The Palazzo Donà a Sant’Aponal, also known as Palazzo Donà or Palazzo Donà dalle Trezze, is a historic Gothic-style palace located in the San Polo sestiere of Venice, Italy, prominently positioned along the Grand Canal between Palazzo Papadopoli and Palazzo Donà della Madoneta. Dating back to the mid-13th century, it is one of Venice’s oldest palaces, originally built for the Donà family, one of the city’s founding noble families. Reconstructed in the 15th century and refurbished in the 17th century, the palace blends Veneto-Byzantine and Gothic elements, reflecting Venice’s architectural evolution. Today, it serves as a private residence, with limited public access, preserving its historical grandeur while remaining a hidden gem along the Grand Canal.
The Palazzo Donà a Sant’Aponal’s history is deeply tied to the Donà
family, one of Venice’s most enduring aristocratic lineages, and
reflects the city’s medieval and Renaissance development.
Origins
and Early Ownership (13th–14th Century):
Founded around the mid-13th
century (circa 1250), the palace is among Venice’s oldest, constructed
at the behest of the Donà family, who trace their origins to the 9th
century and were among the families that established Venice’s Rialto as
its new center. The Donà family split into two branches in the 13th
century: Donà dalle Trezze (named for the “braids” in their coat of
arms) and Donà dalle Rose, with the palace associated with the former.
By 1314, the palace was owned by Michele Zancani, a wealthy Venetian who
described it in detail in his will, dividing it among four of his five
children. This suggests the palace’s early grandeur and its role as a
significant family asset. Documents confirm Zancani’s ownership, though
the Donà family’s initial involvement indicates it was likely built for
them before passing to Zancani.
The Donà family’s prominence is
evidenced by their production of three doges: Francesco Donà
(1545–1553), Leonardo Donà (1606–1612), and Nicolò Donà (1618),
reinforcing the palace’s status as a noble residence.
Reconstruction and Refurbishment (15th–17th Century):
In the 15th
century, the palace underwent a complete reconstruction, transforming
its original Veneto-Byzantine structure into a Gothic design, aligning
with the architectural trends of the time, as seen in Palazzo Erizzo
Nani Mocenigo. This overhaul likely introduced the pentafora (five-light
window) that remains a defining feature.
Further interventions in the
17th century removed most traces of the original 13th-century structure,
modernizing the façade and interiors to reflect contemporary tastes. A
later elevation (sopraelevazione), possibly in the 18th century, added
an upper level, altering the palace’s proportions. These changes erased
much of the medieval character, unlike the preserved Gothic elements of
Palazzo Donà della Madoneta.
The original palace was noted for its
extraordinary size, with a façade 21 meters wide and a depth of
approximately 60 meters, making it one of the largest of its time. The
ground floor featured nine ribbed vaults facing the Grand Canal (five
used as warehouses, four as cellars), with six vaults on the left façade
and seven on the right, all now lost.
Later History and Modern
Era:
The palace remained in the Donà family’s possession or
influence, with the Donà dalle Trezze branch maintaining its legacy.
Unlike other Donà properties, such as Palazzo Donà della Madoneta or
Palazzo Donà dalle Rose, it has not been converted into a hotel (e.g.,
Hotel Donà Palace in San Marco) or a public venue, preserving its
private character.
In the 20th and 21st centuries, the palace has
been used as a private residence, with no documented public functions,
unlike Palazzo Venier-Manfrin’s Anish Kapoor Foundation or Palazzo
Gradenigo’s Art Refinery. Its historical significance is recognized in
sources like Marcello Brusegan’s I Palazzi di Venezia (2007), which
details its architectural evolution.
Recent information (post-2023)
is scarce, but the palace’s status as a private residence suggests
ongoing maintenance to protect it from Venice’s environmental
challenges, such as acqua alta flooding, which affected nearby areas
during the November 2019 flood.
The Palazzo Donà a Sant’Aponal is a Gothic-style palace with
Veneto-Byzantine influences, its current appearance shaped by 15th- and
17th-century interventions. Its Grand Canal façade and internal layout
reflect Venetian architectural traditions, adapted to the city’s aquatic
environment.
Exterior
Location and Façade:
Positioned in
the San Polo sestiere at Fondamenta Papadopoli, 3932, the palace
overlooks the Grand Canal, flanked by Palazzo Papadopoli (a Baroque
palace) and Palazzo Donà della Madoneta (a Veneto-Byzantine structure).
