“Checa (to Tofolo). Take my hand.
“Tofolo. Wife!
“Checa. Husband!
“Tofolo. Hurra!”
The betrothals of the Venetian nobles were celebrated with as much pomp and ceremony as could possibly distinguish them from those of the people, and there was much more polite indifference to the inclinations of the parties immediately concerned. The contract was often concluded before the betrothed had seen each other, by means of a third person, when the amount of the dower was fixed. The bridegroom elect having verbally agreed with the parents of the bride, repaired at an early day to the court-yard of the Ducal Palace, where the match was published, and where he shook hands with his kinsmen and friends. On the day fixed for signing the contract the bride’s father invited to his house the bridegroom and all his friends, and hither came the high officers of state to compliment the future husband. He, with the father of his betrothed, met the guests at the door of the palace, and conducted them to the grand saloon, which no woman was allowed (si figuri!) at this time to enter. When the company was seated, the bride, clad in white, was led from her rooms and presented. She wore a crown of pearls and brilliants on her head, and her hair, mixed with long threads of gold, fell loose about her shoulders, as you may see it in Carpaccio’s pictures of the Espousals of St. Ursula. Her ear-rings were pendants of three pearls set in gold; her neck and throat were bare but for a collar of lace and gems, from which slid a fine jeweled chain into her bosom. Over her breast she wore a stomacher of cloth of gold, to which were attached her sleeves, open from the elbow to the hand. The formal words of espousal being pronounced, the bride paced slowly round the hall to the music of fifes and trumpets, and made a gentle inclination to each of the guests; and then returned to her chamber, from which she issued again on the arrival of any tardy friend, and repeated the ceremony. After all this, she descended to the courtyard, where she was received by gentlewomen, her friends, and placed on a raised seat (which was covered with rich stuffs) in an open gondola, and thus, followed by a fleet of attendant gondolas, went to visit all the convents in which there were kinspeople of herself or her betrothed. The excessive publicity of these ceremonies was supposed to strengthen the validity of the marriage contract. At an early day after the espousals the betrothed, preceded by musicians and followed by relatives and friends, went at dawn to be married in the church, — the bridegroom wearing a toga, and the bride a dress of white silk or crimson velvet, with jewels in her hair, and pearls embroidered on her robes. Visits of congratulation followed, and on the same day a public feast was given in honor of the wedding, to which at least three hundred persons were always invited, and at which the number, quality, and cost of the dishes were carefully regulated by the Republic’s laws. On this occasion, one or more persons were chosen as governors of the feast, and after the tables were removed, a mock-heroic character appeared, and recounted with absurd exaggeration the deeds of the ancestors of the bride and groom. The next morning ristorativi of sweetmeats and confectionery were presented to the happy couple, by whom the presents were returned in kind.
A splendor so exceptional, even in the most splendid age of the most splendid city, as that which marked the nuptial feasts of the unhappy Jacopo Foscari, could not be left unnoticed in this place. He espoused Lucrezia, daughter of Lionardo Contarini, a noble as rich and magnificent as Jacopo’s own father, the Doge; and, on the 29th of January 1441, the noble Eustachio Balbi being chosen lord of the feasts, the bridegroom, the bride’s brother and eighteen other patrician youths, assembled in the Palazzo Balbi, whence they went on horseback to conduct Lucrezia to the Ducal Palace. They were all sumptuously dressed in crimson velvet and silver brocade of Alexandria, and rode chargers superbly caparisoned. Other noble friends attended them; musicians went before; a troop of soldiers brought up the rear. They thus proceeded to the court-yard of the Ducal Palace, and then, returning, traversed the Piazza, and threading the devious little streets to the Campo San Samuele, there crossed the Grand Canal upon a bridge of boats, to San Barnaba opposite, where the Contarini lived. On their arrival at this place the bride, supported by two Procuratori di San Marco, and attended by sixty ladies, descended to the church and heard mass, after which an oration was delivered in Campo San Barnaba before the Doge, the ambassadors, and a multitude of nobles and people, in praise of the spouses and their families. The bride then returned to her father’s house, and jousts took place in the campos of Santa Maria Formosa and San Polo (the largest in the city), and in the Piazza San Marco. The Doge gave a great banquet, and at its close one hundred and fifty ladies proceeded to the bride’s palace in the Bucintoro, where one hundred other ladies joined them, together with Lucrezia, who, seated between Francesco Sforza (then General-in-chief of the Republic’s armies) and the Florentine ambassador, was conducted, amid the shouts of the people and the sound of trumpets, to the Ducal Palace. The Doge received her at the riva of the Piazzetta, and, with Sforza and Balbi led her to the foot of the palace stairs, where the Dogaressa, with sixty ladies, welcomed her. A state supper ended this day’s rejoicings, and on the following day a tournament took place in the Piazza, for a prize of cloth of gold, which was offered by Sforza. Forty knights contested the prize and supped afterward with the Doge. On the next day there were processions of boats with music on the Grand Canal; on the fourth and last day there were other jousts for prizes offered by the jewelers and Florentine merchants; and every night there were dancing and feasting in the Ducal Palace. The Doge was himself the giver of the last tournament, and with this the festivities came to an end.
