After the chronicles came the histories. By the middle of the fifteenth century there were volumes with titles such as De origine et gestis Venetorum. The “origin” was just as important as the “deeds.” The origin explained the deeds. In 1515 Andrea Navagero was appointed to be the first official historian of Venice, a post in which he was expected to celebrate the “constancy and invincible virtue” of the city. This was precisely the moment when the “myth of Venice” was being formulated. The concept of a state historiographer is itself an interesting one, suggesting that the task cannot be left to free enquiry. As with “official” biographers, the art lies in concealment as much as revelation.
Unfortunately Navagero did not entirely succeed in his purpose, and in his will he ordered that his notes and papers be burned. He had, perhaps, revealed too much. There then followed a succession of state historians who, like the narrative painters of the sixteenth century, united minute detail with a general celebration of Venice’s sacred history. They were always reshaping the myth to accommodate present circumstances. They were descriptive and prescriptive, with the sure belief that they were offering a practical guide of governance to those who came after them. Everything was to be explained, and understood, in terms of the historical ideal. The historiographers were convinced that to chart the history would also be to reveal its manifest destiny. Tradition is the key. In a city constantly nervous of its own survival in the sea, duration itself was considered to be worthy of honour. If it has endured, it must be laudable.
The reverence for custom and tradition was not necessarily benign. The political and economic decline of the city was not wholly of its own making, but the inherent conservatism and traditionalism of the authorities impaired the possibilities of improvement and renewal. The patricians, reassured by their own claims to superiority, often made signally disastrous decisions. Their exploitation and sack of Constantinople, in the company of allies, led directly to the Turkish conquest of the city on 29 May 1453. Venetian industry was injured by the restrictive practices imposed by the government. As Joseph Addison put it, the Venetians were “tenacious of old Laws and Customs to their great Prejudice, whereas a Trading Nation must be still for new Changes and Expedients, as different Junctures and Emergencies arise.” They wished to guarantee, for example, their reputation for manufacturing luxuries. So they emphasised quality at the expense of cost and quantity. In an enlarging world economy, this was a mistake.
There was a deep reluctance among the rulers of Venice to confront a world of change. That is why the Arsenal, the shipbuilding enterprise that had for a long period been the home of technological efficiency, had become by the seventeenth century hopelessly out of date. There was no renewal, and no true renovation. It may be that Venice distrusted itself too much to be capable of change, and made a strength instead out of sheer survival. That is still its most enduring attraction.
So the city took on various historical guises to suit the imperatives of the period. It reinvented itself as Roman. In the second quarter of the sixteenth century buildings were raised in the Roman manner of public architecture. These were heralded by the triumphal gateway to the Arsenal itself; it was the first exercise in Venetian monumentality. In the 1480s shields and helmets of stone were attached to the bas-reliefs of the ducal palace. In the face of threats from two empires, of the Hapsburg Charles V and of Suleiman the Magnificent, Venice laid claim to the inheritance of the greatest of them all. Rome was the context for her particular historical mission. Even the constitution was said to be derived from Roman originals.
The patrician families of the city began to find Roman ancestors, through whom they could plausibly hope to inherit ancient virtus. The Cornaro family traced their clan to the Cornelii, and the Barbaro to Ahenobarbus. The dark gown of the governing class was known as a toga, as if the senators of Venice would be as much at home in the Forum as in Saint Mark’s Square. The historians of the city identified their founding fathers with the refugees from Troy, who were supposed to have established Rome itself. It was all a great charade, but there comes a time when a nation or nation-state will embrace the most absurd or extravagant claims in order to bolster its sense of identity. So by the sixteenth century the Venetians were calling themselves “the new Romans.”
There was in any case a fascination for antiquity. There were antiquities, begged or borrowed or stolen, everywhere in Venice. Classical sculptures and trophies were set up in public places. There were many famous antiquarians. There were also notorious forgers who could knock up a piece of Roman statuary or a classical bronze without any difficulty. In a similar spirit the governors of Venice would sometimes proclaim that a certain activity—let us say education—had been preserved “from the foundation of the city.” This was normally quite untrue, but the fraudulence betrayed the reverence for antiquity in itself.
