The Palazzo Barbarigo Nani Mocenigo, located in the Dorsoduro sestiere of Venice, Italy, is a 15th-century Venetian Gothic palace situated along the Fondamenta Nani on the Rio di San Trovaso, near the Campo San Trovaso and opposite the historic Squero di San Trovaso (a traditional gondola shipyard). This elegant palace, with its rich history tied to the noble Barbarigo, Nani, and Mocenigo families, is a splendid example of Venetian Gothic architecture, characterized by its pointed arches, brick construction, and restrained yet refined aesthetic. Today, it serves as a 5-star luxury boutique hotel, the Hotel Nani Mocenigo Palace, and has previously housed cultural institutions like the Ca’ Foscari University and the Glass Museum Vitraria.
The Palazzo Barbarigo Nani Mocenigo traces its origins to the 15th
century, when it was constructed as a residence for the Barbarigo
family, one of Venice’s most illustrious noble families. The Barbarigos
produced two doges, Marco Barbarigo (r. 1485–1486) and Agostino
Barbarigo (r. 1486–1501), the latter being a pivotal figure in the
palace’s history. The palace formed part of the dowry that Elena
Barbarigo, daughter of Doge Agostino, brought to her husband Giorgio
Nani upon their marriage. Their son, Bernardo Nani, inherited the palace
and became the founder of the Nani di San Trovaso family branch, named
after the nearby Campo San Trovaso.
The Nani family maintained
ownership until the early 19th century, when the San Trovaso branch died
out. The palace then passed to distant relatives, the Nani Mocenigo, who
had previously resided in a Renaissance palace in the Cannaregio
district (now a Radisson Collection hotel). The Nani Mocenigo family
continued to occupy parts of the palace, while other sections were
repurposed over time.
In the 18th century, the palace housed the
Museo Naniano, a private collection of antiquities amassed by the Nani
family, showcasing their cultural and intellectual prominence. Later, it
served as the seat of the Ca’ Foscari University’s Department of Italian
Studies and its library, until the university’s humanities faculty
relocated to Palazzo Malcanton Marcorà in 2007. The palace also briefly
hosted the Glass Museum Vitraria, highlighting Venice’s glassmaking
heritage. Since its conversion into the Hotel Nani Mocenigo Palace, it
has become a luxurious destination for visitors, preserving its
historical grandeur while offering modern amenities.
The palace’s
history reflects the social and cultural dynamics of Venice, from its
aristocratic roots to its adaptation to modern tourism and academia,
making it a microcosm of the city’s evolving identity.
The Palazzo Barbarigo Nani Mocenigo is a quintessential example of
Venetian Gothic architecture, distinguished by its sober yet elegant
design, which contrasts with the more florid gotico fiorito (floriated
Gothic) of palaces like the Ca’ d’Oro or Doge’s Palace. Its location
along the Rio di San Trovaso, a narrow canal in the artistic Dorsoduro
district, and its proximity to the Squero di San Trovaso, enhances its
picturesque setting. The palace’s façade, reportedly restored by the
renowned architect Jacopo Sansovino in the 16th century, is a highlight
of its architectural legacy.
Structure and Layout
Façade: The
palace’s façade, facing the Rio di San Trovaso, is a well-preserved
example of 15th-century Venetian Gothic. It is constructed primarily of
brick, a cost-effective material compared to the Istrian stone used in
wealthier palaces, reflecting the Barbarigo family’s status as prominent
but not ostentatiously wealthy. The façade features pointed arches
supported by slender columns, with Byzantine influences evident in the
rounded profiles and decorative friezes. These arches, less ornate than
those of the gotico fiorito, maintain a sober elegance, with delicate
tracery and possibly quatrefoil motifs above the windows. The façade is
described as “nearly symmetrical,” with coats of arms in the wings,
likely representing the Barbarigo, Nani, and Mocenigo families. A
separate access for the piano nobile emphasizes the palace’s
hierarchical design.
Water Entrance: The palace includes a water
entrance on the Rio di San Trovaso, allowing direct access by gondola or
water taxi, a standard feature of Venetian palaces. This entrance leads
to a ground-floor androne (hall), which historically served as a
reception or storage area, now part of the hotel’s lobby.
