The Palazzo Brandolin Rota is a notable palace in Venice, Italy, situated in the Dorsoduro sestiere along the Grand Canal, positioned between the Gallerie dell’Accademia and Palazzo Contarini Polignac. This 17th-century structure, expanded in the 18th century, exemplifies Venetian architecture’s evolution from Renaissance to Baroque influences, reflecting the city’s mercantile wealth and patrician culture. Its history, architectural features, and varied uses—from a noble residence to a hotel and gentlemen’s club—make it a significant landmark.
The Palazzo Brandolin Rota’s history spans several centuries, marked
by construction, expansion, and changes in ownership that reflect
Venice’s shifting social and economic landscape.
Construction and
Early History: The palace was originally built in the 17th century as a
two-story structure, likely for a Venetian patrician family, though
early ownership details are sparse. Its initial design was modest
compared to grander palaces like Ca’ Pesaro, reflecting the practical
needs of a merchant city. In the mid-18th century, the palace was
expanded to its current three-story form, with the addition of a second
piano nobile (noble floor), aligning with the Baroque trend for greater
height and grandeur. This expansion, around 1750, coincided with its
acquisition by the Brandolin family through marriage, marking a
significant phase in its history.
Ownership Transitions: In the
second half of the 19th century (circa 1870s), the palace was purchased
by Franz Edler von Hruschka (1819–1888), a Viennese nobleman and major
in the Austro-Hungarian army, known for pioneering beekeeping
innovations in nearby Dolo. Hruschka transformed the palace into the
Hotel Universo (also referred to as Albergo dell’Universo), catering to
Venice’s growing tourism industry. The hotel fell into decline by the
early 1880s and was sold. The palace later passed to the Brandolini Rota
family, who remain its owners today, a rare example of sustained family
ownership in Venice.
Notable Residents and Uses: In the 19th century,
the palace briefly housed prominent figures, including the celebrated
Italian soprano Toti Dal Monte and, according to some sources, the
English poet Robert Browning, though evidence for Browning’s residency
is less definitive. In the 20th century, the palace hosted the Circolo
Società dell’Unione, one of Italy’s last gentlemen’s clubs, underscoring
its role as a social hub for Venice’s elite. In the 1980s, American
socialite Dodie Rosekrans purchased an apartment within the palace,
commissioning designers Tony Duquette and Hutton Wilkinson to create an
opulent interior inspired by 18th-century Venetian aesthetics.
Modern
Era: Today, the Palazzo Brandolin Rota is a private residence, with
parts occupied by the Brandolini Rota family, including Marcantonio
Brandolini, who inherited the palace from his mother, Marie Brandolini,
after her death in 2013. Marcantonio has used the palace as a base for
his glass-making business, Laguna B, continuing the family’s tradition
of Venetian craftsmanship. The palace’s garden and rooftop studio, once
frequented by decorator Renzo Mongiardino, remain private but are noted
for their historical and artistic significance.
The Palazzo Brandolin Rota is a three-story building with a
mezzanine, characterized by a restrained yet elegant facade that blends
Renaissance simplicity with Baroque verticality. Its design reflects
Venice’s architectural conservatism, prioritizing functionality and
canal-facing prominence over ostentatious decoration.
Facade: The
Grand Canal facade is relatively simple compared to Gothic or high
Baroque palaces, with a focus on symmetry and proportion. The ground
floor features a central arched water portal, essential for canal
access, flanked by smaller arched openings. The two piani nobili (noble
floors) each have nine arched windows, with the central five forming a
pentafora (five-light window), a hallmark of Venetian Renaissance
architecture. The first piano nobile has balustrades across all nine
openings, while the second piano nobile’s balustrade is limited to the
pentafora, creating a subtle distinction between the floors. Above the
pentafora, the facade is slightly elevated and capped with a pediment,
adding a Baroque flourish. Two small, square monofore (single windows)
flank the pediment, enhancing the facade’s verticality. The facade’s
medieval portal, preserved toward the Rio Terà Antonio Foscarini, hints
at older structural elements.
Interior: While the interiors are
largely private, historical accounts describe them as richly decorated,
particularly in apartments like Dodie Rosekrans’. Her space, designed by
Duquette and Wilkinson, featured lavish details evoking 18th-century
Venetian opulence, with intricate textiles, chandeliers, and
fresco-inspired motifs. The palace’s airy living room, with large
windows facing the Grand Canal, is noted for its breathtaking views.
Marcantonio Brandolini’s rooftop studio, used for Laguna B’s glass
design, incorporates modern elements while retaining the palace’s
historic charm, influenced by Mongiardino’s earlier work for the family.
