The Palazzo Contarini delle Figure, a Renaissance-style palace in the San Marco sestiere of Venice, Italy, is a distinguished yet lesser-known gem along the Grand Canal. Positioned between the Palazzo Mocenigo Ca’ Vecchia and Palazzo Erizzo Nani Mocenigo, and across from Palazzo Civran Grimani, it is celebrated for its elegant marble facade and historical significance. Commissioned by Jacopo Contarini, a procurator of San Marco, and constructed between 1504 and 1546, the palace replaced an earlier Gothic structure and reflects the transition from Gothic to Renaissance architecture in Venice. Its name, “delle Figure,” derives from the decorative figures or reliefs on its facade, though these have largely faded. Today, the palace is privately owned, subdivided into apartments, and in a somewhat poor state of conservation, limiting public access.
The Palazzo Contarini delle Figure’s history is tied to the Contarini
family, one of Venice’s most illustrious noble families, which produced
eight doges and held significant political and cultural influence during
the Republic of Venice (697–1797).
Pre-1504: Gothic Origins
The site originally housed a Gothic-style palace owned by the Contarini
family, typical of Venice’s 14th- and 15th-century merchant residences.
By the early 16th century, this structure was outdated and likely in
disrepair, prompting Jacopo Contarini, a procurator of San Marco and a
prominent figure in Venetian governance, to commission a new palace
befitting his status.
1504–1546: Renaissance Reconstruction
Construction of the current palace began in 1504 and was completed by
1546, a relatively long period reflecting the complexity of building on
Venice’s lagoon and the Contarini family’s ambition for a grand
residence. The design is attributed to one of several renowned
architects of the period—Antonio Abbondi (Scarpagnino), Mauro Codussi,
Antonio Lombardo (son of Pietro Lombardo), or Giorgio Spavento—though no
definitive evidence confirms the architect. The new palace embraced the
Renaissance style, characterized by classical symmetry and proportion,
marking a departure from the Gothic floral style of earlier Venetian
palazzi like Ca’ d’Oro. The facade’s marble cladding and decorative
elements, possibly including sculptural figures, gave rise to the name
“delle Figure.”
1713: Art Collection Donation
By 1713,
Bertucci Contarini, the last male heir of this branch, donated the
palace’s significant art collection to the Ducal Palace (Doge’s Palace),
a gesture reflecting the family’s civic pride and the collection’s
cultural value. The donation included paintings and sculptures, though
specific works are not well-documented, leaving the palace’s interiors
less adorned.
19th Century: Guiccioli Ownership and Byron
Connection
In the 19th century, the palace was acquired by Marchese
Alessandro Guiccioli, whose wife, Teresa Guiccioli, became famous for
her romantic affair with the poet Lord Byron between 1819 and 1823.
Byron, a frequent visitor to Venice, reportedly spent time at the
palace, adding a literary dimension to its history. The Guiccioli
ownership coincided with a period of decline, as Venice’s economic
fortunes waned under Austrian rule, and the palace began to suffer from
neglect.
20th Century to Present: Subdivision and Private Ownership
By the 20th century, the Palazzo Contarini delle Figure was subdivided
into private apartments, a common fate for many Venetian palazzi as
maintenance costs soared and noble families dispersed. Its current state
of conservation is described as “somewhat poor,” with faded frescoes and
structural wear due to humidity and saltwater exposure. The palace
remains privately owned, limiting public access, though its Grand Canal
facade is a highlight of canal tours. Recent conservation efforts have
been minimal, and the building’s future depends on private investment or
municipal intervention to address ongoing deterioration.
The Palazzo Contarini delle Figure is a quintessential example of
Venetian Renaissance architecture, distinguished by its marble facade
and classical design elements, which marked a shift from the Gothic
style prevalent in earlier Venetian palazzi.
Exterior
Facade:
The Grand Canal facade, clad in Istrian stone and marble, is attributed
to one of Venice’s leading Renaissance architects (Scarpagnino, Codussi,
Lombardo, or Spavento). It features three levels, with a balanced and
symmetrical composition:
Ground Floor: Includes a water gate for
gondola access, flanked by small rectangular windows, typical of
Venetian palazzi designed for canal-based commerce and transportation.
