Venice (5 page)

It has been said also that the character of the Venetian people is like the tide, six hours up and six hours down according to the proverb. In fact there is a dialect phrase that the Venetians use to describe themselves—
andara alla deriva
, to be adrift. The mobility and lightness of the Venetian temperament are well known. The Venetians themselves have songs and proverbs about the sea.
Coltivar el mare e lasser star la terra
—cultivate the sea and leave the land to itself. There were once many popular songs that opened with the same phrase,
in mezo al mar
. In the middle of the sea is—what? Not familiar things. Not beautiful things. In the middle of the sea, according to the songs, are strange presentiments and terrifying apparitions. Here is a smoking chimney coming out of the waves. Here is an image of a dead lover. There is no celebration of the charm or poignancy of the sea, but rather a recital of its perils and its strangeness.

There are many legends and superstitions of the sea within popular Venetian lore. It is a shifting city, between sea and land, and thus it becomes the home for liminal fantasies of death and rebirth. According to the English traveller, Fynes Morisson, there was a statue of the Virgin in Venice which was always saluted by passing ships; it was surrounded by wax candles, burning perpetually in gratitude for her saving lives at sea. It is said that the sharp prow of the Venetian gondola
was a replica of the shining blade of one of the soldier saints, Saint Theodore. On the approach of a storm Venetian sailors would take up swords and place one against the other in the shape of a cross. It was also recommended that the sailor take out a knife with a black handle and cut the air in the face of the coming storm.

Yet the sea is an intimation of impermanence. All things come from, and dissolve into, the water. It is enveloping. There is no evidence that the Venetians ever really loved the sea. It was essentially the enemy. Byron declared that the Venetians did not know how to swim and were possessed by the fear “of deep or even of shallow water.” The Venetians always prided themselves on having “dominion” over the sea, but that mastery was provisional and fearful. There was a constant fear of inundation. Of course it was the path to wealth, but the consequence was that the preponderance of their trade and power was at the mercy of the sea. The sea represented evil and chaos. It was cruel, and it was also divisive. The terror of complete submersion could also be seen in part as a nervous apprehension of divine anger. That is why there were ceremonies designed to propitiate the god or gods of the water. They may have been nominally directed towards the Christian God, but there was an element of awe and fear within the Venetian state that derived from much older creeds.

The city guarded the water, too. In the ducal palace the seat of the
Magistrato alle Acque
, or Master of the Waters, was adorned by an inscription stating that “The city of Venice benefiting from divine Providence was founded in water surrounded by water with water for walls. Thus, whoever might dare in whatever way to bring injury to these waters must be judged enemy of his country …” It ended with the declaration that “this law has been reckoned eternal.”

Each spring, on Ascension Day, there was a ritual that became known as “the marriage to the sea”; the spouse was the doge of Venice taking for his bride the turbulent waters. After mass in Saint Mark’s the doge and his retinue rowed into the lagoon in the doge’s own boat, the
Bucintoro
, followed by the nobles and guilds of the city. The doge halted at the part of the Lido where the waters of the Adriatic and the lagoon meet. The patriarch of Venice then emptied a large flask of holy water into the mingling currents. The waters of the earth and the waters of the spirit became indivisible. The
Bucintoro
was described by Goethe as “a true monstrance,” which means the receptacle where the
holy eucharist may be displayed. So it becomes a holy grail tossing upon the waters, spreading benediction with a ritual of healing.

On the prow of the ship the doge took a marriage ring of gold and threw it into the water with the words “We espouse thee, O sea, as a sign of true and perpetual dominion.” Yet what true dominion could there be in such a union? One of the attributes of the ring is fertility, so the festival can be construed as one of the oldest of all ceremonies. It might also have been an act of supplication, designed to placate the storm-tossed and minatory sea. It could also have been a maritime version of casting the runes; there is a long tradition of rings thrown into the sea as an act of divination. All these meanings converge in this ancient rite of union with the sea, performed in spring at that place where the “inside” and the “outside” embraced. At a later date one of the punishments for heresy was death by drowning, when the condemned were rowed out to sea and despatched into the waters. These maritime executions might in turn be seen as sacrifices to the sea-gods.

