Located in the Santa Croce sestiere of Venice, near the Church of San Giacomo dall’Orio, Palazzo Priuli Stazio is a notable example of Venetian architecture with a complex history spanning from the late Gothic period to its current Baroque form. Positioned between the narrow Calle del Megio to the east and the Rio del Megio to the west, this palace is a testament to the evolving fortunes of Venetian noble and merchant families, including the Surian, Prezzato, Stazio, and Priuli. Its U-shaped plan, six-story structure, and well-preserved facades make it a significant, though less tourist-centric, landmark in Venice’s dense urban fabric. The palace’s historical ownership, architectural transformations, and current use as residential and municipal spaces offer a rich narrative of Venetian heritage.
The Palazzo Priuli Stazio’s history begins in the 15th century, with
its first documented appearance in Jacopo de’ Barbari’s famous 1500 map
of Venice. Initially owned by the Surian family, who were admitted to
the Venetian aristocracy in 1648, the palace was part of their holdings
from the 15th century, when they migrated from Rimini. The Surian family
included prominent figures such as physician Giacomo Surian, Grand
Chancellor Andrea Surian, Bernardo Surian (Archbishop of Corfu in 1482),
and Antonio Surian (Patriarch of Venice in 1504). Despite their
influence, the aristocratic branch of the Surian family became extinct
by 1679.
In 1534, the Surian family sold the palace to
Marcantonio Prezzato, a wealthy merchant from Bergamo who had settled in
Venice around 1537. Marcantonio’s son, Agostino Prezzato, commissioned a
significant reconstruction in the 16th century, attributed to the
renowned architect Jacopo Sansovino, which transformed the palace into
its current form. This rebuilding likely introduced the Baroque elements
that define the palace today, moving away from its original late Gothic
structure.
In 1636, Agostino’s son, also named Marcantonio, sold
the palace to Lorenzo and Bernardo Stazio, a family of wool merchants.
The Stazio family joined the Venetian aristocracy in 1659, further
elevating the palace’s status. The palace remained in their possession
until 1701, when Elisabetta Stazio’s marriage to Michele Priuli-Renier,
of the Priuli family “di Santa Sofia,” transferred ownership to the
Priuli family, giving the palace its current name, Palazzo Priuli
Stazio. The Priuli family, of Hungarian origins, were among Venice’s
most illustrious, producing doges and diplomats, including Silvestro
Priuli, a crusader who scaled the walls of Ascalon in 1098, and
Francesco Priuli, an ambassador to Savoy and Spain in the early 17th
century.
By the 19th century, the palace was inherited by two
sisters, Elisabetta Labia Priuli and Orsola Priuli Maccarani, both
residing in Rome. In 1859, the palace was deeded to the Comune of
Venice, which repurposed it as quarters for the Municipal Guards. This
civic use continued into the 20th century, with the palace undergoing a
significant restoration in the 1980s to preserve its architectural
integrity. Today, it serves as private residences and possibly municipal
offices, with its interior decorations largely dispersed, though its
exterior remains a well-conserved example of Venetian architecture.
Palazzo Priuli Stazio is a striking structure, notable for its U-shaped plan and six-story height, which is unusual for Venetian palazzi due to the city’s spatial constraints and high land costs. The palace’s architecture reflects a blend of late Gothic and Baroque influences, with the 16th-century reconstruction by Jacopo Sansovino introducing the latter style to an originally Gothic framework.
The palace has two principal facades: one facing the Calle del Megio
and the other overlooking the Rio del Megio, with additional facades
addressing internal courtyards. The Rio del Megio facade is the more
architecturally significant, showcasing the palace’s Baroque character:
Ground Floor: The ground floor features a water gate for canal
access, essential for Venetian palazzi, framed in Istrian stone. The
facade is clad in brick, with minimal ornamentation to withstand the
canal’s humidity.
Upper Floors: The Rio del Megio facade is
distinguished by two superimposed serliane (Venetian windows), a
hallmark of Sansovino’s Renaissance-inspired Baroque style. Each
serliana consists of a central arched window flanked by two rectangular
openings, supported by columns and topped with a pediment or
entablature. These windows, crafted in Istrian stone, create a rhythmic
and elegant composition. Two balustrades, likely added during the
16th-century reconstruction, enhance the facade’s decorative appeal.
Architectural Elements: The use of Istrian stone is concentrated on the
serliane, balustrades, and cornices, with the rest of the facade in
brick, a practical choice for durability. The facade’s verticality is
emphasized by the six-story structure, with each level featuring large
windows to maximize light and ventilation.
The Calle del Megio
facade, facing the narrow street, is similarly constructed with Istrian
stone elements but is less ornate, reflecting its secondary role. It
includes large windows opening onto the central portego (hall) of each
floor, maintaining the palace’s airy and open feel. The two
courtyard-facing facades are more austere, with Istrian stone limited to
the cornices and no significant architectural features, possibly because
they were once adjacent to other buildings that have since been
demolished.
The interior of Palazzo Priuli Stazio follows the typical Venetian
palazzo layout, with a large central portego on each floor, flanked by
smaller rooms for residential or utilitarian purposes. The U-shaped plan
creates an internal courtyard at the Calle del Megio entrance, a feature
common in late Gothic Venetian palazzi, providing light and access to
the upper floors via a grand staircase.
Historically, the
interior was richly decorated, reflecting the wealth of its owners. In
the 18th century, the ground floor featured a bust of a bearded man in
the style of Alessandro Vittoria, likely a portrait of a Priuli family
member. The piano nobile once housed four oil canvases depicting
illustrious Priuli ancestors, including:
Silvestro Priuli, a
crusader who scaled Ascalon’s walls in 1098.
