Yet, as so often happened in Venice, the conspirators were betrayed by secret informants. The scheme was revealed to the council of ten, who took prompt measures on 17 May 1618. By chance it happened to be the day when a new doge was to be elected. So the city was filled with travellers and interested observers.
On the morning of 18 May the people of Venice woke to find the bodies of two men suspended from a gibbet between the two columns of the piazzetta. The celebrations for the election of the new doge took place, over the next three days, with the bodies of the condemned in full view. Nothing was said about them by the authorities. It became known that they were Frenchmen. Some of the inns, populated by Frenchmen, suddenly found that they had vacant rooms. It was said that five hundred other conspirators had been drowned on that night in the canals. Bedmar was forced to flee. The French ambassador, also under suspicion, took the opportunity to make a pilgrimage to Loreto.
The silence of the authorities might be construed as embarrassment. It seems very likely that there was no real conspiracy at all, and that the council of ten acted in panic on the basis of false information. Their reaction suggests, however, that the leaders of the city considered Venice to be in imminent danger of destruction.
In historical literature “the Spanish plot” has taken its place with the “gunpowder plot” and the “massacre of Saint Bartholomew’s” as an emblematic event. It was, according to Sir Henry Wotton, “the foulest and fearfullest thing that hath come to light since the foundation of the city.” There were various explanations and interpretations of the conspiracy, none of them entirely convincing. It has, for example, been claimed that the Venetian authorities were in league with Osuna, to bring Naples under Venetian domination, but on fear of discovery of the plot they had covered up the evidence by killing all of Osuna’s emissaries in the city. There may have been a conspiracy, and a conspiracy within a conspiracy, with all the machinations of a convoluted plot utterly suited to a suspicious and theatrical city. It became the subject of plays, and pamphlets, of the most melodramatic nature. It inspired Otway’s greatest play, Venice Preserv’d. Venice has always been preserved. It always will be. One Venetian proverb, sempre crolla ma non cade, tells the story. It is always collapsing but it never falls down.
There was a further and major blow to civic harmony twelve years later; in the course of the great plague of 1630 almost fifty thousand residents of the city died. The government undertook a major effort in health care and sanitation; at all costs, at a time of weakness, civic panic or disorder had to be avoided. Yet the population dipped to 102,000, and never properly recovered in the following centuries. This was not necessarily a matter of lasting regret to the authorities. There was of course a fall in tax revenues, but the relative depopulation meant that there were more jobs available for those who remained and that wages increased exponentially. Incomes rose, and prices fell. At times of emergency, too, the city could prove its self-sufficiency.
How in any case can we speak of failure and decline in the context of a city that still survives intact? By the end of the seventeenth century Venice had a working polity. The English ambassador had in 1612 described the senators as “growne fractious, vindictive, loose, and unthriftie”; yet they had held together. In fact Venice experienced a commercial resurgence by the end of the century. Trade with Germany and the Turks of Constantinople enjoyed a revival. The revenues from taxes on shipping increased by some 70 per cent in the last three decades of the seventeenth century. The standard of living in the city had not fallen at all. It may have been no longer an international market, but it became a vital regional port serving the territories of the Po valley. A great scheme of public works was instituted to increase the traffic along the Adige river. New roads were built along the skirts of the lagoon. Projects were formed for legal, educational and technological reform. The functions of the city had changed. It had adapted and survived. It became in every sense a local, rather than a western, power.
