The Palazzo Michiel dalle Colonne, located in the Cannaregio district of Venice, Italy, is a striking Baroque palace overlooking the Grand Canal, approximately 250 meters from the iconic Rialto Bridge. Renowned for its distinctive porticoed facade with tall columns, the palace is a testament to Venice’s architectural evolution and its vibrant social and political history. Named after the Michiel family, one of Venice’s oldest noble dynasties, and its prominent ground-floor columns, the palace has undergone significant transformations since its origins in the 13th century.
Origins and Early History
The Palazzo Michiel dalle Colonne was
first constructed in the 13th century by the Grimani family, a powerful
Venetian patrician clan. Originally built in the Venetian-Byzantine
style, typical of Venice’s early medieval architecture, the palace
reflected the city’s mercantile wealth and eastern influences. The
Grimani coat of arms, carved on a well in the courtyard, remains a
tangible link to this period. The palace’s location on the Grand Canal,
near the bustling Rialto market, underscored its role as a commercial
and residential hub for the family.
By the 17th century, the
palace had passed to the Zen family, who were instrumental in its early
transformation. In 1661, it was officially documented as their property
and began to be known as “dalle Colonne” (of the Columns) due to its
distinctive ground-floor portico. The Zen family commissioned a partial
rebuilding, completed in 1697, under the direction of architect Antonio
Gaspari (1656–1723), marking the palace’s shift from Venetian-Byzantine
to Baroque aesthetics.
In 1702, the palace was acquired by
Ferdinando Carlo Gonzaga-Nevers, the last Duke of Mantua and Montferrat,
who lived there from 1706 after his exile during the War of the Spanish
Succession. Historical accounts, such as those by Giuseppe Tassini,
describe Gonzaga-Nevers as a flamboyant figure who turned the palace
into a “debauched serraglio” (harem-like retreat), hosting lavish and
scandalous gatherings under the influence of his mistress, Countess
Calori. His heirs sold the palace shortly after his death in 1708.
Michiel Family and 18th-Century Prominence
By 1712, the palace
was owned by Count Conigli of Verona, but by 1716, it had passed to
Marcantonio Michiel, a member of the illustrious Michiel family, through
his marriage to Giustina Renier. The Michiel family, one of Venice’s
oldest noble lineages, produced three doges, including Domenico Michiel
(1117–1130) and Vitale II Michiel (1156–1172). Their ownership cemented
the palace’s name as “Michiel dalle Colonne.”
In 1716, the palace
hosted distinguished guests, including Frederick Augustus I of Saxony
(later King of Poland) and Karl Albrecht, Elector of Bavaria (later Holy
Roman Emperor Charles VII), highlighting its status as a venue for
European nobility. To mark the 1775 wedding of Marcantonio Michiel and
Giustina Renier, the interior was lavishly redecorated by sculptor
Michelangelo Morlaiter and painter Francesco Zanchi, with allegorical
frescoes that remain a highlight of the palace’s artistic legacy.
Later Ownership and Modern History
In 1879, the palace passed to
Leopardo Martinengo, Giustina Renier’s nephew, and in 1884 to the Donà
delle Rose family. By the 1930s, it was sold to the Provincial
Federation of Combination Fasci, serving as the Venetian headquarters of
the Fascist Party (Casa del Fascio). After World War II, it was
repurposed as the Chamber of Labor under the name Ca’ Matteotti until
1954, when it was vacated and returned to the Italian State.
Since the late 20th century, the palace has been owned by the Veneto
Region and houses offices of the Ministry of Cultural Heritage for
Veneto. Restoration work between 2002 and 2003 preserved its structure
and artistic elements, ensuring its survival amidst Venice’s
environmental challenges. Today, it is occasionally open to the public
for special events, such as extraordinary openings in October (e.g.,
October 14–16 in a recent year), offering rare access to its historic
interiors.
