The Palazzo Soranzo Van Axel, also known as Palazzo Soranzo-Venier-Sanudo-Van Axel-Barozzi, is a remarkable late Gothic palace located in the Cannaregio sestiere of Venice, Italy, at the intersection of the Rio de la Panada and Rio di Ca’ Widmann, near the Church of Santa Maria dei Miracoli. Constructed between 1473 and 1479 for Nicolò Soranzo, this palazzo is one of the best-preserved examples of Venetian Gothic architecture, blending pre-Gothic, Gothic, and early Renaissance elements. Its history spans multiple noble families, including the Soranzo, Venier, Sanudo, and Van Axel, and it has served various roles, from a noble residence to a 20th-century apartment complex and a modern cultural venue for the Venice Biennale.
Construction and Early History
Construction of the palace began in
1473 and was completed by 1479 under the direction of Nicolò Soranzo, a
member of a prominent Venetian family. The site previously housed
structures belonging to the Gradenigo family, dating back to the 12th or
13th century, which were pre-Gothic and possibly Byzantine in origin.
Soranzo repurposed materials from these earlier buildings, including
Byzantine decorations, bas-reliefs, and pre-Gothic decorative disks
(patere) with Christian symbols, which were integrated into the new
palace's walls. This recycling of materials was a common practice in
Venice to economize and preserve historical elements.
The palace was
designed with a dual-family structure in mind, likely anticipating
inheritance by Soranzo's two sons. It includes two separate land
entrances on the Fondamenta de le Erbe and Fondamenta San Felice, two
water gates on the intersecting canals, two internal courtyards (each
with its own well), and two noble floors (piani nobili) accessed by
distinct Gothic external staircases. There is speculation that Soranzo
may have contributed to the construction of the nearby Church of Santa
Maria dei Miracoli, built shortly after in the 1480s, reflecting the
era's architectural trends.
A notable early feature is a narrow
southern section of the building, only a few meters wide, added after
the main structure due to a property dispute with an adjoining convent
of nuns. This addition was mandated by a Venetian court ruling that
imposed a separation, resulting in the palace's somewhat irregular,
"planless" appearance.
Architectural Features
The palace's
design blends late Gothic elements with emerging Renaissance influences,
characteristic of Venice's transitional period in the late 15th century.
Its two water façades are particularly striking: the main one overlooks
the Rio della Panada and features extensive quadriforas (four-light
windows) supported by balconies on the noble floors. The porteghi
(L-shaped halls) provide double-angle views of the canals and open to
the courtyards via multi-arch loggias, with the first piano nobile
featuring a three-arch loggia with Ionic capitals.
The courtyards
preserve original Gothic open stairways, with the larger one visible
through segment arches on a shared column, leading to the second piano
nobile. These staircases include platforms, cross-vaulted corridors, and
Venetian Gothic balustrades with stone traceries. The wells in each
courtyard are original; the second bears the Soranzo coat of arms and a
pulley system for water delivery to upper floors. Interiors boast
valuable decorated wooden ceilings, particularly in the piani nobili,
and emphasize private rooms over grand public spaces.
One of the most
iconic elements is the original 15th-century wooden land gate on the
Fondamenta de le Erbe, adorned with a bezel, round wood sculptures (some
missing), and the Van Axel family's elaborate coat of arms—a rare
surviving example of such a door in Venice. Polychrome frescoes,
uncovered during restorations, decorate the courtyards and external
façade. A neogothic oculus, possibly added in the 20th century, offers
views of the adjacent Miracoli church.
Ownership Changes
After
the Soranzo family, the palace passed to the Venier and Sanudo families
in the subsequent centuries. In the 17th century (sources vary between
1628 and 1652), it was acquired by the Van Axel family, wealthy
merchants from Axel near Ghent in the Netherlands. The Van Axels, who
affixed their coat of arms to the entrance, purchased a noble title from
the Venetian Republic in 1665, integrating into the patriciate despite
being foreigners—though such "bought" nobility was often viewed as
inferior. They attempted further assimilation through marriage to the
noble Bembo family.
In 1919, the palace was purchased by Lord Dino
Barozzi (also referred to as Count Barozzi), who incorporated pieces
from his art collection, including a basin carved around the year 1000
and a 15th-century Venetian sarcophagus depicting sailors in a storm,
inscribed with the motto "Navigare necesse est, vivere non necesse" ("It
is necessary to sail further, not to live"). By the later 20th century,
it was divided into apartments and used for public offices. At one
point, it was owned by the Marsoni family and listed for sale. In recent
years, it has been privately owned and repurposed for cultural uses.
Restorations and Modern Uses
The palace underwent a major
restoration lasting about ten years, completed in the mid-2010s, which
uncovered ancient polychrome frescoes and preserved original elements
like the wells and staircases. Exterior renovations have also been noted
in recent years. In the 20th century, a bedroom from the palace was
relocated to the Philadelphia Museum of Art, preserving a piece of its
interior history.
Today, the palace serves as a venue for exhibitions
and events, including collaborations with the Venice Biennale. For
instance, during the 57th Venice Biennale in 2017, it hosted
contemporary art installations by Russian artists in partnership with
the Pushkin State Museum of Fine Arts. In 2024, luxury brand Bottega
Veneta transformed it into Palazzo Bottega Veneta, a creative and
cultural residence for very important customers (VICs). This includes
curated interiors by creative director Matthieu Blazy, insider access to
cultural events, artisanal residencies under the "Bottega for Bottegas"
initiative, appointment-only services, and early access to collections
like the brand's first fine jewelry line. It is the first in a series of
planned VIC residences worldwide.
