The Palazzo Fontana Rezzonico, located in the Cannaregio sestiere of Venice, Italy, is a 17th-century palace situated on the Grand Canal between the Rio di San Felice and the Palazzo Miani Coletti Giusti, just a short distance from the iconic Cà d'Oro. Originally constructed by the Fontana family, merchants from Piacenza, the palace was later occupied by the Rezzonico family in the late 17th century, during the construction of their larger Ca’ Rezzonico in Dorsoduro. Notably, Carlo Rezzonico, who became Pope Clement XIII in 1758, was born in the palace in 1693. The building, with its distinctive red-colored, asymmetric façade and eclectic blend of Renaissance and Baroque architectural styles, has passed through various owners, including the Levi and Sullam families, and remains a private residence today.
The Palazzo Fontana Rezzonico was erected in the 17th century by the
Fontana family, a family of merchants originally from Piacenza who
settled in Venice around the mid-16th century. Seeking to establish
their status in the city, the Fontanas acquired an older building on the
Grand Canal site in the early 1600s, which they demolished to construct
the current palace. The choice of a prime Grand Canal location, near the
prestigious Ca’ d’Oro, reflects their ambition to align with Venice’s
mercantile and noble elite.
In the late 17th century, the palace
was rented by the Rezzonico family, a wealthy Lombard family from Como
who had recently purchased a Venetian noble title in 1687 for 100,000
ducats, contributing to the Republic’s treasury during the War of
Candia. The Rezzonicos used the palace as a temporary residence while
their grander Ca’ Rezzonico in Dorsoduro, designed by Baldassarre
Longhena, was under construction. The birth of Carlo Rezzonico in 1693
in the first piano nobile of the palace is a significant historical
marker, as he later became Pope Clement XIII (r. 1758–1769), bringing
prestige to the family and the palace.
After the fall of the
Venetian Republic in 1797, the palace changed hands multiple times. It
was purchased by Johann Conrad Reck, a banker, and subsequently sold to
the Levi and Sullam families, the latter of whom are believed to be the
current owners. The rapid turnover reflects the economic challenges
faced by Venetian families post-Republic, as many were forced to sell
their properties. The palace’s history also includes brief public access
during the Venice Biennale, allowing visitors to explore its interiors,
though it remains primarily a private residence today.
The
Palazzo Fontana Rezzonico’s history encapsulates Venice’s mercantile
ambition, noble aspirations, and post-Republican transitions, with its
connection to Pope Clement XIII and the Rezzonico family adding a layer
of papal significance.
The Palazzo Fontana Rezzonico is a striking example of 17th-century
Venetian architecture, blending late Renaissance forms with Baroque
influences, resulting in an eclectic and visually distinctive palace.
Its red-colored, asymmetric façade is a notable feature, setting it
apart from the more symmetrical Gothic or Renaissance palaces along the
Grand Canal.
Structure and Layout
Grand Canal Façade:
The
façade is characterized by its pronounced asymmetry, a deliberate or
practical choice that distinguishes it from the balanced designs of
earlier Venetian palaces. It features two water portals of different
sizes: a larger central portal aligned with the quadrifora (four-light
window) above, and a smaller secondary portal on the far right,
reflecting the eclectic style.
The first piano nobile and second
piano nobile each have a quadrifora, framed by pairs of monoforas
(single-light windows), with two pairs on the right and one on the left,
further emphasizing the asymmetry. The quadriforas, with their pointed
arches and tracery, are rooted in late Renaissance aesthetics, while the
obelisk-like chimneys in terracotta on the roof introduce a Baroque
flourish.
The façade is clad in red plaster, contrasted by white
Istrian stone bands that outline the floors, a common 17th-century
Venetian technique that adds visual rhythm. The balconies, abundant and
ornate, enhance the façade’s liveliness, aligning with the Baroque
period’s decorative exuberance.
Interior Plan:
The palace’s
interior is organized around a large portego (central corridor) on the
piano nobile, an unusual feature noted for its open disposition to
multiple rooms, likely used as commercial offices by the Fontana family,
reflecting their mercantile origins. This portego gives access to two
symmetrical staircases, designed for convenient and separate entry to
the two piano nobile floors, a practical innovation.
