_Fragilia_.”

“Zorzi il Santo” and his Consort reigned but one brief year, and then
once again the electors had to find a new Head of the State. Almost
unanimously Messir Giovanni Soranzo was chosen, who, although turned
seventy years of age, was one of the most active men of the day. Among
his exploits were the command of a victorious fleet against Genoa, the
capture of Jaffa and the Syrian littoral, the humiliation of Padua,
the re-conquest of Dalmatia, and the reconciliation of Venice to the
Papal See. Under his patronage, and that of Dogaressa Franchesina,
the silk industry flourished exceedingly and Oriental brocades and
tissues were driven out of the market. The glass-workers of Murano
reached the zenith of their fame, and no more mirrors from Germany
and hanging-lamps from Greece were imported. The Arsenal was greatly
extended, and was made capable of maintaining fully equipped at least
40,000 men. For the poor man too Doge Soranzo’s rule was fortunate,
for a silver ducat could purchase enough food, and wine, and fuel, for
himself and his family for a week.

The Doge was a wealthy man, and indeed he had need to be, for in his
time ambassadors from every civilised State took up their residence
in Venice. Foreign princes also came to make their bows to the
Head of the Serene Republic. There was much entertaining and much
expense. Dogaressa Franchesina was in all but name, “Queen of Venice”;
her toilet, her boudoir, her receptions were modish, tasteful, and
splendid. The Soranzi were one of the eight considerable families, who,
in the tenth century, were classed with the “Apostolic” twelve and
“Evangelistic” four, in the first grade of Venetian nobility. Their
palace was one of the grandest in Venice and it was full of costly
treasures; it was even said that the table-service of the Doge and
Dogaressa was of gold and silver-gilt, whilst the most lustrous glass
of Murano glittered in every room.

Although Doge Soranzo’s public life was so successful and so
popular,--in private, his heart, and that of the Dogaressa were broken
by anxiety and sorrow,--thus evenly are mundane affairs balanced. The
story of Donna Soranza, their dearly-loved daughter, is as sad as sad
can be. Married to Niccolo, eldest son of Marco Quirino, the leader
of the Quirini-Tiepolo conspiracy, he was exiled with his wife, the
very day his father’s head fell to the executioner’s axe. They made
their home at Zara, but Messir Niccolo survived his expatriation but
four years, when he too fell, stabbed by an unknown hand. The widowed
Madonna sought to return to Venice and to her father’s home, but her
appeals were all in vain; Doge Soranzo, like another Brutus, treated
his daughter’s pleas with quite uncalled-for severity. At last she
determined to throw herself upon the mercy of the Council of Forty,
and taking her way hopefully, she presented herself dutifully to her
father and mother.

That was a mournful home-coming, and mother and daughter, clasped in
each other’s arms, resisted the austere ruling of the Doge, who had
informed the Council of his daughter’s return. In spite of all good
Dogaressa Franchesina could say or do her unhappy child was torn from
her embrace and condemned to perpetual exclusion in the Convent of
Santa Maria delle Vergine. Gentlewomen of Madonna Soranza Quirini’s
position were styled “Canonesses,” and each had her own little
_casa_ and a domestic servant, who was allowed to go out washing,
and was permitted to make purchases for her mistress, and even to
convey messages to her friends. The poor ladies were not suffered even
to visit each other, and they could only take exercise in the Convent
garden at rare and stated intervals.

Every year the Doge paid a ceremonial visit to the Convent, where
he was received with great honour by the Abbess and the superior
Canonesses, who were all arrayed in magnificent white silk-brocade
robes, and each wore two veils,--one black and one white,--signifying
that though in the world they were not of it. The Abbess handed the
Doge a bouquet of sweet flowers in a golden jewelled holder, and he
bestowed in return caskets of sweetmeats upon the devout recluses.
Never once did father and daughter meet; she yearned to embrace him
and her mother, but he never even made enquiries about her: she was
dead to the world, to the family, and to him,--a Spartan father’s
discipline! Letters and messages were all in vain; unhappy Madonna
Soranza’s only consolation was the companionship of another Quirino
widow,--Andreola,--who remained a very short time in the Convent, for a
suitor appeared, in the person of Angelo Bembo, and he was permitted to
remove his _innamorata_ to the Convent of Santa Maria di Valverde,
upon the island of Mazzorbo, where they were married.

Alas! poor Madonna Soranza had no such fortune, but she pined and pined
in her solitude, and, after twenty-five years of suffering, she laid
her down and died--twenty years after the death of her stern father.
Certainly an edict, passed in 1313, sentenced the wives of rebels and
outlaws, with their children, to perpetual exile: and they were warned
that unsanctioned return to Venice would be visited with perpetual
confinement. Undoubtedly this proved the rule, as sententious writers
have noted:--The sternness of justice is superior to the tenderness of
affection.

Nevertheless to the practical historian Giovanni Soranzo ranks as the
sixth “Grand” Doge of Venice. His was a majestic burial--in State he
lay at SS. Giovanni e Paolo, watched by the sorrowing Dogaressa and
her ladies of honour. His very simple tomb in the Soranzo Chapel at
San Marco is eloquent of splendid public work simply done. The State
purchased his gorgeous table-service of gold, and much of the furniture
of his palace for use at Court functions. Of Dogaressa Franchesina we
hear no more: perhaps she joined her unhappy daughter, and when she
died, perhaps she was interred in her husband’s tomb. Very striking,
in the story of the Dogaressas of Venice, are the silence and the
secrecy which shrouded each Ducal lady’s latter days: as a rule they
survived their Consorts--some entered convents and some retained their
homes,--but their glory departed like that of the tropical sun which
leaves no twilight.

Francesco Dandolo succeeded to the Dogeship: he was the great-grandson
of Messir Andrea Dandolo, who died in 1153, brother of the “Grand”
Doge Arrigo. His election was very popular, for his ancestry and his
own achievements were both famous. He was the third Dandolo Doge, an
honour never attained by any family in Venice since the ancient times
of the Particepazio, the Candiani, the Orseoli and the Michieli.
Borne to his investiture upon the shoulders of stalwart craftsmen, he
called a halt at San Marco, and there he knelt in silent prayer where
his great-great uncle, the “Grand” Doge Arrigo Dandolo, had knelt one
hundred years or more before. Then, standing in the choir, he was
invested with the regalia of his high office. Grasping the great banner
of San Marco, handed to him by the Patriarch he marched at the head of
the huge procession to the Ducal Palace. Mounting the grand staircase
he bared his head, and, holding up his hands on high, subscribed the
oath and received the _Corno_. It was the first Ducal bonnet to
be provided by the State: hitherto the Abbess of San Zaccaria had held
that prerogative. With the new _Corno_ was also a smaller horned
head-dress for the Dogaressa.

It seemed as though Madonna Elisabetta would enter upon a less
trammelled position, and obtain a larger measure of official
recognition than had been the lot of her predecessors. Later
developments confirmed this idea as we shall see. Immediately after
the installation of the Doge the customary lordly deputation went off
to the Dandolo Mansion. It was noteworthy that at the head of the
noble Lords was, for the first time, the imposing figure of the High
Chancellor, a dignitary second only to the Doge, and it was he who
addressed her Serenity:--“We have come,” he said, “to congratulate
the Dogaressa of Venice upon the election of her noble Consort as our
Doge, and to request the honour of your Serenity’s adhesion to certain
provisions of the new _Promissione_.”

Dogaressa Elisabetta notified her pleasure at the compliment, which was
paid her, and her acceptance of the conventions of her new dignity.
Moreover she presented to each of the noble Lords a magnificently
embroidered silk purse containing ten golden ducats, in recognition
of their courtesy and as a pledge of her favour. This was a notable
victory for the Dogaressa who, whilst under the old _Promissioni_,
was debarred from giving and receiving presents of any kind. What had
brought about this change in the policy of the Council no one has
recorded. Was it due to the awakening consciences of the nobles who,
perhaps, now saw the meanness and unworthiness of the restrictions
imposed upon the Head of the State and his Consort by former
enactments? Or was it due to the worthy records created by the latest
holders of the Dogaressaship in their manifestations of the advance of
gracious womanhood? Who shall say?

A further step in the honour rendered to the new Dogaressa was,
that, instead of the somewhat impromptu and tumultuous escort of the
members of the “_Fragilie_” to conduct her Serenity at once to the
Ducal Palace, a delay of seven days was ordered before her public
recognition. Then the great state barge “_Bucintoro_” was manned and
decorated as for the annual “Marriage of the Adriatic,” and steered
right up to the steps of the Dogaressa’s residence, whence she was
conducted on board with great circumstance and pomp. Clad in full
robes of State but bare-headed,--her hair like that of a young bride,
rippling around her shoulders,--Dogaressa Elisabetta was attended by
a graceful suite of _gentildonne_, all dressed in festal white with
floral wreaths and bouquets. Escorted, not by companies of craftsmen
on foot, but by a fleet of _bregantine_,--each vessel splendidly
decorated, and bearing the banner of its “_Fragilia_” with the Masters
and officials of the Craft in full regalia,--the water-pageant started
upon its course to the Piazzetta. Passing under the glorious arch of
the Ponte di Rialto, crowded with sympathetic and admiring citizens,
with difficulty it steered its course amid hundreds of barcas and
gondolas filled with cheering holiday-makers all in the very best of
good-humour.

Arrived at the Piazzetta her Serenity and her following were conducted,
not as usual to the Ducal Palace, but into the Basilica, where she
knelt in prayer, whilst the Patriarch blessed her as he had the Doge:
then she laid an offering upon the high altar--a purse of crimson
silk-brocade containing ten gold ducats. From San Marco she was
attended by a company of nobles, one holding over her head the Ducal
umbrella, to the _Sala de’ Signori di Notte_, within the Ducal Palace,
passing through the _Sala del Consiglio Maggiore_--the greatest and
most splendid hall in Venice, where the painter Guariento was already
busy with his famous frescoes,--and there she finds the Doge seated and
crowned upon his throne. Descending the steps of the dais, her Consort
takes her by the hand, and places her in the Dogaressa’s Chair of State
under the Ducal canopy. The Chancellor tenders the solemn oath and the
Dogaressa swears to maintain certain clauses of the “_Promissione_;”
then, in the name of the assembled noble Lords, he places upon her
bared head the miniature _Corno_, which the State had newly provided;
and, lastly, the nobles offer their congratulations and their homage.

Stately ceremony, ever wearying by its formalities, gives way to social
hospitality, and, as by custom bound, Dogaressa Elisabetta issues
invitations to all the Masters of Crafts and their officials to sup
with her in her private apartments. Meanwhile the busy hands of her
serving-maids have arranged the flowing locks of the Dogaressa’s hair,
and have added a new feature to her State head-dress,--a delicate coif
or veil of the finest embroidered cambric. It was a very necessary
adjunct, for, when the jewelled _Corno_ was removed, the dignity
of a covered head remained,--besides it was a most becoming mode. Thus
with unwonted pomp, and amid universal approbation Doge Francesco
Dandolo and Dogaressa Elisabetta were hailed almost as King and Queen
of Venice. Right royally they maintained their high station, for daily
they made progresses to different parts of the city or to the more
distant islands, in support of local charities or local interests; and
everywhere they were acclaimed by sympathetic crowds of citizens and
craftsmen.

The austere rule and the haughty personality of Doge Giovanni Soranzo
were things of the past, and the sad lot of unhappy widowed Madonna
Soranza Quirino was forgotten. Men and women were only too thankful
for the auspicious conditions under which they found themselves,--care
gave place to joy,--unrest to revelry. One outcome of the better state
of things,--and it was a very unexpected and withal amazing,--was
an innovation with respect to the “_Feste delle Marie_”--the annual
marriage of the “Brides of Venice” at San Pietro di Castello. The
ancient marriage rites,--which we have already noted,--had been
gradually modified, until there were scarcely any rites at all. In the
year of Dogaressa Elisabetta Dandolo’s Coronation, upon the natal Feast
of San Marco, a quaint marriage pageant was provided, and, instead of
twelve or more beauteous damsels in nuptial attire glittering through
Venice _calle_ and _canale_ to the marriage altar, twelve lay figures
were substituted. Dressed in bridal garb these dolls,--borne through
crowds of uproarious citizens,--were greeted up and down and everywhere
with derision as “_Marie di tola e di legno!_”--“Brides of stuff and
wood!”

Alas for the permanence of things human! The larger liberty granted by
the _Promissione_ to Doge and Dogaressa Francesco Dandolo in matters
social and sartorial, was curtailed considerably after five years of
general exuberance, and in 1334 fresh sumptuary laws were enacted.
Gentlewomen were not to wear trains at Court, or at home, or on
Piazza. Jewelled girdles, above the value of twenty gold ducats, were
forbidden. Gold and silver rouge jars and _scarcelle_, or handbags,
with jewels and gold filigree work, were no longer to be used. No
gentlewoman was to possess more than two capes of ermine and only one
big cloak lined with taffetas. Pearls, on the shoes, were disallowed,
and the wearing of peacocks’ feathers. The value of a bridal trousseau
was not to exceed five hundred ducats, whilst the bridal dress itself
was not to cost more than two hundred ducats--a very liberal allowance
as things went! The bride however was not permitted any robes of cloth
of gold nor ermine linings. Boys, under twelve could not wear gold
or silver ornaments, pearls, velvet, or fur: over twelve and up to
twenty-five, youths and young men were forbidden to wear belts and
_scarcelle_ exceeding twenty-five ducats in value. All were to wear a
strip of blue cloth hanging from the shoulder to the feet, which they
rolled up, and then threw over the left arm: “_Calar Stola_” it was
called.

The dogado of Francesco Dandolo lasted ten years,--a period
of prosperity for Venice,--and much of it was due to the wise
and tactful conduct of the Doge. If he may not be reckoned a
“Grand Doge,”--although Ruskin calls him so in the “_Stones of
Venice_,”--it is perhaps because, as a Dandolo, he was overshadowed
by the stronger personality of his relative and successor Doge Andrea
Dandolo, whose times were far more stirring and presented greater
opportunities for distinction. On the other hand Elisabetta was
a “Grand Dogaressa”--one of the few who rose to high station and
maintained it with distinction.

Both Doge and Dogaressa were patrons of the new-born Fine Arts, for, in
addition to the fresco painter Guariento, Giacomo del Fiore, Lorenzo
Veneziano, and others were painting altar-pieces and anconas in the
earliest Venetian studios--a hundred years or more before the brothers
Vivarini founded the School of Murano. In the Sacristy of the church
of Santa Maria della Salute is a picture by an anonymous Venetian
painter, representing the presentation, by their patron Saints, of
Doge Francesco Dandolo and Dogaressa Elisabetta upon their knees, to
the Madonna and Bambino. The picture is dated 1338, and is one of the
very earliest paintings of the great School of Venice. Originally this
notable painting was placed over the tomb of Doge Francesco Dandolo and
Dogaressa Elisabetta in the Chapter-House of the church of the Frari.
The sarcophagus also has been removed, and now it is in the cloisters
of the _Seminario Patriarchale_. The year of the Doge’s death we
know, 1339, but there is no record of that of Dogaressa Elisabetta.

Andrea Dandolo (1342–1384) was the fourth and last Doge of his family.
It is not a little remarkable, that in the History of Venice, the
families which gave several Doges, up to the end of the fourteenth
century, did so within severally restricted periods:--for example,
the seven Partecipazi Doges held office between the years 827–942,
the five Candiani 886–977, the three Orseoli 976–1009, the three
Michieli 1096–1172, the four Dandoli 1192–1354 and the three Gradenighi
1283–1356. It would seem as though the “Apostolic” families came to
honour and power, and swayed the destinies of the Republic, and then,
in some mysterious manner, declined, fell away, and the Ducal Throne
knew them no more.

[Illustration: DOGE FRANCESCO DANDOLO AND DOGARESSA ELISABETTA.

STEFANO DA VENEZIA. 1340.

SACRISTY. SANTA MARIA DEL SALUTE, VENICE.]

Doge Andrea was the son of Messir Fantino Dandolo who was descended
from Marco Dandolo Procurator of San Marco in 1161, and first cousin of
the “Grand” Doge Arrigo. The first Venetian noble to study at Padua and
obtain the Doctor’s degree there, Andrea Dandolo was, from his boyhood,
studious and reserved. He served the State in many public offices, a
member of the Council of Ten, in 1340 he was called to the important
position of Procurator of San Marco.

Upon his election as Doge in 1342 an edict was issued barring his three
sons, Fantino, Lionardo and Pietro, when grown, from holding public
office during their father’s _dogado_. As to who was their mother
no chronicler has apparently recorded, and this is astonishing, seeing
that Andrea Dandolo’s “_Cronaca_” is one of the fullest and most
reliable of all Venetian annals, and deals exhaustively with his own
family affairs. Consequently we must make the most of the romance of
Madonna Isabella de’ Fieschi, the Consort of Luchino Visconti, Lord of
Milan.

This fascinating Princess visited Venice attracted by the fame of the
young Doge,--he was only thirty-five years old when elected to the
Ducal Throne,--for his sobriquet all through Lombardy and the Marches
was “Count of Courtesy.” He was tall, well-built, and handsome, a
poetaster, a man of letters, perhaps a genius, the most accomplished
nobleman in Venice. Fair Isabella had, as all women have, her own
ideas of love and witchery, and she was not too conscientious in her
duty to her husband: he was a man of boorish manners, and there was
no love lost between them. Gifted too in many ways, she conceived a
violent passion for Doge Dandolo which he returned in a dreamy sort
of way. Anyhow, she soon became leader of the Venetian Court, as well
as mistress of the Doge. Alas! bewitching Isabella’s intimacy and
influence were cut short by a terrible outbreak of the Black Death,
which claimed very many noble victims and Isabella de’ Fieschi among
them.

Between 1344 and 1346 it was estimated that sixty noble families were
absolutely exterminated, whilst the Council of Forty was reduced to
less than twenty. The only preventive, and it was only partially
successful that the Guild of the Physicians could prescribe, was a
concoction of aromatic herbs, amber, and ivy berries--“_Teriaca_”
it was called. The Government guaranteed this panacea, which everyone
was ordered to take--it was procurable at the _Speziale della Testa
d’Oro_ by the Rialto bridge. It was an ancient Greek remedy revived,
and one may purchase it to-day at the still existent “Golden Head.”

Venice was depopulated and families from outlying islands near the
mainland were welcomed by the Government, and granted privileges on
settlement. This sensible move was due to the Doge’s advocacy: he
had in view the advantages of introducing new blood into the veins
of the population enervated by prosperity and weakened by epidemic.
Earthquakes and famine followed relentlessly upon the heels of the
pestilence, and great distress and reckless outrage were added to the
evil lot of the Venetians.

The Doge alone kept calm and resourceful--master of the situation,
whilst men were losing their heads and women their minds; but the
anxieties, sufferings, and fatigues of the years of visitation preyed
greatly upon his highly-strung and sympathetic temperament, and he died
almost suddenly and, quite alone when no more than fifty years of age.

Andrea Dandolo is renowned as the eighth “Grand” Duke of Venice, by
reason of his remarkable personal qualities, and of his noble devotion
to the Republic. He was buried in the Baptistery of San Marco, the
last Doge to be there interred, and Francesco Petrarch wrote his
epitaph:--“He earned such glory and honour as no other Venetian
Doge did before him!” One very pleasant episode in his career was
his intimacy with Petrarch. After the decisive Chioggian war with
Genoa, when the “Queen of the Adriatic” subdued the “Queen of the
Mediterranean,”--Francesco Petrarch was sent, as one of an embassy from
Milan, to seek mitigation of the Venetian terms of peace. The mission
was unsuccessful, but the “Grand” Doge and the “Great” Poet became fast
friends and constant correspondents.

Ruskin, in his “_Stones of Venice_,” writes thus of the Baptistery
and of Andrea Dandolo’s tomb:--“We are in a low vaulted room ... in
the centre a bronze font ... and a small figure of the Baptist ... a
single ray of light falls from a window ... the only thing it strikes
brightly is a tomb, and it rests upon the sleeper’s face for ever, a
man of middle life, but there are two deep furrows right across the
forehead, the features are small and delicate, the lips sharp ... and
there is a sweet smile upon them. It is Doge Andrea Dandolo, a man
early great among the great of Venice, and early lost ... he died,
leaving behind him that History to which we owe half of what we know of
the former fortunes of Venice.”

The mosaics in the Baptistery show the Doge kneeling in devout prayer,
but, alas, no Dogaressa keeps him company.

The Conspiracy of Marino Falier or Faliero, like its predecessors,
under the leadership respectively of Marco Bocconio and of Marco
Quirino and Baiamonte Tiepolo, in aim and animus, was very unlike
in means and methods. They tried to grasp the supreme magistracy
from the aristocratic standpoint. Falier, although an “aristocrat
of aristocrats,” sought the suffrages of the democracy to make him
Over-Lord of Venice. Head of one of the noblest and most ancient
families, Marco or Marino Falier was born in the Casa Falier, upon
the Rio de SS. Apostoli in the year 1280. The Falieri were one of the
twelve “Apostolic” families at Eraclea in 697. The lad’s parents were
Messir Vitale Falier and Madonna Beriola Loredan,--daughter of Messir
Giovanni Loredan of San Canciano,--and he was destined for a commercial
career but early he turned to politics.

Marino Falier held many important State appointments, and, by
his ability and disinterestedness, gained the confidence of his
fellow-nobles and the citizens at large. His patriotism was
unquestioned, for no one displayed greater enthusiasm in hunting down
the adherents of the Quirino-Tiepolo conspiracy. When still under
thirty he was admitted to the Council of Ten, and became ambassador,
in turn, to the Duke of Austria, the Genoese Republic, and to the
Emperor Charles V. Falier also held with distinction both naval and
military commands. Upon his appointment as Podesta of Treviso he
took the title of Count of Val di Morena. Francesco Petrarch, in his
“_Epistolæ_,” speaks of Marino Falier’s wisdom and public spirit:
“_Ducatus honor non petat uno quidem ignaro sibi obliget._”

Falier was married twice. When a mere youth he wooed and won Donna
Tommasina Contarini, his equal in rank, but as delicate as she was
beautiful. Within a year she was torn from his embrace and carried away
in the black chariot drawn by black oxen in the “Triumph of Death.” One
sweet pledge of love fair Tommasina left her sorrowing young husband,
but the relentless “Mower” reaped the baby girl, soon after her sweet
mother’s death. Prostrated by this double bereavement Falier plunged
into the vortex of politics, hoping thereby to heal his wounds. Time
gave him consolation and revenge for when he was fifty-five he found
himself once more a prisoner of the “Triumph of Love.”

Aluycia Gradenigo was a very fascinating woman,--a full-blown rose
ready to be gathered by a gallant suitor. She was a daughter of
Messir Nicolo Gardenigo of San Maurizio and grandniece of Doge
Pietro,--“Proud Peter.” In her veins ran the blood of Greek ancestors,
who, driven out of Byzantium by the Emperor Emmanuel settled at Altino,
in the seventh century. Falier was Podesta of Treviso at the time
of his second marriage and Treviso was always the “Court of Beauty
and of Love,”--the centre of the “_Marca Amorosa_.” Naturally,
gay young fellows gathered there, many of them drawn from Venice,
among them Pietro Bollani, Michele Molino, Rizzardo Marioni, Moretto
Zorzi, Maffio Morosini, and the two brothers Giovanni and Michele
Steno--“_Giovinastri_”--“Insolent Young Dogs,” were they nicknamed.

Madonna Aluycia Falier did not want for admirers, and, if Martino
Sanudo, and other chroniclers, may be believed, she greatly encouraged
their advances. She was a good deal younger than her husband, and
cared little for his engrossing affairs of State, whilst, naturally,
she sought consolation and companionship among those of her own age.
Between Michele Steno and the Countess sprang up a warm attachment,
and gossips have not been at pains to shield the young wife’s honour.
Anyhow the Podesta got wind of the _liaison_ and warned the hardy
lover off. Steno was not the man to take his _congé_ readily, and
very soon he learned that directly lovely Aluycia was “off with the
old love, she was on with the new!” He made up his mind to be revenged
of the stern Podesta and his bewitching wife, so he left Treviso in
dudgeon and went back to Venice to watch for his opportunity.

During the festivities which marked the election of Marino Falier to
the Doge’s seat in 1354, was a Court Ball at the Ducal Palace, and
Michele Steno was among the guests. He was greeted by the Doge and
Dogaressa quite cordially, but all the same he chose to carry out
his plan of humiliating them there. Pressing his attention upon one
of Dogaressa Aluycia’s maids-of-honour he let fall a remark which
concerned his previous relations with her Serenity. Greatly shocked,
the Court lady repeated what she had heard to others at the Ball and
presently it reached the Doge’s ear. The Doge beckoned him, and turning
aside, insisted upon his leaving the assembly at once. Steno resisted,
and was beginning to repeat his slander for all to hear when the Doge
ordered his removal. Passing through the Throne-room of the Palace he
scratched upon the marble Chair of Estate the following couplet:--

“Marin Falier--da la bela moier
Altri la galde--e lu la mantier.”

The Doge was furious. Steno was arrested and accused before the Council
of his misdemeanour. His offence was as gross as gross could be and
he fully deserved much more than he got;--a sound thrashing with a
fox-tail,--a mark of ignominy,--a year of imprisonment, and a fine
of one hundred gold ducats. This mild sentence troubled Doge Falier
greatly: he looked for the death sentence at least, seeing that the
offence was against the sacred person of the Doge, as well as against
his Consort. He was quite conversant with the fact that the majority
of the nobles were actuated by anything but kindly feelings towards
himself. No doubt they viewed his prominence, not alone as Doge but as
the most able and ambitious man among them, with disquietude.

Marino Falier was quite in touch with the opinions of the wealthier
citizens and members of the prosperous “_Fragilie_.” Of course the
Crafts were under Dogaressa Aluycia’s special patronage, but he shared
her interest in the prosperity of the industrial classes. If the nobles
looked askance at his pretensions, could he not turn to the great
democracy, and pose as the champion of their liberties! This was the
policy which grew more and more upon him. Michele Steno’s affair passed
over but it opened the Doge’s eyes to the peril of his position, and,
to safeguard that was his first concern. He could not trust the nobles,
could he trust the people?

Notwithstanding that the chivalrous discipline of the Crusades had
enduring influence upon the sentiments and manners of every class in
Venice, and especially upon the nobles, there remained, of course,
beneath the outward marks of courtesy and good-breeding very much of
the old Adam of insolence and profanity. Year by year young men and old
frequented, in ever-increasing numbers, Church, Piazza and Palace with
nothing in the world to do but to kill time and incidentally their own
and others’ reputations.

Many of these idlers were out-of-elbow noblemen--“_Barnabotti_”
they were dubbed in derision, as hangers-on to anybody with money or
influence. Proud, dissolute, discontented, and ever ready for insult
or injury, this ill-conditioned mob was a menace to the peace and
well-being of the Republic. Sometimes after more than usually prolonged
devotions in the Temple of Bacchus, these good-for-nothings sallied
forth to commit acts of vandalism in the city: at other times, their
visitations to the Court of Venus fomented jealousies, which found vent
only in deeds of personal violence against those they feared or hated.

One such outburst occurred only a few days after Michele Steno’s insult
in the Palace. The Admiral of the Arsenal was Bertruccio Isarello, a
man ambitious, unscrupulous, and intolerant to his subordinates. A
very quarrelsome _Condottiere del Mare_, one Francesco Barbaro,
considered himself wronged in some way by the Admiral, and, obtaining
no satisfaction, he had the audacity to strike his chief in the Council
Chamber! Admiral Isarello reported the circumstance to the Doge, and
sought, through him, redress.

“How can I help you, remember,” replied Falier, “how grossly Michele
Steno insulted me, and see how leniently the Forty treated him!” Then
seeing that the Doge’s rancour was unabated and, knowing something of
his Serenity’s sentiments with respect to the democracy, the Admiral
exclaimed:--

“My Lord, why should we suffer these ‘_Barnabotti_’ and these
‘_Bravi_’ any longer. You, my Lord Doge, have a ready remedy, and
I am prepared to aid you in punishing them and in humiliating some
of our great lords, if you will confide in me and in my men of the
Arsenal, who are your friends and mine.” This was the first step in
the conspiracy of Marino Falier, and he did not linger long before he
stepped again.

Everything was ordered secretly, and the conspirators were ready
for the summons of the Great Bell of San Marco on the morning
of 15th April,--the usual official notice that a meeting of the
Council demanded the immediate presence of the Forty. The Admiral’s
instructions were to strike down every nobleman who obeyed the summons,
and, in the confusion, to proclaim Falier Sovereign of Venice. There
was however a traitor in the camp, one Beltramo a Bergamesque furrier,
a client of Stefanello Trevisan the Doge’s stockbroker at Santa
Margherita. This man gathered something of the existence of the plot,
and forthwith made his way to one of his barber associates, a valet
in the household of Messir Nicolo Lioni of San Stefano, a member of
the Council, who informed his master. Without much ado the chief
conspirators were arrested--some thirty to forty in number. When
charged with being privy to the plot Doge Marino Falier tossed up his
proud head, and laying his hand upon his sword-hilt exclaimed:--“_Il
Doxe nol seppe ingane!_”--“The Doge never lies!”

The Doge had short shrift: he was allowed to make his will and his
confession, but not to see his miserable wife Dogaressa Aluycia or
any member of his family or household. Early upon the morrow of the
detection of his conspiracy, the great bell of the Basilica, which
had all but clanged forth the death-knell of the Lords of the Council
gave forth the funeral peal as for the burial of a Doge. Arrayed in
his State robes and wearing his Ducal _Corno_ Marino Falier was
led into the great Courtyard of the Ducal Palace, and stepped forth
to death bravely and contemptuously. His proud appeal for a hearing
was refused, and then, stripped of his panoply of office, the old man
knelt unresistingly upon the hard stones and bared his neck before the
executioner. One swift blow sufficed and the gory grey-bearded head
rolled to the feet of the chief of the Council, who picking it up in
his arms, hurried into the _loggia_ which gave upon the Piazza,
and there, exposing his ghastly trophy to the excited multitude, cried
out:--“Look!--all of you!--look!--Ripe justice hath been done to the
arch-traitor!” Then he cast the foul thing from him into the middle of
the Courtyard, where the populace thrust and fought to gaze at, revile,
and dishonour the corpse of the old Doge whom they had so lately
venerated and trusted. At dark the remains were gathered together and
taken secretly in a covered barge, with eight big burning torches, and
buried in the Faliero vault in the chapel of Madonna della Pace, within
the great church of SS. Giovanni e Paolo.

We must now turn aside from this terrible tragedy, and contemplate a
tragedy far more pathetic, the sad tragedy of Dogaressa Aluycia. The
execution of the Doge involved the confiscation of his property, his
palace, near the bridge of SS. Apostoli, with its marble columns, and
a _casa_ by the church of San Severo which had been built for
Falier by the architect Calendario, and their valuable contents. Marino
Falier and his Consort had been keen collectors of beautiful objects
and antiques: in an Inventory of their treasures,--made by a priest,
Giovanni, of the church of SS. Apostoli, in 1351, mention is made of
the _Camera rubea_,--a museum,--and of another apartment, filled
with objects of art,--collected by the famous explorer Marco Polo
during his travels.

The unhappy Dogaressa was dispossessed of all her Consort had left her
and ordered to vacate her home and go where she would. In one swift
moment plunged from the lofty height of the Ducal Throne into the abyss
of ignominy, she was reduced to absolute poverty and became the mark
of every evil tongue, an object of aversion and suspicion. Prostrated
by her bitter woe she besought Heaven to let her die,--madness was
the only alternative,--she sought comfort and release but both were
denied her. Her mind became a blank, her reason tottered, and when at
length two lifelong friends dared, at the risk of their own lives, to
penetrate her hiding-place, Messiri Giorgio Giustiniani and Niccolo
Contarini, they found her a raving lunatic.

By permission of the Council Dogaressa Aluycia was placed in the
Convent of San Lorenzo on the _fondamento_ of San Severo, where
she received a small gold brooch and some other trifling mementos
of her husband. After a while she was moved to Verona where she had
property and friends, but the change wrought no relief and sorrowfully
she was sent back to Venice, where she ended her days in 1385, in a mad
asylum, forgotten by the world, with no child or friend to mourn her,
alone with God.

The conspiracy and execution of Doge Marino Falier shook the
constitution of Venice to its deepest foundations. Suspicion and
revenge lurked at every corner of church, palace, and piazza. Every
man’s hand was upon his poignard, each woman’s knee was bent in
intercession, and the children ceased their games.

Venice was once more “_Venezia Calva_”--but “Venice naked” in shame,
dismay, and tragedy.

III

Doges came and Doges went, and, with them, their Dogaressas: the last
half of the fourteenth century saw seven Heads of the State. Their
Consorts are named in the MS. _Dolfin Gradenigo_, in the Museo
Civico, but about only three of them have the chroniclers given us
much information. Calling to mind a quaint entry in the “_Archivio
Veneto_” of the year 1288, which deprecates matrimony and woman’s
influence as far as regards the Rulers of States, we may perhaps gather
the subtle meaning of the _excursus_ of Frate Paolino, a Minorite
of Venice.

“Whilst a man” he writes, “ought to seek a wife tall and well-formed,
that she may give him fine and comely children, he should, all the
same, never be ruled by her advice, for a woman has not sound counsel,
because she usually has not a strong constitution, and her mind is
apt to yield to the infirmities of the body.” Be this as it may, we
must look wider afield for circumstances which greatly altered the
conditions of the _dogado_.

The middle of the fourteenth century was remarkable as a period of
unusual political unrest and of unprecedented immorality. The great
middle-class of Venetian citizens had not only gradually acquired
wealth and influence, but they were determined that the Government
of the Republic should no longer rest exclusively in the hands of the
nobles. The City was agitated with measures against the aristocracy,
which were greatly strengthened by the consequences attending the
execution of Doge Marino Falier. The dreaded revolution was however
averted and the new Doge, Giovanni Gradenigo, though a grandson of the
aristocratic “Proud Peter,” was known to be a man of particularly suave
and considerate character--“_Il Nasone_” he was called because of
his bottle-nose. His Consort was Madonna Marina Cappello,--a lineal
descendant of Andrea Cappello, the hero of the “Rape of the Brides of
Venice” in Doge Pietro Candiano IV.’s time.

Amid all the political commotions, women came very much more into
public life. Hitherto restrained by almost Oriental enactments they now
began to throw off the conventions which so narrowly prescribed their
position. The Senate and the domestic hearth were alike imperilled:
women lost their modesty, and men their continence. Dress and manners
yielded to the infatuation: women’s breasts were bared, and men’s hose
became indecent. Delicate living and pleasure unrestrained changed the
proverbial decorum of Venice. New ideas Platonic and otherwise were
rife concerning the relations of the sexes. Venice was full of light
women, not natives only, but frail beauties from beyond the lagunes,
drawn thither by the fine figures and fat purses of the men. In the
year 1360 the number of courtesans exceeded twelve thousand!

[Illustration: COURTESANS.

Vettore Carpaccio.

ACCADEMIA, VENICE.]

The scandal was so glaring that the Government of Doge Giovanni
Delfino (1356–1361), issued an edict forbidding such women from
occupying common lodging-houses, joining supper parties of men, and
going about the city--except on Saturdays: at the same time they were
required to reside within the _sestiere_ of Castelletto, near the
Ponte di Rialto. Very strict laws were passed by the Council of Forty
for the preservation of morals; hanging was the punishment meted out
to offenders. The story of Madonna Veneranda Porta, who lived in the
second half of the century,--still recounted among the gondoliers,--is
indicative of the state of society. She had an unsympathetic husband,
and as a consequence, a lover, and he slew Messir Giorgio Porta. The
lovers were arrested and condemned to suffer the extreme penalty of
the law. Madonna Veneranda protested “that Venice had never yet hung a
woman,--it would be too indecent,--and she would not be the first to be
so punished.” “You shall hang,” replied the chief of the Council, “in a
sack!”

Doge Giovanni Delfino, in 1357, founded an Hostel for Fallen
Women--“_redire ad penitentiam et contriciam_”; and, he and his
Consort,--whose name we do not even know,--established as many as
seventeen receiving houses for children exposed in the byways and
water-ways. His _dogado_ was calamitous for Venice abroad as well
as at home. “He was,” the historians tell us, “nevertheless, a true
soldier, honourable and patriotic.” He died in 1361, his body was laid
in State,--the first Doge so honoured,--in the _Sala de’ Signori
di Notte_, and was buried at SS. Giovanni e Paolo,--where his
sarcophagus, enriched with sculptures has bas-reliefs of the Doge and
Dogaressa kneeling at the feet of the enthroned Christ.

There were several candidates for the vacant Throne and much delay was
experienced in the selection of the new Doge, but, whilst the electors
hesitated, news came of a famous naval achievement of the Venetian
fleet, under Lorenzo Celsi, “the Captain of the Gulf.” He was a brave
man and the idol of the people, with no claims whatever to nobility of
rank, possessed of only moderate means, and under fifty years of age.
His name was shouted in the Piazza, and a vast concourse of craftsmen
and gondoliers rushed pell-mell to the Ducal Palace, and demanded his
election as Doge. The people’s caprice was for the nonce the nobles’
choice, and they bowed to the popular outcry.

The Dogaressa, Marchesina, daughter of Messir Girolamo Ghisi, a member
of one of the rising families of merchant-craftsmen, with her maids of
honour and an immense following set off to meet the sailor Doge on his
return to Venice. Without precedent for any such demonstration, the
“_Bucintoro_” was rowed out to sea, and signalled to the Lido the
first sail of the approaching squadron. Once more a popular hero was
borne shoulder-high into the Basilica, and in the Ducal Palace crowned
“Doge of Venice and of her Dominions beyond the Sea,” so ran his title.

Lorenzo Celsi was prepared to be all things to all men and made endless
promises of democratic reforms, such as the manner is of men not to the
manner born. A man of splendid physique and brimful of ambitious ideas
he determined not only to make the most of his good fortune, but to
render his _dogado_ as magnificent as possible.

For his own protection he took very wise precautions: sailors were not
quite the kind of guard he and his family required, so, very adroitly,
as he thought, he enrolled scores and scores of lawless men of the
city,--the “_Bravi_”--as a body-guard to deal with disagreeable
persons. These men soon had the measure of the Doge, and assumed a
demeanour which imperilled the personal safety of all against whom they
had any grudge whether public or private. Meetings to mark persons
for assassination were held secretly at the out-of-the-way laundry of
a woman named Tommasina Gobba, who was, by the way, laundress to the
Dogaressa. The worthy body turned Doge’s evidence, and the villains
were disbanded, but the Doge came in for fierce aspersions and serious
suspicions. It was easy to say that he instigated measures of violence,
so as to safeguard himself and his position.

Very fortunately for Celsi’s vindication of his _bona fides_ came
the visit of Francesco Petrarch to Venice: “a place of peace and rest”
he imagined it, but he found it “full of depravity and profanity.” A
very amusing story is told of the poet’s treatment of an importunate
visitor. The man would take no refusal, he sought alms and patronage.
Failing to convince Petrarch he set to work to insult him with odious
language,--“such as only Venetians used,”--whereupon the poet seized
him by the throat and kicked him down the stairs!

Petrarch was treated royally by the Venetians, the Palazzo de Quattro
Torri, on the Grand Canal, was assigned to him as his residence, and at
Court functions he was seated on the right hand of the Doge. The first
of the pageants he beheld, was held in celebration of the Conquest of
Candia,--where “the most comely youths in Christendom displayed their
forms and prowess before the most beauteous maidens upon earth”: the
splendid spectacles inspired his “_Trionfi_.”

“Questa leggiadra e gloriosa Donna
Ch’ è oggi nudo spirto e poca terra,
E fugià di valor alta colonna,
Tornava con onor della sua guerra
Allegra, avendo vinto il gran nemico,
Che con suo’ inganni tutto ’l mondo attera.”

