The Palazzo Erizzo alla Maddalena, also known as Palazzo Molin Erizzo, is a Gothic-style palace in Venice, Italy, located in the Cannaregio sestiere along the Grand Canal, between the Palazzo Marcello and Palazzo Soranzo Piovene. Built in the mid-15th century by the Molin family and acquired by the Erizzo family in 1650, this palace is notable for its asymmetrical Gothic facade, interior decorations by Andrea Celesti, and its association with the Erizzo family, including Doge Francesco Erizzo (1631–1646). Today, it is a private residence, with parts leased for events or accommodations, reflecting its continued relevance in Venice’s cultural and architectural landscape.
The Palazzo Erizzo alla Maddalena’s history begins in 1454, when
Bernardo Molin q. Nicolò, a member of the prominent Molin family,
purchased the site from the noble Zulian family under the Venetian “Jus
lateranitatis praelationis” (right of first refusal for neighbors). The
Molins, who also owned the adjacent Palazzo Marcello, initiated
construction of a Gothic palace, elevating the structure and designing a
new facade shortly after the acquisition. The mid-15th-century
construction aligns with Venice’s Gothic architectural peak, when noble
families built palazzi to showcase wealth and status along the Grand
Canal.
In 1650, the palace passed to the Erizzo family through
the marriage of Giacomo (or Jacopo) Erizzo to Cecilia Molin, a union
that consolidated the property under the Erizzo name. The Erizzo family,
originating from Capodistria (modern Koper, Slovenia) and established in
Venice since 805, were a distinguished patrician lineage, contributing
to the Republic’s governance and military. Notable members include
Francesco Erizzo, Doge from 1631 to 1646, whose tomb is in the Chiesa di
San Martino in Castello, and Paolo Erizzo, Bailo of Negroponte, executed
by Sultan Mehmet II in 1470. The palace’s main hall was decorated to
commemorate Paolo’s martyrdom, reflecting the family’s pride in their
heroic legacy.
The palace underwent multiple renovations over the
centuries, particularly to the ground floor and mezzanine, adapting it
to changing needs. By the 19th century, it passed to the Barzizza
family, originally from Milan, and later to the Boldrin family. The
Erizzo family line ended in 1847 with Guido di Niccolò’s death, though
the name persisted through Francesco Miniscalchi Erizzo, son of Luigi
Miniscalchi and Marianna Erizzo. In the 20th century, the palace was
acquired by the Italian Ministry of Culture, which used it as the
regional directorate’s headquarters. Today, it is privately owned, with
parts leased for events or accommodations, as noted in sources like Olia
i Klod, which mention its availability through the Italian state
property agency.
The palace’s history is also tied to apocryphal
narratives, such as the story of Paolo Erizzo’s daughter Anna, who was
allegedly killed by Mehmet II for resisting his advances. Sources like
Olia i Klod and Conoscere Venezia debunk this tale, noting that Paolo
had no recorded wife or children, and the story likely stems from
romanticized Venetian chronicles, such as those by Zanotto, rather than
historical fact. This myth, while enhancing the palace’s allure,
reflects Venice’s tendency to embellish its history with dramatic
legends, akin to Palazzo Moro a San Barnaba’s Othello connection.
The Palazzo Erizzo alla Maddalena is a quintessential example of
Venetian Gothic architecture, characterized by its asymmetrical facade
and pointed-arch windows, drawing inspiration from the Doge’s Palace.
Its design reflects the 15th-century Venetian aesthetic, blending
functionality with decorative elegance, tailored to the Grand Canal’s
mercantile and social context.
Exterior and Facade: The facade,
described in sources like ITALYscapes and venice.jc-r.net, is distinctly
Gothic, with a five-light window (pentafora) on the piano nobile as its
centerpiece, significantly offset to the left, creating a striking
asymmetry. This pentafora, framed by trefoil arches and reminiscent of
the Doge’s Palace loggia, is the facade’s most prominent feature,
supported by marble columns with ornate capitals featuring mask motifs
in oval frames. The ground floor has pointed-arch openings, including a
water portal for canal access, while the mezzanine and upper floors
feature additional pointed-arch monofore (single windows), reinforcing
the Gothic layout. The facade’s asymmetry, noted in Olia i Klod,
suggests an unrealized plan to extend the right wing, a common trait in
Venetian palazzi constrained by urban density. The courtyard’s marble
coat of arms, combining the Erizzo hedgehog and Molin millstone,
confirms the families’ historical merger, though its placement on a
public court wall raises questions about its original context. Wikimedia
images show the facade’s red-brick and stone composition, with the
pentafora’s white marble contrasting the darker tones, enhancing its
visual impact.