A small
courtyard on the right side, adorned with ancient Greek marble columns,
provides light and ventilation, a rare and valuable feature in Venice’s
dense urban fabric. The courtyard’s columns suggest the reuse of spolia,
adding historical depth.
The palace is subdivided internally, with
much of its original interior decoration removed since the 19th century,
likely due to its varied ownership and uses. The first piano nobile,
where Carlo Rezzonico was born, retains historical significance, though
its current state is not well-documented.
Foundations:
Like
all Venetian buildings, the palace rests on wooden piles driven into the
lagoon mud, ensuring stability. The brick construction, with Istrian
stone accents and wooden beams supporting the floors, is typical of
17th-century Venetian architecture, balancing durability and economy.
Architectural Style
The Palazzo Fontana Rezzonico exhibits an
eclectic style, blending late Renaissance and Baroque elements:
Late Renaissance: The quadriforas, monoforas, and water portals with
their pointed arches and tracery are faithful to Renaissance models,
reminiscent of palaces like Palazzo Corner Spinelli. The façade’s
structure, with its ordered window placements, reflects classical
proportion.
Baroque: The obelisk-like chimneys, abundant balconies,
and red plaster contrasted with white stone bands introduce Baroque
dynamism, aligning with the period’s decorative exuberance, as seen in
Ca’ Pesaro or Ca’ Rezzonico. The asymmetry and ornate details suggest a
departure from the restraint of earlier styles.
Venetian Context: The
palace’s Grand Canal orientation and water portals reflect Venice’s
aquatic urbanity, where canals served as primary thoroughfares. The
asymmetry may result from practical constraints, such as the irregular
plot or the need to accommodate commercial functions, a common feature
in Venetian mercantile palaces.
Integration with Surroundings
The palace’s location in Cannaregio, one of Venice’s oldest and most
populous sestieri, places it in a vibrant neighborhood near the Ca’
d’Oro, Rialto Bridge, and Venetian Ghetto. Its Grand Canal façade is a
focal point for gondola tours or vaporetto rides, visible between the
Rio di San Felice and Palazzo Miani Coletti Giusti. The Strada Nova, a
major commercial street, is a short walk away, connecting the palace to
Cannaregio’s bustling markets and historic sites. The San Felice
vaporetto stop ensures accessibility, making it a convenient stop for
visitors exploring Venice’s northern districts.
The Palazzo Fontana Rezzonico’s interior decorations are largely
diminished, as much of the original decor was removed in the 19th
century due to its varied ownership and subdivisions. However,
historical and architectural features provide insight into its original
appearance, with some elements preserved or noted during Venice Biennale
openings.
Interior Decorations
Portego:
The large portego
on the piano nobile, described as “striking” for its open disposition,
was originally designed to connect multiple rooms, likely used as
commercial offices by the Fontana family. This space may have featured
painted ceilings or stucco work, common in 17th-century Venetian
palaces, though these are no longer present or documented.
The
symmetrical staircases accessing the piano nobile floors are a notable
feature, possibly adorned with marble balustrades or simple frescoes,
though their current state is plain due to modern adaptations.
Courtyard:
The small courtyard on the right side, with ancient Greek
marble columns, is a decorative highlight, suggesting the reuse of
spolia from earlier structures or trade connections. The columns,
described as “precious,” add a classical elegance, contrasting with the
palace’s otherwise functional interior.
Lost Decorations:
Since the 19th century, the palace has been subdivided internally and
deprived of most interior decoration, as noted in sources. Original
furnishings, such as Murano glass chandeliers, gilded furniture, or
family portraits, likely adorned the piano nobile during the Fontana and
Rezzonico eras but were removed or sold during later ownership changes.
Frescoes or stucco work, if present, would have been modest compared to
grander palaces like Ca’ Rezzonico, reflecting the Fontana family’s
mercantile rather than aristocratic status.
Exterior Decor
Façade Elements:
The red plaster façade, contrasted by white Istrian
stone bands, creates a vibrant visual effect, with the quadriforas and
monoforas framed in stone for emphasis. The obelisk-like chimneys, a
Baroque feature, add a distinctive silhouette, visible from the Grand
Canal.
