The Palazzo Salviati in Venice, located in the Dorsoduro sestiere along the Grand Canal, is a striking example of early 20th-century Venetian architecture, distinguished by its vibrant mosaic façade and its historical connection to the renowned Salviati glassmaking firm. Positioned between the Palazzo Barbaro Wolkoff to the left and the Palazzo Orio Semitecolo Benzon to the right, near the Rio delle Torreselle, this relatively small but eye-catching palace was constructed between 1903 and 1906 as a shop and furnace for the Salviati family’s glass business. Designed by architect Giacomo Dell’Olivo, it underwent a significant renovation in 1924, which added an additional floor and its iconic mosaic decoration. Unlike the Gothic and Renaissance palazzi that dominate Venice, Palazzo Salviati reflects a modern, industrial era, blending functionality with artistic exuberance through its Art Nouveau (Liberty) style mosaics.
The Salviati Family and Glassmaking Legacy
The Palazzo Salviati is
inseparable from the history of the Salviati family and their
contributions to Venetian glassmaking. Antonio Salviati (1816–1890),
born in Vicenza, was a lawyer by training with no initial background in
glasswork. His fascination with the craft developed while he was
involved in restoring the mosaics of St. Mark’s Basilica in Venice
during the mid-19th century. Recognizing the decline of Murano’s glass
industry, which by the 1800s had devolved into producing mundane items
like beads and apothecaries’ bottles, Salviati founded the Salviati
company in 1859 with glassmaker Lorenzo Radi.
Salviati’s vision
was to revive Murano’s artisanal traditions, focusing on both mosaic
work and blown glass. His business acumen, marketing skills, and
connections with influential figures like British archaeologist Austen
Henry Layard and architect Richard Norman Shaw propelled the firm to
international prominence. In 1866, Salviati co-founded the Compagnia
Venezia Murano with Layard, which became a leading producer of Venetian
art glass, creating mosaics for Westminster Abbey, Aachen Cathedral, and
a portrait of Abraham Lincoln for the U.S. Senate. The company’s London
showroom at 235 Regent Street (1898) featured restored mosaics still
visible today.
The Salviati firm’s success rested on blending
traditional Venetian techniques with modern production, making glassware
accessible beyond the elite. Their mosaics adorned churches across
England and France, while decorative glassware filled Italian homes. The
Palazzo Salviati, built decades after Antonio’s death in 1890, was a
showcase for the family’s ongoing legacy, serving as a shop and furnace
to display their craftsmanship directly on the Grand Canal.
Construction and Early Use (1903–1906)
Constructed between 1903 and
1906, the Palazzo Salviati was designed by Giacomo Dell’Olivo as a
commercial hub for the Salviati glass business. Unlike traditional
Venetian palazzi, which served as aristocratic residences, this building
was purpose-built for industry, housing a showroom and furnace to
produce and sell glassware and mosaics. Its location on the Grand Canal,
Venice’s main artery, was strategic, ensuring visibility to passersby on
vaporetti and gondolas. The palazzo’s initial design was functional,
with a simple structure suited to its industrial purpose, though its
aesthetic would later be transformed.
1924 Renovation and Mosaic
Façade
In 1924, the palazzo underwent a major renovation that
elevated its architectural significance. An additional floor was added,
increasing its height to three stories, and the façade was adorned with
a large, ornate mosaic in the Art Nouveau (Liberty) style, a hallmark of
the Salviati firm’s expertise. This renovation transformed the building
from a utilitarian structure into a bold advertisement for the company’s
artistry, with the mosaic serving as a glittering billboard visible
across the canal. The project likely involved Salviati artisans from
Murano, reflecting their mastery of glass tesserae and gold leaf
techniques.
The palazzo continued to function as a showroom into
the 20th century, showcasing the Salviati company’s products, from
intricate mosaics to decorative holloware. Its prominence on the Grand
Canal made it a landmark for visitors, reinforcing Murano’s reputation
as the epicenter of glassmaking.