* * * * *

“La Bella Donna, e le compagne elette
Tornando dalla nobile Vittoria
In un bel drappelletto ivan ristrette.”--

No such brilliant tournament had ever been held in Venice: the Doge
himself, superbly mounted, broke a lance with the Prince of Cyprus. The
Poet, in an ecstasy of delight describes the Venetians as a “nation of
sailors, horsemen, and beauties!” He says “the Dogaressa placed crowns
of pure gold upon the victors’ heads, and clasped silver belts around
their hips.”

Petrarch lived seven years in Venice (1361–1368). In 1364 he wrote to
Giovanni Boccaccio:--“Come then to my call,” and the gay writer of the
“_Decamerone_” spent three months in Venice. Before his departure
Petrarch wrote to the Council of the Forty:--“I wish with the good
will of my Saviour and of the Evangelist, to make St Mark the heir of
my Library.” The bequest was gratefully accepted, but, alas, like many
more such benefactions, nothing now remains but a few mouldy worm-eaten
volumes.

Doge Lorenzo Celsi’s day of popularity went too the way of the world.
Like all risen men he became autocratic and presumed upon the liberties
and antecedents of the nobles, and they took their revenge. Upon
the thirtieth of July 1365, the Council of Ten passed a resolution
reflecting upon the Doge’s assumption of authority, and putting upon
record that the status of the nobles was in jeopardy. The wording of
the concluding sentence is quaint yet convincing:--“_quia non est de
neccessitate_”--“because we have no further need of him!”

The Doge was deposed, being suspected of favouring a reform in the
Government, which, whilst retaining the Ducal office, proposed
to transfer the powers of the Councils of Nobles to a parliament
representative of the citizens and craftsmen.

The circumstances attending the election of Doge Marco Corner, or
Cornaro (1365–1367) are amusingly pathetic. He was a very old man, well
over eighty years of age, and only remarkable for his uprightness, his
studiousness, and his poverty. To be sure he came of an “Evangelistic”
noble family,--equal in antiquity and distinction to the Giustiniani,
the Bembi, and the Bragadini,--but this accident of birth was neither
a ground for boasting nor an incentive to ambition. The electors
doubtless turned to him as being a simple-minded man, and one who would
not follow his predecessor in affectation of lordly superiority. When
the choice was made public very many people, in every class cavilled at
the selection:--“Surely there were more distinguished candidates for
the Supreme Office, at all events some who were less homely in their
surroundings,” they said; and they poked fun at old Corner’s lack of
means and at his old wife’s dowdy ways.

Dogaressa Caterina was an unaffected simple-hearted, domesticated
woman, with no claim to nobility or social distinction of any kind, but
a very worthy helpmeet to her spouse. Idle tongues wagged about her and
her ways and made fun of her little economies. The Doge bridled up at
the disparaging remarks, and, with dignity, rebuked the scoffers. “My
old wife,” he said, “is so good and so virtuous, that she has always
been respected by all the women of Venice quite as highly as if she
had come of one of the most distinguished families!” Some busybody had
seen the Madonna Caterina, quite lately, busy turning an old stuff
dress that she might wear it a little longer, and the gossip went round
the Palaces. Marco Corner met the sneer in a characteristic manner.
“Well, what of that?” he asked, “there are many noble lords and worthy
citizens in Venice, who would be only too thankful for such a useful
wife as mine. She is a good woman, and I will thank you to let her
alone.”

Certainly Dogaressa Caterina Corner was not born in the purple nor had
she any taste for ceremonial: we do not read of any imposing procession
of Guilds setting forth to conduct her to the Ducal Palace for her
coronation. The probability is that, with shrewd commonsense and no
great display of dress or jewels, she quietly took her place beside
her husband, bent on doing her duty in her new position, as she had
done all through her life. Whatever responsibilities devolved upon her
as Dogaressa, such as were connected with charity, education, and the
encouragement of industries were borne right nobly.

To good Marco Corner was due the issue of licenses by the Government
for poor people, past work at their usual avocations, to earn pittances
as itinerant street merchants. Besides this he was instrumental, with
good Dogaressa Caterina, in the establishment of hospitals for the aged
poor so that “none might end their days in misery nor die of hunger.”
Doge Marco Corner gained the respect of all and died regretted by those
who had mocked him. His tomb in SS. Giovanni e Paolo is one of the most
beautiful examples of fourteenth-century Gothic. Probably Dogaressa
Caterina was laid in the same grave, but there is no record of her
death. Hers was the harvest of a quiet eye, the satisfaction of the
simple life, and the reward of a good conscience.

Marco Corner’s successor was quite a different sort of man, but still
one likely to be amenable to the Lords of the Council, and not one to
make pretensions beyond the limits of the _Promissione_. When
the news of Doge Corner’s death reached him, Andrea Contarini was
peacefully tying up his vines in his estate at Gambarre on the Brenta.
Very many Venetian nobles had villas in that delectable district, and
the Contarini country-mansion was one of the most handsome. Directly he
was told that he had been elected Doge he declined the honour,--indeed
he twice refused,--having in mind the ominous prediction of a Syrian
dervish, who had warned him:--“If thou ever become Doge of Venice
untold disasters will fall upon her!”

The Electors would take no refusal and warned Contarini that he laid
himself open to the confiscation of all his property, and to a sentence
of banishment for life, both for himself and for his family. He
cared very little for public life: he took as his motto the Venetian
proverb:--“_Zocoli, brocoli, capelo, e poco cervelo_”--“Slippers,
gardening, and a night-cap, with nothing to worry about!” He came
however of a ruling family, one of the “Apostolic” twelve, just one
hundred years after his ancestor, Doge Giacomo Contarini had upborne
his name and his City nobly.

Doge Andrea Contarini’s _dogado_ was marked by restrictions at
home and troubles abroad. His _Promissione_ was, perhaps, the most
tyrannical of any required of a Doge. He and his family were expressly
forbidden gifts of every kind. Neither he nor the Dogaressa (whose name
has not been recorded), nor any of their children, were allowed to
possess land and property of any kind in the neighbourhood of Treviso,
Padua and Ferrara: and this was a personal hit, for it was just in
those districts that the Contarini family had interests. The Dogaressa
was further denied liberty of action in various small ways, and every
good work she proposed required the explicit sanction of the Council
before she could carry it out. Abroad the interests of the Republic
were seriously jeopardised; her bitter rival Genoa was preparing to
attack her, and peace-loving Doge Contarini had to lay aside his
implements of husbandry and take in hand his sword.

“Arms and the Man”--was true of Venetian tactics, for two famous
captains of her ships and her men came to the front to direct her
warlike progress--Carlo Zeno and Vettor Pisani. Success and failure
in turn followed Saint Mark’s banner, but the soothsayer’s words came
true, for disaster settled down upon Venice, what time Andrea Contarini
was Doge. Still his sun went down with shouts of victory from Chioggia,
where he and his captains and his men crushed the enemy effectually. He
was buried in the Augustinian church of San Stefano and his tomb bears
the brief epitaph:--“_MCCCLXVII Dux creatus: MCCCLXXXII in Cœlum
sublatus_.”

Under the Dogaressa the _gentildonne_ of Venice, headed by Donne
Anna Falier, Francesca Bragadini, Margherita Michieli, and Marliana
Bembo,--“Good angels of love and pity,” they were called,--organised
special ministrations for the benefit of the wounded in the war, the
widows of the fallen, and the fatherless children. They were inspired
by the same patriotic spirit, which had been voiced by the valiant Doge
himself, “All for Venice--I will not see her Palaces again until she is
victorious!”

What a curiously different saying was that of Doge Contarini’s
successor, Michele Morosini:--“What matters,” said he, “the fall of
Venice, so long as I am strong!” He was a mean fellow and a miser, a
disgrace to the noble name he bore, but, happily for Venice, he held
the _dogado_ no more than three months. He was one of the twenty
thousand Venetians who perished in the plague, and no one regretted
him. His Consort was Donna Cristina Condulmiero. The Condulmieri were
merchants of woollen-cloth, refugees from Pavia: they lived in the
Campo Santa Lucia.

The last Doge of the century was Antonio Venier. The Venieri ranked
with the Cappelli, Loredani, Malipieri, and the remainder of the
twenty families in the second class of Nobles: their names having
been enrolled by the “_Serrar del Consiglio_” in the “Libro
d’Oro” of 1289. One special proviso was attached to the continuance
of their order:--every child had to be registered within three months
of birth, or he or she forfeited rank and inheritance. Nevertheless,
the Venieri went back to the eleventh century when their forebears
settled at Chioggia. Doge Antonio Venier was urbane if austere,
moral if gracious, and, in character and personality, as unlike
his selfish unpatriotic predecessor as could well be imagined. He
was, by his liberal-mindedness, an illustration of the Venetian
proverb:--“_Tedeschi in la stala, Francesci in cusina, Spagnoli in la
camera, Venetiane in casa!_” His title of “_Magnifico_” he well
deserved, for no more magnanimous Doge ever wore the Ducal bonnet.

The last eighteen years of the century were as peaceful and as
uneventful as any like period in Venetian history: a wide contrast
to the pushful times of Doge Pietro Gradenigo. We might write of his
_dogado_ as of:--

“Roses! roses! all the way
With wild myrtle mixed like mad.”

There was however a thorn, and a very sharp one too, in Antonio
Venier’s career; it was one which sprang out of his own branch of
the family tree. Alvise, or Luigi, his eldest son, was if not a
ne’er-do-weel, a very wild sort of lad. Probably the serenity of the
life at the Ducal Palace palled upon the youth, who sought relief in
romantic attachments. Among his escapades was one, in company with
his friend, Marco Loredan, which compromised the fair fame of Madonna
Felicita, the wife of Messir Giovanni dalle Boccole--a rosebud and a
thorn!

[Illustration: FESTA CAMPESTRE ON THE BANKS OF THE BRENTA.

Bonifazio di Pitati.

BRERA, MILAN.]

Messir dalle Boccole discovered the intrigue and watched his
opportunity for chastisement, but the gay Lotharios anticipated his
purpose and in a moment of peculiar sportiveness,--it was at midnight,
11th June 1388,--they stuck up, over Messir dalle Boccole’s front door
a Phallic symbol, and scribbled upon the lintel some opprobrious words.
Such an insult was intolerable, and, as the culprits did nothing to
conceal their identity, nor make amends, dalle Boccole complained of
their conduct to their respective fathers. How Marco’s father acted we
know not, but Doge Venier visited his son’s offence with the severity
of a Brutus. The lad was put on his trial before the _Signori delle
Notti_,--the Police Court of Venice,--a fine was imposed of one
hundred lire, and two months’ imprisonment in the _Pozzi_,--where
only political prisoners were confined. “Horrible, dark, damp cells,
that would make the saddest life in the free light and air seem bright
and desirable,” so wrote George Eliot in 1860.

In this terrible place of confinement, with a steady depth of two feet
of stagnant putrid water, the only dry rest his hard bench, which
did duty for table and for bed, poor young Alvise lost heart and
health. He pleaded desperately with his father to release him from
his terrors and his infirmities, but the Doge gave no reply and made
no sign. He was, he plumed himself the impersonation of all that was
just, honourable, and unimpeachable in Venice, and, not for his own
offspring, could he suffer any relaxation of the sentence. His son had
transgressed the law, he must abide the consequences, so he ruled.
And the consequences, in spite of his mother, the Dogaressa Agnese’s
impassioned intercessions, were that the young man, left to his fate,
died miserably in the filthy Gehenna, in the springtide of 1388.

This was the parental justice of the urbane and gracious Antonio
Venier, but the “thorn” pierced his own hand and heart, and after two
years of useless remorse and self-accusation, the unnatural if judicial
Doge passed away in mental anguish in the Palazzo Venier ai Gesiusti
near the Ponte dell’ Acqua-vita.

* * * * *

There is quite a touching little story which concerns the burial of
poor young Alvise Venier. The sister who loved him best, Antonia, was
so greatly distressed by her father’s attitude that she professed
herself a Canoness of San Zaccaria, and, when her brother’s dead body
was refused decent burial by the Doge, she obtained possession of
it and carried it away from the foul Casa degli Spiriti,--where all
the dead rest before their final course to San Michele,--the common
cemetery,--and placed it reverently in an unoccupied piece of land of
the _fondamento_ of Cannaregio, the most distant _sestiere_
from the Ducal Palace. Directly the Doge was dead she put into
effect a resolution she had made,--after earnest prayer to St Mary,
St Giustina, and the good Bishop Lodovico, her patron,--to build a
church and a Canonica, and dedicate them in the name of her brother as
Sant’ Alvise. In the crypt she buried him and, by her will, directed
that her own dead body should be laid beside his. Alas the _Orto
Botanico_, where,--when not beset by picnic parties of bird-lovers
at the neighbouring aviaries of St Giobbe,--devout Antonia Venier
meditated and prayed, and whence she watched her church arise, has lost
all traces of its original condition, it is now a torpedo factory!

Dogaressa Agnese, although her heart and brain were lacerated by pain
and sorrow, survived her Consort a few years, then, in 1411, she was
buried near his tomb with their daughter, Orsola, in the left transept
of the church of SS. Giovanni e Paolo.

Doge Antonio Venier died in the first year of the new century: it was
in January, when snow and ice coated _calle_ and _canale_--a white
shroud to cover the dead body of a century, pitted with blanes and
boils of private wrong and public turpitude.

Ring down the curtain and hide the traces of tragedy: maybe the next
scene will be a transformation! A plaintive echo of a voice--one of the
sweetest that ever sang upon the Lido of Venice, steals into our ears,
amid the muffled clang of all the _Campanili_ bells, and bids us
take heart of grace. It is fair Laura’s _innamorato_ who in his
“_Africa_” thus prophesies of Venice:--

“Our Sons shall live in days more bright and fair.

* * * * *

Then noble intellect and docile mind
Shall renovate the studies of mankind
The love of beauty and of truth the cult
Shall make life’s pilgrimage less difficult.”

CHAPTER V

“LA SERENISSIMA DOGARESSA DI VENEZIA”--“the Most Serene Duchess of
Venice”--attained her highest dignity and splendour in the attractive
personality of Signora Marina Galina da Santa Marina--the Consort of
Doge Michele Steno. The reality of the “First Lady of Venice” had
become more and more emphatic as each gracious wearer of the smaller
_Corno_ had made her solemn Entry into the City.

The ancient family of Galina, in 960, founded the Church and Monastery
of San Felice, on the Campo of San Felice, a little way back from the
Grand Canal. They belonged to the third division of the first grade of
nobles, immediately after the “Apostolic” twelve and the “Evangelistic”
four, and were among the ten families of considerable importance
anterior to the _Serrar del Consiglio_ of 1289. The termination of the
name “da Santa Marina” was indicative of the _sestiere_ in which the
family originally dwelt: their church of Santa Marina, built in 1030,
was destroyed by fire in 1820.

The date of Donna Marina’s marriage with Messir Micheletto, or Michele,
Steno is nowhere recorded. His family was one of those ennobled after
the Chioggian War: they were neither wealthy nor influential. Messir
Giovanni Steno, his father, was a poor man, as men went in Venice, and
lived in a small _casa_ in the _sestiere_ of Santa Maria Zobenigo, upon
the neutral zone which separated the dwellings of the Castellani from
those of the Nicolotti. His mother was Madonna Lucia Lando, and her
family was equal in antiquity and distinction to that of her spouse--an
arrangement quite usual and conventional in Venice, where the different
grades of the aristocracy rarely intermarried.

Michele Steno’s parents were blessed with another son--the elder of
the two--Fantino, and three daughters, Franchescina, Donata, and
Cristina,--who became a cloistered nun in the Convent of San Lorenzo.
Messir Giovanni, with Messir Paolo Gradenigo, went on an embassy of
peace to Genoa, and, on his return in 1351, he executed a will, leaving
to his second son, Micheletto, one thousand gold ducats and the half of
his house property and other belongings.

Probably young Micheletto acquired some of the dare-devilry and
impetuosity, for which he and other young smarts were notorious, from
his early association with the rival factions of his _sestiere_.
Incessant insults, quarrels and commotions characterised their
mutual dealings, and their jests and oaths were indecent and
sacrilegious:--“_Corpo di Bacco!_” and “_Sangue di Dian!_” were no
less common in daily intercourse than “_Sangue di Dio!_” “_Corpo di
Crist!_” Youth, aping strident manhood, not unusually delights itself
in profanity and abuse. Marino Sanudo, who lived fifty years after Doge
Michele Steno’s death, states in his “History of Venice,” that as a
young man he was “poor but ambitious, ardent and astute.”

Sabellico has a note concerning the future Doge, and says, that, as
co-ambassador to King Pietro d’Arragona in 1350, when he was no more
than twenty-five years old, he displayed both tact and talent, and
concluded a treaty very much to the advantage of the Republic. Michele
Steno served the State with distinction and made himself an eligible
candidate for the highest offices: in 1375 he was chosen one of the
three Captains of the Council of Forty.

It certainly comes, however, with something of a shock to find him,
the precocious, daring, and romantic lover of women,--from Elizabetta,
his uncle Paolo’s attractive maid-servant to Aluycia Gradenigo, the
fascinating Consort of Count Marino Falier,--mounting the Ducal Throne,
which he had once stretched out his hand to profane! Forty-five years
have come and gone and the hot-headed youth has developed into the sage
septuagenarian. How true it is that the sowing of wild oats in young
days provides for the harvesting of ripe corn in old age! Michele Steno
and his Consort Marina could not have imagined that this consummation
of their lives was in the lap of Fortune. If time and opportunity had
modulated his character in tune with his environment, he was “still
remarkable” says Sanudo, “for strength of will and irascibility
of temper: a man of noble appearance and noted for the polish and
gallantry of his manners.” His election to the _dogado_ was
effected in November 1400, but his installation as Doge was postponed
to the following January. The usual ceremonies were duly celebrated
and a new feature was added--a panegyric of the Doge and Dogaressa
delivered in San Marco by Bishop Lionardo Delfino of Castello.

Indirectly his _Promissione_ suggests that his aggressive temperament
still caused men to look doubtfully at him. The legal titles of the
Doge and Dogaressa were depressed, the idea of personal sovereignty
was eliminated, and their Serenities were greeted as plain “_Messir
le Doxe_” and plain “_Signora la Dogaressa_.” This new designation,
however, was not altogether derogatory, for the great Patron Saint of
Venice was styled:--“_E stato galant’ uomo Messir San Marco!_”--“What
a brave fellow is ‘Mr’ Saint Mark!” Venetians were great sticklers
about titles: everybody liked to be addressed with ceremony and to have
assigned a rank higher than that actually held--but perhaps this was no
Venetian peculiarity, it is rather the natural, if persistent, egotism,
of all times and peoples.

In the “_Trionfo della Dogaressa di Venetia nel Secolo XV_,”--a
document of the period, in the Museo Civico,--is a full account of the
ceremonial observed and of the dresses worn at the solemn Entry of
the Dogaressa Marina. The Government issued an order to the different
_Fragilie_ to prepare for the Festival. Each Guild had a portion of
the Piazza and also of the Ducal Palace assigned for decoration with
tapestries, carpets, and banners, and was also required to furnish a
gala barge adorned with standards and decked with garlands, to form
part of the water escort for the _Bucintoro_, which was prepared for
the reception of the Dogaressa, her relatives and her suite.

Upon the day of the Entry the Doge, accompanied by a number of
Councillors, made a progress from the Ducal Palace to his private
residence to assist the Dogaressa in embarking upon her water progress.
She awaited her Consort in the principal reception room, where each
of the noble Company saluted her and received from her hands a very
beautifully embroidered purse of cloth of gold. Then, preceded by
State trumpeters and standard-bearers, and Grooms of the State to the
Doge, she passed down the stairway. Following her came sixty beauteous
damsels in superb costumes, and the ladies of her family in costly
robes with many jewels.

The dress of the Dogaressa was magnificent: she wore a robe of cloth
of gold fastened at the neck, with deep hanging sleeves, caught up by
gold brooches upon the shoulders, a girdle of gold cord jewelled, and
a mantle of stiff gold brocade embroidered with coloured silk like
the Doge’s. Her head-dress was a coif of lace under a cap of crimson
silk velvet raised in such a way as to support a miniature jewelled
Ducal _Corno_, and a thin gauze veil fell with her wealth of
unrestrained hair from under the _Corno_, over her shoulders.
A massive gold chain encircled her bust. Her shoes were of crimson
velvet. Her train, also of cloth of gold brocade, was borne by young
girls in white dresses, and crowned with fresh flowers.

At the Dogaressa’s side walked the wife of the High Chancellor,--the
first citizeness of Venice, a wise concession to popular
sentiment,--and the stately procession was brought up by the
Procurators of San Marco, Councillors of Honour, Senators and
Gentlemen, two and two, every one being in full state costume. Upon
the _Bucintoro_ her Serenity was placed in the Doge’s seat at the
bows. The Doge and his following meanwhile returned to the Ducal Palace
to await the arrival of his Consort. The progress of the Dogaressa
along the Grand Canal was a “Triumph.” The whole city had embarked upon
every available craft and everybody tossed enthusiastic greetings to
the stately, comely Dogaressa Marina as she passed along her glittering
way. The great vessel breasted untossed the lapping ripples of the
newly perfumed waters of the Canal, and made her way through floating
sprays of gaily coloured flowers, submerging, as she passed them, many
a daring gondolier and his heedless gala freight.

Arrived at the Piazzetta the august company landed, and, after being
led past the Basilica, made a stately progress all round the Piazza,
adorned as for a great Church festival and packed full of perspiring
people. All the beauty and fashion of the moment looked out of window
casements and from _altane_ roofs. Flowers and confetti were
showered upon her Serenity who marched with the utmost dignity under
the great Ducal umbrella of State, supported by the high officials of
the Government. At the grand portal of San Marco the Dogaressa was
received by the whole of the Chapter in gorgeous vestments, bearing
lighted candles in great silver-gilt candelabra, and the principal
gold crucifix, the while acolytes tossed their silver censers high.
Sprinkled with holy water her Serenity stood reverently whilst the
rector recited with her the following liturgy:--

LET US PRAY.

O Lord, preserve Thine handmaiden, our Dogaressa.
_My trust, O God, is in Thee._
Send her help from the Sanctuary, O Lord.
_And strengthen her out of Sion._
Let no foe approach her.
_And let not the son of wickedness come near to hurt her._
Grant peace in thy borders.
_And abundance in thy palaces._
O Lord, hear my prayer:
_And let my cry come unto Thee._
The Lord be with you:
_And with thy Spirit:_

LET US PRAY.

“We beseech Thee, Almighty God, that this Thy servant, our
Duchess, may be instructed and comforted by Thy wisdom and ever
remain true to Thy Holy Church, Through Christ our Lord, Amen.”

“O God, whose providence never faileth in the ordering of human
affairs we pray Thee to extend Thy ineffable loving-kindness
to our prayer, that as Queen Esther, the chosen servant of
Thy ancient people, caused the sceptre of King Ahasuerus, her
consort, to rule wisely, so this Thy Servant, our Duchess, the
chosen of Thy Christian people, may do everything according
to Thy will, so that she may please Thee in everything and,
inspired by Thee, may with her whole heart, exercise her high
office to Thy glory and to the welfare of us Thy Servants,
through Christ our Lord. Amen.”

Then “Te Deum” was solemnly sung in the open air, the Dogaressa
standing with her face to the people. The clergy next led the imposing
procession up the central passage of the basilica and placed the
Dogaressa ceremoniously upon the Doge’s throne by the High Altar,
where seated she bestowed her thanks and many gold ducats upon the
ecclesiastical dignitaries.

The State Chancellor now approached, and bowing low, addressed
Dogaressa Marina as follows:--

“Most Serene Duchess, I am about to administer to you the Oath of
Allegiance to the government of the Serene Republic of Venice. Will you
promise to observe and maintain it intact?”

“I will do so most assuredly,” she replied.

The procession being re-formed the Dogaressa was conducted to the
Ducal Palace, where, on ascending the grand staircase, she was met by
a deputation of Masters of the _Fragilie_ who invited her to take
her seat at a table furnished with sweetmeats in golden baskets and
red wine in silver cups; and whereat officials of the Guild were in
attendance. Acknowledging their salutations graciously she replied:
“_gran mercè non se sentimo_.”

Proceeding on her way the Dogaressa, with her escort of noble lords,
chamberlains, and gentlewomen, passed through all the State rooms of
the Palace, and entered the _Sala dei Pioveghi_ where she took her
seat upon the Doge’s throne and gave attention to the following solemn
address by the High Chancellor:--“Your Serenity has deigned to come to
this place which will be your home as long as you remain Dogaressa of
Venice. Should you die, here your body will lie in State for three
days before it is consigned to the tomb.”

To which very lugubrious oration the Dogaressa meekly replied:--“I am
quite content to abide by what you say so far as it may please the
Majesty of God.” Then, rising, she passed on once more, and entered the
_Sala del Gran Consiglio_, where she was placed with much ceremony
upon the great Throne of the Doge,--whence extending her hand everybody
in the Presence advanced to kiss it.

These solemnities being accomplished her Serenity was conducted to
the Presence Chamber, there she was greeted by the Doge and his two
Councillors of State, and then she retired to her private apartments.
The public festivities in celebration of the Induction and Proclamation
of the Dogaressa continued for three days. She presided at banquets
offered to the noblewomen, the wives of foreign ambassadors, and the
wives and daughters of the more prominent citizens. Sports of all kinds
and tournaments were held in the Piazza in presence of the Doge and
Dogaressa, and upon the Grand Canal were fêtes and serenades. Indeed
for a whole twelvemonth Venice kept holiday and witnessed a succession
of splendid pageants.

The _dogado_ of Michelo Steno and Marina Galina Steno was distinguished
in many ways. First of all, and by way of leaving his mark upon Venice,
in 1400, he caused the ceiling of the great Council Chamber of the
Ducal Palace,--which its architect, Calendario, who was implicated
in the conspiracy of Doge Marino Falier, had partly built, and where
Guariento painted his “Paradise” walls,--to be covered with golden
stars--the reflex of his name “Steno”--“Stellifer.” In the arena
of arms, Genoa, Verona, Padua, and Friuli were humbled and the King
of Hungary was routed. Carlo Zeno, the great _Condottiere_, led the
victorious Venetians against the two first cities; but the Doge in
person gained laurels at Padua and Friuli. Quaint ceremonies followed
the defeat of the four cities, for forty nobles from each,--dressed
respectively in red, white, purple, and green, came and made obeisance
to Venice in the persons of the Doge and Dogaressa seated upon thrones
set up in the Piazza. Each deputation laid at their Serenities’ feet
the keys and the banner of their city, and, at the same time, craved
the consideration and protection of the Republic.

Great rejoicings accompanied these demonstrations of fealty wherein
the _Fragilie_ took an active and splendidly organised part. Always
under the patronage of the Dogaressas, the various crafts had, through
one hundred and fifty years of progressive industry, attained both
perfection in the details of their several interests, and also a
dominant position in the social economy of the State. At the same time
Literature was reaching out towards distinction and the Fine Arts were
starting upon their pageant of renown. Truly the first decade of the
fifteenth century was pregnant with great issues and great events, it
was the hour before the glorious noontide of expectation--“_Venetia
riccha, saggia, e signorila_,”--“Venice, rich, wise and gentle-born.”

[Illustration: L’INNAMORATO CON “LA NINFA.” ARIOSTO’S
CANZONE. “BIRENO E OLIMPIA.”

FROM A PRINT. 1560.

Habiti Delle Donne.“--G. Franco.]

An obvious and visible token of the opulent greatness of the new
century was the foundation of the famous “_Compagnia della Calza_,”
directly under the auspices of the stylish Doge and fashionable
Dogaressa, old folks as they really were. This remarkable Society
took its rise at the period of the pageants held during the first
year of Doge Steno’s rule. The designation “_Calza_” was quite an
arbitrary choice for the purview of the _Compagnia_ had regard to all
and every detail of dress and manner. It was first entitled “_della
Berretta_,”--“Company of the Cap,” but the woven silken or worsted
garment which clung to and exhibited the whole figure, was the emphatic
feature of the sumptuary modes--hence came “_Calza_,”--“Company of the
Tights.”

The society or union consisted of a number of clubs of young men--gay,
rich and physically fit. The officers of the _Compagnia_ consisted
of a Prior or chief,--who went about in a gorgeous costume of cloth
of gold,--two Councillors, treasurer, chaplain, painter, sculptor,
architect, poet, annalist, and a notary. The _Compagnia_ consisted of
clubs, and each club bore a distinguishing name. _Immortali_, _Reali_,
_Perpetui_, _Semprevivi_, _Pavoni_, _Ortolani_, etc., etc.,--there were
forty of them. Every member wore striped silk tights, embroidered in
gold and coloured silks with pearls and gems: each club had its special
arrangement of stripes.

Their doublets of silk velvet embroidered with gold, fitted close to
the body, and bore the badge of the particular club. They had slashed
sleeves through which puffings of fine white linen shirts were pulled.
Upon their shoulders they wore short cloaks of cloth of gold or crimson
damask velvet, lined with choice fur. Their flowing locks of hair were
restrained under jaunty little caps of red or black silk or cloth,
with a handsome jewel at the side and a heron’s feather. Their pointed
shoes were of fine red leather pierced at the toes and adorned with
gold and pearls. Waist-belts of leather, jewelled and embroidered, with
beautiful _scarcelle_, or pouches, at the side, a golden chain
bearing a jewelled pendant, and rings on the fingers completed the
superb costumes.

Women associates were freely admitted, upon the hems of whose tight
fitting silken petticoats, was embroidered in gold, the word “_Calza_”;
foreigners also were admitted to honorary membership. The _gentildonne_
wore long sleeves,--lined with fur, and beautifully worked cinctures of
gold and embroidery: their hair was arranged in plaits and rolled under
golden nets, and their feet were shod in jewelled golden shoes. Their
fine gold chains of interlaced and jewelled rings encircled throats and
breasts.

The purpose of the “_Compagnia della Calza_” was however not
merely the wearing of fine clothes, but the direction of State
pageants, the reception of foreign princes and ambassadors, the
performance of spectacular games and plays, and attendance at solemn
Ecclesiastical functions. They also assisted at weddings, birthdays,
baptisms, and funerals, and acted as elegant and audacious State
masters of ceremonies in general.

With enthusiasm, each Maundy-Thursday, the gay young fellows entered
the annual _Caccia del Tori_, which had originated after the first
defeat of Friuli in 1164. Three other dates were added,--Santa Marta’s
day, the first Monday in September, and the first in October, and the
“rings” were on the Lido and in the Piazza. Later on every _campi_
had its _Caccia_, and, degenerating as such festivals usually do, the
places of the _gentildonne_ were taken by courtesans dressed, masked,
and mannered _à l’ outrance_.

“_Con atti, adorni assai, polite e belle,
Le Donne vedi andar, con tal maniera
E con la fresca ziera.
Che ’l par, che le vegna del Paradiso!_”

The love of sumptuous dress gave a grand impetus to Venetian trade,
but it led of course to many corruptions and exaggerations,--one of
these was the wearing of enormously high pattens--_zilve_, they were
called. The condition of the _calli_ unfortunately required some such
protection from mud and dirt, but women went about on shoe-stilts of
poplar wood and leather which effectively dwarfed the slim tall figures
of the men. At last an edict was issued which forbade this absurd
fashion, especially in the case of pregnant women:--“_filios abortivos
in perditione corporis et animæ suæ_.” This fashion, by the way, led
to many ludicrous situations, for many a gallant admirer of a _calle_
beauty, tall, commanding and superfine,--discovered her in her boudoir
reduced to natural if disappointing dimensions, and forthwith declined
her charms, and made a not too dignified exit!

The splendid _dogado_ of Michele Steno, continued for twelve years:
he died early in the year 1413, at the great age of eighty-four. His
obsequies were consonant with his fame, and after the excision of his
bowels and the embalming of his body, he was kept many days in State
with a cloth of gold pall over him and burning torches of pinewood
resin beside him in the old church of Santa Marina. Over his tomb were
hung the keys of Padua, now in the _Seminario Patriachale_, and the
marble sarcophagus had carved reliefs and an epitaph “_amator justitiæ
pacis et ubertatis_.” He left behind him the finest stable of horses in
Venice and the cleverest stand of falcons, and, beside and beyond these
treasures, a disconsolate widow.

Seven years after her Coronation Dogaressa Marina, suffering from
plague and expecting death made a will whereby she bequeathed fifty
gold ducats to poor criminals, awaiting execution, six gold ducats to a
monk of San Stefano, who preached to her in the Palace, for prayers for
the repose of her soul. To the Rector of Santa Maria Zobenigo, Nicolo
Fusolo, a velvet robe out of which to make a cope, and three hundred
gold ducats, a gold chalice, a cross, a surplice, and other ornaments
necessary for the sacerdotal office. All of these objects the worthy
priest was to use during his lifetime, and then they were to be the
property of the monks of San Domenigo.

The devout testator however recovered from her illness and in the
_Archivio Notarile_ is preserved a second will, dated 25th August 1420,
seven years after the demise of her Consort, to whom she erected the
superb marble monument, now, unhappily destroyed. The figure of the
Doge was placed above a marble urn embellished with a rich _intaglio_
frieze in which was the bust of the Dogaressa in mosaic. After the
funeral she entered the Convent of Sant’ Andrea, upon the lonely
_Campo_ of that name, far away from the gorgeous tumultuous scenes of
her reign in the Ducal Palace. In her second will Dogaressa Marina
directs that she shall be buried, vested in a nun’s habit, in the
cemetery of the Convent, and she leaves twenty-five gold ducats to
cover all expenses. Upon her gravestone is the following inscription:--

“_Hic jacet corpus Serenissimæ D. Marina, Uxoris Q. Sereniss.
et Excellentiss. Princeps D. D. Michaelis Stenus, olim inclyti
Ducis Venetiarum, quæ obiit die 4 mensis Maii MCCCCXXII. Amina
cuius requiescat in Pace._”

This quiet ending to a splendid career is full of pathos. She, who had
been crowned Duchess of Venice amid circumstances more splendid than
any of her predecessors is laid without worldly honours in the simple
grave of a pious nun. No canopy is now over her save the free air,
no gorgeous tapestries surround her save the painted clouds and the
distant Alps, whilst the wide salty lagune is her carpet of estate.

Upon the death of Doge Michele Steno the choice of his successor fell
first upon Messir Paolo Giustiniani, the head of as famous a family
as any in Venetian story, but a family which had, strange to say,
never placed a representative upon the Ducal throne. The “Forty”
however reconsidered their vote, and because Messir Paolo was a poor
speaker they passed on the _Corno_ to Messir Tommaso Mocenigo. When
his election was in the balance Giustiniani spoke up warmly in the
Council:--“My Lords,” he said, “I thank God that you have nothing more
serious to lay to my charge. Messir Antonio Venier was no spokesman but
he came to the _dogado_ and found his tongue, so shall I!”

The family of Mocenigo came from Treviso. Ser. Giovanni Moceni was
among the earliest councillors of the infant Republic at the end of
the eleventh century. The Mocenighi were enrolled in the “_Libro
d’Oro_” of 1289, in the fourth division of the first grade of nobles.
Messir Tommaso’s spouse was a Cappello, of equal rank to himself, but
her Christian name is not recorded and there is no account of her
coronation or her death.

Anyhow the pageants, which celebrated Doge Tommaso Mocenigo’s election
were perhaps the most splendid of any ever witnessed in proud, wealthy
and fashionable Venice. Twenty foreign princes and ambassadors sat
in the Ducal tribune, eighty thousand citizens and strangers packed
themselves in the colonnades of the Piazza, at the windows of the
Piazza were hundreds of noble gentlewomen and the prizes in the
_Giostre_,--wherein the Marquises of Mantua and Ferrara took
part,--were burnished silver helmets encrusted with precious stones,
and costly jewelled golden collars. Everybody of note wore heavy cloth
of gold or rich silver brocade. Never before had such a wealth of
pearls and gems been displayed even in superlatively modish Venice.
Every craftsman and craftswoman was kept hard at work making things of
beauty and of value in honour of their new patroness.

In addition to the State tournaments and pageants the Guild of
Goldsmiths,--the richest trade corporation in Europe, and always
specially under the patronage of the Dogaressa--arranged and dressed a
_Balordo_--spectacle or revel,--wherein a cavalcade of knightly
figures rode a quadrille arrayed in scarlet velvet,--horses as
well,--and wearing chains of gold and ropes of pearls. The fabulous
wealth of Venice was never so strikingly displayed and this prodigality
added immeasurably to her fame and power. Peace was assured for
no State could dare to try conclusions with her, knowing her vast
resources.

Her population exceeded two hundred thousand,--one thousand being men
of noble rank, each worth from seventy to four thousand gold ducats
per annum. The State revenues figured at one million and a half gold
ducats. The navy consisted of three hundred sea-going armed vessels
manned by eight thousand sailors. Three thousand lighter vessels had
trained crews of seventeen thousand men and the arsenal and dockyard
hands numbered eleven thousand. Well was it said:--“_El Mar Xe ’l
fachin de la Terra!_”--“The Sea is servant of the Land!”

Doge Tommaso Mocenigo proved himself to be the man of the hour.
“Venetian of the Venetians, Venice and Venice only was his one and only
love, indeed he carried his devotion so far that he narrowed his views
of her, to the proportions of a “little Venice” in territory. With an
iron will he bent all others to his behests, and, as a past-master in
strategy, he undermined all opposition. He has come down to us as “one
of the wisest and noblest rulers of the Venetian Republic,” the ninth
“Grand” Doge of Venice.

His death-bed was the scene of a remarkable demonstration of his
strength of character and of his solicitude for the welfare of Venice.
He sent for the principal members of the Council of Forty, and, when
they were assembled, he pronounced a valedictory address wherein he
summed up statistically the condition of the State, enlarged upon his
own share in its stability, and expressed his wishes with respect to
the choice of his successor and the maintenance of his ideals.

There were seven candidates for the succession and the dying
Doge succinctly reviewed the qualifications, or the reverse, of
each:--“Marmo Caravello is too old, Cavaliere Bermbo limps and is blind
of an eye, Lionardo Mocenigo is my brother after the flesh, Antonio
Contarini has too many children and his wife still brings him one every
year, Pietro Loredano is a proud man and too young, Gianbattista Badoer
is Captain-General, let him be satisfied, and Francesco Foscari is an
ambitious man who sets fire to things but is careful not to burn his
own fingers. I pray you my Lords not to entertain his candidature,
for I am convinced, that if you elect him Doge, he will bring untold
disasters upon our beloved city.”

The Doge died in 1423 and his tomb is in the church of SS. Giovanni
e Paolo with the inscription “_Huomo oltre modo desideroso della
Pace_.” The effigy, sculptured upon the monument represents very
exactly what Tommaso Mocenigo must have looked like in life--a noble
form, comely features, the curve of the lip indicating masterfulness,
the great round eyes daring, the high arched brow and cheek
determination.

The week which followed the demise of Doge Tommaso Mocenigo was one
of deep anxiety on the part of all the candidates for the Ducal
office, probably none of them felt the strain more heavily than
Messir Francesco Foscari and his spouse Madonna Marina. The fact of
the late Doge’s animadversions roused their ambition and fired their
determination to prove by fortune of election the erroneousness of his
strictures.

Ten times in as many days the votes of the Council of Forty were cast
without result, a clear majority of two-thirds was required for a
constitutional decision. Apparently a policy of exhaustion was followed
until only two candidates were left in the contest, Pietro Loredano and
Francesco Foscari, and the latter and his wife were very hopeful of the
result. Advocates of the rivals in the Council spoke long and bitterly:
Pietro Orso was for Pietro Loredano,--Bernardo Pisani and Paolo Corner
for Francesco Foscari. Bulgaro Vetterino also took part in the debate
and denied that Foscari was too poor for the position--as was alleged.
He stated that his client stood with his family for no fewer than one
hundred and fifty thousand gold ducats.

At length Francesco Foscari received twenty-eight votes out of
the forty-one, and Captain-General Badoer, who also supported his
candidature, made the usual announcement--“This is your Doge”--to the
huge body of citizens in the Piazza. At once a tumultuous response was
made “_Sia! Sia!_”--“Agreed! Agreed!” and the first contested
Dogal election Venice had known ended in general satisfaction.

