Palazzo Corner Mocenigo

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Palazzo Corner Mocenigo, facade to the Rio San Polo

Palazzo Corner Mocenigo is a palace in Venice in the Veneto region of Italy . It is located in the San Polo sestiere on Campo San Polo , towards which the right side facade and the rear facade are directed.

history

The palace was built in the 16th century for Giovanni Corner on the remains of a 14th century palace that was destroyed by fire in 1535. The house was given to Giacomo da Carrara , Jacopo dal Verme and Francesco Sforza , who gave it to the Corner family in 1460 in exchange for the Ca 'del Duca . For almost six centuries it was the home of the so-called “San-Polo-in-campo” branch of the Venetian nobility. The architect called in to give the building its shape was Michele Sanmicheli , who created more famous facades, such as the one of the Palazzo Grimani on the Grand Canal .

From the family branch of Giorgio Corner (brother of the famous Caterina Corner , Queen of Cyprus and Armenia from 1474 to 1489) comes '' Laura '' (last representative of this branch), who married Alvise Mocenigo in 1787 . The palace subsequently belonged to his family. After that it passed through several hands and is now the Guardia di Finanza .

Giovanni Battista Tiepolo: Adrasto assiso ai piedi d'Armida (German: Adrasto, sitting at the feet of Armida ), National Gallery, London

The palace was already known for its extraordinary wealth of ornamentation and its art collections, which ranged from Antonello da Messina to Giovanni Bellini to Pietro da Cortona when, in the 18th century, a final program was carried out to decorate the second floor, with Giovanni Battista Tiepolo and Gerolamo Mengozzi-Colonna and the sculptor Antonio Gai were also employed. Almost all the works of art are scattered, with the exception of a few square frescoes by Mengozzi-Colonna and fortunately a Cupid by Tiepolo under the ceiling of a small area for the servants. Some works by Tiepolo, such as the four paintings with the people from the “liberated Jerusalem” by Tasso, the medallions with gilded monochrome of the cardinal virtues and the ceiling painting “Wedding Allegory of the Corner Family” from the “new” dressing room, can be found in the National Gallery in London . Of the medallions, two are in the Rijksmuseum and one in the Metropolitan Museum of Art (the fourth is lost), while the ceiling painting is in the National Gallery of Australia . Some of Tiepolo's frescoes, The Apotheosis of Hercules and Justice and Peace, were destroyed and reproduced on canvas in 1893 and are now in the Musée Jacquemart-André .

description

The palace was admired, but hardly imitated (if not in certain solutions), perhaps because of its striking robustness, which is not suitable for the lagoon environment, so much that Antonio Diedo designed it in his “Fabbriche di Venezia” for precisely these reasons. the Palazzo Farnese in Rome and that in Capararola .

With the exception of the partial brickwork of the Venetian window on the top floor, the building appears to be rather unscathed from the outside. On the facade facing the water, the ratio of the base to the height appears unusual because of the lack of space; instead, the building extends into the depths and the very long “porteghi”. Thanks to the two mezzanine floors distributed between the two main floors, the building has six floors; only the first mezzanine floor is sharply separated from the ground floor, which is evident in the rustication can see the facade. In addition to the six floors, there is an attic under the extensive roof, which was there as early as the early 18th century (as you can see on a copper engraving by Luca Carlevarijs ) and is therefore of little importance.

Palazzo Corner Mocenigo, side facade to Campo San Polo

The facade, which shows an overlapping order from the basement on the ground floor according to classical regulations, appears rather dry in decorative terms. In the design of the low pilasters, the distinctive beams above the windows act as a contrast that is repeated in the middle of the unusual Venetian windows of the lower, arched side openings. The balusters of the balconies do not protrude, as was customary at the time. The decisive sequence of the corner stones, however, is clear. On the sides, only the part facing Campo San Polo appears more decorated, i.e. the entrance from the land side, characterized by overlapping triple windows and the repetition of the bosses and the motif of the curbs.

Individual references and comments

  1. ↑ a b Elena Bassi: Palazzi di Venezia: admiranda Urbis Venetae . La Stamperia di Venezia, Venice 1978. p. 334.
  2. ^ Giulio Lorenzetti: Venezia e il suo estuario . Istituto Poligrafico dello Stato, Rome 1963. p. 573.
  3. ^ Giuseppe Tassini: Curiosità veneziane . Filippi, Venice 1979. pp. 183-185.
  4. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. p. 71.
  5. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 76–79.
  6. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 90–91.
  7. ↑ Originally it was thought that the paintings inspired by Tasso were the four that are preserved in the Art Institute of Chicago , but the relief from the room highlighting the impossibility of preservation and the description of the works such as “ Bislunghe ”, which is mentioned in several archival documents, has led to her being identified as part of the group in London.
  8. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 76, 82, 88, 94 and 97.
  9. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 83, 85.
  10. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 76, 82.
  11. ^ Massimo Favilla, Ruggero Rugolo: Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo . Issue 69. Fondazione Giorgio Cini, Arte Veneta, Venice 2012. pp. 92–93.
  12. ^ Elena Bassi: Palazzi di Venezia: admiranda Urbis Venetae . La Stamperia di Venezia, Venice 1978. p. 337.
  13. ^ Elena Bassi: Palazzi di Venezia: admiranda Urbis Venetae . La Stamperia di Venezia, Venice 1978. pp. 334-337.

Web links

Commons : Palazzo Corner Mocenigo  - collection of images, videos and audio files

Coordinates: 45 ° 26 ′ 15.7 "  N , 12 ° 19 ′ 44.5"  E