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An extraordinary distance within the rinascimentale Tower concurs to observe close gives the complex mechanisms of the clock and to exit on the terraces from which one is enjoyed splendid sight on Saint Public square Mark and the entire city. It is possible to carry out the single visit on reservation and with specialized companion, than of it it illustrates the characteristics. The visits are carried out for a minimum of 2 persons, maximum 12 and come every day proposed to fixed departure: Visit in Italian every day 16 hours 12 and Visit in English Monday, Tuesday, Wednesday: 9 am, 10 am and 11 am; Thursday, Friday, Saturday, Sunday: 1pm, 2pm and 3pm Visits en français lundi, mardi, mercredi, à 13h, 14h ET 15h; jeudi, vendredi, samedi ET dimanche à 9h, 10h ET 11h

The origins. The first dogi first stable takeovers in the lagoon veneta go back in all probability at a successive moment to the fall of the Roman Empire of the West (476). With the time, these takeovers become more and more long-lasting, much to be it considers true and own emplacements you of outpost of the Bizantino Empire. To the WAYS century laughed them in this area the institution of a dux, in veneziano doge, probably happened with the consent of the Emperor, that it renders the local administration independent. This it loads, than never in the successes you beyond thousand history years it will be characterized from monarchic attributes, but it will be always elective and public, comes rendered stable to the half of VIII the century, when elect Teodato Ipato comes. To beginning of IX century, that one that by now comes shaping itself as the city of Venice acquires one greater autonomy, favorite from of the understood one them and emphasized the distance also from the religious point of view: the devozione to Teodoro, saint patron orients them, comes replaced from the cult of the Mark apostle, whose empty died them, second a historiography of later origin, would have been conserved in the lagoon city. In year 810 doge the Partecipazio Angel moves the president's house from the island of Malamocco to the zone of Rivoalto (puts into effect it them Rialto). To this phase laughed them the choice to make to build up here the palatium duci, the Ducale Palace. It can be assumed that the model could be the palace of Diocleziano di Spalato, even if of the structures of IX the null century he is survivor.

The Palace the ancient one castello(X-XI) we do not know therefore as it had to be the ancient palace; probably the area that today occupies was constituted from an agglomerate of constructions of various shape and destination, protect and encircled from one consisting wall strengthened to the angles from massive towers and isolated from a channel. Rests of the fortifications and the towers angle irons survive still today. In the numerous building structures that crowded this area, to which it was approached from a great door fortified, placed more or less to the height of the Door of the Paper, they found place offices publics, the palace of justice and the jails, the room of the Doge, scuderie, armories and other anchor. If the merlato tracing can some think a highly summarized testimony that acknowledges in before the plant of Venice reached until we, work of fra' Paolino

The palace of the Doge Ziani (the 1172-1178) In X the century palace partially is destroyed from a fire. The reconstruction that follows some is intentional from doge the Sebastiano Ziani (1172-1178). Great reformer, the doge radically restructures the entire area of Saint Public square Mark. He realizes, for the palace, two new bodies of factory: one towards the piazzetta, in order to accommodate the functions tied to the justice and one towards the River basin, for the government functions. The ancient closed and fortified castle comes more therefore replaced with one opened construction towards the city, in order to join to the new requirements of one political, economic, social structure in expansion. Which it could be the aspect of this new part of the palace? Probably that one of the greater buildings of the age, with the peculiar shapes of the Veneto architecture bizantina, of which a typical example it is the Fontego of the Turks. Of this phase of the construction little traces, individualistic are survivors only substantially in a rest of base of Istria and in paving in cooked to fish thorn.

