An account of a two-day 1685 party, featuring a ladies orchestra (including a Violoncello da Spalla) in multiple theater performances.
L’orologio del Piacere, 1685, in Piazzola sul Brenta
This 98-page book, with four big-size illustrations, describes a two-day party welcoming an important politician in the Piazzola Villa. These kinds of reports were printed in place so that guests could bring them home to show the magnificent hospitality they received and, of course, the grandeur of the host and the power of the Republic of Venice. Usually something like a dozen copies were printed and luxury bonded for the most important guests, and a number of reduced versions (maybe even a few hundred) were available for the other guests.
This version contains not only the description of the party and the full illustrations but also the librettos of the cantatas represented on that occasion.
They were printed, decorated and bound by the virgins of the hospital of the villa.
There is a cheap reprint for sale on Amazon, but I wouldn’t recommend it: if you notice, it has a few pages less, so it probably does not reproduce the illustrations (but I’m not sure, I didn’t buy it!), which are the most crucial source for us.
At this link, you can comfortably read and scroll through the whole book, and also download single-page images like those used for this article.
We will try to summarise it for you; it is not an easy task as the language used is very courtly and typical of the century. This important bishop/duke is coming to Piazzola with his court, composed of “many Ladies and Chivalries, that with their noble look were enlightening with majesty this humble place, as it was one of the most excellent court houses.”
On the 7th of August 1685, this noble prince with his court was met by his host, Mr Contarini, on the other side of the Brenta River, a navigable river which was used to bring goods from the inland to Venice, including wood to build ships and houses. In the place of this ford, half a mile from the villa, two beautiful ports were built, with triumphal arches and columns decorated with silk in joyful and rich colours. The noblemen were waited by six carriages, three of them with six draft horses and escorted by twelve grooms each. Several carriages met them with the other nobles' guests welcoming them, so many that their procession to the villa took the whole night before everyone arrived at the party (half a mile away!).
The guests were shown their apartments on the first floor of the piazza and given some drink of fresh water. They were
escorted by six grooms with lit torches along the way to the stage of the Virgins' Theatre erected in the Convent of the Sisters, capable of accommodating only 400 people. Therefore, it did not allow access beyond the Court of His Highness, where only ladies entered first and then the most distinguished gentlemen, as could rightly be understood therein.
The beauty of this place is very charming and elegant, encapsulating in a small space all the intricate colors and carvings. However, the main decoration was the sight of nobility enlivening the theaters, welcoming the new theaters and stages with open arms. Here, a drama entitled 'Ermelinda' was performed, with the daughters of the place (the virgins) in the roles of actors and singers and a rich orchestra of string, keyboards and wind instruments, as well as the machines for other stage operations.
A notable aspect of this drama was a certain machine representing the Majesty of Fate, emerging from the distant horizon, expanding almost to the edge of the stage with five machines combined into one, illuminated by 60 blazing torches creating a new scene. This dramatic performance concluded within the courtyard after two hours.
Coming the sound of woodwinds from a distance, there arose a tremulous resonance of harmonious symphony, which, accompanied by trumpets and other instruments of great volume, introduced a serenade in four voices titled "The Prophecy of Fortune", represented by the graceful virgins from upon a balcony adjacent to the waterfront. The soothing melody entertained for over an hour the crowded assembly of onlookers, who, drawn by the curious marvel that met their eyes, fell into silence never once interrupted.
Scarcely had this musical applause concluded when, rivaling somewhat the splendour of the Bucintoro with its escort of galleys in that scene of delight, there suddenly appeared from the waves before the same, gracefully, three Machines. The first depicted Neptune seated upon a seashell drawn by two sea horses; the second bore Aeolus riding upon a dolphin; the third portrayed Amphitrite upon a similar sea monster. These three characters, supported by the same virgins, to the sonorous accompaniment of a full orchestra, lent their voices to the song, representing a new poetic interweaving, portraying “the Fortunate Captivity of Neptune”.
