Literature, paintings, food and drinks in 18th century Venice

In the first centuries of its history Venetian cuisine had always been influenced by the oriental world. Since 1700, due to a slow decline, Venice withdrew into itself, absorbing the culinary traditions of France more than any other Italian city. On one hand the literary world absorbed the new trends by adapting to the new fashions coming from beyond the Alps. On the other hand the Venetian theatrical comedy found in the guise of Carlo Goldoni the driving force of these new trends. He narrated the habits of all the Venetian people describing their festivals as well as their tastes. Coffee and chocolate stood out as drinks drunk throughout the day for the sake of socializing. in this regard Goldoni wrote “The Coffee Shop”.

Goldoni’s “La bottega del caffè”

In 1700 numerous cafés were opened in Venice in the number of more than two hundred. In these cafés Turkish coffee was served. The Venetians used to describe it as black water but after appreciating its qualities, they also understood its effects. In the cafés, chocolate was also available, imported into Europe by the Spanish in the 16th century. Everybody drank it but didn't eat it because solidified chocolate was produced later.

Pietro Longhi, the morning chocolate

As chocolate was extremely expensive, the lower classes could not afford to buy it. Giving chocolate was the equivalent to making a great gift because of its cost. The cafés were also frequented by women from high ranks. For them, going to cafés it was like going to a living room at home, where they showed off their clothes and new hats. Some cafés became real literary salons, where all kinds of topics were discussed.

The Bucentaur (Bucintoro), the official boat of the doge

Canaletto was a Venetian painter who painted views of Venice in a very detailed and precise manner. He faithfully reproduced numerous glimpses of his beloved city.

One of his favorite themes was the depiction of Saint Mark’s Square and its basin. His ability to bring all kinds of subjects from buildings to boats, etc. onto his canvases was extraordinary.

Canaletto’s view of Saint Mark’s water basin

In this particular case he takes up the different boats present in Venice at his time. There is one in particular that stands out for its size and splendor, the so-called “Bucintoro”. It was used on special occasions and it belonged to the doge in charge.

Like many Venetian words, the origin and etymology of the term “Bucintoro” is obscure, but it is presumed to derive from the word “buzino d’oro”, Latinized in “Bucentaurus”, a hypothetical mythological creature similar to the centaur but with a bovine body. No traces of this explanation can be found as the term Bucintoro does not exist in Greek mythology. For this reason, this word is more likely to describe a lagoon vessel.

The 1500 de Barbari plan shows that the Bucintoro was kept at the Arsenale, in an uncovered area. Only later was its house built at the Arsenale to keep the boat dry.

The Bucentaur is represented in this detail

Several of those boats were built over the centuries, the last one is recorded in 1700.

Given its decorations in pure gold, the boat cost around 70.000 ducats, the equivalent of today 2 million euros.

It was m. 34,80 long, 8,35 high, 7,30 wide with two overlapping decks. On the lower deck, there were 21 banks arranged on each side with 4 rowers per oar.

The external sculptural apparatus was dedicated to mythology and it was linked to the marine world. The interior was formed by one room used to host the doge and his entourage. Unfortunately it was destroyed by Napoleon but some pieces that have been saved are kept in the Correr museum.

The Salute Church:” the Macchina “of the Republic

Along the Grand Canal there is a massive church that can be seen from the quay side of Saint Mark’s Square. The name of the church is Santa Maria della Salute. It was built by one of the major architects of the 17th century, Baldassare Longhena, who worked mainly in Venice. He won the competition organized by the Serenissima and constructed a revolutionary structure because of its round plan. It was the first time that an architect was able to achieve this target in Venice. Longhena himself understood the extent of his innovation so much that he defined his work as “a round machine”.

However, the church was built by the Venetian government for a particular reason. Venice was in the midst of a plague pandemic and its government promised to construct a new church in honor of Mary if she had put an end to the pandemic with her intervention.

The Madonna was then rewarded and represented in the guise of a captain from the sea on the top of the largest dome.

On 21st of November every year the Venetians still celebrate la Salute and on this occasion a temporary wooden bridge is built by the town hall to connect the two banks of the Grand Canal.

In the past it was used for the processions that went to the church to commemorate the end of the plague.

Inside the church on the main altar there is a Byzantine Black Madonna. It adorns the altar from 1670 when Francesco Morosini took it with him as Candia ( Crete) fell in the hands of the Ottomans.

Above it there is a group of baroque sculptures representing Venice kneeling in front of Mary and an angel pushing the black plague away.