Palazzo Loredan Cini is a Gothic-style palace complex located in the Dorsoduro sestiere of Venice, Italy, positioned between the Palazzo Balbi Valier and the Rio San Vio, with its narrow side facing the Grand Canal. Formed by the amalgamation of two historic buildings—the former Palazzo Foscari-Loredan and the adjacent Palazzo Grimani—it represents a fascinating blend of Venetian Gothic and Renaissance architecture. Acquired in 1919–1920 by industrialist and art collector Vittorio Cini, the palace now houses the Palazzo Cini Gallery, a refined museum established in 1984 by Cini’s daughter, Yana Cini Alliata di Montereale, showcasing his extensive collection of Italian Renaissance art. With its historical significance, architectural charm, and cultural role as a museum, the palace is a hidden gem in Venice’s artistic landscape.
The Palazzo Loredan Cini’s history spans centuries, reflecting the
shifting fortunes of Venice’s noble families, political figures, and
modern collectors.
Early History: Palazzo Foscari-Loredan
The
older of the two buildings, Palazzo Foscari-Loredan (also called Palazzo
Loredan), was constructed in the 14th–15th centuries on a site
originally owned by the Giustinian family, as noted in Wikipedia. Its
early Gothic structure served as a noble residence, likely for the
Loredan family, one of Venice’s most influential patrician dynasties,
known for producing Doges like Francesco Loredan (1752–1762) and
participating in the silk and spice trade since the 1297 Great Council
Lockout. In 1428, the Venetian Republic purchased the palace for 6,500
ducats and gifted it to the Marquis of Mantua, Ludovico Gonzaga, as a
diplomatic gesture. A decade later, it was confiscated and transferred
to Francesco Sforza, the future Duke of Milan, during Venice’s political
maneuvering. By 1452, it was sold at public auction to Doge Francesco
Foscari, linking it to another prominent family, though not directly
related to the grander Ca’ Foscari in Dorsoduro. Under Elisabetta Venier
Foscari, the palace was rebuilt from 1563 to 1565, adopting a
Renaissance style, per Images of Venice.
Palazzo Grimani
The
adjacent Palazzo Grimani, built for Vincenzo Grimani from 1564 to 1567,
was owned by the Santa Maria Formosa branch of the Grimani family,
another noble Venetian lineage, as described by the Palazzo Cini
official website. Francesco Sansovino, in his 1581 Venezia città
nobilissima et singolare, praised its “beautiful and gracious style,”
noting its Renaissance elegance. The Grimani palace complemented the
Foscari-Loredan building, and their proximity set the stage for their
eventual merger.
Later Ownership and Unification
By the 16th
century, the Palazzo Loredan Cini complex passed through various noble
families, including the Caldogno and Valmarana, reflecting Venice’s
fluid property dynamics, per Wikiwand. In the late 19th century, it was
the residence of Carlos María de Borbón, the Carlist pretender to the
Spanish throne, serving as a headquarters for the Carlist movement,
adding a political dimension, as noted by campiello-venise.com.
In 1919, Vittorio Cini, a Ferrarese industrialist and philanthropist,
purchased Palazzo Foscari, followed by Palazzo Grimani in 1920, after
his marriage to actress Lyda Borelli, per Images of Venice. Cini merged
the two buildings, creating the unified Palazzo Loredan Cini, and
transformed it into a grand residence befitting his status as a Senator
of Italy (appointed 1934 under Mussolini) and a leading art collector.
Despite Italy’s tumultuous World War II period, Cini’s collecting
continued, amassing a vast array of Italian Renaissance art, guided by
experts like Bernard Berenson and Federico Zeri, per the Palazzo Cini
website.
Following the tragic death of Cini’s son Giorgio in a
1949 plane crash, he founded the Giorgio Cini Foundation in 1951, based
on San Giorgio Maggiore, dedicated to preserving Venice’s cultural
legacy, per Wikipedia. From 1956 to 1958, architect Tommaso Buzzi
redesigned the palace’s interiors to showcase Cini’s collection, per
Images of Venice. After Cini’s death in 1977, his daughter Yana Cini
Alliata di Montereale donated a significant portion of his artworks and
parts of the palace to the Giorgio Cini Foundation in 1981–1984,
establishing the Palazzo Cini Gallery, per palazzocini.it. In 1989, the
Cini Guglielmi di Vulci heirs loaned a collection of Ferrarese
paintings, and in 2015, Yana’s heirs further enriched the gallery with
additional works, ensuring its legacy, per Images of Venice.
The
palace’s history, from noble residence to political hub, collector’s
home, and now a museum, encapsulates Venice’s multifaceted past,
bridging Gothic origins with modern cultural patronage.
