Palazzo Pisani a Santo Stefano
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Palazzo Pisani a Santo Stefano is a palace in Venice in the Veneto region of Italy . It is located in the San Marco sestiere with a view of the Rio del Santissimo . It is bordered by the Palazzetto Pisani and the Palazzo Morosini with a view of the Campo Pisani , adjacent to the Campo Santo Stefano . The palace is the seat of the Conservatorio Benedetto Marcello .
“The last major restoration was carried out by Girolamo Frigimelica, the architect of the Pisani family, the same who designed the imposing Villa Pisani in Stra. The purpose of this building was a decidedly solemn one: the aristocratic Pisani family, then the richest in the city, wanted a palace worthy of its grandeur, increasing in width from the adjacent houses to the Grand Canal . Famous people, rulers and princes should stay there: the chroniclers speak of the magnificence of the furniture and decorations, of the gallery full of paintings by the most respected painters. The enormous facade of the palace, which has been criticized by some for its pomp, is enlivened by two large arches over the entrance portal. ” ( Benedetto Marcello )
"[At the Palazzo Pisani] the only remarkable thing is the courage of the old owner to spend so much money." ( Pietro Selvatico )
history
construction
In 1525 the Pisanis were already living in the area of Santo Stefano , but the construction of the palace did not begin until 1614/1615. The first core developed partly where there was a house that was already owned by the family (acquired by inheritance), partly where other, neighboring houses were bought to build this house. Alvise Pisani , the client, decided not to hire an architect to supervise the construction site, but to do it himself and speak to the craftsmen directly, perhaps because there was no great artistic personality in Venice at the time. In 1634 an earthquake destroyed part of the house, which then had to be rebuilt. It is thought that the best man of his time, Bortolo da Venezia , also known as Il Manopola , was contacted for the reconstruction of the building, which was built “the Roman way” . In the 18th century, Vincenzo Maria Coronelli attributed the construction of the palace to Jacopo Sansovino .
extension
In 1728 the Pisani family entrusted Gerolamo Frigimelica with the addition and expansion of the complex. His intervention consisted of the demolition of the large, middle dormer window, the addition of a floor, the creation of inner courtyards and the decoration. At the end of the 18th century, other works were carried out which caused the floor plan to be changed. The new owner of the palace, Alvise Pisani , actually decided to transform the salons on the second main floor into smaller rooms and to divide them according to the plan by Bernardino Maccaruzzi . After that, the palace had around 200 rooms. At this time Gustav III was staying . of Sweden in the palace; he confirmed that he could never return this lavish reception. Numerous other renovations followed: the floor plan was changed several more times, the art collections were removed, and the entire complex was divided into rental apartments. Over time, the family actually had to give up a large part of the palace and only kept the north wing. In 1880 the owner family died out. In 1940 the building was converted into a conservatory. In 1947 the painter Zoran Music had his studio in the attic.
description
Facades
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The palace, which shows well the will of the Pisanis to reach the Grand Canal, which in fact could only be reached with the purchase of the Palazzetto Pisani, shows considerable dimensions and several facades.
The main facade faces the Campo Pisani and is characterized by its cladding with Istrian limestone , which gives it a majestic appearance. It is traditionally divided into three parts: In the middle of the ground floor we find a wide portal that corresponds to the Venetian windows on the upper floors. The latter are flanked by arched windows , the keystones of which are decorated with human heads. These windows are combined to form double windows; they form a modular unit that repeats itself several times and has a column in the middle and pilasters on the sides . The exceptionally wide protruding balcony on the first main floor is supported by two Modillions and its railing is decorated with square motifs.
The secondary facades face the Grand Canal (it was not completed until 1751) and the Rio del Santissimo . They both look a bit naked, not to be compared with the main facade. Their decoration consists mainly of individual windows.
Layout
The structure of the floor plan shows a completely different character from traditional structures; traditional would be a series of rooms on either side of the Protego (large reception room). In this case, however, the building unfolds around two inner courtyards, which are only separated by a wing with loggias.
inside rooms
Over the years the building has been destroyed. Nevertheless, some works of art have survived to this day, especially on the ceilings and in the stucco . Two groups of figures surround the portal: one shows the "killing of the lion" and the other the "capture of Cerberus". They are usually attributed to the Girolamo Campagna school . The rear wall of the entrance hall is dominated by the large "Fano", the aft lantern of Andrea Pisani's galley . In the hall of the former library on the fifth floor you can see two medals with profiles of Martin Luther and Johannes Calvin . On the mezzanine floor , some rooms are shown that are decorated with stucco work from the second half of the 18th century.
The Protego on the first main floor once displayed a collection of paintings with the faces of the most famous men in the family. Today only those of Andrea Pisani and Alvise Pisani remain. The decoration of the room, on the other hand, is the work of the painter Jacopo Guarana . There are plenty of decorations in the rooms on the first floor: There, among others, Francesco Zugno worked on the frescoes that adorn the room onto the square, as well as the adjoining ones . On the same floor there is a chapel with an altarpiece on the themes of "Holy Family" and "Heilger Johannes", created by Giuseppe Angeli .
In the wing along the canal there are two rooms that must have been ornate once, but are now bare. In the same wing there is a hall that is used as a picture gallery and in which valuable works have been collected. An inventory list from 1809 lists 159 works, two thirds of which are from the 16th century, a quarter from the 17th century and a dozen from the 18th century. The inventory list also mentions the names of the artists, including Titian , Jacopo Tintoretto , Paolo Veronese , Jacopo Bassano and Jacopo Palma . Subsequent to this room are rich stucco work in white and gold that is attributed to Giuseppe Ferrari , who made it in 1776. On the right side there is a chapel which is dedicated to the “Madonna of the Rosary” and which was extended and decorated in 1717.
Another particularly important room is the ballroom, which is now used for concerts. Its construction was commissioned by Almorò Pisani between 1717 and 1720. The artistically most valuable part of the room was once a painting that adorned the ceiling and was created by Giovanni Antonio Pellegrini between 1722 and 1723. The painting was sold in 1895 but was replaced in 1904 by a work by Vittorio Emanuele Bressanin depicting the “Glorification of Music”. This work was created for free. At the same time, Bressanin also devoted himself to creating the frescoes in the other room facing the central staircase, which was once adorned with five paintings by Veronese. The space now houses the Directorate of the conservatory, there is a bronzed door knocker that Alessandro Vittoria is attributed.
Library
Nothing remains of the former library of the Pisanis except a catalog from 1807. Three years later everything was auctioned and scattered everywhere. The library was founded by Almorò Pisani and was the richest of all Venetian nobles. When it still existed, it was open to the public twice a week and had a caretaker. The collection was rich in "forbidden books" often referred to as heresy . The library also had an extensive coin collection consisting of 6,000 pieces, made up of a complete set of Venetian coins.
Individual evidence
- ↑ a b c d e f Marcello Brusegan: I palazzi di Venezia . Newton & Compton, Rome 2007. ISBN 978-88-541-0820-2 . P. 288.
- ↑ a b c d e f Marcello Brusegan: I palazzi di Venezia . Newton & Compton, Rome 2007. ISBN 978-88-541-0820-2 . P. 289.
- ↑ a b c d Andrea Fasolo: Palazzi di Venezia . Arsenale editrice, 2003. ISBN 978-88-7743-295-7 . P. 168.
- ↑ a b c d e f g h Marcello Brusegan: I palazzi di Venezia . Newton & Compton, Rome 2007. ISBN 978-88-541-0820-2 . P. 289.
Web links
Coordinates: 45 ° 26 ′ 10 ″ N , 12 ° 19 ′ 46 ″ E