Peter ackroyd venice pure city (v5 0)

ALSO BY PETER ACKROYD FICTION The Great Fire of London The Last Testament of Oscar Wilde Hawksmoor Chatterton First Light English Music The House of Doctor Dee Dan Leno and the Limehouse Golem Milton in America The Plato Papers The Clerkenwell Tales The Lambs of London The Fall of Troy The Casebook of Victor Frankenstein NONFICTION Dressing Up: Transvestism and Drag: The History of an Obsession London: The Biography Albion: The Origins of the English Imagination BIOGRAPHY Ezra Pound and His World T.S Eliot Dickens Blake The Life of Thomas More Shakespeare: The Biography ACKROYD’S BRIEF LIVES Chaucer J.M.W Turner Newton Poe: A Life Cut Short POETRY Ouch! The Diversions of Purley and Other Poems CRITICISM Notes for a New Culture The Collection: Journalism, Reviews, Essays, Short Stories, Lectures edited by Thomas Wright Copyright © 2009 by Peter Ackroyd All rights reserved Published in the United States by Nan A Talese / Doubleday, a division of Random House, Inc., New York www.nanatalese.com Originally published in Great Britain by Chatto & Windus, The Random House Group Ltd., London, in 2009 Doubleday is a registered trademark of Random House, Inc Nan A Talese and the colophon are trademarks of Random House, Inc Library of Congress Cataloging-in-Publication Data Ackroyd, Peter, 1949– Venice : pure city / Peter Ackroyd — 1st ed in the United States of America p cm “Originally published in Great Britain by Chatto & Windus, London, in 2009”—T.p verso Venice (Italy)—History Venice (Italy)—Social conditions Venice (Italy)—Social life and customs Venice (Italy) —Civilization I Title DG672.2.A25 2009b 945′.311—dc22 2010010350 eISBN: 978-0-385-53153-5 v3.1 For Alison Samuel Acknowledgements I would like to thank my two research assistants, Thomas Wright and Murrough O’Brien, for their invaluable work on this project I would also like to extend my thanks to my editor, Jenny Uglow, and my copy-editor, Jenny Overton Contents Cover Other Books by This Author Title Page Copyright Dedication Acknowledgements List of Illustrations Map I City from the Sea Origins Water, Water Everywhere Mirror, Mirror Photo Insert II The City of Saint Mark The Saint Comes Refuge Photo Insert Against Nature Stones of Venice Photo Insert III Ship of State “Let it be everlasting” The Chosen People Photo Insert 10 The Prison House 11 Secrets 12 Chronicles IV Republic of Commerce 13 The Merchants of Venice 14 The Endless Drama 15 Wheels within Wheels V Empire of Trade 16 The Lion City 17 Cities in Collision 18 A Call to Arms VI Timeless City 19 Bells and Gondolas 20 Iustitia 21 Against the Turks VII The Living City 22 The Body and the Building 23 Learning and Language 24 Colour and Light 25 Pilgrims and Tourists VIII The Art of Life 26 Hurrah for Carnival 27 A Divine Art 28 The Eternal Feminine 29 What to Eat? IX Sacred City 30 Divine and Infernal 31 Of Belief X The Shadows of History 32 Decline and Fall? 33 Death in Venice XI City of Myth 34 The Map Unrolls 35 The Huddled Family 36 Moon and Night 37 While the Music Lasts A Venetian Chronology Bibliography List of Illustrations Section One i1.1 Cristoforo Sabbadino, Map of Venice, c.1557 Archivio di stato, Venice/Cameraphoto Arte Venezia/Bridgeman i1.2 Perspective plan of Venice (detail) Musée du Louvre, Paris/Cameraphoto/Bridgeman i1.3 The mosaics in Saint Mark’s cathedral, late 14c Alinari/Rex Features i1.4 The Madonna, cathedral of Santa Maria Assunta, Torcello, early 13c akgimages/Cameraphoto i1.5 The Flood, mosaic in the narthex, western portico, of Saint Mark’s cathedral, 13c akg-images/Erich Lessing i1.6 Tintoretto (Jacopo Robusti), The Stealing of the Body of Saint Mark, 1562–66 Galleria dell’Accademia/Cameraphoto/Bridgeman i1.7 The Lion of Saint Mark, 15c., Museo Correr/Bridgeman i1.8 Monks praying to Saint Theodore, from a Mariegola, 1350 Museo Correr/Bridgeman i1.9 Simon Marsden, The columns of Saint Mark and Saint Theodore, Piazzeta San Marco The Marsden Archive, UK/Bridgeman i1.10 Gentile Bellini, Procession on the Piazza S Marco, 1496 Galleria dell’Accademia/akg-images/Erich Lessing i1.11 Piazza S Marco, c.1880–90 Roger-Viollet/Rex Features i1.12 Gentile Bellini, The Miracle of the Cross on San Lorenzo Bridge, 1500 Galleria dell’Accademia/Bridgeman i1.13 Francesco Guardi, The Departure of the Bucintoro towards the Lido on Ascension Day (detail), 1766–70, Musée du Louvre/Giraudon/Bridgeman i1.14 Vittore Carpaccio, The patriarch of Grado heals a possessed man on the Rialto Bridge (detail), 1494 Galleria dell’Accademia/akg-images/Cameraphoto When I had just been ordained a priest, I still said mass for rather more than a year and then gave it up, because three times I was forced to leave the altar without nishing mass on account of my illness For this reason I spend my life almost entirely at home, leaving my house only in a gondola or carriage, because with my chest complaint, known as heart seizure, I cannot walk No nobleman invites me to his house, not even our doge, because they all know of my ailment I can usually leave the house immediately after breakfast but never on foot Yet this was the man