Palazzo Loredan Cini is a striking example of Venetian Gothic
architecture with Renaissance modifications, its dual origins evident in
its amalgamated structure. Located at the confluence of the Grand Canal
and Rio San Vio, it presents three façades, each with distinct
characteristics.
Exterior
The palace’s architecture reflects
its composite nature, with façades shaped by its Gothic roots and
16th-century Renaissance rebuilding:
Grand Canal Façade: The
narrow façade on the Grand Canal, lacking an entrance, is austere and
develops over four floors, as described by it.wikipedia.org. It features
a succession of bifore (twin-arched windows) and monofore (single arched
windows), typical of Venetian Gothic, though devoid of significant
architectural interest due to its simplicity. Once decorated with
frescoes by Giuseppe Porta (Salviati), these have vanished, likely due
to weathering, per it.wikipedia.org. The façade’s understated design
contrasts with the more prominent Rio San Vio frontage.
Rio San Vio
Façade: The primary façade, stretching 50 meters along the Rio San Vio,
is monumental and divided into two sections, corresponding to the former
Palazzo Foscari-Loredan (Dorsoduro 732) and Palazzo Grimani (Dorsoduro
864), per it.wikipedia.org. The right section, associated with Palazzo
Foscari-Loredan, features an imposing water portal with a pointed arch
and two pentafore (five-light windows) with pointed arches and
quatrefoil tracery, showcasing Gothic elegance. The left section, tied
to Palazzo Grimani, mirrors this design but replaces one pentafora with
a serliana (tripartite window with an arched central section)
culminating in small square windows, reflecting Renaissance influences,
as noted by it.wikipedia.org. A private bridge connects this façade to
Campo San Vio, enhancing its accessibility and prominence, per
Wikipedia.
Campo San Vio Façade: Facing the small Campo San Vio, this
façade integrates with the Rio San Vio frontage, offering a monumental
presence. It is characterized by its Gothic polifore (multi-light
windows), aligning with the palace’s 14th–15th-century origins, and
serves as the main land access via the bridge, per Images of Venice.
The façades’ Gothic elements, such as pointed arches and quatrefoil
tracery, evoke Venice’s trade ties with the East, while the Renaissance
serliana and classical proportions reflect 16th-century architectural
trends, as seen in palaces like Ca’ Foscari. The palace’s location, near
the Gallerie dell’Accademia (130 meters west) and Peggy Guggenheim
Collection (140 meters east), places it in Dorsoduro’s cultural heart,
per Mapcarta.
Interior
The interior, redesigned by Tommaso
Buzzi from 1956 to 1958, is a refined museum-house, preserving the
ambiance of Vittorio Cini’s residence while showcasing his art
collection, per palazzocini.it.
Layout: The Palazzo Cini Gallery
occupies two floors. The first floor (piano nobile) recreates Cini’s
residence, with rooms furnished to reflect his collecting taste, while
the second floor hosts temporary exhibitions and cultural events, per
Images of Venice. The piano nobile likely follows a Venetian plan, with
a central portego (grand hall) connecting lateral salons, though adapted
for museum use, as inferred from its gallery function.
Decorative
Elements: The piano nobile features antiques, objets d’art, and
damask-covered walls, preserving the “charm of the patron’s residence,”
per Images of Venice. A 16th-century grotesque-motif frieze, a vestige
of Palazzo Grimani, runs beneath the ceiling in the Tuscan Renaissance
room, adding historical depth, per palazzocini.it. Furnishings include
18th-century Venetian porcelain (e.g., a 275-piece Cozzi Manufacture
table service), tapestries, mirrors, and chandeliers, reflecting Cini’s
eclectic taste, per Arthive.
Museum Spaces: The first floor’s seven
rooms display Cini’s collection, with the Tuscan Renaissance room, used
by Cini as a drawing room for illustrious guests, showcasing
masterpieces like Botticelli’s Judgment of Paris and Piero della
Francesca’s Madonna and Child, per palazzocini.it. The second floor’s
flexible spaces host exhibitions, such as those featuring Ferrarese
paintings or contemporary art, per Images of Venice.
Condition: The
interior is in excellent condition, maintained by the Giorgio Cini
Foundation, with recent updates ensuring climate control and artwork
preservation, per palazzocini.it. Buzzi’s redesign, with its elegant yet
functional aesthetic, balances historical ambiance with museum needs.
The interior’s museum-house concept, unique in Venice, distinguishes it
from purely residential palaces like Palazzo Foscari del Prà or
governmental ones like Palazzo Ferro Fini, offering an intimate glimpse
into Cini’s world.