Zilia Dandolo, wife of
Doge Lorenzo Priuli and crowned Dogaressa in 1557.
Francesco Priuli,
an ambassador to Savoy and Spain, defending Venice’s reputation in 1606.
These artworks, along with other decorations, have been dispersed,
likely during the palace’s transition to municipal use in the 19th
century. The 1980s restoration focused on structural preservation rather
than interior restoration, and today, the palace’s interiors are divided
into private apartments and possibly municipal offices, with little of
the original decor remaining accessible or documented.
The U-shaped plan creates a forecourt at the Calle del Megio entrance, a practical and aesthetic feature that enhances the palace’s grandeur. The courtyard, likely paved with brick or stone, provides access to the main staircase and secondary rooms. The six-story structure, with each floor featuring a central portego and lateral rooms, maximizes space in a city where horizontal expansion was limited. The portego on each floor would have been the primary reception or living space, with large windows offering views of the calle and rio, while smaller rooms served as bedrooms, studies, or storage.
The palace was built using standard Venetian techniques, with wooden piles driven into the lagoon’s subsoil to support a brick structure faced with Istrian stone. The 16th-century reconstruction introduced Baroque elements, such as the serliane, crafted in stone for durability and aesthetic impact. The brick facades, particularly on the courtyard sides, reflect cost-conscious construction, while the Istrian stone accents on the main facades highlight the palace’s prestige. The six-story height required careful engineering to ensure stability, with the U-shaped plan distributing weight evenly across the foundations.
Palazzo Priuli Stazio’s significance lies in its architectural
evolution, historical ownership, and reflection of Venetian social
dynamics. The palace’s transition from the Surian to the Prezzato,
Stazio, and Priuli families mirrors the fluidity of Venetian
aristocracy, where wealth, marriage, and political alliances shaped
property ownership. The Surian family’s early prominence, the Prezzato’s
mercantile success, the Stazio’s wool trade, and the Priuli’s noble
lineage—including their Hungarian origins and crusading
heritage—illustrate the diverse influences that defined Venice’s elite.
The attribution of the 16th-century reconstruction to Jacopo
Sansovino, a pivotal figure in Venetian Renaissance architecture,
underscores the palace’s importance in the city’s architectural history.
The Baroque serliane and balustrades mark a shift from the Gothic style
prevalent in earlier palazzi, aligning the palace with the Renaissance
ideals of symmetry and classical motifs. The palace’s use by the Comune
of Venice since 1859 reflects the city’s adaptation of historic
buildings for civic purposes, a common practice as noble families
declined in the 19th century.
The dispersal of the palace’s
interior decorations, including the Priuli family portraits, highlights
the challenges of preserving Venice’s artistic heritage amid changing
ownership and use. The 1980s restoration, documented by the Società
Italiana per Condotte d’Acqua, ensured the palace’s structural survival,
but its current role as private residences limits public engagement with
its history.
Palazzo Priuli Stazio is not open to the public, as it serves as
private apartments and possibly municipal offices. Its exterior,
however, can be admired from two vantage points:
Rio del Megio:
The canal-side facade, with its superimposed serliane and balustrades,
is best viewed by boat (gondola or water taxi) or from the opposite
bank. The facade’s Baroque elegance stands out against the narrower,
less ornate buildings along the rio.
Calle del Megio: The street
facade, accessible on foot, offers a view of the U-shaped plan and
courtyard entrance. The Istrian stone elements and six-story height are
striking in the narrow calle, though the facade is less decorative than
the canal side.
The palace is located approximately 1 kilometer from
Santa Lucia railway station, a 10-minute walk or short vaporetto ride
(Line 1, San Stae stop). Its position in Santa Croce, near the vibrant
Campo San Giacomo dall’Orio, makes it an easy addition to a walking
itinerary. Visitors should respect the private nature of the building
and avoid trespassing.
Nearby attractions include:
San Giacomo
dall’Orio (100 meters east): A Romanesque-Gothic church with a lively
campo.
Ca’ Pesaro (400 meters northeast): A Baroque palazzo housing
the International Gallery of Modern Art.
Rialto Bridge (600 meters
southeast): Venice’s iconic bridge and market area.
Frari Basilica
(500 meters south): A Gothic masterpiece with Titian’s Assumption of the
Virgin.
Scuola Grande di San Rocco (600 meters south): A
confraternity hall with Tintoretto’s masterpieces.
Santa Croce’s side
streets offer bacari like Osteria da Filo, where visitors can enjoy
cicheti and a spritz while exploring the district’s authentic
atmosphere.
Palazzo Priuli Stazio is not a major tourist attraction, overshadowed
by grander palazzi like Ca’ d’Oro or Ca’ Rezzonico. However, it is
appreciated by architecture enthusiasts for its Baroque facades and
historical significance. Sources like Wikipedia and venice.jc-r.net
highlight its ownership history and Sansovino’s attributed
reconstruction, while Wikimedia Commons provides images of the Rio del
Megio facade, showcasing its serliane. The palace’s lack of public
access and dispersed interior decorations limit its visibility, but its
exterior preservation earns praise as a “well-conserved typical building
of the 16th century.”
In the context of Venice’s challenges—acqua
alta, overtourism, and preservation costs—the palace’s 1980s restoration
and continued use as residences demonstrate successful adaptation. Its
municipal role in the 19th century reflects Venice’s pragmatic approach
to repurposing noble residences, though the loss of artworks underscores
the difficulty of maintaining interiors. The palace’s quiet presence in
Santa Croce, away from the tourist throngs of San Marco, offers a
glimpse into Venice’s lived history.