Francesco Foscari was the youngest of the seven candidates for the
Ducal Throne, aged just fifty-one. He came of a notable family and his
forebears had rendered yeoman service to the Serene Republic. They
belonged to Maestre but migrated to Rivoalto in the ninth century:
the Foscarini were a branch of the same family. Equal in rank to the
Mocenighi, Vernieri, and Malipieri, who had given Doges to Venice, they
reckoned many warriors and statesmen in their generations.

The new Doge was born in 1373: his father was Messir Nicolo Foscari
and he had two brothers--Donato and Marco. It was said they were
in somewhat straitened circumstances and lived away from Venice to
economise. Francesco however threw himself into political controversy
and obtained several important posts under Government: in 1407 he was
named chief of the “Forty.”

When a very young man, in 1395, he married Donna Maria, daughter
of Messir Andrea Priuli dal Banco: she bore him several sons and
daughters, but she died somewhere about the year 1414. Very little
has been recorded of her but Palazzi, who refers to the famous pack
of playing-cards at the Museo Civico with effigies of the earliest
Dogaressas reads upon the “Knave of Clubs”:--“The first wife of
Francesco Foscari, Doge of Venice, who whilst she was assisting at
the Coronation of the Dogaressa (Agnese Cappello) narrowly escaped
a thunderbolt which fell from heaven, but heaven never hurts the
guiltless.”

Messir Francesco Foscari’s young family needed a second mother and he
another helpmeet, accordingly, in 1415, wedding-bells again rang in a
new bride at the Casa Foscari. Donna Marina was the eldest daughter of
Messir Bartolommeo Nani a member of a family in the same category as
the Foscari. She became the mother of four sons and five daughters, but
most mysteriously they all died of the plague in 1425 and 1427, except
the second boy--Giacomo.

When his election was completed the new Doge determined that
nothing should be wanting to prove his nobility and the financial
resources at his command. At the same time the Lords of the Council,
knowing their man perfectly, added three new conditions to the
_Promissione_:--1st. The Doge was required to fund all his private
property with a reserve of twenty thousand gold ducats invested in
silver plate; 2nd. Each of the State servants was to receive from the
Doge two livery-suits per annum; and 3rd. His effigy and that of the
Dogaressa were not to appear upon the new coinage.

Her Serenity Dogaressa Marina Nani-Foscari made her Entry into Venice
and went to her Coronation attended by the most imposing procession
ever marshalled for the purpose. Her supporters were the Marquises of
Mantua and Ferrara, and among her train-bearers were scions of the
noble houses of Padua, Vicenza, Treviso, and Friuli,--it was a regal
pageant. The new _Sala del Gran Consiglio_ within the Ducal
Palace, with all its wealth of painting, gilding, carving, tapestry
and mosaic in all its fresh and unsullied glory--“the most magnificent
room in Europe,”--was opened by the Dogaressa that she might be crowned
therein with the minor jewelled _Corno_.

All Sovereigns and States gazed at Venice with amazement--at the moment
the supreme power of the world, the most splendid court on earth,
and the shining example of peace, honour and prosperity. Her proud
neighbour Florence sought her help, and cap in hand, her ambassadors,
Palla negli Strozzi and Giovanni de’ Medici, knelt humbly before Doge
Foscari. The King of Poland craved from the Doge and Dogaressa the
honour of standing sponsors for his heir, and princes from all round
entered the city in State and were regally entertained. The private
apartments of their Serenities were crowded with splendid offerings,
and the Pope bestowed his Pontifical blessing.

A dark side there was however to this glorious panorama. Intercourse
with the East introduced the seeds of pestilence, and in 1424 and 1427
cholera raged in every part of fair Venice, sixteen thousand and twenty
thousand deaths respectively made huge gaps in every family circle.
The Doge and Dogaressa, indifferent of their own security, mixed
freely with the stricken sufferers, and, by their efforts, the first
pest-house in Europe was established upon Santa Marina di Nazaret.
These dark clouds rolled away at last, and Venice was once more all
smiles and blushes; but upon the domestic horizon of the Doge’s
family appeared an evil meteor, small at first but soon to burst in
overwhelming calamity.

The tragedy of Giacomo Foscari is as well known as any among all the
affecting stories of Venice. The only survivor of a promising young
family of fourteen children, Giacomo was the one and only domestic
joy of his bereaved parents. Upon him they lavished all their
affection, upon him they fastened all their hopes. Gentle and loving
in disposition and possessed of talent and ambition, the lad grew to
manhood petted and pampered, in the artificial environment of the
Ducal Court. Skilled in all the exercises of the _Giostra_ and
approved in all the elegancies of the _Compagnia della Calza_, the
Doge’s son was the most eligible of all the prospective bridegrooms in
Venice. He had not long to wait, nor far to look, for his bride. By
the _Promissione_ of his father he was certainly limited in his
choice to Venetian maidens but that was of course no bar sinister to
matrimony, for no damsels were more lovely, more lively than the young
_gentildonne_ of the Piazza.

Lucrezia Contarini was out and away the most beautiful girl in all the
gay city of Venice. Her family was one of the very first--“Apostolic,”
her physical charms were of the healthiest, her mental attainments
the most exalted: indeed Giacomo and Lucrezia were an ideal couple,
and nothing but distinction and prosperity were prophesied of their
auspicious union. Her father gave his daughter a goodly dowry of
sixteen thousand gold ducats and one thousand more as a loan, and he
also provided a sumptuous marriage feast. Five palaces still exist to
prove the influence and high condition of the family. Lucrezia’s home
was the Palazzo Contarini degli Scrigni,--or Money-chests,--upon the
Grand Canal, called so because of the big iron safes full of treasures
of all kinds it contained.

The marriage was celebrated on 29th January 1441, and the nuptial
ceremonies and festivities were the most gorgeous ever seen in opulent
Venice. Upon the morning of the auspicious day Cavaliere Eustachio
Balbi, Chief of the _Compagnia della Calza_ and Master of the
Ceremonies, with eighteen young nobles sumptuously attired and
splendidly mounted,--their horses were caparisoned in silver brocade
of Alexandria, the most costly known,--assembled at the Balbi Palace
as the nuptial escort of the bride. With all the pride on earth the
glittering cavalcade, having crossed the Grand Canal by a bridge of
boats, curvetted through the narrow _calli_ and deployed upon the
Piazza, round which they galloped furiously, on their way to salute
the Doge and Dogaressa awaiting them in the State balcony of the Ducal
Palace. Then retracing their caracoling steps amid showers of kisses
and laurel wreaths thrown to and from admiring maidens at every window,
they recrossed the Canal and drew rein before the Contarini Palace.

Fair Lucrezia, in her flashing bridal-dress of white silk and silver
tissue and wearing, among many precious jewels, a high golden comb
set with enormous pearls, awaited her escort at the portal of the
Palace. She was supported by her sponsors the Procurators of San Marco,
and attended by sixty young noblewomen garbed in cloth of gold and
costly lace, each with her golden casket full of white carnations, the
Contarini emblem, to scatter before the bride.

The lovely procession--a pageant of fair girls and comely
youths--moved in stately grace to the Church of San Barnaba hard by,
where already the Doge and Dogaressa had been received by the clergy
and escorted to their thrones. Giacomo Foscari, the bridegroom, with
his supporters,--men of his house and young nobles of the Council,--all
in superb costumes, stood before the altar. He and his bride, her hand
in his, knelt in the centre of the prostrate congregation whilst the
nuptial Mass was sung.

Venetian weddings were the most magnificent in Europe, for the
citizens’ nuptials were as splendid as Royal marriages. There was a
strange blending of Orient mysticism and romance with the Western
spirit of progress and reality. One very quaint custom was the visit
of the bridegroom-elect and his best men to the house of the bride,
upon the eve of the marriage morn. Every door was barred, every window
and jalousie closed, save one far up the wall. A crazy ladder, all too
short, was left at hand, scaling which, with a fall or two assured, the
venturesome youth attained the open window-sill. Inside the house every
door was shut, but, running down the stairs, the young fellow drew back
the bolts of the great door and admitted his friends. Then, every room
door flew open, and, headed by the father and mother of the girl, the
family and the guests entered the reception-room. Bearing in his hand
a leg of mutton the happy groom approached the father, and, offering
it to him, said:--“See, your Excellency, take this bit of dead meat in
exchange for a bit which is alive, namely your daughter.” The happy
couple then knelt and received the parental blessing: a banquet and a
dance followed in due order.

Whether Giacomo Foscari went through all these old-world and
traditional observances we know not, but, after the nuptial Mass, the
Doge and Dogaressa returned to the Ducal Palace where a noble banquet
was spread before the Lords of the Council, the foreign ambassadors,
and the nobles of the Court and City. Meanwhile the “_Bucintoro_”
was steered in front of the Contarini Palace,--with many attendant
boats, both great and small, all gaily decked with banners and wedding
favours,--to convey the bride and bridegroom to the presence of their
Serenities. One hundred and fifty damsels of noble birth, all in festal
white and richly jewelled, with as many stylish young companions of
_La Calza_, accompanied the happy couple. At the Piazzetta an
equal company of the beautiful and the brave was in attendance to
escort the water-pageant into the Ducal Palace, and there, at the head
of the Great Staircase, the Doge and Dogaressa, in robes of State and
surrounded by the great officers of the Court, gave an affectionate
and dignified greeting to their son and daughter. A grand ball was
given and a rich collation and the night was far spent before the
happy, weary guests found their link-lighted way to their brilliantly
illuminated gondolas, and so home and to bed.

Lucrezia Contarini-Foscari’s trousseau was superb:--A robe of cloth
of gold and crimson velvet, lined with squirrel, and a train of white
satin brocade two yards long; a robe of cloth of gold and peacock blue
satin, the deep sleeves lined with ermine; a robe of cloth of gold and
green brocade with open sleeves of fine lace; and a fourth robe
of cloth of gold and yellow damask lined with ermine:--the four cost
Messir Contarini two thousand gold ducats!

[Illustration: A MARRIAGE RECEPTION.

FROM AN ENGRAVING AFTER TEODORO BERNARDO.

NATIONAL LIBRARY, PARIS.]

Accompanying these were four magnificent jewels for the hair with high
combs--one of rubies, another of emeralds, a third of diamonds and
the fourth, a huge Balax ruby--the four were valued at three thousand
eight hundred gold ducats. Fortunate Lucrezia’s coffer of jewels also
contained a necklace of diamonds and pearls, which had belonged to the
unfortunate Queen of Cyprus, Caterina Conaro; a superb shoulder strap
of diamonds and pearls en suite, and a range of gem rings--four of
large rubies, worth two thousand gold ducats. The rest of the trousseau
would require pages to enumerate, anyhow the bride of Giacomo Foscari
entered the palace,--purchased by his father, the Doge in 1428 from
the Giustiniani for twenty thousand gold ducats,--with four immense
_cassoni_ full of valuables!

Everything about the young couple promised human happiness of the
highest and the best, and all went well with Giacomo and Lucrezia
Foscari until, in the very midst of their gaiety and fame, a crushing
calamity befell them with a suddenness and an awfulness unspeakable. In
1445 Giacomo was accused before the Council of Ten of receiving bribes,
not only from men in Venice who sought social and political gains, but
also from Duke Filippo Maria Visconti of Milan--the best hated and
most feared of all the foreign sovereigns. This situation was created
by the extravagance of the young couple, but surely every excuse was
admissible: he, the petted child of parents who denied him nothing,
and she, whose head was turned by her almost fabulously wealthy
marriage. They were in heavy debt and how to meet their liabilities
(they dared not consult their parents) was the question.

On the 15th of February, a _Zenta_ or Commission, appointed to
examine into the charges, and Giacomo showed at once the weakness
of his character and of his case by precipitate flight to Trieste.
His chief accuser was the very Pietro Loredano who had lost the
_dogado_ to Francesco Foscari and had sworn to be avenged for his
defeat. It was a stunning blow to the old Doge and Dogaressa but they
maintained their dignity with the highest fortitude in face of the
declaration of the _Zenta_:--“Considering the base, disgraceful,
and abominable, excesses committed by Giacomo Foscari, son of our Lord
the Doge, against the honour and dignity of our State and Government,
it is resolved that he be condemned to exile, and the confiscation of
his goods in default.”

In vain the broken-hearted Dogaressa pleaded for her son,--her
only living child, but stern duty was the master of those Venetian
councillors, of human sympathy they had little, and the Doge forced
himself to side with them against his boy,--an heroic figure,
externally impassive inwardly a wreck. Other charges were preferred
against the absent Giacomo,--murder or accessory thereto included.
He was brought back to Venice to be tortured into a confession of
crimes of which he was wholly innocent, and then banished for life
to Candia. He made a last and painful appeal to his father, but the
broken-hearted old man spoke firmly in the bitterness of his soul.
“Go,” said he, “my son, my dearly loved son, go, and obey the commands
of your country and seek nothing more.”

As a last favour, however, his mother the Dogaressa, and his wife,
Lucrezia with her two little children were allowed to bid him
farewell in the Torricelli prison within the Ducal Palace. Never
was there a more affecting scene; poor Giacomo’s mutilated body and
distorted features terrified them, and both mother and wife were borne
fainting away. The wretched man sailed away to his place of exile,
but he survived his arrival only a few short months. Death was a
friend-in-need, and yet he had not needed to die so young, if Pietro
Loredano had not again interfered to delay the free pardon granted in
1457.

This Loredano was a devil in disguise; he even protested that the
sobs and tears and lamentations of the afflicted Doge and Dogaressa
indicated imbecility and unfitness for office, and he urged upon the
“Ten” the risk they ran of his Serenity summoning the “Forty” and
haling them for their harshness and barbarity before the Greater
Council. In a panic they hastened to demand the abdication of the Doge.
The Dogaressa sought the detractor of her husband and appealed to
him for pity, but he pushed her away and scandalously accused her of
unfaithfulness as spouse and of treason as Dogaressa!

When acquainted with the decree of the “Ten” the grand old man bowed
his proud white head, and with dignity exclaimed:--“I never for a
moment thought that my old age would prove injurious to Venice but
I yield to the decision of the Council” and then with full meaning
he addressed to Pietro Loredano who had the effrontery to be one of
those to convey the sentence of deprivation, he added, “Your malice
has driven me from the eminence to which I have been raised and which
I have maintained unsullied for thirty years.” Loredano made no reply
but upon that day’s page in his _priorista_ or diary, he wrote in
a crabbed hand “_’L ’la pagati_,”--“He has paid his debt.”

On 24th October 1457 the brave and noble old Doge and the faithful
and virtuous Dogaressa Marina bade farewell to the Ducal Palace and
sought the seclusion of their own palace at San Pantaleone. “Now,” said
he, “we shall have peace in our old age if no joy.” A pension of two
thousand gold ducats was accorded to the ex-Doge. All this brutality
and haste was apparently kept from the knowledge of the people with
whom the Doge and Dogaressa were highly popular, but directly the
facts became known a revolution was threatened and matters became so
serious that the “Forty” decreed that no man should name “the affair of
Francesco Foscari under pain of instant death.”

Francesco Foscari was a “Grand” Doge with respect to the length and
distinction of his reign, and also with respect to the dignity with
which he met and bore his heavy trials. Still in his time Venice lost
her foreign possessions and her fame as the greatest of European naval
powers. Too much attention was given to trivial matters of domestic
policy and too little to the imperial demands of a strong navy and a
forceful foreign policy.

III

The long _dogado_ of Francesco Foscari,--thirty-four years, the most
extended of any in the whole range of the one hundred and twenty Chief
of Magistrates of Venice,--in a sort of way paralysed the life of the
Court and the action of the Government. Doge Francesco abdicated at
the advanced age of eighty-four, and his _entourage_ and that of the
Dogaressa had grown old as well:--she was seventy-two. Youth, beauty
and gaiety at home were at a discount and the maintenance of the naval
and military services abroad were inefficient and decadent. The times
were worn out, and what enthusiasm remained in the hearts of nobles and
citizens went out to other men and other measures.

The advent of Doge Pasquale Malipiero was hailed with a feeling of
relief and a spirit of hopefulness. He was a man of gentle disposition
and noted for the consideration and urbanity of his character. He
was most scrupulous not in any way to derogate from the high esteem
accorded to his predecessor, nor to wound the susceptibilities of the
Dogaressa.

Two days after his abdication Francesco Foscari died of a broken heart
and Doge Malipiero was the first to offer Dogaressa Marina sympathy and
assistance. The State decreed a public funeral but she emphatically
refused to surrender the dead body of her husband. “No,” she said,
“posthumous honours are a mockery after official injustice; I will bury
my dead how and where I like.” Her strong and unforgiving attitude is
recorded by the pack of Playing-Cards, so often referred to in this
volume, upon the “Eight of Swords”:--“Nani, the second wife of Doge
Foscari, determined to vindicate the fair fame of her husband, by
burying him at her own expense and not at that of the State. Nothing is
more fierce than offended innocence.”

The Council of Ten expostulated with her and declared that, if she
refused the order of burial, her husband’s corpse would be taken away
by force. It was perfectly well understood however that this peremptory
action was influenced by abject fear of the consequences to the Lordly
Councillors should full State funeral rites not be accorded to the
remains of the beloved old Doge.

At length the Dogaressa yielded reluctantly but positively declined
to follow the usual custom and appear as chief mourner. A pompous
procession bore from the Foscari Palace to the “_Bucintoro_” the
dead ruler’s earthly casket which was steered through kneeling weeping
crowds afloat and on _rive_ to the Piazzetta and thence into the
choir of San Marco. The great bell of the basilica,--which had scarcely
ceased its clear, crisp emphatic clang announcing the succession of
the new Doge,--gave forth slow and muffled tones. In the middle of the
Piazza a halt was called and Messir Bernardo Giustiniani, the oldest
noble, holding aloft the sword of the deceased Doge pronounced a
funeral oration.

Upon the bier rested the jewelled _Corno_ and the Ducal State robes
which Pasquale Malipiero had so sympathetically laid aside whilst he
walked bare-headed immediately behind, clad in the purple of a simple
Lord of the Council. After the _Requiem_ the procession re-formed, and,
with the casket under its pall of cloth of gold placed under the Ducal
canopy, the “_Bucintoro_” carried all that remained of Doge Francesco
Foscari in stately silence to his last resting-place before the High
Altar of the Church of Santa Maria Gloriosa de’ Frari.

The following day the new Doge re-assumed the regalia of his office
and helped to prepare his Consort for her State Entry and Coronation.
In 1414 he had married the woman he loved,--Donna Giovanna,--daughter
of Messir Antonio Dandolo, above himself in station, for the Malipieri
were of an inferior grade of nobility to the “Apostolic” Dandoli.
26th January, 1457–1458, was the auspicious day chosen for the
Dogaressa’s ceremonial. The funereal cloths which had swathed the
“_Bucintoro_” were rent away and banners,--blazoned in gold and
colours,--and great swaying garlands of greenery transformed the
noble vessel into a gorgeous Argosy which, with the Dogaressa and her
attendant ladies and many maids of honour on board, swept gracefully
down the Grand Canal.

The ritual of the inauguration rites was similar to that arranged for
the Dogaressa Marina Galina-Steno, but the new First Lady of Venice
managed to project quite a personal feature into the proceedings.
As the patroness in particular of the printing-press and of the
lace-cushion and of the respective craftsmen and craftswomen these two
guilds were specially honoured. Palazzi, in “_La Virtu in Giuocco_”
records that Dogaressa Giovanna was “a princess of splendid physical
and mental gifts but possessed of no private fortune” ... in 1469
Giovanni Spira dedicated to her the first book ever printed in
Venice--“_Epistolæ ad Familiares_” of Cicero.

In that quaint pack of Playing-cards at the Museo Civico, the “Knight
(King) of Swords” bears an eulogy of Dogaressa Giovanna with a
wood-cut of a printing-office, and the following inscription:--“The
Art of Printing was introduced in Venice by the Dogaressa
Dandolo-Malipiero--the Press has made the name Dandolo immortal.”

This is perhaps a piece of special pleading but, inasmuch as Dogaressa
Giovanna Dandolo-Malipiero was a woman of culture and the friend of
men of letters, her patronage of the earliest printers undoubtedly
gave the premier place to Venice in the history of printing. Missals,
Service-books and other books, used in the churches, were printed from
wooden blocks as early as 1441 by unknown craftsmen. With Giovanni
da Spira (of Speyer) came to Venice his brother Wendelin, and they
were joined by a French engraver of coins,--Nicolo Jenson of Tours,
who turned his attention to cutting wooden letters and making wooden
blocks. Their family of pupils and followers, between 1470–1500,
numbered no fewer than one hundred and fifty-five printers of note.
Of early books printed in Venice, four were produced in 1469,--all
with grateful allusions to the Dogaressa,--sixteen in 1479, and
ninety-eight in 1489:--they were chiefly Classics, Bibles, and Morals.
In 1480 appeared the first illustrated book the world had seen in print
“_Hypnerotomachia_”--“The Dream of Love.” Venice thenceforward
became and, remained for two hundred years, the greatest of all centres
for books, printers, and publishers.

As the patroness of Venetian lace-workers Dogaressa Giovanna
Dandolo-Malipiero made for herself unquestionable renown. She knew,
of course, by heart the fascinating story of Bella di Giovan d’Isola
di San Giorgio in Alga, and probably she was herself a skilful artist
in the exquisite craft. Burano was the earliest metropolis of the
_Merletti a Piombini_--the offspring of fine thread and beaded
bobbins,--and the “_Buranelle_,” or lace girls of Burano were
as famous then as now for their manipulative talent. The gracious
Dogaressa gathered around her a number of young gentlewomen and
encouraged them to twist and knot the delicate threads. Perhaps they
called to mind the tradition of the heroines of Aquileia, for the early
Burano lace is as fine and as strong as the interlaced locks of hair,
which made such stout hawsers for the catapults in that famous siege.

Just as the bewitching Bella was inspired to imitate a beautiful
piece of coral seaweed so the clever lace-workers of Burano went to
Nature for their models. Already, in the fourteenth century, they
had noted the swirling whirlpools of the gondolier’s pole and the
rippling eddies of the tide on the steps of the _rivi_; and had
observed the rolling clouds above their heads and the distant indented
Dolomites beyond the Lagune; and had produced their _opus araneum_ or
_punto-in-aria_,--openwork. Then followed quite naturally, imitations
of moving objects around them--the sailors, the cordage, and the nets
of fishing vessels, with bits of flotsam and jetsam, shells, seaweed
and fish scales, evolving _punto-a-reticelli_,--network.

Very easily foliage and flowers of Venetian gardens prompted lace
ideas; hence we have _punto-a-folgiami_,--spraywork. Next, fish
in ships’ holds or in crystal bowls, birds on wing and insects,
appeared in twisted thread as _punto-a-groppo_,--raised work; and
fabled animals, domestic pets, and arabesques formed another range of
subjects,--_punto-a-maglia_,--figure work. Effigies in Church, people
on Piazza, faces on the Rialto, and many other human models came out
of leaded bobbins as _punto-a-quadra_ and _punto-a-burato_,--portrait
work, and so forth.

Dogaressa Giovanna must have been a woman of marked erudition and
consummate taste to combine two such dissimilar avocations as printing
and lace-making in her heart’s interest. Her patronage of Burano and
its craft directly interested the votaries of fashion everywhere, and
the women of all lands should ever hold her in high estimation. Burano
became the mother of Honiton, of Valenciennes and Alençon, of Mechlin
and Brussels, and the delicate meshes of her lace-work have enriched
woman’s realm with the most decorative attribute it possesses.

Doge Pasquale Malipiero died in 1462 and was buried in the great
church of SS. Giovanni e Paolo, in the left aisle, where his
Florentine sarcophagus may still be seen. With him was laid all that
remained of noble Dogaressa Giovanna, but the date of her death is
not recorded--“Giovanna, the Queen of Lace, the Empress of Printing.”
In the Museo Civico is a medal which has, on the obverse, the bust
of Doge Malipiero, and on the reverse that of Dogaressa Giovanna,
with the legend:--“_Inclite Johanne ... Alme ... Urbis ... Venatiar
... Ducise_.” She wears the _Corno_ with an ample coif or veil which
hides somewhat the marks of age: the face is thin, the cheeks hollow,
the forehead high, and the eyes somewhat sunken. The medal is very
delicately chiselled and is said to have been the work of Pietro
Guidizzaro,--a noted medallist of the fifteenth century. In the
Berlin Museum is another medal with a similarly incised portrait of
Dogaressa Giovanna, but in place of that of the Doge, her husband, are
represented two beauteous Venetian maidens,--representing “Printing”
and “Lace-making,”--with the legend:--“_Vincit ... Honia ... Bona ...
Volontas_.”

Cristoforo Moro and his Consort Cristina Sanudo mounted the Dogal
throne in 1462. He was an ill-conditioned sort of man, very
parsimonious but in a way very devout, and as we say now, an advocate
of “peace at any price.” His personal appearance was hardly in his
favour,--for he was short of stature, very stout, and his features were
marred by a decided squint. The Mori belonged to the least honourable
grade of nobility, having purchased their title after the war in Candia
for one hundred thousand gold ducats. They also bought the Palazzo
Lin, the property of an extinct Venetian family upon the Grand Canal,
and henceforth gave themselves all the airs and graces of hereditary
nobles. Their good conceit of themselves was quite effective and quite
in the order of Venetian social convention.

The Dogaressa Cristina was the daughter of Messir Lionardo Sanudo
and Madonna Barbara Memo his wife; her marriage was celebrated in
1412. Once more the Venetians had the spectacle of a patriarchal
couple installed in the Ducal Palace. Notwithstanding her age the new
Dogaressa went through all the ceremonies of her Entry and Coronation
with dignity and charm. “She was a woman,” Marino Sanudo, her nephew
the historian says, “of a remarkably gentle disposition and held in
reverence for her works of charity.”

Palazzi wrote of her in his “_Fasti Ducales_” that “she was an
example to other gentlewomen in her care of the poor.” Upon the “Knave
of Swords” in the pack of Cards at the Museo Civico is the following
inscription:--“Sanuta, wife of Cristoforo Moro, Doge of Venice, raised
her voice to Heaven only for the good of the people, the gift of
Heaven, and the Seal of justice.”

A few notable events occurred during the reign of Doge Cristoforo
Moro. His _Promissione_, like its forerunners, cut down the Ducal
prerogatives and also severed the last strand of the coil which feebly
held the rights of the people. The title of the Republic passed from
“_Comune Venetiarum_” to “_Dominium_, or _Signoria Venetiarum_.”
War with Friuli broke out afresh and the Doge shrank from the
responsibilities of leadership until twitted by _Condottiere_ Vettor
Cappello:--“Have,” said he, “my lord less care for thy skin and more
for thine honour!” The Venetians had gradually lapsed into a state of
false security: their fame on land and sea made them confident that
Venetian supremacy was assured. No new battleships were laid down and
the manning and armament of the fleet were neglected until, in 1469,
the “Mistress of the Seas” received a stunning awakening--the Turks
wrested from her for ever her superiority afloat.

In the world of craft and fashion Dogaressa Cristina was the
recognised patroness and leader, but skill and beauty yielded to
cheapness and frivolity. She set her face against the introduction
of foreign-made goods and insisted upon the craftsmen improving both
the materials and the manner of their industries. The Church, in the
person of Frate Mauro Lapi, of the Frari monastery, appealed to her
to redress the effeminacy of young courtiers in the wearing of long
hair--“_capiliaturas nimis longas al faciunt mulieres_.”

Both the Doge and Dogaressa were much occupied in arranging and
furnishing the newly completed private apartments in the Ducal Palace.
Whilst superintending this undertaking, and assigning positions for
the almost numberless “Spoils of Venice,” taken by her Doges, after
their victories afloat and ashore, Dogaressa Cristina was called upon
in 1471, to resign her lifelong partner and to go into retirement. Year
after year spent its slow course and at last no one remembered the
gracious _Signora_ when, in 1533, Martino Sanudo came to make his will.
“I bequeath” he wrote, “to the Church of Messir San Sebastiano a very
venerable relic--a bone of the Saint which belonged to my Aunt Sanuta
Moro, and which she had religiously preserved by way of a charm against
the plague.” This sacred benefaction demonstrated the piety of the old
Dogaressa, as, by her will, executed in January 1471, she proved her
charity.

To the clergy of the monastery of San Giobbe Dogaressa Cristina
assigned a goodly benefaction to provide Masses for the repose of
her own soul, her husband’s--the Doge and her father’s, mother’s, and
her brothers’. The building of this church was due to the Doge and
Dogaressa: in the choir is his tomb bearing the sculptured recognisance
of his family--the _Moro_--mulberry, and over the door of the
Sacristy is his portrait. Perhaps the natural modesty of the Dogaressa
forbade hers, as a pendant, but her patron Saint San Bernardino da
Siena stands as a statuette along with Sant’ Antonio da Padua and San
Giobbe--the patrons of the Doge.

Doge Nicolo Tron (1471–1473) was a very different sort of man from
his predecessor, both in appearance and in character. Tall and
extremely handsome, an athlete in form and practice, he had however
two unpleasing idiosyncrasies--a repulsive expression and a stuttering
tongue. He was not a man of good family, but what he lacked in heredity
he more than made up in wealth. When a young man he settled in
Rhodes,--a land of gold in that day--and acquired by his industry and
profitable speculations an immense fortune,--said to be at least one
hundred thousand gold ducats.

In 1424 he married Aliodea, daughter of Messir Silvestro Morosini of
the _sestiere_ of Santa Giustina, a significant union of rank and money
and a new phase in Venetian matters matrimonial. Ambitious to prove to
his fellow-citizens and the proud nobles his worthiness and opulence
the new Doge departed from the ordinary festive arrangements of the
_Fragilie_, and himself spread the banquet for them in honour of his
Consort. Every attribute of dignity, every emblem of sovereignty, and
every decorative feature of the installation ceremonies, were mounted
upon a magnificent scale. The robes of State were the richest ever worn
by Doge and Dogaressa, and right nobly, we may be sure, the Serene
couple bore themselves. If he was handsome she was beautiful--all the
Morosinis were--a trait which never failed in that splendid family.

The Palazzo Tron, on the Grand Canal, was most extravagantly furnished,
the decoration of one room alone with marble, sculptures, carved wood,
gilding, and rare glass cost more than two thousand gold ducats.

Aliodea Morosini-Tron was the most attractive, and the best dressed
gentlewoman in Venice. Palazzi goes into ecstasies over her
fascinations, and he makes delightful play with her popular name “Dea.”
“Dea” he says, “corresponds with ‘love’ and ‘beauty’ and such were the
characteristics of the Princess who was truly and indeed the ‘Venus
of the Century.’” Once more the old pack of Playing-cards sets forth
the Dogaressas virtues:--The “Knave of Coins” (Diamonds) has:--“Dea
Morosini, wife of Nicolo Tron, Doge of Venice, a most religious
Princess, her humility caused her to choose a private burial--_Dea
se a Dio_.” She gave her husband two children, both boys, the
elder Giacomo became Procurator of San Marco, and the younger,--a
soldier,--fell at the terrible battle of Negroponte.

Doge Tron died in 1473 and was buried in the church of Santa Maria
Gloriosa de’ Frari under a huge monument by the High Altar. He was the
last Doge of Venice whose effigy was stamped upon the coinage of the
Republic. His was a very prosperous _dogado_, and the decline of
Venice was for a brief space stayed. Victories in the East led to the
acquisition of Smyrna, and the littoral of Asia Minor. Cyprus too came
under the banner of San Marco.

Of Dogaressa “Dea’s” good works and influences we seem to have
no records, save what her epitaph recites upon her simple last
resting-place at San Giobbe:--“_Deæ rariss. mulieris illustriss. Dom
Nicolai Throni inclyti Ducis Venetiarum, Conjugis, humili hoc in loco
Corpus jussu tuo conditum est, animan vero ejus propter vitæ virtutum
et morum sanctitatem ad cœlestem patriam advolasse credemdum est._
Ann. Salutis MCCCCLXXVIII.” She survived her husband just five years
and probably kept her cell in the fervour of devotion at the convent of
San Giobbe, far, far away from the madding crowd.

[Illustration: COURTESAN AT HER TOILET.

FROM A PRINT. 1560.

“Habiti d’Huomini e Donne.”--G. Franco.]

[Illustration: A CHARMING COIFFURE.

(The hair falls full at the back).

FROM A PRINT. 1610.

“Habiti Delle Donne.”--G. Franco.]

There is an apocryphal story affecting Doge Nicolo Tron namely that
he was twice married, first to Donna Laura Nogarola, daughter of
Messir Lionardo Nogarola of Verona, and sister of the celebrated
Isotta,--famed as a writer of interesting letters and as a profound
classical scholar. Madonna Laura herself was conspicuous for her
beauty of person, her devout disposition, her charm of manner, and her
erudition. It is a moot point with historians whether Messir Nicolo
Tron divorced the illustrious Laura before he married the divine Dea,
or whether after all the former fair gentlewoman was not the wife of
Messir Cristoforo Pellegrino Ambassador from Verona to Venice during
the _dogado_ of Doge Nicolo Tron. A third supposition refers to
the handsome and wealthy Doge’s adventures in the regions of Platonic
affection, but of this only surmise is possible--facts are wanting, and
here comes romance!

CHAPTER VI

The Gardens of Venice!

--“_Veri paradisi terrestri, per la vaghezza dell’aiere e del sito
lioghi di ninfe e di semedei!_”--in an ecstasy of delight wrote Andrea
Calmo, in one of his characteristic “_Lettere_.” He was not the first
by any means who had felt the gentle influence of those earthly bits of
Paradise, for an observant monk, Frate Felice Faber, of Ulm, goes into
raptures, in his “_Evagatorium Terræ Sanctæ_,” over the roof-gardens
he beheld in 1457, as he passed through Venice on his pilgrimage to
the Holy Sepulchre. “Full of aromatic trees and perfumed blossoms,” he
wrote, “nothing can be more wonderful, nothing more delicious.”

From the very first foundations of the _campi_ and _fondamenti_ gardens
had been the chief home-joy of all the dwellers in the lagunes; a
sweet-smelling flowering-plant was as acceptable to them as a piece
of bread and cheese. Spread over all the _sestieri_, chequer-like,
they added immeasurably to the amenities of the city. Time had grown
the sapling into a shady tree, the sprig into a blossoming bush. Upon
the Giudecca, gardens,--“_delicati e rari_,” belonged to the Bandoli,
Conari, Barbari, Gradenighi, Mocenighi, Vendramini, and Gritti. At
Villa Catteneo was the loveliest of them, all built up with rockeries,
splashed by fountains, and running over with roses, lilies and
carnations.

At Murano were the most famous of all Venetian gardens. Sixteen
sumptuous Villa-Palaces sprang up like magic upon that sandy sea-shore,
and, still more wonderful, the magician’s wand brought forth from
alluvial sea-wash, hanging gardens and terraced orchards fairer far
than ever were those of Babylon.

Afternoon and evening, fleets of gondolas cut through the murky water,
full of visitors bent on pleasure, or to view the splendid frescoes at
Villa Mocenigo and the glorious statuary at Villa Trevisan.

Every islet had its garden-patch, every family spent half at least
of each day’s playing-hours _al fresco_: everybody was wise in
Nature’s laws, and inspired romance and poetry amid the lights and
shadows of the greenery, in the music and the measure of the rustling
leaves, and from the delicious air perfumed by fragrant blossoms.

To realise something of what those _villa_ and _casa_ gardens were
like, one must traverse sea and land to bonny Baveno, and there tell
the affable boatman to steer his course to “_Il Palazzo_.” There,
resting upon the azurine-green bosom of beauteous Lago Maggiore, is a
palace like unto a jewelled crown, a garden like fabled Eden, all built
and laid out, doubtless, by garden artists from Venice and Murano. Upon
that delectable spot are gathered all the loveliest things of Nature’s
second kingdom;--so it was at Murano what time Pietro Bembo walked and
thought and talked, leading the muses of the grove and the mermaids of
the shore in mystic dance and song.

“The strange flowers’ perfume turns to singing,
Heard afar, o’er brightest moonlit seas
The Syrens’ song, grown faint in ringing,
Falls in sweet odours on dancing trees.”

Alas, where men of letters and women of fashion once forgathered in
sumptuary and sympathetic symposia are wanton weeds and raw rank grass,
with patches of unpoetic potato and uncultured cabbage. Rag-pickers
and goat-herds hold unclean orgies where peach and cherry trees were
wont to scatter scented painted petals upon the heads and breasts of
those that discoursed philosophy and whispered love. “True love,”
as the Poet-Laureate declared, “that seeks not only perfect beauty
but god-like also:” expressing thus, in Venetian terms, the Greek of
Plato,--“The desire to possess in one perfect union the beloved being
and the lovely soul.” To kiss the hand and not the lips was the theory
of those romancists--the reddest features of the human frame, the
danger-signal of the soul, and so they grimaced and so they postured
under overhanging boughs of acacia and catalpa. In his “_Asolani_”
Bembo sang:--

“_Vita giojosa e cara
Chi da te non l’impara Amor non ave._”

The children of Murano now offer visitors humble nosegays of sea-pinks
and flowering flags, but in the springtide of Venetian poetry and
literature, the orchards were carpeted with hyacinths and anemones,
violets and scented stocks. The terraces and borders yielded light
begonias, banksia roses,--red and yellow,--and carnations of
many hues, all as brilliant as the painted faces and the tinted
bosoms of the beauties, who clasped them from the hands of their
_innamorati_, to place upon their bare and ample breasts.

Bushes of daphne ordorifica and many another aromatic exotic attracted
swarms of luminous butterflies, linnets sang in the laurels, and in
the myrtle, nightingales; but the strings of guitars and the keys
of flutes, vibrated by the gallants of _La Calza_, yielded sweeter
music far. Pergolas were laden with golden grapes and purple, quinces
struggled with pomegranates to delight sight, smell, and taste. Figs
vied with oranges, melons with pines in fullness and in flavour.
Solomon’s gardens poured out no more richly seductive treasures.
Shadows were cast only by solemn cypress and rocking hollyhocks, but
through them flashed saffron bees laden with pelf from honeysuckle,
musk, and lavender.

Men and women, with gay peacocks on the lawn, preened themselves in
gorgeous costumes, conversed in arboreal arbours of all things high
and low, tossed salutations where the spray of fountains cast rainbows
in the scented air, and sang, and danced, and flirted to their hearts’
content. Not that the gardens of Venice were given up wholly to love
and romance, for many a venerable Doge and Dogaressa presided at
feasts of reason, and received the reverences of men of letters and of
women of culture, who have left their finger-prints upon the pages of
literature.

If Pietro Bembo was the Poet-Laureate and the leader of the
literary revels, as great as he, were Aldo Manuzio and Andrea
Navagero,--court-printer and courtier-poet. Then Francesco
Colonna,--lover of “_La Polia_” and Roman king of pageants,--shared
with Ermolao Barbaro,--the humorist and the satirist,--passionate
love of Venice. Lodovico Ariosto and Pietro Aretino,--empirics and
critics both,--made love also to the Venus of the Lagunes, in the
new Bohemia of the island gardens. All the poets sang of “_Venus
Physizone_,”--“Venus the Fruitful,”--Venice sweetheart and wife.
Benozzo Gozzoli, the Florentine, painted, in the Campo Santo at Pisa,
the song and dance of Venice--the _Rispetti_ and _Ballate_,--love
ditties of youth, and the _Frottole_ and _Madrigali_--murmurings of
adult romance,--movements in life-tragedies.

Music, step, and cadence, traditional and patriotic, were the
actualities of lagune life in the open: for stage, the garden-plot, the
well-head, the gondola-herse, and the open _campi_. Refrains, piped
and warbled, in _calli_ and _rive_, and, graceful and heavy measures
stepped there, were carried off to sea in the galleys of commerce and
of war. Sympathetic language is everything, in expressive popularity,
and, if cultured Venetians used Latin and Tuscan in lecture and
conversation, no tongue of any time was so rich in scenes of caressing
endearment as the common-talk of Venice, no dialect was anything like
so soft, sensuous, and melodious.