The Palazzo Cini Gallery, established in 1984, is the palace’s
cultural heart, housing Vittorio Cini’s exceptional collection of
Italian Renaissance art, donated by Yana Cini Alliata di Montereale and
enhanced by subsequent loans. Key artworks, as detailed by
palazzocini.it and Arthive, include:
Tuscan Renaissance
Masterpieces:
Judgment of Paris by Botticelli and workshop, a
mythological panel showcasing Florentine elegance.
Madonna and Child
by Piero della Francesca, a serene devotional work from the Torlonia
collection.
Virgin and Child with Two Angels by Piero di Cosimo,
noted for its vibrant composition, per Tripadvisor.
Portrait of Two
Friends by Pontormo, a Mannerist masterpiece from the Guicciardini
collection, considered the gallery’s supreme work, per palazzocini.it.
Madonna and Child by Filippo Lippi and Domenico Ghirlandaio’s roundel,
highlighting Tuscan “Primitives,” per palazzocini.it.
Ferrarese
Paintings (1989 loan):
St George from the Colonna altarpiece by Cosmè
Tura, a vibrant Ferrarese work.
Virgin and Child with Saints by
Michele Pannonio, showcasing Emilian artistry.
St John the Baptist in
the Wilderness by Marco Zoppo, per Wikiwand.
Venetian and Other
Works:
Paintings by Carlo Crivelli, Bartolomeo Montagna, Giovanni
Bellini, and Cima da Conegliano, representing Veneto’s Renaissance, per
palazzocini.it.
Southern Italian works by Antonello da Messina and
Colantonio, adding geographic diversity.
Sculptures and
Decorative Arts:
15th-century wooden statues and polychrome
terracotta works attributed to Ghiberti, Donatello, and Jacopo della
Quercia, per palazzocini.it.
Small bronzes, ceramics by Luca della
Robbia, and a 275-piece Cozzi porcelain table service, per Arthive.
Ivories, manuscripts, miniatures, and furniture, enhancing the
museum-house aesthetic, per Arthive.
The collection’s focus on Tuscan
and Ferrarese Renaissance art, rivaled only by Ca’ d’Oro’s Franchetti
Gallery, makes the Palazzo Cini Gallery unique in Venice, per
palazzocini.it. Its intimate, “dark and atmospheric” rooms, as described
by a Tripadvisor reviewer, offer a contemplative experience, contrasting
with the larger Gallerie dell’Accademia, per tripadvisor.com.
Palazzo Loredan Cini is a cultural beacon in Dorsoduro, embodying
Venice’s legacy of noble patronage, art collecting, and modern
philanthropy:
Vittorio Cini’s Legacy: Cini’s role as a
20th-century collector, Senator, and philanthropist, guided by
luminaries like Bernard Berenson, positions the palace as a testament to
enlightened patronage, per palazzocini.it. His Giorgio Cini Foundation,
founded in memory of his son, extends this legacy, supporting Venetian
culture from San Giorgio Maggiore, per Wikipedia.
Museum-House
Concept: The Palazzo Cini Gallery’s preservation of Cini’s residence,
with artworks displayed in their original context, offers a rare glimpse
into a collector’s world, unique among Venetian museums, per Images of
Venice. Its focus on Tuscan “Primitives” and Ferrarese art diversifies
Venice’s predominantly Venetian art scene, per palazzocini.it.
Historical Figures: The palace’s connections to Doge Francesco Foscari,
Carlos María de Borbón, and Cini’s political career under Mussolini add
layers of political and cultural intrigue, per campiello-venise.com. Its
Gothic-Renaissance architecture ties it to Venice’s noble past, as seen
in the Loredan family’s San Vio branch, per Wikipedia.
Dorsoduro
Context: Located between the Accademia and Peggy Guggenheim Collection,
the palace is part of Dorsoduro’s “artsy” cultural hub, with street
artists, students, and curators frequenting the area, per Tripadvisor.
Nearby attractions like Palazzo Contarini Polignac and Ponte
dell’Accademia enhance its appeal, per trek.zone.
Cultural Events:
The second floor’s exhibitions, such as those featuring Ferrarese art or
contemporary works, keep the palace dynamic, per Images of Venice. Its
role in the Venice Biennale’s orbit, though less prominent than Palazzo
Grassi, adds to its cultural relevance, as implied by its location near
major art venues.
The palace’s lack of religious function, unlike
churches like Sant’Anna or San Nicolò dei Mendicoli, shifts its
significance to secular art and culture, making it a vital node in
Venice’s museum network.