The trecentesco palace a new widening becomes necessary to the end of XIII the century. In 1297, political changes - the so-called "lock out of the Greater Council" - straight determine a considerable increase of the number of the having persons to participate to the legislative assembly, said Greater Council, whose members pass from four hundred milleduecento. The idea is born from this requirement to proceed to a radical renewal, being adopted also a new architectonic language, the gotico. The jobs that will lead Ducale Palace to the aspect that is familiar begins around to 1340 under doge the Bartolomeo Gradenigo (1339 - 1343) and interests the "palace of the government", that is the wing towards the wharf. For this phase of the jobs they are documents also some to you of the been involved craftsmen: in 1361 as an example, a sure Filippo Calendar tajapietra and Peter Basejo are name magister prothus. In 1365 padovano painter Guariento it comes called to decorate the wall orients them of knows it with a large one I fresco, while the execution of the finestrato one is work of Of the Masegne. The Greater Council gathers in the new knows it for before the time in 1419.

The renewals of doge the Foscari and the 1400's Single in 1424, under doge the Francisco Foscari (1423 - 1457), are decided to continue this work of renewal also in the wing towards the piazzetta, that destined one to the palace of Justice. The new building is shaped like the proseguimento of the Palace of the government; to the flat earth it introduces to the outside porticato and the Association of Bologna logge opened, also on the side towards the courtyard; to the same level of it knows it of the Greater Council is an immense hall, saying of the Bookcase (then of the Scrutiny). Finestroni and the coronamento to pinnacoli resumes the same reasons decorated to you that they characterize the facade on the wharf. The facade on the piazzetta comes completed with the construction of the Door of Paper (1438-1442), to work of Giovanni and Bartolomeo Bon. Only later on hand to other wings of the palace is placed: to leave from the Door of the Paper the jobs of construction of androne the Foscari, culminating set off with omonimo the Arc, than protraggono for some years and are come concluded under doge the Giovanni Mocenigo (1478 - 1485).

The other wings of the palace and fires (1483-1574) In a 1483 large fire divampa while in the opposite side of the palace, than we have up to now not described, that one pointed out on the channel, that it accommodates between the other the apartment of the Doge. Important jobs, entrusted to Antonio become therefore necessary, once again, Make bristle, that it introduces to Palace the new one linguagggio of the Rinascenza. It comes constructed, on this depositor, a new building, with a factory body that erge along the river, from the bridge of the Canonical one to the bridge of the Straw. The participation is concluded, at least as far as the ducali apartments, within 1510. In the meantime, I make bristle is replaced from "master Lombardic Peter", under whose direction comes realized the scultorea decoration of the facade and the scale of the Giants. In 1515 Antonio It abounds, the Scarpagnino, it succeeds Lombardic Peter. The jobs are concluded alone in 1559. Finally the palace is completed, every administrative organ has one own center. He rests in work of two great statues of Sansovino, Mars and Neptune, on the Scale of the Giants, happened in 1567, can itself be said sanctions the end of this important phase of jobs. In a 1574 other fire he destroys in this wing it leave of knows them to according to plan, damaging in particular knows it it of the Four doors, Anticollegio, the College and the Senate, fortunately without intaccare the carrying structures. He proceeds himself immediately to the risistemazione of the lignee parts and, above all, of the decorative apparatus. The fire of 1577 As soon as it finishes the jobs to you, but, in a 1577 other devastating fire is involved this time knows it it of the Scrutiny and it irrimediabilmente knows it of the Greater Council, destroying the paintings to it that they decorated to them, works of artists between which Kind from Fabriano, Pisanello, Alvise Vivarini, Carpaccio, Bellini, Pordenone, Tiziano. As far as the structures of the building, he proceeds himself fastly to a restoration that of it conserve the aspect originates them. The jobs conclude nel.giro.di little years, between 1579 and 1580, when it is doge Niccolò from Bridge. The seicenteschi prisons and the other participations Until to that moment the Ducale Palace had accommodated, beyond to the apartment of the doge, the president's house and the Courts, also the prisons (to the flat earth, to left right and of the door of the Frumento); in the second half of XVI the century Antonio from Bridge it only orders the construction of the Prisons New, constructed from Antonio Contin around to 1600 and connected to the palace from the bridge of the Sighs. The transfer of the prisons free spaces to the flat earth of the Ducale Palace. The area of the courtyard is therefore object, to the beginning of XVII the century, of one new restructure. It comes realized, in the part of the palace of justice pointed out on the courtyard, analogous porticato to that one of the rinascimentale facade that it is of forehead; moreover, on the side of the opposite courtyard to the wing on the wharf, to flank of the Foscari arc, it comes erected an ulterior marmorea facade to arches, sormontata from a clock (1615), on plan of Bartolomeo Grip handle.