I have read an account by an old-fashioned English traveler of a Venetian marriage which he saw, sixty or seventy years ago, at the church of San Giorgio Maggiore: “After a crowd of nobles,” he says, “in their usual black robes, had been some time in attendance, the gondolas appearing, exhibited a fine show, though all of them were painted of a sable hue, in consequence of a sumptuary law, which is very necessary in this place, to prevent an expense which many who could not bear it would incur; nevertheless the barcarioli, or boatmen, were dressed in handsome liveries; the gondolas followed one another in a line, each carrying two ladies, who were likewise dressed in black. As they landed they arranged themselves in order, forming a line from the gate to the great altar. At length the bride, arrayed in white as the symbol of innocence, led by the bridesman, ascended the stairs of the landing-place. There she received the compliments of the bridegroom, in his black toga, who walked at her right hand to the altar, where they and all the company kneeled. I was often afraid the poor young creature would have sunk upon the ground before she arrived, for she trembled with great agitation, while she made her low courtesies from side to side: however, the ceremony was no sooner performed than she seemed to recover her spirits, and looked matrimony in the face with a determined smile. Indeed, in all appearance she had nothing to fear from her husband, whose age and aspect were not at all formidable; accordingly she tripped back to the gondola with great activity and resolution, and the procession ended as it began. Though there was something attractive in this aquatic parade, the black hue of the boats and the company presented to a stranger, like me, the idea of a funeral rather than a wedding. My expectation was raised too high by the previous description of the Italians, who are much given to hyperbole, who gave me to understand that this procession would far exceed any thing I had ever seen. When I reflect upon this rhodomontade,” disdainfully adds Mr. Drummond, “I cannot help comparing, in my memory, the paltry procession of the Venetian marriage with a very august occurrence of which I was eyewitness in Sweden,” and which being the reception of their Swedish Majesties by the British fleet, I am sure the reader will not ask me to quote. With change of government, changes of civilization following the revolutions, and the decay of wealth among the Venetian nobles, almost all their splendid customs have passed away, and the habit of making wedding presents of sweetmeats and confectionery is perhaps the only relic which has descended from the pi
cturesque past to the present time. These gifts are still exchanged not only by nobles, but by all commoners according to their means, and are sometimes a source of very profuse outlay. It is the habit to send the candies in the elegant and costly paper caskets which the confectioners sell, and the sum of a thousand florins scarcely suffices to pass the courtesy round a moderately large circle of friends.
With the nobility and with the richest commoners marriage is still greatly a matter of contract, and is arranged without much reference to the principals, though it is now scarcely probable in any case that they have not seen each other. But with all other classes, except the poorest, who cannot and do not seclude the youth of either sex from each other, and with whom, consequently, romantic contrivance and subterfuge would be superfluous, love is made to-day in Venice as in the capa y espada comedies of the Spaniards, and the business is carried on with all the cumbrous machinery of confidants, billets-doux, and stolen interviews.
