The Palazzo Michiel del Brusà is a historic Gothic palace located in the Cannaregio sestiere of Venice, Italy, overlooking the Grand Canal. Its name, derived from the noble Michiel family and the Venetian dialect term “brusà” (meaning “burned”), reflects a devastating fire in 1774 that destroyed much of the original structure, sparing only its iconic facade. Rebuilt in 1777 with funding from the Venetian Republic, the palace is a testament to the city’s architectural resilience and the prestige of the Michiel family, who produced three doges. Today, it serves as a venue for contemporary art exhibitions, notably during the Venice Biennale, and houses a hotel, blending historical grandeur with modern cultural significance.
The Palazzo Michiel del Brusà was originally constructed in the 15th
century as a residence for the Michiel family, one of Venice’s most
illustrious noble families. The Michiels contributed three doges to the
Republic of Venice: Domenico Michiel (1117–1130), Vitale I Michiel
(1096–1102), and Vitale II Michiel (1156–1172), though Domenico and
Vitale II were forced to abdicate due to political turmoil, and Vitale
II was assassinated during a popular revolt. The family’s prominence,
marked by ecclesiastical figures like the beatified Anna Michiel and
Marcantonio Michiel, underscored their influence in Venetian society.
In 1774, the palace suffered a catastrophic fire, attributed to the
negligence of a maid, which destroyed nearly the entire structure,
leaving only the Grand Canal facade intact. The fire’s attribution to a
single servant’s carelessness, as repeated in multiple sources, may
oversimplify the event, as fires in Venice were often complex incidents
involving structural vulnerabilities or multiple factors. Regardless,
the Venetian Republic, recognizing the Michiel family’s historical
contributions, funded the palace’s reconstruction in 1777. A Latin
inscription on the facade commemorates this restoration: “QUOS IGNIS
CONSUMPSIT PATRIA MEMENTA MAJORUM NEPOTIBUS PATRIOS LARES RESTITUIT S.E.
VIDUS IANUARIJ 1777” (translated as “What the fire consumed, the
homeland, mindful of the ancestors, restored to their descendants the
ancestral home”). This inscription highlights the Republic’s commitment
to preserving its noble heritage, though it also reflects the state’s
selective patronage, as not all fire-damaged palazzi received such
support.
The palace changed hands over time, and by the 20th
century, it had served various functions, including as offices for the
Fascist Party (Casa del Fascio) and other ministries, indicating its
adaptability to modern needs. Today, it is owned by the Global Art
Affairs Foundation, a Dutch non-profit organization focused on
contemporary art, which uses the palace for exhibitions, particularly
during the Venice Biennale. The third floor houses the Locanda Ai Santi
Apostoli, a hotel offering guests an immersive experience in Venetian
Gothic architecture.
The Palazzo Michiel del Brusà is a prime example of 15th-century
Venetian Gothic architecture, characterized by its tripartite and
symmetrical facade, a hallmark of the city’s palatial design. The palace
is situated between the Palazzo Michiel dalle Colonne and the Palazzo
Smith Mangilli Valmarana, enhancing its prominence along the Grand
Canal. Its architecture reflects Venice’s mercantile and aesthetic
values, with functional elements like water portals and decorative
features that evoke Byzantine and Gothic influences.
Exterior and
Facade: The principal facade, which survived the 1774 fire, is a
masterpiece of Venetian Gothic style. It features a tripartite structure
with two noble floors and an attic mezzanine. The most striking elements
are the quadriforas (four-light windows) on each noble floor, adorned
with trilobate Gothic flowers at the arch cusps, flanked by pairs of
single lancet windows. These windows, with their delicate tracery,
create a balanced chiaroscuro effect, as noted in descriptions of the
palace’s aesthetic harmony. The ground floor includes two water portals,
essential for canal access, which are typical of Venetian palaces
designed for trade and transport. All openings on the noble floors have
projecting balconies, adding depth and functionality to the facade. The
Latin inscription, set within the hall or visible on the facade, serves
as a historical marker, though its exact placement varies in sources,
suggesting possible discrepancies in documentation. The facade’s
preservation after the fire is remarkable, but claims that “only” the
facade survived may be exaggerated, as some internal structural elements
likely endured, given the rapid reconstruction timeline.
Interior:
The interior, rebuilt post-1777, is richly decorated, preserving the
opulence expected of a noble Venetian residence. The rooms feature
stucco work and frescoes, primarily attributed to Jacopo Guarana, a late
Baroque artist and follower of Tiepolo. A notable fresco on the
second-floor ceiling depicts the mythological figures Zephyr and Flora,
possibly commemorating a joyous event in the Michiel family’s history,
such as a marriage or celebration. The fresco’s attribution to Guarana
is consistent across sources, but its precise iconography and connection
to the Michiels remain speculative, as no primary records confirm the
event it celebrates. Additional decorations include grisaille ceilings
and putti motifs, as evidenced in Wikimedia Commons images, which add to
the palace’s rococo elegance. The interior’s preservation contrasts with
the building’s external simplicity, reflecting Venice’s tradition of
reserving lavish decoration for private spaces. The third floor, now
part of the Locanda Ai Santi Apostoli, has been modernized for hotel
use, with access via a small lift or wide stairs, blending historical
features with contemporary comfort.
Structural Layout: The palace
follows the typical Venetian palazzo layout, with a central portego
(grand hallway) leading to rooms on either side. The two noble floors
were designed for family living and entertaining, while the ground floor
facilitated trade and storage. The reconstruction in 1777 likely
retained the original footprint, adapting the interior to late
18th-century tastes with Guarana’s frescoes and stucco work. The
presence of a private dock on the Grand Canal and an entrance from
Strada Nuova enhances accessibility, making the palace a versatile venue
for exhibitions and events. The attic mezzanine, noted in architectural
descriptions, suggests additional space for storage or minor functions,
a common feature in Venetian palazzi.