Its coordinates are 45°26′12″N, 12°19′54″E, approximately 1.2 km from
Santa Lucia railway station and 350 meters from the San Silvestro
vaporetto stop (Line 1).
The façade, dating primarily to the late
16th century, is described as comparatively unremarkable compared to its
original grandeur, due to 17th-century refurbishments and a later
elevation. It features:
A Veneto-Byzantine pentafora (five-light
window) on the second piano nobile, a decorative element with round
arches and columns, reminiscent of Palazzo Donà della Madoneta’s
octafora. This pentafora, with a patera (circular relief) and four
formelle (decorative panels), dates to the 12th century, suggesting
reuse from the original structure.
A newer pentafora on the first
piano nobile, added during the 15th-century reconstruction, with simpler
Gothic arches, aligning with the style of Palazzo Erizzo Nani Mocenigo.
Serrated edges and marble bands (marcapiano) frame the façade, enhancing
durability against the canal’s saline environment, similar to Palazzo
Barbarigo’s Istrian stone accents.
The ground floor likely retains a
water portal for gondola access, though the original nine ribbed vaults
(five warehouses, four cellars) are no longer visible, having been
replaced or covered during later renovations.
The left and right
façades, once featuring six and seven vaults respectively, are now plain
or inaccessible, with the palace’s depth reduced from its original 60
meters due to internal divisions or neighboring developments.
Comparison to Other Palaces:
Unlike Palazzo Contarini Dal Zaffo’s
asymmetrical Renaissance façade or Palazzo Venier-Manfrin’s
Baroque-Neoclassical design, Palazzo Donà a Sant’Aponal’s
Gothic-Veneto-Byzantine façade is more restrained, reflecting its
medieval origins.
Its pentafora parallels Palazzo Erizzo Nani
Mocenigo’s quadrifora, both showcasing multi-light windows as focal
points, but Donà’s façade lacks the zoomorphic figures or trefoil arches
of Erizzo.
Palazzo Barbarigo’s vibrant Murano mosaics contrast
sharply with Donà’s understated brick and stone, highlighting different
aesthetic priorities (19th-century innovation vs. medieval tradition).
Interior
Layout:
The interior likely follows the traditional
Venetian palace plan, with a central portego (reception hall) on each
piano nobile, illuminated by the pentaforas, and flanked by smaller
rooms for private use, as in Palazzo Giovanelli or Palazzo Gradenigo.
The original portego on each noble floor was noted for its grandeur, lit
by large windows later replaced by the pentaforas.
The ground floor,
originally used for storage and trade (a casa-fondaco layout), would
have included warehouses and cellars accessible via the water portal,
though these spaces may now be residential or subdivided, similar to
Palazzo Erizzo Nani Mocenigo.
A staircase, possibly with
marble-inlaid flooring like Palazzo Gradenigo, leads to the noble
floors, though no specific details survive. The palace’s 60-meter depth
suggests a spacious interior, potentially with secondary courtyards,
akin to Palazzo Venier-Manfrin’s large courtyard.
Decorative
Elements:
No specific artworks or frescoes are documented, unlike
Palazzo Contarini Dal Zaffo’s Tiepolo frescoes, Palazzo Giovanelli’s
Zelotti frescoes, or Palazzo Gradenigo’s Guarana and Fontebasso works.
The interior likely features terrazzo floors, wooden ceilings, or stucco
work, typical of Venetian Gothic palaces, but 17th-century
refurbishments may have introduced Baroque elements.
The pentafora’s
patera and formelle, visible from the exterior, suggest the interior may
retain Veneto-Byzantine decorative motifs, such as circular reliefs or
marble inlays, reused from the 13th-century structure, as noted in
Conoscere Venezia.
The Palazzo Donà a Sant’Aponal embodies Venice’s medieval
aristocratic and commercial heritage, with its history and architecture
offering insights into the city’s early development.
Donà Family
Legacy:
The Donà family’s role as one of Venice’s founding families,
with three doges and branches like Donà dalle Trezze, underscores the
palace’s political significance, comparable to the Barbarigo (Palazzo
Barbarigo), Contarini (Palazzo Contarini Dal Zaffo), or Gradenigo
(Palazzo Gradenigo) families. Their involvement in the Serrata del
Maggior Consiglio (1297) cemented their elite status, akin to the Erizzo
and Nani of Palazzo Erizzo Nani Mocenigo.
The palace’s early
ownership by Michele Zancani in 1314 highlights Venice’s fluid property
market, where noble families like the Donà and wealthy merchants like
Zancani intermingled, a dynamic also seen in Palazzo Venier-Manfrin’s
transition to Girolamo Manfrin.
