The Palazzo Caotorta Angaran, also referred to as Ca’ Caotorta Angaran, is a historic palace located in the Dorsoduro sestiere of Venice, Italy, with its main facade overlooking the Grand Canal. Situated between the Palazzo Balbi and the Palazzo Civran Grimani, across the Rio della Frescada, it occupies a prominent position in one of Venice’s most picturesque districts. While its origins date back to the 14th century, the current structure largely reflects a 1956 reconstruction by architect Angelo Scattolin, blending traditional Venetian elements with a restrained, modern aesthetic.
The Palazzo Caotorta Angaran’s history is tied to Venice’s mercantile
and noble families, with a trajectory marked by ownership changes and
significant rebuilding:
Origins (14th Century): The palace was
initially erected in the 14th century, during Venice’s medieval
expansion as a maritime power. Early records are sparse, but its Grand
Canal location suggests it was built for a wealthy merchant or minor
noble family, typical of Dorsoduro’s early palazzi. The original
structure was likely Gothic, with features like pointed arches and a
water portal, reflecting the era’s architectural norms.
Ownership
Transitions (17th–18th Century): By 1661, the palace belonged to
Zambattista Benvenuti, who ceded it to Count Camillo Martinengo, a
patrician from Brescia, a city under Venetian rule. In 1712, it passed
to the heirs of Francesco Caotorta, whose wife, Anzola Benvenuti, linked
the families. The Caotorta family, documented since Venice’s founding
and claiming descent from Trojan exiles, held the palace until the
Republic’s fall in 1797. By 1808, it was owned by Chiara Caotorta,
marking the family’s final tenure. The Angaran name emerged later, tied
to a Vicenza-based noble family who paid 100,000 ducats in 1655 to join
Venice’s patriciate, with senators and councilors among their ranks.
Their coat of arms on the facade solidified the palace’s association
with them.
Reconstruction (1956): The original 14th-century building
suffered significant decay over centuries, exacerbated by Venice’s harsh
lagoon environment. In 1956, architect Angelo Scattolin oversaw a
near-complete reconstruction, preserving the palace’s traditional layout
but modernizing its structure and facade. This rebuild, while
maintaining Venetian proportions, stripped away much of the Gothic
ornamentation, resulting in a simpler aesthetic that some critics view
as a loss of historical character.
Modern Era: Since the 1956
reconstruction, the palace has remained a private residence, with
limited public access. Its Grand Canal frontage and proximity to
cultural hubs like Palazzo Grassi ensure its visibility, but it remains
less celebrated than palazzi like Ca’ Rezzonico, reflecting its private
status and understated design.
The Palazzo Caotorta Angaran’s current form, shaped by Scattolin’s
1956 reconstruction, adheres to the traditional Venetian palazzo layout
while adopting a minimalist aesthetic:
Facade:
Grand Canal
Elevation: The facade, facing the Grand Canal, is a three-story
structure with a mezzanine attic, typical of Venetian palazzi. Its
design is notably plain compared to Gothic or Renaissance predecessors,
with a focus on clean lines and functional elegance. The facade is
coated in plaster, likely painted a neutral tone (e.g., cream or light
gray), harmonizing with Dorsoduro’s waterfront palette.
Ground Floor:
The canal level features a central water portal, framed in Istrian
stone, allowing boat access to the interior. Flanking the portal are two
rectangular windows on each side, providing light to the ground floor
while maintaining structural solidity. The portal’s simplicity contrasts
with the ornate entrances of older palazzi like Ca’ d’Oro.
Piano
Nobile: The first noble floor centers on a serliana—a triple window with
a large arched opening flanked by smaller rectangular ones, topped by a
lintel. This classical motif, inspired by Palladio, is a nod to
Renaissance influence, though executed with minimal decoration. The
serliana opens to a small balcony, flanked by two single windows on each
side, creating a balanced, rhythmic composition.
Second Floor and
Mezzanine: The second noble floor mirrors the first, with a slightly
smaller serliana and flanking windows, reinforcing symmetry. Above, the
mezzanine attic has a row of modest rectangular windows, centered by the
Angaran family coat of arms, an 18th-century stone relief that adds a
touch of historical gravitas to the otherwise austere facade.
