Palazzo Flangini is a Baroque-style palace located on the Grand Canal in the Cannaregio sestiere of Venice, Italy, adjacent to Campo San Geremia and near the Chiesa dei Santi Geremia e Lucia. Constructed between 1664 and 1682, the palace is attributed to the architect Giuseppe Sardi, though some sources have incorrectly linked it to his mentor, Baldassare Longhena. Commissioned by the Flangini family, a wealthy Greek Cypriot family with significant influence in Venice, the palace is notable for its asymmetrical façade, which reflects an incomplete design due to the family’s inability to acquire adjacent property. Today, Palazzo Flangini is a well-preserved venue for cultural events and exhibitions, maintaining its historical and architectural significance.
The Palazzo Flangini was built for the Flangini family, who
originated from Cyprus and established themselves as prominent figures
in Venetian society. The family’s wealth and cultural contributions are
exemplified by Thomas Flanginis, who in 1626 founded the Flanginian
School, a Greek educational institution in Venice that supported the
city’s Greek Orthodox community. The palace, constructed later in the
17th century, served as a residence and a symbol of the family’s status.
Construction began in 1664 and was completed by 1682, during a
period when Venice was embracing the Baroque style, characterized by
grandeur, theatricality, and elaborate decoration. The choice of
Giuseppe Sardi as the architect (attributed by 18th-century art
historian Tommaso Temanza) reflects the family’s ambition to align with
contemporary architectural trends. Sardi, a pupil of Longhena, was known
for his work on other Venetian structures, though Palazzo Flangini is
one of his most prominent commissions.
The palace remained in the
Flangini family’s possession until the death of Cardinal Ludovico (or
Luigi) Flangini in 1804, the last male heir. Ludovico, who served as
Patriarch of Venice from 1801, marked the end of the family’s direct
line. Subsequently, the palace passed to the Panciera family and later
to the Cléry family, reflecting the common practice of Venetian palaces
changing hands among noble families. By the late 18th century, the
palace’s ownership had shifted, but it retained its structural
integrity.
In the 19th century, part of the palace was merged
with the adjacent Palazzo Morosini Ferro to form the Palazzo Ferro Fini,
which became a luxury hotel (the Hotel New York) and later the seat of
the Regional Council of Veneto. However, the core Palazzo Flangini
remains a distinct entity, recognized for its Baroque façade and
cultural significance. In recent years, the palace has been restored and
repurposed as a venue for events and exhibitions, notably by the
ITSLIQUID Group, which has hosted contemporary art fairs such as
Contemporary Venice (2016).
Palazzo Flangini is a striking example of Venetian Baroque
architecture, distinguished by its monumental yet asymmetrical façade
and its strategic location on the Grand Canal. Its design reflects both
the ambitions of the Flangini family and the practical constraints of
Venice’s dense urban environment.
Exterior
The façade of
Palazzo Flangini, overlooking the Grand Canal, is its most iconic
feature, though its asymmetry has sparked both intrigue and speculation.
Key elements include:
Asymmetry: The palace appears to be only
two-thirds of its intended size, with the right wing missing, creating
an off-center composition. The prevailing theory, supported by sources,
is that the Flangini family could not acquire the adjacent property (now
Casa Seguso), forcing Sardi to truncate the design. A less credible
legend suggests that one of two inheriting brothers deliberately
destroyed a wing out of spite, though this is dismissed as apocryphal.
The asymmetry is evident in the off-center water portal and the uneven
distribution of windows, which disrupts the Baroque ideal of symmetry.
Water Portal: The ground floor features a prominent water entrance,
typical of Venetian palaces, with a rounded arch adorned with a large
mascherone (grotesque mask) as a keystone. Flanking the portal are two
sculptural figures of naked men, described by some visitors as “bizarre”
or “intriguing.” These figures, reclining on the arch, add a theatrical
Baroque flourish, though their weathered appearance contributes to the
façade’s perceived “grey and unloved” look.
Piani Nobili: The two
noble floors (piani nobili) are articulated with large, arched windows,
including quadrifore (four-light windows) on either side of single
monofore (single windows). The windows are supported by composite Ionic
half-columns, with continuous balconies connecting them. The keystones
of the arches are decorated with sculptural details, enhancing the
façade’s richness. The first piano nobile features a protruding balcony,
while the second has a flush balustrade, creating a hierarchical
distinction.
Mezzanine: The top mezzanine level originally had
oval-shaped windows, as seen in historical views, but these were later
altered to rectangular forms, possibly during 19th-century
modifications. One window on the ground floor, with an original iron
grille, was recently bricked up, indicating ongoing maintenance
challenges.
Materials and Condition: The façade is clad in Istrian
stone, a durable and luminous material common in Venetian architecture.
Despite some weathering and soot (noted in Canaletto’s 1738 painting),
the palace is in good condition, with ongoing restoration efforts to
preserve its structure.
The façade’s asymmetry, while a practical
compromise, gives the palace a unique character, making it a
“monumental” yet “unfinished” landmark on the Grand Canal. Its location
near the Cannaregio Canal and Campo San Geremia positions it as one of
the first grand palaces encountered by visitors traveling from Santa
Lucia railway station toward the Rialto Bridge.
Interior
While
the interior of Palazzo Flangini has been altered over time, it retains
some original features, particularly in the first piano nobile. Key
elements include:
Layout: The palace follows the classic Venetian
layout, with an androne (water entrance hall) on the ground floor,
leading to a central portego (grand hall) on the first piano nobile. The
portego serves as the main reception space, connecting to lateral rooms
used for living quarters or entertaining. The ground floor, described as
a “fondaco” (warehouse-like space), was historically used for storage
and trade, reflecting the Flangini family’s commercial activities.
