The Glassmaker

This section of the novel covers an array of historical changes in Venice. The city endured as an independent republic for more than 1,000 years, and the Republic of Venice traditionally dates to the election of the first Doge (the leader of Venice) in 697 CE. However, in 1797, a French army led by Napoleon Bonaparte took control of Venice as part of the French Revolutionary Wars. During this conflict, a coalition of European monarchies retaliated against the newly formed French government after the French Revolution. Under military pressure, the last Doge of Venice formally abolished the Republic. Between May and October of 1797, Venice was under French control, with its fate seemingly hanging in the balance. In October 1797, France and Austria signed the Treaty of Campo Formio, and Venice passed into Austrian control. In 1805, Venice returned to French control, then shifted back to Austrian control in 1815. Finally, in 1866, it became part of a unified Italian state, and it has since been considered a part of Italy.

Referring to this tumultuous era of political and military unrest, Chevalier describes Venice’s day-to-day conditions as “grinding poverty [that] would always exist […] a constant throb rather than a sharp pain” (262). This economic decline exacerbates Venice’s tragic allure, leading to a rise in tourism that becomes increasingly central to the city’s economy. Beholding this unwelcome shift, Orsola bitterly reflects on her resentment as she watches “people coming to gawp at Venice’s melancholic ruin, which they seemed to find romantic” (263). These economic and political shifts have a significant impact on the Rosso family’s finances, prompting Laura Rosso to propose that the family give up making glass altogether. Fortunately, the Rossos instead focus on producing seed beads (tiny glass beads that are used to decorate other objects), thereby preserving some small portion of their legacy, but this shift marks a significant philosophical change and highlights The Compromising Nature of Business Decisions. Orsola’s objection captures this issue, for when Klingenberg first proposes this idea, she objects, “We’re not salespeople. We’re makers” (269). Later, she reflects that “the Rossos were not a factory, but a small business; they had always referred to themselves as a workshop” (274). Her morose thoughts reflect the spiritual costs of shifting with the times.

Thus, although the Rossos can survive for centuries, their business slowly erodes and is replaced by increasingly mechanized and standardized forms of mass production. The construction of the railway further symbolizes the impact of modernity on Venetian culture. Historically, during the period in which Venice was under Austrian control, there was a strong push to connect the city to Europe through a mechanism other than boats, thereby facilitating the transportation of goods. Throughout the 19th century, railways expanded in many regions, reflecting the need to transport raw and finished goods quickly and more efficiently. Up until this point, Venice had only been accessible by boat, and consequently, the construction of the railway reflects a significant change and symbolizes the encroachment of modernity and technology.

Within the world of the novel, the Rosso family’s decision to change their production model coincides with the Industrial Revolution, a historical period of global transition in technology and production methods. While many of the supposedly positive shifts in history have little to no impact on the family, they do have a direct experience of the negative changes wrought by war and a declining economy. Their shift to producing seed beads therefore symbolizes both their resilience and their losses, for although the Rossos find a way to continue their glassmaking legacy in some form, they must resign themselves to producing objects with little significance or artistry. While this transition buys them some time, it also ushers in a series of changes that begin to drastically reshape the family. The manufacture of seed beads makes the business less insular, and as a result, Luciana becomes deeply embedded in the family’s business affairs and eventually assumes the role of matriarch. Increasingly, the new generation (the children of Orsola and her brothers) pursue their own dreams and desires. For example, although Raffaele represents the next generation of leadership, he effectively rescinds his role within the family to pursue a different lifestyle with Luciana in Venice. Because Raffaele, unlike older members of the family, does not value Prioritizing Family Loyalty Over Personal Desires, his generation’s decisions indicate a crucial shift as he and other younger family members pursue goals that no longer align with the family’s long legacy.

These shifting dynamics lead Orsola to lament to Stella that “the Rosso family is falling apart” (333). Orsola is particularly sensitive to changing family dynamics because of her grievous sacrifice; she once gave up her true love, Antonio, to maintain stability and continuity within the family. From her perspective, it feels like a betrayal to see the younger family members making different choices. However, Stella counters Orsola’s bitterness by asserting that “things are changing” and that “families don’t always live together” (334). Her comments reflect the fact that younger family members like Raffaele and Stella view themselves as being free to pursue their own happiness, even over the family’s objections.

Notably, Orsola’s shop near San Marco Square is one positive outcome of these shifts in the business and family dynamics. San Marco Square is one of the most famous and central spaces in Venice and is flanked by prominent historical structures such as the San Marco Basilica and the Doge’s Palace, so this movement to a new storefront symbolizes Orsola’s willingness to expand her life beyond the insularity of Murano. Centuries ago, when Antonion asked her to leave Venice,  Orsola was not yet ready, but now, she is willing to make a move on her terms. The shop allows her to remain connected to the familiar while also taking a risk, and this development also implies that she is quietly inspired by the risks that the younger generations of the Rosso family have taken in their own lives. 

The shop also represents female independence and the solidarity that exists among women; this new enterprise is only possible because of collaboration between Orsola and Rosella, with the investment of capital from Klara. Significantly, none of these women are biologically related to one another, and two out of three have no family ties to glassmaking. The shop therefore represents a different business model for glassmaking, one that is defined by collaboration and community, not by rigid restrictions or traditions. In this way, the establishment of the glass shop powerfully reflects the theme of Building Relationships Despite Barriers and Differences, and as Orsola moves forward into this new era, her bold endeavor shows that individuals from different backgrounds can successfully break tradition and work together.