Showing posts with label Venetian houses. Show all posts
Showing posts with label Venetian houses. Show all posts

13 July 2011

Nauplion's Wooden Houses

Nauplion Houses.
Detail from Camoccio map, 1571.


Towards the end of the fifteenth century, Canon Casola and Felix Fabri described Modon:

CC: I did not see either houses or palaces worthy of description; for its size it has many houses, and they are close together. . . . The majority of their houses, whether they are large or small--at least from the middle upwards--are built of timbers.   

FF: If I had waited even the sixth of a hour, the whole house would have been in flames, and consequently the adjoining houses: for this house was of wood, and very old, of the dryest kind of timbers and with party walls to similar houses in a congested narrow street.

No one described Nauplion houses, except for Bartolomeo Minio's remark when Giovanni Dario visited: "I paid the expense of a house for him and his household, the best that I could manage, considering the condition of the place."

At the beginning of the century, from 1400-1405, Giovanni Cavaza was castellan at Nauplion,the second-highest position in the administration. A Venetian merchant who was a permanent resident in Nauplion, he had been appointed to the job where we might have expected a castellan to be an official sent out from Venice. The castellan had a budget of about 500 ducats a year. Cavaza was responsible for defense of the city, police functions, security of the castro, operation of the prison, and executions. He made “foreigners” and sailors sleep outside the city at night, regulated curfews, taverns and markets, kept shops and workshops closed on holy days, gave permission to bear arms within the city, supervised guilds, punished illegal dumping of trash, and had laws and announcements proclaimed in the marketplace “in latino et greco.” In addition to the 500 ducats,which paid for staff and expenses, Cavaza collected fees from innkeepers, shopkeepers and prisoners.

Cavaza is mentioned in two brief documents from 1400 in which the Senato Mar made arrangements for repair of the house provided for the castellan. These documents make dire remarks about the “ruritura” of the house and castro, about a man without a place to house “sua familia.” The podestà, Albano Contarini, had written a number of letters about “magna reparatione omnino necessaria,” apparently to small effect until Cavaza delivered a proposal which stimulated a decision. Cavaza had offered to bear half the expense of rebuilding the official residence. Apparently his residence was even more desperately in need of repair than that of the bailo of Negroponte, described in 1403 as:
. . . in the worst condition, because the rain comes through almost the whole roof, and the wood is rotten, and in parts threatens ruin. Similarly, most of the sala magna is badly covered and it pours in, and the wood is rotten, and it is like that in the whole.

The Senato Mar, in a list that slips back and forth between specificity and “other things” itemized wood and nails--in standardized sizes--to be shipped out for repair of the house and the “turrim Sancti Marie.”
      For construction on the tower of S. Maria, larch posts de mesura 12
      Larch planks 40
      Rafters for fitting the house of the said castro 100
      Beams for fitting the house of the said castro 40
      Large nails for constructing a frame for the thatching 200
      Fir posts 10
      Fir beams 50
      Fir planks 300
      Lathes 1050 

      Large nails to repair the roofbeam and for work on other things 200
      Small nails 600
      Slats 200
      #25 nails 2500 
The important thing to note here is that all the items on the list came in standardized sizes.  It is well-known that the arsenal used standardized, interchangeable, parts for building galleys on an assembly line.  It has not, as far as I can tell, been noticed that construction materials for houses were also standardized.

The Senato also provided 200 ducats for administration, another 200 for transporting earth for land-fill, and for manual labor, and gave Cavaza a tax exemption on his half of the imported lumber. Clearly, the castellan’s house, on a standardized plan, was primarily of wood, at least above the ground floor. Cavaza’s thatched roof comes as a surprise, though it is perhaps not so surprising in an economically stressed community without a convenient supply of clay for tiles, fuel for firing, or adequate transport. Still, the image of wooden houses with thatched roofs changes pictorial assumptions of medieval Greece.

[Nauplion construction for the past 400 years -- until cement -- has been mostly half-timber above the ground floor.  But in the 15th-century, Nauplion had no one available who could cut stone, and Minio had to have stone-cutters sent out from Venice when he was working on repairing the walls of Acro-Nauplion and building the walls of the lower city, and he sent soldiers and wagons to Tiryns to collect suitable building stone for the stone-cutters to work on.  The village in the ruins of Tiryns seems to have been abandoned then.]


In the years immediately after this document, massive amounts of wood were shipped to Greece for Venetian concerns. In 1402, a shipment of wood was sent to Corfu to repair the castro. A thousand posts were sent in 1404 for construction at the “Garland” -- the castle -- of Argos. In 1403, the Senato Mar sent wood and nails for the unroofed Arsenal at Negroponte and sent 30 33-foot larch poles, 30 larch posts, 500 planks of larch or fir, 500 palm-sized nails, 500 foot-sized nails, and 6000 #25 nails. With this shipment went wood for the ruined house: 400 fir planks, 100 larch planks, 500 narrow planks, and one barrel of posts. A little later, the regimen of Methoni and Koroni needed to import firewood from Venice, and Nauplion had to import wood to construct a mill.


This is not to suggest that all Venetian houses in the stato mar were generally either wooden or shabby. Canon Casola who found Methoni tawdry apparently saw a few grand houses and non-wood houses there, and he reported that Candia had beautiful houses, beautiful palaces, beautiful gardens.