Interior: The interior follows the typical Venetian
palazzo layout, with a wide central portego on the piano nobile,
accessed via a marble staircase with balustrades visible from the
courtyard, as described in Conoscere Venezia. The main hall is decorated
with large paintings by Andrea Celesti, depicting the martyrdom of Paolo
Erizzo, executed in Negroponte in 1470. Additional artworks, attributed
to Jacopo and Domenico Tintoretto, Andrea Vicentino, and others, adorn
the hall’s doorways, portraying Erizzo family members like Andrea di San
Canciano (Procurator of San Marco, 1342) and Doge Francesco Erizzo. The
palace retains 18th-century decorations, including rococo wooden
carvings, marquetry with silver inlays, and a terrazzo floor with fine
marbles, porphyry, and mother-of-pearl, reflecting later opulence. The
courtyard, with its ornate staircase and heraldic symbols, adds to the
interior’s grandeur, though its public accessibility is unclear. Modern
renovations for residential or event use likely introduced utilities,
but the preservation of historical artworks suggests careful
maintenance.
Structural Layout: The palace spans multiple floors: a
ground floor with water portal and storage, a mezzanine for offices or
minor functions, a piano nobile for main living spaces, and possibly an
attic or upper floor for additional rooms. The L-shaped plan, typical of
Venetian palazzi, centers on the portego, which distributes rooms along
the Grand Canal and courtyard sides. The courtyard, accessed via Corte
Erizzo (Cannaregio 2138), features an external staircase, a rare and
elegant feature, as noted in Olia i Klod. The asymmetrical facade and
internal layout suggest a constrained site, with renovations over time
reconfiguring the ground floor and mezzanine for practicality. The
absence of a documented garden, unlike Casa Levi Morenos, aligns with
Cannaregio’s dense urban fabric.
The Palazzo Erizzo alla Maddalena is distinguished by its interior
artworks, particularly in the main hall, which celebrate the Erizzo
family’s legacy. While the facade’s Gothic architecture is its external
artistic highlight, the interior’s paintings and decorations elevate its
cultural significance.
Andrea Celesti’s Paintings: The main hall
features large canvases by Andrea Celesti, a late 17th-century Venetian
painter, depicting the story of Paolo Erizzo, Bailo of Negroponte,
executed by Mehmet II in 1470. These works, noted for their dramatic
narrative, glorify Erizzo’s martyrdom, reinforcing the family’s
patriotic identity. Celesti’s Baroque style, with vivid colors and
dynamic compositions, contrasts with the Gothic facade, reflecting later
decorative trends.
Tintoretto and Vicentino Portraits: The hall’s
doorways are adorned with portraits of Erizzo family members, attributed
to Jacopo and Domenico Tintoretto and Andrea Vicentino, a pupil of Palma
il Giovane. These include Andrea di San Canciano (1342), an admiral, and
two senators, dated to 1343, though the early date raises questions
about authenticity, as Tintoretto worked in the 16th century. A portrait
of Doge Francesco Erizzo by Jacopo Tintoretto further ennobles the
space, though its attribution requires scrutiny, given Tintoretto’s
death in 1594, before Francesco’s birth. These works, if authentic,
would be significant, but their documentation in Conoscere Venezia lacks
primary verification.
Additional Artworks: The palace houses a
collection of paintings from various schools, including Joseph and
Potiphar’s Wife by Alessandro Varotari (Padovanino), Isaac’s Blessing by
Jacopo da Ponte (Bassano), The Rape of Europa by Celesti, and The
Banquet of the Gods by Cavalier Bambini. A collection of prints by
Bellini, Volpato, Morghen, and English and Flemish engravers adds to the
artistic wealth, though their current state is unknown. Rococo wooden
carvings, marquetry, and a mother-of-pearl terrazzo floor, noted as
Louis XVI-style, reflect 18th-century opulence, contrasting the Gothic
exterior.