By the eighteenth century, at the very latest, the city lost any illusion about its status as an imperial force. It held only Dalmatia, and some of the Ionian islands. But this was not necessarily a matter for regret. It was said of England in the twentieth century that it had lost an empire and had not yet found a new role. This was not the case with Venice. The city acted as the entrepôt for goods destined for western Europe in general and for the North Sea shores in particular. Thirty English, and fifteen Dutch, merchantmen visited the port each year. Trade in the latter half of the eighteenth century was in no way inferior to that of the fifteenth century. Canals were being deepened to accommodate the larger sailing vessels, and new canals were being dug on the mainland to divert the waters of the rivers threatening the levels of the lagoon. In regional matters Venice adopted a stance of studied neutrality, having realised that wars and rumours of wars were not good for business on the Italian mainland. The city, perhaps unwisely in the light of subsequent developments, became accustomed to peace. Yet its removal from battle also helped its reputation as a wise arbiter and a standard of good governance. The constitution was in no way adapted or amended.
In the eighteenth century Venice, as we have already observed, set itself the task of becoming the city of art and the city of pleasure. It redefined itself as the most seductive haven for foreign visitors. The public buildings were renovated, and the churches were restored. New theatres, and new hospitals, were erected. This was the age of Canaletto, whose views of the city have created a perfect myth of graceful urbanism. But this was also the century of Giambattista Tiepolo, born in 1696 and dead by 1770. He inherited all the liveliness and energy of his Venetian forebears, and thus is an apt token of the fact that the spirit and greatness of the city did not die. They revived, and flourished, under new circumstances. The first half of the eighteenth century, too, witnessed the music of Vivaldi. Is there not something more glorious about making music than making war? This was not a dying city. It was a city more vibrant than ever before.
That happy state would not last for ever. Quick bright things often end in confusion. By the end of the eighteenth century Venice had lost its freedom. It did not lose its fabric, or its inheritance, but it lost its status as a republic. Twenty years before the catastrophe, there was already nervous fever in the air. When Carlo Contarini addressed the great council in 1779, he declared that “all is in confusion, in disorder. Our commerce is languishing; bankruptcies continually prove it. Food is extraordinarily dear. That which sufficed to maintain our families and left a margin to help the State, is now insufficient to keep us alive.” In the following year the doge, Paolo Renier, conveyed approximately the same sentiment, “We have no forces,” he told the great council, “neither on land nor on sea; we have no alliances. We live by luck, by accident, and solely dependent upon the conception of Venetian prudence which others entertain about us.” In 1784 the patrician, Andrea Tron, completed the litany of complaint. “The old enduring maxims and laws that created and could still create a great state have been forgotten …” The trade of Venice was now confined to “comforts, excessive luxuries, vain shows, alleged amusements and vices.”
The three men were in their different ways intuiting what could otherwise not have been foreseen. Who could have predicted the rise of the Napoleonic Empire in Europe and the submission of Venice to one man’s will? Yet of course it is not the consequence of one man. In War and Peace Tolstoy enquired, in relation to the phenomenon of Napoleon, “Why do wars or revolutions happen? We do not know. We only know that to produce the one or the other men form themselves into a certain combination in which all take part; and we say that this is the nature of men, that this is a law.”
The “fall” of Venice was just a change in its historical identity. We cannot say that it was a disgrace or a triumph, because we do not know who in the end is triumphant and who is disgraced. That is the flaw in all moralistic interpretations of historical events. We must discount the possibility of ever discerning a purpose in human aff
airs, except that of blind instinct reaching its fulfilment, and we must admit that any ultimate purpose will be for ever beyond our understanding. Why did Venice “fall”? We may return to War and Peace to understand that an answer is not possible. “Why does an apple fall when it is ripe? Is it brought down by the force of gravity? Is it because its stalk withers? Because it is dried by the sun, because it grows too heavy, or the wind shakes it, or because the boy standing under the tree wants to eat it?”
