Authors: Peter Ackroyd
A wooden image of the Madonna of Mercy, carved and painted in the sixteenth century. Images of the Virgin were displayed everywhere in Venice. Hers was a popular devotion. There were many shrines on the corners of the
calli
, with a votive lamp burning before the Virgin. There was not a Venetian home, however humble, without its picture of the Virgin.
(photo credit i3.11)
Madonna and Child Enthroned with Two Devout People
, painted in the fourteenth century by Paolo Veneziano. This painting has the form and quality of an icon, and indeed images of the Madonna were venerated in Venice as the workers of miracles. The Virgin was also the archetypal “mother,” in whose capacious embrace the sons and daughters of Venice could rest.
(photo credit i3.12)
The Coronation of the Virgin
by Giovanni Battista. The cult of Mary penetrated every aspect of Venetian society. There were more than three hundred altars, in the fifteenth century, devoted to the worship of the Virgin. Venice was the Virgin, too, because she had never been assaulted. She was inviolate and immaculate, protected by the waves of the sea like a precious girdle. Mary is peace. Peace is stability.
(photo credit i3.13)
The Tempest
painted by Giorgio da Castelfranco, otherwise known as Giorgione, in the early fifteenth century. In his study of this quintessentially Venetian artist the English critic, Walter Pater, declared that “all art constantly aspires towards the condition of music.” In Venice oil paint can be liquid music.
(photo credit i3.14)
Young Woman at Her Toilet
by Giovanni Bellini. This painting of 1515 is evidence that the Venetians believed colour or
colorito
to be the mother of painting. They enjoyed the bliss of its warm and capacious embrace. Colour was soft and intimate and harmonious. That is why Venetian painting has often been associated with the depiction of the female nude. The naked woman can be said to be the invention of the Venetian artists of the sixteenth century.
(photo credit i3.15)
Venus of Urbino
by Titian (detail). The sensuousness and voluptuousness of Venetian art are most clearly seen in the female nudes of Titian. Planes and lines are supplanted by curves. His art is alive. It captures the movement and the appearance of life. It captures the effect of the transient moment. It is ardent. It has no sense of calculation or theory.
(photo credit i3.16)
The cry in Saint Mark’s Square was always that of “Marco! Marco!” invoking the saint of the city. On his deathbed the greatest theologian of Venice, Paolo Sarpi, breathed the words
“Esto perpetua!”
—let Venice last for ever! Yet by the time he murmured this blessing, in 1623, the city had become a state in more than name. It had become one by deed and example. The abstract concept of the state did not emerge until the first half of the sixteenth century, but the idea of the common good was of course very much older. The common good had created Venice in the first place.
The first mention of the
commune Venetiarum
can be traced to the beginning of the twelfth century, when civic dignitaries wished to supplant the power of doge and people. From this time forward we can chart the growth of a bureaucratic state with its administrators and its diplomats, its governors and its laws. The local ties of parishes and the wards known as
contrade
were weakened, with a decline in the number of religious ceremonies designed to celebrate them; instead there emerged the notion of a unified and united city, expressed in numerous public works and relayed by public decrees. A new form of urban life was being created, at once more efficient and impersonal. Public order was confirmed and controlled by public means. The people had once created the city; the city now created the people. Or, more exactly, the people of Venice now identified themselves in terms of the city. The private had become public. The city had become a totality. Certain criminal acts, for example, were described as being “contrary to the public will” thus conflating the people with the city. By the fifteenth century, at the latest, we may speak of the formation of the Venetian state. It was known as the “Signoria,” roughly meaning sovereignty or lordship.
So how did this city become a state and, indeed, a forerunner of the modern state? It is a perplexing question, related to complex rituals of
self-awareness and communal self-respect. It emerged together with a well-supervised system of public finance, sustained by such mechanisms as credit and bills of exchange. Some of the first banks in the world were located in Venice. The first public loans were issued in that city in 1167. The Banco del Giro was established in 1619. A state cannot survive without internal stability, governed by law. The Venetians were always proud of the nature of their justice, however flawed its administration might become. Yet the law behind all laws was, in the words of one English ambassador at the beginning of the seventeenth century, “reason of state.” The state was eternal. The state was the source of all morality. It had an almost Byzantine rigour and prestige.
But there are more practical matters to consider. A state needs a broadly defined elite that will exercise power in the apparent interest of all. By the end of the thirteenth century the governance of Venice was vested in the hands of a patriciate that was legally defined. And of course the security of the constitution was intrinsically important to the security of trade. Power and commerce were inseparable. Such a general administration needs a bureaucracy, to supervise such matters as public health and public order. The bureaucracy of Venice was one of the wonders of the western world. Everything was committed to writing, as the overflowing archives of modern Venice will testify. At a time when other cities, or other nations, had only the most rudimentary internal organisation Venice was already a model of administrative expertise. The census of population was carried on more frequently, and with more efficiency, in Venice than in any other city. It was said by Jacob Burckhardt, in
The Civilisation of the Renaissance
, that “Venice can fairly make good its claim to be the birthplace of statistical science.” Every aspect of social and cultural life was closely ordered. Even the sale of fruits in Saint Mark’s Square, and of flowers on the steps of the basilica, was monitored and controlled. The rise of bureaucracy helped to foster accounts and treatises on the arts of government, texts that played a large part in the formation of what has become known as civic humanism. Of course in the actual practice of government and statecraft there were always large doses of opportunism and corruption, of relativism and pragmatism; but they flourished all the more for being easily concealed behind the imposing order of the public administration.
A state needs a measure of conformity among its inhabitants. The city can survive with rowdy or antagonistic citizens—in some ways, it thrives upon them—but the early Venetian state needed a measure of internal control. No city had more success in ordering its people than Venice. The doge and the various councils exercised in a literal sense the art of power. Any words of offence, or what we might now call speech crimes, were prosecuted for being
“contra honorem huius civitatis
”—against the honour of this state—and rewarded with a period of imprisonment. Foreigners who spoke disparagingly of
la Serenissima
were banished. In the secret correspondence of a Venetian diplomat, published by Alfred de Musset, was found the entry to “pay to Signor A, the sum of fifty scudi, for having killed the Signor S, who spake ill of the Republic of Venice.”
It was the state that the Venetians were meant to serve. It was continually asserted that it had been bequeathed to them by their diligent forefathers and that they should deem it more precious than their own lives. They were in honour bound to preserve it. The key to Venice was exactly there—preservation. The city itself was from the beginning a miracle of preservation, and it felt the need to invoke that miracle again and again. In its threatened and embattled position, as the public edicts suggested, it needed a coherent and obedient body of citizens to sustain it. This is the reason for the relative tranquillity of Venice over the centuries. It springs from its origin. Power sprang from the place itself, in the constant awareness of collective survival.