The Palazzo Smith Mangilli Valmarana is a distinguished Neoclassical palace located in the Cannaregio sestiere of Venice, Italy, overlooking the Grand Canal at the confluence with the Rio dei Santi Apostoli. Positioned between Palazzo Michiel del Brusà and Ca’ da Mosto, this 18th-century residence is best known as the home of Joseph Smith (1674–1770), the British consul and patron of the arts, who was a key figure in promoting the works of Canaletto to British collectors. Originally a Byzantine-Gothic structure, the palazzo was transformed into a Neoclassical masterpiece by Antonio Visentini (1743–1751) and later expanded by Giannantonio Selva for Count Giuseppe Mangilli in 1784. With its well-preserved Neoclassical interiors and cultural significance, the palazzo remains a private residence and occasional exhibition space, notably for the Venice Biennale.
The Palazzo Smith Mangilli Valmarana’s history spans centuries,
reflecting Venice’s evolving social, economic, and cultural landscape.
The original building, dating back to at least the 14th century, was a
Byzantine-Gothic structure owned by the Trevisan family until 1666,
followed by the Ceffis family. This early palazzo served as a
casa-fondaco, combining residential and commercial functions, typical of
Venice’s mercantile elite. By the late 17th century, it housed the
offices of Williams, London bankers, who leased it for trade operations
in Venice’s financial hub near the Rialto Bridge.
In 1700, Joseph
Smith, a young British banker, arrived to apprentice with the Williams
firm. When the Williams left in 1720, Smith took over their operations,
maintaining the palazzo as his base. His interests expanded beyond
banking to include commerce in Italian wines, grain, dried fish, and
sultana raisins for British puddings, as well as art dealing. Smith’s
role as an art collector and intermediary for British aristocrats made
him a pivotal figure in Venice’s cultural scene, notably as Canaletto’s
agent, facilitating the sale of his paintings to English patrons.
In 1740, Smith acquired the palazzo from the Ceffis family through a
strategic financial maneuver. When Elena Balbi, a neighbor with a right
of first refusal, attempted to purchase it, Smith loaned her 6,500
ducats, knowing her precarious finances would prevent repayment. Unable
to settle the debt, Balbi ceded the property to Smith, who became its
owner and transformed it into the seat of the British Embassy during his
tenure as consul (1744–1760). In 1743, Smith commissioned Antonio
Visentini, a painter, engraver, and architect, to redesign the facade,
with works completed by 1751. The new facade, reaching only the first
noble floor, reflected the Neoclassical taste of the era.
Smith
died in 1770, having sold much of his art collection, library, and
commercial assets to the British crown for 320,000 ducats. His widow
sold the palazzo in 1775 to Caterina da Mula Pisani, and in 1784, it was
acquired by Count Giuseppe Mangilli, who expanded the building by adding
upper floors and entrusted Giannantonio Selva, architect of the Teatro
La Fenice, to redecorate the interiors in a luxurious Neoclassical
style. The Valmarana family, a noble Vicentine lineage integrated into
Venetian aristocracy in 1658, later owned the palazzo, giving it its
current name.
In the 20th century, the palazzo became a private
residence, with occasional use as an exhibition space, notably for the
Fondazione Claudio Buziol and Venice Biennale collateral events, such as
The Spirits of Maritime Crossing in 2024. Its history reflects Venice’s
transition from a medieval trade hub to a cultural capital, with figures
like Smith, Mangilli, and Selva shaping its legacy.
The Palazzo Smith Mangilli Valmarana is a prime example of
Neoclassical architecture, built on the foundations of a
Byzantine-Gothic structure. Its transformation in the 18th century by
Antonio Visentini and Giannantonio Selva reflects Venice’s embrace of
classical ideals, adapting to the Grand Canal’s unique urban and
environmental constraints.
Facade
The Grand Canal facade,
designed by Visentini between 1743 and 1751, is a Neoclassical
masterpiece, though its original design was altered by later additions:
Ground Floor: The base features a centrally placed water portal with
a round arch and tympanum, constructed in Istrian stone for durability
against canal water. The portal’s symmetry and classical detailing
contrast with the Gothic asymmetry of earlier palaces like Ca’ da Mosto.
Small rectangular windows flank the portal, ventilating service areas.
First Piano Nobile: The main noble floor, the facade’s focal point,
includes a large central opening flanked by Corinthian half-columns
supporting a prominent gable, a hallmark of Neoclassical grandeur. Four
rectangular windows, arranged symmetrically and divided by Corinthian
pilasters, create a rhythmic composition. The original facade ended
here, designed to harmonize with the canal’s scale.
Upper Floors: In
1784, Count Giuseppe Mangilli added a second noble floor and mezzanine,
disrupting Visentini’s proportions, as noted by historians like Elena
Bassi. The second floor mirrors the first with four rectangular windows,
though simpler, and the mezzanine has smaller openings under a dentilled
cornice, providing a formal conclusion.
