The Palazzo Contarini-Sceriman, also known as Palazzo Seriman or Palazzo Seriman ai Gesuiti, is a 14th-century palace in the Cannaregio sestiere of Venice, Italy, located near the church of Santa Maria Assunta (I Gesuiti) and the Rio dei Gozzi. This historic residence, originally built by the Dolce family, later owned by the Contarini and Gozzi families, and finally acquired by the Armenian Sceriman (Seriman) family in 1725, exemplifies the transition from late Venetian Gothic to early Renaissance architecture. Known for its elegant facade, large private garden, and cultural significance as a former seat of the Accademia degli Industriosi, the palace is a hidden gem in Venice’s dense urban fabric.
The Palazzo Contarini-Sceriman was erected in the mid-15th century,
with a document from 1466 citing its construction by architect Pietro
Como for the Dolce family, a noble Venetian lineage involved in trade
and governance. By the 16th century, it passed to the Contarini family,
one of Venice’s most prominent clans, known for producing eight doges.
In 1628, Contarina Contarini, married to Piero Priuli Michiel, sold the
palace to Alberto Gozzi, a silk merchant from Bergamo who owned a shop
in the Calle dei Toscani near the Rialto. The Gozzi family, admitted to
the Venetian patriciate in 1546, gained nobility in 1646 by funding the
Republic’s defense during the Siege of Candia (Crete) against the
Ottomans, contributing significantly to Venetian coffers.
In
1698, another Alberto Gozzi endowed the palace to four charitable
hospitals—Incurabili, Pietà, Mendicanti, and Ospedaletto—along with the
Monastery of the Convertite, allowing his widow, Adriana Donà, to reside
there until 1725. That year, the palace was auctioned and purchased by
Stefano Sceriman, a member of an Armenian merchant family from Isfahan,
Persia, who had settled in Venice in the late 17th century to escape
Ottoman persecution. The Sceriman family, also spelled Seriman, earned
Venetian nobility by providing 72,000 ducats to support the Republic’s
wars against the Turks. Stefano Sceriman, honored as a Count of Hungary
by Emperor Leopold I and granted Roman citizenship by Pope Innocent XII,
transformed the palace into a family residence.
The palace
briefly housed the Accademia degli Industriosi, a literary and debate
salon, before it relocated to Ca’ Morosini in San Canciano. In 1850,
Giovanni Battista Sceriman willed the palace to the Institute Manin, and
it is currently owned by the Servants of the Child Jesus, a religious
congregation. A mysterious event tied to the palace occurred around
1675, when Leonardo Loredan, a descendant of Doge Leonardo Loredan, was
found dead in a boat near the palace and its adjacent bridge, sparking
rumors of accidental death, familial murder, or assassination by the
Republic’s Inquisitors, though the cause remains unresolved.
The
palace’s history reflects Venice’s cosmopolitan character, blending
Venetian, Armenian, and mercantile influences. Its ownership by families
like the Dolce, Contarini, Gozzi, and Sceriman mirrors the city’s social
mobility, where wealth and strategic alliances could elevate outsiders
to nobility.
Palazzo Contarini-Sceriman is located at Cannaregio 4290–4294, 30121
Venezia, with two facades: one on Salizada Seriman, a narrow street near
the Gesuiti church, and another overlooking the Rio dei Gozzi, a canal
connecting to the Rio della Sensa. Its position in Cannaregio, a vibrant
sestiere with a mix of working-class neighborhoods, the historic Jewish
Ghetto, and cultural landmarks like the Ca’ d’Oro, places it in a less
touristy but historically rich area. The palace is a 5-minute walk from
the Ca’ d’Oro vaporetto stop (Line 1) or a 10-minute walk from the
Rialto Bridge or Fondamente Nove, offering easy access to Venice’s core.
The palace’s canal-side facade and large private garden are best
viewed from a gondola or water taxi on the Rio dei Gozzi, while the land
facade on Salizada Seriman is accessible via narrow alleys from Campo
dei Gesuiti. As a private property owned by the Servants of the Child
Jesus, it is not open for regular public tours, limiting access to
external views. Guided tours, such as those by Venice Free Walking Tour
or Best Venice Guides, may include external commentary on the palace,
particularly during Cannaregio explorations. Special events or religious
activities may occasionally allow limited interior access, though these
are rare and require prior arrangement through the congregation or tour
operators.