who plunged himself into a relentless round of composition, administration and direction He was quixotic and impulsive, by all accounts surrendering himself to the moods of the moment Like his music he seems to have acquired some extraordinary internal energy from an unknown source of power He was said by one English musician of the time, William Hayes, to have “too much mercury in his disposition”—which meant that he was impulsive and quixotic He was, perhaps, a little eccentric In 1704, at the age of twenty-six, he was appointed to the music school of the orphanage, the Ospedale della Pietà, and was music master there for most of his life When he joined that institution he became a thorough master of all its music He became teacher, director, and player Nine years later he was appointed as the o cial composer of the ospedale During those years his fame as a composer had increased, and spread throughout Europe The king of Denmark, Frederick IV, made an especial visit to the ospedale to hear one of Vivaldi’s oratorios Yet already his energy and determination were driving him in another direction In the same year that he was appointed o cial composer, his rst opera was staged in the city of Vicenza on the mainland of the Veneto This was a prelude to the performance of his operas in Venice itself, where he quickly earned both popularity and income For the rest of his life he divided his compositions between operatic and sacred work The pursuit of pro t was part of his purpose He was in the habit of o ering his works to foreign musicians, demanding very high prices He marketed Venetian music in the same way that his contemporary, Canaletto, marketed Venetian views on commission to visiting tourists He haggled over prices and costs He decided not to publish his works, on the supposition that he could earn more money by selling the manuscripts He discussed his nances with an English traveller, Edward Holdsworth, who reported that “he finds a good market because he expects a guinea for every piece.” In his operatic works he was an entrepreneur as well as a musician He rented the theatre He engaged the singers and the musicians He chose the libretti He conducted the orchestra and provided solo accompaniments on the violin He had to respond to the demands of the public If an opera were unsuccessful he found a replacement within a matter of days Yet this supreme impresario was also a man of the cloth The Venetian dramatist, Goldoni, recorded a visit to Vivaldi “I found him surrounded by scores,” he wrote, “his breviary in his hand He rose, made the sign of the cross with broad gestures, put his breviary down …” This ation of piety and business, of the sacred and the secular, seems so thoroughly Venetian as to need no further comment Yet all things in Venice were dependent upon fashion A close friend of Vivaldi, Charles de Brosses, wrote in 1740 that “to my great surprise I found that he is not so highly regarded as he deserves to be in this country, where everything follows the trend of the moment.” It was for this, and other reasons, that Vivaldi looked for patrons abroad He journeyed to Vienna, and was about to travel on to Dresden when in 1741, at the age of sixty-three, he died It was reported that after a life of excessive prodigality he died a pauper Yet this may be the usual pious epilogue for a career of extravagant genius In his rapidity of execution, Vivaldi is thoroughly Venetian He wrote more than ve hundred instrumental works, and almost one hundred operas He boasted that he could compose a concerto with all its parts “faster than a copyist could copy it.” His playing, too, had the re and energy of lightning The German scholar, Zacharias von U enbach, attending one of Vivaldi’s concerts, noted that he “quite confounded me, for such playing has not been heard before and can never be equalled He placed his nger but a hair’s breadth from the bridge so that there was hardly room for the bow He played thus on all four strings, with imitations, and at an unbelievable speed.” Von U enbach then commissioned Vivaldi to write for him some concerti grossi Three days later, Vivaldi delivered ten of them On the manuscript score of his opera, Tito Manlio, there is the inscription “Musica del Vivaldi fatta in giorni”—music by Vivaldi, completed in ve days In his manuscripts there is evidence of a tremendous force of conception and execution outstripping the ability of the hand to register it There is such animation and rhythmic drive that the momentum is irresistible The coloristic e ects, the vivid impressionism, the shimmering harmonies, the fantastic ingenuity of Venetian music nd their acme in Vivaldi Any imitated pattern creates excitement Agitation creates excitement Vivaldi is vivacity Speed, of composition and of execution, is the key The words used by his contemporaries were “fierezza,” ery energy, and “prestezza” or rapidity The melodic force is overwhelming The impression is one of inexhaustibility He was also a man of the theatre, creating an environment of insistent and unrelenting sound for the expression of extravagant and violent feeling His most famous work, The