The Venetians were primarily interested in the material remnants of the ancient cultures of Greece and of Rome; they were not interested in their intellectual prowess. Greek for the Venetians was the language of business, rather than the language of Plato. Latin was a necessary lingua franca, not an agent of revelation. In Burckhardt’s The Civilisation of the Renaissance in Italy there is a long section on “The Revival of Antiquity” as an agent of moral and spiritual awareness. Venice is not mentioned in this context. Burckhardt simply praises it as the home of a flourishing publishing trade and the centre of “affectation and bombast” in funerary inscriptions.
The Venetians were understandably proud of their history. “I observe,” Lady Blessington wrote in the 1820s, “that the Venetian cicerone [guide] and gondoliers often refer to the past prosperity of Venice, and always in a tone that shows a knowledge of its history, and a pride of its ancient splendour not to be expected from persons of that class.” It was, and is, a city based upon memory. It is a city of nostalgia. It lives by remembering, and representing, its past. In the same way visitors are invited to admire buildings and scenes that are so familiar that it is as if they somehow “remember” them.
It is wholly to be expected, therefore, that the Venetian archives are the second largest in the world. Only the archives of the Vatican are more extensive. Yet none are more rich or more detailed than the Venetian papers. Some date from the ninth century. Everything was written down, in the hope that older decisions and provisions might still be useful. It is the measure of the efficiency of a state that it preserves its official documentation. In that sense, Venice was very efficient. The Archivio di Stato, just one of the many official archives, contain 160 km (one hundred miles) of files and documents. When the German historian Leopold von Ranke first came upon them in the 1820s he was, like Cortez on a peak in Darien, staring at an ocean; from his encounter with the papers sprang the first exercise in what was known as “scientific history.” They are still an infinite resource for contemporary historians and sociologists, who find there stories and dramas of Venetian life in more profusion than in the scenes of the commedia dell’arte.
IV Republic of Commerce
13
The Merchants of Venice
The genius of the Venetian state lay in commerce and in industry. Trade was in its blood. The city was sustained by what has been described as the first capitalist economy, but the phrase needs refining. It represented the first great triumph of mercantilist capitalism in Europe, the commercial paradigm for seventeenth-century Amsterdam and for eighteenth-century London. In this market-place everyone came to buy or to sell; the artist and the priest, as well as the merchant, sought for profit. The system of trade defined the social and cultural systems of the city; it subsumed them. Fashion and innovation became the key concepts. Rational calculation, and the abstract relations of credit and exchange, fashioned a wholly new kind of society—a society of commodities and a society of consumers. It has been said that the modern economic spirit sprang from the experience of the city. Paris only took on an urban form, for example, when mercatores or merchants settled beside the existing scho
ols and monasteries.
All the actions of Venice, in war and in peace, were determined by the interests of commerce. It conquered only for profit, not for glory, and calculated with cold eye the financial gain to be acquired from the pious aspirations of the Crusades or the brutal sack of Constantinople. Its diplomatic treaties are wrapped in the language of “recompense” and “reparation.” In a private document of the fifteenth century, known as the Morosini Codex, there is a formulaic sentence for disaster—“many people died and much merchandise was ruined.” The essence of trade lies in further and further expansion, but Venice itself could not grow. So it exploited territories overseas from mainland Italy to the island of Cyprus. At the height of its power, it was the third largest state in Europe. It was also the richest. That is why commercial self-interest became a foundation of national ideology.