Historians, great and small,--Martino Sanudo and Marcantonio Coccio and
many another--forgathered in the gardens, and wrote delightful records
of fascinating and learned women, as well as of bewitching butterflies
of fashion. Cristina Pisano, in the fourteenth century, “Mother of
women writers,” and Cassandra Fedele, in the fifteenth,--“_Decus
Italia_,” Angello Poliziano, the Medicean, called her,--were leaders
in the great Venetian pageant of the Graces and the Liberal Arts.
Moderata Fonte sang sympathetically the glory on Venetian womanhood:--

“_S’ornano il ciel le stelle
Ornan le donne il mondo
Con quanto e in lui di bello e di giocondo._”

There were lovely gardens also at Friuli, Asolo, and all along the
Brenta, where Venetians,--fair and brave, wise and dignified--held
revels and communings, masked balls and stately receptions.

If you would see and know the _Messiri_ and the _belle Donne_
of Venice, in the fifteenth and sixteenth centuries, you will find them
resting or disporting themselves in their villas and their gardens.
There, arrayed in his official crimson velvet robe of semi-State,--you
will make your reverence to his Serenity the Doge, and, at his side you
will bend your knee to kiss a gracious Dogaressa’s hand. She has not
to bear the weight of her stiff State robe of cloth of gold; she is
in crimson silk, and her fair hair, hardly showing streaks of white,
is covered with a becoming veil of lace, fixed with great gold and
jewelled pins. They are the most affable and most approachable noble
couple in all history, and the younger people are all the gayer for
their presence, strangers are completely at their ease, noble Lords of
the Council, dignified matrons, the cultured, the artistic, and the
seriously-minded, find pleasure and distinction in their company.

* * * * *

By electing Nicolo Marcello, in succession to Doge Nicolo Tron, in
1473, the Lords of the Council returned to their traditional usage. He
was a member of one of the eight considerable families before 1289,
ranking third in the premier grade of the nobility immediately after
the “Apostolic” and “Evangelistic” families. He had, however, in the
eyes of the very select, lowered himself by his marriage in 1427, with
Donna Bianca Elena, daughter of Messir Francesco Barbarigo, Procurator
of San Marco, a distinguished member of a family rising rapidly in
wealth and influence, but only ennobled, with nineteen other families,
after the Genoese war of Chioggia. Madonna Bianca died, probably of
plague, two years later, and then Messir Marcello again entered the
estate of matrimony with Madonna Contarina, widow of Messir Francesco
Morosini. She was a Contarini, a daughter of one of the most exalted
and wealthiest families on the Roll of Nobles.

Very little is recorded of either the Doge or Dogaressa, for their
reign was the shortest of any in the line of Doges of Venice,--less
than a twelvemonth. There is a very ambiguous notice in “_La Storia
di Venezia_,” a manuscript history in the Museo Civico, which states
that:--“Messir Nicolo Marcello, aged seventy-six, would not allow the
Dogaressa, his Consort, to enter the Palace.” This of course refers to
the usual solemn Entry and Coronation, but the why and wherefore are
not stated, and no amount of surmise will explain the matter.

[Illustration: A VILLA-GARDEN DANCE ON THE GIUDECCA.

FROM AN ENGRAVING. 1562.

MUSEO CIVICO, VENICE.]

“This Doge,” the manuscript goes on to say, “was a very pompous
sort of man, and he caused the regalia of his office,--including
the State umbrella and cushion, which had hitherto been both of
crimson velvet,--to be made entirely of gold and cloth of gold. He
had a _Corno_ entirely of gold and jewels, like the crown of an
independent Sovereign, and he added, to the State robe of cloth of
gold, a costly tippet of ermine, fastened down the front with solid
gold clasps and buttons.” His ordinary dress was scarlet, but at State
functions and in Council he wore white or cloth of silver under the
State robes.

In his will, executed on 24th July 1473, the Doge made some recompense
to his spouse for the denial of dignity. “To my dearly-loved Consort,”
he deposed, “I leave eighteen hundred gold ducats (her dowry) together
with two thousand gold ducats. I also bequeath to her the contents
of my wardrobe, and assign to her, for use during her lifetime, my
_Casa_, on the Campo di Santa Marina, together with all my
equipages, horses, furniture, tapestries, and everything necessary for
her honourable maintenance as my widow.” Doge Marcello died in January
1473–1474, and was buried in the ancient, but no longer existent,
church of Santa Marina. His monument is now in SS. Giovanni e Paolo,
whither it was removed along with that of Doge Michele Steno. The death
and burial of Dogaressa Contarina Morosini-Marcello are unrecorded.

The _dogado_ of Pietro Mocenigo (1474–1476), was almost as brief
as that of his predecessor. He was a veteran leader of the armies of
the Republic, fighting for years against the forces of the Turks. His
monument in SS. Giovanni e Paolo bears the epitaph:--“_Ex Hostium
Manubis_,” in recognition of his invaluable services. In life he
was something of an old-man-in-a-hurry, for his energy was unbounded
and his love of Venice enthusiastic. The Dogaressa was Donna Laura,
daughter of Messir Giovanni Zorzi. We look in vain for records of
his reign and notices of her virtues: all we have is a clause in his
_Promissione_, which granted to her and her family, in the event
of his predemise, the use of the private apartments in the Ducal Palace
for three months after his death--“so as to avoid unseemly haste.”

Fresh sumptuary laws were passed affecting dress and fashions under
Dogaressa Laura: she herself, as were all the Dogaressas, was
expressly excluded along with her _Dozete_ or daughters, from
their operation. In 1474 long trains were forbidden, but quite easily
this was disregarded for some inventive mind or other,--a stylish
craftswoman doubtless,--created a new thing of beauty, which became a
joy to train wearers, a jewelled gold bangle, through which the corner
of the offending garment was caught up when occasion demanded!

Lionardo Bota, the Milanese ambassador to Venice in 1476, put on record
that the _gentildonne_ of Venice had reached such a lavish style
of dressing that he “could not conceive how their costumes could ever
be more gorgeous: many ladies boasted that several of them cost more
than five thousand ducats apiece!” A decree of the _Tribunale delle
Pompe_ was issued to check and moderate the excessive expenditure.
Costly gold and pearl embroideries were forbidden together with
point-lace with gold and silver thread, and gold tassels with drops of
precious stones. Belts and charms were ordered to be less jewelled and
less massive.

Andrea Vendramin and Regina Gradenigo were acclaimed as Doge and
Dogaressa of Venice in 1476. He belonged to a family ennobled after
the Chioggian War and accounted among the wealthiest. Messir Vendramin
appears to have made his fortune in the commercial pursuits of his
family, and, settling for some years in the Greek island of Rhodes,
as a purveyor and provision merchant amassed a fortune of no less
than one hundred and sixty thousand gold ducats. Tradesman, or no, he
was a man of rare artistic tastes and a keen antiquarian. Upon the
dispersal of the collections of Doge Marino Falier his grandfather
purchased everything of special value and interest, and through his
father, Messir Andrea inherited the treasure, to which he added very
considerably. The Catalogue of the Vendramin Museum and Gallery filled
sixteen portly volumes.

The Dogaressa was a daughter of Messir Andrea Gradenigo of an
“Apostolic” family, and much the superior of her husband in rank: she
married the future Doge in 1426. Six daughters were born to the noble
couple, for each of whom their father apportioned the very goodly dowry
of seven thousand gold ducats, but upon one condition that he should
choose their husbands! As a young man Andrea Vendramin was said to have
been one of the handsomest and most courtly gentlemen of the city.

Dogaressa Regina made her solemn Entry with all the pomp and
circumstance customary for that event,--but she was not crowned.
This was the first step in the declension of the splendour and
quasi-sovereignty of the First Lady of Venice. Gradually the Dogaressa
had been accorded, and had assumed dignity upon dignity: henceforward
she was as gradually to lose her distinctions.

The _dogado_ of Andrea Vendramin synchronised with the most
disastrous period in Venetian history. “He died,” wrote Ruskin in his
“_Stones of Venice_,” “leaving Venice disgraced by sea and land,
with the smoke of hostile devastation rising in the blue mists beyond
Friuli.” His death in 1478, was due to pestilence, which followed the
ravages of the Turks, carried to the shores of the lagunes, “from the
Orient by the ships of the new Mistress of the Seas, the supplanter
of the Supremacy of the Queen of the Adriatic.” He was buried in the
now ruined Church of Gli Servi, but during the nineteenth century his
monument was removed, with many others, to the Venetian Pantheon of SS.
Giovanni e Paolo.

Dogaressa Regina survived her Consort many years, but of her end we
have no account. There is, in the Museo Civico, a curious picture,
apparently commemorative of her Solemn Entry, with the following
inscription:--“_Regina Gradenigo Andreæ Vendram, Veni, Princeps,
Uxor, Senioribus ac Propinquis comitata ingenti populi plausa Regiam
Aulam ingreditur MCCCCLXXVI._”

Giovanni and Taddea Mocenigo assumed the _Corno_ in 1478. He was a
younger brother of Doge Pietro Mocenigo, the third member of his
family within the century to mount the Ducal throne--a circumstance
only paralleled by the Dandoli since the far-off days of the
Particepazi, Candiani, Orseoli, and Michieli. The Dogaressa was a
daughter of Messir Giovanni Michielo and vindicated in her person
the assertion often made, that “succession through the female line
is always more certain than through the male,”--the last Michielo
Doge,--Vitale II.--died in 1172.

In the February of the year of their accession the Sultan of
Constantinople sent an embassy to Venice seeking terms of amity and
reciprocity and bearing costly gifts to their Serenities, and also
many presents for the principal nobles. Among the offerings was a
magnificent Oriental carpet,--the like of which the Venetians had
never beheld,--a number of handsome jewels for the Dogaressa, and a
weird collection of new animals. Both the Doge and his Consort had
a hobby for wild animals and greatly added to the number of such
creatures in the Venetian Zoological Gardens--now the _Giardino
Reale_--established in 1310 under the _dogado_ of Pietro
Gradenigo.

The arrival of these beasts, among them a giraffe,--hitherto an unknown
animal save in fiction,--caused wild excitement in Venice, and, like
its brother in Florence, it was the recipient of caresses by the nuns
in the convents to whom it was exhibited. Unfortunately, the whole
collection perished in a calamitous fire which burnt out, not only the
beasts’ dens, but also ravaged the private apartments of the Doge and
Dogaressa, and destroyed the whole sequence of portraits of former
Doges, besides many priceless art treasures.

Unhappily Dogaressa Taddea, herself, perished in October of the
year of her Coronation,--a victim, with many of the gentlewomen of
her Court,--of the terrible scourge of the Black Death. Her funeral
obsequies were conducted upon the most lavish scale,--quite the most
sumptuous of any public funeral in Venetian history. The ceremonial
was identical with that observed at the burial of a Doge, but far more
impressive by reason of universal mourning--a “Mother of Israel” was
borne through a sea of human tears to her last resting-place. After the
operation of embalming, her body was first exposed in State within the
_Sala de’ Pioveghi_, within the Ducal Palace, thence it was escorted
to the no longer existent parish church of San Geminiano, in order
that the poorer people might the more easily view the remains of their
benefactress. Arrayed in her Coronation robes, with the smaller Ducal
_Corno_ on her head, and the face covered with a delicate lace veil of
Burano, she was watched by a succession of nuns from San Zaccaria and
of _Pinzocchere_, or noble recluses, in the exercise of their functions
as State mourners.

The place of ultimate sepulture was the grand church of SS. Giovanni
e Paolo. The _cortège_ was accompanied by the clergy of the City
churches, members of the various monastic Orders, the chapters and
officials of San Marco and San Pietro di Castello, the five _Scuole
de’ Battudi_, the three _Ordini delle Pinzocchere_, the Lords of the
Council, the foreign ambassadors and a large following of Masters and
officers of the Craft Guilds with their banners furled. Twenty noble
relatives of the Doge and Dogaressa held the pall, and the bier was
carried by relays of workmen from the Arsenal. The Ducal regalia
was borne by the Officers of State, but the one absentee was the
widowed Doge,--broken-hearted he remained inconsolable in his private
apartments.

A splendid catafalque erected in the nave of the church was guarded by
the Doge’s body-guard of one hundred Captains of Marine. This “Triumph
of Death” ended with the interment of the beloved Dogaressa in the
grand sarcophagus which Doge Mocenigo had prepared for himself and his
spouse. He poor man was not only utterly prostrated by the sudden and
unlooked-for death of his dearly-loved wife, but he was also deeply
distressed by the ravages of the pestilence. Venice was for the nonce
a pest-house, full of dead and dying people, with few able and willing
to bury them. Scenes of savagery were to be witnessed in every _casa_
and _calle_ and the _Beccamorte_ went about collecting corpses for
submersion in remote deep waters of the lagunes,--funeral pyres were
lighted in the distant _campi_. In 1485 Doge Giovanni Mocenigo followed
his lamented Consort in a similar “Triumph,” and his body was laid
beside hers under the huge monument which occupies the whole wall-space
near the grand portal of SS. Giovanni e Paolo.

For a graphic account of Venice and the Venetians, at the close of the
fifteenth century, the pen-pictures drawn by a Milanese monk, passing
through Venice in his “_Viaggio a Gerusalemme_,” and published in
1494, are most interesting. He affirms first of all that “it is not
possible to describe fully the charm, the magnificence, and the wealth
of the City.” He assisted at the High Mass and Procession on Corpus
Christi Day at San Marco and on Piazza. “The robes of velvet, crimson,
purple, and yellow, and the togas of cloth of gold sweeping the ground,
each finer than the last, were wonderful.” There was “great silence,
such as I never before observed even at the very large gathering of
nobles. Everything was well ordered as though ruled by one master.
I have considered the quality of these Venetian courtiers, who for
the most part are fair complexioned, slim, and tall, and I can quite
readily believe their reputation for astuteness in their dealings. You
must if you would treat successfully with them, keep your eyes and
ears wide open. They are very proud, and I think it is because of the
eminence of Venice afloat and ashore. When a son is born to Venetian
parents they say ‘another young Lord has come into the World.’ At home
they are fairly simple in their living but abroad, in public, they are
lavish with their gifts and enjoyments. The richness of their dress is
indescribable, but out of doors every man wears a full toga of black
and none but a born fool would venture without it.”

The worthy Frate goes on to talk about the women and girls and their
dress. “The married ladies and those no longer of the company of the
_belle giovane_ are all covered, in the streets and in church, in
sombre cloaks, they look like widows or nuns of the Benedictine Order;
it needs but the bell or the trumpet announcing the _festa_ for
them to assume the most splendid garments that women possess, and
their jewels are wonderful. The young girls are beautiful and full of
fun.”

Monk as he was Casola was taken, as was the Venetian custom, when a
marked distinction was paid to an honoured foreign guest, to witness
“the unique spectacle” as he calls it of a lying-in-mother. She was the
wife of Messir Agnello Delfino, of that noble family. With him went
an envoy of the King of France, and he judged that Messir Delfino’s
motive in this particular case was to astonish his visitors by Venetian
magnificence even in the privacy of the home. “The room,” he says,
“had a charming piece of Carrara marble picked out with gold, and
chiselled so as Praxiteles and Pheidias could not have bettered; the
ceiling was so finely decorated with gold and deep blue, and the walls
so finely hung that I cannot describe the effect. There was so much
gold everywhere that I am not sure whether Solomon in his golden glory
would not have looked small. Among the ornaments was a dish of gold
valued at about five hundred gold ducats. The bed was of cedar or some
such sweet scented wood and gilded, but of the ornaments and dress of
the noble lady I think it best to keep silence rather than speak for
fear no one would believe me. My attention was called off perhaps by
the five-and-twenty lovely young noble ladies, each one fairer than her
neighbour, seated around the bed, their blonde hair elaborately puffed
and their features touched up with colour. Their dresses were discreet
_alla Venegiana_: they showed no more than six finger-breadths
of bare breast below their shoulders, back and front. These damsels
had so many jewels on their heads and around their throats, and wore
so many costly rings,--precious stones, pearls, and gold,--that we,
who talked the matter over afterwards, came to the conclusion that the
total value far exceeded one hundred thousand gold ducats. Their faces
were superbly painted and so was the rest of them that was bare.”

This “unique spectacle,” later, became a scandal, and the authorities
stepped in to amend the customs attending child-birth. Lying-in-women
of all classes were forbidden to receive the visits of strangers in
their bedrooms, near relatives alone were admitted, under a fine of
thirty gold ducats. The Chief of the Cabinet of Ceremonials was the
officer charged to see that the decree was duly observed. He had the
right of entry at child-birth into the very presence of the mother,
and was directed to remove in custody any unauthorised person. The
penalty was absurdly severe--three months’ imprisonment in the dungeons
and three months in the penal galleys! This edict however was easily
evaded, servants, midwives and even police were open to receive bribes
for silence and acquiescence.

The noble mother was usually dressed entirely in white silk, her cap
was of fine Burano lace, upon her fingers she wore her rings. Her
pillows were of embroidered white silk, and trimmed with white lace,
the coverlet was rich damask-silk padded and stitched, and often as
not fringed and tasselled with gold. Midwives were required to notify
a birth within three days and to give the name and residence of the
putative father. The parish priest had to register the sex and name of
each child offered for baptism.

[Illustration: “LE NOVIZE.”--BRIDES VISITING THEIR RELATIVES.

FROM A PRINT. 1560.

“Habiti Delle Donne.”--G. Franco.]

With respect to the entertainment of visitors very many more friends
and neighbours looked in after the birth of a boy than that of a girl.
They were served in vessels of gold and silver with spiced cakes, iced
confectionery, figs, grapes, and coffee, and each was expected to leave
a present behind for the child and ample largesse for the servants.
This duty fell constantly to the lot of the Doge and Dogaressa who
frequently went from house to house to honour this or that noble
couple, with their presentations. The Doge’s gift was a gold cup, the
Dogaressa’s a gold chain.

* * * * *

The last two Doges of the century were the brothers Marco and Agostino
Barbarigo, sons of Messir Francesco Barbarigo and Madonna Caterina
Morosini. The Barbarigo came originally from Trieste and claimed to be
collaterals of the ancient and extinct family of Zobenico, which, in
the tenth century was already settled in Rivo-Alto. Marco Barbarigo
was elected Doge in 1485,--“a man,” if his epitaph may be believed,
“upright in his dealings with his neighbours, he never sought praise or
profit, but laboured for the public good.” The Dogaressa was Madonna
Lucia Ruzzini,--beautiful and talented, although Marino Sanudo refers
to her incidentally as nothing more than “a very tolerable kind of
woman.” She was always ailing, and yet by way of proof that “a creaking
gate hangs long,” she outlived her Consort ten full years, but her
reign was as uneventful as it was short, one brief year, no more.

The Doge and his younger brother Agostino were never on good terms,
and the disputes between them became so acrimonious that, one day,
after an unusually harsh quarrel, Doge Marco fell ill of excitement and
worry, and was seized with severe cardiac pains. Feeling the stringency
of his attack and fearing the imminence of death, he summoned to his
couch his four sons. He set before them their duty to the State and
commended their suffering mother to their filial care, then he embraced
them and her tenderly and blessed them, and, forgiving his headstrong
brother, he quietly passed away. His body was laid in State with full
honours in the _Sala de’ Pioveghi_ and then ceremonially buried
in the church of Santa Maria della Carita, the conventual buildings of
which, and the _Scuola Grande di Santa Maria della Carita_,--the
oldest of the religious corporations of the thirteenth century,--are
nowadays the Palace of the _Accademia_.

Dogaressa-dowager Lucia Ruzzini-Barbarigo’s will was executed in 30th
July 1496,--fourteen days before her death,--wherein she directs
that her burial shall be “conducted simply in the Church of Santa
Maria della Carita, where reposes the body of my husband.” ... “To
Sister Margherita, Prioress of the _Ospedale d’Ognissanti di Murano_
I leave five gold ducats and my new silken robe.” To her daughters,
both cloistered nuns of Ognissanti, she left her State robes and
her _Corno_, with five gold ducats apiece. She was interred by her
husband’s side.

The Dogaressa had, among other dependants a Circassian slave, who bore
the name of Maddalena, and to whom she was much attached. She had
served Madonna Lucia and her family with fidelity for many years,
now the testatrix declared her “free from every chain” and bequeathed
to her a comfortable competence. This mention of a “slave” opens out
a vexed subject. Far away in the eighth century the early Venetian
merchant-adventurers, vigorous and amorous by nature and disposition,
saw and loved beauteous maidens in Eastern ports. The harem life
appealed to them and many an one became the happy possessor, by right
of purchase, of helpless friendless damsels.

Oriental slaves were gladly welcomed as workers by the Trade Guilds,
especially by the Carpet-weavers, the Makers of cloth of gold
and silver tissue, and the Armourers. Public slave auctions were
established at San Giorgio in Rialto. The average price for boys and
girls seems to have been twenty-five gold ducats; but as many as
eighty or one hundred changed hands for a particularly fine specimen
of humanity or for one skilled in craftsmanship. These human chattels
were well protected by State enactments and often as not they exercised
considerable influence in the families of their owners. The wills of
Venetians of property generally contained clauses indicative of wishes
concerning their slaves.

In Florence, as Madonna Alessandra negli Strozzi has related in her
“_Lettere_,” people preferred dark-haired, swarthy Tartars, who
she says, “are the best for work, and most simple in their ways,” but
in Venice,--where the sun turned all maidens’ hair into strands of
gold,--fair-skinned auburn-haired Circassians, like Dogaressa Lucia
Ruzzini-Barbarigo’s devoted Maddalena, were in most request. They were
usually skilful in the artifices of the toilet and well adapted for
the Venetian _sol fa nienti_ sort of life. The presence of slaves
in Venice and their absorption into the private life of the nobles and
the citizens were paramount factors in the evolution of the courtesan.
Whilst marriage with a slave was absolutely forbidden, the mutual
relations of the races and of the sexes were such that perhaps the
motto of our British Royal House is the best vindication:--“_Honi
soit qui mal y pense!_”

The painful circumstances which led to Doge Agostino Barbarigo’s
succession were soon forgotten in the revived life and prosperity of
the Republic. It appeared as though, after flickering fitfully for many
a weary year, the golden wax candles of Venetian shrines were again to
burn with their wonted brilliancy. Venice recovered Rimini, Faenza,
Brindisi, Otranto, and many other possessions on the Adriatic, and her
flag once more flaunted proudly on the high seas. The following couplet
succinctly set forth the glories of the departing century:--

“_Polente in guerra et amica di pace
Venetia el ben’ commun sempre le piace._”

Still the discovery by the Portuguese in 1486, of the water-way to the
Orient round the Cape of Good Hope augured ill for Venetian commerce.
So, directly, too, that other great maritime achievement,--the landing
of Amerigo Vespucci of Florence, and Cristoforo Colombo of Genoa, upon
the shores of the New World affected adversely the supremacy of the
“Mistress of the Seas.”

Doge Agostino Barbarigo, born in 1419, had a brilliant career before
he mounted the Ducal throne. Podesta of Verona and of Padua, Procurator
of San Marco, he was a personal friend of the Pope Alessandro VI., who
sent him the rare distinction of the “Golden Rose.” He married in 1449
Donna Elisabetta, daughter of Messir Andrea Soranzo dal Banco, “One of
the proudest ruling families in Venice.” One son, Francesco, and four
daughters blessed their union,--two of the latter entered Religion as
nuns of Santa Maria degli Angeli di Murano.

Seven years after their succession Doge Agostino and Dogaressa
Elisabetta were called upon to entertain a very distinguished
visitor, Duchess Beatrice d’Este the consort of Duke Lodovico il
Moro of Milan. As imperious and intriguing a beauty as ever boarded
the “_Bucintoro_” the Princess was conducted in a pageant from
Fusina to the Ducal Palace. Her suite counted princes and ambassadors
and a host of attendants, so large indeed that three Palaces,--the
Foscari and Guistiniani were requisitioned for her use. Very splendid
fêtes were given in her honour. She remained in Venice for some time
delighted with the pleasant society of the Dogaressa, and the ladies of
the Court, and astonished at the beauty of the younger noblewomen and
the comeliness of the young nobles, and perhaps, woman-like more than
all at the splendour of their costumes and the magnificence of their
jewels.

Her mission was diplomatic, to gain over Venice to the Milanese
League against Charles VIII. of France. In this she was completely
successful; few of the proud and unemotional Lords not yielding to her
blandishments. Her correspondence with her Consort is quaint as quaint
can be. She likens the older nobles and their ladies to “great dolls”
or “Stately Deities,” and makes sly remarks about the scanty dress and
easy manners of the girls. “They are,” she wrote, “clothed in pearls
and gold chains from head to toe, but little else ... cloth of gold is
as common here as fustian is with us....”

Whether caused by weariness of a prolonged _dogado_ the old Doge
began to feel the years heavy, and worn by the declension of the fame
of Venice, Agostino Barbarigo expressed a desire to be relieved of
his official responsibilities. The abdication of a Chief Magistrate
had become a very rare event, and none of the Lords of the Council
having any special wish for office, the idea was dismissed. However,
on 13th September 1501, the Doge called a special assemblage of the
Council,--an expedient rare enough and always ominous of trouble,--and
presented a formal act of abdication of the Dogal throne. The
proposition was received in silence, but drawing slowly off the Ducal
ring, he handed it to the Senior Lord of the “Forty” and said:--“I
leave this Palace to go to my own home at San Trovaso, there to end my
days, and I pray you to be so good as to accept my profound regrets.”
The Council however declined to permit the vacation of office and the
Chancellor, speaking for the noble Lords, replied:--“Your Serenity
must retain your high station and trust in God to heal you of your
infirmity.”

Ten days later the Doge breathed his last at the advanced age of
eighty-two. His end was sudden and painless. At first his career had
been viewed with satisfaction and his many excellent qualities highly
extolled, but disappointed suppliants for his patronage and that of
the Dogaressa hinted at nepotism and favouritism and complained of
corruption in his bestowal of favours.

What special part Dogaressa Elisabetta took in maintaining the dignity
and prerogative of her station we know not, nor do we know anything
about her Entry and Coronation, or her death and burial. Her Consort
left an inordinately lengthy will with many codicils: he appeared to
be determined to spread his bequests over as wide a field as possible.
Almost every public institution received a legacy and personal gifts
were numbered by the dozen. To his widow, “Ixabela,”--he calls
her,--the Doge left the use of their private residence, with the
furniture and decorations, the ornaments of the private chapel, the
revenues from certain wool and silk weaving factories, ten thousand
gold ducats, and, quite quaintly, the proprietary rights over her State
robes and the jewellery he had given her.

The funeral of Doge Agostino Barbarigo was conducted with the usual
impressive ceremonial at SS. Giovanni e Paolo, where orations were
delivered by Bishop Domenigo Venier of Castello and _Condottiere_
Vettor Cappello--who appears to have taken the Doges of his time under
his special tutelage. The actual burial was conducted at Santa Maria
della Carita, alongside the grave of Doge Marco Barbarigo. His monument
bears the somewhat pedantic epitaph:--“He was the most popular man in
Venice: a grand orator and a splendid soldier.”

III

Lionardo Loredano was the eleventh “Grand” Doge of Venice. Mentally
and physically he was a perfect type of the Venetian noble,--not that
his family was especially ancient,--they belonged only to the first
division of the second grade of nobility,--nor that his wealth and
influence were remarkable, but there was about him something or other
which manifested the highest expression of Venetian dignity.

Called to the supreme magistracy in 1501, Loredano roused himself,
although past sixty-six years of age, and beginning to show signs of
failing health, to stand foremost among the men of the new Century.
Tall and spare of figure, massive and reticent of feature, passionate
yet kind-hearted in disposition, pushful yet tactful in bearing, he was
recognised by the Lords of the Council as the man of the hour. All this
is forcibly expressed in the lifelike and superb portrait by Giovanni
Bellini in the National Gallery in London.

Nevertheless his election was challenged by the populace, gathered
tumultuously on the Piazza. The cry was for Filippo Tron, son of old
Doge Nicolo, older by ten years than Messir Loredano, very fat, very
indolent, and very self-indulgent, but ever ready for a joke and to
make fair promises. Moreover his estate totalled eighty thousand
gold ducats against Lionardo Loredano’s modest thirty thousand.
Happily with the sane constitution of Venice, the unintelligent and
ill-directed will of the people was kept under restraint. Tron died
suddenly of apoplexy after a heavy gorge within three months of
Loredano’s election. Messir Filippo was no opponent of the old Venetian
proverb:--“_Dieta magga le medico!_” “Diet dishes the Doctor!”

The new Doge had four sons, Lorenzo, Girolamo, Alvise, and Bernardo,
but he was a widower,--a rare, perhaps unique, circumstance so far
as the _dogado_ was concerned. The mother of his sons, Giustina
Giustiniani, died the year before the death of his predecessor--Doge
Agostino Barbarigo. It appeared as though he was expected to contract a
second marriage for his _Promissione_ required that “the Dogaressa, his
sons, nephews and nieces and other near relatives, should receive no
gifts under a penalty of twenty-five gold ducats for each ducat value.”
An oath was enjoined for “the Dogaressa-to-be to observe strictly all
the conventions of her exalted position.”

The reign of Lionardo Loredano was one of the most important in all the
long succession of Doges, for Venice passed through the most exigent
crisis of her history. “The famous League of Cambrai” was aimed at
nothing short of the annihilation of the Republic. The Pope Julius II.,
the Emperor Maximilian IV., the King of France, Charles XII., with the
Dukes of Florence and Milan were allied, and they tried to win over
the Kings of Spain and Naples, of Hungary, and of Scotland, with the
Duke of Saxony. England was neutral, but friendly; indeed Henry VIII.
championed the cause of the Republic, and ultimately offered to attack
France, Spain and Scotland, and, by way of a pledge of amity, he sent
an embassy to Venice. The Venetian Government gratefully acknowledged
the English support, and despatched among other costly gifts to the
King, a team of eight cream-coloured horses, with crimson and gold
caparisons, the forebears of our present State equipage.

The year 1509 was a black one for Venice and her people. Her armies
were severely defeated, and the strain upon the manhood of the Republic
was excessive. Widows and orphans besought the compassion of the
charitable, and hospitals and private houses were full of wounded
heroes craving creature comforts. Every noble house was smitten and
the gallant companies of _La Calza_ lost their comrades and their
joy. That Ascension Day--“_La Sensa_”--was a day long remembered;
there were no festivities, no “_Bucintoro_” set forth to the
“Marriage of the Sea,” there was nobody on the Piazza, and no visitors
had entered the city for many a day, the Lords of the Council were
broken down with grief and apprehension, and the Doge neither spoke
nor smiled, he was like a man in a nightmare. At length a faint rift
was seen in the darkling clouds, and Loredano, born discerner of times
and judge of men, opened the precarious game of statecraft, after the
manner of the chess-gambit he loved best, and adroitly played off his
country’s foes one against another, until he succeeded in creating a
position of mutual jealousy and mistrust. Spain declared for Venice
and offered ships and men, James IV. of Scotland followed suit with
promises of one hundred and fifty vessels, and ten thousand trained
footmen. France made the first warlike advance, and the Doge met the
danger by setting up floating corn-mills in the tidal ways of the
lagunes, by acquiring vast stores of grain and ammunition, and by
throwing chains across the chief canals. All suspects were expelled
the City and every citizen was invited by proclamation to rally to
the standard of San Marco and to contribute as much money as possible
to the State exchequer. Loredano set a noble example for he sent all
his gold and silver plate and the jewels of his late wife to the Mint
to be melted down for money wherewith to meet the enormous expenses
of resistance. His speech before the Grand Council was a model of
patriotism and eloquence and was rapturously greeted.

War was waged in the mainland for eight weary years, during which the
Pope placed Venice under an Interdict. At last a truce was proclaimed
and “_La Pace delle Donne_,” as it was called, left Venice strong
by sea and land. The ultimate arbiters of a settlement were two
Royal Princesses--Louise,--Queen-Dowager of France, and Margaret of
Austria,--the Emperor’s aunt. The public rejoicings in Venice were
exuberant and the pageants were the most splendid ever organised in
the sumptuous city. New Companies of _La Calza_ were enrolled for
the special purpose of emphasising the resources, the grandeur, and
the independence of the “Queen of the Adriatic.” A very favourite
spectacular play was “Miles Gloriosus” of which a particularly gorgeous
representation was given by the “_Fausti_” in 19th February 1514 in the
_Corte dell’ Orefici’_ in the rear of the Ducal Palace, which Marino
Sanudo describes as “_bellissimo_” in its mounting and because of the
distinguished part taken in it by the four sons of the Doge and his
nieces. The Director of the romance was the Commander of the garrison,
and the interlude consisted of an oration by a French master of
rhetoric. The chorus was composed of a number of gentlemen and ladies
of the Court very richly dressed,--in particular Madonna Giovanna Emo,
who appeared in a robe of cloth of gold embroidered in coloured silk
with silk velvet appliqué work and literally blazing with jewels. The
play began at seven o’clock in the evening, followed by a sumptuous
banquet, and winding up, long past midnight, with a ball. Every one
regretted the fact that the popular Doge, who presided at the banquet,
was a widower,--a stately Dogaressa would have added greatly to the
distinction of the spectacle.

The recovery of Padua was the crowning victory of the Venetians. The
news reached Venice on the festival of the Translation of Santa Marina,
and the transports of the people made the popular ecclesiastical
ceremonial a doubly impressive celebration. The “_Eterni_” and
“_Immortali_” companies of _La Calza_,--especially concerned in the
rendition of High Mass and Vespers with the utmost grandeur,--assisted
the Doge in offering the keys of Padua upon the altar of the Saint.
Venice was delirious: Mass and “Te Deum” were sung between dramatic
representations and serenades,--for the triumph of the Republic was
the triumph of Religion. But when the festivities were at their height
in 1524, the _Provveditori alle Pompe_ stepped in and forbade many
splendid ornaments of the person and personal vanities. Amber beads,
agate and rock crystal _intagli_, diamond buttons, chased gold and
silver buckles and clasps, enamelled and gold jewellery for the hair,
feathered and jewelled fans, lace sleeves, many-hued damasked cloth of
gold gowns, velvet with gold and silver _piqué_ threads, painted and
gilded leather belts and shoes, gemmed embroideries, etc., etc., were
placed upon the _Index expurgatorium_. The extravagant decoration of
gondolas and sedans, table adjuncts of gold, resplendent liveries, and
many more things of joy and beauty were severely cut down.

[Illustration: THE BRIDE-ELECT’S DEBUT.

FROM A PRINT. 1610.

“Habiti Delle Donne.”--G. Franco.]

Through all these scenes of martial ardour and sumptuary magnificence
Doge Loredano maintained supremely the dignity of the _dogado_ and
his twenty years of office were the _ne plus ultra_ of the gorgeous
panorama of Venetian history. He died full of years and honours in
1521, and he was buried by the High Altar of SS. Giovanni e Paolo.

The Loredanian tradition for patriotism and nobility was handed on
in the gracious personage of Dogaressa Caterina Loredano, sister of
Doge Lionardo Loredano,--the Consort of his successor Doge Antonio
Grimani. He was an old man of eighty-seven,--one more example of
Venetian fruitful longevity and senile ability, but his election was
a narrow thing for after several attempts at a decision, the Lords of
the “Forty” approved it by a bare majority of twenty-eight votes. Once
more a popular candidate appeared on the scene in the person of another
Messir Antonio Tron, son of the sybarite Messir Filippo.

The Grimani belonged to the second grade of nobility, their name being
among the twenty families enrolled by the _Serrar del Consiglio_
in 1289. Nevertheless they were as ambitious, able, and patriotic as
any of the Lords of Venice. Messir Antonio had filled every office
of State, previous to his _dogado_ with rare distinction, and
his spouse had acceptably participated in his honours and shared his
fortunes. The date of their marriage is not recorded, but two of
their sons rose to high positions. Domenigo, the eldest, entered Holy
Order, and was ultimately preconised a Cardinal. His fame in the roll
of literature is great for as a sapient collector of books and prints
he was the patron of that most exquisite production, perhaps the most
sumptuous illuminated manuscript in existence, the celebrated Grimani
Breviary. The second son, Giovanni entered the service of the State,
and brought his talents to bear upon the details of the Tariff reform
of those days, much to the advantage of the City and her purveyors.
At the Election and Entry of his parents, as Doge and Dogaressa, he
headed a deputation of the Fruiterers’ Guild which made an offer of one
hundred and thirty gilded lemons--surely a parallel to painting the
lily!

[Illustration: OBSEQUIES OF SAINT URSULA.

VETTORE CARPACCIO.

ACCADEMIA VENICE.

[The kneeling figure is Madonna Maria Eugenia
Caotorta-Loredano, who died 1493.]]

The new _Promissione_ contained some arbitrary, yet almost ludicrous
clauses:--for example, the Doge was forbidden to speak alone with
ambassadors and foreign agents, his two State Councillors were required
to be present at all such interviews. Like most of the nobles and
wealthy citizens Doge Antonio Grimani had a passionate love of sport.
Among them all, fowling was a favourite pastime, the reeds and rushes
of the smaller islets of the lagunes were splendid cover for aquatic
game. Sportsmen wore high boots which they called _fisolari_, after
the birds held most in esteem-- _fisoli_,--divers. The coveys
were approached in shallow boats, each manned by eight oarsmen, in
blue and green liveries,--the colours most in affinity with the law
of natural concealment. The _Signore_ sat in the bows ready with his
_pecce_ or miniature cross-bow. Doge Antonio Grimani was forbidden to
shoot, as had been his wont, whenever pleasure invited him, for he was
restricted to four annual sporting excursions. Just before Christmas
he was expected to assume his fowling dress and make a water excursion
for the purpose of shooting not divers but wild ducks--_oselle_. His
bag had to be enormously capacious for each Lord of the Council,
of the “Forty” and of the “Ten,” required five birds dead in the
feather! The sportive Doge usually failed to bring down sufficient
game by his own cunning, and in returning to Venice, he directed his
_provvidetore_ to purchase the balance in the Poultry market! Even
so the requirements of the Lordly blackmailers were not met quite to
their satisfaction, for some received fat birds whilst others had those
in poor condition. The only way out of the dilemma was conceived by
the Doge himself, for, to square accounts, he dealt out so many birds
apiece and sent the complement in cash value! This he effected in a
novel and characteristic manner, he engaged the services of a stamper
of medals and issued a neat little silver coin, a quarter ducat, worth
four shillings English money. Upon the obverse it bore the similitude
of a gold duck, and on the reverse, the quaint legend:--“_Par osculata
sunt_,” and this was ever after a yearly Christmas-box to all and
sundry of their Excellencies,--it went by the name “_Osella_!”

The Dogaressa’s _Promissione_ was also restricted. An outcry from
the baser sort of Venetian loafers and out-of-elbows nobles, was
raised against her solemn Coronation. She was denied the customary
salutations of the Masters of the Trade Guilds at the Ducal Palace,
and the ceremonial reception of ambassadors. Poor Dogaressa Caterina
had to be content to be the domestic helpmeet of her Consort not his
State wife as well! It does not seem that for her the wealthy makers
of cloth of gold had any commission for State robes! She wore simply
the _dogalina_ of crimson velvet with full deep sleeves of lined satin;
her _Corno_,--very much reduced, in size,--bore pearls, rubies and
diamonds; the _velo sottile_ of thin net, not lace, fell from her head
to her waist, and her golden girdle was shortened and unjewelled. Who
was the Emperor of Fashion and the arbiter of sumptuary conventions
nobody knows, possibly his office was in commission to the officials
generally of the Tribunal of Ceremonies, and held by pettifogging
busybodies and ill-natured nobodies.

There were and are several Palazzi Grimani in Venice. Doge Antonio
Grimani’s residence is that called Grimani della Vida, on the Grand
Canal, near the far-famed _Ca d’Oro_. He died in 1523 but the date
of Dogaressa Caterina’s demise has not been preserved, nor do we know
where their Serenities were buried.

