The Palazzo Soranzo Piovene, also known as Soranzo Piovene alla Maddalena, is a Renaissance-style palace located on the Grand Canal in the sestiere of Cannaregio, Venice, Italy. Positioned between the Palazzo Emo alla Maddalena and the Palazzo Molin Erizzo, it is a notable example of 16th-century Venetian architecture, traditionally attributed to the architect Sante Lombardo. The palace’s history, elegant design, and current use as both a public institution and private residences make it a significant landmark in Venice’s architectural and cultural landscape.
The Palazzo Soranzo Piovene was constructed in the early decades of
the 16th century, during a period when Venice was a thriving maritime
and commercial power, and its noble families were commissioning grand
residences along the Grand Canal to display their wealth and status. The
palace’s history is tied to two prominent Venetian families: the Soranzo
and the Piovene.
Soranzo Family Ownership: The palace was
originally built for or acquired by the Soranzo family, a powerful
Venetian noble clan with deep roots in the city’s political and economic
life. The Soranzo family produced numerous high-ranking officials,
including Giovanni Soranzo, who served as Doge of Venice from 1312 to
1328 after defeating the Genoese at Kaffa in Crimea. The family’s
prominence is also reflected in their ownership of other palaces, such
as the Palazzo Soranzo in Campo San Polo. The Palazzo Soranzo Piovene
was acquired by the Soranzo in the 16th century, with records suggesting
a purchase in 1538 by Marco Antonio Marcello for 1,250 ducats, though
this may refer to an earlier transaction involving adjacent properties.
Transition to Piovene Family: The palace passed to the Piovene family
through the marriage of Cecilia Soranzo, daughter of Pietro Soranzo, to
Girolamo Piovene in 1760. Earlier records note Cecilia inheriting the
palace from her brother Francesco Soranzo upon his death in 1724,
married to Coriolan Piovene. The Piovene, originally from Vicenza, were
inducted into the Venetian patriciate in 1645, despite a controversial
history involving Guido Piovene’s execution during the fall of Nicosia.
The transfer to the Piovene marked a significant shift, with the family
adding an wing along the garden around 1750.
Later History and Modern
Use: By the 20th century, the palace had transitioned from a private
residence to a mixed-use building. Today, the main floor (piano nobile)
and mezzanine house the Comando Interregionale per l’Italia Nord
Orientale of the Guardia di Finanza (Italian Financial Police),
reflecting Venice’s adaptive reuse of historic structures for public
institutions. The remaining parts, including the second piano nobile,
central courtyard, and rear sections, are private residences. The palace
has also hosted cultural events, such as Biennale collaterali,
highlighting its continued relevance.
The Palazzo Soranzo Piovene is a prime example of Venetian
Renaissance architecture, characterized by a blend of functionality,
elegance, and subtle asymmetry that distinguishes it from the more rigid
symmetry of mainland Renaissance palaces. Its design is traditionally
attributed to Sante Lombardo, son of the renowned sculptor and architect
Tullio Lombardo, known for his work in Venice’s early 16th-century
architectural scene.
Facade: The palace’s Grand Canal facade is a
highlight, noted for its “delicate” asymmetry, a hallmark of Venetian
architecture influenced by the city’s organic urban development and
canal-facing orientation. The facade is organized over three main levels
(ground floor, two noble floors) with a mezzanine. The two upper floors
(piani nobili) each feature a central trifora (three-light window) with
arched openings, flanked by single-light windows (monofore): two on the
right and one on the left, creating an off-center composition that
defies the symmetrical tripartite model common in Venetian palaces like
the Ca’ d’Oro. The trifora on the first piano nobile is adorned with a
richly perforated Istrian stone balustrade, supported by Ionic columns
topped with Brunelleschian dadoes, adding classical Renaissance flair.
Decorative elements include six rectangular and circular plaques
(pastillas) between the windows, enhancing the facade’s visual rhythm.
The ground floor features an imposing water gate, aligned with the
central trifore, facilitating canal access.
Courtyard and Garden: The
palace is built around a central courtyard, a typical feature of
Venetian palazzi, which provides light and ventilation to the interior.
