The Palazzo Giustinian Lolin, located in the San Marco sestiere of Venice, Italy, is a distinguished Baroque-style palace situated on the Grand Canal, near Campo Santo Stefano and the Ponte dell’Accademia. Originally constructed in the 14th century by the Lolin family, it was rebuilt in the 17th century by the Giustinian family under the designs of the renowned Venetian architect Baldassare Longhena, around 1630. Known for its elegant façade, which blends Gothic traces with classical orders, the palace has served various roles, including a noble residence, a cultural salon, and the headquarters of the Ugo and Olga Levi Foundation for Music Studies since 1962. It is also an occasional exhibition venue for the Venice Biennale.
The Palazzo Giustinian Lolin began as a 14th-century structure owned
by the Lolin family, a Venetian noble family of moderate wealth,
classified as “quite rich” by historian Nani as part of the second tier
of Venetian nobility. The original building, likely in the Venetian
Gothic style, served as a residence and reflected the Lolin family’s
status. By the early 17th century, the palace was in need of renovation,
and Giovanni Lolin decided to rebuild it, intending to bequeath it to
his nephew Giovanni Giustinian with the condition that the Lolin name be
preserved alongside Giustinian, thus giving rise to the name Giustinian
Lolin.
The reconstruction, undertaken around 1630, was one of the
first independent works of Baldassare Longhena (1598–1682), a young
architect who would later design iconic Venetian landmarks like Santa
Maria della Salute and Ca’ Rezzonico. Longhena’s design transformed the
palace into a Baroque masterpiece, though it retained traces of the
original Gothic plan. The project was a significant commission,
reflecting the Giustinian family’s ambition to assert their prominence,
as they were one of Venice’s oldest and most influential noble families,
producing multiple doges and cultural patrons.
In the 19th
century, the palace passed through varied residents, reflecting Venice’s
post-1797 economic and social shifts after the fall of the Venetian
Republic. Notable figures included:
Francesco Aglietti, a doctor
who died there in 1836.
Maria Taglioni, a celebrated ballerina, who
owned it later in the century, adding an artistic dimension.
Maria
Luisa, the former Duchess of Parma, who also resided there, bringing
aristocratic prestige.
During this period, the palace hosted a
cultural salon frequented by luminaries like Gabriele D’Annunzio, the
Italian poet and nationalist, highlighting its role as a cultural hub.
In the 20th century, the palace was acquired by Ugo and Olga Levi, a
wealthy Venetian mercantile and banking family. In 1962, they
established the Ugo and Olga Levi Foundation for Music Studies,
dedicating the palace to musical research and events, a role it
continues to fulfill. Since 2010, the Permasteelisa Group, an
architectural firm, has used part of the palace as a representative
office, while the Levi Foundation remains the primary occupant.
The palace’s history reflects Venice’s evolution from a medieval
maritime power to a cultural and artistic center, shaped by noble
families, artists, and modern institutions.
The Palazzo Giustinian Lolin is a Baroque-style palace, renowned for
its symmetrical Grand Canal façade designed by Baldassare Longhena
around 1630. Longhena’s early work showcases his mastery of classical
architecture, influenced by Vincenzo Scamozzi and Sebastiano Serlio,
while preserving traces of the original 14th-century Gothic structure.
The palace’s design and location make it a standout along the Grand
Canal.
Structure and Layout
Grand Canal Façade:
The façade
is a symmetrical composition in Istrian stone, a hallmark of Longhena’s
Baroque style, featuring two serlianas (Venetian windows with a central
arched opening flanked by rectangular sidelights) on the piano nobile
floors. The first piano nobile serliana is of the Ionic order, while the
second is Corinthian, with Doric pilasters at the ground level, stacking
the three classical orders in a manner inspired by Serlio’s
architectural treatises.
The façade includes narrow peaked windows, a
nod to the original Gothic plan, preserving the verticality of the
14th-century structure. Colossal corner pilasters frame the façade,
adding monumentality, while ashlar (rusticated stone) on the ground
floor enhances texture and solidity.
A notched cornice crowns the
façade, with two obelisk-shaped pinnacles on the roof, a distinctive
feature shared with other Longhena-designed palaces like Palazzo Belloni
Battagia and Palazzo Papadopoli. These pinnacles, noted in sources, add
a dramatic silhouette visible from the canal.
