The Palazzo Loredan dell’Ambasciatore, also known as Ca’ Loredan dell’Ambasciatore, is a late 15th-century Gothic palace in the Dorsoduro sestiere of Venice, Italy, prominently positioned along the Grand Canal. Nestled between the Palazzo Moro and Casa Mainella, it is celebrated for its historical significance as the residence of ambassadors to the Venetian Republic, particularly those of the Austrian Empire, and its association with the noble Loredan family, which produced multiple Doges. The palace’s name, meaning “of the Ambassador,” derives from its role as a diplomatic residence, notably offered by Doge Francesco Loredan in 1752 to the Holy Roman Empire’s ambassadors. Today, owned by the Gaggia family and partially converted into luxury apartments, it remains a private residence, viewable only from the exterior.
The Palazzo Loredan dell’Ambasciatore was constructed in the second
half of the 15th century, likely around 1470, as a residence for the
Loredan family, one of Venice’s most illustrious patrician clans. The
Loredans, documented since the 11th century, were renowned for their
political, military, and cultural contributions, producing three Doges:
Leonardo Loredan (1501–1521), Pietro Loredan (1567–1570), and Francesco
Loredan (1752–1762). The palace, initially a family stronghold, became a
diplomatic hub due to its strategic location and grandeur.
The
palace’s diplomatic significance began in the early 18th century. In
1716, Antonio Loredan, administrator of Corfu, collaborated with Count
Johann Matthias von der Schulenburg, a Saxon general, to defeat the
Turks in a notable victory. Schulenburg resided in the palace with an
entourage of 25 members and four gondoliers, hosting lavish dinner
parties and displaying an admired art collection, including works by
Vivaldi, who composed an opera in his honor. In 1752, Francesco Loredan,
then Doge, offered the palace as a residence for the Holy Roman Empire’s
ambassadors for 29 years in exchange for their funding its restoration,
earning the suffix “dell’Ambasciatore.” The first imperial ambassador,
Count Philip Joseph Orsini-Rosenberg, lived there from 1754, marrying
Giustiniana Wynne, a close friend of Giacomo Casanova, who documented
their residence in the palace. In 1774, Giacomo Durazzo,
Orsini-Rosenberg’s successor, hosted Wolfgang Amadeus Mozart, who
performed in the palace’s salons, adding to its cultural legacy.
In the late 19th century, the palace served as a residence for Charles
de Bourbon and Berthe de Rohan, Duke and Duchess of Madrid and
pretenders to the Spanish and French thrones, underscoring its continued
diplomatic prestige. A devastating fire in 1891 largely destroyed the
palace, but it was swiftly rebuilt, preserving its Gothic character.
Since the 20th century, it has been owned by the Gaggia family, who have
maintained it as a private residence, with parts leased as luxury
apartments through agencies like Views on Venice Collection. Its role as
a birthplace of two Doges and a venue for cultural figures like Mozart
cements its historical importance.
The Palazzo Loredan dell’Ambasciatore is a prime example of late Venetian Gothic architecture, blending functionality with aesthetic refinement. Its design, attributed to an unknown architect, reflects the influence of the Doge’s Palace, particularly in its tracery, and incorporates Byzantine and Moorish elements, characteristic of Venice’s trade-driven aesthetic.
The façade on the Grand Canal is a highlight, showcasing the elegance
of 15th-century Venetian Gothic. Key features include:
Quadrifora
Loggia: The first piano nobile features a central quadrifora
(four-arched mullioned window) with pointed ogival arches, fronted by a
balustrade and slender columns. This loggia, inspired by the Doge’s
Palace, is the façade’s focal point, creating a light-filled and airy
effect.
Statues of Pages: Two niches flanking the quadrifora contain
statues of pages, rare decorative elements that add a sculptural
dimension to the façade, noted in sources like Tripadvisor for their
distinctiveness.
Monophora Windows: On either side of the quadrifora,
double monophora (single-light windows) with ogival arches maintain
symmetry. The second piano nobile repeats this pattern, with a simpler
quadrifora lacking decorative balustrades.
Bas-Reliefs: Between the
side windows on the first piano nobile, niches contain bas-reliefs
depicting the Loredan family’s coat of arms, symbolizing their prestige.
These are highlighted in photographs by Paolo Monti (1969).
Ground
Floor: A large ogival water portal provides direct canal access, flanked
by small lancet windows, typical of Venetian palazzi designed for trade
and transport.
Additional Floor: A third floor at the rear, added
later, contrasts with the three-story front, creating an asymmetrical
profile visible from side canals like the Rio di San Polo.
The
façade’s crenelated parapet on the right side, added in 1905, replaced a
16th-century structure, while the neo-Gothic left wing, built in 1907,
integrates seamlessly with the original design. The palace’s square
plan, with two piani nobili, optimizes space within Dorsoduro’s dense
urban fabric. Despite the 1891 fire, the rebuilt façade retains its
Gothic integrity, with Istrian stone balustrades and marble accents
enhancing its elegance.
As a private residence, the interior is rarely accessible, but
descriptions from sources like Views on Venice Collection and historical
accounts provide insight. The palace features:
Piano Nobile
Apartments: The first and second piani nobili, restored with attention
to Gothic details, include spacious salons with wooden beam ceilings,
polychrome marble floors, and fresco fragments surviving the 1891 fire.
These apartments, available for rent, offer Grand Canal views and modern
amenities while preserving historical elements.
Portego: A central
hall, typical of Venetian palazzi, runs from the canal entrance to the
rear, historically used for receptions and now part of the apartments.
Penthouse: A top-floor apartment, described as “in the gods,” provides
panoramic views, blending Gothic windows with contemporary design.
