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Updated: May 14, 2025
Both the Vecchi, indeed, continue to ply their trade, day and night, at the traghetto. Traghetti are stations for gondolas at different points of the canals. As their name implies, it is the first duty of the gondoliers upon them to ferry people across. This they do for the fixed fee of five centimes. The traghetti are in fact Venetian cab-stands.
There were several old and famous thoroughfares, the Via Banchi Vecchi, the Via del Pellegrino, the Via di Monserrato, and an infinity of cross-streets which intersected and connected the others, all going towards the Tiber, and for the most part so narrow that vehicles scarcely had room to pass.
If no other evidence were at hand, the works of Vecchi would be sufficient to prove that the logical progress of the medieval lyric drama in one direction had led it into the very mazes of the polyphonic wilderness. Much misinformation concerning this madrigal drama has been disseminated by the comfortable process of repeating without scrutiny errors early fastened upon histories of music.
Again, the precincts of the Vatican were to be avoided, and the news-mongering Banchi Vecchi, where every smart gossip in town resorted twice or thrice in the week to replenish his stock of facts and anecdotes, true and untrue, and where he could buy the sensational account of the latest execution, or elopement, or fraud. The young couple avoided all such places carefully.
There were several old and famous thoroughfares, the Via Banchi Vecchi, the Via del Pellegrino, the Via di Monserrato, and an infinity of cross-streets which intersected and connected the others, all going towards the Tiber, and for the most part so narrow that vehicles scarcely had room to pass.
Vecchi and the Matured Madrigal Drama The fully developed madrigal drama of the latter years of the sixteenth century was an art form entirely dissimilar to anything known to the modern stage, and, as we shall presently see, it was in itself a frank confession of utter confusion in the search for a musical means of individual expression.
The first secular drama, the "Orfeo" of Poliziano, was equipped with the elements from which might have been evolved quickly all the materials of the first experimental operas; but the rapid spread of the polyphonic music through Italy and the sudden and overwhelming popularity of part singing soon, as we have seen, relegated the first suggestions of a manner of setting vocal solos for the stage into a position of comparative obscurity and in the end this possibility was conquered by the cumbrous method of Vecchi.
It does not require profound consideration to bring us to the opinion that the method of Vecchi was in part an attempt to overcome the innate defect of the polyphonic style in this matter of intelligibility.
The present writer is indebted to Romain Rolland for guidance in his examination into this matter. Vecchi had an enthusiastic disciple in Adriano Banchieri, born at Bologna in 1567 and died in the same city in 1634. Although he was a pupil of Giuseppe Guami, organist of St. Mark's, himself an organist of St.
It is surprising that we should find in Guicciardini no mention of the four mule-loads of silver removed before the election from Cardinal Roderigo's palace on Banchi Vecchi to Cardinal Ascanio's palace in Trastevere. This is generally alleged to have been part of the price of Ascanio's services.
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