Plan: The
palace is a tripartite, four-story building, following the traditional
Venetian palace layout. A central portego (long corridor) runs from the
water entrance to the rear, connecting to lateral rooms. The piano
nobile on the first floor contains the grand reception rooms, with high
ceilings and large windows overlooking the canal. Upper floors house
private apartments or guest rooms, while the ground floor includes
service areas and the hotel’s public spaces, such as the lounge bar and
garden.
Garden: A rare and cherished feature, the palace boasts a
private garden, described as the “heart of the hotel.” Surrounded by
trees and offering a tranquil escape from Venice’s bustling streets, the
garden is a favorite among guests for breakfast, aperitifs, or dinners,
especially at sunset when it exudes a unique charm.
Architectural
Style
The Venetian Gothic style of the Palazzo Barbarigo Nani
Mocenigo is characterized by its fusion of Gothic, Byzantine, and
Islamic influences, reflecting Venice’s role as a crossroads of trade.
The pointed arches and brick construction evoke the Gothic aesthetic,
while Byzantine elements, such as rounded arch profiles and decorative
friezes, nod to Venice’s Eastern connections. The façade’s restoration
by Jacopo Sansovino, a leading Renaissance architect, likely introduced
subtle classical elements, such as refined proportions or decorative
details, though the Gothic character remains dominant.
The
palace’s sobriety distinguishes it from the more ornate gotico fiorito
of the Doge’s Palace, aligning it with earlier, more restrained Gothic
designs. Its brick façade, rather than stone, suggests a practical
approach to construction, yet the craftsmanship of the arches and
tracery reflects the Barbarigo family’s status. The palace’s integration
with the Rio di San Trovaso and its urban context enhances its visual
impact, making it a harmonious part of Dorsoduro’s architectural
tapestry.
Materials
Brick: The primary material for the façade
and structure, brick was widely used in Venetian Gothic palaces for its
availability and cost-effectiveness.
Istrian Stone: Likely used for
decorative elements, such as column capitals, window frames, or tracery,
adding durability and a luminous quality.
Wood: The palace rests on
wooden piles driven into the lagoon mud, a traditional Venetian
foundation technique. Interior ceilings feature wooden beams, some
painted or decorated.
Murano Glass: Incorporated in chandeliers and
possibly window insets, reflecting Venice’s glassmaking heritage.
The
material palette balances economy with elegance, ensuring the palace’s
longevity in Venice’s challenging lagoon environment.
The Palazzo Barbarigo Nani Mocenigo is renowned for its rich interior
decorations, particularly its 18th-century frescoes and stucco work,
which elevate its status as a cultural treasure. While the exterior is
relatively restrained, the interiors are opulent, reflecting the Nani
family’s wealth and artistic patronage.
Frescoes
The palace
contains important frescoes by Antonio Felice Ferrari, known as Il
Guarana (1710–1787), a collaborator of Giovanni Battista Tiepolo, the
leading Venetian painter of the 18th century. These frescoes, likely
located on the piano nobile, depict mythological or allegorical scenes,
a common Baroque motif celebrating the family’s virtues or Venice’s
maritime glory. The frescoes are noted for their vibrant colors and
dynamic compositions, characteristic of Guarana’s style under Tiepolo’s
influence.
The frescoes are particularly admired on the ceilings,
where they create an illusion of depth and grandeur. Unfortunately, the
palace’s private status limits public access, making these artworks a
rare sight, visible only during special events or to hotel guests.
Stucco Work
The interiors feature stucco decorations by
Alessandro Vittoria (1525–1608), a prominent Venetian sculptor and
architect known for his work in the Doge’s Palace and Scuola Grande di
San Rocco. Vittoria’s stuccoes, likely adorning the walls and ceilings
of the reception rooms, include intricate floral motifs, grotesques, or
allegorical figures, adding texture and elegance to the interiors. These
decorations reflect the transition from Renaissance to Mannerist
aesthetics, with a focus on refined craftsmanship.
The stucco work
complements the frescoes, creating a cohesive decorative program that
enhances the palace’s aristocratic ambiance.
Furnishings
The
palace’s interiors, now part of the Hotel Nani Mocenigo Palace, are
furnished with Murano glass chandeliers, original Venetian-style
flooring, and precious fabrics (silk, velvet) on walls and upholstery.
The furniture includes antique Venetian pieces, such as gilded chairs,
inlaid tables, and family portraits, preserving the palace’s noble past.