Let us take our nominal friends, Marco and Todaro, and attend them in their solemn promenade under the arcades of the Procuratie, or upon the Molo, whither they go every evening to taste the air and to look at the ladies, while the Austrians and the other foreigners listen to the military music in the Piazza. They are both young, our friends; they have both glossy silk hats; they have both light canes and an innocent swagger. Inconceivably mild are these youth, and in their talk indescribably small and commonplace.
They look at the ladies, and suddenly Todaro feels the consuming ardors of love.
Todaro (to Marco). Here, dear! Behold this beautiful blonde here! Beautiful as an angel! But what loveliness!
Marco. But where?
Todaro. It is enough. Let us go. I follow her.
Such is the force of the passion in southern hearts. They follow that beautiful blonde, who, marching demurely in front of the gray-moustached papa and the fat mamma, after the fashion in Venice, is electrically conscious of pursuit. They follow her during the whole evening, and, at a distance, softly follow her home, where the burning Todaro photographs the number of the house upon the sensitized tablets of his soul.
This is the first great step in love: he has seen his adored one, and he knows that he loves her with an inextinguishable ardor. The next advance is to be decided between himself and the faithful Marco, and is to be debated over many cups of black coffee, not to name glasses of sugar-and-water and the like exciting beverages. The friends may now find out the caff� which the Biondina frequents with her parents, and to which Todaro may go every evening and feast his eyes upon her loveliness, never making his regard known by any word, till some night, when he has followed her home, he steals speech with her as he stands in the street under her balcony, — and looks sufficiently sheepish as people detect him on their late return from the theatre. [Footnote: The love-making scenes in Goldoni’s comedy of Il Bugiarda are photographically faithful to present usage in Venice.] Or, if the friends do not take this course in their courtship (for they are both engaged in the wooing), they decide that Todaro, after walking back and forth a sufficient number of times in the street where the Biondina lives, shall write her a tender letter, to demand if she be disposed to correspond his love. This billet must always be conveyed to her by her serving-maid, who must be bribed by Marco for the purpose. At every juncture Marco must be consulted, and acquainted with every step of progress; and no doubt the Biondina has some lively Moretta for her friend, to whom she confides her part of the love-affair in all its intricacy.
It may likewise happen that Todaro shall go to see the Biondina in church, whither, but for her presence, he would hardly go, and that there, though he may not have speech with her, he shall still fan the ardors of her curiosity and pity by persistent sighs. It must be confessed that if the Biondina is not pleased with his looks, his devotion must assume the character of an intolerable bore to her; and that to see him everywhere at her heels — to behold him leaning against the pillar near which she kneels at church, the head of his stick in his mouth, and his attitude carefully taken with a view to captivation — to be always in deadly fear lest she shall meet him in promenade, or, turning round at the caff� encounter his pleading gaze — that all this must drive the Biondina to a state bordering upon blasphemy and finger-nails. Ma, come si fa? Ci vuol pazienza! This is the sole course open to ingenuous youth in Venice, where confessed and unashamed acquaintance between young people is extremely difficult; and so this blind pursuit must go on, till the Biondina’s inclinations are at last laboriously ascertained.
Suppose the Biondina consents to be loved? Then Todaro has just and proper inquiries to make concerning her dower, and if her fortune is as pleasing as herself, he has only to demand her in marriage of her father, and after that to make her acquaintance.
One day a Venetian friend of mine, who spoke a little English, came to me with a joyous air and said:
“I am in lofe.”
The recipient of repeated confidences of this kind from the same person, I listened with tempered effusion.
“It is a blonde again?”
“Yes, you have right; blonde again.”
“And pretty?”
“Oh, but beautiful. I lofe her — come si dice! — immensamente.” “And where did you see her? Where did you make her acquaintance?”
“I have not make the acquaintance. I see her pass with his fazer every night on Rialto Bridge We did not spoke yet — only with the eyes. The lady is not of Venice. She has four thousand florins. It is not much — no. But!”
