The Ca’ Giustinian, also known as Palazzo Giustinian, is a distinguished 15th-century Gothic palace located in the San Marco sestiere of Venice, Italy, overlooking the Grand Canal at its confluence with the Bacino di San Marco. As the current headquarters of the Venice Biennale, this historic palazzo is a prime example of late Venetian Gothic architecture, blending elegance with functionality. Its rich history, illustrious residents, and cultural significance make it a notable landmark in Venice’s architectural and artistic landscape.
The Ca’ Giustinian was commissioned by the Giustinian family, one of
Venice’s most prominent patrician families, in the second half of the
15th century (circa 1471). Built on the site of an earlier structure
where Lorenzo Giustinian, the first Patriarch of Venice, resided in the
early 15th century, the palazzo was a symbol of the family’s wealth and
influence. The Giustinians, known for their contributions to Venetian
governance, religion, and commerce, produced notable figures, including
San Lorenzo Giustiniani, canonized for his piety and leadership. The
palace later served as the Venetian residence of Giovanni delle Bande
Nere, a renowned Milanese condottiere, in the 16th century.
In
the 17th century, the palazzo passed to the Morosini family, another
influential Venetian dynasty, reflecting the fluidity of noble ownership
in Venice. By 1820, the building was transformed into the Hotel Europa
(also known as Albergo all’Europa or Hotel d’Europa), becoming a
prestigious lodging that hosted luminaries such as:
Giuseppe
Verdi, who stayed there while supervising the premieres of his operas
Ernani (1844), Attila (1846), Rigoletto (1851), La Traviata (1853), and
Simon Boccanegra (1857) at the nearby Teatro La Fenice. Verdi occupied a
room with a private drawing room and piano, where he composed parts of
these works.
Théophile Gautier, who wrote chapters of his Voyage en
Italie (1852) during his stay.
William Turner, who created paintings
of the Bacino di San Marco during three visits between 1820 and 1840.
Marcel Proust, who visited around the turn of the 20th century, drawing
inspiration for his literary works.
François-René de Chateaubriand,
George Eliot, Richard Wagner, and Rodolphe Töpffer, among others, also
graced its rooms.
A pivotal historical moment occurred on October
19, 1866, when French plenipotentiary general Edmond Le Bœuf signed the
formal transfer of the Veneto region to the Kingdom of Italy in a room
of the Hotel Europa, marking a significant step toward Italian
unification following the Austro-Prussian War. This event, a prelude to
the Veneto plebiscite of October 21–22, 1866, underscores the palazzo’s
role in political history.
In the 1930s, the City of Venice
acquired the palazzo with plans to convert it into a municipal casino,
leading to significant modifications, including the addition of the Sala
delle Colonne. However, after World War II, it became the permanent
headquarters of the Venice Biennale, the world’s oldest and most
prestigious contemporary art exhibition, founded in 1895. The palazzo
was also the final residence of Princess Louise Marie Thérèse of France,
adding to its aristocratic legacy. Major restorations between 2008 and
2010 modernized the building while preserving its Gothic character,
ensuring its role as a cultural hub.
The Ca’ Giustinian is a quintessential example of late Venetian
Gothic architecture, characterized by its delicate arches, intricate
tracery, and emphasis on light and openness. The palazzo is a fusion of
two earlier structures—Giustinian (east) and Badoer-Tiepolo
(west)—united in the late 15th century by filling a narrow calle
(alley), creating a single, cohesive building. Covering 6,100 square
meters (5,600 covered, 500 in terraces), it is one of Venice’s larger
palazzi, with a commanding presence on the Grand Canal.
Exterior
Facade: The four-story Gothic facade, constructed in brick with Istrian
stone accents, is divided by marcapiano cornices (horizontal bands) that
emphasize its verticality. The facade overlooks the Grand Canal, with
the Punta della Dogana and Bacino di San Marco in view, and is flanked
by the Bauer Hotel (to the left, separated by Calle Tredici Martiri) and
the Hotel Monaco and Grand Canal (to the right, separated by Calle
Ridotto). The facade’s elegance is enhanced by:
Ogival arches
(pointed, ship-keel shaped) on most windows, typical of Venetian Gothic,
framed in white stone against the brick surface.