Guest rooms and suites are described as expressions of “Venetian
elegance,” with Murano lamps, tapestries, and period furnishings that
evoke the 18th-century lifestyle of the Nani family. The Royal Suite,
for example, features canal views and luxurious decor, blending
historical authenticity with modern comforts.
Historical
Artifacts
In the 18th century, the palace housed the Museo Naniano, a
private collection of Roman antiquities and other artifacts, reflecting
the Nani family’s role as patrons of art and archaeology. While the
collection was dispersed after the family’s decline, some decorative
elements, such as Chinese decorative pieces from the 17th–19th
centuries, may remain, as noted in archival records.
The palace’s
iconostasi (a screen with religious icons), attributed to Jacobello and
Pierpaolo Dalle Masegne (14th century), suggests an early religious
function or chapel, though this may be a later addition or
misattribution.
The decorative program, combining Guarana’s frescoes,
Vittoria’s stuccoes, and Venetian craftsmanship, makes the palace a
repository of 18th-century Venetian art, preserved through careful
restoration.
The Palazzo Barbarigo Nani Mocenigo has evolved from a noble
residence to a multifaceted cultural and commercial space, reflecting
Venice’s ability to adapt its historic buildings to modern needs.
Historical Role
Private Residence: From the 15th century, the
palace served as the residence of the Barbarigo, Nani, and later Nani
Mocenigo families. It was a venue for social gatherings, intellectual
salons, and family events, with the Museo Naniano showcasing the Nani
family’s antiquarian interests in the 18th century.
Academic Use: In
the 20th century, the palace was acquired in part by Ca’ Foscari
University, which used it as the seat of the Department of Italian
Studies and its library until 2007. The university’s presence highlights
the palace’s role in Venice’s academic community.
Cultural Space: The
palace briefly housed the Glass Museum Vitraria, celebrating Venice’s
glassmaking tradition, and has been used for exhibitions, such as those
associated with the Venice Biennale, due to its proximity to the
Accademia and Zattere vaporetto stops.
Current Role
Boutique
Hotel: The palace now operates as the Hotel Nani Mocenigo Palace, a
5-star luxury hotel with 25 rooms and suites, offering an authentic
Venetian experience. Guests praise its Venetian Gothic ambiance,
spacious rooms, and private garden, with ratings of 8.7–9.0 on platforms
like Booking.com, Expedia, and TripAdvisor. The hotel features:
Accommodations: Suites and rooms with Murano chandeliers, Venetian
flooring, and canal views, equipped with modern amenities like Wi-Fi,
air conditioning, minibars, and hairdryers. The Royal Suite and Deluxe
Rooms are particularly noted for their elegance.
Dining: The lounge
bar offers coffee, tea, and cocktails, including the classic Venetian
Spritz, while the garden hosts breakfast (praised for its variety, with
pastries, fruits, and made-to-order options) and evening aperitifs or
dinners. Room service is available for guests seeking privacy.
Amenities: The hotel provides 24-hour reception, airport shuttle,
express check-in/check-out, and pet-friendly policies (with charges). It
is adapted for reduced mobility, with an elevator and disabled
facilities.
Events: The palace’s piano nobile and garden are ideal
for private events, such as weddings, dinners, or corporate functions,
leveraging its historical charm and canal views.
Cultural Venue: The
palace occasionally hosts exhibitions or events, as noted in its
association with the Venice Biennale, making it a cultural hub in
Dorsoduro. Its public dock facilitates the transport of artworks,
enhancing its suitability for such purposes.
Accessibility
By
Water: The palace’s water entrance on the Rio di San Trovaso
accommodates gondolas and water taxis. The nearest vaporetto stops are
Accademia and Zattere, a 3–5-minute walk away.
By Foot: Located at
Fondamenta Nani, 960–962, the palace is a 10-minute walk from the
Accademia Bridge, 15 minutes from St. Mark’s Square, and 20 minutes from
Venezia Santa Lucia Railway Station. Its proximity to Ca’ Foscari and
the Squero di San Trovaso makes it easily accessible.
The hotel’s
location in Dorsoduro’s vibrant yet quieter district, near cultural
landmarks like the Peggy Guggenheim Collection and Gallerie
dell’Accademia, enhances its appeal to tourists seeking art, history,
and authenticity.
The Palazzo Barbarigo Nani Mocenigo is a significant cultural and
historical landmark, embodying Venice’s aristocratic heritage, artistic
legacy, and adaptive reuse of historic spaces.