The courtyard is adorned with a singular wellhead (pozzo) and prototypic
mosaic pavement from the 16th century, reflecting the era’s
craftsmanship. A recently restored garden extends from the rear,
offering residents a rare green space in Venice’s dense urban fabric.
The Piovene family’s 18th-century addition of an wing along the garden
expanded the palace’s footprint, creating a secondary block behind the
courtyard.
Interior: The interior is notable for its grand atrium and
staircase, which lead to the piano nobile. The portego (central hall) on
the ground floor houses a small private theater, commissioned by
Agostino Piovene, possibly designed by Tommaso Temanza, with a restored
pit and gallery once used for performances. The first piano nobile
features frescoes by prominent 18th-century Venetian artists, including
Jacopo Guarana, Andrea Urbani, Costantino Cedini, Francesco Zugno,
Francesco Zanchi, and Gian Battista Mengardi, adding opulent decoration.
Four large 17th-century Venetian School teleri (large canvases) in the
portego depict the 1557 coronation and lavish festivities of Zilia
Dandolo, wife of Doge Lorenzo Priuli, a significant event in Venetian
history. These artworks underscore the palace’s role as a cultural and
social hub.
The Palazzo Soranzo Piovene embodies Venice’s Renaissance ethos,
blending maritime wealth, noble patronage, and architectural innovation.
Soranzo and Piovene Families: The palace reflects the social and
political prominence of the Soranzo family, whose members held high
offices, including the dogeship, and were known for their hospitality
(e.g., hosting Dante Alighieri at another Soranzo property). The
Piovene’s acquisition marked their integration into Venice’s elite,
despite their Vicentine origins, highlighting the fluidity of Venetian
patrician society through marriage alliances.
Architectural
Innovation: The palace’s design, attributed to Sante Lombardo, showcases
the Venetian Renaissance’s adaptation of classical principles to the
city’s unique context. The asymmetrical facade, with its trifore and
decorative plaques, reflects Venetian architects’ preference for visual
harmony over strict symmetry, influenced by the city’s canal-based
urbanism and Byzantine-Moorish precedents. The use of Istrian stone,
large windows, and open trifore also highlights Venice’s access to
Murano glass and its lagoon setting, which allowed for less defensive
architecture compared to mainland cities like Florence.
Cultural
Role: The palace’s frescoes and teleri, particularly those commemorating
Zilia Dandolo’s coronation, connect it to Venice’s ceremonial grandeur
and artistic heritage. The private theater, a rare feature, underscores
the palace’s role as a venue for elite cultural activities. Its
occasional use for Biennale events further cements its place in Venice’s
contemporary cultural landscape.
Located at Calle Piovene, 2176, Cannaregio, the Palazzo Soranzo
Piovene is ideally situated along the Grand Canal, approximately 1
kilometer from Santa Lucia railway station and 450 meters from the San
Marcuola vaporetto stop (Lines 1 and 2). The best vantage point for
admiring the facade is from the opposite bank, near the Church of San
Stae.
Current Use: The palace serves dual purposes: the Guardia
di Finanza occupies the main piano nobile and mezzanine, using the space
for administrative functions, while private residences occupy the second
piano nobile, courtyard wings, and rear sections. The small theater and
garden are primarily for residents, though the theater has historical
significance. The palace is not a public museum but has opened for
cultural events, such as Biennale collaterali, offering limited public
access.
Visiting: The palace’s exterior is easily viewed from the
Grand Canal, either by vaporetto, gondola, or from the San Stae side.
The interior is generally inaccessible to the public, except during
special events or by private arrangement with residents or the Guardia
di Finanza. The surrounding Cannaregio sestiere is rich in attractions,
including Ca’ Pesaro (100 meters away), Ca’ Vendramin Calergi (100
meters), and the Jewish Ghetto (500 meters north). The nearby Fondaco
dei Tedeschi and Rialto Bridge (800 meters southeast) add to the area’s
appeal.
Preservation: The palace has been well-maintained, with
recent restoration of the garden and theater preserving its historical
features. Venice’s strict heritage regulations ensure the facade and key
interiors, such as the frescoed piano nobile, remain intact, despite the
building’s mixed use.