The balconies, abundant and ornate, enhance the façade’s
liveliness, inviting views of the canal and aligning with the Baroque
period’s focus on display. The asymmetry of the window placements and
portals adds a quirky charm, noted by visitors as “beautiful from the
water.”
Historical Marker:
A plaque or inscription
commemorating Carlo Rezzonico’s birth in 1693 may exist, though not
explicitly mentioned in sources. Such markers are common in Venetian
palaces associated with notable figures, as seen in the Palazzo Querini
Benzon.
Biennale Access
During the Venice Biennale, the palace
has occasionally opened to the public, allowing visitors to explore
select rooms and the piano nobile balcony, offering “extraordinary”
Grand Canal views. Reviews praise these rare opportunities to see the
interiors, described as a “chic treat” for their historical ambiance,
though the subdivided state limits the experience.
The Palazzo Fontana Rezzonico has served various roles over its
history, from a mercantile residence to a noble palace, and now a
private residence with occasional cultural access.
Historical
Role
Fontana Residence (17th Century):
Built by the Fontana
family, merchants from Piacenza, the palace was both a residence and
commercial hub, with the portego serving as office space for trade
activities. The water portals facilitated the transport of goods,
aligning with Venice’s mercantile economy.
Rezzonico Residence
(Late 17th Century):
Rented by the Rezzonico family, the palace was a
temporary home while Ca’ Rezzonico was under construction. The birth of
Carlo Rezzonico in 1693, who later became Pope Clement XIII, marks its
historical peak, as the family’s rise to papal prominence brought
prestige.
Post-Republic Ownership (19th–20th Centuries):
After
1797, the palace was sold to Johann Conrad Reck, then to the Levi and
Sullam families, reflecting the economic decline of Venetian nobility.
Its subdivision into smaller units suggests use as apartments or
offices, a common fate for historic palaces.
Current Role
Private Residence:
The palace remains a private residence, likely
owned by the Sullam family, with subdivided interiors used as apartments
or private spaces. Its vacant or limited use is noted in sources,
suggesting minimal public activity outside Biennale openings.
Cultural Venue (Biennale):
During the Venice Biennale, the palace
occasionally opens for exhibitions, offering access to piano nobile
rooms and the balcony. Visitors describe it as a “rare opportunity” to
see a “beautiful palace” typically closed to the public, with the Grand
Canal views from the balcony a highlight.
Tourist Attraction:
The palace’s Grand Canal façade is a visual landmark for gondola tours
or vaporetto rides, ranked #286–301 among Venice’s attractions on
TripAdvisor with a 4.5/5 rating based on 9 reviews. Its red façade,
asymmetry, and proximity to Ca’ d’Oro make it a point of interest,
though its private status limits exploration to exterior views or
Biennale visits.
Accessibility:
By Water: The water portals
allow access by water taxi or gondola, with the San Felice or Ca’ d’Oro
vaporetto stops nearby (5-minute walk).
By Foot: Located at Calle de
Ca’ Fontana, 1575, Cannaregio, the palace is a 5-minute walk from Ca’
d’Oro, 10 minutes from the Rialto Bridge, and 15 minutes from Venice
Santa Lucia Railway Station. The Strada Nova provides a direct route,
with a calle laterale leading to the palace entrance, noted as “hard to
find” but rewarding during Biennale openings.
Visiting Information:
The palace is not open to the public except during Biennale events, when
free entry may be offered with reservations. Exterior views are best
from the Grand Canal or Ponte di San Felice, with guided tours like
those on Trek Zone or Goparoo highlighting its history.
Challenges
Limited Access: As a private residence, the palace’s
interiors are rarely accessible, restricting appreciation to Biennale
visits or exterior views.
Subdivision: The internal subdivision and
loss of decoration since the 19th century diminish its historical
integrity, as noted in sources describing it as “deprived of most
interior decoration.”
Preservation: Maintaining a Grand Canal palace
against acqua alta and structural wear is costly, a challenge for
private owners like the Sullam family, especially with limited public
use.
The Palazzo Fontana Rezzonico is a significant yet understated
landmark in Venice, embodying the city’s mercantile, noble, and papal
heritage within a unique Renaissance-Baroque architectural framework.