Setback Design: Due to a
legal dispute with the neighboring Michiel family, the facade is set
back from Palazzo Michiel del Brusà, creating a slight recess that
integrates the palazzo into the canal’s curvature, as described in
sources.
The facade’s Neoclassical style, with its Corinthian
pilasters, gables, and symmetry, reflects Palladian influences adapted
to Venice’s canal-side context. The Istrian stone ensures a luminous,
reflective quality, while the brick core reduces weight on the lagoon’s
wooden piles. The Rio dei Santi Apostoli confluence enhances the
facade’s visibility, making it a striking presence on the Grand Canal.
Interior
The interior, redecorated by Giannantonio Selva in 1784,
is a highlight of Neoclassical design, described as Venice’s “most
luxurious and unified series of rooms” in this style:
Portego:
The central hall on the piano nobile, running from the canal facade to a
rear courtyard, features frescoes, stucco work, and gilded moldings in
Neoclassical motifs, such as urns, acanthus leaves, and classical
figures. The portego’s high ceilings and marble floors create a grand
ambiance, as noted in Ravà Aldo’s 1922–1923 study.
Rooms: Smaller
rooms flanking the portego include salons and private quarters,
decorated with pastel frescoes, ornate cornices, and chandeliers,
reflecting Selva’s cohesive vision. Sources suggest possible frescoes by
Giambattista Tiepolo, though unconfirmed, aligning with his work in
Cannaregio’s Palazzo Labia.
Courtyard: A small courtyard, accessible
via a land entrance, provides light and ventilation, possibly with a
wellhead or loggia. The courtyard’s design is functional, with no
recorded Gothic remnants from the original structure.
Staircase: A
monumental staircase, likely in a side wing, features marble steps and
stucco decoration, connecting the piano nobile to upper floors, similar
to Palazzo Civran Grimani’s layout.
The 1784 additions by Mangilli,
including the second noble floor and mezzanine, altered the interior’s
proportions, adding rooms but compromising Visentini’s original scale.
The Neoclassical interiors, perfectly preserved according to sources,
remain a testament to Selva’s skill, comparable to his work at Teatro La
Fenice.
Architectural Significance
The Palazzo Smith Mangilli
Valmarana is significant for its Neoclassical transformation of a
Byzantine-Gothic structure, reflecting Venice’s 18th-century alignment
with European classical trends. Antonio Visentini’s facade, with its
Corinthian pilasters and gabled central opening, adapts Palladian
principles to the Grand Canal’s narrow plots, as seen in Palazzo Grassi.
Giannantonio Selva’s interiors elevate the palazzo to a pinnacle of
Neoclassical design, rivaling Ca’ Rezzonico’s opulence.
The
setback facade, resulting from the Michiel dispute, demonstrates
Venice’s pragmatic urban planning, integrating legal and aesthetic
considerations, as noted for Palazzo Civran. The 1784 additions, while
criticized by Bassi for disrupting proportions, reflect the practical
need for expanded space, a common adaptation in Venetian palaces like
Palazzo Ariani. The palazzo’s casa-fondaco origins connect it to
Venice’s medieval trade, while its Neoclassical redesign marks the
Republic’s cultural response to decline, as explored in Palazzo Civran
Grimani’s history.
The Palazzo Smith Mangilli Valmarana holds a rich cultural and
historical legacy:
Joseph Smith’s Patronage: Smith’s residency
(1740–1770) made the palazzo a cultural hub, showcasing Canaletto’s
paintings to British aristocrats and housing his extensive art
collection, later sold to the British crown. His role as a mecenate
(patron) and consul, documented by Federico Montecuccoli degli Erri,
underscores Venice’s 18th-century cosmopolitanism, bridging British and
Venetian art markets.
Mangilli and Valmarana Families: Count Giuseppe
Mangilli’s ownership in 1784 and the Valmarana family’s later tenure
reflect the continuity of Venetian nobility, with the Valmarana’s
integration in 1658 highlighting the Republic’s flexible aristocracy, as
seen in Palazzo Vendramin Grimani. The Mangilli’s expansion and Selva’s
interiors elevated the palazzo’s status, aligning it with cultural
shifts toward Neoclassicism.
Artistic Connections: The palazzo’s
association with Canaletto, Visentini, and potentially Tiepolo ties it
to Venice’s artistic golden age. Visentini’s multifaceted role as
painter, engraver, and architect, noted in venicewiki.org, reflects the
era’s interdisciplinary creativity, while Selva’s interiors are a
pinnacle of Neoclassical design, as praised by Jonathan Buckley.
Biennale and Exhibitions: The palazzo’s use for Venice Biennale
collateral events, such as The Spirits of Maritime Crossing (2024), and
the Fondazione Claudio Buziol’s exhibitions, established in 2006 to
honor fashion entrepreneur Claudio Buziol, cement its modern cultural
role, as noted in labiennale.org. These events align with Cannaregio’s
artistic vibrancy, near Ca’ Pesaro’s modern art museum.
