The Palazzi Da Mula Morosini and Centani Morosini are two interconnected palaces in Venice’s Dorsoduro sestiere, overlooking the Grand Canal between Palazzo Barbarigo and Ca' Biondetti, near Campo San Vio. Unified by the influential Morosini family, these palaces represent a fascinating blend of Venetian Gothic and early Baroque architecture, reflecting the city’s evolving aesthetic and the family’s social prominence. Palazzo Da Mula Morosini, built in the 15th century, is a quintessential Gothic residence, while Palazzo Centani Morosini, constructed later in the early 17th century, introduces Baroque elements. Renowned for their historical significance, artistic connections—including a 1908 painting by Claude Monet—and the cultural salon of Annina Morosini, the palaces remain private residences, preserving their historical charm.
The Palazzi Da Mula Morosini and Centani Morosini trace their origins
to the Morosini family, one of Venice’s most distinguished noble clans,
which produced four doges, including Francesco Morosini (1619–1694), a
celebrated naval commander. The Morosini’s wealth and influence stemmed
from maritime trade, military exploits, and political roles, making
their palaces symbols of patrician power.
Palazzo Da Mula
Morosini was constructed in the early 15th century (circa 1340 for the
first piano nobile, with the second added in the mid-15th century) as a
noble residence for the Da Mula family, an ancient Venetian noble
lineage respected for their contributions to the Republic. The palace’s
Gothic design reflects Venice’s mercantile prosperity during this
period, when palaces doubled as residences and trade hubs. By the 17th
century, the Morosini family acquired the palace, likely through
marriage or purchase, and it became a centerpiece of their Dorsoduro
holdings. In the 19th century, Annina Morosini transformed the palace
into a prestigious cultural salon, hosting nobles, artists, and
politicians, including Kaiser Wilhelm II. This salon elevated the
palace’s status as a social and intellectual hub, akin to Palazzo
Barbaro’s “Barbaro Circle.”
Palazzo Centani Morosini, built in
the early 17th century, was a later addition, reflecting the Morosini’s
desire to expand their residence. The Centani family, another noble
Venetian lineage, originally owned this palace, which was likely
constructed to complement the adjacent Da Mula Morosini. The Morosini
unified the two buildings internally, creating a single complex that
balanced Gothic tradition with emerging Baroque sensibilities. The exact
date of unification is unclear, but it likely occurred in the 17th or
18th century, as the palaces share internal connections and a cohesive
layout.
In the 20th century, the palaces were inherited by Yoko
Nagae Ceschina, a Japanese philanthropist, and reportedly passed to
Russian conductor Valery Gergiev, according to a Russian Anti-Corruption
Foundation investigation. This claim, while intriguing, lacks
corroboration from primary Venetian sources, suggesting it may reflect
speculative reporting rather than verified ownership. Today, the complex
remains a private residence, housing multiple families, and retains its
historical function as a noble dwelling.
The palaces’ historical
significance is enhanced by their artistic legacy. In 1908, Claude Monet
painted Le Palais Da Mula (now in the Paul G. Allen Collection,
previously at the National Gallery of Art, Washington), capturing the
Gothic facade of Palazzo Da Mula Morosini alongside Palazzo Centani
Morosini. This painting, created during Monet’s only visit to Venice,
immortalizes the palaces’ canal-front elegance, placing them among
Venetian landmarks like Ca’ Dario and Palazzo Contarini Polignac, also
depicted by the Impressionist.
The Palazzi Da Mula Morosini and Centani Morosini are located at
Fondamenta Venier dei Leoni, 725, Dorsoduro, 30123 Venezia, on the Grand
Canal’s west bank, near the Peggy Guggenheim Collection and Campo San
Vio. Their position in Dorsoduro, a bohemian sestiere known for its
artistic vibe, places them in a culturally rich area, close to Ca’
Rezzonico, the Gallerie dell’Accademia, and the Accademia Bridge. The
palaces’ facades are prominently visible from the canal, flanked by
Palazzo Barbarigo to the left and Ca’ Biondetti, once home to artist
Rosalba Carriera, to the right.
As private residences, the
palaces are not open to the public, limiting access to external views.
The Grand Canal facade is best admired from a vaporetto (Line 1,
Accademia or Zattere stops, 5–10 minutes from Piazza San Marco) or a
gondola, particularly during early morning or late afternoon when light
enhances the Gothic and Baroque details. The land entrance, via
Sotoportego e Corte Venier dei Leoni, leads to a small garden and
courtyard, but a gate restricts access. Tripadvisor reviews suggest
viewing the palaces during a Grand Canal tour, such as Viator’s “Grand
Canal by Gondola with Live Commentary” ($41.64 per adult), which
provides historical context.
