The Palazzo Soranzo Van Axel, also known as Palazzo Soranzo-Venier-Sanudo-Van Axel-Barozzi, is a remarkable late Gothic palace located in the Cannaregio sestiere of Venice, Italy, at the intersection of the Rio de la Panada and Rio di Ca’ Widmann, near the Church of Santa Maria dei Miracoli. Constructed between 1473 and 1479 for Nicolò Soranzo, this palazzo is one of the best-preserved examples of Venetian Gothic architecture, blending pre-Gothic, Gothic, and early Renaissance elements. Its history spans multiple noble families, including the Soranzo, Venier, Sanudo, and Van Axel, and it has served various roles, from a noble residence to a 20th-century apartment complex and a modern cultural venue for the Venice Biennale.
The Palazzo Soranzo Van Axel’s history reflects the social, economic,
and cultural dynamics of Venice across centuries:
Origins
(1473–1479): The palazzo was commissioned by Nicolò Soranzo, a wealthy
Venetian procurator second only to the Doge in secular authority, who
acquired the site from the Gradenigo family. Built between 1473 and
1479, it reused materials from a pre-Gothic Gradenigo palace, likely
from the 12th or 13th century. The timing and proximity to the Church of
Santa Maria dei Miracoli (built 1481–1489) suggest Soranzo’s involvement
in its construction, possibly as a patron, aligning the palazzo with the
early Renaissance influences emerging in Venice.
Ownership
Transitions: After the Soranzo family, the palazzo passed to the Venier
and Sanudo families, both prominent Venetian noble clans. In 1652, it
was acquired by the Van Axel family, wealthy Flemish textile merchants
from Axel, near Ghent, Netherlands. The Van Axels purchased a noble
title from the Venetian Republic in 1665, integrating into the
patriciate and affixing their distinctive coat of arms above the
Fondamenta entrance. This shield, more complex than typical Venetian
crests, reflects their foreign origins.
20th-Century Changes: In
1919, Count Dino Barozzi purchased the palazzo, enriching it with his
art collection, including sculptures, a 15th-century Venetian
sarcophagus, and a 10th-century carved basin. During the 20th century,
the building was subdivided into apartments and public offices,
reflecting Venice’s adaptation of historic structures for modern needs.
Restoration (2007–2017): A decade-long restoration, completed in 2017,
addressed structural issues, particularly salt contamination in the
ground-floor brick masonry, which had detached plasterwork. Funded by
donors like Martin Randall Travel and supported by the Venice in Peril
Fund, the project mapped original decorations, including polychrome
frescoes and pre-Gothic elements, using digital photogrammetry and
archival research. The restoration preserved the palazzo’s historical
layers while equipping it with modern amenities like elevators and
accessibility features.
Cultural Milestones: The palazzo appeared in
the 1967 film The Honey Pot, highlighting its cinematic appeal. Since
2017, it has been a venue for the Venice Biennale, hosting contemporary
art exhibitions, such as the 2017 “Man as a Bird: Images of Journeys”
with the Pushkin State Museum.
The Palazzo Soranzo Van Axel is a standout example of late Venetian
Gothic architecture, with pre-Gothic remnants and early Renaissance
influences. Its “apparently planless” design, as noted by scholars,
results from its irregular site and dual-family layout, yet it exudes
elegance and functionality. Key architectural features include:
Exterior Facades: The palazzo’s two water facades, meeting at an obtuse
angle at the Rio de la Panada and Rio di Ca’ Widmann, create a striking
presence. The main facade along the Rio de la Panada is extensive but
difficult to view straight-on due to the narrow canal, as depicted in
Marco Moro’s lithographs. The facade features late Gothic quadrifore
(four-light windows) on the two piani nobili (noble floors), supported
by delicate balconies with intricate tracery. Traces of polychrome
frescoes, uncovered during restoration, adorn the exterior, echoing the
vibrant decoration of 15th-century Venice. The Fondamenta Van Axel
entrance, with its original wooden gate and Van Axel coat of arms, is a
highlight, while a narrow southern section, built later after a property
dispute, adds to the palazzo’s quirky charm.
