The Palazzo Venier-Manfrin, also known as Palazzo Priuli Manfrin or Palazzo Manfrin Venier, is a distinguished Baroque-style palace located in the Cannaregio sestiere of Venice, Italy, overlooking the Canale di Cannaregio, one of the city’s main waterways leading to the Grand Canal. Positioned to the left of Palazzo Savorgnan and near Palazzo Labia, the palace is a significant example of 18th-century Venetian architecture, with roots tracing back to a 16th-century structure owned by the Priuli family. Reconstructed in the 1730s by architect Andrea Tirali for the Venier family and later acquired by tobacco magnate Girolamo Manfrin in 1788, the palace became a cultural hub, housing a renowned art collection that once included Giorgione’s The Tempest. Today, it is owned by British artist Anish Kapoor, who is transforming it into the Anish Kapoor Foundation, a center for contemporary art.
The Palazzo Venier-Manfrin’s history spans several centuries,
reflecting the shifting fortunes of Venetian noble families and the
city’s evolving cultural landscape.
Origins and Priuli Ownership
(16th Century):
The palace was originally built in the first half of
the 16th century by the Priuli family, as indicated by their heraldic
symbols dating to 1500–1503 on the walls. Likely constructed for
Giovanni Priuli and his son Pietro Barbarigo Priuli (1484–1551), a Savio
(magistrate) for Cannaregio, the original structure was a modest Gothic
or early Renaissance palazzo.
Pietro’s 1517 marriage to Andriana
Venier connected the Priuli to the Venier family and brought additional
wealth, including the castle of Sanguinetto near Verona, enhancing the
family’s status.
Venier Reconstruction (18th Century):
By the
early 18th century, the palace passed to Federico Venier, who married
Elena Angiolo Priuli, a descendant of the original owners. Between 1704
and 1717, Federico commissioned architect Andrea Tirali to rebuild the
palazzo in a grand Baroque style, transforming it into the structure
seen today.
The reconstruction incorporated remnants of the Priuli
structure, visible in parts of the rear façade, and introduced a more
elaborate canal-facing façade, reflecting the Venier family’s
prominence. Tirali’s design, though debated by some historians like
Giuseppe Mosconi for lacking his typical flair, is praised for its
eurythmic proportions and simplicity.
Manfrin Ownership and Art
Collection (1788–1802):
In 1778, the palace was sold to Girolamo
Manfrin, a wealthy tobacco merchant from Zara who controlled Venice’s
tobacco trade, amassing a fortune through monopolies in regions like
Istria, Bergamo, and Brescia. Manfrin’s lavish lifestyle, including a
silver-adorned carriage, prompted intervention by Venice’s Magistrato
alle Pompe to curb his extravagance.
Manfrin transformed the palace
into a cultural hub, commissioning Neoclassical modifications to the
façade and interiors by Giovanni Battista Mengardi, Giuseppe Ricci, and
ornamentalist David Rossi. He amassed a significant collection of art,
books, and natural history objects, including Giorgione’s The Tempest,
advised by painter Giuseppe Ricci. The collection was open to the public
two days a week, making the palace a precursor to modern Venetian
museums.
After Manfrin’s death in 1802, the palace passed to his son
Pietro, then to his daughter Giovanna Maria Manfrin Plattis in 1835, and
was divided among her heirs in 1860, leading to the dispersal of the art
collection. The adjacent gardens were merged with those of Palazzo
Savorgnan to form a public park, now known as Parco Savorgnan.
Modern Era:
By the 20th century, the palace fell into disrepair and
was largely vacant, used intermittently for residential or commercial
purposes. In 2018, British artist Anish Kapoor acquired the palace,
announcing plans to establish the Anish Kapoor Foundation, a center for
contemporary art. A temporary exhibition of Kapoor’s works was held in
2022 (April 20 October 2022–November 9, 2022) during the Venice
Biennale, offering rare public access to the unrestored interiors.
The palace is currently under restoration, with plans to fully open as a
cultural venue by 2025 or later, preserving its historical significance
while embracing a new artistic mission.
The Palazzo Venier-Manfrin is a striking example of Baroque
architecture with Neoclassical modifications, designed to balance
grandeur with functional illumination. Its canal-facing façade and
internal layout reflect Venetian architectural traditions adapted to the
Cannaregio Canal’s urban context.
Exterior
Location and
Façade:
Located at Fondamenta Venier, 328–334, the palace overlooks
the Canale di Cannaregio, between Palazzo Savorgnan and Palazzo Labia,
near the Ponte delle Guglie and Santa Lucia railway station (600 meters
away). Its canal-side position enhances its visibility, similar to
Palazzo Erizzo Nani Mocenigo on the Grand Canal or Palazzo Gradenigo on
the Rio Marin.