The surrounding Dorsoduro sestiere
offers a vibrant backdrop, with nearby attractions like the Chiesa di
San Sebastiano, adorned with Veronese frescoes, and dining options like
Trattoria Borghi (0.14 km away). The palaces’ proximity to Campo San
Vio, a quiet square, makes them an easy stop on a walking tour of
Dorsoduro, though their private status means they are often overlooked
compared to public sites like the Guggenheim.
The Palazzi Da Mula Morosini and Centani Morosini form a unified
complex with distinct architectural identities, reflecting their
construction in different centuries. Their facades and internal
connections showcase Venice’s transition from Gothic to Baroque, while
their preservation highlights the Morosini’s commitment to their
heritage.
Palazzo Da Mula Morosini (15th Century, Venetian
Gothic)
Facade: The facade is a classic example of Venetian Gothic,
arranged over four floors with a delicate, symmetrical design. The
ground floor, unadorned to withstand canal flooding, features two
round-arched portals opening directly onto the Grand Canal, flanked by
small monofore (single lancet windows). The first piano nobile boasts a
quadrifora (four-arched window) with pointed arches and intricate
tracery, forming a loggia that epitomizes the “Gotico Fiorito”
(flamboyant Gothic) style, seen in palaces like Ca’ Foscari and Pisani
Moretta. The second piano nobile mirrors this with another quadrifora,
supported by a slightly projecting balcony, while the top floor has
smaller pointed-arch windows, maintaining the Gothic aesthetic. The
facade, built of light-colored Istrian stone, contrasts with the canal’s
dark waters, its arches creating a rhythmic elegance.
Interior: The
interior retains Rococo decorations, including tapestries in a grand
salon, attributed to Giovanni Scajario, a noted 18th-century Venetian
decorator. The piano nobile’s high ceilings and terrazzo floors reflect
its noble function, while the unification with Palazzo Centani Morosini
ensures seamless internal flow. A high ground floor may conceal an
overbuilt open stairway, a remnant of the original design. A small
garden behind the Gothic section, bordering Palazzo Barbarigo, adds a
rare green space, unusual for canal-front palaces.
Structural Notes:
The facade’s preservation is remarkable, with no major alterations since
the 15th century, though maintenance addresses Venice’s environmental
challenges. The Gothic design, completed around 1340 for the first piano
nobile and expanded in the mid-15th century, reflects the Da Mula
family’s status and Venice’s architectural zenith.
Palazzo
Centani Morosini (Early 17th Century, Early Baroque)
Facade: Built
later, likely in the early 1600s, Palazzo Centani Morosini introduces
early Baroque elements, marking a shift from Gothic ornamentation to
classical restraint. The four-story facade, also in Istrian stone, is
simpler, emphasizing monofore (single windows) over the polifore of
Gothic design. The ground floor and first floor feature regular,
rectangular windows, while the piano nobile (second floor) has two
round-arched monofore, a slightly projecting balcony, and a smaller
arched window on the right, adding subtle asymmetry. The top floor
reverts to simple rectangular windows, maintaining a minimalist
aesthetic. The facade’s reduced decoration aligns with early Baroque
trends, prioritizing structural clarity over Gothic intricacy.
Interior: Internally connected to Palazzo Da Mula Morosini, the palace
shares the same portego and room layout, ensuring functional unity. The
Baroque influence is evident in the piano nobile’s spatial organization,
with larger, more open rooms suited for social gatherings. Decorative
elements are minimal compared to the Rococo salon in Da Mula Morosini,
but the interiors likely include stucco or frescoes from the 17th
century, though these are not publicly documented.
Monumental
Courtyard: A significant feature is the monumental rear courtyard,
facing the Rio de le Piere Bianche, a side canal. This courtyard,
possibly a later addition, includes a secondary building considered the
palace’s “hinterhaus” (rear house), enhancing the complex’s spatial
complexity. The courtyard’s scale and design suggest it was used for
private gatherings or as a service area, a rare feature in canal-front
palaces.
Unification and Design Integration
The Morosini
family’s unification of the two palaces created a cohesive complex, with
internal staircases and a shared portego linking the Gothic and Baroque
sections. The left two window axes of Palazzo Da Mula Morosini,
initially part of Palazzo Centani (already in early Renaissance forms),
were incorporated into the Gothic structure, demonstrating architectural
ingenuity. This unification, likely completed in the 17th century,
preserved the distinct facades while ensuring functional harmony, a
testament to Venetian adaptability.
