Palazzo Zane Collalto is a historic palace located in the San Polo sestiere (district) of Venice, Italy, overlooking the Rio di Sant’Agostin, a minor canal near Campo Sant’Agostin. Constructed in 1665 by the renowned Baroque architect Baldassare Longhena and completed by Antonio Gaspari after Longhena’s death, the palace was commissioned by the wealthy Zane family, one of Venice’s richest dynasties in the 16th century. In 1783, it passed to the Collalto family, from whom it derives its current name. The palace, with its elegant Istrian stone façade, two piani nobili (noble floors), and a 17th-century garden, is a significant example of Venetian Baroque architecture. Today, it houses a school and has served as a venue for cultural activities, including a foundation dedicated to French Romantic music.
The Palazzo Zane Collalto was commissioned by Marin Zane, son of
Lunardo, in 1665, during a period when the Zane family was among
Venice’s most prominent patrician families. The Zanes were known for
their wealth and influence in the 16th century, and their decision to
hire Baldassare Longhena, one of Venice’s leading architects (famous for
Ca’ Pesaro, Ca’ Rezzonico, and Santa Maria della Salute), reflects their
ambition to create a grand residence befitting their status. Longhena,
who served as the family’s proto (master builder), began the project but
died in 1682 before its completion. The work was finalized by Antonio
Gaspari, a talented architect who had worked under Longhena and later
contributed to other Venetian projects.
In 1783, the palace was
sold to a branch of the Collalto family, a noble dynasty with roots in
the Veneto region. This transfer marked a new chapter in the palace’s
history, though it retained its association with the Zane family through
its architectural legacy. Over time, the palace underwent various uses,
reflecting the evolving needs of Venice’s urban landscape. By the 21st
century, it was repurposed as a school (the Scuola Livio Sanudo) and
hosted cultural initiatives, such as the Palazzetto Bru Zane – Centre de
musique romantique française, which occupies the adjacent casinò (a
small pleasure house built for the Zane family).
The palace’s
history is also tied to its casinò and garden, which were integral to
its original function as a place of residence, entertainment, and
intellectual pursuit. The casinò, constructed between 1695 and 1697
under Marino Zane’s patronage, was designed as a venue for music,
gaming, and study, housing a library and art collection. This annex, now
known as the Palazzetto Bru Zane, has been restored and repurposed as a
cultural center, preserving part of the palace’s historical and artistic
legacy.
Palazzo Zane Collalto is a prime example of Venetian Baroque
architecture, characterized by its elegant façade, symmetrical design,
and integration with the city’s canal system. Longhena’s design draws on
formal solutions seen in his other masterpieces, particularly Ca’
Pesaro, while adapting to the site’s constraints along the Rio di
Sant’Agostin.
Exterior
The façade, clad in white Istrian
stone, is a standout feature, emphasizing the palace’s grandeur and
symmetry. It is organized into three levels: a ground floor and two
piani nobili (noble floors), which are the primary residential spaces.
Key elements include:
Ground Floor: The façade features two
large, rounded arch portals facing the canal, providing access to the
androne (water entrance hall) and facilitating the movement of goods and
visitors by boat, a practical necessity in Venice.
Piani Nobili: The
two noble floors are distinguished by their large, centrally placed
pentafore (five-arched windows), each with a prominent mascherone
(grotesque mask) as a keystone. These pentafore are flanked by single
monofore (single windows) with similar mascheroni, creating a rhythmic
and balanced composition. The first piano nobile has a protruding
balcony, while the second has a flush balustrade, emphasizing the
hierarchy of the floors. The use of mascheroni and balustrades adds a
sculptural quality, typical of Longhena’s Baroque aesthetic.
Asymmetry: On the left side of the façade, remnants of a pre-existing
smaller building with two levels are visible, slightly disrupting the
otherwise symmetrical design. This integration of older structures is
common in Venice, where space constraints often dictated architectural
adaptations.
The façade’s fenestration (window arrangement) echoes
Longhena’s Ca’ Pesaro, particularly in its use of large, arched openings
to create a sense of openness and grandeur. The white Istrian stone, a
durable and luminous material, enhances the palace’s visual impact along
the canal.
Garden and Casinò
A significant feature of the
palace is its 17th-century garden, located at the rear of the main
structure and accessible via a water gate. The garden, designed in the
French style (giardino alla francese), is characterized by its orderly
layout, with green lawns, evergreen shrubs, white flowers, and classical
statues. A paved courtyard with a well, a pathway ending at a bench, and
a perimeter wall complete the garden’s classical Venetian aesthetic.
Though partially altered by later constructions, the garden remains a
rare and valuable feature in Venice, where open spaces are scarce.
Adjacent to the garden is the casinò (now Palazzetto Bru Zane), a
separate building constructed between 1695 and 1697 by Antonio Gaspari
for Marino Zane. The casinò was designed as a pleasure house for music,
gaming, and intellectual pursuits, with a ballroom on the ground floor
and finely decorated upper rooms. Its architecture complements the main
palace, with a more intimate scale and ornate interior decoration,
including frescoes attributed to Sebastiano Ricci and stucco work by
Abbondio Stazio. The casinò also housed a library, which no longer
exists in its original form, reflecting the Zane family’s commitment to
preserving their cultural collections.