Apocryphal Narratives: The story of Anna Erizzo, Paolo’s
supposed daughter, is debunked as a “poetic dream,” with no historical
basis, yet it persists in some accounts, illustrating Venice’s penchant
for embellished histories. This narrative, while not an artwork, adds a
cultural layer to the palace’s artistic identity, akin to literary myths
in other palazzi.
The artworks’ survival, despite reported thefts in
earlier centuries, suggests careful stewardship, though their condition
and accessibility remain uncertain due to the palace’s private status.
As of 2025, the Palazzo Erizzo alla Maddalena is a privately owned
residence, with parts leased for events or accommodations, as noted in
Olia i Klod’s reference to the Italian state property agency’s
offerings. Unlike cultural hubs like Palazzo Querini Stampalia or
Palazzo Tiepolo Passi, it is not a public attraction, limiting access to
tenants, event organizers, or invited guests.
Location: The
palace is at Corte Erizzo, 2138, Cannaregio, overlooking the Grand Canal
near the Chiesa della Maddalena. It is approximately 1 km from Santa
Lucia railway station and 350 meters from the San Marcuola vaporetto
stop (Actv lines 1 and 2), making it easily accessible. Nearby
attractions include Palazzo Marcello (0.1 km), Ca’ Vendramin Calergi
(0.2 km), and the Jewish Ghetto (0.5 km), situating it in Cannaregio’s
historic core. Restaurants like Osteria Al Timon (0.3 km) and Vino Vero
(0.4 km) offer dining options, enhancing the area’s appeal.
Visiting:
The palace is not open for public tours or exhibitions, unlike Palazzo
Michiel del Brusà’s Biennale events. Visitors can view the facade from
the Grand Canal by vaporetto or gondola, particularly from the opposite
bank near San Marcuola, where the pentafora’s asymmetry and Gothic
arches are striking. The Corte Erizzo entrance and courtyard staircase
are visible from land, though access is restricted. Leasing
opportunities, as mentioned in 2013 by Olia i Klod, suggest event or
accommodation use, but no current listings on platforms like Tripadvisor
confirm this, indicating limited public engagement. The palace’s absence
from tourist rankings reflects its private status, with no visitor
reviews available.
Current Function: The palace serves as a private
residence, with sections potentially leased for events, conferences, or
short-term stays, as implied by its state property listing. Its use by
the Ministry of Culture in the 20th century for regional offices
suggests a history of adaptive reuse, but its return to private
ownership prioritizes residential functions. The preservation of
artworks and Gothic features indicates ongoing maintenance, though
modern utilities (e.g., heating, elevators) are likely integrated for
tenant comfort.
The Palazzo Erizzo alla Maddalena encapsulates Venice’s Gothic
architectural heritage and the Erizzo family’s enduring legacy. Its
15th-century facade, with its pentafora and trefoil arches, reflects the
city’s medieval prosperity and Eastern influences, drawing from
Byzantine and Moorish styles, as noted in Walks of Italy. The palace’s
asymmetry, possibly an unrealized expansion, underscores Venice’s
organic urban development, where spatial constraints shaped palatial
design.
The Erizzo family’s history, from Francesco Erizzo’s
dogeship to Paolo Erizzo’s martyrdom, imbues the palace with patriotic
significance, celebrated through Celesti’s paintings and Tintoretto’s
portraits. The debunked Anna Erizzo myth, while fictional, illustrates
Venice’s storytelling tradition, paralleling myths like Palazzo Moro’s
Othello link, which blend fact and legend to enhance cultural allure.
The palace’s role as a Molin-Erizzo merger, symbolized by the
courtyard’s coat of arms, highlights Venice’s social dynamics, where
marriage consolidated noble estates.
Its modern use as a private
residence and event space reflects Venice’s balance of preservation and
adaptation, a theme seen in palazzi like Casa Levi Morenos or Palazzo
Tiepolo Passi. The palace’s location near the Chiesa della Maddalena and
Cannaregio’s cultural sites, like Ca’ d’Oro, embeds it in a historic
corridor, though its private status limits its public impact compared to
Palazzo Querini Stampalia’s museum role. The artworks’ survival, despite
reported thefts, underscores the palace’s cultural resilience, though
their inaccessibility calls for greater documentation to ensure their
legacy.