First Piano Nobile: The main noble floor showcases a series of mullioned
windows, likely a quadrifora (four-light window) or pentafora
(five-light window), with rounded arches and slender columns, reflecting
Renaissance classicism. Decorative reliefs or “figures” (possibly
mythological or allegorical), from which the palace derives its name,
once adorned this level, though most have faded or been lost to
weathering.
Second Piano Nobile: Similar to the first, with slightly
smaller windows, maintaining the facade’s symmetry. The upper floor may
include single-lancet windows or a smaller mullioned set, crowned by a
dentilled cornice.
Decorative Elements: The facade’s marble cladding,
a luxurious choice, was originally embellished with frescoes or
sculptural figures, though these have largely deteriorated due to
Venice’s humid climate. Traces of decorative elements may remain, but
they are not well-documented in public sources. The facade’s elegance
lies in its clean lines and classical proportions, contrasting with the
ornate Gothic style of nearby palazzi like Palazzo Pisani Moretta.
Location and Context: Positioned at San Marco 3627, the palace is
strategically located near the Rialto Bridge (800 meters north) and
Piazza San Marco (600 meters south), placing it in Venice’s commercial
and political heart. Its Grand Canal setting, opposite Palazzo Civran
Grimani, makes it a prominent feature of canal tours, visible from
vaporetti or gondolas.
Interior
Layout: The palace follows the
traditional Venetian palazzo plan, with a ground-floor androne (entrance
hall) for canal access, a central portego (reception hall) on the first
piano nobile, and additional rooms for living and entertaining. The
portego, likely the grandest space, would have been used for receptions
and displayed the Contarini art collection until 1713.
Decor:
Historical records suggest the interior was once richly decorated with
frescoes, stucco work, and paintings, though most of these were donated
or sold over time. The 1713 donation to the Ducal Palace included
significant artworks, leaving the interior less ornate today. The
current private apartments likely retain some Renaissance or later
modifications, such as Murano glass chandeliers or marble fireplaces,
but detailed descriptions are scarce due to restricted access.
Structural Notes: Built on wooden piles driven into the lagoon bed, the
palace’s foundation reflects Venetian engineering. Its long construction
period (1504–1546) ensured robust stability, though modern challenges
like humidity and flooding threaten its conservation. The subdivision
into apartments has altered the original layout, with modern utilities
likely introduced.
The Palazzo Contarini delle Figure is a cultural and historical
landmark that encapsulates Venice’s Renaissance aspirations and noble
heritage:
Contarini Legacy: The Contarini family, with eight
doges and numerous palazzi (e.g., Palazzo Contarini del Bovolo, Palazzo
Contarini Fasan), was a pillar of Venetian society. The palace reflects
their wealth and influence, particularly through Jacopo Contarini’s role
as a procurator of San Marco, a prestigious position overseeing the
city’s religious and civic affairs.
Renaissance Transition: The
palace’s design marks a pivotal shift from Venetian Gothic to
Renaissance architecture, influenced by architects like Codussi, who
introduced classical elements to Venice. Its marble facade and possible
sculptural figures align with the period’s embrace of humanism and
classical revival, seen in contemporaries like Ca’ d’Oro and Palazzo
Vendramin Calergi.
Byron Connection: The 19th-century ownership by
Alessandro and Teresa Guiccioli ties the palace to Romantic-era
literature. Lord Byron’s affair with Teresa, documented in his letters,
adds a layer of cultural intrigue, making the palace a point of interest
for literary scholars.
Artistic Heritage: The donation of the
Contarini art collection to the Ducal Palace in 1713 underscores the
palace’s role as a repository of Venetian art. While specific works are
not listed, they likely included paintings or sculptures by Renaissance
masters, reflecting the family’s patronage.
Hidden Gem: Unlike more
accessible palazzi like Ca’ Rezzonico or Palazzo Contarini del Bovolo,
the Palazzo Contarini delle Figure’s private status and poor
conservation make it a lesser-known site. Its Grand Canal facade,
however, remains a highlight of Venice’s architectural panorama, admired
by those exploring the canal.
Location: San Marco 3627, 30124 Venice, Italy. On the Grand Canal,
between Palazzo Mocenigo Ca’ Vecchia and Palazzo Erizzo Nani Mocenigo,
opposite Palazzo Civran Grimani. GPS: 45.4352°N, 12.3325°E.
Approximately 800 meters north of Piazza San Marco and 600 meters south
of the Rialto Bridge.