Aristocratic
Legacy
The palace’s association with the Barbarigo, Nani, and
Mocenigo families underscores its role in Venice’s noble history. Doge
Agostino Barbarigo (1419–1501), Elena’s father, was a transformative
figure, overseeing the annexation of Cyprus (1489) and commissioning
iconic monuments like the Clock Tower (1494), Procuratie Vecchie (1495),
and Scala dei Giganti in the Doge’s Palace. His daughter’s dowry,
including the palace, cemented the Barbarigo-Nani alliance, while the
Nani Mocenigo’s later ownership reflects the fluidity of Venetian family
lineages.
The Museo Naniano, housed in the palace during the 18th
century, highlights the Nani family’s role as patrons of art and
archaeology, contributing to Venice’s intellectual culture. The palace’s
preservation of Guarana’s frescoes and Vittoria’s stuccoes further
cements its artistic importance.
Architectural Importance
As a
Venetian Gothic palace, the Palazzo Barbarigo Nani Mocenigo represents a
critical phase in Venice’s architectural evolution, before the florid
excesses of the gotico fiorito. Its brick façade, Byzantine influences,
and Sansovino’s restoration illustrate the city’s ability to blend
Eastern and Western aesthetics. The palace’s sobriety contrasts with the
opulence of Grand Canal palaces, offering insight into the diversity of
Venetian Gothic designs.
Cultural Role
The palace’s
transformation into a luxury hotel aligns with Venice’s modern identity
as a global tourism destination. Its garden, a rare feature in the city,
and its Murano glass and Venetian furnishings provide an authentic
experience, earning praise from guests for its “perfect Venetian style
and elegance.” The hotel’s proximity to Dorsoduro’s cultural
institutions, such as the Peggy Guggenheim Collection (5-minute walk)
and Gallerie dell’Accademia (3-minute walk), positions it as a gateway
to Venice’s artistic heritage.
The palace’s occasional use for
Biennale exhibitions and its past as the Glass Museum Vitraria
underscore its role in Venice’s contemporary cultural scene, bridging
historical preservation with modern creativity. Its visibility opposite
the Squero di San Trovaso, a working gondola shipyard, adds to its
charm, offering guests a glimpse of traditional Venetian craftsmanship.
Celebrity Appeal
Posts on X note that the palace, as the Hotel
Nani Mocenigo Palace, attracts celebrities during events like the Venice
Film Festival, with figures like Susan Sarandon and Kevin Costner
reportedly staying there. This modern glamour enhances its cultural
cachet, positioning it as a “hidden gem” among Venice’s historic hotels.
Preservation and Adaptation
The palace’s careful restoration,
particularly of its façade, frescoes, and stuccoes, reflects Venice’s
commitment to preserving its heritage. Its transition from a university
department to a luxury hotel demonstrates the city’s ability to
repurpose historic buildings for economic and cultural vitality,
ensuring their survival in a challenging lagoon environment.
The Palazzo Barbarigo Nani Mocenigo’s Venetian Gothic façade, with
its pointed arches and brick elegance, exudes a quiet dignity that
contrasts with the grandeur of Grand Canal palaces. Its position along
the Rio di San Trovaso, opposite the Squero di San Trovaso, creates a
picturesque scene, with gondolas gliding past and artisans at work,
evoking Venice’s living history. The Sansovino-restored façade, with its
subtle classical touches, glows in the Venetian light, inviting
admiration from passersby on the Fondamenta Nani.
Inside, the
piano nobile transports guests to the 18th century, with Guarana’s
frescoes and Vittoria’s stuccoes creating an atmosphere of aristocratic
splendor. The Murano chandeliers, Venetian flooring, and silk tapestries
enhance the sensory experience, while the private garden offers a rare
oasis of tranquility, where guests can savor breakfast or an evening
Spritz amid trees and twilight. Guest reviews describe the palace as
“majestic,” “romantic,” and “a step back in time,” with the Royal
Suite’s canal views and the garden’s charm earning particular praise.
For visitors, the palace is both a retreat and a cultural hub, its
location in Dorsoduro offering access to Venice’s artistic treasures
while providing a serene escape from the crowds of St. Mark’s Square.
The sound of gondola builders at the Squero and the sight of the canal
from the hotel’s windows create an immersive Venetian experience,
blending history, art, and modern luxury.