The Palazzo Pisani Moretta is a magnificent palace situated along the Grand Canal in the San Polo sestiere of Venice, Italy, positioned between Palazzo Tiepolo and Palazzo Barbarigo della Terrazza. This 15th-century Venetian Gothic masterpiece, transformed with Baroque interiors in the 18th century, is renowned for its architectural elegance, rich artistic heritage, and historical significance. Originally built by the Bembo family, it became the residence of the Pisani Moretta branch of the noble Pisani family, whose legacy shaped its evolution. Today, privately owned and recently acquired by Belgian fashion designer Dries Van Noten in 2025, the palace is a sought-after venue for luxurious events, including the famed Il Ballo del Doge during the Venice Carnival.
The Palazzo Pisani Moretta’s history spans over five centuries,
reflecting Venice’s economic, cultural, and social transformations.
15th Century: Construction by the Bembo Family
Built in the
second half of the 15th century (circa 1460–1470) by the Bembo family, a
prominent Venetian mercantile dynasty, the palace was designed in the
Venetian Gothic floral style, inspired by the Doge’s Palace. Its
strategic location on the Grand Canal, near the Rialto Bridge,
underscored the Bembo’s wealth and influence in Venice’s commercial
heart. The original structure featured two floors with six-light
mullioned windows and an external Gothic staircase in the courtyard,
typical of Venetian palazzi of the period.
1629: Acquisition by
the Pisani Family
In 1629, the palace was acquired by the Pisani
family, specifically the Pisani Moretta branch, named after Almorò
Pisani (mispronounced as “Moretta”), the founder of this lineage. The
Pisani were one of Venice’s most prestigious families, known for their
wealth, political influence, and patronage of the arts, with other
notable properties like the Villa Pisani in Stra. The palace became a
symbol of their status, hosting lavish events and distinguished guests.
18th Century: Baroque Renovations
Under Chiara Pisani (1737–1746)
and her sons Pietro Vettore and Vettore Pisani (circa 1770), the palace
underwent significant renovations, transitioning from its Gothic roots
to a Baroque aesthetic. Chiara commissioned architect Andrea Tirali to
replace the external Gothic staircase with an opulent double-ramp
Baroque staircase inside, enhancing the palace’s grandeur. The interiors
were adorned with frescoes and paintings by leading Venetian artists,
including Giambattista Tiepolo, Jacopo Guarana, Gaspare Diziani, and
Giuseppe Angeli, reflecting the Pisani’s patronage during Venice’s
18th-century cultural zenith. Notable artworks included Tiepolo’s The
Apotheosis of Admiral Vettore Pisani and Piazzetta’s The Death of
Darius, the latter now at Ca’ Rezzonico.
Notable Guests and
Events
The palace hosted illustrious figures, including Tsar Paul I
of Russia, Joséphine de Beauharnais, and Joseph II, Holy Roman Emperor,
cementing its status as a center of social and political activity. Its
opulent halls welcomed European royalty and aristocracy, particularly
during the 18th century, when Venice was a cultural capital. A famous
18th-century lawsuit involving the Pisani Moretta family, documented in
the Museo Correr archives, highlighted their social prominence and the
complexities of Venetian nobility.
19th Century: Decline and
Transition
The Pisani Moretta family line ended in 1880, and the
palace passed to the Giusti del Giardino family through the marriage of
a Pisani daughter. By 1847, key artworks, such as Paolo Veronese’s The
Family of Darius Before Alexander, were sold to the National Gallery in
London, reflecting financial pressures. The palace fell into disuse in
the late 19th century, suffering neglect until restoration efforts in
the late 20th century.
20th–21st Century: Restoration and Modern
Use
In recent decades, the Sammartini family, descendants of the
Pisani, restored the palace, reviving its Gothic and Baroque splendor
with original furniture and artworks. It became a premier venue for
high-profile events, including weddings, gala dinners, and the annual Il
Ballo del Doge, a lavish masquerade ball during the Venice Carnival
(February–March). The palace has also appeared in films like Casino
Royale (2006) and The Tourist (2010), enhancing its global recognition.
In May 2025, Belgian fashion designer Dries Van Noten and his partner
Patrick Vangheluwe acquired the palace for an estimated €36 million
($40.9 million), with plans to transform it into a cultural venue for
art, craftsmanship, and exhibitions, focusing on Venetian traditions
like Murano glassmaking and textile weaving. The Italian Ministry of
Culture has a two-month window to review the sale due to the palace’s
protected status.
The Palazzo Pisani Moretta is a stunning blend of Venetian Gothic and
Baroque styles, reflecting its 15th-century origins and 18th-century
renovations.
Exterior
Facade: The Grand Canal facade is a
prime example of Venetian Gothic floral style, characterized by its
delicate, ornate design inspired by the Doge’s Palace. It features two
floors of six-light mullioned windows (hexafora) with ogival arches,
flanked by two pairs of single-lancet windows on each floor. The windows
are adorned with intricate traceries, creating a lace-like effect that
distinguishes the palace from simpler Gothic structures. The ground
floor has two central pointed arched doorways for canal access,
emphasizing Venice’s water-based transportation. The facade’s three-part
division, marked by Renaissance-inspired stringcourse frames, balances
symmetry and elegance.