20th Century and Beyond
During World War II, the Palazzo Salviati faced a darker chapter when it
was occupied by Nazi forces and used as a headquarters, a fate shared by
other Venetian palazzi. The Camerino family, associated with the
Salviati firm, fled the Holocaust, scattering to the UK, USA, Israel,
and South Africa. Post-war, the palazzo resumed its commercial role,
though the Salviati company’s operations shifted, with partnerships like
the 1971 collaboration with Laurel Lamp Company producing Murano glass
lamps.
By the late 20th century, the palazzo’s industrial
function waned as Venice’s economy leaned toward tourism. Recent
accounts note ongoing refurbishments, with scaffolding observed in 2018,
suggesting efforts to maintain its structural integrity. The building’s
interior is not open to the public, and its current use is unclear,
though it likely serves commercial or private purposes, possibly as
offices or a gallery space. The courtyard, once described as beautiful,
is no longer visible, possibly lost to later modifications.
Exterior and Façade
The Palazzo Salviati’s façade is its defining
feature, blending simplicity with opulent decoration. Structurally, the
building is modest compared to Venice’s grand Gothic and Renaissance
palazzi:
Layout: The three-story façade is symmetrical, with
three large arches on the ground floor, likely for shop access and
loading. The first floor (piano nobile) features a central mosaic
flanked by two single-lancet windows, while the second floor has four
arched windows with small Juliet balconies. The third floor, added in
1924, mirrors the first with arched openings.
Mosaic Decoration: The
façade is dominated by a large central mosaic in Art Nouveau style,
depicting a regal female figure—possibly a queen or muse of
art—surrounded by courtiers offering tributes, including a red glass
bowl, a mirror, a platter, and a gold-ground icon. The Salviati name is
inscribed in gold below, serving as a bold advertisement. Smaller
mosaics adorn the ground-floor arches, featuring four nude male figures
and lion motifs, and decorative bands crown the third floor. The gold
and colored glass tesserae shimmer in sunlight, drawing attention from
the canal.
Materials: The façade uses traditional Venetian brick and
plaster, with the mosaic tesserae crafted in Murano. The arches and
windows reflect Venetian Gothic influences, adapted to a modern
industrial aesthetic.
The mosaic’s Liberty style, with flowing lines
and vibrant colors, aligns with early 20th-century European design
trends, contrasting with the Gothic pointed arches and Byzantine
crenellations of older palazzi like Ca’ d’Oro. The façade’s simplicity,
without ornate stonework, underscores its commercial origins, yet the
mosaic elevates it to an artistic statement.
Interior
Little
is known about the palazzo’s interior, as it is not publicly accessible.
Historical accounts suggest a functional layout with showroom spaces on
the ground floor, a furnace for glass production, and upper floors for
offices or storage. The 1924 renovation may have added display areas to
highlight mosaics and glassware. A courtyard, described as “beautiful”
in early 20th-century records, once existed at the rear but is no longer
visible, possibly enclosed or built over. Visitors report no significant
interior features, with the focus remaining on the external mosaic.
Surroundings
The palazzo’s Grand Canal location places it in
Dorsoduro, a vibrant sestiere known for cultural landmarks like the
Peggy Guggenheim Collection (0.2 miles away) and the Accademia Gallery.
The adjacent Rio delle Torreselle canal and neighboring palazzi—Barbaro
Wolkoff (15th-century, with Henry James connections) and Orio Semitecolo
Benzon (Gothic, former residence of poet Olga Rudge)—create a rich
architectural context. The Accademia vaporetto stop, 300 meters away,
offers easy access.
The Palazzo Salviati holds a unique place in Venetian history:
Glassmaking Revival: It symbolizes Antonio Salviati’s 19th-century
rejuvenation of Murano’s glass industry, transforming a declining craft
into a global enterprise. The mosaic façade, a “billboard” for the
Salviati firm, reflects Venice’s commercial ingenuity, using art to
advertise industry.
Art Nouveau Influence: The 1924 mosaic, with its
Liberty-style elegance, bridges Venetian tradition with modern design,
showcasing Murano’s adaptability. Its gold tesserae and allegorical
figures echo St. Mark’s Basilica, linking past and present.
Industrial Heritage: Unlike aristocratic palazzi, the Palazzo Salviati
represents Venice’s industrial era, when merchants and artisans, not
just nobles, shaped the city’s identity. Its shop-and-furnace function
highlights Dorsoduro’s commercial vibrancy.
