The Bravo: A Tale

by James Fenimore Cooper

Just as the sun was setting a gondola swept slowly up to the water-gate of the ducal palace. The gondolier landed, fastened his boat in the usual manner to the stepping-stones, and entered the court. He wore a mask, for the hour of disguise had come, and his attire was so like the ordinary fashion of men of his class, as to defeat recognition by its simplicity. Glancing an eye about him, he entered the building by a private door.

The edifice in which the Doges of Venice dwelt still stands a gloomy monument of the policy of the Republic, furnishing evidence, in itself, of the specious character of the prince whom it held. It is built around a vast but gloomy court, as is usual with nearly all of the principal edifices of Europe. One of its fronts forms a side of the piazzetta so often mentioned, and another lines the quay next the port. The architecture of these two exterior faces of the palace renders the structure remarkable. A low portico, which forms the Broglio, sustains a row of massive oriental windows, and above these again lies a pile of masonry, slightly relieved by apertures, which reverses the ordinary uses of the art. A third front is nearly concealed by the cathedral of St. Mark, and the fourth is washed by its canal. The public prison of the city forms the other side of this canal, eloquently proclaiming the nature of the government by the close approximation of the powers of legislation and of punishment. The famous Bridge of Sighs is the material, and we might add the metaphorical, link between the two. The latter edifice stands on the quay, also, and though less lofty and spacious, in point of architectural beauty it is the superior structure, though the quaintness and unusual style of the palace are most apt to attract attention.

The masked gondolier soon reappeared beneath the arch of the water-gate, and with a hurried step he sought his boat. It required but a minute to cross the canal, to land on the opposite quay, and to enter the public door of the prison. It would seem that he had some secret means of satisfying the vigilance of the different keepers, for bolts were drawn, and doors unlocked, with little question, wherever he presented himself. In this manner he quickly passed all the outer barriers of the place, and reached a part of the building which had the appearance of being fitted for the accommodation of a family. Judging from the air of all around him, those who dwelt there took the luxury of their abode but little into the account, though neither the furniture nor the rooms were wanting in most of the necessaries suited to people of their class and the climate, and in that age.

The gondolier had ascended a private stairway, and he was now before a door which had none of those signs of a prison that so freely abounded in other parts of the building. He paused to listen, and then tapped with singular caution.

"Who is without?" asked a gentle female voice, at the same instant that the latch moved and fell again, as if she within waited to be assured of the character of her visitor before she opened the door.

"A friend to thee, Gelsomina," was the answer.

"Nay, here all are friends to the keepers, if words can be believed. You must name yourself, or go elsewhere for your answer."

The gondolier removed the mask a little, which had altered his voice as well as concealed his face.

"It is I, Gessina," he said, using the diminutive of her name.

The bolts grated, and the door was hurriedly opened.