To the Very Magnificent
Madonna Gratiosa Bembo,
Venetian Gentlewoman
If in your fair eyes, and in the good face
Chosen Love with the Graces only abide,
If each prize, and splendor is in you gathered,
If each beauty in you is discerned, and beheld:
Then the name Gracious adorned, and gathered
Well you convene, or of each grace heir;
The which whilst in others you draw, and overshadow,
Of your praises to full the world encumbers.
Original rhyme scheme - ABAB/ABCC
Ballo del Piantone (Dance of the Tree)
In Praise of the Very Magnificent
Madonna Gratiosa Bembo,
Venetian Gentlewoman
The man will start this Ballo with doing the Riverenza grave,
carrying the cape, and taking off the cap in the manner which is shown
in the picture of the Cascarda Alta
Regina: then settling it again on his head, he will do 2 Passi
gravi, and 1 Seguito ordinario, starting with the left: and he will do
the same, starting with the right: thus doing it, will follow until
which he is brought even to the place where the lady which he wishes to
take will be found: to the which brought even which he will be,
inviting her, he will do the Riverenza grave; and kissing the one and
the other the hands, they will do to the time of the sound the
Riverenza: then together walking, they will do 4 Seguiti ordinarii, to
the end of which the man, settling it, will guide the lady to manner of
half moon, and will pause her facing, where together they will do to
the time of the sound the Riverenza, starting each thing with the left
foot. Then they will do similarly together 4 Seguiti ordinarii, 2
flanked back, and 2 turned to the left; and facing they will do 2
Trabuchetti gravi, and the Riverenza; to the end of the which, the man
will go to his place to sit, leaving the lady to dance.
Walk of the lady.
The lady done which she will have the Riverenza to the man with whom
she will have danced, walking as the man did, will hold the same manner
which he held; and doing the 2 Passi gravi, and the Seguito ordinario,
she will be approached to the man which she wishes to take: where
together they will do the Riverenza, and all the other actions which
yet are said of above: to the end of the which, letting it go, the lady
will go to sit, and the man, following to walk, or to do another change
of Gagliarda, will go to take another lady, and they will follow to do
the same until which will please them most.
Changes of Gagliarde for each Gentleman to do held in said Piantone.
1 The cinque Passi.
2 2 Molinelli, 1 turned to the left, the other to the right.
3 A Balzetto to feet even, 2 Sottopiede, and 1 Fioretto forward,
starting with the left, and the Cadenza, and 3 Passi presti retreated,
and the Cadenza, starting with the right.
4 2 Sottopiedi tot he left, 2 Trabuchetti gravi, 1 Sottopiede, 1
Fioretto forward, and the Cadenza, starting with the left: then 3 Passi
presti retreated, starting it with the right, with 2 Fioretti to feet
even, and 2 Costatetti, and the Cadenza with the right foot forward, or
1 Capriola in 4.
5 2 Fioretti to feet even, 2 Costatetti, starting it with the left, 3
Triti minuti to the right, 1 Sottopiede, 1 beat of Campanelle back, 1
Sottopiede to the left, with 1 Fioretto forward, the Cadenza, and 3
Passi presti retreated, and the Cadenza, or the Capriola.
6 2 Zoppetti with the left foot in air, then diminishing it, he will do
2 beats of Campanelle with the right, 2 Passi larghi fermati, 1 with
the right, the other with the left: after he will do with the right
another beat of Campanelle back, and 1 Sottopiede, 1 Fioretto with the
left forward, starting with the left, and the Cadenza with 3 Passi
presti retreated, starting with the right, and the Cadenza.
7 A Balzetto to feet even to the left, 2 Sottopiedi, 1 Fioretto
forward, starting with the left, and the Cadenza, with 3 Passi presti
back, starting it with the right, and the Cadenza to the end of the
time of the sound: he will do then 3 other Cadenze facing, starting it
always with the left foot; then he will do 2 Zoppetti with the same
foot in air; after turning it to the left, he will diminish it, doing
with the right foot forward, then back to manner of Riverenza, in
perspective; and with the same foot he will do 1 Groppo to the left,
with 1 Fioretto forward, starting with the left, and the Cadenza with 2
Passi presti, and 2 Capriole to the time of the sound, starting with
the right foot.
8 A Groppo, 1 Fioretti, 2 beats of Campanelle, 2 other Fioretti, with 2
other Campanelle all turning around, and the Cadenza facing, starting
with the left foot.
9 2 Fioretti a piedi pari, 2 Passi presti back; then he will put the
left foot forward, and will do with the same foot 2 Riverenze preste,
and 1 Trabuchetto, with another Sottopiede to the right, and 2 other
Riverenze preste, and 1 Trabuchetto, and 1 Sottopiede to the left, with
2 Fioretti finti, 1 to the left, the other to the right; then he will
do 2 beats of Campanelle turned to the left, starting it back: in
perspective they will do also 1 Fioretto forward, starting it with the
left foot, the Cadenza, 2 Passi presti back, and 2 Capriole to the time
of the sound, starting with the right.
10 He will do the Cinque Passi, and when he will diminish both the feet
to do the Cadenza, he will do 3 Triti minuti to the left, with 2
Sottopiedi, and 1 Trabuchetto grave also to the left: then he will do 1
Groppo to the right, and to the end of this with the right foot which
will be found raised, he will do 2 Riverenze preste, and 1 Trabuchetto,
with 1 Sottopiede to the left, and the Cadenza: Being careful always to
start the changes with the left foot.
The which few changes of Gagliarda, together with those which yet are
put in the Balletto of the Canario,
for now will suffice you: forsomuch as that I keep me to add a second
impression of sending thence forth in a greater number, together with
other Balletti, and new fantasies, and with other figures, which will
represent all the deeds and acts which are most necessary to
know. Among so many it pleases to each one to accept together
with that little which in this Volume yet is done, the many desires
which rest me to universal benefit of doing greater things.
Lute tablature of the Ballo del Piantone.
The End.
[The original text includes a table of contents at this point; I
have put the table at the beginning of the books in this format for
easier navigating.]
Where is A, signifies the first facing; where is b, the second.
In Venice, near Francesco Ziletti
MDLXXI
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