Historical engravings
by Luca Carlevarijs show two large crests once placed between the
second-floor windows, likely representing the Lolin and Giustinian
families, though these are no longer present.
Rear Courtyard:
The palace complex consists of two buildings connected by sleeves,
delimiting a beautiful courtyard with a well, described as of “high
sculptural quality.” The courtyard, carefully designed by Longhena,
provides light and ventilation, with brick or stone elements and
possibly decorative details like carved balustrades or paving.
Interior Plan:
The interior follows a traditional Venetian layout,
with a central portego on the piano nobile, illuminated by the serlianas
and connecting to lateral rooms. The ground floor includes an androne
(hall) accessed via the water portal, used historically for goods or
guests, now part of the Levi Foundation’s facilities.
The first piano
nobile houses the foundation’s main spaces, including conference rooms
and music study areas, while the second piano nobile may include
additional offices or guest accommodations. The absence of a mezzanine,
noted in sources, is unusual for Venetian palaces, emphasizing the piano
nobile’s prominence.
Foundations:
The palace rests on wooden
piles driven into the lagoon mud, with brick and Istrian stone
construction ensuring durability. Wooden beams support the floors and
roof, typical of Venetian architecture.
Architectural Style
The Palazzo Giustinian Lolin is a Baroque palace, with Longhena’s design
showcasing:
Classical Orders: The Doric, Ionic, and Corinthian
pilasters create a hierarchical façade, reflecting Scamozzi’s influence
and Serlio’s architectural principles, as noted in sources.
Gothic
Traces: The narrow peaked windows preserve the 14th-century structure’s
verticality, blending Gothic with Baroque aesthetics.
Baroque
Monumentality: The colossal pilasters, obelisk pinnacles, and serlianas
add drama and grandeur, distinguishing it from Renaissance sobriety or
Gothic intricacy.
Integration with Surroundings
Located in San
Marco, the palace is near Campo Santo Stefano, a lively square, and the
Ponte dell’Accademia, connecting to Dorsoduro. Its Grand Canal façade is
a focal point for gondola tours, visible between Palazzo Falier Canossa
and Ca’ Rezzonico. The San Vidal area, with the Chiesa di San Vidal and
Gallerie dell’Accademia (120 meters away), enhances its cultural
context. The San Samuele vaporetto stop (200 meters) ensures
accessibility, making it a convenient stop for visitors exploring San
Marco’s artistic and historical sites.
The Palazzo Giustinian Lolin’s interior decorations are modest
compared to grander Venetian palaces, reflecting its current use as a
cultural institution rather than a noble residence. However, historical
and modern elements contribute to its aesthetic.
Exterior
Decorations
Façade Details:
The Istrian stone façade’s ashlar
ground floor, pilasters, and serlianas are the primary decorative
elements, with the Ionic and Corinthian orders adding classical
elegance. The notched cornice and obelisk pinnacles enhance the Baroque
silhouette, as noted in sources.
The narrow peaked windows, remnants
of the Gothic plan, provide a subtle historical contrast, while the
colossal corner pilasters frame the façade with sculptural quality.
Lost Crests:
The two large crests depicted in Carlevarijs’
engravings, once between the second-floor windows, represented the Lolin
and Giustinian families but are no longer present, possibly removed
during 19th-century changes.
Interior Decorations
Historical
Elements:
The piano nobile likely featured painted ceilings, stucco
work, or frescoes during the Giustinian era, common in Baroque
residences, though these are not well-documented or preserved. The
portego’s grandeur would have been enhanced by Murano glass chandeliers
or gilded furniture, reflecting noble opulence.
The courtyard, with
its well and sculptural quality, may include carved stone or brick
detailing, though it is primarily functional.
Levi Foundation
Decor:
As the Ugo and Olga Levi Foundation headquarters, the
interiors are adapted for music studies and events, with modern
furnishings in conference rooms and study areas. The first piano nobile
includes spaces for concerts, seminars, and exhibitions, with minimalist
decor to highlight the architecture.
Paintings by Jean Raoux
(1677–1734), commissioned by a Giustinian Lolin around 1708, are housed
in the foundation’s collection, adding artistic significance, as noted
in sources.
