r before the whole senate in their
robes of crimson velvet trimmed with fur, and wearing capes of similar
material. More than four thousand persons were present in the great
council hall, and the Piazza of S. Marco was crowded with people who
gazed with wonder on these strange creatures. One of these robes
contained thirty-two and the other twenty-eight yards of velvet.[170]
Following the instructions of the Seignory of Venice, the ambassadors
sent their robes to Duchess Lucretia as a bridal gift.[171] This
wonderful gift was presented in the most naive way imaginable. One of
the noble gentlemen delivered a Latin oration, and the other followed
with a long discourse in Italian; thereupon they retired to an adjoining
room, removed their magnificent robes, and sent them to the bride. This
present and the pedantry of the two Venetians excited the greatest mirth
at the Ferrarese court.[172]

In the evening they danced for the last time, and attended the final
theatrical performance, the _Casina_. Before the comedy began, music
composed by Rombonzino was rendered, and songs in honor of the young
couple were sung. Everywhere throughout the _Casina_, musical interludes
were introduced. During the intermission six violinists, among them Don
Alfonso, the hereditary prince, who was a magnificent amateur performer,
played. The violin seems to have been held in great esteem in Ferrara,
for when Caesar Borgia was about to set out for France he asked Duke
Ercole for a violin player to accompany him, as they were much sought
after in that country.[173]

The ballet which followed was a dance of savages contending for the
possession of a beautiful woman. Suddenly the god of love appeared,
accompanied by musicians, and set her free. Hereupon the spectators
discovered a great globe which suddenly split in halves and began to
give forth beautiful strains. In conclusion twelve Swiss armed with
halberds and wearing their national colors entered, and executed an
artistic dance, fencing the while.

If this scene, as Cagnolo says, ended the dramatic performances we are
forced to conclude that they were exceedingly dull and spiritless. The
_moresca_ partook of the character of both the opera and ballet. It was
the only new form of spectacle offered during all the festivities.
Compared with those which were given in Rome on the occasion of
Lucretia's betrothal, they were much inferior. Among the former we
noticed several pastoral comedies with