The earliest example is that of salt. The dwellers of the lagoon, long before the immigrants from the Veneto ever arrived, had traded in that substance; the lagoon was a perfect place for salt pans, with the brine of the low-lying sea all around. But the Venetians pursued that business with a vengeance. They decided to create a monopoly in the supply of salt to the mainland. By force and by conquest Venice appropriated the other centres of salt production in the territories closest to it. Then it applied itself to the salt producers of the entire Adriatic, compelling or bribing them to close their manufactories; if any salt was produced in overseas territories (as it was in the Venetian colony of Cyprus) it was taken to Venice and stored in great warehouses from where it was despatched to consumers at monopoly prices. Effectively the city put down any hint of competition. This was the Venetian way of doing business. In similar fashion it exploited the appetite for spices that re-emerged in the twelfth century, when the Mediterranean became once more open to traffic. Within a short time it dominated the trade. In the sixteenth century, for example, it imported almost six hundred tons of pepper annually from Alexandria. It even had its own pepper officers.
The greatest source of profit lay in trade over long distances; the more the possible risk, the more the possible benefit. It has been calculated that, in the early fifteenth century, there were some 3,300 vessels within the city’s mercantile marine. The ships of the Venetians left in convoys; each year there were seven trading expeditions sailing for different destinations. One fleet travelled to the Crimea, for example, and another to Cyprus and Egypt. Venice itself owned the galleys, and rented them out to the highest bidders. It is a perfect example of the city’s commercial instinct. The freight, and the dates of travel, were arranged well in advance. Merchants at home would then invest in the journey of the travelling merchant, in return for a large proportion of any subsequent profit. There was much profit to be obtained. On the return of these argosies the quays of Venice were piled high with carpets and silks and perfumes, sacks of cloves and bags of cinnamon. Argosy is indeed the most appropriate word. It derives from the port of Ragusa (Dubrovnik in what is now Croatia), a Venetian colony in the sixteenth century.
In the fourteenth century wax and pepper, sandalwood and ginger, were despatched to Europe by Venetian merchants from the Indies and Syria, Timor and Malabar. The East did not know the market prices of the West, nor did the West know the prices of the East. But the Venetian merchant understood, and calculated, both. Metals and manufactures were despatched to the East, while cotton and spices travelled in the opposite direction. The Venetians exploited opportunities that other cities and other states did not see or to which they were indifferent. Venice is the fulcrum between what we call the medieval, and the early modern, ages.
Some of the earliest banks in the world were established in Venice. There are private banks mentioned in official records from 1270. In the thirteenth century, too, Venice created the first publicly funded national debt, known as the Monte. The Monte meant literally a “pile” of coins. Until the fourteenth century moneylenders were free to practise in the city, although they were forbidden in most other cities. In the twelfth century charging large interest was said to be “an old Venetian custom.” The counters for the money-changers, covered in cloth or carpet, were set up at the base of the campanile in Saint Mark’s Square. Truly the Venetians made a religion out of money. On the bills of exchange was often inserted the phrase, “And may Christ watch over you.” There was a public bank in the city by 1625, 107 years before the foundation of the Bank of England. Venice became the largest bullion market in the world.
The merchant of Venice was the master of Venice. The founders of Venice were merchants or, rather, they were forced to trade in order to survive. The doges themselves engaged in trade. So there is the curious anomaly that the earliest nobility of the city were wholly involved with commerce; there was no hierarchy of birth, dependent upon a feudal system of honour, but a social framework entirely fashioned out of commercial speculation. As an English ambassador wrote in 1612, “Omnes vias pecuniae norunt.” They know all the paths of money. Fortunes were not made out of landed property but out of skill in business. This accounts in part for the evident sense of equality that the Venetians experienced, one with another; in the realm of King Money, all subjects are intrinsically equal. Money knows no duty or honour.
Yet in practice it was government of the rich, by the rich, and for the rich. There was no merchants’ guild in Venice, for the simple reason that the city itself was one grand guild. It was a government of merchants. Much of its commerce was in fact controlled by a relatively small number of families who had always been in business. They were characterised by their acumen as a family unit so that, for example, the Dandolos were known to be audacious and the Giustinianis were benevolent. The domestic partnership whereby brothers, or fathers and sons, traded together was known as fraterna; its account books could pass through many generations, like a piece of family furniture. Household accounts were not separated from business accounts. They amounted to the same thing. The senate was essentially a board of directors, with the doge as the chief executive officer.