The construction of those Machines, which, without disguising the manner, were conducting the three deities, was very ingenious and elegant, competing the artifacts with the true aspects of Nature: but what was most marvelled at, was the singular delight in observing the eyes of those scaly beings, exceedingly luminous, translucent, and even more so in witnessing that with their movement, now closing and now opening their mouths and nostrils, they graciously wafted fragrant scents towards the nearby spectators. There was no small amount of universal satisfaction derived from such a noble spectacle, which occupied the passage of some time, until, advanced well into the night, it concluded with an Aria; that, not only through the expressiveness of the words but also through the sweetness of the sound of many string instruments wonderfully tuned with the silver strings, invited to a gentle repose those who shortly after, greeted with nods and disembarked on land, were, with the initial order, ushered to their quarters, in part to compensate with the soothing tones, the fatigue born from the vigils of a boundless Delight.
Here, the silver strings are not to be intended literally. I guess it’s more to bring on the idea of a “silvery tone” to induce a serene sleep. We start to notice how the virgins were doing all kinds of arts and crafts there, from printing to building theatre machines and preparing perfumes, then playing “all sorts of instruments”, singing, and acting.
On the next day, the main attraction was the visit to the virgins’ crafts facilities:
In the Virgin's Chamber, where the variety of objects would have confounded any attempt at orderly arrangement, if amidst a sea of wonders there had not been the presence of a prince's entourage.
The first attention was drawn to a graceful library abundant with numerous musical volumes, then onto another room designated for virtuoso singers and players of every kind of instrument, such as bowed instruments, plucked, and keyboards, presented here in a rich variety: plucked, harpsichords, lyres, trumpets, timpani, flutes, and the like, destined for the scholarly pursuits of those Maidens. Following this, His Highness entered a spacious hall where many looms were set up for the weaving of tapestries and carpets of the rarest and most exotic designs, with the capability to produce widths of up to eighty cubits, and lengths of one hundred and sixty. Ascending a spiral staircase, entry was gained into a printing workshop equipped with three presses for printing branches (?!), followed by another room where woodcuts and etchings were crafted for the service of His Excellency, then to a third floor for the stamping of characters, also equipped with triple presses, where work was observed on the third volume of the Crusades by Father Mamburgo of the Society of Jesus, translated from French into our language, which was soon to see the light, followed by other works by the same author. Descending the staircase led to the Dormitory furnished with 38 beds, matching the number of Maidens besides the Prioress, but capable of accommodating a much larger number. From there, through another grand staircase adorned with statues and other precious ornaments, spacious and well-lit on every side, the entry was made into a Cloister, which enclosed almost in a perfectly square shape a deep Courtyard with stone columns. It is nearly unbelievable the multitude of plants within the confines of those walls, among which are those designated for the use of the apothecary, where fruits and flowers of every kind are candied, pastes and jellies of all sorts are made, waters and fragrant oils are distilled, and in short, every effort is made to perfect what can be achieved by the most renowned perfumers and famous foundries, both in terms of scenting and perfuming, as well as in caring for individuals in the handling of drugs and the tempering of medicines. In these chambers, His Highness and subsequently the ladies and gentlemen, as well as the greater number of various individuals of every nation, were served.
After visiting also the rest of the villa, with the many production facilities and warehouses connected with the main body by underground passages,
Overwhelmed by this marvellous enclosure, situated adjacent to the yet-to-be-completed foundation of a splendid temple with catacombs, where many relics of holy bodies are kept, including, among others, three letters written by the hand of Saint Ignatius of Loyola to His Excellency Zaccaria Contarini, Author [OS. E.,…??] adorned with five organs with their musical choirs, awakened the most curiosity in the contemplation of the Big Theatre, with a capacity of hosting more than a thousand people, which vastness in the performance of numerous dramas was proportionate to the use of hundreds of horses, and gave easy stage for 400 actors. It also had six big rooms on the sides as dressing rooms for the extra actors and stalls for 100 horses.
The ceiling of this grand structure is gilded with interwoven patterns of gold. At the same time, the floor is entirely perforated with tiles, hollow underneath to render it more resonant and airy, suitable for concealed wind ducts. The orders of boxes are painted inside with a purplish oil color, while on the outside, they are adorned with intricate stucco work featuring gilded figures. The walls of the corridors leading to these boxes are frescoed with great delicacy in various shades, and in the background, there are delightful gardens and scenic views. The stage boasts a sizable orchestra pit, and on either side of the proscenium, two life-sized elephants with castles on their backs are raised, which can be moved as needed, skillfully crafted by artistry.