Courtyards: The palazzo
has two internal courtyards, a hallmark of Venetian Gothic design,
featuring external spiral staircases that optimize space. The smaller
courtyard’s stairway ends in a cross-vaulted corridor supporting the
larger courtyard’s platform, demonstrating clever spatial planning. The
second courtyard houses the original Soranzo well, with their coat of
arms and a preserved pulley, alongside pre-Gothic decorative disks
(patere) with Christian symbols, likely from the Gradenigo palace.
Gothic-style wall balustrades with stone tracery, partially original,
add decorative flair.
Interior Layout: The palazzo spans four floors,
covering 3,500 square meters, with two piani nobili featuring L-shaped
porteghi (grand halls) that offer dual views of the intersecting canals,
a unique feature due to the palazzo’s corner location. The ground floor
retains pre-Gothic masonry, with exposed brick revealing construction
history before restoration. A second-floor bedroom, now in the
Philadelphia Museum of Art, showcases 15th-century wood carvings with
twisted columns and foliage, alongside a 12th–13th-century stone
fireplace and 17th-century Utrecht brocade from the Van Axel era. The
interiors are richly decorated with mosaiced floors, marble bas-reliefs,
and Byzantine-inspired details, evoking a “glorious faraway past.”
Pre-Gothic and Gothic Elements: The ground floor preserves pre-Gothic
walls from the Gradenigo palace, with Byzantine patere and early
masonry. The Gothic quadrifore, spiral staircases, and frescoes reflect
the late 15th-century style, while an oculus, possibly neo-Gothic and
added by Barozzi, offers views of the Miracoli church’s marble
incrustations. The palazzo’s design balances asymmetry and light,
characteristic of Venetian Gothic, with early Renaissance influences in
its structured facades.
Restoration Details: The 2017 restoration
uncovered polychrome frescoes and stabilized the ground floor’s
salt-damaged masonry. Modern additions, including two elevators and
accessibility features, ensure the palazzo meets contemporary standards
while preserving its historical fabric. The restored courtyards and
interiors, with their “sumptuous romance,” evoke 18th-century Venice, as
noted by visitors.
The Palazzo Soranzo Van Axel is a cultural treasure, embodying
Venice’s mercantile and artistic heritage:
Venetian Gothic
Excellence: As one of the best-conserved late Gothic palazzi, the
palazzo showcases Venice’s architectural prowess at the cusp of the
Renaissance. Its reuse of Gradenigo materials and integration of
Byzantine elements reflect the city’s trade connections with the East,
while the quadrifore and frescoes highlight the Gothic emphasis on light
and decoration. Scholars like Arslan and Concina praise its preservation
and historical layering.
Mercantile and Noble Legacy: The palazzo’s
succession of owners—Soranzo, Venier, Sanudo, Van Axel, and
Barozzi—illustrates Venice’s social mobility, where wealth from trade
(Soranzo’s Eastern commerce, Van Axel’s textiles) could secure noble
status. The Van Axel family’s 1665 patriciate entry underscores the
Republic’s openness to foreign merchants, a key factor in Venice’s
economic success.
Artistic and Cinematic Presence: The palazzo’s art
collection, enriched by Barozzi, includes a 15th-century sarcophagus
with a carved Venetian ship and the motto “Navigare necesse est, vivere
non necesse” (“It is necessary to sail, not to live”), echoing Venice’s
maritime ethos. Its appearance in The Honey Pot (1967) and Biennale
exhibitions, such as Shahzia Sikander’s works or the Pushkin Museum’s
“Man as a Bird,” highlights its role as a cultural stage.
Preservation Efforts: The Venice in Peril Fund’s 2009 study, funded by
Martin Randall Travel, documented the palazzo’s pre-Gothic and Gothic
elements, ensuring their preservation before restoration. This research,
using digital photogrammetry and archival data, saved cultural evidence
that might have been lost, reinforcing the palazzo’s importance as a
historical monument.
Contemporary Cultural Hub: Since 2017, the
palazzo’s use for Biennale exhibitions has revitalized its cultural
role, offering a dialogue between ancient Venetian art and contemporary
works. Exhibitions like “Man as a Bird” (2017) and Casa Platform Venezia