Roofline: A large mansard roof, or abbaino, rises above the eaves, a
practical feature for storage or additional rooms, common in Venetian
reconstructions. The roof’s prominence softens the facade’s severity,
aligning with local tradition.
Structure:
Tripartite Layout:
The palace follows the Venetian model: a ground-floor androne for boat
access and storage, two piani nobili for formal living, and a mezzanine
for secondary spaces. Its footprint, constrained by the Rio della
Frescada and Palazzo Balbi, is narrow but tall, reaching about 20 meters
in height.
Foundation: Like all Venetian buildings, it rests on
wooden piles driven into the lagoon’s mud, with brick walls reducing
weight. The 1956 rebuild reinforced these piles, using modern concrete
techniques to enhance stability, a necessity given the Grand Canal’s
tidal shifts.
Interior Access: The water portal leads to a spacious
androne, likely modernized with marble or terrazzo flooring. Stairs
ascend to the piani nobili, where large salons once hosted family
gatherings or trade dealings. The rear likely opens to a small courtyard
or calle, connecting to Calle e Campiello del Remer, the land entrance.
Interior:
Androne: The ground floor, historically used for
commerce, is now a private lobby or storage space, with high ceilings
and canal light filtering through the portal. Modern upgrades like
flood-proofing and lighting ensure functionality.
Piani Nobili: The
noble floors feature grand salons illuminated by serlianas, with views
of the canal and Palazzo Sagredo opposite. While original
decor—frescoes, stucco, or woodwork—was likely lost in 1956, Scattolin
may have preserved structural elements like arches or beams. Today’s
interiors, as a private residence, blend minimalist design with Venetian
touches—perhaps Murano glass chandeliers or terrazzo floors.
Upper
Floors: The mezzanine and attic serve as smaller apartments or utility
spaces, with lower ceilings and simpler finishes. Windows here offer
glimpses of Dorsoduro’s rooftops or the canal’s curve.
Decorative
Elements: The Angaran coat of arms on the facade is the primary
ornament, possibly featuring heraldic symbols like a lion or shield,
typical of Vicenza’s nobility. Interior decor, if any remains, would be
post-1956, with no record of surviving Caotorta-era art or furnishings.
Environmental Adaptation:
The elevated piani nobili and
reinforced androne protect against acqua alta, with modern flood
barriers critical in Dorsoduro’s low-lying zone. The serlianas maximize
light and ventilation, countering humidity, while plaster walls resist
dampness.
The canal portal, though less used today, recalls Venice’s
boat-based logistics, with a dock for private water taxis or deliveries.
The Palazzo Caotorta Angaran’s Grand Canal setting in Dorsoduro
places it in one of Venice’s most artistic and serene sestieri, near
cultural and civic landmarks:
Grand Canal: The palace occupies a
prestigious stretch of the canal, where it curves toward the Accademia
Bridge (300 meters southeast). Its facade, visible from vaporetti,
aligns with neighbors like Palazzo Balbi, the Veneto government seat,
and Palazzo Civran Grimani, creating a harmonious waterfront ensemble.
Dorsoduro Sestiere: Known for its galleries and quieter ambiance,
Dorsoduro contrasts San Marco’s bustle. The palace’s proximity to Campo
San Samuele (150 meters south) and Campo Santa Margherita (400 meters
northwest) ties it to local life, with cafes and student haunts nearby.
Nearby Landmarks:
Palazzo Grassi (150 meters south): A
contemporary art museum, it underscores Dorsoduro’s cultural vibrancy.
Ca’ Rezzonico (200 meters northwest): A Baroque palace-museum, it dwarfs
Caotorta Angaran’s modesty but shares its canal prestige.
Scuola
Grande di San Rocco (220 meters northwest): Home to Tintoretto’s
masterpieces, it adds artistic depth to the area.
Gallerie
dell’Accademia (350 meters southeast): Venice’s premier art gallery, it
links the palace to the city’s Renaissance heritage.
Santa Maria
della Salute (600 meters east): The Baroque basilica frames canal views,
enhancing the palace’s scenic backdrop.
Accessibility: The San
Samuele or Ca’ Rezzonico vaporetto stops, both within 200 meters,
connect to Grand Canal routes. The land entrance at Calle e Campiello
del Remer (Dorsoduro 3903) is reachable via calli from Campo San Samuele
or Piazzale Roma (800 meters north). Pedestrians navigate Dorsoduro’s
winding streets, with the Accademia Bridge offering a route to San
Marco.