The palace after the end of the Republic of Venice the functions of the Ducale Palace, symbol and heart of the political and administrative life along all the arc of the millenarian history of the Republic of Venice, cannot that to change to leave from 1797, year in which the Most serene one it falls. From then the French domination and that Austrian are succeeded in city, until the annexation to Italy, in 1866. In this period the palace becomes center of various offices, beyond accommodating in order nearly a century (from 1811 to 1904) the National Library Marciana and others important cultural institutions of the city. To the fine 1800's, the building introduces obvious signs of degradation: the Italian government decrees a huge financing then in order to supply to a radical restoration. In that occasion it is proceeded to the removal and substitution of many capitelli of the trecentesco porticato one, than, restores to you, today constitutes the corpus of the Museum of the Work. The institutes come moreover transferred all, ad.eccezione.dell' Office be them for the protection of monuments, than still today it resides to you, as Soprintendenza for the Assets Acclimatizes them and Architectonic of Venice and Laguna. In the December of 1923 the State, owner of the building, entrusts to Common of Venice the management of the palace, opened to the public one like museum. From the 1996 Ducale Palace it is to all the effects it leave of the system of the Civic Museums Veneziani.

The Center the Tower of the Moors is one of the architectonic signs more celebrates than Venice: it overhangs as a triumph arc the access to the nevralgica via trades them of the city, the ancient Merceria. It is also an element with of breach and of logon between the several architectonic parts of the complex of public square S. Mark and between the various city functions that they give it circulates itself: the centers of the political and religious power; the places of the representation and those of the economy; I point out towards the sea and the building articulation of the entire city mesh. The tower is, insomma, with its great astronomical Clock, capolavoro of technique and of engineering, an irrenounceable element of the same image of Venice and mark some, at this point from five hundred exact years, the life, the history and the continuous one to slide of the time.

Ca' Rezzonico - the Palace the huge palace, hour center of the Museum of the 1700's veneziano, came constructed to leave from 1649 for the noble family Bon, on plan of the maximum architect of the veneziano baroque, Baldassarre Longhena. Its dead women in 1682, nearly contemporary to that one of the committente and economic difficulty of the family Bon caused to the suspension of the jobs, leaving the palace incompiuto. The forehead on the Large Canal appears in numerous views of first the seven hundred only completed for the flat earth and Association of Bologna the noble one and covered from one provisoria closing constituted from a roof to hut of wood aces. In the meantime, the Rezzonico family - original of the Lombardy - had moved itself to Venice and had acquired in the 1687 title nobiliare it. Giambattista Rezzonico, merchant and banker, acquired in the 1751 palace and of it it entrusted the completion to George Massari, one of more asserts and eclectic professionals of the veneziano mean the 1700's to you. The jobs will proceed with rapidity and in the 1756 building it turns out completed. While the prestigious facade on the Large Canal and according to noble plan followed the original longheniano plan, the dared inventions must to Massari on the back of the palace: the sontuoso approached from earth, scalone of honor and the huge one, unusual hall from dance obtained eliminating the solaio of according to plan. At the same time to the conclusion of the jobs, the way was given also to the decoration of the building, with the participation of the greater then active painters to Venice: Giambattista Crosato, author of frescoes of the hall in collaboration with the quadraturista Peter Visconti, Giambattista Tiepolo, which the two ceilings are up realize to you in occasion of the wedding between Ludovico Rezzonico and Faustina Savorgnan, the young person Jacopo Guarana and Caspar Diziani. The building perfectly was completed in 1758, when the brother cadet of Giambattista, Carl Rezzonico, bishop of Padova, came elect Pope with the Clement name of XIII: the event marks the apex of the fortune of the family and the palace of Saint Barnaba was center of splendid festivities in order to celebrate it. But very soon, after solo cinquant' years, the powerful family in the 1810 extinguished itself. She began therefore for the palace and the patrimony of art and history that you was accumulated one long, difficult and tormented season of dismemberments and dispersions. Undressed of the furnishings, subdivided between the eredi and then sold, the palace passed in the 1800's to various owners; acquired from English painter Roberto Barret Browning, it was chosen as residence from the father of these, writer Robert Browning, than it died to you. Subsequently it came found from conte the Lionello Hirschell de Minerbi, deputy to the Italian Parliament, than it yielded it in the 1935, after long one and complex negotiation, to the Common one of Venice.