Four Seasons, is intensely expressive It was a way of translating a pictorial and operatic genre into music There is in fact in his art a thoroughly Venetian tendency to combine display with melody, so that he introduces operatic e ects within his instrumental music and sustains his operas with the techniques of his concerti The rst page of the solo violin part of the “Spring” concerto resembles a composition by Mondrian; the notes seem to dance together They arch and leap and soar in serried ranks On his scores Vivaldi will scrawl down hurriedly “spiritoso” or “allegro.” Sometimes he will continue the notation for three or four pages; then pause; then cross it all out; then with the same vigour and rapidity begin all over again from the rst notes On occasions he would write out two movements for the same place, and then leave it to the interpreter or musicians to make their preference He worked sometimes so quickly that he forgot his original key His writing became more abrupt and elliptical in the course of composition The same rush of genius, the same facility and prolixity, are evident through the history of Venetian culture Tintoretto was well known for the ferocious energy of his artistic practice He could paint the walls of a church, or the hall of a guild, within a week In a later century Tiepolo was known for being able to nish a large canvas in ten hours So in the music of Vivaldi there is a tremendous quickness and pressure, guided by a driving force and rhythmic impulse that astonished his contemporaries It is as inexorable as fate It rushes forward like the tides of the lagoon What is the secret of this exuberance in the artists of Venice? It is joy Joy in creation It has to with the fact of living in an harmonious city Yet it is also the joy of living in unity with the culture and society that surrounded them They were at home The ground of their being was Venice itself Is it then possible to interpret the nature of Venetian music as an organic whole? It is marked by exuberance and spontaneity, a ferocious gaiety that is manifest in other forms of Venetian art The most used and favoured word is brilliance It has associations with the glitter of Venetian glass, and the glittering light upon the water Yet Venetian music also has associations with the richness of colour and texture in Venetian art We read of the brilliant “tone colours” and “chromatic phrases” associated with the musicians of Venice, as opposed to those of Naples or of Florence The Venetian manuals of music written in the sixteenth and seventeenth centuries, rely largely upon expounding the arts of improvisation and ornamentation Venetian music, therefore, is predominantly expressive The temperamental a nities, to put it perhaps too crudely, are with show over substance One German musicologist of the eighteenth century, contrasting Venetian melodies with Roman harmonies, remarked that “the Venetian makes its way to the ear more quickly, but its spell continues for a shorter time.” The art of echo, already noticed in sacred polychoral music, was also an aspect of secular music The Venetian sonata, for example, has been noticed for its marked contrapuntal effects The music of Venice has a certain sweetness It was often light and clear In that sense it could be suggested that it contains little interior life There could be no Beethoven in Venice It has an irresistible ow It has the rhythm of the sea, not of the wheel It provokes astonishment and admiration rather than contemplation Yet it could also be unruly and abrupt, with sudden and unexpected turns both in melody and in harmony It is often eccentric or extravagant It sometimes relishes strangeness, or what were known as bizzarria It has an eastern avour It can even be claimed that, through the agency of Venice, the music of the East entered the classical European tradition Venetian music is sustained by constant and subtle variation It favours contrast and intricacy; it can be fast, and orid It perfectly suits the genius of the virtuoso It has been suggested that the solo concerto was rst heard in Venice It may be possible, then, to de ne the nature of this music as an expression of the Venetian temperament; Stendhal remarked that “the glittering re ection of the Venetian character falls across the texture of Venetian music.” The process of transmission and inheritance has never properly been understood, except in the evident relish of a language that describes art and character in identical terms And so we have the words—vivacity, gaiety, radiance, extravagance, energy, buoyancy, spontaneity, urgency, facility, exuberance, impetuosity Oh! Venezia! A Venetian Chronology FOURTH, FIFTH AND SIXTH CENTURIES AD The Veneti tribe leave the Italian mainland for the islands to escape successive waves of barbarian invaders The islands form part of the Byzantine Empire 421: The legendary founding of Venice The real date of the city’s foundation is probably over a century later 446: The Veneti meet at Grado and establish the rule of a tribune 568: Torcello founded SEVENTH CENTURY Early: The basilica of S Maria Assunta is built at Torcello 697: