Venice: Pure City полностью

The most famous diplomatic innovation of the Venetians was in fact the report that all ambassadors were obliged to present to the senate after their tour of duty was complete. These were called relazioni, utterly unlike any other ambassadorial documents, in which the diplomat was obliged “to report if he has learned anything of the country from which he comes worthy of being heard and pondered by prudent senators for the benefit of the fatherland.” His survey would include such matters as military preparedness, economic conditions, the health and character of the sovereign. No detail was considered too trivial to be overlooked, on the principle that knowledge is power.

Venice was a city of foreign ambassadors, too, who came to the city seeking for information. They were greeted with elaborate ceremony and all the panoply of state. But this was the rhetoric rather than the substance of their welcome. When Sir Henry Wotton, the English ambassador of the early seventeenth century, made a proposal for submission to the doge, he received the most nebulous possible response; the doge was forbidden by law to make any specific reply and, in the words of Wotton, could only “float in generalities.” So the ambassadors needed all the guile and patience they could muster. Wotton also noticed that the doge and his advisers favoured delay and stealth in matters of state. Ambivalence and ambiguity were the ground of their considerations. This may have been beneficial in times of peace but, in times of danger, it was a positive disadvantage. It is perhaps instructive that it was Wotton who offered the famous opinion that “an ambassador is a man of virtue sent to lie abroad for his country.” Only the atmosphere of Venice could have prompted such a conclusion.

Venice has always been a city of myth. The collective need of the people, for reassurance and identity, has the consequence of creating a fantasy city based upon idealised self-representation. By the thirteenth century it had created a closed political order that allowed it to claim unity and inviolability. By the fourteenth century the Venetians had assumed the mantle of “the chosen people.” By the early fifteenth century Venice had fashioned itself as the “new Rome” with its own mainland empire.

But the real “myth of Venice” arose in the early sixteenth century, in the years immediately following the city’s struggles against an alliance of its enemies, known as the League of Cambrai, when the European powers were ranged against it. The defeat of Venice, followed later by the restoration of most of its territories, had a double consequence. It was felt that the city was vulnerable but that it was also invincible. From this potent mixture of anxiety and reassurance there emerged a doctrine that expressed the permanence and harmony of la Serenissima. The idea of an aggressive and victorious republic was replaced by the myth of an illustrious city of peace. It was in this period that the architecture of the city took its classical shape. The plan of the city became a metaphor for order and grandeur. The city became known primarily for its art and for its music. Ruskin believed that the myth of a nation or tribe is formulated at the time of its utmost power. But that is not necessarily the case. The myth of Venice was prompted by observable weakness that had somehow to be concealed from the outside world. Even after it had effectively forfeited its authority, it still displayed itself as a proud and powerful city.

The ingredients of this myth can be distinguished in a close reading. The Venetian state was founded by miracle and governed by providence. It was immune from external invasion. It was immutable. It had survived for a thousand years, according to a chronicle, “without ever changing.” Every other city in the world had lost its liberties, frequently or infrequently, but Venice had never once been oppressed. In 1651 James Howell wrote in A Survey of the Signorie of Venice, “Were it within the reach of humane brain to prescribe Rules for fixing a Society and Succession of people under the same Species of Government as long as the World lasts, the Republic of Venice were the fittest pattern on Earth both for direction and imitation.” Venice represented an idea that was itself eternal.