Specific restoration projects for the Palazzi Da Mula Morosini and
Centani Morosini are not well-documented, but their excellent condition
suggests ongoing maintenance. Key efforts include:
18th Century:
The addition of Rococo decorations, including tapestries by Giovanni
Scajario, indicates interior updates to align with contemporary tastes,
likely accompanied by structural reinforcements.
19th Century: Annina
Morosini’s salon suggests the palace was well-maintained, with possible
renovations to enhance its role as a social hub. The small garden’s
preservation reflects careful stewardship.
20th–21st Centuries: As
private residences, the palaces benefit from private funding to combat
Venice’s humidity and flooding. The absence of reported decay, unlike
Palazzo Belloni Battagia, implies regular upkeep, possibly supported by
owners like Yoko Nagae Ceschina or subsequent proprietors. The facades’
pristine state, as seen in recent photographs, indicates careful
conservation, likely involving Istrian stone cleaning and foundation
stabilization.
The palaces’ private status has shielded them from the
over-tourism affecting public sites, ensuring their preservation but
limiting public access. The lack of major structural changes since the
17th century underscores their historical integrity, though
environmental challenges necessitate continuous vigilance.
The Palazzi Da Mula Morosini and Centani Morosini are significant for
their architectural duality, historical associations, and cultural
contributions. The Morosini family’s prominence, exemplified by
Francesco Morosini’s naval victories and the family’s four doges, imbues
the palaces with political and social weight. Their unification of the
Gothic and Baroque buildings reflects Venice’s architectural evolution,
bridging the medieval mercantile era with the early modern period’s
classical influences.
Annina Morosini’s 19th-century salon was a
cultural pinnacle, transforming the palace into a gathering place for
Europe’s elite. Hosting figures like Kaiser Wilhelm II, the salon
paralleled the intellectual vibrancy of Palazzo Barbaro’s “Barbaro
Circle,” which included Henry James and John Singer Sargent. This role
as a cultural hub underscores the palace’s place in Venice’s social
history, connecting it to the city’s tradition of artistic and
intellectual exchange.
Claude Monet’s 1908 painting, Le Palais Da
Mula, elevates the palaces’ artistic legacy, capturing their canal-front
elegance in Impressionist hues. Exhibited in 1912 and later acquired by
the National Gallery of Art, the painting places the palaces alongside
other Monet-depicted Venetian landmarks, enhancing their global
recognition. The palaces’ proximity to Ca’ Biondetti, home of Rosalba
Carriera, and the Peggy Guggenheim Collection further situates them in
Dorsoduro’s artistic milieu.
The reported ownership by Valery
Gergiev, if true, adds a modern layer of intrigue, linking the palaces
to contemporary cultural figures, though this claim requires
verification. Their inclusion in UNESCO’s Venice and its Lagoon World
Heritage Site and Tripadvisor’s top 10% of attractions (ranked #606 of
988) reflects their niche but enduring appeal.
Visiting the Palazzi Da Mula Morosini and Centani Morosini is an
exterior experience, as they remain private residences. The Grand Canal
facade, with Palazzo Da Mula Morosini’s Gothic quadrifore and Palazzo
Centani Morosini’s Baroque monofore, is the primary draw, best viewed
from a vaporetto or gondola. Tripadvisor reviews recommend a Grand Canal
tour for context, praising the palaces’ “gothic façade on four floors”
and their Monet connection, though some lament the lack of interior
access. The view is particularly striking at sunset, when the Istrian
stone glows against the canal.
The palaces can be glimpsed from
Fondamenta Venier dei Leoni or Campo San Vio, though the garden and
courtyard are inaccessible behind a gate. The visit is brief, typically
10–15 minutes, as part of a broader Dorsoduro exploration. Nearby
attractions, such as the Peggy Guggenheim Collection (0.2 km away) or
Ca’ Rezzonico’s 18th-century museum, complement the experience, while
dining at Trattoria Borghi or Osteria Al Squero offers local flavors.
Guided tours, such as those by Best Venice Guides, may occasionally
include external commentary on the palaces, but interior access is rare,
reserved for private events.
The surrounding Dorsoduro sestiere,
described as “artsy” with “bohemian luxury,” enhances the visit, with
street artists, students, and gondolas creating a vibrant atmosphere.
The palaces’ private status ensures a tranquil experience compared to
crowded sites like Piazza San Marco, appealing to architecture
enthusiasts and those seeking Venice’s hidden gems.