Venice in the Details

Upon first glance, the large statue of King Victor Emmanuel II in Venice seems like nothing more than a non-aesthetically pleasing piece of art. Its massive size demands attention and suggests that everyone, including just a mere passerby, should give honor to the king. It is large, out of place, and seems particularly unnecessary when compared to the typical Venetian statues and decorations, but the truth is, this statue holds the key to Venice in many aspects. It is more than a statue created by Ettore Ferrari in 1887, it is the perfect object to unlock the myth and history of Venice.

Margaret Plant begins her book about Venice by saying, “Most histories of Venice end where this one begins: with the Republic’s fall after its defeat by Napoleon in 1797” (Venice Fragile City, 1). This statue is one of the exceptions. It represents the history of Venice directly following its defeat by Napoleon. It was built to give honor to King Victor Emmanuel II, the first king of a united Italy.  It commends his efforts during the joining of Italy, commonly referred to as the Risorgimento. This statue portrays these events primarily through the two representations of Venice. On one side of the statue, Venice is depicted as a fallen yet determined woman. She is sitting next to the lion of St. Mark who is covered in the chains of Austrian rule. This Venice, according to the dates shown on the shield, is the defeated and oppressed Venice. The years are 1848-49 which is when Austria took control of Venice and depleted the republic.  The aspect of war and the fight for freedom is shown by the image commonly associated with the French Revolution.  The Venice on this statue bares one breast and holds a flag close to her body, just as the woman in many French Revolutionary War pictures does.  She also carries a broken sword, symbolizing the defeat during her attempt to fight for freedom.

On the other side of the statue, Venice is free and united with Italy. The lion of St. Mark has broken through the chains and is shown roaring. This is a symbol of the pride and strength of Venice as a city. The woman is wearing a dress covered in an elaborate pattern and fancy shoes showing the wealth and beauty of the city after it won independence from Austria during the Prussia-Austria War.

On either side of the monument, there are also shields. One is of the city of Savoy which was given to Napoleon in return for his aid during the Prussia-Austria War and the other is the city of Rome. Rome became the national capital after all of Italy was united. This statue depicts the events of Venice’s uniting with Italy and in a way, having Rome as part of the statue links Venice to the capital. It ties it to Rome and helps to establish it as a powerhouse.

By taking time and initiative to understand the story portrayed through this bronze monument, a traveler can have a much more fulfilling experience in Venice. Buzard says, “The setting best rewarding travelers is so densely ‘saturated’ in historical and emotional significance that each step of the ground seems able to evoke the most powerful feelings; when ‘truly sensitive’ travelers stand upon this ground, they feel to the fullest extent of their capacity” (The Beaten Track, 185). This statue is a link to the history of Venice. It gives the tourist or the traveler the opportunity to be more saturated in the complex culture. Venice is known for preserving the past, for being unique, and for so many other things, but in order to appreciate these aspects, a person needs to make sense of them. By delving deeper into the history, the true colors of Venice can shine through and the traveler can appreciate every stone and every statue that much more.

History seems to be the obvious link to Venice that this statue creates, but it also more indirectly shows the advance of art during the Renaissance and the myth of Venice. The characteristics of this sculpture distinguish it. It is one of only two equestrian statues in Venice, the other being in San Giorgio e Paulo. The equestrian statue was common in ancient times and did not reappear until the fifteenth century during the Italian Renaissance. The first of these appears in Padua and was created by Donatello. The craftsmanship of these statues was exquisite and showed a leap towards realism and proportion that was rather nonexistent during the Gothic time. Although this statue came later than the Renaissance, it is still symbolic of the advances made in Italy during that time. It shows technique, balance, and realistic qualities of the animal.  In addition to the horse, the representations of the women are also significant. They play on the myth of Venice. The city is represented as a beautiful woman. She is determined, strong, and she conquers in the end. It shows her liberation from Austria and all of these characteristics given to her can be given to the true city as well—this idea of liberation, sexual freedom, and strength as an empire.

It may seem like an eyesore, or perhaps as Yi-Fu Tuan would say it instructs by showing the power of the city and of King Victor Emmanuel II, but in truth, this statue is much more. It is one of the ways to the heart of Venice, and when analyzed and understood, this detail of the city speaks mountains. It shares of the history, the myth, the art, and the desire for power. Venice is a city with a lot to say, and when the traveler takes a look at this detail, or any of the others, he or she can hear just what it is the beautiful city wants to share.