Singing of Arms and Men: Florence and the Balletto a Cavallo in the Seventeenth Century

Balletti a cavallo, although little known today, emerged as valued dramatic entertainments in early modern Europe, capable of demonstrating the wealth and magnificence of the patrons who commissioned them and the horsemanship and military skills of the noblemen who rode in them. Although the horse ballet did not originate in Florence, that city—and its ruling grand dukes—acquired a reputation for excellence in the genre. Between 1608 and 1686 the court commissioned horse ballets to commemorate important state events such as Medici weddings or visits by foreign visitors. The noblemen invited to lend their equestrian skills during that period confirmed their family's relationship to the Medici and were provided a venue for demonstrating masculine nobility. These works also communicated messages relevant to the occasions for which they were performed, delivered by means of texts sung in styles similar to contemporary opera. Music, choreography, and dramatic structure punctuated and clarified these messages. Mock battles fought with swords and pistols animated audiences but also provided visible instances of conflict, which were then interrupted by the sudden arrival of a deus ex machina, who commanded the combatants to instead join forces to defeat a common enemy. The knights then demonstrated newfound cooperation through their creation of choreographed figures danced on horseback. Decorated pageant floats, colorful costumes, and complicated machines also played crucial roles in establishing magnificence: documentary evidence confirms that the Medici family expended significant financial and human resources on these one-time events, revealing just how much work it took to appear effortless.