Venice Page 23

  There is indeed a different sense of time in the city, as any visitor will testify. No one can hurry in Venice; no one can “make up” time. There is no transport except by water, and there are many hindrances to a pedestrian’s rapid journey. It is a city that slows down the human world. That is another reason for the sense of enchantment or dream that it induces. There is a great will to wander and be lost. The official institution of time was also different. The beginning of the next day was dated from the hour of the evening Angelus, or six o’clock. Thus 6:30 p.m. on Christmas Eve was, for the Venetians, already Christmas Day. This system continued until the Napoleonic conquest.

  The continuity of the city and of its administration impressed upon the inhabitants a different sense of time, also, calculated in centuries rather than in decades. Venice measured itself in historical rather than chronological time. The centuries are, as it were, enclosed on the island; they are imprisoned in the labyrinth of the calli. Time on the mainland has the room to spread outward, so that it becomes flatter and thinner. In Venice it echoes and re-echoes. The Irish writer Seán O’Faoláin described it as “a projection of the Schopenhauerian will, a timeless essence.”

  It might be truer to say that there are continuities through time. A Venetian of the sixteenth century, if not earlier, would have no trouble in finding his or her way through the streets of the modern city. That is true of few other cities on earth. The churches, and markets, are still in the same place. The ferries still cross the Grand Canal from the same stations that they used five hundred years ago. The same religious festivals are celebrated. Of all cities, Venice is the one that most fully manifests continuity. It has become its reason for being. It is reassuring because it represents permanence and stability in a world of change; that is why its survival has become so important to variously concerned groups in England and America. Some of the cityscapes of the sixteenth century, by Carpaccio and others, can still be identified in the contemporary city. There is a famous view by Canaletto of a stonemason’s yard, by the bank of the Grand Canal where now the Accademia bridge has been erected. From the painting itself, approximately of the Campo S. Vidal and the church of S. Maria della Carità, it is possible to identify still existing houses, a small bridge and a little canal. The painting is dated to 1727, so the territory has remained stable for almost three hundred years.

  The most obvious sign of continuity is also the most familiar. The gondolas have been plying the waterways of the city for a thousand years, with only the smallest modifications in shape and appearance. John Evelyn described them in the seventeenth century as “very long and narrow, having necks and tails of steel … some are adorned with carving, others lined with velvet, commonly black … while he who rowes, stands upright on the very edge of the boate, and with one oare (bending forward as if he would precipitate into the sea) rowes & turnes with incredible dexterity.”

  The gondolas are first mentioned in a document at the end of the eleventh century, although they must have been in existence for many decades before that date. The word itself has been granted many derivations, from the Latin cymbula or Greek kuntelas (both meaning small boat). But the actual origins of the boat have been variously found in Malta, Turkey, and, improbably, Avignon. It found its definite, and still modern, shape by degrees. Originally it was shorter and squatter than the modern version, with a cabin placed in the middle of the boat often protected by blinds or curtains. This was the mode of transport used by the patricians of the city, who might have many gondoliers in the pay of the household. By the seventeenth century these cabins or felzi became places of assignation and intrigue, adding to the legend of Venice as a city of hidden pleasures. They were removed in the 1930s. There was one other modification in the middle of the eighteenth century, when the right side was made nine inches (225 mm) longer than the left; this adjustment increased the little boat’s speed and manoeuvrability. Then the gondola sailed on through the centuries, growing slightly longer and slimmer so that it might accommodate the growing number of tourists. It was still a boat of pleasure, but no longer reserved for the few.

  There were ten thousand gondolas in the sixteenth century, many of them festooned with ornaments and carvings. This encouraged displays of showmanship and rivalry among the wealthier Venetians, who were allowed few opportunities of conspicuous consumption in public. Such a spirit was of course to be resisted by a Venetian state that curbed individualism of any sort in the name of collective brotherhood. So the ornamentation was, in a decree of 1562, forbidden. That is why the gondolas became black. Even though black was not considered by the Venetians to be an unfavourable colour, the gondolas ever since have regularly been seen as floating coffins. Shelley compared them to moths that have struggled out of the chrysalis of a coffin. James Fenimore Cooper felt that he was riding in a hearse. Wagner, fearful in a time of cholera, had to force himself to board one. Goethe called it a capacious bier. And Byron saw it:

  Just like a coffin clapt in a canoe,

  Where none can make out what you say or do.

  Byron is here describing the amours that might or might not take place in the private space of the cabin. The gondolier penetrating the interior canals of the city has also been given a phallic importance, so that in Venice sex and death are once more conflated. Henry James wrote of the experience that “each dim recognition and obscure arrest is a possible throb of your sense of being floated to your doom.…” A ride on a gondola can prompt some very powerful instincts.

  The metal beak at the prow, the ferro, has a complicated history. Some believe that its six teeth represent the six sestieri of the city. It has also been considered to be a replica of the beak of a Roman galley; given the Venetian fondness for antique copy, that has the ring of truth.