The main façade, constructed in Istrian stone, spans
three floors plus a mezzanine, with a Neoclassical design introduced by
Girolamo Manfrin in the late 18th century. Unlike typical Venetian
façades with arches (e.g., Palazzo Contarini Dal Zaffo’s serliana), it
features rectangular window openings in two rows on the piani nobili
(noble floors), anticipating Rationalist principles for optimal interior
lighting.
The first piano nobile has windows with balustrades, adding
elegance, while marcapiano cornices and a dentil cornicione (toothed
cornice) at the top provide horizontal articulation. The façade’s
simplicity and symmetry contrast with the ornate Gothic of Palazzo
Erizzo Nani Mocenigo or the Baroque theatricality of Palazzo Gradenigo.
The rear façade retains 16th-century Priuli elements, such as Gothic
window fragments, visible from the adjacent Parco Savorgnan, offering a
glimpse of the palace’s earlier incarnation.
Courtyard and
Garden:
The palace features a large internal courtyard, a rare
feature in Venetian architecture, providing light and air to the
interior, similar to the courtyards of Palazzo Gradenigo or Church of
Santa Maria delle Penitenti. The courtyard’s 4,992 m² footprint
underscores the palace’s scale.
A garden behind the palace, once part
of Manfrin’s estate, was merged with Palazzo Savorgnan’s gardens to form
the Parco Savorgnan, a public park accessible today. This green space
contrasts with the private garden of Palazzo Contarini Dal Zaffo but
aligns with Venice’s tradition of integrating palaces with outdoor
areas, as seen in Palazzo Gradenigo.
Interior
Layout:
The
palace’s rectangular plan includes four open sides, with a central
portego (hall) on the piani nobili, typical of Venetian palaces like
Palazzo Giovanelli or Palazzo Erizzo Nani Mocenigo. A unique feature is
a double-height ball hall spanning both piani nobili behind the façade’s
central section, designed for grand receptions, a departure from the
standard layout seen in Palazzo Contarini Dal Zaffo.
The staircase,
attributed to Giacomo Macaruzzi, is located on the right side of the
façade (visible through the window axis) and is noted for its comfort
and elegance, leading to the noble floors. The atrio (entrance hall) is
described as “noble” for its spaciousness and decor.
The interior
spans four floors, with a gross covered surface of 4,992 m², making it
one of Cannaregio’s larger palaces, comparable in scale to Palazzo
Labia. The distribution of rooms is praised for its practicality, with
well-lit spaces due to the façade’s window design.
Decorative
Elements:
The interiors are adorned with 18th-century artworks by
Giuseppe Ricci and Giovanni Battista Mengardi, including frescoes and
paintings that reflect the Neoclassical taste introduced by Manfrin.
David Rossi’s ornamental designs add intricate detailing, possibly
including stucco work or gilded accents, similar to the Rococo frescoes
in Palazzo Gradenigo.
The double-height ball hall features a wooden
gallery, a dramatic element that enhances its grandeur, akin to the
opulent interiors of Palazzo Giovanelli’s Mozart Suite. Ceiling
decorations of “considerable merit” include frescoes and possibly
stuccoed motifs, preserved as part of the palace’s listed status under
Italy’s Legislative Decree 42/2004.
During the 2022 Anish Kapoor
exhibition, visitors noted the decadent and provisional state of the
interiors, with exposed walls and temporary facilities (e.g., chemical
toilets), highlighting the ongoing restoration. This raw aesthetic
contrasted with the polished interiors of Palazzo Giovanelli or Palazzo
Gradenigo’s restored piano nobile.
The Palazzo Venier-Manfrin is a cultural landmark, bridging Venice’s
aristocratic past with its contemporary artistic present.
Priuli
and Venier Legacy:
The Priuli and Venier families, both part of
Venice’s Serrata del Maggior Consiglio (1297), were central to the
city’s political and cultural life, similar to the Gradenigo (Palazzo
Gradenigo) or Erizzo and Nani (Palazzo Erizzo Nani Mocenigo) families.
The palace’s early history reflects their wealth and influence, with the
Venier’s 18th-century reconstruction showcasing their ambition, akin to
the Foscarini’s enhancements in Palazzo Giovanelli.
The heraldic
symbols of the Priuli, dating to 1500–1503, are a tangible link to
Venice’s Renaissance aristocracy, comparable to the Contarini coat of
arms on Palazzo Contarini Dal Zaffo.
Manfrin’s Art Collection:
Girolamo Manfrin’s art collection, amassed in the late 18th century, was
a cultural milestone, transforming the palace into a proto-museum.
Including works like Giorgione’s The Tempest (now in the Gallerie
dell’Accademia), the collection rivaled those of noble palaces like
Palazzo Contarini Dal Zaffo’s Tiepolo frescoes or Palazzo Giovanelli’s
Zelotti frescoes.