Doge Andrea Gritti assumed the State robes and _Corno_ in 1523. At
once he made a strong bid for popular favour and distributed so vast
an amount of largesse upon his election, that people looked askance at
him, and cried out in return “_Um! Um!--Trum! Trum!_” This was
an entirely new departure, but Doge Gritti set a fashion in making
a pompous progress around the Piazza wearing his full regalia, when
coins were scattered broadcast among the spectators, and a movable
_pozzetto_, pulpit, or throne, was borne in the procession, and,
when the Doge reached the centre of the Piazza, the youngest Lord of
the “Forty” placed upon his head the _Corno_, and an address was
offered him in the name of the citizens.

There is no record of the Dogaressa’s Entry and Coronation,--possibly
the Doge’s progress was, in a way an alternative pageant. She was Donna
Benedetta Vendramin,--a niece of Doge Andrea Vendramin. The Doge’s
family was of no great distinction,--one of the sixteen families,
ennobled when the new _Libro d’Oro_ of 1450 was compiled.

His _Promissione_ of 13th May 1513, was, like his predecessor’s,
the work of the purist-faddist section of the Council. He was forbidden
to go beyond the narrow limits of the City proper, the gardens of
Murano, and the sea-baths of the Lido,--the pleasant places on the
mainland and up the Brenta, were all beyond bounds! A fine of one
hundred gold ducats was actually fixed for each breach of this
ridiculous restriction. Letters, to and from his Consort, and his
children were subject to official inspection, and statements therein
considered by the “Ten” open to objection, placed the whole family at
the risk of a fine of two hundred gold ducats--remarks affecting the
status and privileges, the opinion and actions of the Council were
marked down for banishment for a term of five years!

A further instance of the insolent intolerance of the Councils “The
Forty” and “The Ten” and of their exercise of tyranny against the
idol they had set up, to wit the Doge, was in connection with the
_Oselle_ issued by this Serenity. Doge Gritti presumed to have
his token-medals stamped with the effigy of himself kneeling before
Saint Mark, this was disallowed. At the same time the nobles sold their
_oselle_ to collectors, and then disputed the value of the Ducal
gift! The “Ten” decreed the withdrawal of this largesse, together with
the yearly dole of wild duck and instead demanded from the Doge the
circulation among their Excellencies, at his expense, of a new coin of
the value of one and a quarter gold ducats,--to which they gave the
name “_ducato d’osello_.” Whether the unfortunate Doge was able
to meet this very heavy annual tax or no, we know not. To be mulcted,
without the right of remonstrance, in a yearly useless expenditure of
£1000 was a heavy drain even on a rich man’s purse.

Doge Gritti, according to the chroniclers “was a very pliant sort of
man,” indeed he had need to be! He was also a great eater, and his
gustatory tastes ran to somewhat vulgar and common-place delicacies:
his table was served every day with “fat pork, onions and garlic.” He
had a shrewd old slave-housekeeper, one Marta, who alone was able to
curb his appetite. He gave her permission to remove any dish of which
she considered he had partaken sufficiently, or which she thought was
bad for him! In person Andrea Gritti was of handsome graceful figure,
his temperament was sympathetically voluptuous, and he was much admired
by the fair sex--a lover through all his life of wine and women. It
was reputed that he maintained a great establishment, after the fashion
of an Oriental seraglio; he had many Greek and Circassian slaves and
some of them were of gentle birth.

Fond as he was of pomp and circumstance he was able to gratify his
tastes with respect to his domestic appointments. His table service
was unique, mostly of gold and precious crystal; his gondola, alone
among the ten thousand gliding over the water-ways, was decorated with
crimson and gold. The sumptuary laws became more and more exacting,
and, on one occasion, when a niece of the Dogaressa appeared at a
reception at the Ducal Palace in a very magnificent costume of velvet
embossed cloth of gold with scarlet and jewelled embroideries, Doge
Gritti felt obliged to order her to leave the Court, and return in a
less costly confection.

With all his extravagant and ambitious fancies Doge Andrea Gritti was a
patriot. Called upon to make a retort to the insulting language of an
ambassador of the Sultan, who declared openly that, “Till now Venice
has wedded the Sea; henceforth it belongs to us who have supreme power
thereupon.” The Doge quietly replied:--“We shall see, Constantinople
will fall again perhaps to Venice.” This menace was followed up by
an attack in force by the Turkish fleet in 1535. The Doge at once
expressed his determination to lead the Venetian forces against the
invader. His ardour however met with a snub from the Council, and he
was advised to reconsider the terms of his _Promissione_.

Indeed the jealousy and meanness of the majority of the members of the
“Forty” and of the “Ten” knew no bounds. The Doge was subjected to
many insults, and to a secret code of espionage. Quite lately proof
of this was found, when alterations were undertaken in the saloon
occupied by the Archæological Museum in the Ducal Palace. Two narrow
staircases were discovered, at the back of what had been the Doge’s
bedroom, where Doge Agostino Barbarigo had erected Pietro Lombardo’s
noble chimney-piece. These steps led to a space immediately behind the
bed itself, where two movable panels in the wall permitted any one to
have a peep at the Doge and Dogaressa (?) in bed and see what they were
doing!

Among the pious works of Doge Andrea and Dogaressa Benedetta was the
rebuilding of the ancient church of San Giovanni Elemosinario. The
splendid picture over the high altar of the Saint bestowing alms was
painted by Titian upon the Doge’s commission. In the chapel of San
Clemente, within St Mark’s is a bas-relief with Doge Gritti kneeling
before Saints Nicholas, James and Andrew. The famous painting by
Paris Bordone, now in the Accademia, of “The Fisherman and the Ring,”
although ostensibly offering a portrait of Doge Pietro Gradenigo really
shows the handsome figure and features of amorous and ambitious Doge
Andrea Gritti. Probably he and his Consort were buried in their fine
new church, but records are wanting.

“What sort of a wife has he got?” was the constantly recurring
question, which, upon the death of a Doge, was tossed from side to
side in the deliberations of the Council of “Forty,” with respect
to the nomination of a successor. “_Cherchez la femme!_” has no
satisfactory equivalent in English phraseology, but the French axiom
exactly suits the condition created in deciding the Ducal vote. The
_Promissione_ of each succeeding Head of the State, one after the
other, tended more and more to eliminate individuality and initiative.

As often as not the physical attributes of a candidate weighed
considerably in the election. The question of the spouse also resolved
itself pretty much upon the same lines. The candidate whose wife
was of commanding appearance, and had a fascinating manner, and who
could display to advantage the richest robes ever woman was called
upon to assume; and also was likely to add decorative distinction
and artistic taste to the State functions had an excellent chance of
election. All this was exemplified in the case of Doge Cristoforo
and Dogaressa Dea Moro:--he was a cripple and proud, but she was a
beautiful and accomplished woman. Certainly this reasoning is natural
and not altogether fatuous, for the same economy of selection has
ever determined the bestowal of honours in every nation--and does so
to-day--incidentally and very aptly illustrating the quaint French
_mot_.

In the long Roll of the Doges and Dogaressas of Venice there were
periods where short reigns followed one another in succession. During
the second half of the fifteenth century, 1471–1485, six pairs of
Serenities bowed themselves on and off the Ducal throne; whilst the
middle years of the sixteenth century, 1545–1571, saw an equal number
of Ducal couples assume the _Corno_. Many of these reigns were
uneventful and inconspicuous, and very little is on record for the
story-teller to relate. Happy is it, perhaps, for the peace of a State
and its prosperity, when the pen of the historian dips seldom in the
red ink of episodes.

Messir Pietro Lando and Madonna Maria Pasqualigo-Lando followed Doge
Andrea Gritti and Dogaressa Benedetta Vendramin-Gritti in 1538. Both of
them belonged to comparatively recently ennobled families; the Landi
as late as 1450, and the Pasqualighi, one of the thirty advanced to
honour after the Chioggian War in 1391. The new Doge took up manfully
the cudgels of the State, ready to lead against and fight its foes; but
the military element of the lagunes was weary of debauches and defeats.
Accommodations with the enemy accorded better with the degenerate
spirit of the times, than open hostilities. The acutest phase of
Venetian retrogression had set in.

In an inverse ratio the political ascendancy of Venice diminished,
the while her artistic temperament became emphatic. She waited, for
example, until every other painting school had grown to maturity before
she began to nurse her native painters; but, under Doges Lando and
Donato, she crowned Titian and his comrades with golden chaplets. They
were the first in the Renaissance to portray the natural and unadorned
charms of women.

The study of the classics and researches in philosophy never appealed
to Venetians generally and gave no tone to society. Venice had
neither permanent teachers nor libraries; and her sons and daughters
had profound contempt for humanists. Cosimo de’ Medici, “_Il
Vecchio_,” when an exile within the boundaries of the Republic,
deplored the want of scholarship. The ensigns of Venice were “Make
money and spend it,” and “Grasp power and keep it!” However Doge and
Dogaressa Lando had literary tastes, and several Venetian writers
dedicated their works to them. Pietro Contarini, of the school of
Francesco Colonna, in 1541, inscribed their Serenities’ names upon the
fly-sheet of his “_Argo Vulga_,” and addressed them as “_O Sacio
Phœbo_--_O Radienta Luna_!”

The _dogado_ of Francesco Donato, 1545–1553; of Marcantonio Trevisan,
1553–1554; and of Francesco Venier, 1554–1556, were uneventful. The
position of Venice was wholly changed: what advance she made before the
menace of the “League of Cambrai” was checked, and she began to sink
into the position of a second-rate power, despoiled of her territorial
acquisition and robbed of her naval glory. Her rulers and her citizens
yielded themselves to the trivialities of fashion and the intrigues of
party, and all the industries felt the influence of disaffection and
indolence.

Doge Francesco Donato, whose Consort was Madonna Alicia
Giustiniani-Donato, certainly strove manfully to stem the tide of
disaster and the ebb of decay, and both he and the Dogaressa did all
that was in their power to encourage art and craft. For example he took
Tiziano Vecellio under his special patronage. He was appointed Head
of the “_La Senseria_” or Broker of the _Fondaco de’ Tedeschi_ at an
annual salary of three hundred gold ducats, with the condition that he
should paint portraits of all the Doges of his time at eight ducats
a head to be paid by each. He painted Doges Grimani, Lando, Donato,
Trevisan, and Venier.

Furthermore Doge Donato added greatly to the decoration of the Ducal
Palace and the Dogaressa Alicia refurnished the private apartments. To
them also was due the building by Iacopo Sansovino of the _Libreria
Vecchia_, called by Symonds in his “Renaissance in Italy” “the crowning
triumph of Venetian Art,” and praised by Aretino as “_Superiore all’
invidia_.” The _Zecca_ or Mint was completed at Doge Francesco Donato’s
instigation, as was also the church of San Sebastiano.

During the years 1547–1549 discontent was rife among the glass-workers
of Murano. Members of this most highly privileged Trade-Guild
complained that, what with the observance of Church and State festivals
and the time restrictions of labour under legal enactment, the working
year was reduced to less than thirty-five weeks. From another point of
view they saw increasing disabilities in the introduction of foreign
manufactures, as Luigi Conaro, in his “_Discorso Intorno alla Vita
Sobria_,” published in 1543, has recorded:--“cloth of gold from
India, porcelain and glass from Sevres, earthenware from Birmingham,
and other manufactures entered Venice freely to the disadvantage of
Venetian workers.”

Strangers of rank and wealth were always charmed with the rare
specimens of glass shown, and often bestowed upon them, and invitations
poured in upon the craftsmen to accompany the visitors back to their
homes. Such advances were promptly declined, for a Murano glass-worker
who left Venice to ply his calling in a foreign land was declared an
outlaw! Besides this the export of materials, the elucidation of
methods, and the sale of finished articles outside the Republic, were
crimes visited by heavy fines and imprisonment.

The _Gastaldi_ or Masters of the Guild laid their complaints
before their patroness, Dogaressa Alicia, and she was instrumental
in obtaining the removal of certain restrictions, and, through her
influence, in 1550, a party of Murano glass-blowers were permitted
to travel to England, Flanders, Spain and France. King Henry VIII.
cordially welcomed them in London, and assigned them suitable quarters
where they might instruct native workmen. The King moreover formed a
remarkable collection of masterpieces of Murano glass-ware.

There was a quaint saying in Murano:--“The first woman was made of
Murano glass--beautiful and brittle!”

CHAPTER VII

The Doge and Dogaressa of the Fisher folk!

If imitation be the sincerest form of flattery, then must the Most
Serene Doges and Dogaressas of Venice, during the fifteenth and
sixteenth centuries, have experienced gratification combined with
amusement at the spectacle of the mock Court of the Zattere.

The fisher-folk of the parishes, wherein they principally resided, San
Raffaele, Santa Marta, and San Nicolo degli Orfani, and others, were
accorded the privilege of electing annually a Doge and Dogaressa to
preside over the affairs of the fishing industry. They were chosen by
vote and by acclamation, they were accountable to a Council of “Forty,”
and they had their installation and coronation ceremonies. They were
attended by duly appointed officers: the Dogaressa had her attendant
maids of honour, the Doge his body-guard. At functions,--joyous or
sad,--they wore official costumes, modelled upon those of the Doge and
Dogaressa at the Ducal Palace--robes of State, the _Corno_ and the
regalia.

Upon the Election of a Doge of the Republic, the Fisher Doge and
Dogaressa proceeded in mock State to the Palace to offer the
congratulations of the fisher community, and then they went on to
the Palace of the Dogaressa to salute her Serenity. Each Ascension
Day--“_La Sensa_”--the Head of the State and his Consort entertained
the fisher folk generally at collation, and the subsequent proceedings
partook of the character of a saturnalia,--full license being granted
by the _Signori della Notte_, or police, but no one was at all the
worse for their conviviality.

* * * * *

There was no little stir in official circles, when, in 1557, the
Council of “Forty” determined that, after being in abeyance nearly
eighty years, the ceremonials of Entry and Coronation should be revived
in honour of Signora Zilia Dandolo-Priuli. Two generations of Venetians
had come and gone and had not beheld the most striking of all Venetian
pageants. To be sure they had not been without gorgeous processions and
bountiful festivals; the twelve annual _Andate_ of the Doge and
the Lords of the Council had been scrupulously carried out under each
succeeding Head of the State; but demonstrations of magisterial dignity
and military pomp are very poor equivalents for feasts of grace and
beauty, love and chastity.

The Election of Messir Lorenzo Priuli to the Ducal throne, in 1556,
was in a very great measure due to the attractive personality and
ancestral dignity of his Consort. She was acknowledged to be the most
distinguished noblewoman in Venice. Daughter of Messir Marco Dandolo,
in direct descent from Doge Andrea Dandolo, and with the blood of the
hero Doge Arrigo Dandolo coursing through her veins, she was in the
best and truest sense a _virago_. Her marriage took place in 1526,
but was as a matter of rank, a _mésalliance_, for the Priuli were
one of the latest ennobled families,--dating their title only from 1450.

The Palazzo Priuli, upon the Fondamento dell’ Osmarin, was in its
day one of the most magnificent in Venice, being entirely faced with
superb frescoes by Palma Vecchio--alas they have all perished. Another
Priuli palace belonged to Messir Girolamo Priuli, Procurator of San
Marco, and brother of the new Doge: it was situated on the opposite
_riva_ of the Grand Canal, near the church of San Barnaba. A third
Palazzo Priuli, or perhaps Casa Priuli, existed in the Cannaregio, a
_sestiere_ with its distinctive customs, peculiar physiognomy of
its people and its special dialect. Built in 1520 by Messir Agnello
Priuli youngest brother of the Doge, who married in 1517 Donna
Andreiana Venier, daughter of Messir Francesco Venier, a two years’
Doge in 1554–1556, it was famous for its orchards and its great shady
trees--the rendezvous of many a gay company under Dogaressa Zilia’s
patronage.

[Illustration: I.

II.

(I) DOGARESSA ZILIA DANDOLO-PRIULI, 1557.
(II) „ LOREDANA MARCELLO-MOCENIGO, 1570.

FROM “LIBRO DE’ CERIMONIALI.”

(Archivio del Stato di Venezia).]

[Illustration: I.

II.

(I) DOGARESSA ZILIA DANDOLO-PRIULI, 1559.
(II) „ CECILIA CONTARINI-VENIER, 1578.

(In Mourning Attire).

FROM LIBRO DE’ CERIMONIALI.

(Archivio del Stato di Venezia).]

The preparation for the Dogaressa’s solemn Entry and Coronation were on
a very elaborate scale. The “_Bucintoro_,” which had borne no bevy of
Venetian beauties for well-nigh one hundred years, was overhauled and
covered with gold and blazonry. The Trade-Guilds--the _Fragilie_--were
hard at work with new costumes, new banners, and new gifts for her
Serenity. The clergy carefully recensioned their office-books and
looked out their richest vestments. Music-masters and chorus-leaders
furbished up their instruments, wrote festal marches, and rehearsed
odes of welcome. The companies of _La Calza_ gave busy work to all the
Trades for new festal garbs. The dignified Lords themselves needed
new robes, their consorts new dresses. Venice was alive with craftsmen
and craftswomen, for the time was short, and very much to do.

Although the Election of Doge Francesco Priuli was effected late in the
year 1556, the solemn Entry of the Dogaressa did not take place until
the autumn of the year following. The reason for this unusual delay
we need not canvass but assign it to the want of preparedness for the
revival of a long disused observance.

On the 18th of September 1557, the “Forty,” the “Ten,” and fifty other
nobles, assembled in the _Sala d’Udienza del Doge_, to inaugurate
the solemnity. They despatched Cavaliere Giovanni Cappello,--the father
of his Serenity’s son-in-law Andrea Cappello,--habited in a magnificent
costume of richest red damask cloth of gold, stiff as herald’s tabard,
with a distinguished and splendidly appointed suite to welcome in
their name, in the Piazza, the ambassadors of the Emperor and of the
Dukes of Savoy and Urbino. Passing under a triumphal arch erected near
the public slaughter-houses, by the Guild of Butchers, the procession
advanced to the quay of the Piazzetta and there embarked upon the
gala-decked “_Bucintoro_.” A short cruise took the party, at the
landing-steps of the palace of Messir Girolamo Priuli, which was hung
from top to bottom with draperies of silk and cloth of gold, to pay
their respects to her Serenity.

Dogaressa Zilia awaited her distinguished visitors at the entrance of
the palace, accompanied by one hundred young noblewomen and attended
by the Officers of State. She wore the full robes of her rank, her
veil was of the finest white net of Candia, her chemisette and the
edging of her great ermine sleeves were of the richest Burano lace, her
_Corno_ was of crimson velvet with a jewelled bandeau, and shoes
of velvet, to match her head-dress, completed her costume. The jewels
she wore were the most gorgeous owned by any gentlewoman in Venice,
heirlooms in the Dandolo family, and taken from the Sultan’s treasury
by Doge Arrigo Dandolo at the capture of Constantinople,--they were
barbaric in magnificence.

Very graciously the Dogaressa bowed her acknowledgments of the
reverential greeting of visitors, and, when the Cavaliere offered her
the _Promissione_ of her Consort, she assented to the clauses affecting
herself, and thereafter bestowed upon each member of the deputation
a richly embroidered purse of cloth of gold containing ten golden
ducats. Then, seated in tribunes erected along the _riva_, the noble
company witnessed a regatta of _fisolere_--long and narrow unprowed
gondolas. This popular feature in the day’s proceedings was followed by
a gorgeous water-pageant, undertaken by the _Fragilie_, the _Compagnie
della Calza_, and other notable organisations.

Fourteen galleys, almost as big as the “_Bucintoro_,” belonging
to the great Guild of Goldsmiths, covered with crimson damask and gold
lace, led the way. The Canal was a mass of moving craft of every sort
and size, full of merrymakers, and bands of music, space being riskily
found for the bulky “_Bucintoro_” to steer her course with the
Dogaressa seated on the Ducal throne at the prow, her gallant and
beautiful Court around her. Salvoes of artillery, clangings of bells,
soundings of horns and trumpets, and the clamour of the spectators
accompanied the Progress to the Piazzetta. At the Butchers’ triumphal
arch two hundred and fifty young girls of the city welcomed her
Serenity. They were arrayed in crimson satin, green silk damask and
white taffetas, and were adorned with magnificent jewels which had
not been displayed in public for well-nigh one hundred years. Many
wore great pearls, the biggest ever seen in Venice,--and gold chains
of cunning workmanship with numerous rubies, emeralds, and sapphires:
upon their heads were diamond coronets and lace veils spangled with
brilliants. In this constellation of grace, beauty, and affluence, was
a striking group of twelve brides,--recalling to everyone the romantic
Venetian story of the past. Their golden hair, falling at will over
their bare and painted shoulders, was restrained only by coronets of
gold and silver leaves of myrtle: their costumes were of white satin
and lace with golden girdles worn _à la Grecque_. Behind the
brides were ranged two-and-twenty older matrons, clothed in black
velvet, and covered with precious stones. This feature in the reception
must have been arranged by a scenic painter or a master of costumes,
for nothing so well tones masses of strong and vivid colours as here
and there a sable touch.

The procession thus doubled in numbers, passed superlatively between
the hundred German guards in the service of the Republic, making
for the Basilica. Immediately before the Dogaressa came the wives
of the Procurators of Saint Mark, with Madonna Marina, the wife
of Messir Vettor Grimani at their head, all robed in black satin
with long hanging scarves like those of the Dogaressa’s State
robe. Attended by the Secretaries of the High Chancellor marched
the Doge’s two sons-in-law,--Cavalieri Antonio Morosini and Pietro
Cappello,--supporting Cavaliere Giovanni Priuli, their Serenities’ only
Son, all vested in Ducal dress,--tabards of emblazoned cloth of gold,
with trains or long togas of crimson silk velvet, worn over silver-gilt
suits of armour.

Most becomingly costumed in richest silver damasked white silk
velvet walked the Doge’s two daughters Madonne Antonio Morosini and
Pietro Cappello followed by Cavaliere Matteo Dandolo, brother of the
Dogaressa, in full Ducal robes, who immediately preceded her Serenity.
He was attended by two Councillors of the Doge,--Messiri Antonio
Giustiniani and Marco Centanni. Under the State Umbrella of cloth of
gold, with erect figure and stately carriage, passed along the new
First Lady of Venice,--conscious that, in her person, was revived the
most gorgeous of all the noble “Triumphs” of Venice. The historic
splendours of all the crowned Dogaressas of the past were centred in
her, and men and women thanked God that the glories of Venice were once
more dazzling their eyes, and making promise for their children.

The three pages of honour, who bore the Ducal train and held the heavy
sleeves of fur and gold, paused before the Grand Portal of San Marco,
and the Lords of the Council and State officials gathered around the
Dogaressa and her children and relatives to keep back the pressure of
the enthusiastic crowd. The Chapter of the cathedral were awaiting
Her Serenity and the Prior at once sprinkled her with Holy Water, the
acolytes holding aloft great lighted candles, and tossing big silver
censers in the air. The Dogaressa humbly knelt to kiss a holy relic
of Saint Mark whilst the choristers and musicians gave forth joyous
anthems. Conducted by the ecclesiastics into the choir the Prior seated
her upon the Doge’s throne and then “Te Deum,” was chanted. To each
canon Dogaressa Zilia gave a purse of cloth of gold with one hundred
gold ducats. The ritual of the Entry was celebrated as in the days of
Dogaressa Regina Gradenigo-Vendramin. Upon the sacred Missal, held
by the Bishop of Castello, the new Dogaressa swore to observe her
_Promissione_. Several addresses were read to her, but nobody
could hear a word because of the tremendous vociferations of the
applauding multitude inside and outside the sacred edifice.

Bowing reverently to the High Altar Dogaressa Zilia passed through the
Sanctuary and ascended the Foscara staircase, on her way to the Ducal
Palace. As in days gone by, the Guilds made lavish displays in each
room of delectable dainties for the palate and of supreme examples of
their respective craftsmanship. The hairdressers were the first to
offer their duty, being specially under the new Dogaressa’s patronage.
They had spread a table with a very beautiful Oriental carpet and
placed upon it a resplendent crystal mirror of Murano with the golden
appurtenances of the toilet--splendid gifts for her Serenity. Possibly
they warily foresaw the need of a new dressing of the Most Serene
locks of auburn hair after the trying formalities already graciously
performed! The _Gastaldo_, or Master of the Guild, advancing
with many reverences addressed the Dogaressa: “Right welcome is Your
Serenity, we hairdressers are your devoted servants, we rejoice with
you, and beg you still to extend to us your Serene patronage.” Then,
with a motion of the hand he invited her to partake of the delicacies
and to quaff the rare vintage on silver dishes and out of crystal
flagons, which His Serenity the Doge had provided for the use of all
the Guilds.

The Dogaressa graciously replied:--“I am delighted that everything is
so well arranged and I thank you heartily. I am not able to stay with
you because I have to visit seventeen other rooms. I hope to see you
all another time, I must now say farewell.”

Entering the room allotted to the Guild of Goldsmiths, her Serenity
was saluted in a similar manner, and offered two splendid panels of
tapestry, mounted in exquisitely carved frames overlaid with gold and
silver. Passing through a corridor, which gave upon the Piazza, she
beheld the immense awning of light blue canvas covered with golden
stars, which stretched away to the four columns in front of the offices
of the _Signori della Notte al Criminali_, which were draped in
crimson damask and carried six-and-twenty emblazoned shields, and
every window festooned and decorated with the Dandolo arms. As she
went on her way the massed bands of the Guilds, in the Piazzetta,
played a triumphal march. Each of the sixteen rooms was adorned by a
separate Guild, and each Guild made a distinctive offering, saluting
her Serenity with loyal devotion. In the last room the Officers of
the Murano glass-workers were in charge of a rare exhibition of the
lustrous objects of their craft. The offering of this ancient and
noble Guild was a suite of glass new in style, shape and colour and
jewelled,--_chefs d’œuvre_ of the most fragile art of Venice. In
honour of the new Dogaressa quite naturally the service was called “La
Zilia.”

At length this very agreeable but very tiring Progress ended at the
_Sala del Gran Consiglio_, where Dogaressa Zilia was placed upon
the Ducal throne, having on her right the older ladies of her escort,
the State Councillors, the Heads of the “Forty,” her brother, Cavaliere
Matteo Dandolo and the Cavalieri Antonio Morosini and Pietro Cappello.
The nobles and gentlemen all were in crimson satin having removed their
heavy tabards of cloth of gold; they wore stoles of cloth of gold over
their left shoulders. Upon benches opposite were seated ambassadors,
judges, knights, members of the Council, and the more distinguished
guests of the Government. The younger gentlewomen of the Dogaressa’s
suite were upon her left hand, and with them an equal number of young
nobles,--Companions of _La Calza_ and young officers of the fleet
and army. The ducal _Corno_ was held over her head by the High
Chancellor, who addressed her in the same terms as those used at the
Coronation of Dogaressa Regina Gradenigo-Vendramin.

Shades of evening were falling on the golden glory of a glorious festal
day, as, by magic, torches burning coloured fires were kindled in every
window of the Palace,--every _Sala_ was lighted _al giorno_. Then
defiled before the Serene Dogaressa in the Grand Courtyard a pageant
of the Arts and Crafts, every member thereof bearing a lighted torch.
In the van marched two by two, one hundred of the handsomest young
gallants of Venice,--all tightly costumed in silks and satins,--and
twenty-five gentlemen of the Doge’s private cabinet,--wearing long
togas of black velvet and heavy gold chains of office.

Collations were spread in the _cortili_ of the Palace, and banquets
were given in the Council chambers, and then, in the Piazzetta, were
athletic exhibitions of posed human pyramids and other figures, and a
grand display of fireworks. The festivities wound up with dance and
music, games and flirtations, till the new day began to peep through
window and doorway as the pale moon withdrew her light before the fiery
car of the advancing Sun God.

The festival of the Coronation was carried over three days, days
of unalloyed pleasure and success. Bull-baiting, bear-baiting,
cock-fighting, boxing, wrestling, skiff-races, swimming matches, well
filled twenty-four hours, and then followed dramatic performances by
members of _La Calza_. Venice was in a delirium of music, dancing, and
general rejoicing. Rich and poor alike were feasted by the munificent
Doge and Dogaressa, and, when on the last day of the festival, they
made a round of visits to thank the Masters of the Guilds and others
who had been conspicuous by their services in general, every one felt
that rest was welcome, and that life might again return to its normal
conditions.

The “Triumph” of Dogaressa Zilia Dandolo-Priuli marked a red letter in
the annals of the Republic. It was taken as a proof that the spirit
of the Venetians was by no means dead, but, at the same time, it
served as a warning of the enervating effect of wanton enjoyment and
leisured opulence. A poet-laureate arose, unknown now by name, who thus
apostrophised the happy Signora Zilia:--

“Quæ decus ætherum, terrarum gloria tandem
Zilia progreditur, patuit Dea, vertice odorem
Spiravere comæ divinum, vestis ad imos
De fluxitque pedes ...”

The reign of Lorenzo and Zilia Priuli was, for the most part, peaceful,
so far as the intermittence of sporadic hostilities was concerned.
To be sure the Turks never let the Venetians quite alone, and Venice
kept on quietly pushing diplomatic aggression everywhere. Still the
hindrances to home development were not unduly harmful and industry and
commerce throve exceedingly. The Dogaressa, good as her word, spoken
after her Coronation--“I hope to see you all another time”--extended
her heartiest patronage to the Trades which most appealed to her in
matters of taste, and she fostered new fashions in upholstery, napery,
and table appointments, as well as personal adornments.

Alas, her wearing of the _Corno_ was limited to three short years,
for, in 1559, Doge Priuli was laid upon his death-bed,--another victim
to pestilence. He was buried at San Salvatore, under the statue of his
patron Saint Lorenzo. The Council paid unusual honours to the widowed
Dogaressa, a decree, dated 24th June, immediately after the burial
of her Consort, appointed her a household of eight maids of honour,
and servitors for her sedan, and her gondola. She was to be attended
in her visits to churches, hospitals and other institutions, by four
elderly gentlewomen of distinction, and she was required to wear in
public black satin brocade cut after the pattern of the cloth of gold
State robes but without jewels. These instructions were to serve as the
decree stated “_per maggior decoro et honor de la Republica_,” and
the dowager Dogaressa was accorded the title of “Princess.” Furthermore
a monthly allowance was granted her of fifty gold ducats, and the
supervision of her affairs was delegated to the State Chamberlains.

The “_Libro dei Cerimoniali_,” still preserved among the Archives
of the Republic, has a representation of Dogaressa Zilia Dandolo-Priuli
in the costume of a widow. The dress is apparently of black cashmere,
with full deep sleeves of black silk. Her widowhood lasted seven
years, and she died regretted by all on 13th October 1566. Her funeral
obsequies were conducted upon a scale commensurate with the unusual
honours bestowed upon her in her lifetime. After the excision of the
bowels and brain,--which were placed in a marble vase,--her body was
“washed,” says the writer of the “_Cerimoniali_” “in pure spring
water, and wrapped in tow, with sponges under the armpits.” Embalmed
with aromatic wax and spices, the dead Princess was shrouded in the
habit of a nun of the Convent of Sant’ Alvise, of the foundation of
Donna Antonia Venier in 1388: over it was cast a chemise of cloth of
gold, and a delicate lace veil shaded the face arranged under a Ducal
_Corno_.

The lying-in-state was upon a bier in the _Sala dei Pioveghi_.
During three days the Papal Legate, the Ambassadors, the Lords of
the Councils, the Captains of the “Forty” and of the “Ten,” the
Procurators, Judges, and all the Officers of State with the clergy and
religious orders, the Religious congregations, the inmates of the State
Orphanages and Homes for Women, and a vast concourse of citizens passed
before the coffin. On the last day the Doge Girolamo Priuli,--his
brother’s successor,--in full State ascended the _Scala d’Oro_
accompanied by the Papal Legate and Cavaliere Giovanni Priuli,--the
son of the late Doge and Dogaressa,--and entered the funeral chapel to
assist at the final ceremonial.

A procession of the Prior and Chapter of San Marco with cross, banners,
and lighted yellow wax torches, accompanied by the clergy of the
church of San Fantino,--usually attended by the late Dogaressa,--and
her private chaplains, filed into the _Sala_, and, after prayers and
absolution, the coffin was raised upon the shoulders of master-marines
of the Arsenal, borne down the _Scala de’ Giganti_, and carried
solemnly across the Piazzetta to the portal of the Basilica, where the
remains were blessed by the Bishop of Castello. The funeral cortège
then advanced between military guards through the Piazza and Merceria
to the Ponte d’Olio, and so on to the great church of SS. Giovanni e
Paolo. All the _calli_ were covered with black hangings, and every man,
woman, and child was in deepest mourning. Within the church the coffin
was placed upon an imposing catafalque, and surrounded with torches
and candles. Conducted to his Chair of State the Doge laid aside his
_Corno_, whilst the priest of the Collegiate Church of San Fantino
delivered an impressive oration, ending with the apostrophization
“_Jam vero Ziliæ virtuti quæ potest per oratio inveniri?_”

Such an imposing ceremonial at the burial of a widowed Dogaressa was
unprecedented. Zilia Dandolo-Priuli came to her throne in the grand
Ducal Palace and to her grave in the simple church of San Salvatore in
a couple of “Triumphs” unique of their kind.

The _dogado_ of Lorenzo Priuli was conspicuous only so far as it
was adorned by the personality of a wealthy, talented, and fascinating
wife. Had the reign of his brother Girolamo Priuli, his immediate
successor, been graced by the presence of as illustrious a consort,
certainly history would have recorded her charms, her influence, and
her example. Alas, we know nothing about Signora Elena Diedo-Priuli
beyond her name: the date of her birth, marriage, and death are
unnoted, nor do we find any reference to her family, her forebears, or
her offspring.

One of the most ornamental and useful bridges in Venice is the Ponte
Diedo, where on 3rd October 1607, Fra Paolo Sarpi, theologian, lawyer
and patriot was done to death. The nomenclature of another bridge, in
the same _sestiere_ Cannaregio--the Ponte Priuli, may suggest that
the Priuli and Diedi were neighbours and probably engaged in the same
industry.

The Priuli were among the noble families of 1450, and possibly the
Diedi were patrician citizens not yet ennobled. Doge Girolamo Priuli
occupied the Ducal throne eight years, during which episodes and events
were few. Strenuous periods of national history have their reflex
action in times of rest and recuperation. Venice was quiescent, her
enemies left her pretty much alone, and internal troubles appeared
to be exhausted. The burial of the Doge in 1567 was conducted at
the church of San Salvatore: he was laid alongside his brother Doge
Lorenzo, in the family vault, beneath the statue of his patron saint,
San Girolamo.

Pietro Loredano wore the _Corno_ for three years, 1567–1570: his
Consort was Madonna Maria Cappello. Probably he was a son of “Grand”
Doge Lionardo Loredano, and she was the daughter of a noble family
which had given very many famous sons to Venice, although not one of
them reached the throne. Two events marked this _dogado_,--both
calamitous,--the terrible famine of 1569, when the harvest of all
northern Italy and the contiguous countries entirely failed, and the
destruction by fire of the famous Arsenal, the fountain-head of the
whole naval and military system of the Republic.

The annals of Venice are blank what time Dogaressas Elena Diedo-Priuli
and Maria Cappello-Loredano held their State within the Ducal Palace.
The Republic was at peace, dormant and self-indulgent,--an unwonted
experience for her once vigorous, aggressive, and victorious citizens.
The end of the war with the Turks left her free to enjoy to the full
her love of leisure and her fondness of festivity. The still evening
of an eventful life was the twilight of her fame: her sun was near the
setting, yet, ere she laid herself down no more to rise, expiring
flashes of brilliant deeds and dying fires of fearsome catastrophes
illuminated her political horizon.

The succession of Doge Alvise Mocenigo and Dogaressa Loredana
Marcello-Mocenigo, in 1570, found Venice plunged in a sea of anxieties
and perils. Incessant warfare, with defeats counteracting victories,
produced solicitude and stupefaction which were subversive of all
thoughts and sentiments of festivity. “_Venus Calva_,” once more
was the figure the “Queen of the Adriatic,” bereft of all consolation,
presented to an unfriendly world. The Doge’s election, of course, was
conducted with the traditional solemnities, but the Dogaressa was
denied the honour of a solemn Entry and Coronation: Pageants were out
of the question in such anxious circumstances.

The Doge was the fourth member of his family,--ennobled in 1289,--to
wear the golden _Corno_: he belonged to the San Samuele branch of
the Mocenighi,--the “_Casa Vecchia_” as it was called, resident
in that _campo_. A man of great strength of character, extremely
charitable, and renowned for urbanity and conscientiousness, and truly
he needed all these qualities in the upkeep of his dignity, and in
the encouragement of his people. The Dogaressa was Loredana, daughter
of Messir Giovanni Alvise Marcello,--a man of wealth and of a Ducal
family, his ancestor, Doge Nicolo Marcello had occupied the supreme
office just one hundred years before. She was married in 1533.

[Illustration: DOGARESSA LOREDANA MARCELLO-MOCENIGO.

FROM A COLOURED PRINT.

“Famiglie Celebri.”--P. G. Litta.]

Dogaressa Loredana was a woman as handsome and virtuous as she was
talented and accomplished. As a writer of letters and as a classical
scholar, she had few equals in Venice. With her sisters, Donne
Bianca, Daria, and Marina, she led not only the wits of the women
of Venice, but also their tastes and their modes--“_fiore de’l
secolo_,” they and their likes were called. Women had only very
gradually and intermittingly achieved prominence in literary and
artistic circles, but the end of the sixteenth century witnessed the
rich blossoming of the New Women, for almost every “_gentildonna di
Venezia_” was distinguished for her mental attainments as well as
for her charms of person.

Dogaressa Loredana had at least one hobby,--botanical research. The
Villa gardens of Venice and on the Brenta contained rare examples
of plant life, the flower gardens of the convents, and the physic
gardens of the monasteries had their unique treasures, but the fair
botanist had other nurseries whence she obtained the objects of her
devotion. Venetian agents in every port ministered to her passion, and
the gardens of the Marcello Palace were filled with exotics. Alas,
that her analyses and studies of plants and their properties have
been lost, along with her letters, her translations, and her poems.
The Dogaressa’s botanical researches however were not merely for
personal gratification, they were of immense value to the faculty of
medicine; her formulas and recipes were invaluable during the grievous
visitations of plague which decimated the population soon after her
death.

Short, sad to say, was the reign of the cultured and charming
Dogaressa, she died of plague on 12th December 1572, but testimony of
her virtues has been preserved in Messir Ottaviano Maggi’s “_Oratio
in funeralibus Lauraæ Moccenicæ_,” a Latin panegyric pronounced at
her funeral, which concludes with the ascription:--“_Tu vero Lauredana
matrona integerrima converte aliquando oculos in hanc rempublicam_.”
Palazzi also, in his “_La Virtu_,” extols the dead Signora: that
famous pack of Playing-Cards at the Museo Civico has upon the “Knave
of Cups”:--“Loredana Marcello-Mocenigo, was a Princess of great
attainments, wherefore the painter finds it difficult to illustrate her
virtues, Nobility rather than wealth is the distinction of Queens.” He
calls her:--“_Giantessa di merito!_”

Amaden in the “_Archivio privato de’ Marcelli_” also recounts the
praises of Dogaressa Loredana:--“She was remarkable for her constancy,
both in the experiences of adversity and in the distractions of
prosperity, judicious and discreet in the supervision of her household,
reverent and charitable in her church duties, benevolent to her
relatives and to her dependants, in a word, she was a most virtuous and
noble Princess.”

Her obsequies were duly celebrated, though shorn of much of the
usual State pageantry, in the Church of SS. Giovanni e Paolo. Her
lying-in-state was arranged in the _Sala de’ Pioveghi_; where,
simply shrouded in the habit of a nun of the Convento della Croce on
the Giudecca, with the cowl: the embalmed body was wrapped in a great
mantle of cloth of gold lined with lynx fur. Over the nun’s black fall
was cast a rich veil of white silk edged with gold which covered the
shoulders. Her head rested upon a cushion of cloth of gold, but it bore
no _Corno_ for the Dogaressa had not been crowned. A long stole of
white silk ornamented with gold lace descended from her neck to her
feet which were encased in the finest white silken hose and white kid
shoes embroidered with gold.

