Palazzo Barbarigo della Terrazza
The Palazzo Barbarigo della Terrazza is a palace in the Venetian sestiere of San Polo with the address San Polo 2765. The building, which the Barbarigo family had built between 1566 and 1570, is located with the adjacent side, i.e. the two-axis southeast facade and the corresponding one Part of the terrace, on the Grand Canal . The front, on the other hand, looks north-east onto the much narrower Rio di San Polo, which flows into the Grand Canal here. On the southwest side, the building borders the Palazzo Pisani Moretta with a narrow wing erected in 1596 . The not quite rectangular property covers an area of about 1100 m², of which almost a third is taken up by the terrace, which gave the palace its name, next to the Barbarigo family. The history of the building can be reconstructed with extraordinary accuracy thanks to the corresponding archival material .
Several lines (ramo, branch) belonged to the Barbarigo, each of which had its own palace built. The builders of Palazzo Barbarigo della Terrazza belonged to the San Polo line, named after the district in which they lived. The terrace, which is large even by Venetian standards and measures 14 × 24 m, is only accessible from the first piano nobile , the bel étage. This terrace extends the palace sideways to the Grand Canal. A water portal points to each of the adjoining canals; land access is through a narrow, dark and winding alley, the Calle Corner. This begins at the Rio Terà dei Nomboli and leads in the direction of the Grand Canal to the adjacent Palazzo Pisani Moretta , but does not reach the canal, but ends in front of a house wall after it has passed the entrance to the German Study Center in Venice . This German institution, which has been dealing with the history and culture of Venice since 1972, is mainly located in the first piano nobile . This also includes a library that looks out onto the terrace from the south and, thanks to an extension, now also overlooks the Grand Canal. There are three apartments in the second piano nobile .
The Barbarigo Palace was famous for its collection of paintings, which, however, was mainly sold to Saint Petersburg in the middle of the 19th century . This included a collection of Titian's paintings .
history
The Barbarigo di San Polo family (8th century to 1843)
If you follow the genealogist of the 18th century Alessandro Cappellari , the Barbarigo family came from "Monte della Brazza" near Trieste , but moved to Venice in 734. After Antonio Longo they were called "Barbani, Barbari, e Barbadaghi" at the time. Supposedly the invading and in 880 in the northern Adriatic defeated Saracens by a Arrigo, the Signore of Muggia on Istria , the beards (bar) have been truncated. This Arrigo is considered to be the first representative of the Barbarigo family. The family name is said to have originated from the connection barba arrighi , because the beards of the vanquished were lined up. In memory of this legendary event, the family had six beards in their coat of arms.
From 1297, the Barbarigo, as members of the Venetian nobility, had a number of seats in the Grand Council , the general assembly of the city's adult male nobles, which met in the Doge's Palace . They belonged to the Case Nuove , families that were not among the oldest, the “apostolic families”, who referred to Roman origins. It wasn't until 1382 that the Case Nuove succeeded in hiring a doge and thus gaining visible access to the most respected families. Families could also gain reputation through other high government offices. The Barbarigo family put twelve procurators from San Marco , four cardinals and two doges, namely Marco Barbarigo and Agostino Barbarigo , who held office successively from 1485 to 1486 and from 1486 to 1501.
However, they did not belong to the line (ramo) of the Barbarigo of San Polo, who built the Palazzo Barbarigo there from 1565. Besides the ramo of San Polo, there were four other branches, namely the Barbarigo of San Marco, of Santa Maria del Giglio , of San Vio and of Angelo Raffaele. These five branches lived in a total of six other palazzi, which bore the name Barbarigo , but did not belong to the branch of San Polo.
The progenitor of the San Polo line was Andrea dal Banco. His grandson Daniele († 1576) married Lucietta in 1537 from the Barbarigo branch of Santa Maria del Giglio. The couple had five sons and two daughters. In addition to the palace, the Barbarigo owned country villas on the mainland and were traders, particularly in the eastern Mediterranean. As usual, members of such families who had relevant contacts and experience took on diplomatic tasks in these regions. Daniele Barbarigo stayed as Bailò at the Ottoman court in Constantinople in 1561 and 1562 , which he reported in his hometown in 1564. In this function he acted as an intermediary between the Venetian traders who were active in the Ottoman Empire and the officials of the great empire and the court. At the same time, the Bailò took on negotiating and representative tasks on behalf of the Republic of Venice, but also informed the authorities of Venice about the events in Constantinople. These tasks were only partially financed from state coffers, so that considerable wealth was a prerequisite.
The families who were allowed to participate in this long-distance trade, i.e. the nobility of the city, erected representative buildings that were increasingly being built on the Grand Canal, the city's main artery. The builder of the Palazzo Barbarigo della Terrazza was Daniele Barbarigo and his wife Lucietta. The palazzo was built from 1566 to 1570 under the direction of the architect and sculptor Bernardino Contin (approx. 1530 to after 1596) from Lugano on behalf of the Barbarigo family.
Building history
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The Barbarigo di San Polo had owned two buildings as early as 1511, which can be seen on the plan by Jacopo de 'Barbari from 1500. The same applies to the woodcuts by Giovanni Andrea Valvassore († 1572) and Matteo Pagano (1515–1588). However, the plans by Matthäus Merian from 1638 still show the old buildings de 'Barbaris, which by this time had already disappeared for over 70 years, because in 1565 both houses were demolished.
The application for the new building at the Giudici di Piovego was made on December 5, 1565. The family initially lived in buildings on the Rio di San Polo, which are no longer recognizable after further extensions and modifications. The dimensions of the new building can be seen on the basis of the Istrian corner blocks that still exist today - meaning the white, so-called Istrian marble . You can find them between Rio San Polo, Calle Corner in the northwest, in today's interior in the south and on the east wall of the narrow wing that looks out onto the terrace. The southern annex is also no longer recognizable due to later renovations. The pile foundations and old masonry are likely to have been reused. As part of the building application, a request was made to straighten the building boundaries of the property into a square. The authorities agreed on December 11, 1565 and had measurements taken four days later. After a renewed inspection, balconies with balustrade bars were noted. The new building was first mentioned in a tax return on June 28, 1566.