Biennale Exhibitions:
During Venice Biennale
events, the palace hosts art installations, with temporary decorations
that complement its Baroque setting. The piano nobile’s high ceilings
and canal views provide a dramatic backdrop, as seen in exhibitions
curated by the Levi Foundation or Permasteelisa Group.
Modern
Design by Vincenzo De Cotiis (2023):
In 2023, AD100 designer Vincenzo
De Cotiis restored parts of the piano nobile for residential use,
blending Baroque elements with contemporary art, as described in
Architectural Digest. The restoration includes:
Murano glass
chandeliers with golden chains, enhancing the Baroque ambiance.
Plastered walls with 19th-century marmorino decorations, preserving
historical texture.
Carved burl-walnut doors, adding warmth and
authenticity.
Sculptural furniture by De Cotiis, such as a cast brass
and malachite cocktail table and a mohair velvet sofa, creating an
avant-garde aesthetic.
Contemporary artworks, like a glass-and-steel
triptych by Anne Imhof, reflecting the palace’s modern cultural role.
Courtyard:
The courtyard, with its well, is noted for its “high
sculptural quality,” possibly featuring stone balustrades or paving
patterns. It serves as a serene space for Levi Foundation events or
private gatherings.
The Palazzo Giustinian Lolin has served multiple roles, from a noble
residence to a cultural institution, reflecting its adaptability to
Venice’s evolving needs.
Historical Role
Lolin and Giustinian
Residence (14th–18th Centuries):
The Lolin family’s 14th-century
palace was a residence, with the 17th-century rebuild by the Giustinian
family elevating its status. The piano nobile hosted social and
ceremonial functions, with the portego as a grand reception space.
19th-Century Cultural Salon:
Under Maria Taglioni and Maria
Luisa, the palace became a cultural salon, frequented by figures like
Gabriele D’Annunzio, reflecting Venice’s post-Republican artistic
vibrancy.
20th-Century Residents:
The Ugo and Olga Levi
family’s ownership marked a shift to cultural patronage, culminating in
the 1962 establishment of the Levi Foundation, dedicating the palace to
music studies.
Current Role
Ugo and Olga Levi Foundation
Headquarters (Since 1962):
The palace is the primary seat of the Ugo
and Olga Levi Foundation, a leading institution for music studies,
focusing on ancient, contemporary, organology, and ethnomusicology. It
hosts:
Concerts, seminars, conferences, and exhibitions, leveraging
the piano nobile’s spaces.
Research facilities, including a library
and archives, supporting music scholars.
The foundation’s activities,
described in sources, make it a “center of studies and musical
initiatives in the first rank,” attracting musicians and academics.
Venice Biennale Venue:
The palace serves as an exhibition venue
for the Venice Biennale, hosting pavilions or parallel exhibitions, as
noted in sources. Its Baroque interiors provide a historic backdrop for
contemporary art, enhancing its cultural appeal.
Permasteelisa
Group Office (Since 2010):
Part of the palace is a representative
office for the Permasteelisa Group, an architectural firm, used for
corporate events or meetings, as per sources.
Private Residence
(Vincenzo De Cotiis):
Since 2023, designer Vincenzo De Cotiis has
resided on the piano nobile, restoring it with contemporary art and
sculptural furniture, as described in Architectural Digest. This private
use adds a modern layer to the palace’s history.
Tourist
Attraction:
The Grand Canal façade is a visual landmark for gondola
tours or vaporetto rides, though the palace is not a public museum.
Biennale exhibitions and Levi Foundation events offer limited public
access, with TripAdvisor reviews noting its cultural significance but
limited visibility (ranked modestly among Venice’s attractions).
Accessibility:
By Water: The water portal allows water taxi or
gondola access, with the San Samuele vaporetto stop (200 meters) on
Lines 1 and 2 nearby.
By Foot: Located at San Marco, San Vidal, the
palace is a 5-minute walk from Campo Santo Stefano, 10 minutes from
Piazza San Marco, and 15 minutes from Venice Santa Lucia Railway
Station. The Ponte dell’Accademia (120 meters) connects to Dorsoduro.
Visiting Information: Levi Foundation events require registration via
www.fondazionelevi.it, while Biennale visits are ticketed through
www.labiennale.org. The exterior is freely visible from the Grand Canal.
Challenges
Limited Access: As a private institution and
residence, the palace’s interiors are rarely open, restricting
appreciation to Biennale or Levi Foundation events.