Nearby attractions enhance the visitor experience,
including the Gesuiti church (3-minute walk, with Tiepolo frescoes), Ca’
d’Oro (5-minute walk, Galleria Giorgio Franchetti), and Palazzo Soranzo
Van Axel (5-minute walk, Gothic architecture). Dining options like
Trattoria Storica (0.2 km away) or Osteria Al Timon offer local cuisine,
while Campo dei Gesuiti and the Fondamente Nove provide scenic spots for
relaxation. The palace’s secluded setting, described by Loquis as
“hidden in intricate alleys,” makes it a gem for those seeking Venice’s
quieter corners.
Palazzo Contarini-Sceriman is a transitional palace, combining late Venetian Gothic with early Renaissance features, reflecting its 15th-century origins and subsequent modifications. Its six-story structure, including two mezzanines and an attic, is unusually tall for Venice, with a C-shaped plan that likely originally included a courtyard, later altered to accommodate the serliana and staircase.
Canal-Side Facade (Rio dei Gozzi): The facade on the Rio dei Gozzi is
a highlight, featuring three-lobed pointed arches and twisted columns,
hallmarks of late Gothic style, contrasted by the orderly distribution
of openings and classical capitals typical of the early Renaissance. The
piano nobile showcases a quadrifora (four-light window) with balconies,
framed by Gothic tracery, while the second floor mirrors this design.
The ground floor has two water gates, one at the garden’s edge,
facilitating canal access for trade, a nod to the Dolce family’s
mercantile roots. The serliana (Palladian window), a later addition,
suggests a courtyard was filled in to create additional interior space,
altering the original C-shaped plan.
Land-Side Facade (Salizada
Seriman): The facade on Salizada Seriman is more restrained, with
round-arched windows and a majestic Istrian stone portal, a Gothic
feature preserved from the 15th century. The facade’s simplicity
reflects its secondary role, as Venetian palaces prioritized canal-front
decoration.
Garden: A rare feature, the 781 sqm (8,403 sqft) walled
garden at the rear, accessible from the Rio dei Gesuiti, is one of
Venice’s largest private gardens. Visible from Calle Venier, it includes
trees, statues, and a water gate, creating a serene oasis in the urban
fabric. The garden’s round-arched windows and classical detailing
suggest 17th-century enhancements.
Terrace: A 55 sqm (592 sqft)
terrace on the second floor offers panoramic views of Venice’s rooftops
and canals, a luxurious addition uncommon in the city’s dense layout.
Layout: The palace spans 2,856 sqm (30,741 sqft) over six floors,
with the piano nobile (625 sqm) and second floor (572 sqm) featuring the
classic Venetian tripartite plan: a central portego (hall) flanked by
lateral rooms for salons and bedrooms. The ground floor (753 sqm)
includes service areas and two secondary entrances, while mezzanines
(458 sqm and 233 sqm) and an attic (216 sqm) provide additional space.
Decorative Features: The piano nobile and second floor are adorned with
18th-century stucco work, marble portals, and briar-root doors with
moldings, reflecting the Sceriman family’s opulence. The portego
features a fresco, “Glory of the Sceriman Family,” once attributed to
Giovanni Battista Tiepolo but now credited to Mattia Bortoloni,
depicting the family’s Armenian heritage and Venetian nobility. Venetian
terrazzo and parquet floors dominate the upper levels, while the ground
floor uses Istrian stone and Verona red marble, blending practicality
with elegance.
Staircase: A majestic Istrian stone staircase, a
17th-century addition, connects the floors, its grandeur enhanced by the
Bortoloni fresco. An exterior glass elevator, added in 2002 behind the
right wing, modernizes access but has been criticized as incongruous
with the Gothic-Renaissance aesthetic.
The palace’s transitional
style, blending Gothic pointed arches with Renaissance symmetry,
prefigures later Venetian designs, such as those by Mauro Codussi. Its
preservation, despite modifications, reflects careful adaptation to
Venice’s lagoon environment.
Restoration efforts for Palazzo Contarini-Sceriman include:
17th Century: The Gozzi family’s renovations introduced Renaissance
elements, such as the serliana and staircase, transforming the Gothic
courtyard into interior space.