The stonemason and site manager was Bernardino Contin, who appears in the sources between 1568 and 1597 . He was in an unexplained relationship to the builder Antonio da Ponte (1512–1595), who was instrumental in the construction of the Rialto Bridge between 1588 and 1591. The builder of the palace was Daniele Barbarigo (1515–1576), who drew up his will on February 22, 1572, but did not die until February 1576. A first contract was signed on May 29, 1566 with the stonemasons Bernardino Contin and Vincenzo de Quadro, who lived in the municipality of San Trovaso ; On the same day, the master mason Martino de Castegnedollo received a contract that Contin co-signed. Daniele Barbarigo mentioned the "Modello", the design for the building that was supposed to replace the two previous Barbarigo houses, in a note dated August 15, 1566, but it has not been preserved. Contracts with master carpenters Marco di Antonio da Bergamo and Francesco di Alessio followed on June 8, 1567 . The laying of the foundation stone was rescheduled on July 18, 1567, whereby Contin charged 929 ducats for its stone construction work. The external work had progressed so far in mid-1568 that Contin was able to submit its first major construction invoice on June 2, 1568. Work on the main facade of the Rio San Polo and work on the calle were already listed. The core of the renovation and new construction of Palazzo Barbarigo took place between June 1566 and May 1568.
Now the focus was on the interior work, which was carried out just as quickly. On December 23 , the contract for the house fountain in the portego , the great hall, on the water floor was signed with the stonemason Antonio Gesia, who also came from Lugano . The edging and niche lining were to be made of red Veronese marble . All window panes were commissioned on March 19, 1569. After these had been put in place, the interior decoration could begin, such as painting the ceilings and walls. A contract was signed with the carpenter (marangon) Marco di Antonio from Bergamo on June 6, 1569, which formed the basis for the manufacture of all doors. On November 3rd, a contract for bronze door knockers followed and on February 14th, 1570, Bernardino Contin presented his third and final invoice. The building was completed in the spring of 1570.
The smaller building on the Grand Canal initially belonged to both the Barbarigo and the Badoer. On August 8, 1584, Lucietta Barbarigo, widow of Daniele Barbarigo, bought the second half of the small house on the Canal. This cleared the way for a new building for their sons, which should extend as far as the Canal. According to a request from the widow to the Dieci Savi sopra le Decime in Rialto , there was a dye works (tintoria) there . It is likely to have been one of the last craftsmen's houses on the Grand Canal. Less than four years later, the owner and widow Lucietta asked the Dieci Savi sopra le Decime in Rialto to waive the taxes on the dye works, “per ess [endo] essa Casa, et tentoria ruinata” (because the house and the dye works had been demolished ). On July 28, 1592, the visit by the Giudici del Piovego , who were responsible for the land and waterways, took place. The building for Cristoforo and Domenico Barbarigo, which also bordered the Rio di San Polo, was attached to the main building towards the Grand Canal.
In a further construction phase - and not to be confused with the building for Cristoforo and Domenico Barbarigo - the narrow, multi-storey wing adjoining the neighboring Palazzo Pisani-Moretta was built. This construction took place only after the opening of the will of Lucietta Barbarigo in 1596.
Around 1850, Nicolò Antonio Giustinian Barbarigo sold the extensive collection, comprising at least 102 paintings, mainly to Tsar Nicholas I in Saint Petersburg . This included an important collection of Titian's works . Today there is still a few wall-mounted interior decorations, such as over- portals in the piano nobile from the 19th century. In addition, a few years ago the painted wooden beam ceilings from the 16th century in the chapel (the use at that time is unclear) and in the deep fireplace room facing the Grand Canal were restored. In the 1960s, a substructure made of reinforced cement replaced the previously existing ceiling below the terrace.
The German Study Center in Venice, including its library , which contains more than 13,000 volumes, has been located in the first piano nobile since 1972 . This library, with its tall windows overlooking the terrace, occupies two rooms, and a third room has formed the end of the Grand Canal since 2018. There is also an apartment in the second piano nobile and the rooms of the scholarship holders - artists, art historians, historians, musicologists - which can be reached from the other side of the sala via a staircase. In addition, a branch of the Loredan family lives in the second piano nobile , where there are a total of three apartments. The mezzanine floor was converted into a hotel in 2006–2007, which made structural historical investigations possible.
The interior of the Primo Piano Nobile dates largely from the second half of the 16th and late 19th centuries, while the interior of the Secondo Piano Nobile dates from the late 18th century.
Use and ownership
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A tax declaration from Lodovico di Andrea Barbarigo (before 1536 to 1594) shows, on the one hand, that he rented out several houses with rents ranging between 12 and 90 ducats. On the other hand, it can be seen that the palace was not only inhabited by the Barbarigo di San Polo, but that the previous buildings were also partially rented. In this case the tenant was Daniele di Daniele (1515–1576), a nephew of Lodovico. Daniele Barbarigo, who later became the client, also lived there to rent, as did a certain Zanchi, who had rented “one half” (una meza) for which he paid “20”. Maybe it was a projectile he'd rented.
Even the new building in the first phase of construction was no longer only inhabited by the Barbarigo at the beginning of the 17th century. When Domenico Barbarigo, son of Daniele, died in December 1622 at the age of 60, his executors had to rent the water floor to Margrave Girardo Martinengo for 400 ducats per year from March 1627, because the deceased had left the family in an economically precarious situation . The executors Marin Zane di Lunardo and Valerio Michiel di Marc'Antonio meticulously listed which items had to be returned at the end of the five-year rental period. From 1661 the upper floor was rented to Alvise Foscari for 250 ducats; 90 years earlier it had been rented to the Badoer for 130 ducats. The Badoers were on the one hand co-owners of the former warehouse, but at the same time lived for rent in the Barbarigo house.
This type of use was made easier by the fact that the palace had five entrances from the water and four from the land. There were also two larger staircases and five flights of stairs, two of which were probably intended for staff. One of them allowed all floors to be reached without using the main stairs. It ended in today's scholarship rooms.