The center Palace Mocenigo di San Stae In the plant of Jacopo de' Barbarian (1500) has documentation of the building that to the age was introduced to almost square base with courtyard to the center. Later on the palace came progressively widened (the descendants of Nicolò acquired of the adjacent property theirs) and restructured. The aspect that conserve attulmente laughed them probably to the beginning of XVII the century, but does not have some news approximately the times of execution and not if the architect knows some. The two facades, that one on the river and that one on "salizada", are almost equal. Before it introduces in the part centers them three sansoviniani overlapping serliane connected from mensoloni (reason this that is repeated also in the lateral windows); the wing of left extends rendering therefore the entirety not symmetrical and introduces moreover a lower part regarding the main body; the zoccolatura to is bugnato. The second facade has the portoni architravati and the serliane single in the two noble plans; the lateral windows are subdivided so as to to create a double order of rooms and the main structure is placed side by side from a wing remarkablly more lowland, with to the noble plan one serliana. The prospect on salizada rispecchia a later taste regarding that one on the channel, introducing of the seicentesche lines. In 1945 the palace Mocenigo di San Stae, with the archives and leaves of the furnishings, was donated for testamentria disposition to the Common one of Venice from Alvise Nicolò, last descendant of the noble veneziana family, so that it came used "for Gallery of Art, to completion of the Museum To run". On ending of years seventy, to the dead women of the moglie Costanza Faà di Bruno, the rooms of Association of Bologna the noble one with the decorations pervenirono to the Civic Museums to fresco and the furnishings, for settecenteschi. In 1985, after consisting participations of restoration, the Mocenigo apartment came opened to the public one like museum, without moreover to lose the fascination and the atmosphere of the lived house. In the same year it came instituted to Mocenigo palace the Center History Studies of the Woven one and the Custom: the offices and the specialistic library came accommodate to you in the rooms of Association of Bologna the noble one that had not conserved the furnishings originate them; I placed you of woven and customs, instead, in the first mezzanine and the soffittone. The other plans of the palace are still like had them leave Alvise you Nicolò Mocenigo, uniforms in managed apartments and from the Councillorship to the House of the Common one of Venice.