  The gondoliers are the most famous of the city’s native sons. Their characteristic uniform of straw hat and black-and-white striped top, together with the red or blue scarf, was really only formalised in the 1920s. But their braggadocio is very old. They seem to enjoy the sound of their own voices, on land as well as on water. They bawl; they bellow; they sing. But when they are hushed, and the only sound is that of the gondola gliding through the water, then the deep peace of Venice begins to reign.

  The gondoliers have been celebrated in song and ballad from the sixteenth century. They were praised for their discretion. When the gondola was used as a place of assignation, the gondoliers were silent about their customers; if a gondolier had denounced a lady to her husband, he would have been drowned by his colleagues. They were employed to deliver sensitive letters. Foreign visitors often denounced them as foul-mouthed cheats or pimps, but they received more praise from their compatriots. They appear as good-hearted heroes, for example, in the comedies of Goldoni. Here is part of a typical setting from his play, The Good Girl: “two gondoliers arrive at the same moment from opposite directions … Each insists that the other shall give way by dropping back.” There then follows a dialogue of threat and insult known to all earlier travellers to Venice. Yet their high spirits were part of the air of the city. They were incarnate of the will to live, and to survive, upon the water.

  The cries and songs of the gondoliers have been endlessly recorded. In Stones of Venice Ruskin himself devotes his first appendix to “The Gondolier’s Cry.” It might be the title to an opera. “Premi!” to pass on the left, “Stali!” to pass on the right, and “Sciar!,” to come to a halt. The gondoliers love to call to one another across the water, although such marine repartee is now as much of a theatrical act as the singing of “O solo mio” or “Torno a Sorrento.” Although in the city itself they are still a powerful and sometimes disruptive force, they are now principally the delight of tourists. They have in a larger sense become part of the self-conscious mannerism of contemporary Venetian life, their costume little more than fancy dress. It has been said that no Venetian would be seen dead in a gondola, except perhaps in those that are used as ferries from one bank to another.

  There are now only f
our hundred gondolas at work in the city. Only four are made each year. The boat cannot last for ever. After twenty or so years of service, its woodwork will warp and weaken. It is then taken to the island of Murano, where its wood is used to kindle the flames of the glass-works. It becomes part of another city industry, its energy transformed into Venetian glass.

  20

  Iustitia

  On one of the three exposed corners of the ducal palace, there is a sculpture concerning the judgement of Solomon. On the west façade of the palace is the figure of Iustitia, with the sword of justice upright in her hand; here also is the word “Venecia.” Venice and Justice have been combined in one eternal image, with the inscription “Strong and just, enthroned I put the furies of the sea beneath my feet.” Above the Porta della Carta, in the same complex of public buildings, is enthroned the virgin image of Venetia and Iustitia with sword and scales. The crowning figures of the palace are also those of Iustitia. The justice of Venice is one of the myths of Venice. It is deemed to be ancient. It is deemed to be divinely inspired. It is related, in ultimate form, to the judicial salvation of humankind.

  The actual nature of Venetian law is less glorious, but perhaps more interesting. As in all aspects of the Venetian polity, it was of mixed inheritance. Elements of it came from Roman jurisprudence, and from Byzantine legislation. Other elements were taken from the Lombard and Frankish codes. Having no firm territorial foundation, Venice was forced to adapt or borrow the traditions of other peoples. It could be said that the Venetians created a patchwork coalition of various legal principles, flexible and accommodating for any circumstances. Venetian law was, above all else, efficient. A nation all at sea must first save itself.

  The first code of jurisprudence was promulgated at the close of the twelfth century, and the laws were collected in the following century within the pages of five great books. The majority of statutes, as might be expected in a city of merchants, dealt with matters of wealth and property. Commercial law was the most voluminous. The five books might be said, in fact, to embody a mercantile attitude towards law. Despite the reverence for the customary image of Justice, the practice of the Venetians seems to have been largely empirical and pragmatic. The laws were often acknowledgements of what already existed in practice. Customary law, unwritten and on occasions anecdotal, seems to have been pre-eminent. It was even declared that custom might override the written law. This is in part evidence of the merchant spirit, distrusting legal niceties and quibbles. The offender must pay for dishonour done to God, and disrespect shown to the city. These were the important matters.

  It was often said that Venetians were more fond of talking than of doing. Certainly it is true that no other city-state produced so much legislation. The contents of these laws are sometimes confusing, inconsistent and contradictory. They were passed and then not enacted. They were issued, or reissued, when the very same laws were already on the statute books. The leaders of Venice legislated too much. There is an air of fantasy, or of unreality, about their search for legal formulae. Some of the great council believed or thought that they remembered a certain law. When it could not actually be found, it was drawn up and entered anyway. There was a saying that “seven days suffice before time obscures a Venetian law”:

  Una leze veneziana

  Dura una settimana.