Giovanni Filippo (Zuane) Barbarigo (1773–1843), the last representative of his family branch, son of Alvise Filippo, born in 1736, and Chiara Maria Michiel, who married on September 28, 1752, became the palace's sole heir. Giovanni or Zuane, as he was called in Venetian, married Chiara Maria Pisani Moretta (1773-1840), the heir to the adjacent Palazzo Pisani Moretta , in 1793 , but the couple remained childless. The heirless widower appointed Nicolò Antonio Giustinian da San Pantaleone, his "relative and friend", as heir in his will in 1843, who first snatched some of the eleven Titian paintings and soon sold the extremely valuable collection of paintings, including the Titian works. Alvise Zorzi calls him “greedy and ignorant”. But this family, whose members had taken the name Barbarigo according to Zuane's will, died out with the sisters Orsola and Maria di Sebastiano Giulio.
Today, some of the entrances are walled up, such as the Hotel Palazzo Barbarigo sul Canal Grande , which is located within the palace. It takes up the water level facing the Grand Canal in the area of the old warehouse building and the following mezzanine level that extends over the entire area of the palace.
The German Study Center, founded in 1972, now owns the water level of the old house, the mezzanine area to the left of the main staircase, which only houses the small kitchen and a bathroom, as well as the Primo Piano Nobile with the terrace and its internal mezzanine on the area of the former core building. The premises were acquired by the Fritz Thyssen Foundation in the summer of 1969 , the Association of the German Study Center in Venice was established on April 17, 1970 , and the study center was founded two years later.
The secondo piano nobile and the other mezzanini were divided into apartments. Contessa Loredan, the landlady, lives in the sala , the central main room, and the rooms on the left, as well as the internal mezzanine floor, which is reached by an elevator. The German Study Center has rented another room since 2019.
Facades
While the post-medieval palaces on the Grand Canal, with the exception of the Ca 'd'Oro , follow a three-part typology with a central portego in the piano nobile , to which two large rooms are attached to the sides, plus a facade facing the Grand Canal, the Palazzo Barbarigo gives way its corner construction depends significantly on it.
The Rio San Polo side
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The facade facing the Rio di San Polo consists of undecorated and gray plastered surfaces. It is based on the three-part floor plan typical of Venetian palazzi with its continuous portego and flanking through rooms , which is also reflected in the facade, especially in the portal and window arrangement. This emphasizes the central axis through the main door and the window arcatures runs with four arches and balconies that both Primo and Secondo Piano Nobile distinguished. In the attic, the arcature is resumed by four square windows lying next to each other. On the first main floor the capitals of the columns are Doric , on the second Ionic order . The broad central axis is flanked by a pair of windows corresponding to the height of the storey. On the two main floors, these end upwards with a round arch that sits on warriors and whose keystone is decorated. Here, too, the window widths are taken up again by square windows in the attic.
Two slender pillars and an arched opening resting on a cranked cornice form the main portal. The head of the prophet Daniel can be seen above an inscription (IN TE DOMINE SPERAVI NON CONFVNDAR IN ÆTERNVM, that is, "In you, Lord, I will not be ashamed") , as expense reports from 1568 prove, probably an allusion to the client Daniele Barbarigo. The tympanum and a console above it form a gusset made of Istrian marble, as is so often the case in Venice. The coffered wooden door is flanked by two rectangular windows with console benches . Engravings by the vedutist Marco Moro (1817–1885) show that the left side portal had been walled up to the extent of a deep window. Something similar can be evidenced by the work of the engraver Johann Poppel (1807–1882). The arcature of the Primo Piano Nobile has also been increased. In Marco Moro's vedute, but also those by Vincenzo Coronelli , the window height still corresponded to that of the windows on the side axes. If one ignores minor changes, the current facade corresponds to the state after the construction period. It is possible, however, that outside chimneys ran between the outside windows, which is only confirmed by the Coronelli engraving. There is no evidence of a fresco decoration , even if it was suspected. One gets a clear view of the facade from the Campo del Remer opposite, a square that must have been built before 1729.
The Grand Canal side
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The facade, which overlooks the Grand Canal, is divided into two parts. In the lower area it consists of the building on which the terrace is located and the towering front of the wing structure. The L-shaped facade can present itself as a unit with the facade towering behind the terrace, but it can just as well give the impression that the units above the terrace are a separate, separate building. The different shades of red in the plaster reinforce the latter impression.
The classic division of the Venetian palazzi can only be found on the water floor and on the mezzanine floor above, which are below the spacious terrace. In contrast to the San Polo façade, there is no broad central axis above it, so that here one fell back on balconies that were placed in front of the four existing windows. These windows - square to the right and left of the portal - were extended downwards in the 19th century. Above the main portal of the water level there is also an inscription with a quote from the Psalms: DOMINUS CUSTODIAT INTROITUM ET EXITUM TUUM (translated: “The Lord guard your entrance and exit”). The upper, upright rectangular row of windows did not originally run in one line, or rather the height of the two windows of the wing structure was not exactly matched to the other four windows. This indicates that the wing structure was inserted between the Barbarigo warehouse building and the Palazzo Pisani Moretta.
The facade above the terrace is four-axis and three-zone. A pronounced asymmetry arises from the arrangement of the windows there, but above all from the varying window dimensions. Between the two outer axes there is an outside fireplace that extends from the top floor to the Primo Piano Nobile . While the main floor windows of the two right axes are rounded, those of the two left axes are rectangular. Above that are the smaller rectangular windows of the mezzanine floors. There are four almost square windows under the roof. Due to the subsequently raised terrace level, the windows of the Primo Piano Nobile are covered. Around 1900, a winter garden, a bussola, was placed in front of the door through which you enter the terrace . For a long time, the lower window in the Primo Piano Nobile formed a second access to the terrace. In the corner between the two facades, a second bussola was built, also around 1900, which was accessible from the library through a door that still exists today. Its height can still be seen on the wall of the east facade.