Interior
While much of
the palace’s original interior decoration has been lost or altered, some
notable features remain:
Staircase: The palace contains a
remarkable staircase, though it is described as being in a “pitiful
state” due to neglect. This staircase, likely designed by Longhena or
Gaspari, would have been a grand feature, connecting the ground floor to
the piani nobili and showcasing the family’s wealth through its scale
and ornamentation.
Former Decorations: The original wall and ceiling
decorations, a second-floor chapel, and other interior elements have
been destroyed or built over, reflecting the palace’s adaptation to
modern uses. However, the casinò retains significant 18th-century
decoration, including Ricci’s frescoes and Stazio’s stucco work, which
provide a glimpse of the opulence that once characterized the main
palace.
Casinò Interior: The casinò’s interior is well-preserved,
with a restored concert hall, a grand staircase with frescoes, and rooms
used for offices, studios, and a library. The concert hall houses a 1902
Erard piano, underscoring its current musical function. The frescoes,
depicting mythological or allegorical themes, and the stucco work add to
the casinò’s charm and historical value.
The palace’s layout likely
follows the traditional Venetian model, with an androne on the ground
floor for water access, a central portego (grand hall) on the piani
nobili for receptions, and private apartments arranged around it. The
unconventional L-shaped portego, similar to that of Palazzo Contarini a
San Beneto, may reflect the integration of older structures or site
constraints.
Palazzo Zane Collalto is a testament to the Zane family’s wealth and
cultural patronage in 17th-century Venice. Its commission by Marin Zane,
who sought to honor his family’s legacy, and its design by Longhena, a
master of Venetian Baroque, place it within the city’s rich
architectural tradition. The palace’s façade, with its echoes of Ca’
Pesaro, demonstrates Longhena’s ability to adapt his formal vocabulary
to different scales and contexts, creating a residence that is both
grand and harmonious.
The casinò (Palazzetto Bru Zane) is a
particularly significant feature, as it represents the Venetian
tradition of building small pleasure houses for entertainment and
intellectual pursuits. Its restoration by the Fondation Bru in 2007, at
a cost of over four million euros, has revitalized this space as a
cultural hub dedicated to French Romantic music (1780–1920). The
casinò’s frescoes by Sebastiano Ricci, a leading Venetian painter of the
late Baroque, and its stucco work by Abbondio Stazio are rare surviving
examples of 18th-century Venetian interior decoration. The Centre de
musique romantique française, established in 2009, organizes concerts,
musicological research, and publications, making the casinò a vibrant
part of Venice’s contemporary cultural scene.
The palace’s
garden, though less prominent today, is a rare surviving example of a
17th-century Venetian garden, reflecting the influence of French
landscape design. Its preservation under the oversight of the Ministry
for Cultural Heritage and Activities underscores its historical value.
The palace’s later uses—as a school and a cultural venue—demonstrate
its adaptability to Venice’s changing needs. While some original
features, such as the chapel and interior decorations, have been lost,
the surviving elements, particularly in the casinò, maintain the
palace’s connection to Venice’s artistic and architectural heritage.
Palazzo Zane Collalto is currently in good condition and serves as
the Scuola Livio Sanudo, a school, which limits public access to the
main building. The palace is not a major tourist attraction, and its
interior, including the staircase, is reportedly in poor condition,
making it less accessible to visitors. However, the adjacent casinò
(Palazzetto Bru Zane) is open to the public for free guided tours,
typically on Thursday afternoons, allowing visitors to admire its
frescoes, stucco work, and restored concert hall. The casinò also hosts
concerts and events focused on French Romantic music, attracting a niche
audience of music enthusiasts and scholars.
The palace’s location
in San Polo, near the Basilica dei Frari (230 meters south), Campo San
Polo (240 meters southeast), and the Rialto Bridge (670 meters east),
places it in a culturally rich but less touristy part of Venice.
Visitors can reach it via public transit, with the nearest ferry stop at
S. Toma’ “A” (a 3-minute walk) and bus stops at Piazzale Roma (an
11-minute walk). The palace’s address is Calle Collalto, 2360, and its
proximity to the Rio di Sant’Agostin offers scenic views from the canal.
The Palazzetto Bru Zane is a highlight for visitors, offering a
glimpse into a “hidden spot” of Venice, as described in Tripadvisor
reviews. Its restoration has been praised for its tasteful approach,
preserving the casinò’s historical character while adapting it for
modern use. The Fondation Bru’s commitment to musicological research and
education, including affordable concert tickets for students, has earned
it a reputation for cultural integrity, avoiding the commercialization
often associated with Venice’s tourist sites.
The main palace,
however, remains less accessible, and its interior is not
well-documented for public viewing. The garden, while historically
significant, is not regularly open to visitors, though it is maintained
under cultural heritage protections. The palace’s role as a school
ensures its continued use, but its artistic and architectural treasures
are primarily preserved in the casinò.