The government of the city was practical and efficient; it was moderate in its spending, and vigilant over its auditing of costs. The resources of the city were managed with extreme caution. The Venetians, for example, had great skill in the drawing-up of contracts, which became almost an art form. There was not the expense of a standing army; soldiers were purchased when necessary. The council of ten were charged with the administration of the Mint. The bankers kept their coins in the offices of the state treasury.
The government could only safeguard trade by maintaining liberty and security; liberty in the removal of restrictions, and security in the domination of the sea. The originality of Venetian governance lay in its unique ability to fuse politics and economics into a new form of power. It can be called state capitalism, or communal capitalism, or corporate government. The point is that it worked. In administrative terms, it was the equivalent of the philosopher’s stone. The Venetian merchants could also take comfort from Isaiah’s disquisition on Tyre that it was “the crowning city, whose merchants are princes, whose traffickers are the honourable of the earth … and her merchandise and her hire shall be holiness to the Lord.”
The image of the merchant is central to any understanding of Venice. It was even said that all Venetians were merchants. Why should that be so? The merchant is in part a speculator, ready to take acceptable risks for the sake of future profit. He rises to a challenge, but will decline a mere escapade. He is ambitious for supremacy, and competitive if not coercive towards his rivals. But he is also thrifty, and cautious. If these are paradoxical qualities, they are part of the paradox of Venice. The love of commerce, and the desire for gain, are essential to its nature. There were many Venetian proverbs on the subject of money—money is our second blood, money makes money and lice make lice, a man without money is a corpse that walks.
Merchants calculate. They are economical with their time, as well as with their words. Within them are wells of secrecy and duplicity. They have little us
e for culture unless, that is, a profit can be made out of it. They are interested in peace; but they are, in essence, dispassionate observers of the affairs of the world. An opportunity, after all, can arise out of any situation. War itself can be a source of immense profits, if it is handled in the correct manner. New markets can be opened, and new resources exploited. But the Venetian merchants were more interested in the short, rather than the long, term. They shifted with the ever-shifting scene. That is why they were described as foxes in a world of lions. There is another Venetian proverb: With truth and lies you sell the merchandise.
From the fourteenth to the eighteenth centuries Venice became the city of luxury goods. Luxury may be defined as a form of erotic display, a deep response to the refinements of sensation. It suggests delicacy and rarefied pleasure. One need hardly add that it encourages further and further consumption. We need many things as the staples of life, but we desire even more. Desire lies in the open mouth of the consumer. Venice has always been known as a sensual city, whether in the ubiquity of its courtesans or in the lush canvases of its painters. Both artist and prostitute reflect the underlying reality of the city in which colourful display and material value are sacrosanct. The popular festivities of Venice might also be considered to be an expression of luxury.
Venice possessed no natural resources, and so it relied upon manufacture; the only way of maintaining its supremacy was in the creation of more various and more rarefied items. Luxury was prodigality, whether in spices or perfumes or dye-stuffs or ornaments of gold and rock crystal. Venice traded in them all. It made the glass and the silk and the soap. It manufactured the marzipan as well as the wax. Venice was a centre of silk manufacture, while the neighbouring island of Burano was the home of lace-making and Murano of mirrors and glass. The manufactories of Venice created the first glass window pane, which was undoubtedly a luxury on its arrival. In 1615 it became the first western city to market coffee. The fork was also a Venetian invention, one of the panoply of luxuries that emerged upon the dining table. Venetian households, in general, were known for their ornamentation and luxurious furnishing. The whole city was a hive ever active, relying to a large extent upon rapid and small transactions. You may see the merchants in the paintings, many of them young and eager, surrounded by pens and papers and balances. Each one is in a little world of striving and risk. Lorenzo Lotto finished “Portrait of a Young Man with Account Book” by the early 1530s; from various signs and tokens it is clear that the young man, after an unhappy romance, is seeking for consolation in the perusal of household accounts. He turns the pages of a double-entry register. Never have the blessings of business been more poignantly stated.
Venice: Pure City Page 13