Notable Events and Cultural
Significance
The palace appeared in the 1967 film The Honey Pot,
highlighting its cinematic appeal. In 2003, it briefly served as a
residence for writer Richard Smith, who documented his stay in personal
writings. Historical images from the 19th and early 20th centuries,
including photographs from 1860-1880, capture its façades and evolution.
Its well-preserved state and unique features make it a pearl of Venetian
heritage, offering insights into the city's merchant history,
architectural innovation, and ongoing cultural vitality.
The Palazzo Soranzo Van Axel is a standout example of late Venetian
Gothic architecture, with pre-Gothic remnants and early Renaissance
influences. Its “apparently planless” design, as noted by scholars,
results from its irregular site and dual-family layout, yet it exudes
elegance and functionality. Key architectural features include:
Exterior Facades: The palazzo’s two water facades, meeting at an obtuse
angle at the Rio de la Panada and Rio di Ca’ Widmann, create a striking
presence. The main facade along the Rio de la Panada is extensive but
difficult to view straight-on due to the narrow canal, as depicted in
Marco Moro’s lithographs. The facade features late Gothic quadrifore
(four-light windows) on the two piani nobili (noble floors), supported
by delicate balconies with intricate tracery. Traces of polychrome
frescoes, uncovered during restoration, adorn the exterior, echoing the
vibrant decoration of 15th-century Venice. The Fondamenta Van Axel
entrance, with its original wooden gate and Van Axel coat of arms, is a
highlight, while a narrow southern section, built later after a property
dispute, adds to the palazzo’s quirky charm.
Courtyards: The palazzo
has two internal courtyards, a hallmark of Venetian Gothic design,
featuring external spiral staircases that optimize space. The smaller
courtyard’s stairway ends in a cross-vaulted corridor supporting the
larger courtyard’s platform, demonstrating clever spatial planning. The
second courtyard houses the original Soranzo well, with their coat of
arms and a preserved pulley, alongside pre-Gothic decorative disks
(patere) with Christian symbols, likely from the Gradenigo palace.
Gothic-style wall balustrades with stone tracery, partially original,
add decorative flair.
Interior Layout: The palazzo spans four floors,
covering 3,500 square meters, with two piani nobili featuring L-shaped
porteghi (grand halls) that offer dual views of the intersecting canals,
a unique feature due to the palazzo’s corner location. The ground floor
retains pre-Gothic masonry, with exposed brick revealing construction
history before restoration. A second-floor bedroom, now in the
Philadelphia Museum of Art, showcases 15th-century wood carvings with
twisted columns and foliage, alongside a 12th–13th-century stone
fireplace and 17th-century Utrecht brocade from the Van Axel era. The
interiors are richly decorated with mosaiced floors, marble bas-reliefs,
and Byzantine-inspired details, evoking a “glorious faraway past.”
Pre-Gothic and Gothic Elements: The ground floor preserves pre-Gothic
walls from the Gradenigo palace, with Byzantine patere and early
masonry. The Gothic quadrifore, spiral staircases, and frescoes reflect
the late 15th-century style, while an oculus, possibly neo-Gothic and
added by Barozzi, offers views of the Miracoli church’s marble
incrustations. The palazzo’s design balances asymmetry and light,
characteristic of Venetian Gothic, with early Renaissance influences in
its structured facades.
Restoration Details: The 2017 restoration
uncovered polychrome frescoes and stabilized the ground floor’s
salt-damaged masonry. Modern additions, including two elevators and
accessibility features, ensure the palazzo meets contemporary standards
while preserving its historical fabric. The restored courtyards and
interiors, with their “sumptuous romance,” evoke 18th-century Venice, as
noted by visitors.
The Palazzo Soranzo Van Axel is a cultural treasure, embodying
Venice’s mercantile and artistic heritage:
Venetian Gothic
Excellence: As one of the best-conserved late Gothic palazzi, the
palazzo showcases Venice’s architectural prowess at the cusp of the
Renaissance. Its reuse of Gradenigo materials and integration of
Byzantine elements reflect the city’s trade connections with the East,
while the quadrifore and frescoes highlight the Gothic emphasis on light
and decoration. Scholars like Arslan and Concina praise its preservation
and historical layering.
Mercantile and Noble Legacy: The palazzo’s
succession of owners—Soranzo, Venier, Sanudo, Van Axel, and
Barozzi—illustrates Venice’s social mobility, where wealth from trade
(Soranzo’s Eastern commerce, Van Axel’s textiles) could secure noble
status. The Van Axel family’s 1665 patriciate entry underscores the
Republic’s openness to foreign merchants, a key factor in Venice’s
economic success.
Artistic and Cinematic Presence: The palazzo’s art
collection, enriched by Barozzi, includes a 15th-century sarcophagus
with a carved Venetian ship and the motto “Navigare necesse est, vivere
non necesse” (“It is necessary to sail, not to live”), echoing Venice’s
maritime ethos. Its appearance in The Honey Pot (1967) and Biennale
exhibitions, such as Shahzia Sikander’s works or the Pushkin Museum’s
“Man as a Bird,” highlights its role as a cultural stage.
Preservation Efforts: The Venice in Peril Fund’s 2009 study, funded by
Martin Randall Travel, documented the palazzo’s pre-Gothic and Gothic
elements, ensuring their preservation before restoration. This research,
using digital photogrammetry and archival data, saved cultural evidence
that might have been lost, reinforcing the palazzo’s importance as a
historical monument.
Contemporary Cultural Hub: Since 2017, the
palazzo’s use for Biennale exhibitions has revitalized its cultural
role, offering a dialogue between ancient Venetian art and contemporary
works. Exhibitions like “Man as a Bird” (2017) and Casa Platform Venezia