The Palazzo Muti Baglioni, also known as Palazzo Da Mosto, già Muti Baglioni, is a significant Baroque palace located in the San Polo sestiere of Venice, Italy, near the Church of San Cassiano and along the Rio di San Cassiano. Erected in 1602 by the Muti family, this imposing structure is notable for its historical ownership, architectural features, and rich interior decorations, including frescoes by Giovanni Battista Crosato and Jacopo Guarana. Currently owned by the Da Mosto family, the palace is well-preserved and occasionally hosts cultural events, such as art exhibitions, making it a hidden gem in Venice’s architectural landscape.
The Palazzo Muti Baglioni was constructed in 1602 by the Muti family,
a Venetian family that acquired and demolished existing commercial
buildings to create a grand residence, reflecting their social
aspirations. The Muti family retained ownership until the late 17th
century, when the palace was sold to the Acquisti family in two phases
(1670 and 1679). The Acquisti, admitted to the Venetian patriciate in
1686, elevated the palace’s status within the city’s aristocracy. By
1736, the palace passed to the Vezzi family, but a significant fire on
February 23, 1737, sparked during wedding festivities in the adjacent
house of jurist Angelo Tirabosco, caused extensive damage. The palace
was swiftly restored, and by October 4, 1742, it hosted Francesco III
d’Este, the exiled Duke of Modena, along with his wife, Charlotte Aglaé
d’Orléans, Princess of Massa, and their courtiers, who were lodged
nearby. Contemporary accounts humorously noted the need for a sedan
chair to assist the “portly” princess to her apartment.
In 1750,
the palace was acquired by Giovanni Antonio Baglioni, a member of a
Lombard family enriched by the publishing trade and admitted to the
Venetian patriciate in 1716. The Baglioni family owned the palace into
the 19th century, during which time it underwent significant interior
decoration, including frescoes and stucco work. In 1919, the palace
passed to the Da Mosto family, who remain its owners today, maintaining
it in excellent condition, comparable to the nearby Palazzo Bonomo
Albrizzi at San Apollinare. The Da Mosto family, particularly Francesco
da Mosto, a noted historian and broadcaster, has ensured the palace’s
preservation, occasionally opening it for cultural events, such as the
Auerbach exhibition visited by enthusiasts in June (year unspecified).
The palace’s history reflects Venice’s social and political
dynamics, from the upward mobility of families like the Muti and
Baglioni to the city’s role as a refuge for exiled nobility, such as
Francesco III d’Este during the War of the Austrian Succession
(1740–1748). Its survival through fire and changing ownership
underscores Venice’s resilience and commitment to preserving its
architectural heritage.
The Palazzo Muti Baglioni is a Baroque palace, distinguished by its
massive scale and imposing height, reaching 27 meters at the roofline,
making it the tallest private residence in Venice. Its location in a
dense urban area, along the narrow Calle Muti o Baglioni and the Rio di
San Cassiano, limits its visibility from land, with the best views
available from the water or the Ponte della Malvasia, where its long
façade can be glimpsed. The palace’s architect is unknown, but its
design is often compared to the Palazzo Da Ponte, reflecting a severe
yet elegant Baroque aesthetic.
Structure and Layout
Façade:
The palace features two identical façades, one facing the Rio di San
Cassiano and the other the Calle Muti, a rare design choice that
enhances its prominence despite its constrained site. Both façades are
characterized by a superimposition of serlianas (Venetian windows with a
central arched opening flanked by two rectangular sidelights),
accompanied by monoforas (single-light windows). The serliana on the
piano nobile is the only decorated opening, adding a focal point to the
otherwise austere design. The façades’ asymmetry in window placement,
noted in sources, deviates from strict Baroque symmetry, possibly due to
practical constraints or the site’s irregular shape. The use of Istrian
stone for key elements, such as window frames, contrasts with the
plastered or brick surfaces, creating a luminous effect typical of
Venetian architecture.
Water Entrance: The Rio di San Cassiano façade
includes a water entrance, allowing access by gondola or water taxi,
leading to a ground-floor androne (hall). This entrance underscores the
palace’s canal-oriented design, a hallmark of Venetian palaces where
canals served as primary thoroughfares.