Palazzo Loredan Cini is currently closed to the public, as noted by
Tripadvisor, with the Palazzo Cini Gallery typically open seasonally
from spring to late fall (e.g., May 24 to November 3 in 2021), per
palazzocini.it. Its status as a museum-house under the Giorgio Cini
Foundation ensures its preservation and cultural role, though its
limited opening periods restrict access.
Accessibility: When
open, the gallery is accessible via Campo San Vio (Dorsoduro 732/864), a
3-minute walk from the Accademia vaporetto stop (Lines 1, 2), per
Mapcarta. Tickets cost €10 (full price), with discounts for Accademia or
Guggenheim visitors, per Tripadvisor. The private bridge from Campo San
Vio and the Rio San Vio water door offer picturesque entry points,
though the Grand Canal façade is view-only, per Wikipedia. The official
website (www.palazzocini.it) provides booking details and exhibition
schedules.
Condition: The palace is in excellent condition,
maintained by the Giorgio Cini Foundation, with Buzzi’s 1956–1958
interiors preserved and artworks protected by modern climate control,
per palazzocini.it. The Rio San Vio façade’s Gothic pentafore and
serliana are intact, though the Grand Canal façade’s lost frescoes
reflect historical weathering, per it.wikipedia.org.
Visitor
Experience: Visitors praise the gallery’s “small but interesting”
collection, with Tripadvisor reviews highlighting the “unique” Tuscan
and Ferrarese works by Botticelli, Piero della Francesca, and Pontormo,
per tripadvisor.com. The “dark, atmospheric” rooms, ideal for
contemplative viewing, take 20–60 minutes to explore, per
tripadvisor.ca. Some find the €10 ticket “exorbitant” for the limited
scope, preferring the nearby Accademia, but art enthusiasts value the
“quiet moments” with “glimmering gold paintings,” per tripadvisor.com.
The palace’s location, halfway between the Accademia and Guggenheim,
makes it a convenient stop, per tripadvisor.com. Nearby dining options
like Ristoteca Oniga (0.06 mi) enhance the visit, per tripadvisor.com.
Cultural Offerings: The gallery’s seasonal exhibitions, supported by
Assicurazioni Generali, keep it relevant, per palazzocini.it. Its role
as a museum-house, preserving Cini’s residence, offers an intimate
experience, unlike larger museums, per Images of Venice. The lack of
public events outside exhibition periods limits its engagement compared
to Palazzo Grimani Marcello’s programs, per fondazionealberodoro.org.
The palace’s seasonal closure and niche appeal make it a destination for
art lovers rather than casual tourists, offering a serene contrast to
Venice’s busier sites.
The Palazzo Loredan Cini is preserved by the Giorgio Cini Foundation,
with support from Assicurazioni Generali, ensuring its structural and
artistic integrity, per palazzocini.it. The 1956–1958 redesign by
Tommaso Buzzi and subsequent maintenance protect the interiors, while
the façades, particularly the Rio San Vio’s pentafore, remain intact
despite Venice’s humid climate, per it.wikipedia.org. The MOSE flood
barrier mitigates acqua alta risks, though long-term sea level rise
remains a concern, as seen in Palazzo Ferro Fini’s 2019 flooding, per X
posts.
Future prospects include:
Gallery Expansion: Continued
exhibitions on the second floor, potentially featuring more of Cini’s
collection or contemporary art, could enhance its appeal, per Images of
Venice. Collaborations with the Venice Biennale, given Dorsoduro’s art
hub status, might increase visibility, per trek.zone.
Public Access:
Extending the gallery’s seasonal opening (e.g., beyond May–November) or
offering virtual tours, like Palazzo Ferro Fini’s, could broaden access,
per consiglioveneto.it. Addressing Tripadvisor’s pricing concerns (€10)
with bundled tickets for Accademia and Guggenheim could attract more
visitors, per tripadvisor.com.
Conservation: Further preservation of
artworks, especially delicate panels and sculptures, with support from
Save Venice or UNESCO, could ensure longevity, per palazzocini.it.
Restoring the Grand Canal façade’s lost frescoes, if feasible, would
enhance its aesthetic, per it.wikipedia.org.
Cultural Engagement:
Hosting lectures, concerts, or art workshops, leveraging the Giorgio
Cini Foundation’s resources, could rival Palazzo Grimani Marcello’s
programs, per fondazionealberodoro.org. Digital archives of Cini’s
collection could engage global scholars, per Arthive.
The palace’s
preservation and cultural role, backed by the Giorgio Cini Foundation,
ensure its future, with potential for expanded engagement aligning with
Venice’s art-centric identity.