The palace’s layout likely includes a portego (central hall) on the
piani nobili, typical of Venetian palaces, with lateral rooms for living
and entertaining.
Garden and Courtyard: The palace features a rare
secret garden, a significant asset in Venice’s dense urban environment.
Described as lush with venerable trees and ancient sculptures, the
garden offers a private oasis, visible from the palace’s terraces. A
small courtyard, accessible from the Rio Terà Antonio Foscarini
entrance, provides additional light and ventilation, a common feature in
Venetian architecture.
Structural Details: Built on timber piles
driven into the lagoon bed, the palace uses Istrian stone for the
facade’s key elements and brick for the structural core, standard in
Venetian construction. The 18th-century expansion maintained the
original facade’s aesthetic, ensuring stylistic continuity despite the
added height. The palace’s adjacency to Palazzo Contarini Polignac, with
a shared wall, and its setback with a private fondamenta (canal-side
walkway) enhance its distinct presence.
The Palazzo Brandolin Rota encapsulates Venice’s architectural and
social history, reflecting the city’s mercantile roots, patrician
culture, and adaptation to modern needs.
Brandolini Rota Family:
The Brandolini family, tracing its roots to 15th-century Italy, has
played a significant role in Venetian culture, particularly through
Marcantonio Brandolini’s stewardship of Laguna B, a glass-making
business that preserves Murano’s artisanal traditions. The palace’s
continued family ownership, rare in Venice, underscores the Brandolini
Rota’s commitment to heritage, as seen in Marcantonio’s efforts to
balance tradition with innovation. The family’s connection to figures
like Renzo Mongiardino and their hosting of royalty, such as the Queen
Mother, highlight the palace’s social prominence.
Architectural
Evolution: The palace’s initial 17th-century design reflects Venice’s
transition from Renaissance to early Baroque, with its pentafora and
arched windows echoing palaces like Ca’ Vendramin Calergi. The
18th-century expansion, adding a second piano nobile, aligns with the
Baroque preference for verticality and grandeur, though the facade’s
simplicity contrasts with more ornate palaces like Ca’ Rezzonico. The
preservation of medieval elements, such as the Rio Terà portal, ties the
palace to Venice’s earlier architectural layers.
Cultural Role: The
palace’s 19th-century role as the Hotel Universo reflects Venice’s
emergence as a tourist destination, while its brief association with
Toti Dal Monte and possibly Robert Browning adds artistic cachet. The
Circolo Società dell’Unione’s presence in the 20th century underscores
Venice’s tradition of exclusive social clubs, akin to those at Palazzo
Corner Spinelli. Dodie Rosekrans’ apartment, with its theatrical
interiors, exemplifies the palace’s appeal to international tastemakers,
while Marcantonio’s Laguna B studio connects it to Venice’s contemporary
craft revival.
Located at Rio Terà Antonio Foscarini, 878a-d, Dorsoduro, the Palazzo
Brandolin Rota is approximately 1.5 kilometers from Santa Lucia railway
station and 200 meters from the Accademia vaporetto stop (Lines 1, 2).
Its Grand Canal position, between the Accademia Bridge and Palazzo
Contarini Polignac, places it in a culturally rich area near the Peggy
Guggenheim Collection (300 meters west) and Ca’ Rezzonico (400 meters
northwest).
Current Use: The palace is a private residence,
primarily occupied by the Brandolini Rota family. Marcantonio Brandolini
uses parts of the palace, including the rooftop studio, for his
glass-making business, Laguna B, which produces distinctive Murano
glassware. The palace’s garden and select interiors remain private, with
no public access except for occasional cultural events or private
arrangements. The building’s residential status distinguishes it from
repurposed palaces like Palazzo Cavalli-Franchetti, now an exhibition
space.
Visiting: The palace’s exterior is best viewed from the Grand
Canal, via vaporetto (Accademia stop) or gondola, where its pentafora
and pedimented facade are prominent. The Fondamenta Zattere or Accademia
Bridge offer pedestrian perspectives, though the palace’s canal-facing
orientation prioritizes water views. The interior is not open to the
public, and no regular tours are available, making it less accessible
than museums like Ca’ d’Oro. The surrounding Dorsoduro sestiere is
vibrant, with nearby attractions, cafes, and the Zattere promenade for
leisurely walks.
Preservation: The palace is well-maintained, with
its facade and garden preserved under Venice’s strict heritage
regulations. The Brandolini Rota family’s stewardship ensures the
building’s structural and aesthetic integrity, despite challenges like
lagoon humidity. The 18th-century additions have been seamlessly
integrated, maintaining the palace’s historical coherence.