The end came quickly. Ludovico Manin was elected the doge of Venice in 1789; it was by far the most expensive election in Venetian history, costing half as much again as the previous ducal election of 1779. The cost was hardly worth it. Manin, the 120th doge continuing an unbroken line of rulers since AD 697, was the last doge in Venetian history. Eight years after his accession the city of patrician government was shaken and destroyed by the conqueror still riding on the back of popular revolution. Bonaparte, twenty-six years old, was annoyed by Venice. He was annoyed that some of its mainland territories had become the centre of French émigré activity, and that the Venetian authorities had allowed the Austrian enemy to pass through its territories. When he arrived in the Po region he sent his agents into the city with the message of “liberation.” The forces of Napoleon were not to be considered as blood-thirsty plebeian revolutionaries, but as a dedicated army ready to remove the injustice and ineptitude of an antique and discredited regime. There were indeed some Venetians who would have welcomed him.
When he crossed the River Po, the end was close. A new guardian of Venetian territories, a provveditore, was appointed with the official purpose of “preserving intact the tranquillity of the republic, and of administering comfort and consolation to its subjects.” It is a most inexpedient turn of phrase, suggesting the onset of panic. When Napoleon occupied Verona, the provveditore and his staff entered negotiations with him; he was apparently affable, and even amicable, but no concessions were drawn from him. It was reported that he threatened, in the friendliest possible terms, to demand a ransom of six million francs for the safety of the city. The Venetians had no troops, and only the remnants of a navy. They were, to all intents and purposes, defenceless. Napoleon, meanwhile, continued his campaign of occupation throughout the Venetian territories.
The stated policy of Venetian neutrality, between France and Austria, now turned back and bit the city. The French accused the senate of aiding the Austrians, and of course in turn the Austrian government denounced the Venetians for assisting Bonaparte. The doge and the senate did nothing. It was as if they were speechless with fear. A Paduan writer, Ippolito Nievo, said of this period that the Venetian nobility was a corpse that could not be revived.
When a truce was declared between France and Austria, Bonaparte waited for Venice to fall into his hands. He tested its responses. He sent a ship into the harbour of the Lido, on 20 April 1797, and a Venetian galley attacked it. That was enough to signal war. The senate met in permanent session. Napoleon instigated popular risings against Venetian rule in the cities of the mainland. Two Venetian nobles were sent to Bonaparte on 25 April. He was magnificent in his assumed wrath. He blamed the Venetians for atrocities against his soldiers. “I will have no Inquisition, no antique barbarities.” He ended by saying that “I will be an Attila to the Venetian state.” He knew something of Venetian history. Then over dinner he asked for reparations to the amount of twenty-two million francs from the Venetian treasury.
On 29 April the French soldiers occupied the Venetian frontiers. As the guardians of the city anxiously convened on the following day, the sound of the French artillery could clearly be heard. The doge walked up and down the hall of his private apartments, where they had gathered for safety, and told them that “tonight we are not even safe in our beds.” The procurator then rose to his feet. “I see that it is all over with my country,” he said. “I can certainly be of no assistance. To an honest man, every place is his country; one may easily occupy oneself in Switzerland.” He was persuaded to stay for the time being, and comforted himself with snuff. The nobles then agreed that they would introduce any democratic changes that Bonaparte required of them, in the hope that this would forestall an invasion.
The great council met on the following day, 1 May, when the doge addressed them. He told them that it was necessary to make peace at any price, and that they must resort to prayer. So matters stayed for the next few days, with Venetian envoys going to and from the camp of Napoleon. They capitulated on every point. The great council met on 12 May to ratify their proceedings. Those present did not meet the required quorum of six hundred members, but they decided to go ahead anyway. They had just got to the point of debating the measure to accept “the proposed provisional representative government,” a French government, when the sound of musketry was heard. It was in fact the parting salute of some sailors leaving the Lido, but the patricians believed it to be the noise of an invading army. They fell into a panic. The doge called out “Divide! Divide!,” to conclude the vote. They did so, and promptly left the council hall never to return. Ippolito Nievo recorded that
after sixty years I still see some of those frightened, dejected, alarmed faces. I visualise the deathly pallor of some, the discomposed almost drunken aspect of others, the nervous hurry of the majority, who seemed as though they would gladly have jumped out of the windows to escape this scene of infamy.