Fontana and Rezzonico Legacies
The Fontana family’s construction
of the palace reflects Venice’s mercantile ambition, as merchants from
Piacenza sought to establish their status through a Grand Canal
residence. The portego’s commercial use underscores their trade focus,
aligning with Venice’s role as a global economic hub.
The Rezzonico
family’s tenancy, culminating in Carlo Rezzonico’s birth in 1693, ties
the palace to a pivotal moment in Venetian history. As Pope Clement
XIII, Carlo elevated the family’s prestige, with their later acquisition
of Ca’ Rezzonico marking their ascent to the Venetian elite. The
palace’s association with a pope adds a rare papal dimension, comparable
to the Church of San Felice, where Carlo was baptized.
Architectural Significance
The palace’s eclectic style, blending late
Renaissance quadriforas with Baroque chimneys and balconies, reflects
Venice’s architectural evolution in the 17th century, when Baroque
exuberance began to supplant Renaissance restraint. Its asymmetry, noted
in sources, is a distinctive feature, setting it apart from symmetrical
palaces like Palazzo Grimani Marcello.
The red façade, white stone
bands, and obelisk chimneys create a vibrant aesthetic, described as
“beautiful from the water” and “elegant” in reviews, contributing to the
Grand Canal’s iconic cityscape. The Greek marble columns in the
courtyard add a classical touch, linking the palace to Venice’s trade
networks.
Cultural Role
The palace’s occasional opening during
the Venice Biennale connects it to Venice’s role as a global arts hub,
offering rare access to a private residence. Reviews praise the
“extraordinary” piano nobile balcony views, highlighting its cultural
appeal during these events.
Its Cannaregio location, near the Ca’
d’Oro, Rialto Market, and Venetian Ghetto, integrates it into a
historically rich neighborhood, described as “down-to-earth” yet
vibrant. The Strada Nova’s commercial energy and proximity to landmarks
like Ca’ Pesaro enhance its tourist appeal.
Preservation and
Challenges
The palace’s well-conserved substance, as noted in
sources, reflects efforts to maintain its structure, though the loss of
interior decoration since the 19th century diminishes its historical
richness. The Sullam family’s ownership ensures its preservation, but
its private status and vacant use limit its cultural activation, a
common challenge for Venetian palaces.
The UNESCO World Heritage
status of Venice’s historic center, including Cannaregio, underscores
the palace’s global significance, though its niche appeal (ranked
#286–301 on TripAdvisor) reflects its status as a “hidden gem” compared
to major landmarks.
The Palazzo Fontana Rezzonico’s red-colored façade, with its
asymmetric quadriforas and white Istrian stone bands, creates a vibrant,
eclectic presence along the Grand Canal, its obelisk chimneys adding a
Baroque flourish against the Venetian skyline. From a gondola or
vaporetto, the palace stands out between the Rio di San Felice and
Palazzo Miani Coletti Giusti, its balconies inviting views of the
canal’s bustling life. The asymmetry, described as “accentuated” and
“beautiful from the water,” adds a quirky charm, evoking Venice’s
practical yet artistic urbanity.
Inside, the large portego, with
its open disposition to former commercial offices, hints at the Fontana
family’s mercantile roots, while the Greek marble columns in the
courtyard evoke classical elegance, as if whispering of Venice’s trade
with the East. The subdivided interiors, though stripped of most
decoration, retain historical resonance, particularly the first piano
nobile, where Pope Clement XIII was born. During Biennale openings, the
piano nobile balcony offers “extraordinary” Grand Canal views, described
as a “chic treat” that immerses visitors in Venice’s aquatic grandeur.
For passersby, the palace is a visual delight, its red façade
glowing in the Venetian light, complemented by the Ca’ d’Oro’s lacy
Gothic elegance nearby. The Cannaregio setting, with its Strada Nova
markets and Jewish Ghetto, adds a lively yet authentic backdrop,
contrasting with San Marco’s tourist crowds. The palace’s private status
and vacant use lend a melancholic air, a reminder of Venice’s challenge
to preserve its heritage, yet its Biennale openings spark hope for
future engagement, inviting visitors to connect with its storied past.