The collection’s public access, facilitated by
portable guides and a library, reflected Manfrin’s enlightened
patronage, educating visitors in the “delights of the fine arts,” as
noted by Conoscere Venezia. This aligns with Venice’s tradition of
cultural philanthropy, seen in institutions like San Lazzaro dei
Mendicanti or Santa Maria delle Penitenti.
Anish Kapoor
Foundation:
Since 2018, Anish Kapoor’s ownership has redefined the
palace’s cultural role. The 2022 exhibition during the Venice Biennale
showcased Kapoor’s contemporary sculptures in the palace’s unrestored
interiors, creating a “unique and unrepeatable” experience, as per
Tripadvisor reviews. The Anish Kapoor Foundation, established in April
2022, aims to make the palace a permanent art venue, aligning with
Palazzo Gradenigo’s Güneştekin Art Refinery.
The palace’s
transformation into a contemporary art hub mirrors Venice’s evolving
identity as a global art capital, contrasting with the historical focus
of Church of the Holy Spirit or San Lazzaro dei Mendicanti.
Cultural Context:
The palace’s location in Cannaregio, near the
Jewish Ghetto, Ca’ d’Oro, and Santa Lucia station, places it in a
vibrant, less tourist-heavy sestiere, similar to Palazzo Contarini Dal
Zaffo or Santa Maria delle Penitenti. Its proximity to Ponte delle
Guglie and Fondamente Nove ensures accessibility, akin to Palazzo
Giovanelli’s Santa Croce setting.
The Parco Savorgnan, formed from
the palace’s gardens, is a rare public green space in Venice, comparable
to Palazzo Contarini Dal Zaffo’s private garden but more
community-oriented, reflecting Cannaregio’s “down-to-earth” character.
Current Role:
The palace is owned by Anish Kapoor, who is
restoring it to serve as the Anish Kapoor Foundation, a permanent venue
for contemporary art exhibitions, research, and cultural events,
expected to open fully by 2025 or later. The 2022 exhibition
(April–October 2022) offered a glimpse of its potential, with Kapoor’s
sculptures displayed in unrestored interiors, earning praise for its
“unique and shocking” experience.
The palace is a listed building
under Italy’s Legislative Decree 42/2004, ensuring preservation of its
frescoes, ceilings, and structural elements. Its current vacancy,
pending restoration, aligns with its historical use as a cultural hub,
similar to Palazzo Gradenigo’s Art Refinery.
The Parco Savorgnan,
accessible behind the palace, is a public park formed from its former
gardens, offering a green retreat in Cannaregio, comparable to Palazzo
Contarini Dal Zaffo’s private garden but more community-oriented.
Visiting:
The palace is not regularly open to the public, with
access limited to special events like the 2022 Anish Kapoor exhibition.
Future openings will depend on the Anish Kapoor Foundation’s schedule,
likely tied to the Venice Biennale or other art events, similar to Santa
Maria delle Penitenti’s exhibition access. Visitors should check with
the Foundation or local sources (e.g., venezianews.it) for updates.
Located at Fondamenta Venier, 328–334, the palace is a 4-minute walk
from the Guglie vaporetto stop (Lines 4.1, 4.2, 5.1, 5.2) and 600 meters
from Santa Lucia station, making it easily accessible, akin to Palazzo
Giovanelli’s proximity to San Stae. Nearby attractions include Palazzo
Savorgnan (1-minute walk), Palazzo Labia (2-minute walk), Jewish Ghetto
(5-minute walk), and Ca’ d’Oro (10-minute walk).
Tripadvisor reviews
rate it 3.5/5 (6 reviews, ranked #414–473 of 951–952 Venice
attractions), citing its historical significance and Kapoor exhibition
but noting limited external-only access. Admission is free during
exhibitions, with potential fees for future Foundation events.
The
canal façade is best viewed from a vaporetto or the Ponte delle Guglie,
offering a perspective similar to Palazzo Erizzo Nani Mocenigo’s Grand
Canal visibility. The Parco Savorgnan provides a free, accessible
vantage point for the rear façade.
Challenges:
Acqua alta
(tidal flooding) threatens the palace’s ground floor, as seen in the
November 2019 flood, though its elevated design and Istrian stone
mitigate damage, similar to risks faced by Santa Maria delle Penitenti
or Church of the Holy Spirit.
Ongoing restoration limits access, with
the palace described as a “construction site” post-2022 exhibition,
posing challenges for visitors, unlike the fully operational Palazzo
Giovanelli or Palazzo Gradenigo’s rental apartment.
The palace’s
remote location in Cannaregio, while authentic, may deter tourists
focused on San Marco sites like Palazzo Erizzo Nani Mocenigo, but its
proximity to Santa Lucia station enhances appeal for art enthusiasts.