A round-arched
portal at the ground floor, flanked by two timpanated single-light
windows, serving as the water entrance for gondolas and boats.
Quadrifore (four-light windows) with protruding balustrades on the two
piani nobili (noble floors) and the top floor, creating a central focal
point. These windows, with their delicate tracery, are among the finest
examples of late Gothic design.
A Venetian serliana (tripartite
window with a central arch) on the ground floor of the Badoer-Tiepolo
section, adding architectural variety.
A dentiled cornice crowning
the facade, topped by a balustraded terrace offering panoramic views of
the Grand Canal, Punta della Dogana, and San Marco Basin.
Terraces:
The rooftop terrace, accessible to Biennale visitors during events, and
a lower terrace facing the lagoon provide stunning vistas, making the
palazzo a coveted venue for cultural gatherings.
Interior
The
interior, restored between 2008 and 2010, blends Gothic heritage with
contemporary design, prioritizing light, neutral colors, and essential
lines to create a functional space for the Biennale. Key features
include:
Portego: The ground-floor exhibition space, restored to
host historical-retrospective exhibitions from the Historical Archives
of Contemporary Arts (ASAC), has featured shows like Biennale Arte 2001
- Platea of Humanity (2016–2017) and The Idea of the Body (2014). Its
unrefined walls and polished concrete floor with larch wood inlays
create a modern yet tactile environment.
Sala delle Colonne: Added in
the 1930s during the casino conversion, this 550-square-meter hall on
the first floor is a flexible space for conferences, workshops, and
performances. Its eclectic decor includes faux-marble pilasters, Murano
glass mirrors, polychrome stucco ceilings, and glass rosette
chandeliers, evoking 18th-century Venetian style. Restored by 2010, it
is a highlight for visitors during Biennale events.
Sala degli
Specchi: Located on the first floor overlooking the Bacino di San Marco,
this former noble room is now L’Ombra del Leone, a cafeteria and
cultural salon hosting events with artists and intellectuals. Its large
windows and historic ambiance make it a vibrant public space.
Laboratorio delle Arti: A 180-square-meter workshop space with birch
workbenches, a blackboard wall for brainstorming, and raw finishes, used
for Biennale College and Biennale Educational programs, fostering
creative collaboration.
Children’s Room: A dedicated space for young
visitors, reflecting the Biennale’s commitment to accessibility and
education.
Contemporary Artworks: The interiors are adorned with
curated pieces from the Biennale’s collection, strategically placed to
enhance the dialogue between art and architecture.
The 2008–2010
restoration, overseen by the City of Venice and the Biennale, preserved
Gothic elements while modernizing facilities with new structural
supports, updated utilities, and a pontoon (Campiello d’Acqua) for water
access, promoting public engagement. The palazzo’s design now serves as
an “open house” for Venice, balancing its historical legacy with its
role as a contemporary cultural center.
The Ca’ Giustinian’s primary cultural role is as the headquarters of
the Venice Biennale, which organizes biennial exhibitions of
contemporary art, architecture, film, dance, music, and theater. Since
2009, the palazzo has housed the Biennale’s main offices at San Marco
1364/A, serving as a hub for planning and hosting events that draw
global audiences. Its Portego and Sala delle Colonne host exhibitions,
conferences, and workshops, while L’Ombra del Leone fosters cultural
dialogue through public events. The Laboratorio delle Arti supports
educational initiatives, making the palazzo a dynamic space for
creativity and innovation.
Historically, the palazzo’s
significance is tied to its noble residents and illustrious guests. The
Giustinian family’s legacy, including Lorenzo Giustinian’s spiritual
leadership, imbues the building with religious and civic prestige. Its
time as the Hotel Europa cemented its status as a cultural crossroads,
hosting artists and intellectuals who shaped 19th-century European
culture. The 1866 signing of the Veneto transfer agreement marks it as a
site of political importance, while its association with Verdi’s
operatic premieres links it to Venice’s musical heritage.