The east-facing facade joins at right angles. The two facades are connected by an atrium that existed until around 1900, which was closed and now houses an elevator shaft. The shaft is built at the level of the Secondo Piano Nobile by a bridge with a window.
The west facade is also structured asymmetrically by six axes and three registers . Four chimneys run above the wall between the windows. The four inner axes are close to one another, while there is a large gap between the two outer axes. There are six arched windows in the lowest facade zone, as well as in the Secondo Piano Nobile . Under the roof there are almost square windows, this time five in number. The small window between the outer and the following axis at the level of the second main floor does not fit into the facade structure at all.
The Canaletto -Werk The Grand Canal in Venice with the Rialto Bridge does not have the existing today brownish façade, but an off-white to white clay. The same still applies to the period around 1885. Older depictions also show that in connection with the east-facing wall of the wing structure, two wooden-clad towers - a kind of staircase - rise up to below the Secondo Piano Nobile , which have their own roof and window possessed. They probably disappeared with the renovation of the terrace around 1900.
The terrace
The terrace, which measures 14 by 24 meters, was covered with roof tiles in an engraving by Luca Carlevarijs . In Vincenzo Coronelli's engravings from 1708 to 1709, the terrace ends with a tile-covered gable roof . Canaletto's painting shows a low building with a roof and chimneys. The often claimed planting of a giardino pensile , a hanging garden , cannot be proven with this, on the contrary, Jan-Christoph Rößler calls it a “fantasy”.
The assumption that the palace name was expanded to include the more detailed designation “della Terrazza” during the construction period is also not confirmed in the sources. Only the names "Casa Barbarigo" or "Palazzo Barbarigo di San Polo" appear there. Only Carlo Ridolfi (1594-1658) mentions the since the late 19th century popular term for the first time in 1627 in an inventory of the collection of paintings: "Casa dell'Ill [ustrissimi] S [Ignore] Barbarighi detti della Terrazza".
Until the renovation around 1900, the roof-covered structure was likely to have been dealt with. It was not until Gianjacopo Fontana in 1845 that the terrace gave the impression that it could be transformed into a hanging garden; two decades later he made this assumption even clearer. In fact, corresponding plans with lush greenery and an arcade were put into practice a little later. This design lasted until the 1970s.
Similar to the aforementioned Bussole , the water basin that exists today was probably built around 1900. Below the library, on the mezzanine floor, on the edge of the ceiling support structure in the eastern wall, a missing access to the terrace can be seen. At the same time it can be seen that the terrace used to be lower - so you had to go down to it - and, on the other hand, that you had to go up to the balustrade (balaustro) .
Interior
Portego and mezzanine
Access to the Portego of the German Study Center takes place on water or on land, i. H. by boat through the main entrance on the Rio di San Polo or on foot through the extremely narrow and dark Calle Corner. From there you enter the 100 m² water floor hall, which extends to the Rio di San Polo. Its floor is covered with diamond-shaped, light red and white marble slabs. You cross the mezzanine floor with two windows looking into the room, the area of the Portego on the Rio di San Polo, the room being separated by a glass wall framed in wood and divided by a window and door, which were created in the course of the restoration in the 1960s is. The water portal was in turn surrounded by a vestibule. A coat of arms in a wooden cartouche - once part of a backrest - hangs opposite the land entrance. The design of the coat of arms refers to the Grimani family and bears the words "fides et honor" ("Faith, also loyalty, and honor").
No fewer than six doors, facing each other in pairs, extend from the long sides. The simple stone portal frames date from the 16th century. Narrow stone benches, supported by volutes between the portals, run along both the long sides and the front of the calle. In today's boiler room, across from the laundry room, there could have been a kitchen. Hanging lanterns with foliage in the style of the 17th and 18th centuries provide light.
On the western long wall, after a broad ledge, a monumental arched frame opens up to a barrel-vaulted staircase, the second run of which is raised by a wooden beam ceiling. Opposite the stairs, the fountain with a polygonal vera da pozzo ("fountain surround", pozzo means fountain) made of red Veronese stone was built in a round arch niche with a shell-shaped dome . The blasted segment gable of the stair portal is studded with statues. The arched opening is flanked by double pilasters, offset one behind the other, with Tuscan capitals on high stucco pedestals.
On the side of the blasted gable are two male figures from the 17th century, which were made of wood and not fully sculpted, but completely flat on the back. Their upper bodies are supported by overturned urns from which water flows; they should represent river gods. While the river god on the left holds a scroll in his right hand, the one on the right holds a sun in his left hand. Both look at a smaller female sculpture, probably a Venus standing on a dolphin (an allusion to Dolfin ?) And only wearing a scarf around her waist. The works could have been made by a single artist, but they were later combined into a group.
If you follow the stairs to the mezzanine , you will first find the kitchen, bathroom and a small hallway on the left hand side at the west corner of the palace. The opposite side is walled up. The second run leads to the Primo Piano Nobile . The portego could be seen through five windows from the mezzanine , which were later locked.
The mezzanine of the water level runs over the entire area of the palazzo. Today it is divided into a large area belonging to the hotel and the very small area owned by the German Study Center. In the 1960s, a painted wooden beam ceiling was visible in today's hallway between the guest bathroom and the scholarship holder's kitchen.
The Primo Piano Nobile
The Primo Piano Nobile with the study center cannot be reached except via the aforementioned two-flight staircase with a change of direction , because the south staircase (or the door leading from it to the sala ), which has a three -flight landing staircase with a counter-clockwise course and which leads into all Storeys above the Primo Piano Nobile is walled up. In the sala , this walling is covered by a double-leaf wooden door.
The portal, as it were the transition between the stairs and the sala , has a blown gable in which a full-bearded marble bust is shown. "It is probably in the illustrated order Agostino Barbarigo, the comparatively by Antonio Rizzo [...] in the church Santa Maria della Salute with respect to the type of face 'is prepared similarly." The cornice of the Portalrahmung has Konsolbänkchen with one Akanthusblatt on, plus a Band with tooth cut . Underneath is a full bearded curly head. The frieze of the architrave is made of speckled black marble, which is repeated on all the doors that lead off the sala . Two warrior statues that were still on the gable of the portal in the middle of the 19th century may have been sold. There were putti at the corners and bronze busts in the middle.
