The Palazzo Gussoni Grimani Della Vida, also known as Grimani a San Fosca, is a Renaissance-style palace located in the Cannaregio sestiere of Venice, Italy, overlooking the Grand Canal. Positioned between Casa Velluti (or Palazetto Barbarigo) and Palazzetto Da Lezze, opposite the prominent Ca’ Pesaro, this historic building is a significant example of 16th-century Venetian architecture. While it currently serves as the seat of the Tribunale Amministrativo Regionale (TAR) for the Veneto region and is not open to the public, its exterior and historical importance make it a noteworthy landmark.
The Palazzo Gussoni Grimani Della Vida was constructed between 1548
and 1556 for the Gussoni family, a patrician lineage present in Venice
since at least the 11th century. The palace replaced an earlier Gothic
structure on the site, reflecting the family’s wealth and status. The
Gussoni were influential in Venetian society, reportedly contributing to
the founding of churches such as Santa Sofia, San Matteo, and Santa
Maria dei Crociferi.
The palace is attributed to the architect
Michele Sanmicheli, a prominent figure in Venetian Renaissance
architecture, though some scholars debate this attribution due to
stylistic variations. Francesco Sansovino, a contemporary chronicler,
supports Sanmicheli’s involvement, noting the building’s innovative
design.
Throughout its history, the palace served various notable
functions:
1614–1618: It housed the English embassy, with Sir Henry
Wotton, a diplomat, poet, and counselor to the Doge, residing there.
1647–1690: The palace was the headquarters of the Accademia Delfica
(also called Gussoniana), founded by Francesco Gussoni. This academy
focused on the study of eloquence and was a cultural hub, supported by
prominent Venetian figures like Procurators Jacopo Cornaro and Giovanni
Battista Corner Piscopia.
1569: Archduke Charles of Austria observed
a regatta in his honor from the palace, underscoring its prestige.
The Gussoni family’s male line ended in 1735 with the death of
Senator Giulio Gussoni. The property passed to his wife, Faustina
Lazzari, and daughter, Giustiniana, whose romantic elopement with Count
Francesco Tassis in 1731 caused a scandal. The Council of Ten refused to
recognize their clandestine marriage, and Giustiniana, widowed early,
later married Piero Maria Curti before dying in 1747. Faustina then tied
the palace to her family, requiring heirs to adopt the Gussoni name.
Subsequent ownership included:
1798: Sold to the Grimani family,
another prominent Venetian dynasty.
1816: Acquired by Cesare Della
Vida, a wealthy Jewish businessman, whose family name was added to the
palace’s title.
1978: Briefly owned by the Minio family before
returning to the Grimani.
Today, the palace functions as an
administrative building, housing the regional court, which limits public
access to its interior.
Situated in Cannaregio, Venice’s second-largest sestiere, the Palazzo
Gussoni Grimani Della Vida is strategically located along the Grand
Canal, making it visible from the water. Its façade can also be admired
from Campo San Stae, a nearby square, or during a vaporetto (water bus)
ride. The closest vaporetto stop is San Marcuola, approximately 500
meters away, accessible via water bus Lines 1 and 2. The palace is about
1.2 kilometers from the Santa Lucia railway station, making it reachable
by foot or water transport.
Cannaregio is a vibrant district with
a mix of residential and tourist areas. The palace’s proximity to
landmarks like Ca’ Pesaro (home to the Galleria Internazionale d’Arte
Moderna), Ca’ d’Oro, and the Chiesa di San Stae places it in a
culturally rich neighborhood. Nearby, the Lista di Spagna offers local
eateries, and the Jewish Ghetto, with its historic synagogues, is a
short walk away.
The palace’s exterior is its primary draw for
visitors, as the interior is not open to the public. Its location along
the Grand Canal makes it a highlight during gondola or vaporetto tours,
with reviews noting its “maestoso” (majestic) appearance from the water.
The Palazzo Gussoni Grimani Della Vida is a prime example of
Renaissance architecture in Venice, characterized by its elegant yet
restrained design. Michele Sanmicheli’s influence is evident in the
palace’s structured layout and classical elements, which marked a
departure from the ornate Gothic style prevalent in earlier Venetian
palazzi.
Exterior
The façade, facing the Grand Canal, is noted
for its linear and balanced composition, with a relatively flat surface
that once served as a canvas for elaborate frescoes. Two heraldic
shields (stemmi) add visual depth through chiaroscuro effects, though
the overall design prioritizes simplicity to complement its decorative
program.