The Palazzo Michiel dalle Colonne is a prime example of Venice’s
architectural evolution, blending remnants of its Venetian-Byzantine
origins with a dominant Baroque facade shaped by Antonio Gaspari’s 1697
reconstruction. Its location on the Grand Canal, between the Palazzo
Michiel del Brusà and the Palazzo Smith Mangilli Valmarana, places it in
the heart of Venice’s commercial and cultural corridor, opposite the
Rialto Market and Campo della Pescaria.
Exterior
Facade: The
palace’s perfectly symmetrical Baroque facade spans three floors plus an
attic, a departure from the asymmetrical Venetian-Byzantine style of its
13th-century origins. The ground floor features a portico with tall,
slender columns that give the palace its name. These columns support a
water-level loggia, a nod to Byzantine palaces, though heavily restored
in the 20th century. A central serliana (a tripartite window with a
central arch flanked by rectangular openings) was added during Gaspari’s
renovation, repeated on the upper floors for visual harmony.
Upper
Floors: The first piano nobile (noble floor) is the most prominent, with
large arched windows framed by frontons and balconies, emphasizing
grandeur. The second piano nobile is smaller in scale, reflecting a
hierarchy of importance, while the attic level is modest, with
rectangular openings. The facade’s elegance is enhanced by the delicate
columns and pointed arches, which retain a Gothic influence.
Materials and Details: The facade uses Istrian stone, common in Venetian
architecture for its durability, with decorative elements like Gothic
flowers on the arches and crenelated detailing inspired by Moorish and
Byzantine styles. The columns’ finesse creates an illusion of the palace
“floating” on the canal, a poetic effect noted by architectural
historians.
Courtyard: The internal courtyard contains a historic
well with the Grimani coat of arms, one of the few surviving elements
from the 13th-century structure. This courtyard, though not typically
accessible, serves as a functional space for the palace’s offices.
Interior
Second Piano Nobile: The most significant artistic
features are on the second noble floor, decorated in the mid-18th
century with frescoes inspired by Venetian allegorical themes. These
include the Allegory of Victory, Triumph of Merit, Allegory of
Abundance, and, on the upper floor, the Allegory of Peace. Attributed to
artists like Giovanni Battista Tiepolo and Jacopo Guarana, these
paintings reflect the opulent tastes of 16th- to 18th-century Venice.
The frescoes are stylistically linked to those in the Palazzo Contarini
Fasan, showcasing the period’s preference for mythological and moral
motifs.
Decorative Elements: The interiors feature stucco work and
sculpted details by Michelangelo Morlaiter, complementing the frescoes.
The rooms retain their Baroque elegance, with high ceilings, ornate
moldings, and large windows offering views of the Grand Canal.
Structural Notes: While the ground-floor portico and some columns are
original, much of the interior was rebuilt or restored over time. The
20th-century restoration of the loggia’s rear wall modernized parts of
the structure while preserving its historical character.
The palace’s architecture reflects Venice’s unique blend of influences—Byzantine, Gothic, and Baroque—shaped by its maritime trade and cultural exchanges with the East. The porticoed facade, rare among Grand Canal palaces, evokes the arcaded designs of Byzantine architecture, while Gaspari’s Baroque interventions align with the 17th-century trend toward symmetry and grandeur. The palace’s evolution from a medieval trading house to a noble residence mirrors Venice’s shift from a mercantile republic to an aristocratic society.
Historical Role
The Palazzo Michiel dalle Colonne has been a stage
for Venice’s social, political, and cultural life for centuries. As a
Grimani and Zen residence, it was a center of commerce and patrician
influence. Under Ferdinando Carlo Gonzaga-Nevers, it gained notoriety
for its decadent gatherings, reflecting the excesses of the late Baroque
era. The Michiel family’s ownership elevated its status, with the palace
hosting European royalty and serving as a venue for lavish celebrations,
such as the 1775 wedding.
Its 20th-century use as a Fascist Party
office and later a labor chamber reflects Venice’s turbulent modern
history, from Italian unification to post-war recovery. The palace’s
survival through these shifts underscores its resilience as a cultural
landmark.