Plan: The palace follows the
traditional Venetian palace layout, with a deep portego (central
corridor) on the first piano nobile, illuminated by the serliana and
extending through the building’s core. The portego is flanked by lateral
rooms, with two smaller courtyards providing light to interior spaces
not connected to the façades. The left wing houses the main staircase, a
functional yet grand feature. The second piano nobile is subdivided into
smaller units with intermediate ceilings and partitions, reflecting
later adaptations for residential or rental use. The palace’s large
dimensions are unusual for a private residence, setting it apart from
more compact Venetian palaces.
Height and Scale: At 27 meters, the
palace towers over its surroundings, a testament to the Muti family’s
ambition in 1602. Its height and length, particularly along the canal,
make it a dominant presence in San Polo, though its narrow street access
obscures this grandeur from pedestrians.
Architectural Style
The Palazzo Muti Baglioni’s Baroque style is characterized by its
ordered yet imposing design, with a focus on symmetry and grandeur
tempered by Venetian practicality. The serlianas and monoforas reflect
the influence of Palladian architecture, adapted to Venice’s canal
context, while the austere façades align with the restrained Baroque of
palaces like the Palazzo Da Ponte. The palace’s design avoids the
theatrical exuberance of later Baroque structures, such as Ca’ Pesaro or
Ca’ Rezzonico, instead emphasizing structural clarity and functional
elegance. Its asymmetric window array, noted in sources, adds a quirky
Venetian character, possibly a result of the site’s constraints or
post-fire reconstruction in 1737.
Materials
Istrian Stone:
Used for window frames, serlianas, and decorative elements, providing
durability and a luminous quality in Venice’s humid environment.
Brick and Plaster: The main body of the façades is constructed from
brick, likely plastered for aesthetic uniformity, a common Venetian
practice to reduce costs compared to full stone cladding.
Wood: The
palace rests on wooden piles driven into the lagoon mud, with wooden
beams supporting interior ceilings, some of which are decorated.
Murano Glass: Likely incorporated in chandeliers or decorative accents,
reflecting Venice’s glassmaking tradition.
The material palette
balances economy with elegance, ensuring the palace’s longevity while
adhering to Venetian architectural norms.
The Palazzo Muti Baglioni’s interiors, particularly on the first
piano nobile, are renowned for their 18th-century frescoes and stucco
decorations, commissioned after the 1737 fire and during the Baglioni
ownership in 1750. These elements elevate the palace’s cultural
significance, making it a repository of Venetian Baroque art.
Frescoes
The portego and reception rooms on the first piano nobile
feature frescoes by Giovanni Battista Crosato (c. 1686–1758) and Jacopo
Guarana (1720–1808), two prominent Venetian artists. Crosato, known for
his work in the Ca’ Rezzonico, likely contributed dynamic mythological
or allegorical scenes, characterized by vibrant colors and theatrical
compositions. Guarana, a collaborator of Giovanni Battista Tiepolo,
added frescoes with a lighter, more playful Rococo influence, possibly
depicting virtues, Venetian history, or family glorification. These
frescoes, preserved in excellent condition, are a highlight of the
palace’s interiors, visible during rare public openings, such as art
exhibitions.
The frescoes are concentrated on the ceilings and upper
walls, creating an illusion of grandeur and depth, a hallmark of Baroque
interior design. Their themes likely celebrate the Baglioni family’s
patrician status or Venice’s maritime prowess.
Stucco Work
The
first piano nobile is adorned with original 18th-century stucco
decorations, featuring intricate floral motifs, grotesques, or
ornamental borders. These stuccoes, likely executed by skilled artisans,
frame the frescoes and enhance the portego’s architectural elegance. The
stucco work is noted for its richness, adding texture and
three-dimensionality to the interiors, a common feature in Venetian
Baroque palaces.
The stuccoes may include allegorical figures or
heraldic symbols, reflecting the Baglioni family’s identity and their
integration into Venetian aristocracy.
Furnishings
The portego
and main rooms likely retain antique Venetian furnishings, such as
gilded chairs, inlaid tables, and Murano glass chandeliers, which
complement the frescoes and stuccoes. These pieces, while possibly
updated for modern use, evoke the 18th-century ambiance of the Baglioni
era.
