The Casa Levi Morenos, also referred to as Levi Morenos House, is a 16th-century palace in Venice, Italy, located in the Cannaregio sestiere along the left side of the Grand Canal. Positioned between the Palazzo Contarini Pisani and Palazzo Fontana Rezzonico, near the confluence of the Rio di San Felice, this L-shaped building is a notable example of Renaissance architecture with a distinctive garden and elegant facade. While less prominent than grand palazzi like Palazzo Querini Stampalia or Palazzo Moro a San Barnaba, its historical significance, architectural features, and modern cultural connections—particularly through the artist Checka Levi Morenos and her grandfather Mario Levi Morenos—make it a compelling subject.
The Casa Levi Morenos was constructed in the 16th century, during the
Venetian Renaissance, a period when the city transitioned from Gothic to
classical architectural styles. Sources, including Italian and German
Wikipedia entries and Wikidata, confirm its 16th-century origin but
provide no specific construction date, architect, or original patron, a
common gap in Venetian records for smaller palazzi. The palace’s name
derives from the Levi Morenos family, though the timing and
circumstances of their ownership are not well-documented. The name
suggests a connection to a family with roots in Venice’s mercantile or
intellectual circles, possibly of Italian or Sephardic Jewish descent,
given the surname’s prevalence in such communities, though no primary
evidence confirms this.
The palace’s location in Cannaregio, a
vibrant sestiere with a mix of noble residences, commercial activity,
and the historic Jewish Ghetto, suggests it was built for a family
engaged in trade or civic life. Its proximity to the Rio di San Felice
and the Grand Canal provided practical access for commerce and
transport, aligning with the functional design of Venetian palazzi. The
L-shaped structure and small garden, unusual for canal-front properties,
indicate a thoughtful adaptation to the site, possibly incorporating an
existing Gothic or earlier foundation.
In the 20th and 21st
centuries, the palace gained cultural significance through its
association with Mario Levi Morenos, a Venetian resident born in the
house and still living there at age 92 in 2021, as noted in an interview
with his granddaughter, artist Checka Levi Morenos. Checka’s painting
The Student, depicting Mario in the palace’s interior, won the Cass Art
Prize in the 2021 Holly Bush Emerging Woman Painter Prize, bringing
attention to the house as a lived-in historical space. The palace’s
continuity as a family residence, rather than a museum or commercial
venue, distinguishes it from many Venetian palazzi repurposed for
tourism or public use.
Historically, the palace likely served as
a private residence for the Levi Morenos family, with no record of
notable political or artistic figures associated with it, unlike Palazzo
Moro a San Barnaba’s Othello legend or Palazzo Barbaro Wolkoff’s
connection to Eleonora Duse. Its survival through Venice’s economic
decline post-1797 and modern challenges like acqua alta (high tide)
reflects its structural integrity, though its private status limits
detailed historical documentation.
The Casa Levi Morenos is a three-story, L-shaped palace with a
Renaissance facade, characterized by its elegant simplicity and
functional design. Its architectural features reflect the 16th-century
Venetian preference for classical symmetry and practicality, adapted to
the Grand Canal’s urban context.
Exterior and Facade: The facade,
facing the Grand Canal, is a refined example of Renaissance
architecture, with a tripartite structure emphasizing the two noble
floors and a later-added attic. Both main floors feature seven single
round-arched windows (monofore), arranged symmetrically, with a
continuous balcony on the first noble floor and a smaller balcony
spanning the three central windows on the second. These balconies, noted
in the German Wikipedia, enhance the facade’s functionality and
aesthetic, offering views of the Grand Canal and Rio di San Felice. The
ground floor includes a water portal for canal access, essential for
trade and transport, though its design is not detailed in sources. The
attic floor has a large, rectangular dormer window flanked by two
circular windows, described as a later addition, possibly from the 17th
or 18th century, which slightly disrupts the Renaissance purity of the
facade. A small garden, a rare feature for Grand Canal palazzi, extends
toward the canal and Rio di San Felice, providing a green buffer and
enhancing the palace’s charm, as seen in Wikimedia images. The L-shaped
plan, with a wing along the Rio di San Felice, maximizes the site’s
corner position, creating a distinctive silhouette against neighboring
palazzi.
Interior: The interior is largely undocumented due to the
palace’s private status, but insights from Checka Levi Morenos’s
interview and her painting The Student offer glimpses. The room depicted
in The Student, where Mario Levi Morenos sits by a balcony, features
large windows with bright light, suggesting a spacious, well-lit piano
nobile typical of Venetian palazzi. The interior likely includes a
central portego (grand hallway) connecting the canal entrance to rear
rooms, with salons or apartments on either side. Renaissance elements,
such as terrazzo flooring, wooden beams, or simple stucco work, may
survive, though modern residential use could have introduced updates
like contemporary furnishings or utilities. The L-shaped layout suggests
a complex internal arrangement, possibly with separate wings for family
or staff. Reviews of similar Cannaregio palazzi (e.g., Palazzo Tiepolo
Passi’s rentals) indicate that private residences often retain
historical character but prioritize functionality, which likely applies
here. Without public access, any decorative features remain speculative.
Structural Layout: The palace’s three-story, L-shaped design is atypical
for Venetian palazzi, which often have rectangular footprints. The
ground floor, with its water portal and androne (water-level hall), was
historically used for storage or trade, possibly with a mezzanine for
offices. The first and second noble floors, accessed via a grand
staircase, served as the primary living spaces, with the portego as the
central axis. The attic, with its dormer window, likely housed servants
or storage. The garden, noted in sources, is a significant feature,
possibly a remnant of an earlier courtyard or a deliberate Renaissance
addition to enhance the palace’s prestige.