The first Piano Nobile was mainly used for representation purposes; the famous collection of paintings adorned the walls of the sala and the three rooms of the wing. This collection apparently prevented a similar redesign as in the second piano nobile above . It was not until the collection was sold in the mid-19th century that the walls were decorated.
All rooms on the floor can be reached from the sala , it has a terrazzo floor and a 108 m² wooden beam ceiling with multi-colored, floral painting. It was used for parties, receptions and social interaction. In contrast to the living rooms, it was certainly unheated because it did not have a fireplace. There are four windows at each end. The windows on the side of the Ramo , at the other end of the sala , open in four arcades with Doric capitals. In contrast to these, the windows to the Rio di San Polo are set almost at full wall height behind the pillars so that they are only visible from the outside. However, the windows were not raised until the 19th century. They were all renewed at the beginning of the 20th century. A circumferential ceiling frieze complements the console cornice and is decorated with carvings.
A whole series of coats of arms adorns the doors of the sala . In the sopra portals , the coat of arms of the Orseolo family above the door to the secretariat, the Loredan above the scholarship holder's room to the left of the secretariat, the Foscari above the scholarship holder's living area on the mezzanine floor, the Badoer above the library area, the Rezzonico above the door to the Salotto and the Barbarigo above the door that leads to the second stairwell, probably after the painting collection was sold. Since then, there has been an unidentified coat of arms above the director's room. Above the four arcades to the calle there is a second Barbarigo coat of arms. A wood-carved and gold-framed coat of arms of Barbarigo was in the sala until 1845 .
According to the insignia pinacoteca della nobile veneta famiglia Barbarigo dalla Terrazza by the painter Gian Carlo Bevilacqua (1775–1849), 23 paintings, including a portrait of Titian, adorned the walls. An inventory by Carlo Ridolfi shows that as early as 1626 portraits of rulers and family portraits graced the walls. The collection had been known since Cristoforo Barbarigo (1544–1614).
On both sides of the sala , smaller rooms are lined up, which in turn were connected to one another in such a way that one could avoid going through the sala. In the so-called salotto , which lies between the sala and the winter garden on the terrace, and which was previously connected to the current director's room by a door, there was a ceiling frieze, which can only be guessed by a decorative strip. A print from the 1960s was attached there. The floral-ornamental wall covering in the Renaissance style dates from the 1920s and comes from the Venetian textile manufacturer Rubelli . Rubelli has its headquarters opposite the Barbarigo Palace on the other side of the Grand Canal in the Palazzo Corner Spinelli . The wall hanging was restored until 2012. A large, multi-part mirror, which the German Study Center took over from the previous owner, dates from the 18th century. The sopra portraits were probably made in the second half of the 19th century and show portraits of the Renaissance poets Vittoria Colonna (probably 1492–1547) and Gaspara Stampa (1523–1554). A door leads from the salotto to the first library room. In the room is the painting Der Sturm by August Wolf (1842–1915).
The secretariat is now opposite the Salotto. Here, too, the ceiling frieze is no longer preserved, with the exception of the strips. Until it was taken over by the study center, there was a fireplace opposite the entrance. Its essay showed the coat of arms of Barbarigo, as well as those of Badoer and Venier. The banner from the main portal to the Rio di San Polo was resumed here: IN TE DOMINE SPERAVI NON CONFVNDAR IN ÆTERNVM . Here, too, there was a connecting door to the neighboring room, which is now a scholarship holder's room. The sopra portico of the door from the sala to the secretariat shows a lying naked female figure, carrying a torch and kissing a small putto . A copy of Tizian's Clarice Strozzi by Franz von Lenbach (1836–1904) hangs in the door frame of the passage .
Next to the director's room, instead of another room, there is a passage to three rooms one behind the other, the last of which, the Sala del Caminetto , overlooks the Grand Canal. The two rooms between Sala and Sala del Caminetto now serve as library rooms. As in the sala , there were paintings from the Barbarigo Collection that were sold to Russia.
The first library room stands out due to the multi-colored decoration of the ceilings. The numerous beams lie on cornices with console benches. The latter are decorated with an egg stick and acanthus leaves. The surrounding frieze is divided by fluted volutes decorated with carved foliage . Female figures are depicted in spandrels, which merge into a floral tendril motif; some fields show twelve scenes from the Old Testament , like on the east wall the creation of Adam and his inspiration, on the south wall the creation of Eve, the fall , sensual knowledge and the expulsion from paradise , on the west wall the lead to marriage and the Sacrifice of Cain and Abel , on the north wall Cain killing his brother Abel, then Noah's ark , the flood and Noah's thanksgiving offering. It is unclear whether the complete works come from the 16th or the late 17th century.
Above the door to what is now the second library room is an allegorical representation of a half-reclining woman holding a book and offering a reference to philosophy, literature or history. Its counterpart is on the opposite side. There the woman carries a cornucopia from which coins fall; you can also see a wooden wheel on a hill. So in the sopra portals, learning and history, as well as wealth and fate, stand opposite one another. These depictions were not made until after 1850. Until then, there were bird depictions of Adrian von Utrecht (1599–1652 / 53). The wall covering comes from the 1920s. The room is equipped with a simple fireplace made of red, Veronese marble, above which a picture after Polidoro da Lanciano (around 1515–1565) with the Holy Family, Maria Magdalena and a donor from the Contarino house is emblazoned. The chimney vent runs above the calle between the Palazzi Pisani Moretta and Barbarigo della Terrazza. The family chapel was originally located here. However, this cappella may not have been the library room, but the small space between the director's room and the first library room that leads to the terrace. This gap was subsequently built in place of an atrium. The atrium was used around 1900 to build an elevator. In addition, the remaining space on the two main floors was bridged and small connecting rooms were created. With this the presumed chapel was built. Of these connecting rooms, the one in the Primo Piano Nobile is used to get from the first library room to the terrace a few steps higher. This low room is equipped with a marble coffered ceiling. The wall is frescoed with the illusion of a wall structure made of marble paneling, pilasters and a painting in a gilded frame showing a landscape. Only half of the fresco has survived, however, as it was probably destroyed and whitewashed in the course of the renovation.