Cannaregio
Context: Located near the Rialto Bridge and Ca’ d’Oro, the palazzo
anchors Cannaregio’s commercial and cultural hub, alongside Palazzo
Michiel del Brusà and Fondaco dei Tedeschi. Its Grand Canal setting and
Rio dei Santi Apostoli confluence enhance its prominence, reflecting
Venice’s mercantile identity, as explored in Palazzo Bolani Erizzo’s
history.
The palazzo’s history mirrors Venice’s evolution from a
medieval trade power to a cultural capital, with Smith’s patronage,
Mangilli’s expansion, and modern exhibitions bridging past and present,
as seen in Palazzo Civran Grimani’s cultural narrative.
The Palazzo Smith Mangilli Valmarana is privately owned, likely used
as residential apartments or offices, with occasional public access for
cultural exhibitions, as noted in labiennale.org and artrabbit.com. Its
role as a Venice Biennale venue, hosting events like The Spirits of
Maritime Crossing (April 20–November 24, 2024), and past use by the
Fondazione Claudio Buziol for design and art projects, highlight its
modern cultural function. The palazzo’s private water portal, heating,
and toilets, detailed in labiennale.org, support its exhibition
capabilities.
The building is in excellent condition, with its
Istrian stone facade and Neoclassical interiors well-preserved, as
confirmed by sources like Wikiwand and venicewiki.org. Regular
maintenance combats acqua alta and salt corrosion, supported by private
owners and heritage organizations like Save Venice, as seen with Palazzo
Civran Grimani. The 1784 additions, though altering Visentini’s
proportions, are structurally sound, and the Selva interiors remain a
highlight, described as “perfectly preserved” by Jonathan Buckley.
The palazzo’s private status limits public access, similar to
Palazzo Bolani Erizzo, restricting its role in Venice’s tourism compared
to museums like Ca’ Pesaro. Its Biennale events and proximity to Rialto
and Ca’ d’Oro ensure visibility, but its cultural significance is
primarily appreciated through its exterior and documented history.
The Palazzo Smith Mangilli Valmarana is not a public museum, but its
Grand Canal facade and occasional exhibitions make it a point of
interest for visitors to Cannaregio or the Rialto area. Visitor
experiences include:
Exterior Viewing: The facade is best admired
from a vaporetto (Line 1, Ca’ d’Oro or Rialto stops) or gondola tour,
where its Neoclassical symmetry, Corinthian pilasters, and gabled
central opening stand out, framed by the Rio dei Santi Apostoli’s
confluence. The setback design next to Palazzo Michiel del Brusà adds
visual depth, best viewed from the Rialto Market’s opposite bank, as
suggested by italyscapes.com. Photographers recommend a tripod for
long-exposure shots at dusk, capturing the Istrian stone’s glow, as
noted for Palazzo Civran Grimani.
Exhibition Access: The palazzo
hosts Venice Biennale collateral events, such as The Spirits of Maritime
Crossing (April 20–November 24, 2024), open Tuesday–Sunday, 10:00
AM–6:00 PM, with tickets via labiennale.org (€25–30). These events,
curated by figures like Victoria Lu, allow access to the piano nobile’s
Neoclassical interiors, as noted in universes.art. Contact Susanna
Fabris (+39 335 1685700, susanna@art-events.it) for details, per
labiennale.org.
Guided Tours: Tours of the Grand Canal or
Cannaregio’s architecture, offered by VeneziaUnica, Context Travel, or
Walks of Italy, may include the palazzo’s exterior, discussing Joseph
Smith, Visentini, and Selva’s contributions. Interior access is limited
to Biennale events or Venice Heritage Days, which may showcase the
portego or frescoes, as seen with Palazzo Vendramin Grimani.
Proximity to Landmarks: The palazzo is near:
Rialto Bridge (5-minute
walk), Venice’s commercial heart.
Ca’ d’Oro (3-minute walk), a Gothic
masterpiece housing the Galleria Franchetti.
Fondaco dei Tedeschi
(7-minute walk), a luxury shopping center with a rooftop terrace.
Chiesa di San Giovanni Crisostomo (5-minute walk), with works by Bellini
and Sebastiano del Piombo.
Jewish Ghetto (10-minute walk), a historic
cultural site. Local bacari like Al Mercà or cafes along Strada Nova
offer cicchetti and spritz, enhancing the experience.
Access and
Cost: The exterior is free to view, accessible year-round. Biennale
exhibition tickets cost €25–30, with ACTV vaporetto stops at Ca’ d’Oro
(230 meters) or Rialto (500 meters, Line 1). The palazzo is a 15-minute
walk from Santa Lucia Station, per italyscapes.com.
Photography: The
facade is ideal for photography from a vaporetto or Rialto Market,
capturing its Neoclassical elegance alongside Ca’ da Mosto. Morning
light highlights the Corinthian pilasters, as suggested for Palazzo
Civran.
Cannaregio’s vibrant, less touristy atmosphere, with artisans
and historic sites, offers an authentic Venetian experience. Visitors
can combine a visit with a vaporetto ride to Murano or a walk to Ca’
Pesaro, enjoying the sestiere’s cultural depth.