Access:
By Vaporetto: Take Line 1 or 2
to Sant’Angelo (2-minute walk) or San Samuele (3-minute walk). From
Piazzale Roma or Santa Lucia Station, it’s a 15-minute vaporetto ride or
20-minute walk.
By Foot: From Piazza San Marco, walk north via Calle
Larga XXII Marzo to Campo Santo Stefano, then west to Campo Sant’Angelo
(7–10 minutes). From Rialto Bridge, head south through Campo San Polo to
Campo Sant’Angelo (10–12 minutes).
By Gondola/Water Taxi: Gondola
tours along the Grand Canal offer prime views of the facade (€80–€120
for 30 minutes). Water taxis can stop near Sant’Angelo (€60–€100 from
Piazzale Roma).
Visiting:
Access: The palace is privately
owned and subdivided into apartments, making it inaccessible to the
public except for its exterior. The facade can be admired from the Grand
Canal via vaporetto, gondola, or water taxi, or from the opposite bank
near Palazzo Civran Grimani.
Cost: Free to view from the canal or
street. Vaporetto tickets cost €9.50 (single ride) or €25 (24-hour
pass). Guided canal tours (e.g., Viator, €30–€60) may highlight the
palace’s facade.
Best Times: Early morning (7:00–9:00 AM) or sunset
(6:00–8:00 PM) for optimal light and fewer canal crowds. Spring
(April–May) or fall (September–October) offer mild weather and reduced
tourism.
Tips for Visitors:
Photography: Capture the facade
from a vaporetto (Line 1, Sant’Angelo stop) or gondola for the best
angles. The opposite bank near Palazzo Civran Grimani offers a clear
view. Use a zoom lens for faded decorative details.
Accessibility: The Grand Canal and nearby fondamente are
wheelchair-accessible via vaporetto ramps (Sant’Angelo or San Samuele).
The palace’s interior is not accessible, and the campo near Sant’Angelo
has uneven paving.
Nearby Attractions:
Campo Santo Stefano
(3-minute walk): Lively square with cafes and the Church of Santo
Stefano.
Church of San Vidal (3-minute walk): Baroque church with
Carpaccio’s altarpiece and Interpreti Veneziani concerts.
Accademia
Bridge (5-minute walk): Iconic wooden bridge with Grand Canal views.
Gallerie dell’Accademia (7-minute walk): Renaissance art by Titian,
Tintoretto, and Veronese.
Peggy Guggenheim Collection (10-minute
walk): Modern art in a canal-side palace.
Dining Nearby: Try Osteria
al Bacareto (San Marco), Ristorante Agli Alboretti (Dorsoduro), or Cafe
Florian (Piazza San Marco) for Venetian cuisine within a 5–10-minute
walk.
Tours: Grand Canal boat tours (e.g., GetYourGuide, €30–€60)
highlight the palace’s facade. San Marco walking tours (e.g., Viator,
€40–€80) may include exterior commentary. Audio guides (e.g., Rick
Steves app) provide context for self-guided exploration.
Contact: No
direct contact for the palace due to private ownership. For tourism
inquiries, contact Venezia Unica (+39 041 2424, info@veneziaunica.it,
www.veneziaunica.it).
The Palazzo Contarini delle Figure faces challenges typical of
Venetian palazzi, balancing historical significance with modern
constraints:
Preservation: The palace’s “somewhat poor state of
conservation” reflects challenges from humidity, saltwater erosion, and
neglect. The faded frescoes and decorative figures highlight the need
for restoration, but private ownership and subdivision into apartments
complicate efforts. The MOSE flood barrier (operational since 2020)
mitigates acqua alta, but long-term climate change threatens the
foundation.
Private Ownership: As a residential building, the palace
is closed to the public, limiting its role in Venice’s tourism economy.
Potential restoration by owners or intervention by organizations like
Save Venice could revive its interiors, but no plans are currently
documented.
Tourism Context: Venice’s 30 million annual visitors
strain historic sites, but the palace’s inaccessibility keeps it off the
tourist radar, preserving its quiet dignity. Its Grand Canal facade
remains a highlight of boat tours, contributing to Venice’s UNESCO World
Heritage aesthetic.
Cultural Legacy: The Byron connection and the
Contarini family’s historical prominence make the palace a point of
interest for literary and architectural scholars. Its Renaissance design
influences discussions on Venice’s architectural evolution, alongside
palazzi like Ca’ Vendramin Calergi.