Memento Vivere

The góndoła is a traditional, flat-bottomed Venetian rowing boat, well suited to the conditions of the Łaguna de Venezsia, and is propelled by a gondoliere, who uses a remo (rowing oar), which is not fastened to the hull, but is placed in a forcola (oarlock), to allow a sculling manner, and also acts as the rudder. The forcola is carefully shaped with a large bend for maximum strength, made from a single piece of walnut root, and is placed at the stern of the gondola, where it allows the boat to lean and lower on the right-hand side. The main function of the forcola is to support to the oar as the gondoliere pushes on the oar to propel the gondola forward.



Although there are over 40 types of boats native to Venezsia, the gondola is most easily recognizable. In the most earliest days, the city used horses and other pack animals for transportation, but eventually found the maintenance of both horses and carriages strained the economics of both individuals and the community – soon the people discovered that the most efficient means of transportation within the city was the use of the boat as its primary means of transport.



The most elegant of those means upon the water is the gondola, named for the first time in 1094 by Doge Vitale Falier. The gondola was named after Andrea Palladio, the greatest architect of the Renaissance, who came from Padua. Gondola was Andrea’s real surname, but he had his name changed by his patron to Palladio, because he thought it sounded more prestigious Also, there is a version, called gondola da tragheto (Ferry-Gondola), larger and less hogged, used to transport of 15/20 passengers from one side to the other of the Grand Canal, in the stassi (ferry).



And in the city of some 150,000 people, there are approximately 10,000 gondola upon the city’s waterways and channels; mostly functioning as transportation for the rich. Wealthy denizens could purchase their own rigs for private use, and flaunt them.



But it is difficult to discuss the gondola without mentioning the gondoliere. These people have as long and rich a history as the boats themselves.
In the very early days of the gondola, the gondoliere were made up of Moors and black slaves. As the use of the gondola became more important, the gondoliere became an integral part of society. A gondoliere’s daily contact with the aristocracy caused his rise in society and has eventually become the link between nobility and the common people. Gondoliere are connected to all of the events of the Republic and are also responsible for keeping the secrets of the nobility, as illicit affairs and intrigues would often occur on gondolas.



Most gondoliere descend from a family of gondoliere. Inspired by the passionate stories of their fathers and grandfathers, pursuing a life as a gondoliere is quite natural. It makes them proud to follow in their family’s footsteps. At the same time, they want to show their beloved city to the world. Some are noted for their singing abilities... others are notorious for gambling, fighting, cursing, and extortion.


Once, gondolas were painted various colors, but black was prevalent because it is a sign of elegance and therefore suitable for every kind of big event. Although many associate the color black with mourning, the Venetian Republic used red as the symbol of mourning, while black was that of elegance. There are many theories as to why the gondola are now all black, but most likely, the color derives from the use of black pitch used to seal the boat and make it waterproof. But many sumptuary laws were promulgated from time to time by the Republic of Venice to limit the waste in luxury, as the nobles and merchants are obliged to provide financial support for the war ventures and the architectonic renewals of the Serenissima. Some of these Laws are concerned with gondola´s hangings.



Now to the boat itself:
❖ -- The squero is the traditional boatyard where gondola is made and repaired; The rules of building a gondola are very strict, they impose asymmetrical calculations for the two sides (lai), a length of 10,75 meters and internal width of 1,38 meters.
❖ -- the squerariòl (“boat builder”) reinforces its structure;
❖ -- the indoradóri (“gilders”) makes its golden inlay shine;
❖ -- the remèri (“oar makers”) creates new forcola, the rowlock that keep the oar in place;
❖ -- the intagiadóri (“engravers”) carve a lion’s head on wood for the door of the gondola’s cabin;
❖ -- finally, the tapezièri (“upholsterers”) prepare new cushions using our Ardis velvet. Which is red, the color of the clothes of the great offices of the Republic of Venice, and has the same motif.

Up to a few years ago, the gondolas were not asymmetric, nor with a high stern, as they were always rowed by two gondoliere. Those gondolas were having a long and flat stem, to make easier the boarding and disembarking of the passengers, when the town was mostly lacking in masonry banks and landing stages. With city improvements and the boat becoming more and more a status symbol, the gondola was modified... with the foredeck, the fiuboni, which became cuspidal and enriched with all sorts of carved, inlayed and gilded ornaments. To allow an easier maneuvering of the gondola by a lone oarsman, the asymmetry and the raising of the stern were implemented.



By tradition, the gondola is made up of 280 parts, executed in eight different kinds of wood: larch, fir, oak, elm, cherry, mahogany, linden and walnut. The lone metal parts, besides the parecio (removable iron and brass ornaments) are the stern and the bow irons. The bow one is called dolphin (dolphin) because of the resemblance with the muzzle of the dolphins and its shape changed across the centuries too; in the upper part it recalls the Corno del Dose (Horn of the Duke, the headgear used instead of a crown), in the shank the meandering of the Grand Canal, in the comb the city´s Sestieri (districts in number of six) and the Giudecca (in the opposing tooth), while the decorated points between tooth and tooth represent the main Islands of the Lagoon.

The ferro is the distinctive metal design at the prow, or front, of the gondola. The Ferro has gone through over 1,000 modifications since its creation; the curled design is not only for aesthetic reasons, but also to defend the gondola from possible damage caused by collisions. The ferro is made from soft iron, and its weight can vary from 10 to 20 kilograms. The unique shape of the ferro is famous worldwide – popular tradition maintains that the six teeth represent the six districts of Venice; the elegant curve signifies the Doge’s cap, or the Grand Canal. The semi-circular break between the curved top and the six teeth is said to represent the Rialto Bridge. The ferro has become a symbol of the gondola, which is, in turn, a symbol of Venice itself.

The remo, or oar, is specially made by the remer (oarmaker), who exclusively builds oars and oarlocks. The wood used is split beech, well-matured and without knots. The oar is carefully made to have a tapered blade at the end; the thickness of the oar gradually diminishes, which allows the oarsmen to row more effectively. Without these beautifully crafted pieces, a gondoliere would not be able to row the gondola.

Another important aspect to the gondola and the most expensive augmentation was the felze, a small covered cabin in the middle of the boat and is made of small planks formed into an arch shape and covered with branches and ferns, or “felci”, from which the word “felze” is derived. The felze became “a small, floating drawing-room, with velvet or brocade seats inside and a little door at the front part and curtains on the small side windows." It can be a more richly decorated seating area as the use of the gondola has become more popular with the wealthy nobility, that offered protection, privacy, and a cushy compartment for a good romp. As a popular fixture of intimacy, the felze was a floating thalamus used as a nuptial chamber, granting discretion for newlyweds. The felze also became an inadvertent sanctuary for escaped criminals. These floating love lairs were monumental in perpetuating Venice’s reputation as a libertine city. Eventually the baticopo, or cloth panel, that obscured the passengers, was required to be raised at all times so that prostitutes could not sully the pleasure craft with their carnal embraces. The gondola reached the most sumptuous stages of its evolution, boasting exquisite workmanship, materials, and opulent fittings such as brass sea horses, mythical gods, and heads of griffins. The felze contained mirrors, carpets, hand warmers, and upholstery of rich silks, velvets, and brocades. The boats became so overloaded with ornamentation that a sumptuary law of the 16th century forbade all gondolas from bearing extravagant customizations, including fine fabrics, hangings, carvings, and inlay.