The Casa Levi Morenos is not associated with significant historical
artworks, unlike cultural hubs like Palazzo Querini Stampalia or Palazzo
Moro a San Barnaba’s literary connections. Its artistic significance
stems from its architectural facade and modern cultural ties through
Checka Levi Morenos’s work.
Facade Ornamentation: The facade’s
seven round-arched windows per noble floor, with continuous and partial
balconies, are the primary artistic features, embodying Renaissance
elegance. The arches, likely in Istrian stone, reflect classical
influences, while the balconies add a functional yet decorative touch,
as described in German Wikipedia. The later dormer window, with its
rectangular and circular openings, introduces a subtle eclecticism,
though it’s less harmonious with the Renaissance design. The garden,
visible in Wikimedia images, enhances the facade’s aesthetic, its
greenery contrasting with the stonework and canal.
Interior Artworks:
No historical artworks are documented for the interior, and the palace’s
private status precludes public knowledge of its decor. The room in
Checka Levi Morenos’s The Student (2021) shows a simple, well-lit space
with a balcony, suggesting minimal ornamentation, possibly with modern
or early 20th-century furnishings. Renaissance palazzi often featured
frescoes or stucco work, but any such elements in the Casa Levi Morenos
are unrecorded, likely lost or removed during modern adaptations. The
absence of references to artists like Tiepolo or Guarana, common in
other Venetian palazzi, indicates the palace’s focus on residential use
over artistic patronage.
Modern Cultural Connection: Checka Levi
Morenos’s painting The Student, depicting her grandfather Mario in the
palace, is a significant artistic contribution, linking the house to
contemporary Venetian culture. The painting, described in a Cass Art
interview, uses dramatic light and shadow to portray Mario in his
lifelong home, emphasizing the palace’s lived-in continuity. Checka’s
work, inspired by Renaissance techniques and exhibited in prestigious
venues like Mall Galleries, elevates the palace’s profile, making it a
site of personal and artistic heritage rather than a historical art
repository.
As of 2025, the Casa Levi Morenos is a private residential building,
primarily used as a family home, notably for Mario Levi Morenos, as
noted in Checka Levi Morenos’s 2021 interview. Unlike palazzi repurposed
for tourism (e.g., Palazzo Moro a San Barnaba’s holiday apartments) or
cultural events (e.g., Palazzo Tiepolo Passi’s Biennale exhibitions), it
remains closed to the public, limiting access and visibility.
Location: The palace is at Calle del Traghetto S.Felice, 3698–3701,
Cannaregio, overlooking the Grand Canal and Rio di San Felice. It is
accessible by vaporetto (Ca’ d’Oro or San Stae stops, Actv lines 1 or 2)
or a 10-minute walk from the Rialto Bridge. Nearby attractions include
Palazzo Fontana Rezzonico (0.1 km), Ca’ d’Oro (0.3 km), and the Jewish
Ghetto (0.5 km), situating it in Cannaregio’s historic and cultural
corridor. Restaurants like Osteria Al Timon (0.2 km) and Vino Vero (0.3
km) offer dining options, enhancing the area’s appeal for visitors.
Visiting: The palace is not open to the public, and no tours,
exhibitions, or rentals are documented, unlike other Cannaregio palazzi
like Palazzo Michiel del Brusà. Visitors can view the facade from the
Grand Canal by vaporetto or gondola, particularly from the opposite bank
near San Stae, where its round-arched windows and garden are visible.
The Rio di San Felice offers a side perspective, highlighting the
L-shaped wing. The garden, noted in sources, is private and inaccessible
but adds to the facade’s charm, as seen in Wikimedia images. The
palace’s absence from Tripadvisor or tourist guides reflects its private
status, with no visitor reviews or rankings.
Current Function: The
palace remains a family residence, notably for Mario Levi Morenos, as
confirmed in Checka Levi Morenos’s interview. Its use as a private home,
rather than a commercial or cultural space, preserves its historical
character but limits public engagement. The lack of rental or event use,
unlike Palazzo Moro a San Barnaba, suggests the family’s commitment to
maintaining it as a personal legacy, though modern utilities (e.g.,
heating, electricity) are likely integrated, as implied by the lived-in
setting of The Student.
The Casa Levi Morenos embodies Venice’s Renaissance architectural
heritage and the continuity of family life in a historic setting. Its
16th-century facade, with round-arched windows and balconies, reflects
the city’s shift toward classical simplicity, influenced by architects
like Pietro Lombardo, though no designer is confirmed. The L-shaped plan
and garden, rare for Grand Canal palazzi, highlight Venice’s adaptive
urban design, maximizing limited space while enhancing aesthetic appeal.
The palace’s cultural significance is amplified by its modern
connection to Checka Levi Morenos, whose painting The Student (2021)
portrays her grandfather Mario in the house, linking it to contemporary
Venetian art. Checka’s work, rooted in Renaissance techniques and
exhibited internationally, positions the palace as a living space rather
than a static monument, contrasting with palazzi like Palazzo Querini
Stampalia’s museum role. Mario’s lifelong residence, spanning over nine
decades, underscores the palace’s role as a family anchor, a rarity in
Venice where many historic buildings are repurposed for tourism.
Historically, the palace’s lack of association with major figures or
events, unlike Palazzo Moro a San Barnaba’s Othello legend, makes it a
quieter landmark, representing the everyday nobility of Cannaregio’s
mercantile families. Its location near the Rio di San Felice and
Fondamenta Nuove connects it to Venice’s maritime and commercial past,
as the Levi Morenos family likely engaged in trade or civic activities.
The garden, a symbol of prestige, aligns with Renaissance ideals of
harmony between architecture and nature, though its private status
limits its cultural impact.