The pall was of white silk brocade covered with gold embroideries,
all the mourners wore purple, except the Vice-Doge and the foreign
ambassadors. The Papal Nuncio and Cavaliere Giovanni Mocenigo, the
Doge’s brother, were the principal pall-bearers. In all respects
the funeral rites followed the ritual of that of Dogaressa Zilia
Dandolo-Priuli. So highly had she been esteemed by all classes of the
community, that, during six days, a constant stream of people--chiefly
poor--passed before the dead Dogaressa’s grandiose bier. Doge Alvise
bestowed munificent alms upon these needy admirers of his lamented
Consort. The last “_Requiem_” was celebrated in the presence of
the Doge, merely habited as a noble and without special ceremony, who
then assisted in the entombment within the massive monument next the
great portal of the Venetian Pantheon.

It was perhaps a misfortune for Venice that the virtuous Dogaressa died
when she did, for, had she lived but two short years or more, she might
have exerted a moderating influence upon the profligacy of the nobles
and citizens, who hailed with so much enthusiasm the visit of King
Henry III. of Poland and France. No Royal visitor, in the whole history
of the Republic, had ever been entertained with such a lavish display
of magnificence and such unbounded prodigality. Everybody put on the
most splendid gala costume, and all Venice was decked with the most
gorgeous of festival tokens.

Henry found himself the object of universal homage, and, amorous
prince that he was, he dallied delightedly in the sunshine of
unrestrained enjoyment. Venice was full of courtesans of the boldest
and most fascinating seductiveness. Sprightly, vivacious, and
accomplished, they were endowed with the most captivating and coaxing
ways. They hovered around their Royal guest, most superbly dressed,--or
if you will the reverse,--bedizened with flashing jewels, their golden
hair more resplendent than their robes of cloth of gold and chains of
gold and pearls, was coiffured with subtle artifice. Their breasts were
bare, supported by broad bands or belts of gold with screws arranged to
tighten them at will.

The nuns in the convents were as gay and as approachable as were the
glittering women of the Piazza; their “parlours” were the rendezvous
of gallants,--young and old. All Venice went as mad as in the time of
Carnival, and no voice was raised in Church or Council to restrain the
infatuation. Every sort of entertainment was offered Henry and his
suite of three hundred greedy courtiers. His body-guard was formed by
thirty of the best-looking, best-dressed, and gayest young nobles.
There were jousts, regattas, _ridotti_, masked balls, banquets,
and theatricals galore. Bevies of beautiful maidens, in silken tissue,
like nymphs in a moonlit glade, scattered flowers in the King’s way,
and displayed their charms, unmoved by the curiosity of the bold French
knights-errant.

Amid all the feverish frenzy of these demonstrations one pair of
eyes fastened their mesmeric glare upon these of the happy monarch
with peculiar significance, and he yielded unresistingly to the
fascination. Veronica Franco,--“the Aspasia of Venice,”--was the centre
of a brilliant but debonnaire literary and artistic circle. Born in
1546, in the parish of Sant’ Agnese, she was in the full bud of her
virginity. She, like her frail sisters, was as they have been aptly
described, “made up of three things--wood, clothes and breasts,”--their
high pattens, their tightly clinging silk tissues, and their paints and
puffs.

The amours of Henry and Veronica were sung by poets and philosophers,
painters painted her on canvas and in miniature, and she herself made
poems as full of love as were the whispers of her lover. Her awakening
was sudden and effectual. After Henry had taken her love and kisses
away with him to Paris, she renounced the reckless life of a courtesan
and became the inspiring Venetian Sappho. Then she turned to religion
and tried to undo the evils of the past by good works and the founding
a penitentiary for fallen women. Michael Montaigne, who saw her at
Santa Maria Formosa, tells us all this and more about her in his
“Journal.”

“She gave me,” he says, “a book--‘_Lettere Famigliarie
Diverse_,’--erotic and ascetic,--which she had dedicated to another of
her admirers, the Cardinal Luigi d’Este.” “I saw also in Venice,” he
adds, “one hundred and fifty noblewomen courtesans who were kept in the
greatest luxury, spending money like Princesses in jewels, dresses,
portraits, cosmetiques, and personal adornments.” The resplendent and
repentant Veronica died in 1591, not more than forty-five years of age,
worn out with enervating pleasures and austere penances: her heart
the while being yielded a captive to the King of France. The love of
a Venetian woman was fierce and all-absorbing in its intensity, and
Sanguinacci’s poem--“_Le Donne di Venegia_” exactly gives the measure
of their pulse:--

“Con atti adorni, assai politi e belle
Le Donne vedi andar con tal maniera
E con la fresca Ziera
Che ’l par, che le vigna del Paradiso.”

What the worthy Doge thought about all this wantonness he never
divulged: his life was overshadowed by an irreparable sorrow--some say
he never smiled after gentle Dogaressa Loredana closed her eyes in
death.

The _dogado_ of Alvise Mocenigo was marked by public grief as well
as private sorrow. The loss of Cyprus and the battle of Lepanto made
many a _casa_ fatherless, where mothers and children wept for those
they would see no more. Three years after the death of good Dogaressa
Loredana, Venice was visited by a terrible calamity: forty thousand of
the inhabitants were struck down by pestilence. Death came upon them
with gaunt giant strides: men left home for the day’s work and duty
well and hearty, before the curfew sounded they were repulsive corpses.
Lords of the Council fell in the Council Chamber, words of wisdom dying
on their dying lips. One quarter of the population was wiped out.

Doge Mocenigo displayed, as might have been expected, heroic courage.
His self-denial and absolute disregard of personal risk found him
comforting the dying and consoling the sorrowing: he was nurse, priest,
and guardian to the poorest of the poor. What would not Signora
Loredana have given to share her consort’s ministry! His piety took the
shape of the foundation of the splendid church of Il Redentore, built
by the great architect Palladio,--his master-piece,--to propitiate the
Deity and to serve as a thank-offering for the cessation of the plague.

Five years of widowerhood ended for the Doge in 1577, and then his
embalmed body was laid beside that of his Consort in SS. Giovanni e
Paolo. A clause of his will proves his life’s devotion to her. Property
at Villabona, which he had intended should be hers if he predeceased
her, he left to his eldest niece, on condition that she and her
daughter after her, took the names Loredana Marcello before their
surname Mocenigo.

III

A Hero Doge!

Still green were the laurels which enwreathed the noble brow of
Sebastiano Venier,--gracious emblems of the triumph of Lepanto, where
his strategy, more than anything else, had won a famous victory.
Acclaimed Doge by the tumultuous voice of the people in the Piazza,
as well as by the unanimous suffrages of the “Forty” in the Council
Chamber, Venier aroused the latent warlike spirit of all Venetians.
Venice was herself again,--no longer “_Venus Calva_.” The lion
of San Marco once more bristled his hoary mane, and all the gallants
of _La Calza_ strutted up and down,--their effeminate costumes
exchanged for the bravery of martial uniform,--the cynosure of
admiring matrons and blushing maidens.

“The Hero of Lepanto” was no youthful soldier breathing lustily the
battle-smoke but an aged warrior of fourscore years and more--one
more exponent of the vigour of old age so characteristic of Venetian
manhood. He wiped out the disgrace of Cyprus, for Turkish standards
flew proudly from the tall flagstaffs before St Mark’s. Great was the
loss of precious lives to Venice--great their glory too!

A grand _Andata_, or Progress, swept the Doge and Dogaressa within
the portals of the Basilica, upon the feast of Santa Giustina--the
heroine patron of the Republic. Four days of religious processions and
four nights of craft-pageantry kept all Venice in a whirl of enthusiasm
such as she had not experienced for many a day. Whether solemn “_Te
Deum_” or hilarious odes to Victory held the citizens most strongly,
it was hard to say.

Whilst the Spaniards under their princely admiral, Don Juan, evinced
a spirit of apathy, quite unworthy of this military renown, the
Pontiff,--the other ally of Venice,--crowned the eulogy of Marco
Antonio Colonna, his Chief in Command, by the bestowal of the “Golden
Rose” upon the noble Doge and Dogaressa. Amid all the jubilation and
marks of high esteem Doge Sebastiano Venier and Dogaressa Cecilia
Contarini-Venier maintained a dignified bearing and modestly sought
the seclusion of their palace. There, deputations followed in quick
succession from friendly States and Cities. The Brescian embassy,
in particular, came full of “gratitude for precious services and in
token of the devotion and infinite love felt for his Serenity by all
the citizens of our city.” Calling at the Casa Venier the envoys were
received first of all by the Dogaressa without ceremony, who told them
that the Doge was upstairs in his study and said:--“I much fear he
will be unwilling to accept your offering but I will go and hear what
he says.” The reply was couched in grateful terms but, whilst he was
pleased to possess a trifling recognition of his small services, he
politely declined the costly shield of beaten copper, and the case of
rare old Brescian wine.

Sebastiano Venier was the third Doge of his family, brother of Doge
Francesco Venier, 1554–1556,--a family ennobled among the thirty by the
_Serrar del Consiglio_, in 1289. Dogaressa Cecilia belonged to
the renowned “Apostolic” family of Contarini, and was married in 3rd
June 1544, in the Church of Santa Maria degl’Angeli at Murano. Doge
Venier and she were busily engaged in working out the order of the
ceremonial to be observed at the Coronation when he was struck down
suddenly by paralysis on 3rd March 1578. He died within the year of his
election, and he was buried in the choir of the Church of his Nuptials.
Sebastiano Venier must be accounted the Twelfth “Grand” Doge of Venice.

The Lords of the Council grieved greatly at his demise and unanimously
agreed to accord to the widowed Dogaressa a pension of four hundred
gold ducats per annum, and made provisions for her similar to those
bestowed upon Dogaressa Zilia Dandolo-Priuli in 1559--“in happy
memory of noble Prince Sebastiano Venier.” Her residence, her
household, her visits in the City, her gondola, and even her dress,
were all prescribed by rigid but benevolent conventions. In the
“_Cerimoniali_” (1464–1592) are two figures of Dogaressa Cecilia
Contarini-Venier, along with those of Dogaressas Zilia Dandolo-Priuli
and Loredana Marcello-Mocenigo, all in full State robes and also in
widow’s weeds. Her death and burial have not been recorded.

Nicolo da Ponte, who succeeded the heroic Doge, was cast in quite
another kind of mould. He was an ecclesiastic in proclivity if not in
ordination, a theologian of high order and renown, but by no means an
adherent politically of the Papal See. He represented the Republic,
along with the Patriarch, at the Ecumenical Council of Trent. He
actually refused to allow the Pope’s Nuncio to inspect the Venetian
monasteries and affirmed the prerogative of the Patriarch of Venice on
that behalf. The Doge’s Consort was Madonna Arcangela Canali, but there
is nothing to record of her or of her family.

Possibly Doge da Ponte is best remembered by the kindly part he played
in the romance of bewitching Bianca Cappello. Deceived and deserted by
a good-for-nothing young Florentine banker’s clerk the young mother
became a “_Cosa di Francesco_”--the Grand Duke of Tuscany. For
years a price was put upon her head, but time is fruitful of revenge,
and the daughter of proud Cavaliere Bartolommeo Cappello,--disowned
by him, and outlawed by the State,--was, ten years later, created “a
True and Special Daughter of Venice.” The Doge wrote as follows to the
Grand Duke on 16th June 1579:--“We are thrilled with the greatest
pleasure ... when we learn that your Highness has chosen such a wife on
account of her distinguished virtues.”

The Grand Duchess’ marriage and Coronation were splendidly celebrated
in Florence. Doge da Ponte was specially represented and the noble
ambassadors Cavaliere Giovanni Michielo and Antonio Tiepolo bestowed
upon the Queenly bride, in the name of the Council, a costly crown of
gold and jewels, a rich cincture of solid gold, and a superb ruby ring.
Venice also gave her “Daughter” a glorious necklace of diamonds, worth
ten thousand gold ducats. Bianca loved Francesco and no other man, and
her devotion was returned quite as faithfully. The power she exercised
was wholly for his good and for the welfare of his sovereignty; and she
lives, in unbiassed history, as the inspirer of most of the noble works
which marked the reign of the last “Grand Medici!” Infatuated, he wrote
of her:--

“A shining gem from Heaven’s treasury
Hath Mother Human Nature taken
And, wrapping it in a silken veil,
Hath sweetly bestowed it on Florence--
Saying,--‘To thee, fairest one, I give
This beauteous Flora, choice gift of value.’”

Torquato Tasso, her Poet-laureate, celebrated her beauty and
benignity:--

“Bianca--the new ‘Sun of Florence’
Causes all things worthy to be done
Sun she is--no moon, pale and sad
Flashing with splendours of Charity.”

The Grand Duchess Bianca Cappello-Medici was the third and last
“Daughter of Venice.” That tender title had first been bestowed by the
Republic upon Donna Ginevra, daughter of Messir Matteo Tiepolo, Podesta
of Belluno, who was married in 1503 to Signore Giovanni Sforza, Lord of
Pesaro. He died a few months after their nuptials and she entered the
Convent of San Pietro de’ Fiorentini. Girl-like she soon wearied of the
life of the cloister, and, renouncing her vows, she once more entered
the world of fashion and romance. Many a suitor offered her his hand,
and heart and purse, but she would not be again a wife, and she ended
her days the inmate of a convent--that of San Nicolo di Murano.

The second “Daughter of Venice” was of course Donna Caterina Conaro,
Queen of Cyprus, Jerusalem and Armenia. Pathos of the deepest was
blended with the splendour of the _rôle_ she was called upon to
play, and with the romance of her later days. The daughter of Messir
Conaro or Corner of the “Evangelistic” noble family, which gave four
Doges to Venice, Donna Caterina, in 1468, was betrothed, when only
fourteen years of age, to Giacomo di Lusignano, King of Cyprus. It was
said that he had the pick of fifty eligible brides, but chose Donna
Caterina Conaro by way of paying off the mortgage on his island kingdom
held by Messir Marco Conaro and his partners: a sum of a hundred
thousand gold ducats was written off as her hypothetic dowry. King
James died in 1473, the year after their marriage, and Queen Caterina
bore his posthumous son six months later. Rivals for the throne
fought for the child and against one another,--even in the Queen’s
bed-chamber,--and then she was rescued by an expedition from Venice,
but her babe died in her arms upon the homeward voyage.

Venice seized the kingdom, rendered royal honours to her “Daughter,”
and assigned her a palace and a regal maintenance at the Castle of
Asolo in the Marca Trivigiana. There she reigned over a miniature
Court of cultured and distinguished men and women, where literature
and romance played many parts. The leader of her revels and symposia
was Pietro Bembo, who in his “_Gli Asolani_” discourses after
the manner of Giovanni Boccaccio of love, pleasure, and philosophy.
The while he was writing sonnets to his Queen and bending his knee in
homage he was carrying on a liaison with the Princess Lucrezia Borgia,
and then by her influence he was created a Cardinal,--an example of
ecclesiastical incontinence. Gentile Bellini, in his master-piece
at the Venice Accademia, “The Miracle of the Cross,” painted Queen
Caterina and many of the ladies and gentlemen of her Court. The faces
are life studies, the costumes regal in magnificence.

Queen Caterina was treated with the utmost distinction by all
Venetians, and when she died, in 1510, her remains were accorded
honours similar to those rendered to a departed Dogaressa. She was
first buried in the church of SS. Apostoli and then translated, in
1665, to San Salvatore. Over her coffin Andrea Navagero pronounced a
remarkable oration in which he extolled the Queen’s beauty, grace, and
gentleness, her goodness, erudition, and constancy. With Pietro Bembo,
in one of his delightful _Canzone_ may we sing of her:--

“Non si vedra giammai stanca ne sazia
Questa mia penna Amore,
Di renderti, Signore,
Del tuo cotanto onore alcuna grazia:
A cui pensando volentier si spazia
Per la memoria il cuore,
E vede ’l tuo valore
Ond ’ci prende vigore e te ringrazia.”

A “Daughter of Venice” was of course a Dogaressa in rank, hence brief
stories of the three Venetian Queen-Graces, Ginevra, Caterina and
Bianca, are by no means superfluous in the “_Libro d’Oro delle
Dogaresse di Venezia_.”

Three years of unbroken peace followed the death of Doge Nicolo da
Ponte in 1588, under the administration of Doge Pasquale Cicogna. The
Dogaressa was Madonna Laura Morosini. He was the son of an apothecary,
ennobled after the Genoese War of Chioggia: she was of an “Apostolic”
family, but nothing is recorded of her. The Doge was reckoned as a
parsimonious and unsympathetic sort of man, and was very unpopular with
the citizens by reason of his niggardliness in the matter of largesse
at his election Progress through the Piazza. Their tomb is at Santa
Maria de’ Gesuiti, where he and his Consort lie side by side peacefully
sleeping.

At the very end of the sixteenth century one more resplendent Dogaressa
passed through Venice in solemn State to her Coronation--Signora
Morosina Morosini-Grimani. She was a daughter of Messir Andrea
Morosini, the head of the senior branch of the second family in the
highest grade of nobility,--the “Apostolic,”--members of which grade
had come to be looked upon not only as merchant-princes, but as Princes
of the State. She was married to Messir Marino Grimani, from her
father’s house, Palazzo Morosini (now Sangredo), upon the Grand Canal,
in the no longer existent church of San Cristoforo on 27th November
1560.

[Illustration: DOGARESSA MOROSINA MOROSINI-GRIMANI.

Giovanni Contarini. 1599.

VILLA PISANO, VESCOVANA, PADUA.]

The newly-married pair set up housekeeping in splendid fashion in the
Palazza Grimani (now the Court of Appeal). Messir Marino Grimani was
one of the very foremost Venetians who plumed themselves as being “the
first gentlemen in Europe not considering it a disgrace to be merchants
as well.” The fruits of his commercial success were displayed, not
only in the appointments of the palace, but in the delights of his
lovely villa-gardens at Santa Caterina, with their lovely views over
the lagunes to Murano and her sister isles. Madonna Morosina shared her
husband’s al fresco tastes, for her father’s gardens at San Canciano
were as charming as any of those Venetian beauty-spots.

Messir Marino was the popular candidate for the throne, left vacant by
the death of Doge Pasquale Cicogna. He was famed for his generosity and
was especially delighted to provide entertainment for poor people and
their families. His election by the “Forty” was unanimous: probably
the gracious Madonna Morosina, her personality, her refinement, and
her wit, had a good deal to do with the decision! Maintaining his
reputation for magnificent hospitality the new Doge furnished banquets
for three whole days to every working man and woman in Venice.
His Election Progress around the Piazza was accompanied by lavish
largesse, and, not satisfied with what his suite scattered broadcast,
the amiable Dogaressa, accompanied by her three daughters, from the
State balcony of the Ducal Palace, threw handfuls of silver and copper
coins among the crowds in the Piazza. Not only was the Doge generous
and the Dogaressa affable, but he was pompous and she ambitious. They
determined that her Entry in State and her Coronation should surpass
anything yet “seen in Venice.”

The spirit of going-one-better-than-one’s-neighbours, was a very
strongly marked characteristic of Venetians all through their history.
Certainly there was something of vulgarity in the idea, but there was
also distinction in the realisation. If the Doge and Dogaressa were
high and mighty sort of people their elevation also raised the tone of
society, and materially improved the condition of employment. Hence the
public were quite responsive to the call of their Serenities.

The pageant, or “Triumph” of Dogaressa Morosina Morosini-Grimani
was postponed until May 1597, in order that the new appointments,
decorations, and personal adornments, might be made as splendid as
possible. Every craftsman and craftswoman went to work with a will, and
nobody cared in the least about any sumptuary laws of the past nor any
other arbitrary indictment. The “Forty” and the “Ten” made no move and
consequently everything went on with the greatest equanimity.

One new feature was noted with respect to the Dogaressa and her
Coronation--the delivery, printing, and circulation broadcast, of
elegant and eloquent panegyrics. Commissions were eagerly accepted by
poets, orators, and publishers--one of these effusions, as an example,
ran as follows:--

“O magnanimous Duchess
O most glorious grand Duke
No such two Divinities
Ere have gladden’d Venice skies!”

The Dogaressa was addressed by her admirers as “Most Singular and Most
Serene Lady, words fail to assure your Highness of the devotion of your
enthusiastically admiring servants.” Much the same high-flown sentiment
distinguishes Palazzi’s pack of Playing-cards, for, on the Knight of
Coins (Diamonds), we read:--“The Coronation of Morosina Morosini, wife
of Doge Marino Grimani Anno 1597. She commands not alone herself but
she is Mistress of a mighty Empire.”

Upon the morning of her “Triumph” the Dogaressa, attended by four
hundred young noblewomen, all beautifully dressed in white silk
lace,--in honour of her Serenity’s patronage of Burano,--and
covered with newly-mounted jewels,--each girl an animated miniature
Golconda--took her place upon a dais in the great hall of the Grimani
palace,--lately completed (1581) by the famous architect Sammichieli.
The walls of the noble apartment were hung with a novel and effective
decoration,--stamped leather, gilded and emblazoned. This was a new
artistic adjunct in princely mansions lately introduced from Cordoba
in Spain. The vogue spread at once in Venice, and, before the end of
the century, it was computed that three thousand skilled workers were
employed by the Guild of Leather-merchants, and a sum of one hundred
thousand gold ducats was added to their annual revenues.

Meanwhile a lordly deputation had been despatched by the “Forty” to
salute “The First Lady of Venice” and bespeak her acceptance of the
_Promissione_, and thereafter to escort her on her solemn Entry.
The noble Lords found her Serenity sumptuously attired in tissue of
fine gold with an immense State mantle of cloth of gold embroidered
all over with silver floral designs in high relief,--quite a novel
and truly rich production of Venetian brains and Venetian hands. It
was reported that this magnificent robe was manufactured under the
Dogaressa’s personal directions and after her own design.

The cap of the new _Corno_ was of the same costly material, the
coronal was a mass of immense precious stones, and from underneath
it fell a delicate veil of white silk lace shot with gold and silver
threads and heavily spangled with jewels. Upon her open bosom, lightly
covered with a fichu of priceless Burano lace sewn with pearls, reposed
a flashing cross of brilliants, suspended by a very exquisitely
interlaced chain of burnished gold. Her fingers were covered with
gemmed rings, which her Serenity was very careful not to hide within a
pair of beautifully embroidered gloves held by one of her ladies.

The ceremony of the presentation of the _Promissione_ was soon over,
and, in return, the Dogaressa personally handed to each noble Lord
of the deputation the customary gift of a purse of cloth of gold
containing, not the usual number of gold ducats, but a special
token--an _osella_ of gold, after the example of Doge Antonio Grimani,
her Consort’s great-uncle, in 1521. The _osella_ had, on the obverse,
a profile in relief of the Dogaressa wearing the Ducal _Corno_, with
her name “Mavrocena Mavioceni:” upon the reverse was a raised wreath of
laurel encircling the legend:--“Manus Mavrocenæ Grimanæ Ducessæ: Venet:
1597.”

The “_Bucintoro_” received on board just such another illustrious
company as that which graced the water-pageant of Dogaressa Zilia
Dandolo-Priuli forty years before. The costumes of the suite
were richer and in better taste than those of Dogaressa Zilia’s
Court;--cloth of silver sewn with pearls and raised flowers in gold
looked more delicate than the customary heavy cloth of gold. The
palaces, the dwelling-houses, and the churches by the Canal, were
all lavishly decorated upon a uniform and beautiful plan. Coronation
favours, bestowed upon all applicants at the Doge’s command, imparted a
note of festivity quite striking but harmonious. Venice for the nonce
became the city of the Morosini-Grimani; but, perhaps, some of the
noble Lords regarded these tokens of popularity with uneasy minds; they
had, in all their generations, a wholesome dread of a personal Ducal
rule.

The pageant on the Canal was the most remarkable ever undertaken by
the Trade-Guilds. Almost every gondola and barca was formed into a
fabled beast of the earth or some fearsome sea monster. The whole Court
of Parnassus was enlisted in honour of the Dogaressa, and the Gods
and Goddesses floated proudly and quaintly by. An immense fleet of
_bregantini_,--great vessels with sweeps,--filled with spectators
of all classes, followed in the wake of the “_Bucintoro_.” Once
more the ripples of the quiet tideway were charged with sweetest
perfumes, and covered with flowers--mostly damask roses--the floral
emblem of Morosini.

The ceremonies of the Landing, in the Basilica, and in the Ducal
Palace, were all performed with splendour, and the Dogaressa retired
to her private apartments to remove her heavy State robes and assume
her ball-costume--for, of course, dancing was the finale of all Court
functions. Dogaressa Morosina’s ball was unique and historical:
all Venice danced where there was any room, for every place was
crowded--more than two hundred thousand visitors had to be accommodated
somewhere or other. Dancing platforms were erected upon ranges of
barges on the canals, and Venice sang and danced--danced and sang,
the livelong night in ecstasy. Within the Ducal Palace the _Sala
dello Scrutino_ was set apart for refreshments of the choicest
kind. The old Greek menus, which had delighted the sybaritic Romans of
Mecænas’ time were revived. At the great banquet, given by the Doge and
Dogaressa to the dignitaries of the Church and State, and the foreign
Princes and Ambassadors, there were forty-seven courses, beginning with
spiced sturgeon and ending with “apples of Paradise.”

The day after the Coronation was occupied in giving and viewing
presents. To every noble and gentle person assisting at the ceremonies,
the Doge and Dogaressa gave an _osella_, to the officials and
domestics gifts of golden ducats, to the worthy poor hospitable spreads
of good cheer. Pope Clement VIII. sent a Legate with a “Golden Rose”
to the Dogaressa and a jewelled _Corno_ to the Doge. The Duke of Savoy
offered a massive belt of thirty golden rosettes covered with fine
pearls, but it was incontinently seized by the _Provvidetori delle
Pompe_, possibly as a mean protest just to show their power! Many other
costly gifts found their way into the hands and the collection of the
Most Serene couple.

On the third day was held a grand naval review before the island of San
Giorgio Maggiore, in which ships of England, Holland, and Flanders took
part. A regatta and aquatic sports were contested between the native
gondoliers and marines, and the foreign sailors, dressed severally in
white and red costumes. The contention was the keenest of the keen.
The Nicolotti and Castellani mainly held their own, but when some of
their men were defeated, their wives drove them home with sticks and
banter:--“_Va! Va! Via di quid, parca, infame vituperoso!_”

In the evening all Venice was illuminated, and we can very well imagine
the glory and the eerieness of the spectacle,--Venice,--standing in
and out of the water, the serenity of a May night over her, and her
flashing moving gondola lights was like the city of a dream, the home
of Gods and fairies.

“A City magical in splendour
Rising out the light beyond the Sea.”

All through the eleven-years _dogado_ of Doge Marino Grimani, peaceful
and prosperous conditions were the lot of a busy people. The arts and
crafts had reached the apogee of their fame. The Dogaressa was the
patroness especially of the lace-workers of Burano,--following the
example of Dogaressa Dandolo-Malipiero of a hundred and forty years
ago. Moreover she headed a committee of noble ladies to encourage the
delightful craft among the gentlewomen of Venice.

Doge Marino Grimani died in 1608, and the widowed Dogaressa gave
herself to works of piety,--for example she restored the church of
San Sebastiano. She survived her Consort eight years and died on the
21st of January 1613–1614--directing in her will that her body should
not be embalmed. The funeral was a State function, recalling that of
Dogaressa Zilia Dandolo-Priuli, at SS. Giovanni e Paolo, where an
impassioned oration was pronounced:--“_Illinc clamor, hinc silentium:
illinc lætitia, hinc mæmor: illinc ludi, hinc lacrymæ_.” The Doge
and Dogaressa took their long last sleep under the splendid monument by
Girolamo Compagna, in the simple church of San Giuseppe di Castello,
just beneath the splendid picture by Tintoretto of “St Michael slaying
the Dragon,” which the Doge had commissioned, and wherein he is
represented kneeling in the red robes and ermine of a Captain of the
“Forty.”

In “The Merchant of Venice,” Shakespeare, in two concise paragraphs,
illustrates quite characteristically the prosperity and peace enjoyed
by the Venetians at the end of the sixteenth century:--

“The trade and prosperity of the City
Consisteth of all nations----”
Act III., Scene iv.

“How sweet the moonlight sleeps upon the bank!
Here will we sit, and let the sounds of music
Creep on our ears. Softest stillness and thought
Become the touches of sweet harmony....”
Act I., Scene iv.

CHAPTER VIII

The Sun of Venice had set! Her bright gold was turned to tarnished
brass, her jewels had lost their lustre, and her pearls were moribund!
Yet she lingered on for many and many a year--well-nigh two hundred.
The beacons of the lagunes and the shrines on the canals burnt dimly,
and the incense in the churches seemed to have lost its aroma.
Sighs and yawns from dispirited and indolent citizens indicated the
dissolution of her industries. Brawls and disputes were exchanged for
courtly greetings: gambling dens and brothels prostituted men and women
once renowned for temperance and probity.

A lingering death is always the most distressing, both for the
individual and the watchers standing by: this was to be the melancholy
ending of the “Queen of the Adriatic.” Nevertheless, as with the man,
so with the City, lucid intervals recurred and hopeful rallies, wherein
episodes, pathetic and stirring, moved the torpid brain and feeble
pulse. Venice was “_Venus Calva_” at her birth--so would she die.
Each year saw her robbed of some possession, each year saw her enemies
closing more nearly in, each year saw foreigners compressing more and
more her markets; and yet, men came and went, and women too, who moved
the body politic mightily, and made the lookers-on wonder whether,
after all, the Lion of Saint Mark was dying or only sleeping.

Heavy-footed were those decadent years, they took their step from the
dismal tramp of mourners at the frequent obsequies of the Doges and
Dogaressas. The great bell of the Basilica, announcing year after year,
or nearly so, with muffled knell the demise of a Chief Magistrate came
to be listened to without emotion. In some hearts, perhaps beating more
loyally than the rest, were pangs of remorse for a glorious past never
to return, and misgivings for a fateful future fraught with fears, but
patriotism, honour, and devotion, were the precious possession of a
dwindling minority.

Between 1605 and the end of the Republic in 1797, thirty-one Doges
mounted the Ducal throne in turn: their names and dates we know,
but very little about their deeds or the times in which they
lived,--history was silent. Of their Consorts ten only are known by
name and nothing much beside: only four or five of them, in one hundred
and ninety years, have left any record in the “_Libro d’Oro delle
Dogaresse di Venezia_.”

The men and women of Venice had become a little less animated and
articulate than the face cards in a pack. Indeed the end of Venice was
much like the popular game of “_La Trappola_,” in which thirty-six
cards out of the fifty-two were used--the mother of the present-day
whist. The suits were four:--“_Spade_,”--Swords, or Spades,--threatened
the faint-hearted; _Coppe_,--Cups or Hearts,--suggested delights to
the perceiving; _Denari_,--Coins or Diamonds,--hinted at profitable
investments; and _Bastoni_,--Sticks or Clubs,--promised punishment
to the dishonest. Venice was a card-table, and Venetians were content
to prolong their enervating leisure, beguiled by the chance of the
“_Naibi_,”--tricks,--so named by their children in imitative games.

Certainly the craftsmen and craftswomen still wove rich lengths
of cloth of gold, the goldsmiths still made precious jewels, the
glass-blowers still produced their fragile virgin-ware, the lacemakers
their delicate network, and the hairdressers still turned, tossed,
and frizzed, rare strands of golden hair; but princely patronesses
at the Ducal Palace were few and unresplendent. The painters went on
painting--Canaletto, Guardi, and Longhi, were, in their time, quite as
characteristic and far more topical than were Tintoretto, Veronese, and
Palma Vecchio, but palette-masters as well as sculptors and architects,
were clients of the Doges not of the Dogaressas.

The 10th of January 1645, was a black-letter day for women’s art
and artifice in Venice. The Council issued an edict forbidding
the Coronation of the Dogaressa as a “_cosa non neccessaria_!”
Apparently her Serenity was not to be denied the solemn Entry, but
even that stately function was to be curtailed of much of its pomp
and circumstance. The “_Bucintoro_” was not to be used, the solemn
Benediction in the Basilica was discouraged, and the Ducal Palace was
closed against the wonted exhibitions of the Trade-Guilds.

[Illustration: THE GAME OF LA TRAPPOLA.

Michelino da Bedozzo.

PALAZZO BONARDO, MILAN.]

After Doge Marino Grimani there followed a dogal line of ten very old
men,--all octogenarians,--one after the other, halting to their waiting
graves,--striking but lamentable figures of the decay and death
of Venice. Whether eight of them were widowers we know not, but only
two Dogaressas’ names are recorded,--Signore Elena Barbarigo-Priuli
(1618–1623), and Chiara Delfino-Conaro (1625–1629). Those ten old
Doges were mostly parsimonious, very weary of life, and generally
uninteresting, and probably their wives and families were as prosaic
and uninteresting as themselves.

There was however something naively burlesque in the decision of
Dogaressa Paolina Loredano-Contarini, the Consort of Doge Carlo
Contarini (1655–1656), not to appear in any public ceremonial. She was
an immensely stout woman and unusually plain-looking, and she feared
that the salutations of the populace would not partake of their usually
complimentary character. Venetians had an innate sense of humour,
and personal peculiarities appealed irresistibly to their risible
faculties. Dogaressa or not, she would undoubtedly have been the butt
of ridicule!

Palazzi in his “_Fasti Ducales_” says of her, “_non volvendo mostrarsi
in publico_.” He adds that on the façade of the church of San Vitale,
Guiseppe Guoccola sculptured the busts of Doge Carlo and Dogaressa
Paolina Contarini, placed there in gratitude for their noble bequests
to the clergy. He also records that Madonna Paolina Loredano, the
daughter of Messir Lorenzo Loredano, of the Ducal line, was married
to Messir Carlo Contarini on 22nd February 1600, in the Church of San
Polo--so they were blessed to see their golden jubilee.

Seven undistinguished Doges followed Doge Carlo Contarini, during
thirty-two years--1656–1688. The names of only three Dogaressas are
noted:--Signore Andriana Priuli-Conaro (1656), Elisabetta Pisani-Valier
(1656–1658), and Lucia Barbarigo-Pesaro (1658–1659); but we know
nothing more about them.

In 1688 Venice roused herself once more to welcome home, with
enthusiastic honours, one of the greatest generals she had ever
produced--Cavaliere Francesco Morosini. Thrice he bore the grand rank
of Captain-General of the Venetian fleet, and thrice he carried her
colours nobly on to victory. The twenty-five years’ war with Turkey
for the possession of Candia gave the Admiral and his devoted forces
rare opportunities for the display of patriotism and prowess, and right
worthily they acquitted themselves. The worsted Turks were compelled to
yield the Morea and its classical sites to the victorious Venetians.
That was the rare gift Francesco Morosini laid at the feet of the aged
“Queen of the Adriatic.”

No foreign conquest for many a long year had been scored to Venetian
arms, and she had lost all that she had fought for; but now new life,
new hope, new enterprise swept over _canali_, _campi_, and _case_.
Every man was a soldier or sailor, every boy an embryo hero. Turkish
flags again waved before the Basilica, Turkish prisoners again filled
the Arsenal, Turkish treasures again were poured out upon the Lido. The
Captain-General’s return was a triumph. Greeted by nobles and citizens
in unison, he was dubbed “_Peloponesiaco_,” and lifted tumultuously
upon the Ducal throne,--lately vacated by the death of Doge Marcantonio
Giustiniani.

Alas, we know not whether a jubilant Dogaressa shared his honours.
Possibly the valiant hero had had little or no time during his lifelong
service to the State for serious love-making, and though, by a sailor’s
licence, he may have had a wife in every port, no _cicisbeo_ or
_patita_ was possible as Dogaressa. Relics of Doge Francisco Morosini
may be seen at the Museo Civico, his tomb is in San Stefano, and a
triumphal arch, erected in his honour by the Government, is within the
_Sala del Scrutino_ of the Ducal Palace.

If the hero Doge had no Consort, his successor was more fortunate:
indeed Doge Silvestro Valier (1694–1700), lives in history upon the
fair fame of his wife--many rulers of States and lesser magnates
have had the same fortunate experience. We may read, in relation to
Dogaressa Elisabetta Quirini-Valier, the true old saying “manners
maketh man” as woman maketh man!

In spite of the prohibition of 1645 the new First Lady of Venice made
her solemn Entry and was crowned with all the usual ceremonies. On the
4th of March 1694, the Dogaressa, robed in a great State mantle of
cloth of gold trimmed with sable, and wearing upon her head a white
lace veil and a jewelled _Corno_, with a collar and pendant cross of
diamonds, and attended by a numerous suite of gentlewomen, awaited the
deputation of salutation from the Council of “Forty.” Her _osella_ had
her profile in relief and the legend:--“_Elisabetta Quirina-Valeria
Ducissa Venetiarum 1694_.” Her progress from the Palazzo Valier to the
Ducal Palace has not been described, but it appears that her assumption
of the _Corno_ gave umbrage to the _Provvidetori delle Pompe_, and
other captious critics, for a curious enactment of the Council, on
13th July 1700, forbade the Dogaressa wearing at any time a _Corno_ on
her head.

Doge Silvestro Valier and Dogaressa Elisabetta Quirini-Valier had been
married in the church of Santa Maria Formosa, on the 18th of July 1649:
consequently they lived to celebrate their golden wedding in 1699.
In the case too of Dogaressa Elisabetta another restriction of the
_Promissione_ was cancelled--her right to receive foreign ambassadors.
Surrounded by her Court of maids of honour and gentlewomen-in-waiting,
she entertained all the envoys in turn accredited to Venice, and
moreover, accepted at their hands costly gifts against all the
prohibitory clauses of State decrees.

At the Museo Civico is a putative portrait of the Dogaressa. She has
fair hair entwined with silver thread, perhaps to foil the natural
silver strands, her features retain traces of distinction and of
beauty. Her skin is pale, her eyes bright, and she wears an air of
repose and refinement with no little natural dignity of carriage.
Several of her letters have been preserved, wherein she shows herself
to have been a woman of sympathetic and charitable disposition, but of
retiring and unassuming manners.

Doge Sebastiano Valier died in 1700, and was buried near the second
altar in the right aisle of SS. Giovanni e Paolo, under the enormous
monument erected by his father, Doge Betruccio Valier, who died in
1658. There too, eight years after, the widowed Dogaressa was laid
to rest. Her memorial statue by Giovanni Bonazza represents her as
a large and wrinkled woman, with elaborate curls round her face,
and covered to her feet with brocade, furs, laces, embroidery, and
jewels--something perchance like a Venetian replica of our own
Elisabeth! The epitaph is as follows:--“_Elisabetta Quirini Silvestri
Conjux, Romana virtute, Veneta Pietate, et Ducale Corona Insignis.
Obiit MDCCVIII._”

The seventeenth century in Venice, was essentially one of lean years,
strangely contrasting with the exuberant life of its predecessor;
whilst the eighteenth century saw eight decades of disaster, famine,
and death! Candia, the only remaining jewel in the crown of Venice,
was rudely snatched from its tarnished setting and no effort was
forthcoming to regain the lost treasure. Everything went from bad to
worse. The nobles unblushingly proclaimed their contempt for commerce
and conquest. The armed bands of the Republic were not maintained as a
fighting force, and the ships of war were allowed to rot and rust at
their anchorage. The citizens, imitating the madness of their betters,
allowed industry and trade to slip through their fingers; and ceased to
care when foreign capitalists and foreign workmen settled down among
them, and exploited their looms and tools.

Pleasure, extravagance, gaming, and immorality, ate like foul cancers
into the vitals of society.

The one and only aim of Venetians of every class was to dissipate
the splendid heritage and spend the resources of their ancestors. A
noble would light-heartedly wager his bank-balance, his estate, his
palace and his all, on some ephemeral passion; and yet the gaiety
of life was never so effulgent in the city of Venus. Venice was the
plaything of Europe, the pantomime of Italy, and the shadow-dance of
herself--bewitching in her heedless spendthrift self-indulgence, a
whirling _ballerina_, scattering her favours, her kisses, and her
pleas for plaudits everywhere.