2002: Announced restoration works
focused on removing “ugly red plaster” from the exterior, likely to
restore the original Istrian stone. The addition of an exterior glass
elevator, while practical, sparked debate for its visual impact.
Ongoing Maintenance: The Servants of the Child Jesus, current owners,
maintain the palace to combat Venice’s flooding and humidity. The garden
and frescoes remain in excellent condition, suggesting regular care,
possibly supported by religious or heritage funding. The palace’s
listing for sale in recent years indicates investment potential, with
plans to convert it into a boutique hotel, requiring further restoration
to meet modern standards.
The palace’s private status has shielded it
from over-tourism, unlike Ca’ Rezzonico, but its potential commercial
use raises concerns about preserving delicate features like the
Bortoloni fresco. Venice’s environmental challenges necessitate ongoing
vigilance, likely funded by the congregation or future investors.
Palazzo Contarini-Sceriman embodies Venice’s cosmopolitan history,
blending Venetian, Armenian, and mercantile influences. The Dolce,
Contarini, Gozzi, and Sceriman families’ ownership reflects the city’s
social fluidity, where wealth and strategic alliances could elevate
outsiders to nobility. The Sceriman family’s Armenian origins, escaping
Ottoman persecution, highlight Venice’s role as a refuge for diaspora
communities, akin to the Armenian Mekhitarists at Ca’ Zenobio. Their
72,000-ducat contribution to Venetian wars underscores the economic
power of immigrant families in shaping the Republic’s fortunes.
The palace’s brief hosting of the Accademia degli Industriosi, a
literary salon, aligns it with cultural hubs like Casino Venier, though
its intellectual role was less sustained. The mysterious 1675 death of
Leonardo Loredan near the palace adds a layer of intrigue, fueling local
legends and reflecting Venice’s reputation for secrecy and political
machinations.
The Bortoloni fresco, celebrating the Sceriman
family, connects the palace to Venice’s Baroque artistic tradition,
though its misattribution to Tiepolo reflects the challenges of accurate
art historical records. The large garden, a rarity in Venice, evokes the
city’s hidden estates, like Ca’ Zenobio’s, and underscores its status as
a noble retreat. Its current ownership by the Servants of the Child
Jesus continues its legacy of community service, echoing the Gozzi
family’s charitable bequest in 1698. The palace’s inclusion in UNESCO’s
Venice and its Lagoon World Heritage Site and its niche appeal on
platforms like Loquis and Romolini Real Estate highlight its cultural
value.
Visiting Palazzo Contarini-Sceriman is an exterior experience, as it
is a private property owned by the Servants of the Child Jesus. The
canal-side facade on Rio dei Gozzi, with its Gothic quadrifora and
Renaissance serliana, is best viewed from a gondola or water taxi,
offering a striking perspective of its transitional style. The land
facade on Salizada Seriman, with its Gothic portal, is accessible via
narrow alleys from Campo dei Gesuiti, described by Loquis as a
“picturesque” setting steeped in “stories of nobility and merchants.”
The garden, visible from Calle Venier, adds a serene backdrop, though it
is gated. Tripadvisor reviews of Cannaregio note the palace’s “elegant”
facade but lament its inaccessibility, ranking it lower than public
sites like Ca’ d’Oro.
Guided tours of Cannaregio, such as those
by Venice Free Walking Tour or Best Venice Guides, may include external
commentary on the palace, highlighting its Sceriman history and Leonardo
Loredan’s mysterious death. Interior access is limited to religious or
private events, requiring inquiries through the Servants of the Child
Jesus or real estate listings (e.g., Romolini-Christie’s, which markets
it as a boutique hotel opportunity). The visit is brief, typically 10–15
minutes for external viewing, best combined with nearby attractions like
the Gesuiti church, Ca’ d’Oro, or the Jewish Ghetto (10-minute walk).
The Cannaregio sestiere’s vibrant yet local atmosphere, with
trattorias like Trattoria Storica and bacari like Osteria Al Timon,
enhances the experience. The palace’s secluded setting appeals to those
seeking Venice’s hidden gems, offering a quieter alternative to
tourist-heavy sites like the Doge’s Palace.