Architectural Importance:
As
one of Venice’s oldest palaces, its 13th-century origins place it
alongside Palazzo Donà della Madoneta and Ca’ Da Mosto as a rare
survivor of Veneto-Byzantine architecture, predating the Gothic elegance
of Palazzo Erizzo Nani Mocenigo or the Renaissance symmetry of Palazzo
Barbarigo.
The pentafora and Veneto-Byzantine elements, such as the
patera and formelle, connect the palace to Venice’s Eastern influences,
seen in St. Mark’s Basilica or Palazzo Donà della Madoneta’s octafora,
reflecting the city’s maritime trade with Byzantium.
The 15th-century
reconstruction and 17th-century refurbishments illustrate Venice’s
architectural evolution, similar to the layered transformations of
Palazzo Giovanelli (Gothic to neo-Gothic) or Palazzo Venier-Manfrin
(Renaissance to Neoclassical).
Cultural Context:
Located in
San Polo, near the Rialto Bridge (380 meters northeast), Teatro La
Fenice (370 meters southeast), and Doge’s Palace (730 meters east), the
palace is in a vibrant commercial and cultural hub, contrasting with the
quieter Cannaregio (Palazzo Contarini Dal Zaffo, Palazzo Venier-Manfrin,
Santa Maria delle Penitenti) or Dorsoduro (Palazzo Barbarigo, Church of
the Holy Spirit).
Its private status preserves its authenticity,
unlike the public roles of San Lazzaro dei Mendicanti (hospital chapel)
or Santa Maria delle Penitenti (care facility), but limits its
visibility compared to Palazzo Gradenigo’s Art Refinery or Palazzo
Barbarigo’s showroom.
Historical Anecdotes:
The nearby
Hostaria Sant’Aponal, a restaurant at Calle Sant’Aponal, references a
1177 event where Pope Alexander III reportedly slept on the street near
the palace, adding local historical intrigue, though not directly tied
to the palace itself.
The palace’s proximity to the Church of
Sant’Aponal, a medieval church with a Templar cross nearby, enhances its
historical ambiance, linking it to Venice’s religious and chivalric
past.
Current Role:
The Palazzo Donà a Sant’Aponal is a private
residence, with no public functions like Palazzo Giovanelli’s hotel,
Palazzo Barbarigo’s showroom, or Palazzo Venier-Manfrin’s art
foundation. Its private status aligns with Palazzo Erizzo Nani Mocenigo
and Palazzo Contarini Dal Zaffo’s limited access, preserving its
aristocratic heritage.
No recent information (post-2023) confirms
changes in ownership or use, suggesting it remains a residential
property, likely maintained by private owners or descendants of the Donà
family, as the family still exists today.
Visiting:
The palace
is not open to the public, with no tours or exhibitions, unlike Santa
Maria delle Penitenti’s reservation-only visits or Church of the Holy
Spirit’s occasional openings. Its façade can be admired from the Grand
Canal via vaporetto (Line 1, San Silvestro stop, 350 meters away) or
gondola, offering views of the pentafora and Veneto-Byzantine elements,
best seen at sunrise or sunset for light reflection.
Tripadvisor
reviews do not specifically rate the palace, but nearby attractions like
Hostaria Sant’Aponal (4.6/5, ranked #96 of 1,392 Venice restaurants)
highlight the area’s charm, with a Templar cross and historical
anecdotes enhancing the neighborhood’s appeal.
Nearby landmarks
include Rialto Bridge (380 meters), Teatro La Fenice (370 meters),
Doge’s Palace (730 meters), and Santa Lucia station (1.2 km), making it
a convenient stop on a Grand Canal itinerary, though less accessible
than Palazzo Gradenigo’s rental or San Lazzaro dei Mendicanti’s chapel.
Challenges:
Acqua alta (tidal flooding) threatens the palace’s
ground floor, as seen in the November 2019 flood, though its elevated
design and Istrian stone mitigate damage, similar to Palazzo Barbarigo
or Church of the Holy Spirit.
Private ownership restricts scholarly
access to the interior, leaving gaps in knowledge about its current
state, akin to Palazzo Erizzo Nani Mocenigo. The lack of recent
information (post-2023) limits updates on its condition or use.
The
unremarkable façade, as described in sources, may reduce its tourist
appeal compared to Palazzo Barbarigo’s vibrant mosaics or Palazzo
Venier-Manfrin’s cultural hub, but its historical significance remains
profound for architectural historians.