Ca' Pesaro - the Palace the huge palace, hour center of the International Gallery of Modern Art, rises in the second half of XVII the century, for will of the nobleman and richest Pesaro family, on plan of the maximum architect of the veneziano baroque, Baldassarre Longhena, which they must also the Church of Salute and Ca' Rezzonico. The jobs begin in 1659 to leave from the earth depositor, with the courtyard characterized from originate them logge, that it turns out completed within 1676; the prestigious facade on the Large Canal catches up already according to plan in 1679, but, to the dead women of Longhena in 1682, the palace is still incompiuto. The Pesaro of it entrusts the completion to Gian Antonio Gaspari who the door sure a.termine within 1710, respecting substantially the original plan. In realizing Ca' Pesaro, capolavoro of the civil architecture baroque veneziana, Longhena are inspired to the sansoviniana classicità, elaborating able solutions and languages to express one new, sontuosa harmony. Of the huge facade is example on the Large, from complex composition, powerful nevertheless balanced Canal: over a hoof scandito from protomi monstrous leonine and it is risen strict bugnato to tips of diamond covered from two rows of windows, opened to the center from two twin portali sormontati from large masks and statues. To the Association of Bologna the sansoviniano reason in the insistito chiaroscurale rhythm appears more explicit of arches deep and of the columns in evidence. To according to plan, at the hands of Antonio Gaspari, the facade becomes rich of ornaments them in the spandrels and the trabeazione. Little regale is not immensest androne, the very disposed one along the axis of all the building, rigorous spazioso and in the penumbra that contrappone to the clear brightness of the courtyard, articulated around monumental true from sink, encircled from one the terrace and covered from porticato to clews, scandito from lesene doriche and advanced plans to architravate windows. Sontuoso and imposing, but harmonic and organic in the structure, the palace is enriched constantly, already during the long years of the construction from equally an important apparatus ornaments them of the inner ones Of it, the palace conserve still today some honor to coolness and oil of the ceilings, which had to artists like Children, Pittoni, Crosato, Trevisani, Brusaferro; between they also the ceiling of G.B. Tiepolo with Zefiro and Flora transported from here to the Museum of Ca' Rezzonico in 1935. But very more cospicue they turn out from archives documents it are the collections of the Pesaro family, that they numbered most numerous works of artists between which Vivarini, Carpaccio, Bellini, Giorgione, Tiziano, Tintoretto, beyond to more you notice artists of the 1600's and the 1700's veneziano. This huge patrimony definitively turns out dispersed within 1830, year of died of the last one of the Pesaro, than of it it has sold by auction to London the greater part. After the Pesaro, the palace passes to the Gradenigo, then to the Armenian Fathers Mechitaristi, than they use it like college. Acquired finally from the Bevilacqua family, the Masa becomes property of duchessa Felicita Bevilacqua. She is she to assign the palace to the modern art, leaving it for this purpose the city.

Museum of the Glass the Palace The building is the ancient Palace of the Bishops of Torcello. Been born like room patrizia in the typical shapes of the gotico bloomed, of which trace in the column with capitello of the entrance hall and in the windows of the facade remains on the courtyard, divenne in the 1659 residence of Bishop Mark Giustinian, than some year later it acquired it in order to make of gift the torcellana diocese. Laughed them to those years one sostanzanziale restructure of the building on plan of Antonio Gaspari. When the torcellana diocese was press, in 1805, the palace divenne property of the Patriarchy of Venice, than sold it in 1840 to the Common one of Walls, of which divenne center. To the museum-archives of the island, to the action of its foundation in 1861, it came assigned knows to it centers it them of the noble plan, but the successive one, express and consisting increment of the collections needed of spaces espositi you more goes to you, than they extended, little to the time, all the building. With the abolition of the communal autonomy of They wall, in 1923, and its annexation to the Common one of Venice, the Museum passed to make part of the veneziani civic Museums. To testimony of the original pomp it remains, today, to the noble plan, the ceiling of the hall centers them, or portego, than it shows oneself on the Large Canal of Wall, decorated from I fresco settecentesco of Francisco Zugno (1709-1787) with the allegorical Triumph of Saint Lorenzo Giustiniani, first patriarch of Venice (1381-1455), and ancestors of the family that in XVII the century red-adapt the palace. To the Zugno it was placed side by side, in quality of quadraturista, supplying to the execution of the architectonic reasons, Francisco Zanchi (1734-1772) Moderno is, instead, the fregio with the coats of arms of the muranesi families. Of the three great ottocenteschi lampadari, to ceiling, that one deserves particular attention centers them, to 60 arms, executed from Giovanni Fuga and Lorenzo Knows to you and introduced to the first muranese vetraria Exposure in 1864, where it came rewarded with gold medal.