The Palazzo Michiel del Brusà is distinguished by its interior
artworks, particularly the frescoes by Jacopo Guarana, which elevate its
cultural value:
Fresco of Zephyr and Flora: The second-floor
ceiling fresco, depicting the mythological lovers Zephyr (the west wind)
and Flora (the goddess of flowers), is the palace’s most celebrated
artwork. Guarana’s dynamic composition and vibrant colors reflect the
late Baroque style, influenced by Tiepolo’s theatricality. The fresco’s
alleged connection to a “happy event” in the Michiel family’s history is
plausible but undocumented, and the lack of specific records invites
skepticism about overly definitive interpretations. The work’s
preservation through the palace’s various uses, including as Fascist
offices, is noteworthy, suggesting careful maintenance or restoration.
Stucco and Grisaille Decorations: The interiors feature intricate stucco
work, likely added during the 1777 reconstruction, complementing
Guarana’s frescoes. Grisaille ceilings, depicting monochromatic
illusionistic designs, and putti motifs add a playful rococo touch, as
seen in Wikimedia images. These decorations, while not as famous as
those in palaces like Ca’ Rezzonico, contribute to the palace’s
aesthetic richness.
Potential Lost Artworks: Given the fire’s
destruction and the palace’s multiple functions over time, some original
artworks or decorations may have been lost or removed. The focus on
Guarana’s contributions in modern sources may overlook earlier Gothic or
Renaissance elements that did not survive the 1774 fire. The absence of
detailed inventories limits our understanding of the palace’s pre-fire
artistic heritage.
The palace’s current use as an exhibition space
introduces contemporary art, such as the “Venice Design 2019” show,
which juxtaposes modern installations with historical decor, creating a
dialogue between past and present.
The Palazzo Michiel del Brusà is no longer a private residence but a
multifunctional cultural and commercial space. It is primarily managed
by the Global Art Affairs Foundation, which organizes exhibitions for
the Venice Biennale’s International Art and Architecture Exhibitions,
such as “Personal Structures” (2022) and “Venice Design 2019.” These
events, held on the noble floors, attract international visitors and
feature works by artists from diverse backgrounds, emphasizing
philosophical themes in contemporary art. The palace’s role in the
Biennale, a cornerstone of Venice’s modern cultural identity, ensures
its relevance beyond its historical significance.
The third floor
houses the Locanda Ai Santi Apostoli, a boutique hotel offering guests a
unique stay in a Gothic palazzo. The hotel’s location, accessible via
Strada Nuova or the Grand Canal, places it near Rialto and San Marco but
in the lively, less tourist-saturated Cannaregio district, appealing to
travelers seeking an authentic Venetian experience. Guest reviews on
Tripadvisor praise the hotel’s historical ambiance and views, though the
“tiny lift” and stair access may pose challenges for some.
Location: The palace is at Strada Nuova, 4391, Campo Santi Apostoli,
Cannaregio, with a private dock on the Grand Canal and proximity to the
Ca’ d’Oro vaporetto stop (Actv line 1). It is a 15-minute walk from the
railway station, making it easily accessible. Nearby attractions include
Ca’ d’Oro (0.3 km), the Rialto Bridge (0.5 km), and the Fondaco dei
Tedeschi (0.6 km), situating the palace in a vibrant cultural corridor.
Visiting: The palace is not a public museum but is open during Biennale
exhibitions, typically from April to November, with free or ticketed
access depending on the event. For example, “Venice Design 2019” offered
free entry from May to November, with hours from 10:00 AM to 6:00 PM
(closed Tuesdays). Visitors can view the noble floors and enjoy the
Grand Canal balcony, a highlight for its panoramic views. Outside
exhibition periods, access is limited to hotel guests or private event
attendees. The facade, visible from the Grand Canal or Strada Nuova, is
a must-see for architecture enthusiasts, particularly for its Gothic
windows.
The Palazzo Michiel del Brusà encapsulates Venice’s layered history,
from its Gothic origins to its modern cultural role. The Michiel
family’s legacy, marked by political triumphs and tragedies, underscores
the palace’s status as a noble residence, while the 1774 fire and
subsequent reconstruction highlight the city’s resilience in preserving
its architectural heritage. The Republic’s funding of the rebuilding, a
rare intervention, reflects the Michiels’ enduring prestige, though it
also raises questions about the state’s priorities, as other
fire-damaged structures received less support.
The palace’s
Gothic facade, with its quadriforas and trilobate arches, is a surviving
fragment of 15th-century Venice, a period when the city balanced
Byzantine, Gothic, and emerging Renaissance influences. Its interiors,
enriched by Guarana’s frescoes, bridge the late Baroque era with
Venice’s aristocratic past, while its current use as a Biennale venue
connects it to the city’s contemporary global identity. The
juxtaposition of Gothic architecture with modern art installations
exemplifies Venice’s ability to harmonize tradition and innovation, a
theme central to the Biennale’s ethos.
The palace’s association
with the Fascist Party in the 20th century, though briefly mentioned, is
a reminder of Venice’s complex modern history, where historic buildings
were repurposed for political ends. This phase, often glossed over in
tourist narratives, warrants further scrutiny to understand the palace’s
role during Italy’s tumultuous 20th century. Similarly, the Global Art
Affairs Foundation’s ownership introduces a non-Italian perspective to
the palace’s management, reflecting Venice’s ongoing
internationalization.