At the close of one of these Ascension ceremonies, in 1622, there was a violent earthquake in Venice. Just as the doge and his courtiers returned from their voyage of celebration, a slow and regular thunder beneath the earth lasted for several seconds. Everything trembled but nothing, apart from a chimney, fell. There have been other quakes in the lagoon. It is an unstable area in every sense. An earthquake is recorded in 1084, when the campanile of S. Angelo was dislodged. Towards the end of the twelfth century there were simultaneous upheavals in Saint Mark’s Square and on the island of Torcello, suggesting that there is a “fault” lying between them. There was a great earthquake on Christmas Day 1223, and then again in 1283 when the shock was followed by a great inundation. On 25 January 1384, another earthquake set all the church-bells of Venice pealing at the same time; it was followed by another shock on the following day, and these quakes were repeated at intervals over an entire fortnight. The Grand Canal was empty, but the streets were full of water.

The weather of Venice is sea-weather; the air is damp and salt-laden, conducive to fog and mist. If the climate is equable, that may in part be the position of Venice. Averroes, the twelfth-century philosopher, was the first to calculate that Venice was at a latitude of forty-five degrees, at the middle point between the equinoctial and the northern Pole. It
is another example of the extraordinary balance of Venice between the geographical regions of the earth. The climate is mild, compared with much of North Italy, because it is environed by the sea. The spring is delicate and fresh, the energetic wind blowing from the Adriatic. The summer can be sultry and oppressive but, once the sun has gone down behind the Friulian mountains, the air is freshened by the breezes from the sea. The autumn is the true season for Venice. It has an autumnal air, the air of melancholy and departure. The Venetian painters, Carpaccio and Bellini, bathed their canvases in an effulgent autumnal light.

There is, especially in autumn, the possibility of rain. A subdued greyness then haunts the air, and the sky is the colour of pearl. The rain can be persistent and torrential. It soaks through the most protective clothing. It can be blinding. Then the rivers may burst their banks, and the rising waters around Venice turn to a jade green. The best description of the Venetian rain is found in Henry James’s
The Wings of the Dove
, where he describes “a Venice of cold lashing rain from a low black sky, of wicked wind raging through narrow passes, of general arrest and interruption, with the people engaged in all the water-life huddled, stranded and wageless.…” The city of water is blockaded by water, as if the natural elements were pursuing their vengeance against the most unnatural city.

The “wicked wind” may come from several points. An east wind blows in from the sea, refreshing in the warmer months but crueller in the colder seasons of the year. A wind from the north-east, the
bora
, brings the colder air from the northern region of the Adriatic. A humid wind comes from the lagoon, known as the
salso
because of its saltladen content. Some people say that it smells of the algae and seaweed of the surrounding waters. The salt and damp penetrate the houses of Venice; the paint flakes, and patches of plaster fall from the walls. The bricks crack and eventually crumble.

There are gusts of wind that pass very quickly, and eddies or squalls of circulating air. Sir Henry Wotton wrote of “flashing winds.” All this is of the nature of the sea. There is a south-westerly wind, too, once called
garbin
. It may be of this wind that Saint Bernardino of Siena wrote in 1427. He asked a correspondent, “Were you ever at Venice? Sometimes of an evening, there comes a little wind which goes over the face of the waves and makes a sound upon them, and this is called
the voice of the waters. But what it signifies is the grace of God, and the breath breathed forth by Him.” Even the weather of Venice was once deemed sacred.

But the most celebrated wind is the
scirocco
, the warm wind that comes from the south-east and can persist for three or four days. There is a
scirocco di levante
and a
scirocco di ponente
, a hot
scirocco
and a cool
scirocco;
there is even an elusive wind called the
scirocchetto
. The
scirocco
itself has been blamed for the Venetian tendency towards sensuality and indolence; it has been accused of instilling passivity and even effeminacy within the citizens. Why should people not be moulded as much by climate as by history and tradition? The outer weather can make or unmake inner weather.