Wartime History: The Nazi
occupation during World War II adds a somber note, reflecting Venice’s
complex 20th-century experience. The Camerino family’s diaspora
underscores the human cost of that era.
Tourism and Legacy: Today,
the palazzo is a visual highlight for Grand Canal visitors, often
photographed from vaporetti. Its mosaics, visible despite ongoing
renovations, remain a testament to Salviati’s global influence, from
London to Aachen.
As of recent observations (2018–2023), the Palazzo Salviati is
undergoing refurbishment, with scaffolding noted in 2018, likely to
repair weathering or structural issues common in Venice’s humid, saline
environment. The mosaic façade, exposed to canal moisture, requires
careful maintenance to preserve its glass tesserae, a process likely
overseen by Venetian heritage authorities like the Superintendence of
Cultural Heritage. The building’s private status limits public access,
and its current use—possibly as commercial space or offices—is not
well-documented. The loss of the rear courtyard suggests modern
alterations, but the façade remains intact, ensuring its visual impact.
Preservation challenges include Venice’s rising tides (acqua alta),
which threaten ground-floor structures, and tourism’s strain on
Dorsoduro. The NPS’s absence in Venice means local and regional bodies,
supported by groups like Save Venice, likely fund repairs. The palazzo’s
significance as a Salviati landmark ensures ongoing attention, with
potential for future public access if converted into a gallery or
museum.
The Palazzo Salviati is not open to the public, so its primary appeal
is external, best experienced from the Grand Canal:
Viewing: Take
a vaporetto (Lines 1 or 2, Accademia stop, $9.50/ticket) or gondola
($80/30 minutes) for optimal views of the mosaic façade, especially at
sunset when gold tesserae gleam. The central mosaic, depicting a
queen-like figure, and nude figures above the arches are highlights.
Photography: The palazzo’s vibrant colors and canal reflection make it a
favorite for photographers, though slow-moving vaporetti allow better
shots than fast water taxis.
Context: Pair a visit with nearby
attractions like the Guggenheim (5-minute walk) or Ca’ Rezzonico (10
minutes), both showcasing Venetian art and history. The Accademia Bridge
offers a distant view of the palazzo’s façade.
Tours: Guided canal
tours, like those by Walks of Italy ($60–$100), often highlight the
palazzo’s mosaics, providing Salviati history. Private boat tours
($150/hour) offer closer inspection.
The palazzo is visible
year-round, with spring (April–May) and fall (September–October) ideal
for mild weather (60–75°F) and fewer crowds. Summer (80°F) is busy, with
higher vaporetto fares; winter (40–50°F) risks acqua alta but offers
solitude. No interior access or facilities (restrooms, food) are
available; nearby Dorsoduro cafes like Bar alla Toletta ($5–$15) serve
visitors.
Timing: View the palazzo during a 30–60-minute vaporetto ride along
the Grand Canal, ideally at sunset for mosaic brilliance. Allow 2–3
hours to combine with Dorsoduro sites like the Accademia Gallery ($15).
Preparation: Bring a camera with zoom for mosaic details. Wear
comfortable shoes for walking Dorsoduro’s narrow calli. Check vaporetto
schedules (actv.it) and tide forecasts (comune.venezia.it) to avoid
acqua alta.
Safety: Stay on vaporetto platforms; canal edges are
slippery. Pickpocketing is rare in Dorsoduro but possible in crowded
vaporetti.
Respect: Do not attempt to access the private palazzo or
dock boats at its entrance. Photograph from public vaporetti or gondolas
to respect privacy.
Nearby: Explore the Guggenheim’s modern art (0.2
miles, $18), Accademia’s Venetian masters (0.3 miles), or Ca’ d’Oro’s
Gothic splendor (1 mile, $10). Dining at La Rivista ($20–$40) offers
canal views.
Events: Venice’s Biennale (May–November, odd years, $30)
animates Dorsoduro, with vaporetto stops near the palazzo. Carnevale
(February, free) adds festive canal parades. Check venicebiennale.org or
comune.venezia.it.