And there is a slender hint that Nauplion may have had a few substantial houses. Cavaza had been involved in building on another house: in his will, he makes reference to a house in the burgo, on which “fecerim multas expensas de meis denariis.”   I cannot help but wonder about that tax-free wood supposedly shipped out for the castellan’s official residence, and the idea that he had two houses is provocative. He also held a fief of 200 stremmata, and a few years after he died that fief was the reason for the attempts at murder here.

A house in the burgo, the part of the city outside the defensive walls, is an important piece of information: it has been an article of faith among those writing on Nauplion -- most of whom pick this up from Kevin Andrews who got it from (Pseudo)Dorotheos of Monemvasia -- that there was no construction outside the castro until the landfill projects after 1500. Cavaza’s will provides documentary evidence to supplement the visual evidence to be found in Nauplion that such construction had been taking place at least 200 years before the assumed literary date.  

 * * * * * *

Late addition: I have been thinking about the nails and wondering about their manufacture.  I asked the people at the Guru's den at Anvilfire.  This is their answer

"It depends somewhat on the size and type of nail but a nailmaker working a long (10 hour) day was said to be able to make 1,000 nails in a day. In modern nail making competitions it is not unusual for a smith to make 25 nails in 15 minutes. This adds up to 100 per hour or 1,000 in a 10 hour day.

"Such work was often done by young apprentices, women or slaves. Making your daily quota probably determined whether or not you got fed. The reason I say this is because doing such boring work is is easy to let your mind wander and your production rate to fall. So maybe it was a 12 hour day. . . Quotas may have varied according to type of nail."

 

This material is from my article “The Wooden Towns of the Stato Mar: Medieval Construction in Nauplion,” Studi Veneziani 40 (2000) 169-178.
 

19 September 2010

Interlaced Circles


I wrote earlier about the inscription on the facade of Ca' Dario.  This entry is about the interlaced circles on the facade, three of them.

This is what four of the top names in Venetian architecture have to say about them:
  1. No house front is richer in colored stones, and this has often been pointed out as a consequence of Dario's years in Byzantium.  . . . Rather than Byzantium, it may instead reflect Dario's ego.  If he wanted to make a pretty show, he succeeded.
  2. . . . Cima da Conegliano's Healing of Anianus . . . the polychrome marble intarsias on the building are remarkably similar to those on the facade of Palazzo Dario.  Giovanni Dario wanted for his house what he had seen in the work of this impressionable painter; he wanted freedom of invention untrammeled by the rules and limitations of architectural dogma.
  3. Little is known of his earlier missions to Cairo . . . but while there he seems to have noticed the "telephone-dial" motif that he chose to adorn his own house.   . . .  The Venetian masons, unfamiliar with the Egyptian precedent, set the marble discs in their interlaced Byzantinizing borders by reference to local cosmatesque mosaic pavements such as that of San Marco.
  4. The architect may also have had descriptions of byzantine palaces in mind, . . .



We don't have any documentation for Dario's restoration of the little Gothic house he was given on the Grand Canal, but various things make 1486 look about right.  After he returned from Constantinople in 1485, Dario was treasurer of the scuola of S. Giovanni Evangelista which Pietro Lombardo was redecorating in 1485. During the 80s, Lombardo was also supervising the construction and ornamentation of the Miracoli. 

So it would not have been unlikely for him to have worked with Dario on turning the little Gothic house into a jewel box.  The Lombardo new constructions were highly symmetrical, Venetian Gothic wasn't, and apart from the asymmetry, the slanting slightly-drunk walls show the medieval fashion for building Venetian walls wider at the bottom than at the top.

As you can see, there has been a remarkable amount of extravagant prose expended in an attempt to explain Dario's choice of ornamentation, and especially for the interlaced circles.  They are infinitely pleasing, but they are no more Byzantine than they are late Roman and Venice was always a part of the Byzantine world.  We find these circles all over the place in the 5th and 6th centuries, and they reappeared in the late 12th century as far away as Westminster Abbey 



when the Cosmati set the fashions for church ornamentation a century and a half before that Egyptian "precedent."  S. Marco was nothing if not fashionable, and they ended up all through the rebuilt 13th C church in explorations of the variety of ways of interlacing circles -- on crosses antique even then,


in the treasury,


on carvings over the doors, 


on the floor of the narthex, 


on the floor by the pulpits.  


And on the south side, facing you when you come up from the water.




The Cretan, Giovanni Dario, was in love with Venice and called her quella cità sancta.  Ego? He had pulled Venice out of lethal situations, twice, with the Ottomans, and had several times worked wonders in Cairo.  Venice thanked him with what has become everyone's favorite house in Venice.  It seems silly to go to so much trouble for explanations -- Byzantine (the lack of survivals in Constantinople make this anyone's guess), Cairo?


a painting (a painting done several years after Ca' Dario)?  Dario saw  interlaced circles all over S. Marco and all over most other Italian churches he visited.  He saw them on the Miracoli.  Why would he not have chosen Venetian motifs for this house he dedicated the Spirit of the City?

GENIO. VRBIS. JOHANNES. DARIVS

 




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