The second library room - also equipped with a beamed ceiling supported by brackets with naked female figures - has no wall covering, but has been painted in color. Between the two windows facing the terrace there is an antique fireplace with fluted pilasters and a flower with acanthus leaves on the ledge. Above it is an oil painting with the dagger martyrdom of a Roman saint.
On the boards between the consoles you can see doge portraits of three hands from the late 19th century, which are enclosed in much older, transversely oval, gilded frames with scrollwork of volutes decorated with flowers. There are 21 individual portraits from the first Doge Paolo Lucio Anafesto to Vitale Michiel II , but with noticeable gaps in the row of Doges, which are named by tapes. In the epoch up to 1172, which was supposed to be covered by the doge portraits, not 21 but 38 Doges ruled. The strongly stylized men wear the bavaro , a half- length shoulder cape , over their coats . Her head is covered with the corno , the doge's hat. The camauro peeps out from underneath and is tied under the chin.
In the Sala del Caminetto , now also part of the library, there is a brightly painted beam ceiling and underneath a brown-framed and gilded frieze with volute consoles. Here, however, the volutes are kept simpler with an egg stick and flower decoration, plus grimaces at the top . Between the consoles there are oblong oval cartridge frames around two doge portraits. These continue the doge row started in the second library room, but only list 38 out of a total of 81 doges. Of the 18 double portraits, 14 result from successive doges. The focus of the selection lies in the 14th to 16th centuries. There are perhaps nine hands to be distinguished. In any case, the painters knew very well the work Biography dei Dogi di Venezia by Emmanuele Antonio Cicogna , which was illustrated by portraits by Antonio Nani (1803–1870). But older role models are also possible. However, they worked much more schematically than Nani.
The chimney in the Sala del Caminetto , which probably does not date from the construction period, especially since the design of the chimney and its antique design language suggest a date in the late 16th century, is very elaborately made of stone and stucco . It is located on the east wall between two windows that look out onto the terrace. A multi-part architrave , above it a mighty top, is supported by ornamental volutes as consoles, which run along the wall into narrow legs and rest on pedestals . Here, too, there is a frieze with floral and vegetable ornaments. An eagle spreads its wings over the helmet , which acts as the upper end of the coat of arms. A woman's head with a horned hood appears above the eagle. To the right of the fireplace a door led to the terrace, which was walled up for unknown reasons.
Between the windows facing the Grand Canal is the painting Baptism of Saint Lucilla by Saint Valentine by August Wolf. On the south and west walls there are two large-format history paintings by Vincenzo Guarana (1742–1815). They show the handover of Cyprus to the Doge Agostino Barbarigo by Queen Caterina Cornaro in 1489 and the coronation of Marco Barbarigo as Doge on the Scala dei Giganti of the Doge's Palace in 1485. Guarana originally painted them for the Secondo Piano Nobile . They belong to a four-part cycle . In the Secondo Piano Nobile they were replaced by pictures by the Venetian painter Ettore Tito (1859–1941) depicting events in the Loredan family.
The Secondo Piano Nobile
The Secondo Piano Nobile , which has the same spatial structure as the floor below, is divided into three independent apartments with lower ceiling heights. The Sala and which outgoing northwestern areas and the internally accessible mezzanine rooms are inhabited by Contessa Loredan, an apartment was in the east corner of the bullet, after all the grand pianos heard south of the staircase and a small, overlying mezzanine floor to the third apartment.
The furnishing of the floor was created in connection with the marriage on October 3, 1793 between Giovanni Filippo Barbarigo and the extremely wealthy heiress Chiara Maria Pisani (1773–1840), the daughter of Pietro Vettor Pisani from the neighboring palazzo. The couple, who remained childless, probably lived on the second floor, which would explain why Chiara received a wing on the second floor of the Palazzo Pisani Moretta through her father's inheritance and had it structurally connected to the Palazzo Barbarigo della Terrazza by a passage over Calle Corner . In March 1793, Alvise Barbarigo had the architect Gian Antonio Selva build a small bay window over the Ramo Barbarigo, the outside of which rests on the wall of the Pisani-Moretta Palace. In April 1809 Giovanni Pigazzi and the aforementioned Gian Antonio Selva built the passage between the two second floors of the neighboring palaces on behalf of Chiara Pisani Barbarigo, which led to the staircase at the level of the mezzanine floor of the Secondo Piano Nobile . In the Pisani Moretta there is still a threshold at this point.
The Sala is entered from the stairwell through a wooden door, which is raised on the inside by a tympanum, reminiscent of the staircase on the water floor. Flanked by fluted pilasters and crowned by a projecting cornice, two putti offer the Loredan's coat of arms, which, like the cartouche , are painted in grisaille . The sala was furnished with a simple terrazzo floor and a wooden beam ceiling painted green on console benches made of light stucco. Four-arched French windows open to a balcony on the Rio di San Polo.
Six pictures hang on the walls, which are surrounded by stucco frames with bands and rocailles . A painting by Vincenzo Guarana hangs on the walls facing the Rio di San Polo , while the two large-format pictures on the walls facing Calle Corner are by Ettore Tito . The painting to the right of the foursome to the balcony, not yet examined, possibly depicts Andrea Barbarigo (1540–1571), who was killed in the battle of Lepanto in 1571 in the battle against the Ottoman Empire's fleet . Opposite the Ottoman painting hangs a picture of equal dimensions, which shows a victory over the Saracens, with the Arrigo in the center, who is considered to be the progenitor of the Barbarigo.
The four Guarana images are complemented by seven monochrome ovals, which, according to Giuseppe Pavanello, as sopra portals represent the female personifications of science, wisdom, faith, fame, history, justice and peace, recognizable by their attributes.