The first doge of Venice, Paoluccio Anafesto, is elected by the people EIGHTH CENTURY Byzantine domination of northern Italy is ended by barbarian invasions NINTH CENTURY Beginning: The original palace of the doge is constructed in the area now known as Saint Mark’s Square 810: Pepin unsuccessfully attempts to claim the islands for the Frankish empire 825: The area of Saint Mark’s Square is completed 828: The body of Saint Mark is brought from Alexandria to Venice Saint Mark replaces Saint Theodore as patron of the city TENTH CENTURY 900: The lagoons are fortified 928: The first mention of a Venetian glass-maker ELEVENTH CENTURY End: Venice establishes itself as an autonomous state and a maritime republic It develops into a strong naval power and builds an empire in the East, seizing the eastern shores of the Adriatic before 1200, and capturing many of the islands in the Aegean, including Cyprus and Crete The Venetian Carnival is instituted TWELFTH CENTURY 1100: Venice participates in the First Crusade Early: The Arsenal is constructed 1167: The first public loans are issued in Venice 1171: Two great columns, one surmounted by Saint Theodore and the other by a lion, are erected in Saint Mark’s Square 1178: Venice takes control of the Brenner Pass from Verona, and establishes an extensive empire on the Italian mainland or terra firma over the next four centuries Late: The earliest surviving mention of a gondola The great council, comprised exclusively of aristocratic families, is established It elects the doge and the senate THIRTEENTH CENTURY 1203–4: Venice plays a major role in the assault and sacking of Constantinople It brings home the four horses of the triumphal Quadriga Venice dominates trade throughout the Byzantine Empire 1229: Venetian laws are codified 1242: The first jousts are recorded in Saint Mark’s Square 1270: The earliest reference to private banks 1284–5: The first gold ducat is issued; the Mint is founded 1298: The imprisoned Marco Polo narrates his voyages in foreign lands to an amanuensis FOURTEENTH CENTURY 1310: The judicial committee known as the council of ten is created It is elected by the senate, and made permanent in 1335 1348: Plague in the city 1380: The long war between Venice and Genoa, which had continued intermittently for a century, ends with a Venetian victory FOURTEENTH TO FIFTEENTH CENTURIES Venice is at the height of its military and naval power FIFTEENTH CENTURY 1421: The construction of the Ca d’Oro begins 1422: The old palace of the doge is replaced by a Renaissance palace in Saint Mark’s Square 1462: War breaks out between the Venetian and Turkish empires; it ends in 1479 when the Venetians sue for peace This signals the beginning of the end of Venetian power in the East Gradually Venice ceases to dominate trade in the area 1495: The publisher Aldus Manutius establishes a workshop in Venice for the production of texts in Greek, Latin and Hebrew SIXTEENTH CENTURY 1516: The Jewish ghetto is established in Canareggio 1519: The birth of Tintoretto 1527: After the sack of Rome by barbarian invaders, Venice offers a haven to countless Roman artists and intellectuals 1527: Jacopo Sansovino, a refugee from Rome, is appointed public architect He designs the Mint, the Library, the loggia of the campanile, and part of the Rialto market He also transforms Saint Mark’s Square into a classical piazza 1565: The first European theatre, built specifically for the production of plays, is constructed in Venice 1570: Venice loses Cyprus to the Turks 1585: Beginning of the construction of the Rialto bridge SEVENTEENTH CENTURY 1618: The failure of the “Spanish Plot” to destroy many important political buildings in the city 1637: The world’s first public opera house is created in Venice 1669: Venice loses Crete to the Turks 1678: Vivaldi is born 1696: Tiepolo is born EIGHTEENTH CENTURY Venice becomes the city of art and pleasure 1725: Casanova is born 1774: The greatest Venetian gambling house is closed by public order 1797: Venice falls to Napoleon, who hands the city over to the Austrians The doge is deposed and the Venetian republic ceases to exist NINETEENTH CENTURY 1805: Napoleon defeats the Austrians and reclaims the city 1814: The Austrians reclaim Venice 1848: The Venetians oust the Austrians from the city and re-establish the republic of Venice 1849: The Austrians reoccupy the city and the republic falls 1854: The Accademia Bridge is constructed 1866: The Austrians withdraw from Venice and 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Data Ackroyd, Peter, 1949– Venice : pure city / Peter Ackroyd — 1st ed in the United States of America p cm “Originally published in Great Britain by Chatto & Windus, London, in 2009”—T.p verso Venice. .. Italy Venice was perhaps also the rst city in Europe to bene t from what has been called city- planning, with the deliberate “zoning” of industries and activities along the peripheries of the city. .. Illustrations Map I City from the Sea Origins Water, Water Everywhere Mirror, Mirror Photo Insert II The City of Saint Mark The Saint Comes Refuge Photo Insert Against Nature Stones of Venice Photo