The
palazzo’s Gothic architecture, with its delicate arches and light-filled
interiors, exemplifies Venice’s late 15th-century aesthetic, influenced
by the city’s maritime wealth and Byzantine-Oriental motifs. Its
restoration has been praised for preserving this heritage while adapting
the space for modern use, though some critics note that the contemporary
interiors may overshadow the Gothic character in certain areas. The
Biennale’s presence ensures the palazzo remains a living monument,
bridging Venice’s past with its role as a global art capital.
Today, the Ca’ Giustinian is primarily the administrative and
cultural headquarters of the Venice Biennale, hosting offices,
exhibitions, and events. It also houses municipal tourism offices and
serves as a multifunctional venue for:
Exhibitions: The Portego
displays works from the Biennale’s archives, focusing on the history of
contemporary art.
Conferences and Workshops: The Sala delle Colonne
and Laboratorio delle Arti host Biennale College and Educational
programs, including meetings, performances, and art workshops.
Cultural Events: L’Ombra del Leone offers a cafeteria and salon for
discussions with artists, curators, and cultural figures.
Public
Access: The ground-floor spaces, including the Portego and cafeteria,
are accessible during Biennale events or by request, while upper floors
are typically reserved for staff or guided tours.
The palazzo is not
a public museum, so access is limited compared to sites like the Doge’s
Palace. However, its role as a Biennale venue makes it a focal point
during art and architecture exhibitions (e.g., the 61st International
Art Exhibition, May 9–November 22, 2026, curated by Koyo Kouoh, or the
19th International Architecture Exhibition, May 10–November 23, 2025).
Visitors can explore public areas during these events or request guided
tours through the Biennale’s website (www.labiennale.org) or by
contacting info@labiennale.org (+39 041 5218711).
Location: San Marco 1364/A, overlooking the Grand Canal and Bacino di
San Marco, near the Punta della Dogana. It is approximately 2.1 km from
Santa Lucia railway station and 280 meters from the San Marco Vallaresso
vaporetto stop (Line 1). Nearby landmarks include Piazza San Marco (370
meters northeast), Teatro La Fenice (260 meters northwest), and the
Marciana Library (250 meters northeast).
Opening Hours: Public access
is limited to Biennale events, exhibitions, or guided tours. The Portego
and L’Ombra del Leone cafeteria are open during Biennale hours
(typically 10:00 a.m.–6:00 p.m., varying by event). Check
www.labiennale.org for schedules. Guided tours may be arranged by
request.
Entrance Fee: Free for public areas during Biennale events;
guided tours or special exhibitions may require a fee or Biennale ticket
(prices vary, e.g., €25–30 for Biennale exhibitions). The Chorus Pass,
covering Venetian churches, does not apply.
Experience: Visits
typically last 30–60 minutes, focusing on the Portego exhibitions, Sala
delle Colonne, or cafeteria. The rooftop terrace, accessible during
select events, offers stunning views of the Grand Canal and San Marco
Basin. Guided tours provide insights into the palazzo’s history and
Biennale activities.
Photography: Non-flash photography is generally
allowed in public areas but may be restricted in offices or during
exhibitions. The facade and canal views are photogenic, especially at
sunrise or sunset.
Getting There: Take vaporetto Line 1 to San Marco Vallaresso for the
shortest walk (5 minutes). Alternatively, Line 2 from San Zaccaria or
Rialto stops nearby. A gondola or water taxi offers a scenic approach to
the water entrance. From Piazza San Marco, walk via Calle Vallaresso or
Calle Ridotto.
Best Viewing: The facade is best seen from the Grand
Canal (via vaporetto or gondola) or from the Punta della Dogana across
the Bacino di San Marco. Early morning light highlights the Gothic
arches.