Decorations: The first piano nobile retains 18th-century (Settecento)
decorations, including frescoes, stucco work, and possibly paintings,
though specific artists are not documented. These decorations are less
extensive than those in palaces like Palazzo Contarini a San Beneto but
contribute to the palace’s historical ambiance. The portego is described
as a large, elegant space with a high ceiling, suitable for events such
as dinners, concerts, or exhibitions.
Staircase and Terrace: A grand
staircase leads from the ground floor to the first piano nobile, where a
terrace overlooks the Grand Canal, offering panoramic views of the
Basilica della Salute, Punta della Dogana, and the Accademia Bridge. The
terrace, noted in Tripadvisor reviews, enhances the palace’s appeal as
an event venue.
Condition: While the palace is structurally sound,
some interior elements have been lost or modified due to its conversion
into a multi-purpose space. The first piano nobile was sold in 2005, and
its current ownership status is unclear, but the space remains
functional for cultural activities.
The interior’s adaptability is
evident in its use by the ITSLIQUID Group, which has hosted art
exhibitions in the portego and ground floor, leveraging the palace’s 850
square meters of space.
Palazzo Flangini is significant for its architectural innovation,
historical associations, and contemporary cultural role. Its Baroque
façade, despite its asymmetry, is a testament to Giuseppe Sardi’s skill
in adapting to challenging site conditions while maintaining a
monumental presence. The palace’s sculptural details, such as the
mascherone and reclining figures, reflect the Baroque emphasis on drama
and ornamentation, aligning it with other Venetian palaces of the
period, such as Ca’ Pesaro or Palazzo Zane Collalto.
The Flangini
family’s Greek Cypriot heritage adds a multicultural dimension to the
palace’s history. Their patronage of the Flanginian School underscores
their commitment to education and cultural preservation, particularly
for Venice’s Greek community. The palace’s later ownership by Cardinal
Ludovico Flangini, a high-ranking ecclesiastical figure, further ties it
to Venice’s religious and political elite.
Artistically, Palazzo
Flangini is immortalized in Canaletto’s painting The Grand Canal in
Venice from Palazzo Flangini to Campo San Marcuola (circa 1738), now in
the J. Paul Getty Museum. Commissioned by Joseph Smith, this veduta
(view painting) captures the palace’s façade in vivid detail,
highlighting its asymmetry and the weathered texture of its stonework.
The painting’s popularity, reproduced on items like silk scarves,
underscores the palace’s enduring visual appeal.
In the 21st
century, Palazzo Flangini has become a cultural hub, particularly
through the efforts of the ITSLIQUID Group. The Contemporary Venice
exhibition (December 2016–January 2017) showcased works by over 80
artists from 35 nations, demonstrating the palace’s suitability for
large-scale events. Its private water entrance, dock, and access from
Campo San Geremia make it an ideal venue for exhibitions, concerts, and
private functions, as noted in a 2017 Tripadvisor review praising its
“Venetian atmosphere of other times.”
Palazzo Flangini is in good condition, with ongoing restoration
efforts to maintain its façade and interior spaces. It is not a
traditional tourist attraction like Ca’ Rezzonico or Palazzo Ducale, but
it is accessible for specific events and exhibitions. The palace’s total
area of approximately 850 square meters is divided between the ground
floor (fondaco) and the first piano nobile (portego), both of which are
used for cultural activities.
Public Access: The palace is
primarily open for organized events, such as art fairs, concerts, or
private functions, rather than regular tourist visits. The ITSLIQUID
Group’s exhibitions, such as Borders Art Fair (planned for 2025 during
the Venice Biennale of Architecture), provide opportunities for visitors
to explore the interior. Guided tours may be available during these
events, but the palace is not part of the Chorus Pass or similar
circuits.
Event Venue: The portego on the first piano nobile is a
versatile space, described as suitable for dinners, cultural meetings,
concerts, or dances. Its high ceilings, 18th-century decorations, and
canal-facing terrace create an evocative setting. The ground floor’s
spacious androne can host receptions, aperitifs, or exhibitions, with a
capacity for large groups.
Condition and Perception: While the palace
is structurally sound, some visitors, as noted in Tripadvisor reviews,
find its façade “grey and unloved” compared to more ornate Grand Canal
palaces. The weathered appearance, accentuated by soot and stucco decay
(as depicted in Canaletto’s painting), contributes to this perception.
However, the interior’s elegance and the terrace’s views are
consistently praised.
The palace’s location in Cannaregio, near Santa
Lucia railway station and the Chiesa dei Santi Geremia e Lucia, makes it
easily accessible by vaporetto or water taxi. Its proximity to other
attractions, such as Palazzo Labia and the Ponte delle Guglie,
integrates it into a culturally rich neighborhood. The palace’s address
is Cannaregio 252, and its private dock facilitates arrivals by boat,
enhancing its appeal for exclusive events.
Palazzo Flangini is under the oversight of Venice’s cultural heritage
authorities, with restoration efforts focused on maintaining its façade
and key interior spaces. The sale of the first piano nobile in 2005 and
minor modifications (e.g., the bricked-up window) indicate ongoing
maintenance challenges, but the palace’s overall condition is good. The
ITSLIQUID Group’s activities have revitalized its cultural role,
ensuring its relevance in Venice’s art scene.
Future prospects
include continued use as an event venue, potentially with expanded
public access during exhibitions like the Venice Biennale. Restoration
of the 18th-century decorations in the piano nobile could enhance its
appeal, though funding and prioritization remain hurdles. The palace’s
resilience, despite its “unfinished” design, underscores its
adaptability to Venice’s evolving needs.