Unfortunately no image of this big theater is left!! This article in Italian reports about its opening, an incident occurring in 1680 in which the stage collapsed with six carriage, all the machines were destroyed but nobody was hurt (!), and about some opera seasons in the next years.
The visit to the villa goes on with admiring some “showrooms” with the fine work of the Virgins exposed: tapestries, laces, and other goods, like silk and spices, coming from the commercial enterprises of Venice.
In the afternoon, the guests are invited to a room at the centre of the villa, where other marvellous things are prepared for their amazement:
Adorning the sides of the richly adorned table, embellished with triumphal fountains, were two stout credenzas rising pyramid-like. One was adorned with numerous vessels of varied shapes and sizes, while the other was resplendent with crystal goblets of the finest craftsmanship, all serving a similar purpose. Additionally, two wine decanters of exquisite appearance and other serving dishes displayed in the rooms with the preparation of pastries, confections, and other delicacies, all of the rarest and most excellent quality. At the extremities and towards the upper parts, some balusters formed a triple choir, one of which housed the Maidens with the accompaniment of all manner of musical instruments.
His Highness took his place at the table with the choicest flower of his court, on the surface of what could be described as a small world steeped in a transfusion of noble refinement. After a brief interval, delightfully seasoned by the sweet harmony of a symphony, one could see at the far end, descending from the roof, a machine shaped like a flying monster. […]. Indeed, because nonetheless, vying with the enjoyment of sight, the melody of the sweetest wind instruments made musical accompaniment to the voices, which unfolded the song to the recitation of the composition brought to life here, to which it gave the name: "The Portrait of Glory Given to Eternity."
After dinner… theatre again!
Already, the first shadows of horror enveloped the dense forest; in the mortal residue of the sun's rays, at the hour when every leaf was illuminated from all sides, the usual retinue moved from these surroundings to the Virgin's Theater for the performance of "Alidaura," the dramatic intricacies of which were augmented by other singular elements: a music academy, where the Maidens presented many songs in various languages, including Greek, German, Hebrew, French, and Spanish. The brief interlude of entertainment proved quite soothing to the soul of each, offering respite from the relentless pursuit of attention amidst the diversity of grandeur and the intense efforts of the drama.
Getting out of the theater at the end of the representation, from the other side of the piazza a big vision was awaiting the guests:
This grand structure soared to a height of 17 feet, adorned along its summit by two sea horses and two bridled destriers. Atop these were seated four lavishly dressed maidens, each with her trumpet, and in the midst of them, another maiden similar, striking two timpani, preceded by footmen with adorned horses. It was encrusted on all sides with golden stucco reliefs and lit from within by luminous tiles; reigning over the reins were six noble horsemen, all guided equally by a single charioteer, and to these fascinating figures added to the splendour, the varied hues of feathered crests, which, with intermittent whimsy, fluttered atop their headpieces.
While the Prince was consuming his dinner, a triumphal chariot drawn by six horses, all alike, adorned with golden stucco and mirrors, upon which there are 34 Maidens, who with harmony from their instruments sing the following poetry. Above said chariot are two horses and two other sea horses, each 17 feet tall, upon which there are 4 Maidens playing the trumpets. This is accompanied by 24 torchbearers, 40 halberdiers, and 100 foot soldiers.
Again the Virgins employed in so many theatrical tasks!
This book was printed on the 12th of August, only five days after the guests arrived at the villa. Quite impressive!
Before severing the thread of my imperfections, I have the duty to report, at least superficially, some general matters. Firstly, it should be noted that in all the functions expressed in this volume, His Eminence employed the crafts and skills only of the Maidens. The musical compositions, both of dramas and of every other poetic intricacy, were enlivened by the erudite pen of Mr. Domenico Freschi, Maestro di Cappella at the Cathedral of Vicenza, a renowned figure for his singular talent admired in numerous performances on the stages of the Adriatic.
Updates from our workshop
…and on our next issue we will explain you why making a fingerboard is sooo time consuming! Yes, because you don’t buy baroque fingerboards as you do for violins and other standard instruments: you make them from scratch. Stay tuned!