Loggia Design: The first piano nobile (noble
floor) loggia, with its superposed traceries over pointed arches formed
by half-circle arches, is a rare feature shared only with Palazzo
Cavalli Franchetti. This design creates an ambiguous visual effect,
where columns can be seen as forming aedicules in multiple
configurations, adding architectural complexity.
Location and
Context: Positioned at San Polo 2766, the palace is 1.1 km from Santa
Lucia Station and 250 meters from the San Tomà vaporetto stop. Its Grand
Canal setting, between the Rialto Bridge and Ca’ Foscari, places it in a
vibrant commercial and cultural corridor, visible from vaporetti and
gondolas.
Interior
Layout: The palace spans multiple floors,
with the ground floor featuring an androne (entrance hall), a garden,
and a wardrobe area for events. The first and second piani nobili each
contain seven halls, designed for receptions and ceremonies. The portego
(central hall) on the second floor, originally accessed by an external
Gothic staircase, is now reached via a Baroque double-ramp staircase
designed by Andrea Tirali, a focal point of the 18th-century
renovations.
Decorative Program: The interiors are a showcase of
Baroque splendor, with frescoes, stucco work, and paintings by:
Giambattista Tiepolo: His Apotheosis of Admiral Vettore Pisani (c. 1743)
in the portego celebrates the Pisani family’s naval legacy with dramatic
compositions and vibrant colors.
Jacopo Guarana: Frescoes depicting
mythological and allegorical scenes, adding theatricality to the halls.
Gaspare Diziani and Giuseppe Angeli: Additional frescoes and canvases,
enhancing the opulent ambiance.
The Death of Darius by Giambattista
Piazzetta (c. 1745), once a centerpiece, is now at Ca’ Rezzonico, but
its historical presence underscores the palace’s artistic richness.
Furnishings: Restorations by the Sammartini family reinstated original
18th-century furniture, Murano glass chandeliers, and silk wallpapers,
creating a luxurious setting for events. The ground floor, used for
after-parties, features modern additions like red sofas and mirrored bar
counters, blending contemporary and historical elements.
Structural Notes
The palace rests on wooden piles driven into the
lagoon bed, a Venetian necessity. The 18th-century removal of the
external Gothic staircase reduced the courtyard’s size, redirecting
access to the internal Baroque staircase. Recent restorations have
reinforced the structure against humidity and saltwater erosion,
ensuring its preservation.
The Palazzo Pisani Moretta is a cultural and historical landmark,
embodying Venice’s aristocratic and artistic heritage:
Venetian
Gothic Legacy: The facade’s floral Gothic style, with its Doge’s
Palace-inspired loggia, represents the pinnacle of 15th-century Venetian
architecture, blending Byzantine and Gothic influences. Its ambiguous
column arrangements, noted by scholars, highlight architectural
innovation.
Baroque Patronage: The 18th-century renovations under
Chiara Pisani reflect the Pisani family’s wealth and cultural influence,
commissioning works from Venice’s leading artists. The palace’s art
collection, partially preserved at Ca’ Rezzonico and other institutions,
underscores its role in Venetian collecting traditions.
Social and
Political Hub: Hosting figures like Tsar Paul I and Joséphine de
Beauharnais, the palace was a stage for Venetian diplomacy and elite
gatherings. The Pisani Moretta lawsuit of the 18th century, documented
in the Museo Correr, reveals the family’s complex social dynamics,
offering insights into Venetian nobility.
Modern Event Venue: The
palace’s use for Il Ballo del Doge, weddings, and film shoots (e.g.,
Casino Royale) maintains its status as a glamorous venue. However,
reviews of events like the Ballo Tiepolo (priced at €800 per person)
have criticized inconsistent service and dining quality, suggesting a
gap between marketing and experience.
Dries Van Noten’s Vision: The
2025 acquisition by Dries Van Noten promises a new chapter, transforming
the palace into a cultural hub for art, craftsmanship, and exhibitions.
Van Noten’s plan to host workshops on Murano glass, textile weaving, and
goldsmithing aligns with Venice’s artisanal traditions, potentially
making the palace more accessible to the public through exhibitions and
residencies.
Dorsoduro/San Polo Context: Located in the vibrant San
Polo sestiere, near cultural landmarks like the Basilica dei Frari and
Scuola Grande di San Rocco, the palace contributes to the area’s rich
heritage, offering a contrast to the tourist-heavy San Marco.
Location: San Polo 2766, 30125 Venice, Italy. On the Grand Canal,
between Palazzo Tiepolo and Palazzo Barbarigo della Terrazza. GPS:
45.4368°N, 12.3301°E. Approximately 1.1 km from Santa Lucia Station and
250 meters from San Tomà vaporetto stop.
