Arsenale

Founded in 1104, the Arsenale soon became the greatest medieval shipyard in Europe, home to 300 shipping companies employing up to 16,000 people, and capable of turning out a new galley in a day. Venice’s navy remained unbeatable for centuries, but now arty types invade the shipyards during Venice’s Art and Architecture Biennales. At its peak, the Arsenale covered 46 hectares and must have made an enormous impression, with its boiling black pitch, metalworking and timber-cutting. Dante used it as a model scene for hell in his Divina Commedia (Divine Comedy; Canto XXI, lines 7 to 21). At the core was the Arsenale Vecchio (Old Arsenal), which had a storage area for the bucintoro, the doge’s ceremonial galley. In 1303–04 came the first expansion, known as La Tana. Occupying almost the whole length of the southern side of the Arsenale and performing essential rope-making work – sometimes by children – it was refashioned in 1579 by Antonio da Ponte (of Rialto bridge fame). The Arsenale Nuovo (New Arsenal) was added in 1325, followed in 1473 by the Arsenale Nuovissimo (Very New Arsenal). In the 16th century, production of galeazze (large war vessels with a deep draught) required further workshops and construction sheds, along with the creations of a deeper Canale delle Galeazze. Capped by the lion of St Mark that eluded destruction by Napoleon’s troops, the Arsenale’s land gateway is considered by many to be the earliest example of Renaissance architecture in Venice; it was probably executed in 1460. A plaque was installed commemorating the 1571 victory at Lepanto, and the fenced-in terrace was added in 1692. Below the statues is a row of carved lions; the biggest one, regally seated, was taken as booty by Francesco Morosini from the Greek port of Piraeus, which must have taken some doing. On the right flank of the lion, you’ll notice some Viking runes, which are said to be a kind of 11th-century war trophy inscription left behind by Norwegian mercenaries boasting of their role helping Byzantium quell a Greek rebellion – the mercenary equivalent of leaving behind a resumé. The Arsenale pulled double duty as a shipyard and naval base, and even today part of the area remains in the Italian navy’s hands. An emergency reserve fleet of at least 25 vessels was always kept ready to set sail from inside the Arsenale, either as a war or merchant fleet. As the centuries progressed, the shortage of raw materials (especially timber) became a problem, and the Republic began having trouble finding crews to hire for tough rowing and sailing gigs that required months, even years, at sea. Eventually, Venice resorted to employing slaves, prisoners and press gangs. Over the past few years, large, long-neglected swaths of the Arsenale have been taken over and partly restored by the city’s Biennale organisation for use as exhibition space. Now Architecture and Art Biennale exhibitions are mounted in the construction sheds of the Arsenale, with a Herculaean effort involving boats, hand-carrying materials, and tight organisation that harkens back to earlier times. Shows often offer peeks inside, including the former Corderia (where ships’ cables were made), the Artiglierie (guns) and various wharves. More creative repurposing lies ahead: ongoing work to transform the entire Arsenale will create modern ship maintenance areas, shops, restaurants, exhibition spaces, a study centre and more.