The classicist ceiling decoration has been preserved in the room to the north of the sala . Its central fresco is attributed to Sebastiano Santi (1789–1865) and, integrated into an illusory coffered ceiling, depicts a mythological scene from the childhood of Bacchus .
The salon , which has the same floor plan as the library below, was decorated by Giambattista Mengardi (1738–1796) and the ornament painter Davide Rossi (1744–1827) using a classical selection of motifs and forms. There the central tondo shows a god scene with Venus , Cupid , Vulcanus , three cyclops and putti, which has references to Virgil's Aeneid .
In the room above the Sala del Caminetto , a classicist alcove occupies the entire width of the north wall, which was created for the wedding in 1793. The sleeping area is flanked by two narrow pillars that support a simple beam. Above the bed, surrounded by ornamental-floral stucco, can be seen the ceiling fresco Venus and the unity of marriage , which is attributed to Pietro Moro (around 1756 to after 1836). There is another painting on the ceiling of the bedroom: The light drives away the darkness or aurora , which is attributed to Sebastiano Santi. Pietro Moro was the creator of 16 small medallions that frame the tondo and depict various mythological figures against a red background, including Venus, Mars, Europe , Jupiter , Juno , Diana , a nymph with a statue of Eros and the graces .
The final ceiling frieze consists of two rows, separated by a ribbon of egg bars, the upper row being a monochrome, four-part meandering shape , while the lower row is a dark red row between palmette leaves and a pair of winged mixed animals, which in turn flank a vase.
On the mezzanine floor, accessible via a staircase in the north of the apartment, there is an ornamental ceiling decoration, which was probably also created on the occasion of the Barbarigo-Pisani wedding. Vases, ears of grain, small birds and satyrs are integrated into the frieze and the ornamental and floral motif-motif plastering. Walls moved in later have divided this decoration.
In the eastern apartment, in the immediate vicinity of the Sala , there is a large oval on the ceiling, a wedding allegory attributed to Giambattista Mengardi. As a central motif, the lovers can be seen bedded on clouds, holding a burning heart with their left hand as a sign of their love. Behind the bride, dressed in white, Temperantia with a water jug and Sapientia with a mirror can be seen, to the right of the groom, dressed in a white shirt and a blue cloth, are Justitia and Fortitudo with scales and sword. In the back of Giovanni Filippo a female angel or genius with an olive branch leans down to the couple.
Sources and literature
The sources for the early building history are relatively favorable, since craftsmen's bills and letters from the Barbarigo family have come down to us, which are in the Museo Correr , the Biblioteca Nazionale Marciana and the Venice State Archives . But works such as Arbori dei Patritii Veneti by the genealogist Marco Barbaro (1511–1570) are important for the history of the Barbarigo family. A series of vedutas shows the respective condition of the exterior facades, and finally, in the 19th century, travel and art guides are added to cursory descriptions of the interior.
The only monographs on the palace are the works of Herbert Siebenhüner (1981) and Ines Lamprecht (2014), especially since Lamprecht was allowed to enter and (cautiously) describe private rooms that were previously inaccessible to the scientific public. Your work can be considered authoritative. Siebenhüner used materials from the inventory of Emmanuele Antonio Cicogna . A short guide by Romedio Schmitz-Esser published in 2015 provides a quick overview of the part of the facility that is used by the study center.
literature
- Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice (= Centro Tedesco di Studi Veneziani Studi, New Series, Volume XI), Diss. Münster, Akademie Verlag, Berlin 2014. (accessed via De Gruyter Online) ISBN 978-3-05- 009571-4 (currently the most comprehensive presentation).
- Herbert Siebenhüner : The Palazzo Barbarigo della Terrazza in Venice and its Tizian collection (= Centro Tedesco di Studi Veneziani , Studi 5), Deutscher Kunstverlag, Munich a. a. 1981. ISBN 3-422-00734-2
- Jan-Christoph Rößler: Precisazioni su palazzo Barbarigo a San Polo e la sua collezione di quadri , in: Arte Veneta 64 (2007) 234–243 (with source texts).
- History of the Palazzo Barbarigo della Terrazza / Cenni storici sul Palazzo Barbarigo della Terrazza , in: German Study Center in Venice, 40 Years of Science and Art Promotion , published by Klaus Bergdolt for the German Study Center, Venice 2012, pp. 74–89.
- Lara Meroni: Il Centro Tedesco di Studi Veneziani. Mediatore tra artisti e città lagunare , tesi di laurea, Venice 2014, pp. 38–50 (section on the Barbarigopalast). ( online , PDF)
- Romedio Schmitz-Esser : Palazzo Barbarigo della Terrazza. The German Study Center in Venice (= Schnell-Kunstführer Nr. 2847), Regensburg 2015. ISBN 978-3-7954-7015-9
Web links
Remarks
- ↑ The unedited manuscript of Girolamo Alessandro Cappellari Vivaro († 1748) is located as Il Campidoglio Veneto in the form of four folios in the Biblioteca Marciana , Ms It. Cl. VII 15-18 (8304-8307).
- ↑ Even Emmanuele Antonio Cicogna did not trust this genealogist to be very reliable ( Lettera seconda di Emmanuele Cicogna a Pier-Alessandro Paravia nella quale si ragiona di alcune cose dette da Giambattista Soravia nel 2nd volume delle chiese di Venezia descritte ed illustrate , Francesco Andreola tipografo , Treviso 1823, p. 25).
- ↑ Antonio Longo: Dell'origine e provenienza in Venezia de cittadini originarj , Gasali, Venice 1817, p. 25
- ↑ One of these is the Palazzo Barbarigo alla Maddalena . Cf. Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss.Münster, Akademie Verlag, Berlin 2014, p. 8.
- ↑ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 9 somewhat misleading, cf. Eric Dursteler: Venetians in Constantinople. Nation, Identity, and Coexistence in the Early Modern Mediterranean , The Johns Hopkins University Press, 2008, p. 29.