  The sumptuary laws, in particular, entered the minutiae of social life where no practical supervision was possible. So they were largely ignored. They remain, however, the most bizarre example of the lengths to which the Venetian state would go to influence social conduct. If the city were a large family, as was often claimed, then it was of a harshly paternalistic kind. Thus, in 1562, it was decreed that “at any meal of meat not more than one course of roast and one kind of boiled meat may be provided. This may not include more than three kinds of meat or poultry …” The legislation was designed in part to curb the enthusiasm for large family parties, for gatherings of kin, which could be considered as a threat to the state. That is why the particular focus of legislation was directed at feasts and banquets where great numbers of people might gather. Oysters were not permitted at dinners where there were more than twenty guests. There were rules on the number of pastries and fruits that could be served; peacocks and pheasant were forbidden. The slaves who served at such banquets were invited to spy on their masters. The cooks were obliged to report in advance to the authorities what food they had been asked to prepare.

  The legislation was also designed to arrest the tendency towards excessive flamboyance; the common people, faced with the extravagance of the rich, might become restless. In Venice, internal dissension had to be avoided at all costs. That is perhaps the reason for the general disregard of sumptuary legislation; it was seen only as a gesture to mollify the populace, not as a serious attempt at enforcing law.

  There was also the spiritual argument. The example of vanity and greed would invoke the anger of the Almighty. At times of defeat, on sea or land, the Venetians often blamed the debased morals of certain of the citizens. This was of course a common trope in the medieval and early modern periods, but it applied all the more aptly and sharply to a city that believed itself to be chosen by God. The rules applied to the strictest regulations of dress. No man or woman could possess more than two fur cloaks. In 1696 it was forbidden for anyone to wear lace ruffles on the neck or wrists; brocade and silk clothes were forbidden, and no more than two rings could be worn upon the fingers. Three patricians were chosen as magistrates or sumptuary police, to enforce these regulations. It is not known whether they were successful in their attempts to curb extravagance and excess.

  The practice of Venetian law was in theory equitable. Anyone who owned property, whether patrician or citizen or artisan, was treated in the same manner. Patricians could not plead, or expect, any especial favours. There was also a system of appeal established upon principles of fairness. Solicitations could be made to the doge himself. There was a Venetian saying, “pane in piazza e giustizia in Palazzo”; bread in the piazza and justice in the palace. Venetian justice had a reputation for strictness, on occasions to the point of barbarity, but also for impartiality. The state provided counsel for those who were poor. Even the slaves of Venice could approach the legal tribunals, and obtain redress from any grievances. In May 1372 a Venetian artisan, Antonio Avonal, and Giacobello, a tanner, whiled away the time by pricking with a long pin the slaves who passed them on their way to vespers at Saint Mark’s; they were taken before the authorities. Avonal was sentenced to three, and Giacobello to two, months in prison.

  Almost uniquely in Italy, too, the lawcourts conducted their business in the vernacular. The court records are filled with the voices of ordinary Venetians, arguing, pleading, complaining about neighbours and employers and servants. The tribunals were like family courts. Venetian life was one of almost continuous litigation. In fact the sturdy tradition of the vociferous courts helped to stabilise Venice throughout its history. That is why the people of Venice were known to be “law-abiding.” Rulers and ruled knew the common ground on which they stood. Saint Bernard of Clairvaux is supposed to have told the doge, Cristoforo Moro, that “the republic would last as long as the custom continued of doing justice.”

  We have the intriguing spectacle of practical success and ad hoc or muddled legal theorising. Laws were made or unmade, or ignored, or thwarted, or disobeyed. There were so many laws that no one could remember them all. The patrician judges had not received a legal education, except that which they had picked up by observation. They were politicians employed for a relatively short term. So they relied upon the promptings of conscience, conjecture, and common sense. They were, in one sense, amateurs. There must of course have been abuses of power and of principle; there must have been bribes and blackmail. That is the nature of life. Yet the pragmatic workings of the legal system, established upon custom, prevailed. The bond of equality before the law kept the city together. It is a measure of the Venetian temperament.

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  Against the Turks

  Even as the sun of Genoa set, in the summer of 1380, a new enemy rose over the eastern horizon in the shape of the Ottoman Turks. The Venetians had been accustomed to underestimate the challenge of the empire of the Osmanlis; they considered it to be locked up by land, and unable to threaten by sea. But then the waters of the Levant became the prey of Turkish pirates who could never be successfully put down; the gradual encroachment of the Ottoman Empire meant that Venetian trade routes were also being encircled. The Ottoman advance threatened the Venetian merchant colonies in Cyprus, Crete and Corfu; the islands had constantly to be defended with fortresses and with fleets. The two empires had their first confrontation in the waters of Gallipoli where, in 1416, the Venetian fleet routed the Turks after a long fight. The Venetian admiral later reported that the enemy had fought “like dragons”; their sea skills, then, were not to be underestimated. The proof came in 1453, when the Turkish forces overwhelmed Constantinople itself. It had been an ailing city, ever since the Venetian sack in 1204, and its defenders could not match the overwhelming forces of the Turks. The Osmanli dynasty was now knocking on the door of Europe. Constantinople, now for ever to be known as Istanbul, became the true power of the region.