Preservation:
Maintaining a Grand Canal palace against acqua alta and structural wear
is costly, though the Levi Foundation and Permasteelisa Group support
its upkeep.
Balancing Uses: The palace’s dual role as a cultural
institution, corporate office, and private residence requires careful
management to preserve its historical integrity.
The Palazzo Giustinian Lolin is a significant landmark in Venice,
embodying its Baroque architectural heritage, noble history, and
cultural vitality.
Lolin and Giustinian Legacies
The Lolin
family’s 14th-century residence and the Giustinian family’s 17th-century
rebuild reflect Venice’s noble aspirations, with the Giustinian name
tied to doges and cultural patrons. The Lolin condition in the bequest
underscores family pride, preserved in the palace’s name.
The
19th-century residents, including Maria Taglioni and Maria Luisa, added
artistic and aristocratic prestige, while the Levi family’s 20th-century
patronage cemented its cultural role.
Architectural Importance
Baldassare Longhena’s early work showcases his transition from
Scamozzi’s classical restraint to Baroque monumentality, with the
serlianas, pilasters, and obelisk pinnacles marking his signature style.
The Gothic windows, preserved from the 14th-century plan, add historical
depth, as noted in sources.
The courtyard’s “sculptural quality” and
Istrian stone façade align with Longhena’s designs for Palazzo Belloni
Battagia and Ca’ Pesaro, making the palace a key example of Venetian
Baroque architecture.
The Vincenzo De Cotiis restoration in 2023
blends Baroque heritage with contemporary art, reflecting Venice’s
ability to evolve while honoring its past.
Cultural Role
The
Ugo and Olga Levi Foundation, established in 1962, positions the palace
as a global center for music studies, hosting concerts, seminars, and
research, as described in sources. Its Jean Raoux paintings and musical
archives enhance its cultural significance.
The Venice Biennale
exhibitions connect the palace to Venice’s role as a contemporary arts
hub, with its piano nobile serving as a historic backdrop for modern
installations, as noted in Architectural Digest.
The 19th-century
salon, frequented by Gabriele D’Annunzio, underscores its historical
role as a cultural gathering place, a legacy continued by the Levi
Foundation’s events.
The palace’s UNESCO World Heritage status, as
part of Venice’s historic center, highlights its global importance,
though its niche appeal reflects its focus on specialized cultural
activities.
Modern Significance
The Permasteelisa Group’s
office use since 2010 reflects Venice’s integration of historic
buildings into modern economies, while De Cotiis’s residence adds a
contemporary artistic layer, as per Architectural Digest.
The
palace’s San Marco location, near Campo Santo Stefano and the Gallerie
dell’Accademia, embeds it in a vibrant cultural hub, with Venetian
bacari and art venues enhancing its appeal, as noted in TripAdvisor
reviews.
The Palazzo Giustinian Lolin’s Grand Canal façade, with its Istrian
stone serlianas and colossal pilasters, exudes Baroque grandeur, its
obelisk pinnacles piercing the Venetian skyline. From a gondola, the
palace shines between Palazzo Falier Canossa and Ca’ Rezzonico, its
narrow Gothic windows hinting at its 14th-century roots. The notched
cornice and ashlar ground floor add texture, creating a harmonious blend
of history and drama.
Inside, the piano nobile’s portego, with
high ceilings and canal views, evokes the Giustinian family’s opulence,
while the Levi Foundation’s minimalist decor highlights its modern
purpose. The courtyard, with its well and sculptural quality, offers a
serene retreat, as if stepping into a hidden Venetian oasis. Vincenzo De
Cotiis’s restoration, with Murano chandeliers, marmorino walls, and Anne
Imhof’s triptych, creates a dialogue between Baroque splendor and
avant-garde art, as described in Architectural Digest.
For
visitors, the palace is a visual and emotional bridge to Venice’s past,
its Grand Canal façade a testament to Longhena’s genius and the
Lolin-Giustinian legacy. Biennale exhibitions and Levi Foundation
concerts offer rare glimpses of its interiors, with the piano nobile’s
canal views evoking La Serenissima’s timeless allure. The San Marco
setting, with Campo Santo Stefano’s cafés and the Ponte dell’Accademia’s
vistas, immerses visitors in Venice’s cultural heart, making the Palazzo
Giustinian Lolin a quiet yet profound landmark.