It is reported in the histories of the period that the doge returned to his apartment, and gave his ducal bonnet to his manservant. “Take it,” he said. “I shall not be needing it again.” So ended the republic of Venice. The last Carnival before the end was supposed to have been the most magnificent, and the most expensive, in the entire history of the city.
The French army occupied the city on 15 May. An official report to Bonaparte, on this occasion, reported that the ordinary people of Venice “retired in silence to their homes, exclaiming with tears—Venice is no more! Saint Mark is fallen!” The lion of Saint Mark was indeed toppled from its column, and a “tree of liberty” erected in the square. The ducal insignia, and the “Golden Book” of patrician membership, were ritually burned. The former doge, and members of the great council, joined in the dancing around the tree. Thus ended a polity that had endured for more than a thousand years. The most ancient government in the whole of Europe was another indirect casualty of the French Revolution.
Napoleon also plundered the art and treasures of the city, just as Venice had plundered Constantinople and the dominions of its empire. There is something apposite about the transference of the four bronze horses to Paris; they had been snatched by Venetians from Constantinople six hundred years before. They were always the spoils of victory. Then Napoleon bartered Venice itself. In the autumn of 1797 he handed it to the Austrians as part of the Treaty of Campo Formio. Eight years later, having defeated the Austrians, he took it back. In 1805 it became part of his unified kingdom of Italy. For Venice, accustomed to stand apart from the mainland, this was a further humiliation. It had never played any part in the burgeoning national consciousness of the Italians, and only reluctantly accepted its status as a peripheral part of a nation. In 1814 the city again returned to the control of Austria. It suffered these changes of regime with docility. It bowed its head. It was now a spectator of its own fate.
At the beginning of the nineteenth century Napoleon had instituted a policy of public works. A new royal palace was erected at the west end of Saint Mark’s Square. Churches and monasteries were pulled down to create public gardens just beyond the Arsenal. A new road, the Via Eugenia, now known as the Via Garibaldi, was built along the waterfront towards the gardens. The public works continued under Austrian occupation. The lagoon was fortified. The Accademia bridge, only the second bridge across the Grand Canal, was erected in 1854. Yet the most radical change of all consisted in the building of a railway bridge that connected Venice to the mainland; the city was no longer an island, and it lost its hallowed status as a refuge from the world. This meant, too, th
at the prime significance of the water had gone for ever. It became a city of mechanical, rather than of natural, time. It had, perhaps, been prophesied. In the early 1500s the doge, Andrea Gritti, consulted the Delphic oracle. He had been assailed by rumours concerning the imminent collapse of Venice. There appeared to him, beside the statue of Apollo, a panorama showing Venice surrounded by green fields rather than by the sea. The priest told him that this signified one thing: the republic would die when Venice became part of the mainland.
Throughout this period, in fact, there was an accelerating economic slump from which the city scarcely recovered in the twentieth century. The patrician class was emasculated, and one family in three simply died out. Some of the remaining nobles were awarded honorary titles by the Austrian government. But these were empty forms. They fooled nobody except their holders. The general population diminished, too, as a result of epidemic sickness and migration. There had always been beggars in Venice, but by the beginning of the nineteenth century the poverty and mendicancy became the most obvious aspect of city life. It was estimated that a third of the population depended on charity. This was precisely the time when the English Romantics became interested in Venice. They were drawn to decay and desuetude.
In some ways it was the most interesting period in the history of the city. The grass and weeds had sprung up in the campi, and the various palazzi had been converted into ruined tenements for the poor. The stone steps and bridges were covered with green algae, and the wood of the mooring posts was rotting away. The houses crumbled. “Venice indeed appears to be at her last gasp,” an Englishman wrote in the winter of 1816, “and if something is not done to relieve and support her, she must be soon buried again in the marshes from whence she originally sprang. Every trace of her former magnificence which still exists only serves to illustrate her present decay.”
Venice: Pure City Page 37