Originally, the façade was adorned with frescoes by
Jacopo Tintoretto, a leading Venetian painter. These included
mythological and biblical scenes such as Adam and Eve, Cain and Abel,
and The Twilight and the Dawn, inspired by Michelangelo’s sculptures in
the Medici Chapels in Florence. Unfortunately, these frescoes have
largely disappeared due to Venice’s humid climate, with only engravings
by Antonio Maria Zanetti (published in 1760) preserving their
appearance. Recent restorations uncovered remnants of these frescoes
beneath the window parapets, hinting at their former grandeur.
The façade’s design is practical yet sophisticated, with marble
balustrades and bronze-gilded decorative elements, such as garlanded
bacchantes on the doors. The upper piano nobile features intricate
compartments, some restored in the 19th century by owner Samuele Dalla
Vida to reflect contemporary tastes.
Interior
While the
interior is inaccessible to the public, historical records describe a
dynamic layout. Key features include:
An atrium with columns,
adding a classical Roman influence.
A frescoed courtyard with
depictions of Hector in various poses, possibly painted by Giambattista
Zelotti. Some speculate that Michele Sanmicheli himself designed this
pictorial cycle, integrating architecture and art.
Piano nobile with
marble fireplaces (some in red and African marble) and balustrades under
balconies, many clad in Murano tiles.
Portraits of Roman emperors
above doorways, replacing earlier Grimani family images, reflecting
shifts in ownership.
The Gussoni’s appreciation for fine arts is
evident in the palace’s former art collection, which included works by
Tintoretto, Giorgione, Titian, Paolo Veronese, Francesco Salviati, and
Girolamo Savoldo. A notable painting, Savoldo’s Magdalene (inspired by
Titian), was admired by Cardinal Bichi during a visit in 1654. This
collection, housed in the palace’s pinacoteca, underscored the family’s
cultural patronage.
The Palazzo Gussoni Grimani Della Vida is significant for its
architectural innovation and its role as a cultural center. Michele
Sanmicheli’s design introduced a more disciplined, classical approach to
Venetian architecture, paving the way for later architects like Jacopo
Sansovino. The palace’s restrained façade, designed to showcase
Tintoretto’s frescoes, reflects a deliberate integration of architecture
and painting, a hallmark of Renaissance ideals.
The Accademia
Delfica elevated the palace’s intellectual stature. Active for over four
decades, it fostered eloquence and attracted Venice’s elite, including
the father of Elena Cornaro Piscopia, the first woman to earn a
university degree. The academy’s legacy, documented by historian
Francesco Quadrio, highlights the Gussoni’s commitment to learning and
culture.
The palace’s art collection and frescoes further
cemented its cultural importance. Tintoretto’s lost façade frescoes,
though no longer visible, were a bold statement of the Gussoni’s wealth
and taste. The interior’s surviving elements, like Zelotti’s courtyard
frescoes, reflect the Venetian Renaissance’s emphasis on narrative and
classical themes.
The palace’s later owners, particularly the
Grimani and Della Vida families, added to its historical narrative. The
Grimani, known for their patronage of Palazzo Grimani a Santa Maria
Formosa, continued the tradition of cultural stewardship, while Cesare
Della Vida’s ownership marked the integration of Venice’s Jewish
community into its aristocratic legacy.
As the Palazzo Gussoni Grimani Della Vida is not a public attraction,
visitors can only appreciate its exterior. Its Grand Canal façade is
best viewed from a vaporetto, gondola, or across the canal from Ca’
Pesaro. The view from Campo San Stae offers a partial perspective, with
the palace’s white stone façade standing out against the canal’s
reflective surface.
Tripadvisor reviews describe the palace as
“majestic” but note its limited appeal as a non-tourist site. One
reviewer appreciated its architecture but was disappointed by the lack
of interior access, while another critiqued modern art displays
(possibly temporary exhibitions) and staff knowledge, suggesting a
sculpture misidentified as an angel was actually Ganymede and the Eagle.
Nearby attractions enhance a visit to the area:
Ca’ Pesaro (0.1
km): Houses modern art and an oriental art museum.
Ca’ d’Oro (0.5
km): A Gothic palace with the Galleria Giorgio Franchetti.
Chiesa di
San Stae (0.2 km): A Baroque church with Tiepolo frescoes.
Osteria Al
Cantinon (0.11 km): A local restaurant for authentic Venetian cuisine.
For those seeking accommodation, budget-friendly options in Cannaregio
include Ca’ d’Oro Amazing View on Grand Canal (0.06 km away) or Casa
Fiori (0.04 km). Three-star hotels in the area cater to families, with
easy access to vaporetto stops.