The Museum of the Lace the museum, opened in 1981, has center in the spaces of the historical School of Laces of Burano, founded in the 1872 from contessa the Andriana Marcello in order to recover and to throw again one secular tradition. After the closing of the school, a Consortium created from the veneziani Public agencies and the Foundation Andriana Marcello - in the delivered up meantime - begins, to leave from 1978, a careful activity of riscoperta and cultural valorization of this art: the archives of the ancient School, rich of important documents and designs, come reordered and catalogued; the center comes restructured and transformed in espositivo space. The Museum of the Lace is born therefore. They are exposed to you beyond one hundred precious exemplary of the rich collection of the School, beyond to important testimonies of the veneziana production from the XVI to XX the century. Included from 1995 in the Civic Museums Veneziani, this space offers today not only the pieces exposure of great value, but also the possibility to observe from true the proposed techniques of working from the merlettaie, still today depositarie of this art and present to the mattino in museum. Moreover it is to disposition of the students the archives, important source of historical documentation - artistic, with designs, photo and several iconografiche testimonies

Fortuny palace the museum has center in the ancient gotico palace belonged to the Pesaro family and acquired from Mariano Fortuny in order to just make some atelier of photography, scenografia and scenotecnica, creation of weaves them, painting: of all these functions the piece of real estate has conserved atmospheres and structures, tapestries, collections. The Fortuny Museum, donated to the Common one from Henriette, vedova of Mariano, in 1956, is destined, second a tradition consolidated in the course of last the two decades, to take care of all the disciplines making head to the visual communication, collecting in that, ideally, the cultural inheritance of the sperimentalismo and own the innovative curiosities of the personage to the name of which the structure is tied. Currently it is interested from restoration jobs that render it alone partially fruibile, while it continues the museale activity of conservation and search; temporary extensions come moreover prepared are to Association of Bologna the noble one, that it gives back to the atmosphere and the furnishings therefore as thinks to you and intentional from Fortuny, it is in the evocative space to the flat earth, which it is approached from Saint 


Ca' Centanni, the House "Je suis neither à Venise, an 1707, dans une great beautiful ET maison, située entre pont de Nomboli ET celui de honest Woman, au coin of rue de the Ca' Centanni, sur paroisse de the S. Thomas" [ are been born to Venice, in 1707, in one great and beautiful house, situated between the bridge of the Nomboli and that one of the honest Woman, to the angle of the calle of Ca' Centanni, in the parish of Saint Tomà ]. Therefore ottantenne the Carl Goldoni - by now to Paris from venticinque years - remembers its house born them, in opening of the Mémoires. Ca' Centani, or Centanni, best known like the "House of Carl Goldoni", was erected in XV the century and conserve all the characteristics of the gotica architecture to Venice of that period. Particularly interesting, beyond to the facade to trittico on the channel with rich quadrifora, the income from calle of the Nomboli on the courtyard with the evocative external scale to two rampe and parapet to colonnine in stone of Istria.

Museum of the Natural History the palace the fontego of the Turks, than shows oneself with an imposing forehead on the Large Canal, is one of the most famous civil buildings than Venice. Laughed them, in the essential structures, to the XII-XIII century: the double quantity loggiato in style so-called Veneto-bizantino emphasizes the function of collection place and sale of the goodses - symbol of the mercantile vocation of the city - while the towers angle irons still recall defensive tipologie of high-medieval ancestry. The palace - already belonged to the Pesaro family and the Extensive ones, in which, second the tradition, soggiornarono personages as Lucrezia Borgia or Torquato Rate - divenne in the 1621 emporio and center trades them of the Turkish merchants to Venice, and such it remained until 1838. It puts into effect them aspect has had to a radical participation of restoration carried out in according to the 1800's: acquired from the Common one in order to make of the center of the Museum To run, then also it was wide rimaneggiato. When, in 1922, the collections of art and history were transferred to Real palace in Saint public square Mark, in the fontego they remained those naturalistic and etnografiche ones. Here it came instituted, in 1923, the Natural History Museum, opened to the public in 1928, in which they met also the precious collections of the Institute Veneto di Scienze, Letters and Limbs.