The first eight Doges of the eighteenth century passed sadly across the
Dogal pageant ground,--“lean, slippered pantaloons” as Shakespeare has
it, or little better. With them went solitarily and unemotionally but
two Dogaressas--Signora Laura Conaro-Conaro, 1709–1722, and Signora
Elena Badoero-Pisano, 1735–1741. The last we know only by her name,
and yet that name is a golden one, for was not the family of Badoero
or Partecipazio, the very first of all the nobility, and was not her
great ancestor, Agnello Partecipazio, the first Maker and the first
“Grand Doge of Venice!” Donna Laura Conaro, daughter of Messir or
Cavaliere, Nicolo Conaro,--all the men of Venice claimed knightly rank
in her decadent days,--married Messir, or Cavaliere Giovanni Conaro,
her cousin, on 11th October 1667, in the church of Gli Gesuati. She
appears to have been a very proper sort of woman: at all events the
fast life of the nobles and their ladies had no charms for her, and
she set her face resolutely against the extravagances and indecencies
around her. Consequently, when Doge Giovanni Conaro died in 1722, the
Dogaressa entered Religion and became a postulant of the Order of the
Augustinians of SS. Gervaso e Protasio. There she passed the residue of
her days in fasting, praying, and alms-giving, being consoled greatly
by the visits of her three devoted sons, Francesco, Nicolo, and Alvise,
whom she received within her narrow cell with its little iron-barred
window.

The devout Signora had retained,--rather contrary to any vow of poverty
she may have taken,--a quantity of personal belongings--money, articles
in gold and silver, and other valuables: these she bequeathed to the
Prioress of the Convent, the Reverend Mother Maria Lucia. In a purse
were found one thousand six hundred and ninety-four _zecchini_,--small
silver coins,--another purse contained one hundred and forty gold
ducats. Among the treasures were crosses, reliquaries, candlesticks,
salvers, sconces, _pomi_ or hand-warmers, bowls, knives, forks, spoons,
flagons, vases, medals, thimbles, toilet-boxes and brushes, trays,
inkstands, etc. etc., all of pure and beautifully wrought silver.

In a chest of drawers, were articles of jewellery, silver filigree
work, gold medals, and very many other objects,--lover’s offerings,
curios, and rock-crystal beads. Among the personal ornaments were
bracelets, rings, and necklaces of diamonds and turquoises. Perhaps the
most unexpected property was the Signora’s gilded walnut bedstead, with
its coverlet of silk and gold, edged with rare Burano point-lace and
gold and silver fringe, and lined with blue and yellow Chinese satin.
In a cedar coffer were found a rich robe of crimson velvet worked with
gold, a skirt of pink satin trimmed with silver lace, and other costly
garments, but, alas, they were all in rags and tatters,--eloquent
tokens of the rottenness and emptiness of earthly glory.

Dogaressa Laura, quietly and unregretfully laid aside the robes of
State, to die and to be buried in the sackcloth of humility, may she
rest in peace. Ten years after reverent hands had laid “Sister” Laura
in her humble grave, within the burial-plot of the Convent, two other
hands were clasped in the joyous pledge of matrimony,--Cavaliere
Giovanni Alvise Mocenigo, Procurator of San Marco, and Donna Pisana
Conaro, daughter of Messir Federico Conaro, who, on 5th October 1739,
were made man and wife together, in the new and sumptuous church of
Santa Maria del Salute. This was an alliance of the two most powerful
families of the time, and great things were expected from the union.

The “_Archivio Privato di Mocenigo_” contains an inventory of Donna
Pisana’s trousseau, which gives an excellent idea of the expensive
splendour of the wedding outfit of a noble bride.

Cavaliere Mocenigo’s sister, Paolina, had married Prince Trivulzio of
Milan, and she, despite her rank, undertook to purchase at first-hand
things of beauty and joy for the bride-elect. From Milan went gold
brocades and silver silken stuffs of crimson, blue, and pearl colour,
embroidered with gold and silver. Paris supplied bodices, fichus and
tippets of rich corded silk worked with floral designs in gold and
silver, silk handkerchiefs, collarettes, and sleeves of lace and gold
and silver thread, and toilet appointments in gold and silver. Antwerp
contributed caps, collars and cuffs, of the finest linen thread and
linen articles for the toilet--perhaps also underclothing, although
not named--ladies were perhaps not so particular then as now in this
respect! From England came a gold repeater-watch with a jewelled chain,
and many more articles in metal. Home industries were not overlooked
for the bill for Burano _punto in aria_, reached six hundred and
sixty gold ducats. The total value, not including magnificent jewels
and other splendid items of the goldsmith’s craft, exceeded twenty
thousand gold ducats!

In 1763, Cavaliere Giovanni Alvise Mocenigo was unanimously elected
Doge by the Council of Forty, and the people acquiesced in his election
without demur. The new Doge determined to revive the ceremonies of
the sixteenth Century, and the “Forty” appear to have offered no
opposition,--indeed they were quite favourable to the project. The
_Promissione_ contained several notable clauses with respect to the
privileges and honours pertaining to the new Dogaressa. Three days
before the election of the Doge the Council decreed that the solemn
Entry should be conducted with traditional full State. Her Serenity’s
robes of State were to be fashioned on the old-time models, although
she was forbidden to assume the _Corno_. Her right to accept the
offerings of the Trade-Guilds, of Ambassadors, and others, was
acknowledged.

Upon the morning of her “Triumph,” 22nd April, the Council despatched
the Secretaries of State to greet the new First Lady. One of them,
Messir Cesare Vignola, offered a flattering address, in the name of
the Council, praising her virtues and extolling her charms:--“Your
Serenity has the noble and particular admiration of all the Courts of
Italy, and their Excellencies look for a great revival of industry and
prosperity within the Republic under your discriminating patronage....”
The water-pageant, which conducted the Dogaressa to the Ducal Palace,
saw no “_Bucintoro_” certainly, but innumerable flotillas of decorated
barcas and gondolas. Within the _Sala di Udienza del Doge_ she was
welcomed by the nobles and State officials.

The fêtes were prolonged, as in former times, for three days, upon each
of which the Dogaressa appeared in the richest of rich costumes, and
her jewels varied with her dress. Upon the first day, after she had
removed her heavy State mantle of silver embossed cloth of gold, she
wore a _sottana_, or gown, of silver tissue overlaid with sprays of
flowers in gold relief, the bodice was covered with palettes of solid
gold with a white cincture of gold and immense brilliants, her long
veil of fine white silk lace fell from under a coronet of gold and
precious stones. She wore too the customary large pectoral cross of
diamonds and many fine gemmed rings.

Each day wound up with a Court ball, at which the Dogaressa danced
minuets in turn with each of the Procurators of San Marco. The company
included Princess Faustina Rezzonico, niece of the Pope, the wives and
daughters of the foreign ambassadors, and all the more distinguished
gentlewomen of the Court and City. Great were the public rejoicings at
this splendid revival of prestige and prosperity. Surely Venice was
once more herself,--the radiant Golden Queen,--at least a second
youth was hers. Her silver locks amongst the gold appeared to be
recoloured, wrinkles of and witherings of brow and breast vanished, her
step was once more lilting. Yes, it was even so, the last flash in the
pan,--the expiring effort of a long life. No more Dogaressas followed
in Signora Pisana Cornaro-Mocenigo’s golden pageant footsteps,--Venice
had no more honours to bestow.

[Illustration: THE FORTUNE-TELLER.

Piero Longhi. (xviii Century).

NATIONAL GALLERY. LONDON.]

It was only what might have been expected that poets, musicians,
orators, and chroniclers, should illustrate these unwonted festivities,
but alas their efforts partook of the fulsome and insincere. The Muse
of Poetry, the Spirit of Music, and the Sibyl of History were dying in
the common death: their inspirations were as the vapourings of delirium.

“Non le Reine su la cipria sponda
Del cornar germe gloriosa e forte
Domma a veder l’invita oggi la sorte
Che il sangue in te che la virtu secondo.”

Such was their tenor.

Dogaressa Pisana however herself took up her pen, and dipped it in the
ink of commonsense. The marriage of her eldest son Alvise, in 1766,
with the very youthful Donna Francesca Grimani,--granddaughter of Doge
Pietro Grimani, 1741–1752,--was a splendid affair, wherein all the
arrangements were personally superintended by the Dogaressa, and she
adds in her account “would you believe it, the expenses were more than
456,487 lire.” The marriage was in every way satisfactory, the young
couple were talented, highly educated, and very comfortably provided
for. As in most things human when fair skies are overhead, a contrary
Providence provides unlooked-for tempests, and so the joy-bells of
maternity were cruelly changed for the sad knells of mortality. The
accomplished and virtuous young wife,--she was only seventeen years of
age,--had been nursing her first-born but three short months, when, by
some accident or other, as it was reported, she fell swooning into the
fire blazing upon the mosaic hearth of her bed-chamber, and, before
help could reach her, the bride of a year perished in fearful agony.

This was a stunning grief to good Dogaressa Pisana. She eschewed all
ceremonies and mourned in secret for her dear daughter-in-law. At her
Consort’s villa at Cordignano, near Ceneda, she found consolation,
and there she braced herself for the duties of her station. Among her
papers are letters addressed to the steward of the estate, which reveal
many natural home-like touches of the simple life she loved so well.
The country folk almost worshipped the ground the noble lady trod; she
was sponsor to their children, visitor of their sick, their confidante
in sorrows and in joys. But her days too were numbered, for, on 10th
March 1769, the big bell of the Basilica announced to a sympathising
city the death of the magnanimous Dogaressa.

“Near twenty-two o’clock” wrote her Chaplain, “a severe fit of coughing
ruptured a blood-vessel in my beloved mistress’s breast and she ceased
to live.” Three days after her death the body of the Dogaressa was
carried to her burial with every mark of respect and honour. “In
death,” the same writer goes on to say, “her Serenity’s face was
beautiful and full of colour. She seemed to be wrapt in sweet repose,
and her expression betokened what she had been in her life, virtuous,
charitable and estimable....”

The funeral obsequies followed the usual custom, only her
lying-in-state was in the Basilica, not in the _Sala de’ Pioveghi_.
Four hundred yellow burning wax torches were placed around the bier and
the candles of all the altars were alight. The remains were exposed in
an open casket, wrapped in a State robe of cloth of gold, with white
kid gloves, lace sleeves, and a veil across her bosom to her feet. The
“_Requiem_” and Absolutions were sung by full choir, and the Master
of the Ceremonies, Messir Francesco Venier, pronounced the funeral
oration. An imposing procession bore the dead Dogaressa across the
Piazza and by a circuitous way to SS. Giovanni e Paolo.

Doge Alvise Mocenigo survived his beloved Consort nine years, but in
1771 he contracted a second marriage with a very young girl, Donna
Polissena, daughter of Messir Giulio Contarini-Da Mula. It does not
appear that she was accorded the position of a Dogaressa and she
resided chiefly at the Doge’s country villa, where he was wont to
gather all the young, bright and talented people he could around him.
His _dogado_ of eleven years was adorned by many cultured women, who
displayed phenomenal enthusiasm for classical study, philosophy,
poetry, and literature. Probably this was a sublime attempt on the part
of the fair sex to correct in some way the indolence and unintelligence
of their leisured men-folk. Madonna Polissena Contarini-Da
Mula-Mocenigo, was the centre of a little Court of high-souled
admirers who greeted her:--

“L’Alme tue glorie echeggiano
Ecclesa Polissena....”

There appears to have been two principal candidates for the Ducal
throne upon the death of Doge Alvise Mocenigo in 1779,--Cavaliere
Andrea Tron and Messir Paolo Renier. The former, however, was
overshadowed by a scandal affecting his wife Madonna Caterina and the
Secretary of State Antonio Gratarolo, and Renier was elected. He was
an accomplished statesman, highly talented, and very ambitious. But
his reputation very soon became assoiled by reason of the traffic he
made of posts of influence and emolument under Government. His avarice
became so grasping that it was said in Venice:--“The Doge makes the
beggars at the door of San Marco pay him for their stations!”

Doge Renier’s family had not hitherto been conspicuous for services to
the State, although it belonged to the Second grade of the nobility,
dating its enrolment from the Genoese War of 1391. His first wife,
Madonna Giustina Dona-Renier, to whom he was married on 28th April
1733, was a daughter of Messir Lionardo Dona, or Donato, a Ducal
house,--but she never became Dogaressa for her death took place in
1751, and she is buried in the church of San Antonio at Padua.

Renier however was not a widower when he stepped upon the Ducal dais
of Estate, but his spouse was not recognised in Court circles, for
she had been a rope-dancer! He had picked her up accidentally at
Constantinople, the same year that he buried Madonna Caterina: her
name was Margherita Delmaz. Friends and descendants of this marriage
had quite another story: they said Madonna Margherita had never been a
dancer or anything else of the kind. He found her, they affirmed, at
Constantinople, where he was an Agent or Consul of his Government,--in
a Catholic school for poor girls. He took her away, had her educated
at Padua, and then married her. Doge Renier signalised his elevation
to the throne by profuse distribution of largesse, hoping thereby to
pave the way for Madonna Margherita’s solemn Entry. This was never
accomplished, but “_La Falsa Dogaressa_,” as she was slightingly
called, was allowed to reside with her husband in the Ducal Palace.
The couple became more and more unpopular by reason of their meanness,
insincerity, and ostentation. One story perhaps illustrates as well as
another the selfishness and petulance of the Doge and his wife. It was
said that she very much disliked the clanging of the church bells,--San
Basso, on the North side of the Ducal Palace, was the worst offender.
Madonna Margherita sent a peremptory order to the _Pievano_, or Rector,
that if he would not stop his bell she would cut the bell rope! The
bells of the Basilica next came into the controversy, but the Prior
refused the behest of silence. The Doge interfered and told the Prior
that his “bells set all the Dogaressa’s teeth on edge.” A bargain
however was struck, the Doge, on his part, promised a monthly subsidy,
but whenever this was overdue the Prior was at liberty to ring his
bells as before!

During the reign of Doge Renier the last valorous deeds for Venice
were done by Admiral Agnello Emo. He attacked the Barbary pirates in
1784–1788 and freed the Adriatic and the coasts of North Africa from
their depredations. The valiant Emo took up the baton of Francesco
Morosini, and, had his lot been cast in less degenerate days, he would
have received from the Venetians a similar “Triumph.” He died alone and
in a way dishonoured in the Palazzo Diedo in 1792. It was Doge Marco
Foscarini, 1762–1763,--the last of the literary Doges,--who wrote thus
of Venice and the Venetians:--“This century will be a terrible one for
our children and our grandchildren!” He probably, seer-like, perceived
the imminence of the death of the liberties of Venice, but he could not
have known that this forecast would come true within fifteen years of
his death.

Doge Paolo Renier died on 18th February 1789, and his burial was
conducted in secret within the church of San Nicolo da Tolentino,--the
reason for this cannot be stated, perhaps he directed this unusual
arrangement in his will, fearing the ebullition of popular feeling
against himself and his spouse. Madonna Margherita lived on till the
11th of January 1817: her death took place in her apartments in the
Mocenigo Palace at San Stae but the place of her burial has not been
recorded.

We now reach the last scene in the vivid and venerable pageant of
Venice. The body-politic was infinitely more insecure than the
_fondamento_ of the least stability; she had no policy, no
consistency, and no reserve of energy. Her men and her women were
absolutely indifferent to her fate, and ribaldry and buffoonery
appeared to be her only _rôle_. Two circumstances sufficiently
illustrate the conditions of society at the end of the eighteenth
century: Marital infidelity became so rampant that between 1782–1796,
the “Ten” registered two hundred and seventy-four applications for
nullity. When the celebrated Princess Gonzaga visited Venice no one
would have anything to do with her, although everybody lived in a house
of glass. At last Madonna Caterina Tron, wife of a Procurator of Saint
Mark, offered to chaperon her and present her at Court. “Ladies,”
she said, speaking to her fellow-noble courtesans, “this is Princess
Gonzaga, she belongs to an illustrious family: as for the rest I will
not answer either for you nor for myself!” The tempest was gathering
up its strength to make a last and overwhelming attack upon Venice,
defenceless as she was. Quite significant of coming catastrophe the
feeblest, the weariest, and the least resourceful of all the long
line of Doges,--Lodovico Manin,--in 1789 sat down despondently upon
the Ducal throne--the last of the Doges of Venice. A man of strong
character or of supreme patriotism might have saved the Republic
at least for a time, but no popular leader appeared, and everybody
accepted the inevitable without a struggle. The Dogaressa was a simple,
good and modest woman, had she been a Valrada Candiano or a Zilia
Dandolo she might have made a man of her husband, but she shrank with
him from every responsibility and every effort.

Dogaressa Elisabetta Grimani-Manin, daughter of Messir Antonio Grimani,
became the wife of Lodovico Manin on 14th September 1748, in the
Church of Santa Maria Salute. She died at Treviso on 31st August 1792
of a nervous malady which affected her head. Her body was carried to
Venice and was buried with the same honours as those rendered to the
departed Dogaressa Pisana Grimani-Mocenigo in 1769, in the Church of
Santa Maria degli Scalzi, where the Doge erected the monument which
covers his remains as well as hers. She was laid to rest in the last
State robe of cloth of gold ever made in Venice, and with her were
buried the last insignia of her rank:--her grave was the grave of
Venice.

For five years more dragged on the dying Queen of the Adriatic in
constant alarm and in peril of death, every day seemed likely to be her
last. The funeral peals which had signalised the passing of the last
Dogaressa of Venice had scarcely exhausted their echoes over the islets
of the lagunes, when upon men’s ears smote another and a less melodious
sound--the stunning roar of cannon! The “second Attila” was at hand,
his legions were massing in view of San Marco and the Campanile, and it
needed but a word to set loose raiders and looters upon palace, church,
and homestead, quite as desperate and as cruel as those barbarians, who
fourteen hundred years before, had driven the panic-stricken forebears
of the men of Venice from terra-firma to the lagune quicksands. Manin
feebly backed by the emasculate “Forty,” tried to temporise with the
invader of Italy, but Buonaparte knew no such policy. War was declared
upon Venice on 1st May 1797, and the Venetians collapsed without
striking a blow in self-defence.

Lodovico Manin on 3rd June 1797, divested himself of his mantle of
State and his jewelled _Corno_, and delivered them unresistingly
into the hands of Buonaparte’s lieutenant. The “_Libro d’Oro_”
of the nobility was also voluntarily surrendered and publicly burned
with the Ducal Regalia in the Piazza. The last state of Venice was
infinitely worse than the first. The annihilation of her independence
was celebrated by her depraved nobles add citizens with enthusiastic
demonstrations of joy, banal doctrines of up-to-date republicanism were
madly accepted, and everything that partook of the glorious past was
swept away without remorse. The atrophy of the Venetians developed into
lunacy--Venice died insane!

The fall of a great man, the end of a great cause, the ruin of an
Empire all call forth lamentation, but no tears were shed for the dead
Queen, no sighs were breathed for lost liberty, no regrets were uttered
for “_Venus Calva_.” The echoes of a mighty past were stilled, and
the gallantries of a thousand years were silenced--save only for the
harmonious cries of gondoliers.

“I am coming--_stalì_--but you know not for whom!
_Stalì_--not for whom!
I am passing--_premè_--but I stay not for you!
_Premè_--not for you!”

* * * * *

I lay down my pen with regret--and as I close my “_Libro d’Oro
delle Dogaresse di Venezia_” I fall into an enchanting reverie,
wherein I descry many benevolent faces smiling at me, amid iridescent
scintillations of Venetian rainbows. Their hair is golden, but here and
there are strands of silver, which only add to the lustre of the gold.
Their faces, if wrinkled,--for they are not maidens,--and their open
bosoms, if withered, bear no signs of age, for they are beautified by
the cunning artifices of the toilet. Their heads are crowned by horned
diadems encrusted with flashing jewels, veils of white point-lace lend
grace to their coiffures. From their shoulders downwards the figures of
my benevolent visitors are vested--some in crimson silk, but most in
regal wealth of cloth of gold. Diamonds flash upon their breasts and
around their waists.

They are smiling at me, for I have written about them nothing but
what is pleasant, and I fancy I hear their sweet melodious voices,
whispering in unison, and saying:--“We played our _rôle_ in the best
way we could, we made no enemies, but we left many friends--friends
such as those who shall read our Story in your ‘Book of Fame.’”

I awoke from my dream, and I knew that I had seen a vision of the noble
and devoted Dogaressas of Venice.

ROLL OF THE MOST SERENE DOGARESSAS OF VENICE

_Dogaressa._ _Doge._ _Date._

1. MARTZA D’ESTE(1) } = OBELARIO ANTENORIO 804–810
2. CAROLA (2) }

3. ELENA = {AGNELLO BADOERO
{ or PARTECIPAZIO 810–827
(“Grand” Doge)

4. FELICITA = {GIUSTINIANO BADOERO
{ or PARTECIPAZIO 827–830

5. ANGELA SANUDO = PIETRO TRIBUNO 888–912

6. ARCIELDA = PIETRO CANDIANO III. 942–959

7. GIOVANNICCIA (1) }
8. VALDRADA (2) } = PIETRO CANDIANO IV. 959–976

9. FELICITA MALIPIERO = PIETRO ORSEOLO I. 976–978
(Saint)

10. MARINA = TRIBUNO MEMO 979–991

11. MARIA = PIETRO ORSEOLO II. 991–1009
(“Grand” Doge)

12. GRIMELDA D’UNGHERIA = OTTONE ORSEOLO 1009–1026

13. TEODORA COMMENO = DOMENIGO SELVO 1071–1084

14. CORNELLA BEMBO = VITALE FALIERO 1084–1096

15. FELICIA = VITALE MICHIEL I. 1096–1102

16. MATELDA = ORDELAFO FALIERO 1102–1116

17. ALICIA = DOMENIGO MICHIEL 1116–1130
(“Grand” Doge)

18. SOFIA = DOMENIGO MOROSINI 1148–1156

19. FELICIA MARIA }
DI BOEMODO } = VITALE MICHIEL II. 1156–1172

20. CECILIA = SEBASTIANO ZIANI 1172–1178
(“Grand” Doge)

21. FELICITA BEMBO = ARRIGO DANDOLO 1192–1205
(“Grand” Doge)

22. MARINA BASEGGIO (1) }
23. COSTANZA DI SICILIA (2)} = PIETRO ZIANI 1205–1229
24. SABBA MINOTTO (3) }

25. MARIA STORLATO (1) }
26. VALDRADA DI SICILIA (2) } = GIACOMO TIEPOLO 1229–1249
(“Grand” Doge)

27. ALOICIA DA PRATA = RENIERO ZENO 1253–1268

28. AGNESE GHISI (1) }
29. MARCHESINA DI BIENNE (2) } = LORENZO TIEPOLO 1268–1275

30. JACOBINA = GIACOMO CONTARINI 1275–1280

31. CATERINA = GIOVANNI DANDOLO 1280–1289

32. TOMMASINA MOROSINI (1) } = PIETRO GRADENIGO 1289–1310
33. AGNESE ZANTANI (2) } (“Grand” Doge)

34. AGNESE = MARINO ZORZI 1310–1312

35. FRANCHESINA = GIOVANNI SORANZO 1312–1329
(“Grand” Doge)

36. ELISABETTA = FRANCESCO DANDOLO 1329–1339

37. GIUSTINA CAPPELLO = BARTOLOMMEO GRADENIGO 1339–1342

38. ? (1)}
39. ISABELLA DE’FIESCHI (2)} = ANDREA DANDOLO 1342–1354
(“Grand” Doge)

40. TOMMASINA CONTARINI (1)}
41. ALUYCIA GRADENIGO (2)} = MARINO FALIERO 1354–1355
}

42. ADRIANA BORROMEO (1)} = GIOVANNI GRADENIGO 1355–1356
43. MARINA CAPPELLO (2) }

44. MARCHESINA GHISI = LORENZO CELSI 1361–1365

45. GIOVANNA (1) }
46. CATERINA (2) } = MARCO CORNARO 1365–1367

47. CRISTINA CONDULMIERO = MICHELE MOROSINI 1382

48. AGNESE = ANTONIO VENIER 1382–1400

49. MARINA GALLINA = MICHELE STENO 1400–1412

50. ? CAPPELLO = TOMMASO MOCENIGO 1412–1423
(“Grand” Doge)

51. MARIA PRIULI (1) } = FRANCESCO FOSCARI 1423–1457
52. MARINA NANI (2) } (“Grand” Doge)

53. GIOVANNA DANDOLO = PASQUALE MALIPIERO 1457–1462

54. LETIZIA (1) }
55. CRISTINA SANUDO (2) } = CRISTOFORO MORO 1462–1471

56. ALOIDEA MOROSINI = NICOLO TRON 1471–1473

57. ELENA BARBARIGO (1) }
58. CONTARINA CONTARINI } = NICOLO MARCELLO 1473–1474
MOROSINI (2) }

59. LAURA ZORZI = PIETRO MOCENIGO 1474–1476

60. REGINA GRADENIGO = ANDREA VENDRAMIN 1476–1478

61. TADDEA MICHIEL = GIOVANNI MOCENIGO 1478–1485

62. LUCIA RUZZINI = MARCO BARBARIGO 1485–1486

63. ELISABETTA SORANZO = AGOSTINO BARBARIGO 1486–1501

64. GIUSTINA GIUSTINIANI = LIONARDO LOREDANO 1501–1521
(“Grand” Doge)

65. CATERINA LOREDAN = ANTONIO GRIMANI 1521–1523

66. BENEDETTA VENDRAMIN = ANDREA GRITTI 1523–1538

67. MARIA PASQUALIGO = PIETRO LANDO 1538–1545

68. GIOVANNA DA MULA (1) }
69. ALICIA GIUSTINIANI (2) } = FRANCESCO DONATO 1545–1553

70. ZILIA DANDOLO = LORENZO PRIULI 1556–1559

71. ELENA DIEDO = GIROLAMO PRIULI 1559–1567

72. MARIA PASQUALIGO (1) }
73. MARIA CAPPELLO (2) } = PIETRO LOREDANO 1567–1570

74. LOREDANA MARCELLO = ALVISE MOCENIGO 1570–1577

75. CECILIA CONTARINI = SEBASTIANO VENIER 1577–1578
(“Grand” Doge)

76. ARCANGELA CANALI = NICOLO DA PONTE 1578–1585

77. LAURA MOROSINI = PASQUALE CICOGNA 1585–1595

78. MOROSINA MOROSINI = MARINO GRIMANI 1595–1606

79. ELENA BARBARIGO = ANTONIO PRIULI 1618–1623

80. CHIARA DELFINO = GIOVANNI CORNARO 1625–1629

81. PAOLINA LOREDANO = CARLO CONTARINI 1655–1656

82. ANDREANA PRIULI = FRANCESCO CORNARO 1656

83. ELISABETTA PISANI = BERTUCCIO VALIER 1656–1658

84. LUCIA BARBARIGO = GIOVANNI PESARO 1658–1659

85. ELISABETTA QUERINI = SILVESTRO VALIER 1694–1700

86. LAURA CORNARO = GIOVANNI CORNARO 1709–1722

87. ELENA BADOERO = ALVISE PISANI 1735–1741

88. PISANA CORNARO (1) } = ALVISE MOCENIGO 1763–1778
89. POLISSENA MOCENIGO (2) }

90. GIUSTINA DONATO (1) } = PAOLO RENIER 1779–1788
MARGHERITA DELMAZ (2) }

91. ELISABETTA GRIMANI = LODOVICO MANIN 1788–1797

A SHORT BIBLIOGRAPHY

_Archivio Veneto_, Vols. iii., iv., v.,
xiii., xiv., xx., xxxi., xxxviii.

_Archivio Veneto Nuovo_, Vols. xii.,
xiii., xiv., xvii., xviii., xix.

Barbaro, A. _Prud. et gravi doc. circa la Elet.
della Moglie_ Venice, 1548

Bembo, P. _Gli Asolani_ Venice, 1588

Browne, H. F. _Studies in Venetian History_, 2
vols. London, 1903

Do. do. _In and About Venice_ London, 1908

Burckhardt, J. _The Culture of the Renaissance_ London, 1892

Carducci, G. _Studi Letterari_ Livorno, 1874

Do. do. _Galanterie Cavalleresche del secoli
xii e xiii_ Livorno, 1879

Casola, Frate P. _Viaggio a Gerusalemme_ Milan, 1865

Cecchetti, B. _Il Doge di Venezia_ Venice, 1864

Do. do. _La moglie di Marino Falier_ Venice, 1871

Do. do. _La Donna di Medio Evo a Venezia_ Venice, 1886

Cecchini, D. _Trionfo della Dogaressa_ Venice, 1874

---- “_Cerimoniali_” (Archivio del Stato) Venice, 1464-
1592

Cicogna, E. A. _Inscrizioni Veneziane_ Venice, 1874

Do. do. _Tavole Cronologiche Venete_ Venice, 1840

Crawford, P. M. _Gleanings from Venetian History_,
2 vols. London, 1905

Damianus, P. _Opera Omnia_ Paris, 1743

Dardano, P. C. _La Bella e Dotta dif. Belle Donne_ Venice, 1553

Domenichino, G. _Nobili Belle Donne_ Venice, 1561

---- _Emporium_ (various writers), Vols.
xxi. xxiv.

Einstein, L. _The Italian Renaissance in
England_ New York, 1902

Faber, Frate F. _Evagatorium Terræ Sanctæ_ Stuttgart, 1849

Franco, Veronica _Terze Rime_ Venice, 1575

Franco, G. _Habiti Delle Donne Veneziane_ Venice, 1610

Do. do. _Habiti D’Huomini e Donne
Veneziane_ Venice, 1610

Garnett, R. _History of Literature_ London, 1898

Gubernatis, A. de _La Fille de la République_ Paris, 1879

Hazlitt, W. C. _History of the Venetian Republic_,
2 vols. London, 1900

Hodgson, F. C. _Early History of Venice_, 2 vols. London, 1901

Litta, P. G. _Famiglie Celebri D’Italia_,
11 vols. Milan, 1819

Luigini, D. _Il Libro delle Belle Donne_ Venice, 1553

Lungo, I. del _La Donna Italiana del Buono
Tempo Antico_ Florence, 1906

Marinello, G. _Gli Ornamenti delle Donne_ Venice, 1562

Molmenti, P. G. _La Dogaressa di Venezia_ Turin, 1887

Do. do. _Le Isole della Laguna_ Turin, 1898

Do. do. _Storia di Venezia_, 3 vols. Turin, 1907

Do. do. _Venice_ (English Version) 6 vols. London, 1908

Palazzi, G. _La Virtu in Giuoco overo Dame
Patritie di Venetia_ Venice, 1682

Rodocarnachi, E. _La Femme Italienne_ Paris, 1907

Rogissart, F. _Les Délices D’Italie_ Paris, 1709

Ruskin, J. _The Stones of Venice_ London, 1892

Sabellico, P. G. _Historiæ Rerum Venetarum_ Venice, 1718

Sansovino, F. _Venetia Citta Nobilissima_ Venice, 1581

Sanudo, M. _Vite dei Duchi di Venetia_,
58 vols. Venice, 1530

Selincourt, B. and
H. de _Vénise_ London, 1907

Sismondi, J. C. D. _Histoire des Républiques
Italiennes_ Paris, 1836

Staley, E. _Guilds of Florence_ London, 1906

Do. _Tragedies of the Medici_ London, 1909

Do. _Famous Women of Florence_ London, 1909

Symonds, J. A. _The Renaissance in Italy_,
5 vols. London, 1890

Tassini, A. _Curiosita Veneziana_ Venice, 1897

Uzanne, O. _L’Art et Les Artifices de la
Beauté_ Paris, 1902

Vecellio, C. _Habiti Antichi e Moderni di
Tutto il Mondo_ Venice, 1590

Yriarte, C. _Vénise_ Paris, 1882

* * * * *

The ancient _Chronicles of Venice_ may be arranged in the following
order:--

I. _Cronaca di Giovanni Diacono._
II. Do. _Gradense._
III. Do. _Altinate._
IV. Do. _di Da Canale_ (begins 1267)
V. Do. _di Marco_ (begins 1292).
VI. Do. _di Frate Paolino_ (1306).
VII. Do. _d’Andrea Dandolo--Doge._
VIII. Do. _di Frate Pietro Carlo_ (1340).

At the Museo Civico in Venice are a number of “Family Archives,”
“Diaries,” etc., and others, in the possession of various existing
ancient families, are easily accessible.

INDEX

Accouchement customs, 225

Adriana--Queen of Padua, 3, 5

Alaric the Goth, xv, 8

Al-fresco Delights, 210–215

“All for Venice!” 161

_Altane_--Roofs of houses, xxviii, 16, 17, 27, 172

Altino, 2, 7, 62, 78, 144

Alvise Venier, Story of, 164, 165

Amaden, Francesco, (Historian), 270

Anafesto, Giovanni, 4

„ Paolo Lucio, (1st Doge), 10, 11, 15, 62, 97

Antenorio, Beato, 13, 14

„ Carola, (Dogaressa), 13, 14

„ Cassandra, 14

„ Martza, (Dogaressa), 315

„ Obelario, (Doge), 12, 14

„ Valentino, 14

Apple, The Golden, of Paris, 58

Aquileia, 2, 4, 10, 20, 106

Arcelle--Dowry-coffers, 24, 30

Ariana--(Mystic singer), 4

Arsenal privileges, 76

Assassinations, 37, 44, 70, 155

Attila the Hun, 1–8

„ A second,--Buonaparte, 312

Badobro (Partecipazio,) Agnello, (Doge), 15–26, 56, 86

„ Elena (1), (Dogaressa), xxiii, 16, 19

„ Elena (2), (Dogaressa), 300–302

„ Felicita, (Dogaressa), 21

„ Giovanni, (Doge), 19–22, 29

„ Giustiniano, (Doge), 19–22

„ Maria--“Vulcana,” 26, 27

„ Orso, I., (Doge), 26, 29

„ Orso, II., (Doge), 29

„ Pietro, (Doge), 29

Balordo, Uno,--Pageant-spectacle, 183

Bank, First public, 70

Banquets, 75, 106, 175, 206, 262, 283

Barattieri, Nicolo,--gambler, 79

Barbara, Saint, 32, 93

Barbarigo, Agostino, (Doge), 230–233

„ Bianca Elena, (Dogaressa), 216

„ Elena, (Dogaressa), 295

„ Francesco, (1), 216

„ Francesco, (2), 231

„ Lucia, (Dogaressa), 296

„ Marco, (Doge), 227, 228

“Barbarini”--young nobles, 70

Barbaro, Ermolao, (humourist), 214

Barnabotti, 146, 147

Baseggio, Maria, (Dogaressa), 89

Batango, Sofia, 115

Bath, Use of the, xxvi, 58

Beatrice d’Este, 231, 232

Beauty, Castle of, 93, 94

„ Court of, 144, 224, 272

Belegno, Vettor, (bridegroom), 40, 41

Bembo, Angello, 131

„ Cornella, (Dogaressa), 63

„ Enrica, 63

„ Felicita, (Dogaressa), 315

„ Marliana, 161

„ Pietro, (poet), 211–213, 281, 282

Best-man, The, 25, 26

Bienne, Marchesina di, (Dogaressa), 108–112

Boccola”, Story of “La, 26–28

Boccole, Giovanni dalle, 163

„ Felicita dalle, 163

Body, Story of a gross, 45

Boemodo, Felicia Maria, (Dogaressa), 71

Boniface of Montferrat, (Captain Crusader), 79

Books, Early Venetian, 199, 200

Borromeo, Adriana, (Dogaressa), 315

Bota, Lionardo, (Historian), 218

Boys’ Dress, 137

Bravi, 147, 155

Brenta, On the, 96, 159

Bride, A lovely, 50

„ Story of a Venetian, 95–96

BRIDES, 8, 12, 30, 56, 85, 95, 136

„ of Christ, 71, 72

„ of stuff and wood, 136

„ Rape of, Story of the, 30–32, 86

„ trousseaux, 95, 192–193

Buccheri--scented charms, xxviii

Bucintoro--state barge, 75, 89, 154, 157, 170, 192, 199, 231, 236,
254, 287

Buonaparte, Napoleon, 313

Burial, A majestic, 131, 222

„ A forced, 199

Calmo, Andrea, (Historian), 210

Caloprini, Stefano, 47

Calza, Compagnia della, 176–178, 192, 213, 236–238, 254, 256, 275

Canale, Marino da, (Historian), 111

Canali, Arcangela (Dogaressa), 278

Candiano, Arcielda (Dogaressa), 29–33

„ Domenigo, 29

„ Elena, 39–41

„ Giovannaccia, 33

„ Maria, (Dogaressa), 49, 50

„ Marina, 35, 38, 47, 48

„ Pietro, I., (Doge), 29

„ Pietro, II., (Doge), 29

„ Pietro, III., (Doge), 29, 30–32, 53

„ Pietro, IV., (Doge), 32–38, 49, 152

„ Vitale, 35, 49

Canonesses, 130, 164, 280

Caorle, 2, 31

“Castle of Love,” 92, 93

Cappello, Andrea, (1), 30, 31, 152

„ Andrea, (2), 254

„ Bianca, (Grand Duchess), 278

„ Giovanni, 255

„ Giustina, (Dogaressa), 315

„ Imelda, 53

„ Maria, (Dogaressa), 267

„ Marina, (Dogaressa), 152

„ Pietro, 258

„ Vettor, Condottiere, 204, 233

Cassandra, Princess, 14

Castellani, The, 35, 77, 119, 168, 289

Catarussa, Story of Madonna, 103–104

Celsi, Lorenzo, (Doge), 154–157

Centanni, Marco, 258

Century,” “A terrible, 310

Chemises, 115

Chioggia, 14, 106, 161

CHURCHES:--
S. Alvise, 165
SS. Apostoli, 16, 281
S. Barnaba, 191, 254
S. Cipriano di Murano, 122
S. Cristoforo, 283
S. Croce, 68
S. Fantino, 265, 266
S. Gemigniano, 222
S. Giacomo di Rialto, 86
S. Giovanni Crisostomo, 128
S. Giorgio in Alga, 84
S. Giovanni Evangelista, 71
S. Giovanni Elemosinario, 246
SS. Giovanni e Paolo, 99, 112, 131, 153, 157, 165, 184, 202, 218,
222, 233, 239, 265, 270, 275, 290, 298, 307
S. Giobbe, 208
S. Giuseppe di Castello, 290
S. Giustina, xxiii
S. Giorgio Maggiore, 63, 67, 68, 91
S. Marco, 22, 36, 52, 61, 64, 78, 79, 132, 141, 170, 172, 173,
222, 258, 265, 276, 312
S. Maria della Carita, 228, 233
S. Maria degli Angeli di Murano, 277
S. Maria de’ Gesuiti, 282
S. Maria Gloriosa de’ Frari, 113, 199, 207
S. Maria Formosa, 32
S. Maria degli Scalzi, 312
S. Maria del Salute, 138, 302, 312
S. Maria Zobenigo, 37
S. Marina, 167, 180, 217
S. Maurizio, 123
S. Nicolo da Tolentino, 310
S. Nicolo di Lido, 65, 67, 74
S. Pietro di Castello, 21, 24, 30, 35, 40, 51, 222
S. Polo, 295
Il Redentore, 274
S. Salvatore, 263, 281
S. Sebastiano, 205, 250, 290
Gli Servi, 220
S. Stefano, 297
S. Trovaso, 77
S. Teodoro, 36
S. Vitale, 295
S. Vito, 124
S. Zaccaria, 19, 66