- ↑ Sometimes also called "Vavassore" in the literature. The form "Valvassore" is given priority here because it appears in four wills alone (Anne Markham Schulz: Giovanni Andrea Valvassore and His Family in Four Unpublished Testaments , in: Artes Atque Humaniora. Studia Stanislao Mossakowski Sexagenerio dicata , Instytut Sztuki Polskiej Akademii Nauk, Warsaw 1998, pp. 117–125, here: p. 118).
- ↑ Etching, 30 × 70.4 cm, published in Achille Bertarelli : Inventario della raccolta formata da Achille Bertarelli , Vol. I, Italia geografica , Istituto Italiano di Arti Grafiche, Bergamo 1914.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 18.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 18.
- ↑ According to Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 14 he was his brother-in-law, in the Antonio da Ponte biography in treccani he is called "fratellastro", ie Half-brother or step-brother.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 24.
- ↑ Quoted from Jan-Christoph Rößler: Precisazioni su palazzo Barbarigo a San Polo e la sua collezione di quadri , in: Arte Veneta 64 (2007) 234–243, here: p. 235.
- ↑ This can be seen well in the floor plan offered by Jan-Christoph Rößler: Precisazioni su palazzo Barbarigo a San Polo e la sua collezione di quadri , in: Arte Veneta 64 (2007) 234–243, here: p. 237.
- ↑ Petra Schaefer: A look beyond the edge of the book, The Artist Scholarship Holders, in: German Study Center in Venice, 40 Years of Research and Art Promotion , Ed. Klaus Bergdolt for the German Study Center in Venice, Venice 2012, pp. 62–71.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 26.
- ^ Based on Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 11. Paolo Gaspari: Terra patrizia. Aristocracy terriere e società rurale in Veneto e Friuli. Patrizi veneziani, nobili e borghesi nella formazione dell'etica civile delle élites terriere, 1797–1920 , Gaspari, 1993, p. 92 calls it Nicolò Giustinian-Cavalli dei Giustinian di S. Barnaba .
- ↑ Hans Ost: Tizian Studies , Böhlau, 1992, p. 102.
- ^ Alvise Zorzi: Venezia Austriaca , Laterza, 1985, p. 243.
- ^ Vittorio Spreti: Enciclopedia storico-nobiliare italiana , Vol. 8, Forni, Milan 1928-1936, p. 156.
- ^ Lara Meroni: Il Centro Tedesco di Studi Veneziani. Mediatore tra artisti e città lagunare , tesi di laurea, Venice 2014, p. 34.
- ↑ Jan-Christoph Rößler : Precisazioni su palazzo Barbarigo a San Polo e la sua collezione di quadri , in: Arte Veneta 64 (2007) 234–243, here: p. 234.
- ↑ This and the following according to Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, pp. 29–42.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 30.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 34.
- ↑ Jan-Christoph Rößler: Precisazioni su palazzo Barbarigo a San Polo e la sua collezione di quadri , in: Arte Veneta 64 (2007) 234–243, here: p. 237 (“fantasticheria”).
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 37.
- ↑ Quoted from Lara Meroni: Il Centro Tedesco di Studi Veneziani mediatore tra artisti e città lagunare , tesi di laurea, Venice 2014, p. 42.
- ↑ Gianjacopo Fontana: Cento palazzi fra i più celebri di Venezia sul Canalgrande e nelle vie internal dei sestieri descritti quali monumenti d'arte e di storia , Naratovich, 1865, pp. 39-42.
- ↑ Ines Lamprecht suspects: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 45 f.
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 51.
- ↑ Lara Meroni: Il Centro Tedesco di Studi Veneziani mediatore tra artisti e città lagunare , tesi di laurea, Venice 2014, p. 44.
- ^ News from the Palazzo Barbarigo della Terrazza. September - December 2012 .
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 62.
- ↑ Starting clockwise in the northwest corner , it is Paoluccio Anafesto , Mauri Galbaio I , Obelizi Antenoreo , Agnello Partecipazio , Giov. I Partecipazi , Giov. II Partecipazi , Pietro Candiano I , Pietro Partecipazio , Pietro III Candiano , Pietro IV Candiano , Pietro Orseolo I , Vitale Candiano , Tribuno Memmo , Pietro II Orseolo , Oto Orseolo , Vitale Faliero , Vitale Michiel , Ordolas Falier , Domenico Michiel , Domenico Morosini , Vitale Michiel II.
- ↑ Clockwise starting in the northwest corner, it is Ostro Mastropie - Enrico Dandolo , Iacopo Tiepolo - Marin Morosini , Giov. Dandolo - Grandeni Pietro , Marino Zozzi - Soranz Giovanni , Andrea Dandolo - HIC EST LOCUS MARINI FALETRI DECAPITATI PRO CRIMINIBUS , Giovanni Delfino - Marco Cornaro , Andrea Contarini - Michele Morosini , Ant Venier - Michele Steno , Tommaso Mocenigo - Francesco Foscari , Pietro Mocenigo - Andrea Vendramin , Giovanni Mocenigo - Barbaro Marco , Agosti Barbarigo - Leonardo Loredan , Pietro Lando - Francesco Donà , Marcantonio Trevisan , Lor Priuli - Venier Sebast , Cicogna - Grimani , Frances Morosini - Paolo Renier , Mocenigo Alvise - Lodovi Manin .
- ^ Ines Lamprecht: The Palazzo Barbarigo della Terrazza in Venice , Diss. Münster, Akademie Verlag, Berlin 2014, p. 69 f.
- ↑ Alvise Zorzi : I palazzi veneziani , Magnus, 1989, p. 320 calls her a "ricchissima ereditiera" (extremely rich heiress).
- ↑ Biographies according to Sergio Ortolani: Giacinto Gigante e la pittura di paesaggio a Napoli e in Italia dal '600 all' 800 , Montanino, 1970, p. 55.
- ↑ Matthias Bleyl: Qualche precisazione iconografica nei soffitti veneziani del Settecento in Arte documento 13 (1999) 245-247.
Coordinates: 45 ° 26 ′ 10 ″ N , 12 ° 19 ′ 46.5 ″ E