Access:
By Vaporetto:
Take Line 1 or 2 to San Tomà (2-minute walk). From Piazzale Roma, it’s a
10-minute walk or 5-minute vaporetto ride. From Piazza San Marco, take a
vaporetto to San Tomà (10 minutes) or walk via Campo Santo Stefano
(15–20 minutes).
By Foot: From Rialto Bridge, walk southwest via
Campo San Polo to San Tomà (7–10 minutes). From Santa Lucia Station,
follow Rio Terà Lista di Spagna to Campo dei Frari, then south to San
Tomà (15 minutes).
By Gondola/Water Taxi: Gondola tours along the
Grand Canal offer prime views of the facade (€80–€120 for 30 minutes).
Water taxis can dock at the palace’s private entrance (€60–€100).
Visiting:
Access: The palace is privately owned and not open to
the public except during special events, such as Il Ballo del Doge
(Carnival, February–March) or private tours during weddings and galas.
Guided tours are occasionally offered through event organizers (e.g.,
www.wedding-venice.com or www.pisanimoretta.com).
Event Tickets:
Tickets for events like Il Ballo del Doge start at €500 per person,
often requiring advance booking via organizers like Antonia Sautter
(www.ballodeldoge.com). Packages including flights and hotels are
available through travel agencies.
Cost: Free to view the facade from
the Grand Canal. Event entry varies by occasion (e.g., €500–€1,000 for
Carnival balls). Private tours, when available, cost €50–€100 per
person.
Hours: Event-dependent; typically evening events during
Carnival. Check www.pisanimoretta.com or contact event planners
(events@pisanimoretta.com).
Tips for Visitors:
Best Time: View
the facade early morning or at sunset for optimal light and fewer canal
crowds. Carnival season (February–March) offers access to interiors via
events like Il Ballo del Doge. Spring (April–May) or fall
(September–October) are ideal for mild weather.
Photography: Capture
the facade from a vaporetto or gondola on the Grand Canal for the best
perspective. During events, the Baroque staircase and frescoed halls are
photogenic, but photography rules vary (no flash during balls).
Accessibility: The palace’s canal entrance and internal staircase pose
challenges for wheelchair users. Contact event organizers for
accommodations. San Tomà vaporetto stop has ramps.
Nearby
Attractions:
Basilica dei Frari (5-minute walk): Gothic basilica with
Titian’s Assumption of the Virgin.
Scuola Grande di San Rocco
(5-minute walk): Renaissance confraternity with Tintoretto masterpieces.
Ca’ Rezzonico (7-minute walk): Baroque palace-museum with Pisani Moretta
artworks.
Campo San Polo (3-minute walk): Lively square with cafes
and historic palazzi.
Rialto Bridge (7-minute walk): Iconic Grand
Canal crossing and market.
Dining Nearby: Try Antiche Carampane (San
Polo), Osteria Mocenigo (Santa Croce), or Ristoteca Oniga (Dorsoduro)
for Venetian cuisine within a 5–10-minute walk.
Tours: Grand Canal
boat tours (e.g., GetYourGuide, €30–€60) highlight the palace’s facade.
San Polo walking tours (e.g., Viator, €40–€80) may include exterior
commentary. Audio guides (e.g., Rick Steves app) provide context for
self-guided exploration.
Contact: Palazzo Pisani Moretta
(events@pisanimoretta.com, www.pisanimoretta.com, though the website may
be unreliable). For event inquiries, contact planners like Antonia
Sautter (+39 041 241 3802) or Venice Weddings (www.wedding-venice.com).
Tourism info: Venezia Unica, +39 041 2424, info@veneziaunica.it,
www.veneziaunica.it.
The Palazzo Pisani Moretta remains a vibrant cultural asset,
balancing its historical legacy with modern uses:
Preservation:
The Sammartini family’s late 20th-century restorations revived the
palace’s Gothic and Baroque features, addressing humidity and structural
wear. The 2025 sale to Dries Van Noten includes plans for further
investment to preserve the palace while adapting it for cultural
purposes. The Italian Ministry of Culture’s oversight ensures compliance
with heritage protection laws.
Event Venue: The palace’s role as a
venue for Il Ballo del Doge, weddings, and film shoots sustains its
economic viability but has drawn criticism for inconsistent event
quality (e.g., Ballo Tiepolo’s poor service at €800 per ticket). Van
Noten’s cultural project may shift its focus to public access, reducing
reliance on private events.
Cultural Hub: Van Noten’s vision to
create a “home of craftsmanship” with workshops, exhibitions, and
residencies promises to revitalize the palace as a public cultural
space, aligning with Venice’s artisanal traditions. Details are expected
in September 2025, potentially including Murano glass and textile
exhibitions.
Tourism and Challenges: Venice’s 30 million annual
visitors strain sites like the palace, with overtourism impacting San
Polo’s infrastructure. The MOSE flood barrier mitigates acqua alta, but
climate change remains a threat. The palace’s private status limits
access, though Van Noten’s plans may increase public engagement.