Cicogna, Pasquale, (Doge), 282

City of “Fair” Women, xxiv-xxxii

„ Saints, xvi-xxiii

„ Venus, xiii-xvi

Coccio, Marcantonio, (Historian), 214

Colonna, Francesco, of Rome, 214

Concordia, 2

Condulmiero, Cristina, (Dogaressa), 161, 179

Constantinople, 30, 50–56, 83–85, 91

Contarini, Andrea, (Doge), 159–161

„ Arrigo, (Bishop), 64

„ Carlo, (Doge), 295

„ Cecilia, (Dogaressa), 276–278

„ Contarina, (Dogaressa), 216

„ Domenigo, (Doge), 54

„ Giacomo, (Doge), 112, 160

„ Jacobina, (Dogaressa), 112

„ Lucrezia, Lovely, 189–195

„ Nicolo, 150

„ Tommasina, 143

CONVENTS:--
Sant’ Alvise, 264
Sant’ Andrea, 180
Sant’ Adriana d’Amiano, 71
Santa Caterina, 72
Della Croce, Giudecca, 270
SS. Gervaso e Protasio, 301
San Lorenzo, 150, 168
Santa Maria degli Angeli di Murano, 231
Santa Maria delle Vergini, 130
San Nicolo di Murano, 281
San Pietro dei Fiorentini, 280
San Servilio, 22
Santa Trinita, 48
San Zaccaria, 19, 33, 44, 53, 67, 70, 71, 78, 164, 222

Cooking, Exquisite, 57, 107, 288

Cornaro, Alvise, 301

„ Caterina, (Dogaressa), 158, 159

„ Caterina, Queen of Cyprus, 193, 280

„ Felicia, (Dogaressa), 63

„ Francesco, 301

„ Federigo, 302

„ Giovanna, (Dogaressa), 316

„ Giovanni, (Doge), 300

„ Laura, (Dogaressa), 300–302

„ Marco, (1), (Doge), 157–158

„ Marco, (2), 280

„ Pisana, (Dogaressa), 302–306, 312

CORNO:--
The earliest, 10
Jewelled, 55, 216, 286
Dogaressa’s, 77, 132, 135, 171, 188
Provided by State, 132

“Count of Courtesy,” 140

Court Balls, Famous, 145, 288, 304

Courtesans, xxx, 152, 153, 272, 273, 311

Cow, A Golden, 78

Crusades, xxi, 63–68, 79, 92

Cupid, Court of Prince, 23–26, 49, 57

Dalmatia, 51, 52, 53, 61, 88

Dandolo, Andrea, (1), (Doge), 29, 31, 53, 66, 127, 137, 138–142,
153

Dandolo, Andrea, (2), 132

„ Antonio, 199

„ Arrigo, (Doge), 81–83, 87, 113, 132, 138, 253

„ Caterina, (Dogaressa), 115, 116

„ Elisabetta, (Dogaressa), 132–138

„ Fantino, (1), 139

„ Fantino, (2), 139

„ Francesco, (Doge), 132–138

„ Giovanni, (Doge), 113–115

„ Lionardo, 139

„ Marco, (1), 139

„ Marco, (2), 253

„ Marino, 196

„ Matteo, 258

„ Pietro, 139

„ Zilia, (Dogaressa), 253–266, 290, 311

“Daughters of Venice,” 278, 280

Degna of Aquileia, 5

Deido, Elena, (Dogaressa), 254, 267

Delfino, Chiara, (Dogaressa), 295

„ Giovanni, (Doge), 153

„ Lionardo (Bishop), 170

Delmaz, Margherita, (Falsa Dogaressa!), 309, 310

Demons, A Galley full of, 126

Devotions, Strange, 128

Diacono, Giovanni, (Historian), 50, 60

„ Pietro, 33

Dialogue, A Quaint, 31–32

Diana, Goddess, xxxi

DOGARESSA,
The First, xxiii, 13, 14, 16, 19
Patroness of the, xxiii
A proud, 34
Tribute to, 52
An imperial, 56
A voluptuous, 60
A self-denying, 64
Position of the, 69
Responsibility of, 69
Corno of, 77, 132–135
First Solemn Entry, 109
Patroness of Guilds, 61, 69, 109–111, 146
Not to speculate, 112
Wardrobe of, 115
State robes of, 117, 118
Her petty cash, 118
A fashionable, 129
Congratulate the, 133
Coronation of, 135
A “Grand,” 138
A dowdy, 158
No initiative, 160
An anguished, 164
A magnificent, 170–171.
Prayers for the, 173
Will of a, 180
A broken-hearted, 194
An unforgiving, 197–198
Fond of lace, 201, 202
And cheapness, 205
And flowing locks, 205
A well-dressed, 207
A “Mother in Israel,” 222
Letters of a, 243
Of the fisher-folk, 252
The most distinguished, 253
Gifts for the, 259, 260, 261
Honours for the, 263–264
A cultured, 268–275, 307
An amiable, 277
Pension for, 266, 277
A stout, 295
Treasures of a recluse, 301
Deathbed of a, 306
A girl, 307
A rope-dancer, 309
A faint-hearted, 311

DOGARESSAS, Likenesses of, 33, 45, 50, 59, 90, 109, 138, 154, 180,
186, 202, 203, 204, 220, 278, 298

„ The Succession of the:--
Martza Antenorio, 315
Carola Antenorio, 13, 14
Elena Badoero, xiii, 16–19, 56, 300
Felicita Badoero, 21, 22
Angela Tribuno, 315
Arcielda Candiano, 29, 32, 84
Giovanniccia Candiano, 33
Valdrada Candiano, 34–39, 44, 47, 311
Felicita Orseolo, 43–45
Marina Memo, 47–48
Maria Orseolo, 49–53
Grimelda Orseolo, 53
Teodora Selvo, xxx, 51, 55–63, 77, 119
Cornelia Faliero, 63
Felicia Michielo, 63–66
Matelda Faliero, 66, 67
Alicia Michielo, 69, 70
Sofia Morosini, 68
Felicia Maria Michielo, 71
Cecilia Ziani, 77, 78
Felicita Dandolo, 315
Maria Ziani, 89
Costanza Ziani, 89, 90, 91, 96, 97
Maria Tiepolo, 97
Valdrada Tiepolo, 97–99
Aloicia Zeno, 102–105
Agnese Tiepolo, 108
Marchesina Tiepolo, 108–112
Jacobina Contarini, 112
Caterina Dandolo, 115, 116
Tommasina Gradenigo, 117
Agnese Gradenigo, 120–126
Agnese Zorzio, 127, 128
Franchesina Soranzo, 128–132
Elisabetta Dandolo, 132–138
Giustina Gradenigo, 315
Tommasina Falier, 143
Aluycia Falier, 143–150, 169
Adriana Gradenigo, 316
Marina Gradenigo, 152
Marchesina Celsi, 154–156
Giovanna Cornaro, 316
Caterina Cornaro, 158, 159
Cristina Morosini, 161
Agnese Venier, 164, 165
Marina Selvo, 167–181
Maria Foscari, 186–187
Marina Foscari, 187–198
Giovanna Malipiero, 199–203
Letizia Moro, 316
Cristina Moro, 203–206
Aliodea Tron, 206–208, 247
Elena Marcello, 216
Contarina Marcello, 216, 217
Laura Mocenigo, 218
Regina Vendramin, 219, 220, 259
Taddea Mocenigo, 220, 221
Lucia Barbarigo, 227, 228
Elisabetta Barbarigo, 231–233
Giustina Loredano, 235
Caterina Grimani, 239–242
Benedetta Gritti, 243–248
Maria Lando, 248
Giovanna Donato, 249–251
Alicia Donato, 249–251
Zilia Priuli, 253–266, 290, 311
Elena Priuli, 266, 267
Maria Loredano, 267
Loredana Mocenigo, 268
Cecilia Venier, 276–278
Arcangela da Ponte, 278
Laura Cicogna, 282
Morosina Grimani, 282–290
Elena Priuli, 295
Chiara Cornaro, 295
Paolina Contarini, 295
Andreana Cornaro, 296
Elisabetta Valier, (1), 296
Lucia Pesaro, 296
Elisabetta Valier, (2), 298
Laura Cornaro, 300–302
Elena Pisano, 300
Pisana Mocenigo, 302, 306, 312
Polissena Mocenigo, 307
Cristina Renier, 308
Margherita Renier (?), 308, 309
Elisabetta Manin, 311, 312

DOGE:
First mention of, 9
First at Eraclea, 10
First at Rivo-Alto, 15
Acclamation of, 55
Assassination of, 37, 44, 70
Avaricious, 308
Bed of the, 246
Canonized, 45
Connoisseur, 149, 219
Contested Election of, 184
Crusader, 81
Deprivation of, 196
Dream of, 100
“Grand,” 15, 46, 66, 81, 96, 116, 128, 138, 181, 185, 234, 275
Great eater, 244
Hard conditions for, 187
Hero, 275, 297
Heroic, 274
Income of, 117
Insulted, 145
Like Brutus, 129, 164
Mean, 161
Millionaire, 206
Munificent, 233
“Never lies!” 148
Patriotic, 237
Popular, 154
Political, 117
Qualifications of, 88
Regalia of, 77
Sporting, 240, 241
Title of, 98
“Un Atila,” 121
Will of, 115, 217, 275

Doge Nicolo Tron and Fair Laura Nogarola, Story of, 208, 209

Domestic relations, 98, 99, 120

Donato, Giustina, (Dogaressa), 308–310

„ Francesco, (Doge), 18, 19, 249, 251

Dowry, A Great, 50, 189

Dresses, Extravagant, 218, 238, 245, 304

“Dumped” goods, 250, 292

Duodene, The, 76

Earthquake, A Terrible, 91

Emo, Madonna Giovanna, 238

„ Agnello, Admiral, 310

EMPERORS:--
Basil, 50
Charlemagne, 12, 27
Charles V., 143
Constantine, 50, 54, 60
Emmanuel, 54, 71, 144
Enrico, 63
Frederic Barbarossa, 70, 74, 77
Frederic II., 97
John, 109
Lothair, 86
Maximilian IV., 235
Michael, 54
Napoleon Buonaparte, 312, 313
Otto I., 28
Otto II., 38, 51
Otto III., 47, 52

EMPRESSES:--
Adelheid, 38, 47
Galla Placida, 3
Teofana, 51

Enchantment, 4, 48

Epitaphs, Dogal, 64, 68, 83, 113, 140, 161, 180, 181, 184, 208,
218, 233, 299

Eraclea, 2, 9, 10, 11, 14, 20

Etiquette, Frate Bonvesin on, 107, 108

Execution of Marino Falier, 147

Exhibition of Guilds, 174, 259

“Fair” Women, City of, xxiv-xxxii, 59

Faliero, Anna, 161

„ Marino, (Doge), 142–149

„ Matelda, (Dogaressa), 66, 67

„ Ordelafo, (Doge), 66, 67

„ Tommasina, (Dogaressa), 143

„ Vitale, I., (Doge), 54, 62, 63

„ Vitale, II., (Doge), 142

FAMILIES:--
Chief, Badoero (Partecipazio), 9, 22–27, 43
Barbarigo, 227
Barozzi, 29, 62, 120
Bembo, 63, 157
Bragadini, 157, 161
Caloprini, 47, 50
Candiano, 9, 28–41, 43
Cappello, 30, 162
Contarini, 62, 277
Cornaro, 63, 280
Dandolo, 62, 96, 138
Falier, 62, 142
Foscari, 186
Giustiniani, 29, 71, 157
Gradenigo, 53, 62, 117
Grimani, 239
Loredan, 142, 162
Malipiero, 162, 186
Michiel, 9, 43, 62, 132
Mocenigo, 182, 186
Morosini, 47, 50, 117
Orseolo, 9, 43, 54, 62
Priuli, 186, 253, 266
Selvo, 29, 54, 89
Soranzo, 128, 131
Tiepolo, 62, 96, 108
Ziani, 73, 91

Fans (Ventolini), xxxi, xxxii, 33

Fashions in Dress, xv, xxxii, 12, 23, 46, 59, 114, 137, 152, 178,
182, 192, 225, 256, 285, 287

Fedele, Cassandra, (Writer), 215

“Festa delle Marie,” 28, 30–32, 53, 136

Ferrara, 65

Fieschi, Isabella de’, 139

Fireworks, 262, 289

Fisher-folk, Doge and Dogaressa of the, 252, 253

Fisherman and the Ring,” Story of “The, 126, 127

Flag of Venice, 51, 64, 68

Florence, 49, 87, 188

Fork, A Golden, 57

Fortune-teller, A famous, 4

Foscari, Donato, 186

„ Francesco, (Doge), 184–196

„ Giacomo, 187, 189–196

„ Marco, 186

„ Nicolo, 186

Foscarini, Marco, (Doge), 310

Fragilie, see Guilds

Franco, Giacomo, (Engraver), xxxi

„ Veronica, 273, 274

FRATI:--
Bonvesino--“on Etiquette,” 107–108
Casola--Pen-Pictures of Society, 224–226
Faber--“on Gardens,” 210
Paolo--on “Ideal Wives,” 150

Friuli, 12, 34, 106, 176, 204

Fulvia of Altino, 4

Fugitive forebears, xv, 2, 6, 7, 20, 62

Galina, Antonio, 258

„ Marina, (Dogaressa), 167, 199

Games of chance, 79

GARDENS:--
Andrea Calmo on, 210
Frate Felice Faber on, 210
Asolo, 215
Botanical, 165, 269
Friuli, 215
Giudecca, 210
Love of, 106
Murano, 106, 211–215
Olivolo, 35
Roof, 210
San Canciano, 283
Santa Caterina, 283
Simple flower, 16
The Brenta, 215, 269
Zoological, 221
In general, 10, 16

Garrison of girls, 95

Gehenna, A Filthy, 164

Genoa, 108, 128, 141, 160, 176

Gentlemen,” “The First, 283

Ghisi, Agnese, (Dogaressa), 108

„ Girolamo, 154

„ Marchesina, (Dogaressa), 154

Giano, King of Padua, 2, 3

Giovanniccia--A divorcée, 33

Giustina, Rossi, Story of, 121, 122

„ Saint, xxii, xxiii, 21, 93, 165

Giustiniani, Alicia, (Dogaressa), 249–251

„ Bartoletta, (Abbess), 72

„ Giorgio, 150

„ Giustina, (Dogaressa), 235

„ Marcantonio, (Doge), 296

„ Margherita, 72

„ Marta, 72

„ Nicolo, (A Monk), 71, 72

„ Paolo, 181

Glass, Murano, 128, 129, 250

Gloves, First use of, 58

Gobba, Madonna Tommasina, 155

Golden Rose, The, 231, 276, 289

Gondolier, An amorous, 48, 49

„ Cries of, 313

Gradenigo, Aluycia, (Dogaressa), 143–150, 169

„ Anna, 117

„ Bartolommeo, (Doge), 127

„ Giacomo, 117

„ Giovanni, (1), 117

„ Giovanni, (2), (Doge), 152

„ Marco, 117

„ Nicolo, (1), 117

„ Nicolo, (2), 144

„ Paolo, 117

„ Pietro, (1), (Doge), 116, 127, 144

„ Pietro, (2), 120

„ Regina, (Dogaressa), 219, 220, 259

Grado, 2

„ Patriarch of, 10, 74

Grave-digger, A pious, 37

“Great Dolls,” 232

Grimani, Antonio, (Doge), 239, 287

„ Breviary, 240

„ Domenigo, (1), 38

„ Domenigo, (Cardinal), 240

„ Elisabetta, (Dogaressa), 311–312

„ Francesca, 305

„ Marina, 257

„ Marino, (Doge), 283, 290

„ Pietro, (Doge), 305

„ Vettor, 257

Gritti, Andrea, (Doge), 242–246

Guarino, Abbot, 44

GUILDS (Fragilie):--
in general, 86, 254, 287, 292
Barber-Surgeons, 110
Blacksmiths, 86, 109
Butchers, 86, 110, 255
Cabinet-makers, 86
Carding-comb Makers, 110
Carpenters, 86
Carriers by water, 86
Charity of the, 106
Dealers in old clothes, 115
Exhibitions of the, 109
Fishermen, 86, 87
“Flagellants,” 101, 222
Furriers, 86, 109
Glass-blowers, 110, 128, 250, 260, 261
Gold and silver cloth makers, 110
Goldsmiths, 110, 183, 256, 260
Hat-makers, 31
Lace-makers, 199
Makers of doublets, 110
Marriage-chest makers, 30, 86
Masons, 86
Pageants of, 109, 110, 134
Physicians, 140
Piety of, 106
Printers, 199
Saddlers, 86
Shepherds, 86
Shoemakers, 86, 110
Silk mercers, 87, 110, 127, 128
Tailors, 109
Wool-weavers, 109
“Zonfi,” (lame and blind), 116

Guiscardo, Roberto, 61

Guoro, Story of Elena Candiano and Gherardo, 39–41

Hair, Dressing the, xxviii, xxix, xxx, xxxi, 16, 24, 229, 259

„ Golden, xxv, xxviii, xxix, 59, 80

„ Hawsers of, 6

Helen of Troy, xxviii

Hereditary Beauty, xxvi

„ „ Giovanni Marinello on, xxx

HEROINES:--
Adriana of Padua, 3
Degna of Aquileia, 5
Elena Candiano, 39–41
Idilia of Altino, 4
Martza of Aquileia, 5

High Chancellor, 133, 135, 171, 258

HISTORIANS:--
Amaden Francesco, 270
Lionardo Bota, 218
Andrea Calmo, 210
Marino da Canale, 111
Cassiodorus, 2
Marcantonio Coccio, 214
Andrea Dandolo, (Doge), 29, 31, 53, 66, 139
Giovanni Diacono, 50, 60
Pietro Diacono, 33
Francesco Donato, (Doge), 18, 19
Pliny, xxvi
Sabellico, 169
Martino Sanudo, 11, 144, 168, 204, 214, 227
Giacomo Zoppi, xvii

Horns of Hair, xxx, xxxi

Horses, Cream-coloured, 236

Husbands, Choose, 219

HOSPITALS:--
For Aged Poor, 159
For Pilgrims, 65
For Strangers, 228
For Fallen Women, 153

Ideal Wives, 150

Idilia of Altino, 4

Inquisition, The, 100

Isarello, Betruccio, (Admiral), 147

Itinerant-merchants, 103, 104

Jael, A Second, 4

Jesolo, 2, 11, 14

Jests, Coarse, 168

Jewels, xxx, xxxii, 46, 56, 64, 137, 182, 193, 226, 256, 272, 279,
297, 301

Jubilee, Year of, 91

Keys of Cities, 176

KINGS:--
Baldwin of Jerusalem, 66
Boemodo of Servia, 109
Charles VIII. of France, 231
Charles XII. of France, 235
Geiso of Hungary, 53
Giacomo of Cyprus, 280
Giano of Padua, 2
Guglielmo of Sicily, 89
Henry III. of France, 271–273
Henry VIII. of England, 235, 251
Ilario of Servia, 70
James IV. of Scotland, 236
Pietro of Aragon, 169
Stefano of Hungary, 70
Vitalicinio of Padua, xxii

Kisses, Scented, xxviii

„ The Hand, 27

“La Beata,” Story of, 122–124

La Beata Anna, 72

La Boccola, Story of, 26–28

“La Donna delle Misericordia,” 108

Lace, Burano, xxxii, 199, 201, 202, 286, 290

La Maga Irene, 4

Lando, Madonna Lucia, 168

„ Pietro, (Doge), 248

Laura of Petrarch, 165

League of Cambrai, 235

Leather, Stamped, 288

Lemons, Gilded, 240

Lepanto, Battle of, 276

Liabilities of Glass-workers, 250

_Libreria Vecchia_, 250

Libraries, Lack of, 248

Libro d’Oro dei Cerimoniali, 264

„ de’ Quarantia, 117

„ of 1289, 162, 182

„ of 1391, 248

„ of 1450, 243

„ Burnt, 313

Literary Revels, 213

Longobards, 7, 8, 62

Loredano, Alvise, 235

„ Bernardo, 235

„ Beriola, 142

„ Caterina, (Dogaressa), 239–242

„ Gerolamo, 235

„ Giovanni, 142

„ Lionardo, (Doge), 234–239

„ Lorenzo, (1), 235

„ Lorenzo, (2), 295

„ Marco, 163

„ Paolina, (Dogaressa), 295

„ Pietro, (1), 184, 185, 195, 196

„ Pietro, (2), (Doge), 267

LOVE, Castle of, 93

„ Court of, 144

„ Making, 23, 27, 28

„ Of Rivals, 77

„ Platonic, 15, 209

„ A story of, 39–41

„ True, 212

Loves of Henry III. and Veronica Franco, Story of the, 273, 274

Lying-in-mother, 225

Lying-in-state, 264, 270, 307

Magalotti, Count Lorenzo, “on Scent,” xxvii

Magic-singer, A, 4

Magistrates, Early, 9, 15

Maidens, Two hundred lovely, 93

Malamocco, 2, 9, 11, 12

Malipiero, Felicita, (Dogaressa), 43–45

„ Pasquale, (Doge), xxiv, 197–202

Manin, Lodovico, (last Doge), 311–314

Mannikins of Fashion, 114

“Marangona,” the Mass-bell, 20

“Marca Amorosa,” 92–95

Marcello, Bianca, 269

„ Daria, 269

„ Giovanni Alvise, 268

„ Loredana, (Dogaressa), 268–275

„ Marina, 269

„ Nicolo, (Doge), 216, 217

“Marina’s Wail,” 49

Marinello, Giovanni, on Hair, xxx

Marital infidelity, 311

MARRIAGE, A romantic, 71, 72

„ A splendid, 190–191, 195

„ Customs, 23–25, 191, 203

„ Early, 96

„ Of the sea, 73–76

„ Lax rules of, 103–104

„ Pageantry of, 191–193

Marta, Faithful, 39

Martza of Aquileia, 5

Matilda, Countess of Tuscany, 34, 65

Meals and Menus, 107

Medici, Bianca de’, (Grand Duchess), 278–280

„ Cosimo de’--“Il Vecchio,” 249

„ Francesco de’, (Grand Duke), 278–280

„ Giovanni de’, 188

Memo, Marina, (Dogaressa), 315

„ Tribolo, (Doge), 47, 315

Merceria, The, 62, 114, 121

Michielo, Alicia, (Dogaressa), 69, 70

„ Alicia, of Servia, 70

„ Anna (A nun), 71

„ Domenigo (Doge), 66–69

„ Felicia, (Dogaressa), 62, 63

„ Felicia Maria, (Dogaressa), 71

„ Giovanni, (1), 64

„ Giovanni (2), 221

„ Giovanni (3), 279

„ Leonardo, 70

„ Margherita, 161

„ Maria, of Hungary, 70

„ Nicolo, 70

„ Taddea, (Dogaressa), 220, 221

„ Vitale, I., (Doge), 62, 63

„ Vitale, II, (Doge), 70–72, 221

Midwives, 226

Minotti, Donna Sabba, 120

Miracle of probity,” “A, 66

Miracolo!” “Uno, 124

Mocenigo, Alvise, (1), (Doge), 268–275

„ Alvise, (2), 305

„ Giovanni, (1), 182

„ Giovanni, (2), (Doge), 220

„ Giovanni, (3), 271

„ Giovanni Alvise, (Doge), 302–307

„ Paolina (Princess), 302

„ Pietro, (Doge), 217–218

„ Tommaso, (Doge), 181–185

MONASTERIES:--
San Felice, 167
San Giobbe, 205
San Giorgio Maggiore, 78, 89, 91
Sant’Ilario, 19, 38
San Nicolo di Lido, 71

Morgencap, The, 34

Mori, Three brothers, 73

Moro, Cristoforo (Doge), 203–206, 247

„ Letizia, (Dogaressa), 316

Morosini, Aliodea, (Dogaressa), 206

„ Andrea, 283

„ Antonio, 258

„ Contarina, (Dogaressa), 216, 217

„ Domenigo, (1), 47

„ Domenigo, (2), Doge, 68

„ Francesco, (1), 216

„ Francesco, (2), Doge, 296, 297, 310

„ Laura, (Dogaressa), 282

„ Marco, (Doge), 100, 101

„ Michele, (Doge), 161

„ Morosina, (Dogaressa), 282–290

„ Silvestro, 206

„ Tommasina, (Dogaressa), 117–120

Mula, Giovanna da, (Dogaressa), 249–251

„ Polissena da, (Dogaressa), 307

Murano, 16, 128, 129

„ Gardens of, 210–214

„ Glass-workers of, in England, 251

Music, Love of, 106, 214

Mutton! A leg of, 191

Nani, Bartolommeo, 187

„ Marina, (Dogaressa), 187–198

Necklaces, Famous, 193, 279

Nicolotti, The, 35, 77, 119, 168, 289

Night-cap, A, 160

Ninziolette--Mantillas, 46, 76, 80

Nobles, out-of-elbows, 146, 147, 242

Nogarola, Madonna Laura, 208, 209

Nuns, Gay, 272
Wealthy, 301

Oderzo, 2

Orations, Funeral, 266, 269, 290
Dying, 184

Oriana, Queen of Dalmatia, 3

Orseolo, Domenigo, (1), 43

„ Domenigo, (2), 53

„ Felicia, (Abbess), 54

„ Giovanni, 50, 51

„ Icella, (Princess), 54

„ Imelda, 54

„ Maria, Princess, 50, 51

„ Orso, 53

„ Pietro, I., (“Grand” Doge), 38, 43–45

„ Pietro, II., (Doge), 43, 46–53

„ Pietro, III., (Doge), 53, 54

„ Pietro, IV., (Doge), 54

„ Story of Abbot Romaldo and San Pietro, 44, 45

“Osella,” The, 241, 287, 288, 297

“Pace delle Donne,” The, 237

Padua, 2, 9, 13, 15, 20, 28, 36, 92, 94, 128, 139, 126, 238

PAGEANTS, 52, 67, 74, 109, 110, 132, 156, 172, 175, 182, 187, 199,
261, 287

PAINTERS:--
Gentile Bellini, xxix, 281
Giovanni Bellini, xxix, 234
Paris Bordone, 59, 127, 246
“Canaletto,” 292
Giovanni Contarini, 282
Giacomo del Fiore, 138
“Giorgione,” xxix
Benozzo Gozzoli, 214
Francesco Guardi, 292
Guariento, 138, 175
Pietro Longi, 292
Palma Vecchio, 127, 254, 292
Giovanni Santacroce, 45
“Tintoretto,” xxix, 290
Tiziano Vecellio, xxix, xxx, 246, 249, 250
Lorenzo Veneziano, 138
Paolo Veronese, xxix, 292
Vivarini Fratelli, 138

Pala d’Oro, 43, 81

PALACES:--
Badoero, 16
Balbi, 190
Bembo, 48
Contarini, 189, 190
Dandolo, 133
Diedo, 310
Ducal, 18, 36, 43, 52, 59, 61, 109, 111, 121, 127, 132, 135, 175,
187, 190, 205, 218, 288
Falier, 149
Foscari, 198, 231
Giustiniani, 193
Grimani, 242, 283, 285
Marcello, 269
Mocenigo, 310
Morosini, 283
Priuli, 254
Quattro Torri, 155
Soranzo, 129
Tiepolo, 109
Tron, 207
Valier, 297
Venier, 164, 277
Zeno, 104
Ziani, 91

Pasquilago, Maria, (Dogaressa), 248

Patroness of the Dogaressa, xxiii, xiv, 93

Pattens, High, 179

“Peace with Honour,” 52, 54, 68

_Pegne_, The, 24, 25

Perfumes, Love of, xxvi, xxvii, 58, 62

Pestilences, 140, 188, 222, 274

Petrarch, Francesco, (Poet), 141, 143, 155, 156

„ Library, 156

„ Prophecy of, 166

“Pinzocchere,” The (Noble-mourners), 69, 222

Pisani, Cristina, (Writer), 214

„ Elisabetta, (Dogaressa), 296

„ Vettor, (Commander), 161

Plato, School of, 15, 209

Playing-cards, A famous pack of, 33, 45, 50, 59, 90, 109, 186, 198,
200, 204, 207, 270, 285

POETS:--
Jacopo d’Albigotto, xxiv
Gianni Alfani, xxiv
Pietro Aretino, xxv, 214, 250
Lodovico Ariosto, xxvii, 214
Antonio Beccario, 115
Pietro Bembo, 211–213, 281, 282
Giovanni Boccaccio, 156, 281
Nicolo Coccio d’ Arezzo, xxiv
Dante, 34, 89
Moderata Fonte, 215
Guido da Firenze, xxiv
Homer, xxviii
Francesco de’ Medici, 279
Andrea Navagero, 214, 281
Francesco Petrarch, 141, 143, 155, 156
Angello Poliziano, 215
San Gemignano, xxvii
Giovanni Sanguinacci, 116, 274
Shakespeare, 39, 40, 290, 291
Percy B. Shelley, xiv
Giulio Strozzi, 3
Torquato Tasso, 279

Polani, Pietro, (Doge), 87

Polo, Marco, 150

Ponte, Arcangela da’, (Dogaressa), 278

„ Nicolo da, (Doge), 278

POPES:--
Alexander III., 72, 73, 77
Alexander VI., 231
Clement VIII., 289
Julius II., 235

Porta, Story of Madonna Veneranda, 153

Prata, Aloicia da, (Dogaressa), 102, 105

Prices-current, 78

Printers, early, 200, 214

PRINCESSES:--
Faustina Rezzonico, 304
Gonzaga, 311
Maria Commeno, 50, 51
Paolina Trivulzio, 302
Teodora Ducas, xxx, 51, 55, 62, 63, 77, 119

Priuli, Agnello, 254

„ Andreana, (Dogaressa), 296

„ Giovanni, 258, 265

„ Girolamo, (Doge), 254, 267

„ Lorenzo, (Doge), 253–266

„ Maria, (Dogaressa), 186, 187

„ del Banco, Andrea, 186

„ „ Maria, (Dogaressa), 186

Profligates, 147

“Promissioni,” Dogal, 98, 111, 117, 133, 135, 159, 187, 204, 218,
235, 240, 243, 256, 259, 286, 298, 303

QUEENS:--
Adriana of Padua, 3
Caterina of Sicily, 193, 280
Elisabeth of England, 299
Louise of France, 237
Oriana of Dalmatia, 3, 5
Of “Beauty,” 59

Querini, Andreaola, (Recluse), 131

„ Elisabetta, (Dogaressa), 297

„ Marco, 120, 121, 129

„ Nicolo, 129

Rape of the Brides, 30–31, 86

RECIPES:--
Against plague, 140
When crossed in love, 40
For the hair, xxix, xxx
For the skin, 59
For tender feet, xxii
For perfume, xxvii

Regalia of Doges, 77, 199, 313

Religious instincts, xvi, xxi, xxii, xxviii, 6, 19, 20, 29, 43, 80,
125

Renier, Paolo, (Doge), 308–310

Reverie, The Author’s, 313–314

REVOLUTIONS:--
Marco Bocconio, 120, 142
Marco Querino, 120, 121, 142
Baiamente Tiepolo, 120, 121, 142

Rinieri, Sostinio, 4

Ritual of Solemn Entry, 173, 174, 199, 259, 288

Rivo-Alto, or Rialto, xiv, xvi, xxviii, 3, 15, 17, 57, 84, 87

Roland the Invincible, 27

Roll of the Dogaressas, 315–317

Romaldo, (Abbot), 44

Romance of a monk and a nun, 71, 72

Rosebud, Offering of a, 27

Rouge-pots, 137

Ruzzini, Lucia, (Dogaressa), 227, 228

Saffo, A Venetian, 273

SAINTS”:--
“The City of, xvi-xxiii, xxviii
Bodies of, xvii-xx, 2, 20, 21, 45, 65, 66, 67, 108, 205
Venetian, 2, 20, 66, 82, 205
Voices of the, 6

Sanudo, Angela, (Dogaressa), 315

„ Cristina, (Dogaressa), 203–206

„ Lionardo, 203

„ Martino, (Historian), 11, 144, 168, 204, 214, 227

SCULPTORS:--
Giovanni Bonazza, 298
Girolamo Compagna, 290
Giuseppe Guoccoala, 298

Selvo, Domenigo, (Doge), 54–61, 89, 119

Seven Sisters, Story of the, 48, 49

Shop of Europe,” “The, 106, 113

Silk-purses, Dogaressas’, 133, 134, 259, 286

Sior Rioba’s Mouth!, 73

Skin, Treatment of the, xxvi, xxvii

Slaves, 35, 56, 99, 228–230, 245

Sofia, The Houri, 68

_Solana_, xxix

Solemn Entry of Dogaressa, 109, 134, 167, 170–175, 187, 220, 254,
284, 297, 303

Soranzo, Andrea, 231–233

„ Elisabetta, (Dogaressa), 231

„ Franchesina, (Dogaressa), 128–132

„ Giovanni, (Doge), 128–132

„ Story of Soranza, 129–131

Spectacle, An Unique, 225, 226

Spectacular Plays, 237

SPORTS:--
Athletic, 36, 76
Bullfights, 35, 178, 179
Grebe-shooting, 12
Pugilistic, 119
Regattas, 36, 119, 256, 272, 289
Tournaments, (_Giostre_), 182
Wild-duck shooting, 240–241
Of many kinds, 262

State robes, 59, 117–118, 256, 286, 297, 303

Steno, Cristina, (a nun), 168

„ Fantino, 168

„ Giovanni, 168

„ Michele, (Doge), 144, 145, 167–181

Stop the Bell!, 309

Storlato, Maria, (Dogaressa), 97

STORIES:--
Saint Giustina, xxii, xxiii
Storks of Altino, 7
“_La Boccola_,” (Rosebud), 26–28
The Brides of Venice, 30–32
Gerardo Guoro and Elena Candiano, 39–41
S. Pietro Orseolo and Abbot Romaldo, 44–45
Seven Spinsters, 48–49
Anna Michielo and Nicolo Giustiniani, 71, 72
Zorzio and Bella, 84–85
A Venetian Bride, 95–96
Giustina Rossi, 121–122
“_La Beata_” 122–124
The Fisherman and the Ring, 126, 127
Madonna Soranza Soranzo-Querino, 129–131
Madonna Veneranda Porta, 153
Alvise Venier’s Burial, 164–165
Doge Nicolo Tron and Fair Laura Nogarola, 208, 209
Loves of Henry III. and Veronica Franco, 273, 274

Strozzi, Giulio, (Poet), 3

„ Madonna Alessandra degli, 229

Strozzi, Palla negli, 188

Sumptuary laws, xxii, 136, 137, 218, 219, 238, 239, 245

Sun of Venice sets!, 292

Tancred of Provence, Story of, 26, 27

“Tanta Delicatezza,” 60

“Tanta Donna,” xxvi

Tiepolo, Antonio, 279

„ Baiamente, 120, 121

„ Bartoldo, 97

„ Giacomo, (1), (Doge), 96–100, 109

„ Giacomo, (2), 108, 116

„ Ginevra, “Daughter of Venice,” 280

„ Giovanni, 97

„ Lorenzo, (1), 97

„ Lorenzo, (2), (Doge) 97, 105–112

„ Pietro, (1), 97

„ Pietro, (2), 108

TOILET:--
Artifices of the, xxvi, xxvii, xxix, xxx, 16, 23, 58, 59, 230
Devotion to the, xxv

_Tonde_, Girls’ veils, 46, 76, 80

Torcello, 2, 7, 62

Torture, 195

Toscana, Valrada da, (Dogaressa), 34–39, 44, 47, 311

Tradonico, Pietro, (Doge), 44

Trappola,” “La (Cards), 293

TRAGEDIES:--
Aluycia Grandenigo-Falier, 149, 150
Alvise Venier, 163–165
Francesca Mocenigo, 306
Giacomo Foscari, 189–196
Giorgio Ziani, 89
Marino Falier, 148–149
Soranza Soranzo-Querini, 129–131

Treviso, 92, 93, 144

Tribuno, Pietro, (Doge), 315

Tron, Aioidea, (Dogaressa), 206–209, 247

„ Caterina, (Dogaressa), 311

„ Giacomo, 207

„ Nicolo, (Doge), 206–209

Trousseaux, 95, 137, 192, 193, 302, 303

Ugo, Marquis of Tuscany, 34, 38

Ungaria, Grimelda d’ (Dogaressa), 53

Use of Cosmetiques, xxvi, xxvii

„ of Paint and Puff, xxvi, xxvii

Vecellio, Lavinia, xxx

„ Tiziano, (see Painters)

Vendramin, Andrea, (Doge), 219

„ Benedetta, (Dogaressa), 243–248

VENETIAN Houses, 16, 58, 225

„ Knights, 92–94, 300

„ Lace, 85

„ Love of music, drama, etc., 106, 119, 120, 214

„ Manners and dress, 107, 224–226

„ People shocked, 57

„ Sayings, 12, 14, 39, 42, 54, 56, 78, 84, 85, 100, 103,
104, 106, 160, 162, 183, 235, 251

„ Vernacular, 214

Veneto, Brides of, 8
Cities of, 1
“Splendid,” 2
Victims of, 3
Women of, 5

Venezia, “Calva,” 151
“Edificata,” 3
“Ricca,” 176
“Seconda,” 6, 7, 9, 18

“Venice wants for nothing!” 54

Venier, Agnese, (Dogaressa), 164–165

„ Alvise, 163–165

„ Andreaina, 254

„ Antonia, (A nun), 164–165

„ Antonio, (Doge), 162–165, 182

„ Domenigo, (Bishop), 233

„ Francesco, (1), (Doge), 254, 277

„ Francesco, (2), 307

„ Orsola, 165

„ Sebastiano, (Doge), 275–277

_Ventolini_--fans, xxxi, 33

VENUS:--
“Calva,” xiii, xiv, 83, 268, 275, 292, 313
“City of,” xiii, xxvii, 26
di Milo, 76
“Of the century,” 207
“The fruitful,” 214

Vicenza, 28, 36

VILLAS:--
At Arbe, 88, 113
On the Brenta, 159
At Cordignano, 306
On the Giudecca, 210
At Murano, 211

Viragoes, 5, 35, 69, 97, 253

Vulcana, black-eyed, Story of, 26, 27

Warning, A Dervish’s, 159

Witches, Seven spinster, 48, 49

WIVES:
Of exiles, 131
Fascinating, 247, 266, 285, 297
Ideal, 151
What sort of?, 246, 247
With sticks!, 289

WOMAN:--
“Beautiful and brittle,” 251
Commonwealth of, 6
Effigy, xxiv
“Of unsullied virtue,” 51
“A tolerable kind of!” 227
A valiant, 121, 122

WOMEN:--
Beautiful, xxiv, xxv, xxxii, 2, 50, 51, 59, 84, 85, 268, 272
Characteristics of, xxv, xxvi, xxvii, 5, 63
Courageous, 3, 4, 5, 6
Cultured, 214, 215, 268
Distressed gentle-, 111
Dress of, 12, 23, 46, 59, 63
Emancipation of, 152
Good breeding of, 12
Hostel for fallen, 153
“Never hang!”, 153
Of Chioggia, xxvii, 62
Occupations of, 21
“Of the Rialto,” 56
Patriotism of, 64
“Of the People,” 120
Toilet of, xxvi, xxvii, xxix, xxx, 16, 23, 58, 59, 230
Treatment of, 22
Voluptuous, 60
Weeping, 82, 83

Young Dogs!” “Insolent, 144, 177, 178

Young men, Dress, 137. Hair, 205

Zantani, Agnese, (Dogaressa), 120–126

Zeno, Carlo, (Commander), 161, 176

„ Renier, (Doge), 101

Ziani, Cecilia, (Dogaressa), 75–78

„ Giorgio, 89

„ Marchesina, 91

„ Marco, 91

„ Maria, 91

„ Marino, 78

„ Pietro, (Doge), 88–96

„ Sebastiano, (Doge), 73–78, 117

Zilve--Pattens, 179

Zorzio, Agnese, (Dogaressa), 127, 128

„ Giovanni, 218

„ Laura, (Dogaressa), 218

„ Marino, (Doge), 127, 128

„ and Bella, Story of, 84, 85

EDINBURGH
COLSTONS LIMITED
PRINTERS

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been
corrected silently.

2. Some hyphenated and non-hyphenated versions of the same words have
been retained as in the original.

3. Italics are shown as _xxx_.

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