Contemporary Role
Today, the palace is primarily an
administrative building, housing offices of the Ministry of Cultural
Heritage for Veneto. Its occasional public openings, facilitated by the
ministry, allow visitors to explore its interiors, particularly the
frescoed second piano nobile. These events, such as those in October,
highlight its role as a preserved monument rather than a tourist
attraction like the Doge’s Palace. The palace’s proximity to the Rialto
and its canal-side location make it a focal point for art and
architecture enthusiasts.
The palace has also inspired artistic
representations, notably in Bernardo Bellotto’s 18th-century painting
Venice, The Grand Canal looking South-East from the Palazzo Michiel
dalle Colonne to the Fondaco dei Tedeschi, which captures its prominence
in Venice’s urban landscape.
The palace’s history reflects the complexities of Venetian identity. Its ownership by non-Venetian figures like Gonzaga-Nevers and its use during the Fascist era highlight Venice’s subjugation to external powers and ideologies. The Michiel family’s brief tenure (less than 70 years) suggests the name “Michiel dalle Colonne” is more symbolic than reflective of long-term ownership, raising questions about how Venetian palaces are branded. The focus on elite history in its documentation may marginalize the stories of servants, merchants, or women who inhabited the palace, whose voices are less preserved.
Location: Cannaregio, Venice, on the Grand Canal, near the Ca’ d’Oro
vaporetto stop (ACTV Line 1) and 1.4 km from Venezia Santa Lucia railway
station. The best vantage point is from the Rialto Market across the
canal.
Access: The palace is not regularly open to the public, as it
serves as government offices. Extraordinary openings, such as those on
October 14–16 in a recent year, allow free entry without reservation via
the Calle del Duca. Check the Visit Venezia website
(www.visitvenezia.eu) or the Ministry of Cultural Heritage for
announcements.
Visitor Experience: During rare openings, visitors can
explore the second piano nobile’s frescoes and Baroque interiors,
offering a glimpse into 18th-century Venetian opulence. The canal-side
portico and Grand Canal views are highlights, though the palace’s
administrative function limits its accessibility compared to museums
like the Ca’ Rezzonico. The courtyard’s historic well and Grimani coat
of arms add historical depth.
Nearby Attractions: The Rialto Bridge
(4-minute walk), Ca’ d’Oro (3-minute walk), and Palazzo Michiel del
Brusà (1-minute walk) make the palace part of a rich itinerary. The
Fondaco dei Tedeschi, now a luxury shopping center, is visible across
the canal.
Practical Considerations
Hours: Limited to special
events; typically 10:00 AM–6:00 PM during openings, with closures on
Tuesdays.
Accessibility: The palace’s historic structure, with
staircases to the noble floors, poses challenges for visitors with
mobility issues. Ground-floor access may be possible during events.
Cost: Free during public openings, though donations may support
preservation efforts.
Environmental Threats
Like many Venetian buildings, the palace
faces risks from acqua alta (high tide flooding), which threatens its
ground-floor portico and foundations. The MOSE flood barrier,
operational since 2020, mitigates some damage, but rising sea levels
remain a long-term concern. The 2002–2003 restoration addressed
structural issues, but ongoing maintenance is critical.
Fire Risk
Venice’s history of fires, including the 1774 blaze that devastated the
neighboring Palazzo Michiel del Brusà, underscores the palace’s
vulnerability. Its wooden beams and historic interiors require vigilant
fire prevention, a concern reflected in Venice’s distinctive chimney
designs.
Preservation Costs
The Veneto Region’s ownership
ensures funding for preservation, but the palace’s administrative use
limits resources for public access or tourism-driven revenue. Balancing
its role as a working building with its heritage value is a challenge.
Cultural Relevance
The palace’s limited public access restricts
its role in Venice’s cultural landscape, especially compared to fully
musealized palaces like the Ca’ Pesaro. Its Baroque transformation may
overshadow its Venetian-Byzantine roots, prompting debates about which
architectural phase should be emphasized in preservation efforts.