Is not this love at first sight almost idyllic? Is it not also a sublime prudence to know the lady’s fortune better than herself, before herself? These passionate, headlong Italians look well to the main chance before they leap into matrimony, and you may be sure Todaro knows, in black and white, what the Biondina has to her fortune before he weds her. After that may come the marriage, and the sonnet written by the next of friendship, and printed to hang up in all the shop-windows, celebrating the auspicious event. If he be rich, or can write nobile after his Christian name, perhaps some abbate, elegantly addicted to verses and alive to grateful consequences, may publish a poem, elegantly printed by the matchless printers at Rovigo, and send it to all the bridegroom’s friends. It is not the only event which the facile Venetian Muse shall sing for him. If his child is brought happily through the measles by Dottor Cavasangue, the Nine shall celebrate the fact. If he takes any public honor or scholastic degree, it is equal occasion for verses; and when he dies the mortuary rhyme shall follow him. Indeed, almost every occurrence — a boy’s success at school, an advocate’s triumphal passage of the perils of examination at Padua, a priest’s first mass, a nun’s novitiate, a birth, an amputation — is the subject of tuneful effusion, and no less the occasion of a visit from the facchini of the neighboring campo, who assemble with blare of trumpets and tumult of voices around the victim’s door, and proclaim his skill or good fortune, and break into vivas that never end till he bribes their enthusiasm into silence. The na�ve commonplaceness of feeling in all matrimonial transactions, in spite of the gloss which the operatic methods of courtship threw about them, was a source of endless amusement, as it stole out in different ways. “You know my friend Marco?” asked an acquaintance one day. “Well, we are looking out a wife for him. He doesn’t want to marry, but his father insists; and he has begged us to find somebody. There are three of us on the look-out. But he hates women, and is very hard to suit. Ben! Ci vuol pazienza!”
It rarely happens now that the religious part of the marriage ceremony is not performed in church, though it may be performed at the house of the bride. In this case, it usually takes place in the evening, and the spouses attend five o’clock mass next morning. But if the marriage takes place at church, it must be between five and eleven in the morning, and the blessing is commonly pronounced about six o’clock. Civil marriage is still unknown among the Venetians. It is entirely the affair of the Church, in which the bans are published beforehand, and which exacts from
the candidates a preliminary visit to their parish priest, for examination in their catechism, and for instruction in religion when they are defective in knowledge of the kind. There is no longer any civil publication of the betrothals, and the hand-shaking in the court of the Ducal Palace has long been disused. I cannot help thinking that the ceremony must have been a great affliction, and that, in the Republican times at Venice, a bridegroom must have fared nearly as hard as a President elect in our times at home.
There was a curious display on occasion of births among the nobility in former times. The room of the young mother was decorated with a profusion of paintings, sculpture, and jewelry; and, while yet in bed, she received the congratulations of her friends, and regaled them with sweetmeats served in vases of gold and silver.
The child of noble parents had always at least two godfathers, and sometimes as many as a hundred and fifty; but in order that the relationship of godfather (which is the same according to the canonical law as a tie of consanguinity) should not prevent desirable matrimony between nobles, no patrician was allowed to be godfather to another’s child. Consequently the compare was usually a client of the noble parent, and was not expected to make any present to the godchild, whose father, on the day following the baptism, sent him a piece of marchpane, in acknowledgment of their relationship. No women were present at the baptism except those who had charge of the babe. After the fall of the Republic the French custom of baptism in the parents’ house was introduced, as well as the custom, on the godfather’s part, of giving a present, — usually of sugarplums and silver toys. But I think that most baptisms still take place in church, if I may judge from the numbers of tight little glass cases I have noticed, — half bed and half coffin, — containing little eight-day-old Venetians, closely swathed in mummy-like bandages, and borne to and from the churches by mysterious old women. The ceremony of baptism itself does not apparently differ from that in other Catholic countries, and is performed, like all religious services in Italy, without a ray of religious feeling or solemnity of any kind.
Delphi Complete Works of William Dean Howells Page 1179