During cultural events, such as the Auerbach exhibition, the
interiors are furnished with temporary displays, but the permanent decor
includes Venetian-style fabrics (silk, velvet) and possibly family
portraits or historical artifacts, enhancing the palace’s museum-like
quality.
Other Decorative Features
The serliana on the piano
nobile façade is the only exterior opening with decorative detailing,
possibly featuring carved capitals or friezes, though sources do not
specify the motifs.
The smaller courtyards, providing light to
interior rooms, may include simple decorative elements, such as stone
benches or potted plants, though these are secondary to the portego’s
opulence.
The decorative program, centered on the first piano nobile,
reflects the Baroque emphasis on spectacle and patronage, making the
palace a significant venue for Venetian art and culture.
The Palazzo Muti Baglioni has served various roles over its
four-century history, from a noble residence to a temporary refuge for
exiled royalty and, today, a private residence with occasional cultural
functions. Its current use reflects Venice’s balance of historical
preservation and modern adaptation.
Historical Role
Noble
Residence: From 1602, the palace was the primary residence of the Muti,
Acquisti, Vezzi, and Baglioni families, hosting social gatherings,
banquets, and family events. The piano nobile was the center of
aristocratic life, with the portego used for receptions and ceremonies.
Refuge for Exiles: In 1742, the palace temporarily housed Francesco III
d’Este, Duke of Modena, and his wife, Charlotte Aglaé d’Orléans, after
his exile during the War of the Austrian Succession. The duke’s
courtiers were lodged nearby, indicating the palace’s capacity to
accommodate significant entourages. This role highlights Venice’s status
as a neutral haven for European nobility.
Cultural Hub: Under the
Baglioni family, the palace became a showcase for art, with the
commissioning of Crosato and Guarana frescoes and elaborate stucco work,
reflecting their wealth and cultural ambitions. The Da Mosto family
continued this tradition, opening the palace for exhibitions, such as
the Auerbach exhibition, which attracted visitors like the reviewer who
met Francesco da Mosto and soaked in the piano nobile’s atmosphere.
Current Role
Private Residence: The palace is primarily a private
residence owned by the Da Mosto family, who maintain it in excellent
condition, comparable to the Palazzo Bonomo Albrizzi. The second piano
nobile, subdivided into smaller units, likely serves as apartments for
family members or tenants, while the first piano nobile retains its
historical grandeur.
Cultural Venue: The palace occasionally hosts
art exhibitions and cultural events, as evidenced by the Auerbach
exhibition, which offered free, bookable entry and attracted few
visitors, allowing an intimate experience. The piano nobile, with its
frescoes and stuccoes, is ideal for such events, providing a historic
backdrop for contemporary art. The presence of Francesco da Mosto, a
cultural figure known for his BBC programs, enhances the palace’s appeal
during these openings.
Tourism Context: While not a public museum
like Ca’ Rezzonico, the palace is listed on platforms like TripAdvisor
as a point of interest, ranked #684–#868 among Venice’s attractions,
suggesting limited public access. It can be admired from the Rio di San
Cassiano during gondola tours or vaporetto rides, with the San Silvestro
or Rialto Market stops nearby. Its location near the Rialto Bridge and
Basilica dei Frari integrates it into San Polo’s bustling tourist
circuit.
Accessibility
By Water: The water entrance on the Rio
di San Cassiano facilitates access by gondola or water taxi. The nearest
vaporetto stops are San Silvestro or Rialto Market, a short walk or boat
ride away.
By Foot: Located at Calle Muti o Baglioni, 1866, San Polo,
the palace is a 15-minute walk from Venezia Santa Lucia Railway Station
or Piazza San Marco, though its narrow street setting makes it
challenging to view from land. The Ponte della Malvasia offers the best
land-based perspective.
The palace’s limited visibility and private
status enhance its allure as a “hidden gem,” as noted by visitors who
seize rare opportunities to explore its interiors.
The Palazzo Muti Baglioni is a significant cultural and historical
landmark in Venice, reflecting the city’s Baroque architectural
heritage, aristocratic patronage, and adaptability to modern uses.