Views: From the facade, the palace overlooks the canal’s
lively traffic—gondolas, taxis, and barges—with Palazzo Barbarigo and
Palazzo Corner visible across. From the canal, its serliana and coat of
arms stand out, a understated counterpoint to Balbi’s Mannerist flair.
The Rio della Frescada, beside the palace, adds a quaint side view, with
small bridges and palazzi.
The Palazzo Caotorta Angaran, though less famous than Venice’s
grandest palazzi, holds cultural weight through its families and
adaptability:
Caotorta and Angaran Families: The Caotorta,
claiming ancient Trojan origins, were tribunes in Venice’s early days,
contributing to its governance. The Angaran, newer nobles from Vicenza,
symbolized Venice’s openness to wealth-driven nobility, their 1655
patriciate purchase reflecting the Republic’s wartime needs (e.g., the
Candian War). The palace’s dual name honors both, with the Angaran arms
a proud marker of their ascent.
Architectural Evolution: The
14th-century original, likely Gothic, tied it to Venice’s medieval trade
boom, while the 1956 rebuild reflects post-war pragmatism, prioritizing
function over ornament. Scattolin’s serlianas nod to Palladio, linking
the palace to Venice’s Renaissance legacy, though critics lament the
loss of Gothic detail.
Historical Anecdote: The Martinengo ownership
(1661–1712) includes a curious episode: Lucillo Martinengo, Camillo’s
brother, was a Benedictine priest suspected of heresy in 1568, tied to
Giorgio Siculo’s sect. Protected by Venice’s autonomy, he evaded Milan’s
Archbishop Charles Borromeo, highlighting the Republic’s complex balance
of faith and power.
Dorsoduro’s Context: The palace anchors a
district rich in art and learning, near the Accademia and Ca’ Foscari
University. Its understated facade contrasts with Dorsoduro’s cultural
giants, offering a glimpse into Venice’s quieter noble life, distinct
from San Marco’s pomp.
Today, the Palazzo Caotorta Angaran remains a private residence, its
historic shell adapted to contemporary needs:
Residential Use:
Likely divided into apartments, it houses private occupants, possibly
affluent locals or expatriates, given its canal-front prestige. The
ground floor may include storage or a small office, with the piani
nobili as spacious flats enjoying serliana views.
Cultural Presence:
While not open to the public, the palace’s facade is a highlight for
Grand Canal tours, noted in guides like Canal Grande di Venezia for its
serlianas and Angaran arms. Its proximity to Palazzo Grassi and Peggy
Guggenheim Collection (400 meters east) draws art lovers, who glimpse it
en route to exhibitions.
Preservation: The 1956 rebuild ensures
structural soundness, with ongoing maintenance addressing acqua alta
(flooding up to 1 meter), salt erosion, and plaster wear. Private
owners, possibly with Superintendency oversight, fund pile reinforcement
and facade cleaning, preserving Scattolin’s vision. The MOSE barriers
(2020–present) reduce severe floods, aiding longevity.
Tourist
Context: The palace appeals to architecture enthusiasts exploring
Dorsoduro’s palazzi, less crowded than San Marco’s sites. Its canal
vista, framed by Balbi and Civran Grimani, features in photography,
though its private status limits interior access. Nearby bacari like Al
Bottegon (300 meters west) offer a taste of local life.
Community
Role: As a residence, it integrates into Dorsoduro’s fabric, with
occupants crossing Campo San Samuele for markets or cafes. Its
understated elegance resonates with Venetians, who value their city’s
hidden gems over tourist magnets.
Angaran Arms: The 18th-century coat of arms, possibly a lion or
eagle, reflects Vicenza’s heraldic tradition, a rare surviving link to
the family’s Venetian rise.
Martinengo Drama: Lucillo Martinengo’s
heresy scandal, dodged thanks to Venice’s sovereignty, adds a rebellious
footnote to the palace’s 17th-century tenure.
Scattolin’s Mark: The
1956 rebuild, while criticized for simplicity, preserved the serliana, a
nod to Palladio that keeps the palace relevant in Venice’s architectural
dialogue.
Canal Curve: Its spot near the canal’s “volta de canal”
(curve) offers prime views, once coveted by merchants like the Caotorta,
now savored by residents.