Yet some weeks of the winter can be harsh, a potent reminder of the Alps and the northern snows. The most frequent weather lament concerned the bitter cold. In the winter of 1607–08 those who went fowling in the lagoon were on occasions frozen to death, and there were reports of travellers being surrounded and killed by packs of starving wolves. At the beginning of the eighteenth century came a famous “Year of the Ice” in which provisions were brought to the frozen city by sledge. In other winters the lagoon also froze, and the Venetians could walk over to the mainland. In 1788 great bonfires were lit on the Bacino, the basin of water in front of the piazzetta; stalls and booths were erected on the ice, in the Venetian equivalent of a Frost Fair. In 1863 great sheets of ice went up and down the Grand Canal, flowing with the tide, for a month. Venice was then truly the frozen world, the ice covering the houses and palaces as well as the water. The light was blinding. Venetian houses were not built for the cold; the great windows and the stone floors of the larger dwellings made them almost intolerable during the blizzards of winter. Yet there is still something inexpressibly delightful about Venice in the snow, the whiteness creating an enchanted kingdom where what is fluid has become crystal; the quiet city then becomes wholly silent beneath the panoply of snow.

But there are winter weeks of not quite snow and not quite rain. These may become the weeks or days of fog. The iridescent mist or haze is then enveloped by the myriad fogs that creep in from the sea. The grey Istrian stone becomes an outpost of the fog, a sentinel of consolidated fog looming out of the gloom. As the Esquimaux have
many words for ice, so the Venetians have many names for the fog—
nebbia, nebbietta, foschia, caligo
. In the midst of the
nebbia
, it is as if heavy rain-clouds had come to rest upon the earth and water. Nothing can be seen or heard. The fog sometimes shrouds the city so that the only sounds are those of bells and muffled footsteps; if you take the
vaporetto
, or water-bus, that goes around the city you disappear within the white curtain about fifty yards (about 45 m) from the shore; all that is visible of Venice are the posts carrying lights. The city only rises before you when you arrive at the next stage.

There are portents for flood. The air becomes heavy and still; the roar of the sea can be heard breaking against the Lido. The waters in the canals stir uneasily, and become more green with the influx of the sea. The tide is driven forward by the wind. The water rises to the edge of the
fondamenta
but then, more alarmingly, it begins to well up beneath the city itself. It spouts up through the storm drains and between the paving stones; it seeps through the foundations, rising higher and higher; it washes against the marble steps of the churches. The city is at the mercy of waves that seem to be of its own making. When the sirens sound, Venice prepares for another
acqua alta
.

This high water, flooding the
fondamenta
and the
campi
, making a lake of Saint Mark’s Square, invading houses and hotels, is not unusual in the city. One chronicler gave an account of a great flood in 589, although assuredly there were many before that date. They may have been so common that they deserved little notice. Other floods are recorded in 782 and in 885, when water invaded the entire city. They have been occurring ever since. In 1250 the water rose steadily for four hours and, in the testimony of a contemporary, “many were drowned in their houses or died of the cold.” It was believed that the floods were provoked by demons and bad spirits, while the only protection lay in invocations to the saints who guarded Venice. At a later date there was less recourse to supernatural help. In 1732 the area of the piazzetta, facing the lagoon, was raised by one foot (0.3 m) on a calculation that the sea at Venice rose three inches (76 mm) in every century. This was an underestimate.

The
acqua alta
is part of a natural cycle, occurring when wind and tide and current converge in what is for Venice a fatal embrace; the
bora
and the
scirocco
can both cause surges of storm in the sea. There is also the phenomenon of the
seiche
, an oscillation or standing wave in
the relatively shallow waters of the Adriatic. But if Venice is sinking, it is in some measure due to the removal of water by industry from artesian wells. When the water was taken from the silt and the clay, the water table was lowered—and, with it, Venice. The deepening of waterways within the lagoon, and the reclamation of marsh-land, have also increased the danger of flooding.