Restoration Details: The post-1891 reconstruction and recent renovations
(noted in 2018 by Tripadvisor) restored stucco work, gilded frames, and
Murano glass chandeliers, maintaining the palace’s aristocratic
ambiance.
The interior’s Gothic elements, such as ogival arches and
tracery, echo the façade, while Baroque additions from the 18th-century
ambassadorial period add opulence, though fewer details survive due to
the fire.
The Palazzo Loredan dell’Ambasciatore’s artistic significance lies in
its architectural decorations and historical art collections, though
many artworks were lost in the 1891 fire. Surviving and documented
features include:
1. Architectural Decorations
Quadrifora and
Statues: The façade’s quadrifora loggia, with its balustrade and page
statues, is a sculptural highlight, blending Gothic delicacy with
functional elegance. The bas-reliefs of the Loredan coat of arms add
heraldic artistry.
Tracery: The stone tracery, inspired by the Doge’s
Palace, features quatrefoil cut-outs, a hallmark of gotico fiorito
(floriated Gothic), noted in sources like Images of Venice.
Interior
Stucco and Frescoes: Restored salons retain 18th-century stucco work and
fresco fragments, likely depicting mythological or allegorical scenes,
typical of ambassadorial residences.
2. Historical Art Collection
Schulenburg’s Collection: In the early 18th century, Count Schulenburg
displayed an extensive art collection in the palace, including paintings
and sculptures, some of which inspired Vivaldi’s compositions. Most
works were dispersed after his departure.
Portrait of Francesco
Loredan: A famous portrait of Doge Francesco Loredan by Fortunato
Pasquetti, noted for capturing his passive demeanor, is housed at the
Gallerie dell’Accademia, not the palace, but reflects the family’s
artistic patronage.
Guardi’s Painting: A view of the Palazzo Loredan
dell’Ambasciatore by Francesco Guardi, depicting the palace as an active
embassy with imperial arms over the water portal, is held at Amgueddfa
Cymru – Museum Wales. This painting, praised for its topographical
precision and atmospheric brushwork, suggests the ambassador may have
commissioned it.
3. Cultural Performances
Mozart’s
Performance: In 1774, Wolfgang Amadeus Mozart played in the palace’s
salons, hosted by Giacomo Durazzo, adding a musical dimension to its
artistic legacy. This event, noted in sources like facarospauls.com,
underscores the palace’s role as a cultural venue.
The 1891 fire
destroyed much of the interior art, but the restored apartments, as
described by Views on Venice, incorporate Murano glass and modern art
installations, blending historical reverence with contemporary luxury.
The Palazzo Loredan dell’Ambasciatore is a microcosm of Venice’s
political, diplomatic, and cultural history. Its Loredan ownership
reflects the family’s dominance, with figures like Antonio Loredan, who
defeated the Turks, and Francesco Loredan, whose diplomatic gesture
named the palace. The ambassadorial period (1754–1783) highlights
Venice’s role as a diplomatic hub, hosting figures like Orsini-Rosenberg
and Giustiniana Wynne, whose connection to Casanova adds intrigue, as
documented in his memoirs. The palace’s later residents, Charles de
Bourbon and Berthe de Rohan, underscore its continued prestige into the
19th century.
The 1716 Schulenburg residency and Mozart’s 1774
performance cement the palace’s cultural importance, linking it to
Venice’s musical and artistic heritage. The 1891 fire and subsequent
reconstruction demonstrate Venice’s resilience in preserving its
architectural legacy, while the Gaggia family’s ownership ensures its
modern relevance as a private residence and luxury rental.
Located in Dorsoduro, near cultural landmarks like the Gallerie
dell’Accademia, Ca’ Rezzonico, and Ponte dell’Accademia, the palace
integrates into Venice’s artistic landscape. Its Grand Canal frontage,
praised for “spectacular views” by cityseeker.com, makes it a visual
anchor, though its private status limits public access. The palace’s
Gothic façade, with its quatrefoil tracery and page statues, embodies
Venice’s unique blend of Byzantine, Moorish, and Gothic influences,
shaped by its mercantile ties to the East.
Location: Dorsoduro 1261–1262, Venice, facing the Grand Canal near
Palazzo Moro and Casa Mainella. Accessible via the San Tomà or Accademia
vaporetto stops (Lines 1, 2, N).
Access: Privately owned by the
Gaggia family, the palace is not open to the public. The exterior can be
viewed from the Grand Canal or nearby Corte del Duca Sforza. Luxury
apartments are available for rent through Views on Venice Collection
(www.vovcollection.com), offering access to the piani nobili and
penthouse.
Opening Hours: No public hours; viewable externally at any
time. Apartment rentals are available year-round, subject to booking.
Admission: No entry fee for external viewing. Apartment rates range from
€500–€2,000+ per night, depending on season and size (e.g., Primo Piano
Nobile with Grand Canal views).
Tips for Visitors:
Take a
vaporetto (Line 1) or gondola ride along the Grand Canal to admire the
quadrifora and page statues, ideally at dusk for dramatic lighting.
Photograph the façade from the Corte del Duca Sforza or Ponte
dell’Accademia for a broader perspective.
Book a piano nobile
apartment for an immersive experience, including access to restored
salons and canal views.
Combine with visits to nearby Gallerie
dell’Accademia, Ca’ Rezzonico, or Palazzo Cavalli-Franchetti for a
Dorsoduro cultural itinerary.
Explore local dining at Ristoteca Oniga
(0.06 mi) or cultural sites like Campo San Barnaba for an authentic
Dorsoduro experience.