Baroque Architecture
As a Baroque palace, the Palazzo Muti
Baglioni exemplifies the style’s emphasis on grandeur and order, adapted
to Venice’s canal context. Its serlianas, monoforas, and asymmetric
façade align with the restrained Baroque of Palazzo Da Ponte,
contrasting with the opulent designs of Baldassarre Longhena’s Ca’
Pesaro or Ca’ Rezzonico. The palace’s height and scale, unusual for a
private residence, underscore the Muti family’s ambition in 1602, while
its preservation by the Da Mosto family highlights Venice’s commitment
to its architectural legacy.
Artistic Legacy
The frescoes by
Giovanni Battista Crosato and Jacopo Guarana, combined with 18th-century
stucco work, make the palace a repository of Venetian Baroque art.
Crosato’s dynamic compositions and Guarana’s Rococo elegance reflect the
artistic trends of the period, comparable to works in Ca’ Rezzonico or
Palazzo Pisani. These decorations, commissioned post-1737 fire,
demonstrate the Baglioni family’s cultural patronage, reinforcing
Venice’s role as an artistic center even in its declining years.
Historical Events
The palace’s role as a refuge for Francesco III
d’Este in 1742 highlights Venice’s status as a neutral haven for
European nobility during conflicts like the War of the Austrian
Succession. The humorous accounts of the Princess of Massa’s sedan chair
add a colorful anecdote to the palace’s history, illustrating the
intersection of Venetian architecture with international politics. The
1737 fire and subsequent restoration further underscore the palace’s
resilience, a recurring theme in Venice’s history of overcoming
environmental and human challenges.
Da Mosto Family and Modern
Cultural Role
The Da Mosto family, particularly Francesco da Mosto,
has elevated the palace’s cultural profile through careful preservation
and occasional public openings. The Auerbach exhibition, noted in a
TripAdvisor review, offered a rare glimpse of the piano nobile, allowing
visitors to experience its frescoes and atmosphere. Francesco’s presence
during the event, as a historian and broadcaster, connects the palace to
broader cultural narratives, such as his BBC programs on Venetian
history. The palace’s comparison to the Palazzo Bonomo Albrizzi suggests
it is among San Polo’s finest preserved residences, contributing to the
sestiere’s rich heritage alongside landmarks like the Basilica dei Frari
and Rialto Bridge.
Venetian Context
The palace’s location in
San Polo, Venice’s smallest and busiest sestiere, integrates it into a
vibrant neighborhood defined by markets, churches, and cultural sites.
Its proximity to the Rialto Bridge and San Cassiano places it within
Venice’s commercial and religious heart, while its canal-facing façade
aligns with the city’s tradition of showcasing wealth through
water-oriented architecture. The Murano glass industry, noted for its
influence on Venetian palaces, likely contributed to the palace’s
chandeliers or decorative accents, tying it to local craftsmanship.
The Palazzo Muti Baglioni’s Baroque façades, with their serlianas and
monoforas, exude a severe yet elegant grandeur, their Istrian stone
accents glowing against the Rio di San Cassiano’s waters. From the Ponte
della Malvasia or a gondola, the palace’s long, asymmetric façade
appears as a towering presence, its 27-meter height dominating the
canalscape. The water entrance, framed by the canal’s reflections,
invites imaginings of historical arrivals, from the Muti family to the
exiled Duke of Modena.
Inside, the first piano nobile is a
revelation, its Crosato and Guarana frescoes and stucco work creating a
vibrant, theatrical ambiance. The portego, illuminated by the serliana,
feels like a stage for Venetian history, its depth and decoration
evoking the Baglioni family’s 18th-century splendor. Visitors to events
like the Auerbach exhibition describe sitting on a “comfortable sofa” in
the piano nobile, soaking in the “wonderful atmosphere,” a testament to
the space’s enduring allure. The smaller courtyards, providing light to
inner rooms, add a sense of intimacy, contrasting with the portego’s
grandeur.
For passersby on the Rio di San Cassiano, the palace is
a hidden gem, its narrow street access and towering presence creating an
air of mystery. The San Polo setting, with its bustling markets and
historic churches, enhances the palace’s emotional resonance, connecting
visitors to Venice’s living history. The palace’s private status,
punctuated by rare public openings, makes encounters with its interiors
a privilege, as noted by the enthusiastic TripAdvisor reviewer who
seized the opportunity to visit.