Various - Blackwood's Edinburgh Magazine — Volume 55, No. 342, April, 1844

The time occupied by the events detailed in the three preceding chapters, had been passed by Antonio in a state of self-exile from his master's studio. Conscious of having disobeyed the earnest injunctions of Contarini, the weakness of his character withheld him alike from confessing his fault, and from encountering the penetrating gaze of the old painter. Neglecting thus his usual occupation, he passed his days in his gondola, wandering about the canals in the hope of again meeting with the mysterious being who had made such an impression on his excitable fancy. Hitherto all his researches had been fruitless; but although day after day passed without his finding the smallest trace of her he sought, his repeated disappointments seemed only to increase the obstinacy with which he continued the search.

The incognita not only engrossed all his waking thoughts, but she still haunted him in his dreams. Scarcely a night passed that her wrinkled countenance did not hover round his pillow, now partially shrouded by the ample veil, then again fully exposed and apparently exulting in its unearthly ugliness; or else peering at him from behind the drapery that covered the walls of his apartment. In vain did he attempt to address the vision, or to follow it as it gradually receded and finally melted away into distance.

It was from a dream of this description that he was one morning awakened by his faithful gondolier Jacopo. The sun was shining brightly through his chamber windows, and he heard an unusual degree of noise and bustle upon the canal without.

"Up, Signor mio!" cried the gondolier joyously, and with a mixture of respect and affectionate familiarity in his tone and manner. "Up, Signor Antonio! You were not wont to oversleep yourself on the day of the Bridge Fight. All Venice is hastening thither. Quick, quick! or we shall never be able to make our way through the press of gondolas."

The words of the gondolier reminded Antonio that this was the day appointed for the celebration of a festival, which for weeks past had been looked forward to with the greatest impatience and interest, by Venetians of all ranks, ages, and sexes; a festival which he himself was in the habit of regularly attending, though on this occasion his preoccupied thoughts and feelings had made him utterly unconscious that it was so near at hand.

Although the ancient and bitter hatred of the Guelphs and Ghibellines had died away, and the factions which divided northern Italy had sunk into insignificance, nearly a century before this period, the memory of their feuds was still kept up by their great grandchildren, and Venice was still severed into two parties or communities, separated from each other by the grand canal. Those who dwelt on the western or land side of this boundary were styled the Nicolotti, after the parish of San Nicolo; while those on the eastern or sea side took the appellation of Castellani, from the district of Castello. Not only the inhabitants of the city itself, but those of the suburbs and neighbouring country, were included in these two denominations; the people from Mestre and the continent ranging themselves under the banners of the Nicolotti, while those from the islands were strenuous Castellani.

The frequent and sanguinary conflicts of the Guelphs and Ghibellines were now replaced and commemorated by a popular festival, occurring sometimes once, sometimes oftener in the year; usually in the autumn or spring. "In order that," says an old chronicler of the time, "the heat being less great at those seasons, the blood of the combatants should not become too heated and the fight too dangerous." "Also on cloudy days," says the same authority, "that the spectators might not be molested by the sun; and on Sundays or Saints' days, that the people thereby might not be hindered from their occupations." On these occasions one of the numerous bridges was selected as the scene of the mock combat that constituted the chief amusement of the day. The quays afforded good standing-room to the spectators; and here, under the inspection of ædiles appointed by the people, the two parties met, and disputed for supremacy in a battle, in which, however, no more dangerous weapons than fists were allowed to be brought into play.

It was not the populace alone that divided itself into these two factions. Accordingly as the palaces of the nobles stood on the one or the other side of the canal, were their owners Castellani or Nicolotti, although their partizanship existed but in jest, and only showed itself in the form of encouragement to their respective parties; whereas with the lower orders the strife, begun in good-humour, not unfrequently turned to bitter earnest, and had dangerous and even fatal results. In the wish, however, to keep up a warlike spirit in the people, and perhaps still more with a view to make them forget, in a temporary and boundless license, the strict subjection in which they were habitually held, the senate was induced to permit the continuance of a diversion, which from the local arrangements of Venice, the narrowness of the streets and bridges, and the depth of the larger canals, was unavoidably dangerous, and almost invariably attended with loss of life.

Hastily dressing himself, Antonio hurried into his gondola in order to proceed to the bridge of San Barnaba, opposite to the church of the same name and to the Foscarini palace, that being the spot appointed for the combat. The canal of the Giudecca was one black mass of gondolas, which rendered even a casual glimpse of the water scarcely obtainable; and it was amidst the cries of the gondoliers and the noise of boats knocking against each other, that the young painter passed the Dogana and reached the grand canal. There the crowd became so dense, that Jacopo, seeing the impossibility of passing, turned aside in time, and making a circuit, entered the Rio de San Trovaso, whence, through innumerable narrow canals, he succeeded in reaching the scene of the approaching conflict.

The combatants were attending mass, and had not yet made their appearance. Wonderfully great, however, was the concourse of spectators already assembled. Since sunrise they had been thronging thither from all sides, eager to secure places which might afford them a good view of the fight. Every roof, gable, and chimney had its occupants; not a projection however small, not a wall however lofty and perilous, but was covered with people, for the most part provided with baskets of provisions, and evidently determined to sit or stand out the whole of the spectacle. In the anxiety to obtain good places, the most extraordinary risks were run, and feats of activity displayed. Here might be seen individuals clambering up perpendicular buildings, by the aid of ledges and projections which appeared far too narrow to afford either grasp or foot-hold; further on, some herculean gondolier or peasant served as base to a sort of human column, composed of five or six men, who, scrambling over each other's shoulders, attained in this manner some seemingly inaccessible position. The seafaring habits of the Venetian populace, who were accustomed from boyhood to climb the masts and rigging of vessels, now stood them in good stead; and notwithstanding all the noise, confusion, and apparent peril, it was very rarely that an accident occurred.

Under the red awnings covering the balconies and flat roofs of the palaces, were seated groups of ladies, whose rich dresses, glittering with the costliest jewels and embroideries, appeared the more magnificent from being contrasted with the black attire of the grave patricians who accompanied them. But perhaps the most striking feature of this striking scene was to be found in the custom of masking, then almost universal in Venice, and the origin of which may be traced in great part to dread of the Inquisition, and of its prying enquiries into the actions and affairs of individuals. Amidst the sea of faces that thronged roofs, windows, balconies, streets, and quays, the minority only were uncovered, and the immense collection of masks, of every form and colour, had something in it peculiarly fantastic and unnatural, conveying an impression that the wearers mimicked human nature rather than belonged to it.