Palazzo Mora is an ancient building situated in Sestier Cannaregio, between the San Felice Church and Canal di Noal. After the 11th century this area started having a big importance, both as a passage for the boat as for the people.

The current owner is the branch of the Mora family which used to live in this area and was one of the most well known and important in Venice from 1500 to 1780. Mora family bought it from Andrea Contarini, a member of one of the most ancient and important family in Venice in 1716. Palazzo Mora, as it is known nowadays, is the result of the unification of two previous different buildings made by Bartolomeo Mora between 1716 and 1737.


From the second half of the 17th Century this Palazzo started to obtain a bigger social role thanks to the families that started to celebrate the importance of their lineage. In particular, the Mora family which was upgraded of the Patrician title in those years, thought that was essential show their prosperity and their power making their house bigger. That’s also why the part of the building in front of the garden was used as a Public Library.

The main façade of this palazzo is symmetrical, with a courtyard which was inspired by classical architecture. The use of traceries and the palace's size constitutes a manifest demonstration of economical and political power. Palazzo Mora has been owned by cultivated entrepreneurs that succeeded in conserving the interior and exterior aspect of the buildings.


The fresco which is in one of the room at the first floor of Palazzo Mora was made around 1720-1770 so is common thought that the maker could be Tiepolo, a famous Venetian artist of that period. 

This art work is very suggestible. The scene is harmonious and represents one couple which flutter on a cloud in the middle of the ceiling with all around angels and other winged divinity. Probably is a wedding allegory and the couple, which is represented dressed with clothing of the XVII century, are new married.This idea is sustained also by the objects that are present on the fresco as the shell which is a symbol of Venus and a bow that can represent Love or being the emblem of Mars, partner of Venus. Also some details of the fresco, as the wings of a figure on the right, remember the Tiepolo’s fresco “Trionfo di Zefiro e Flora” which is in Ca’ Pesaro, Venice; but there is no certainty about the paternity of the art work.


The innovatory characteristic of the pictorial arrangement adopted by Tiepolo for the wings leaves frequent discussions over the delicate dragonfly-like or Pseudimares–like wings with the eyespots. Unlike traditional bird wings or butterfly wings found in the reference iconological manual of his epoch, his dragonfly-like wings are more astonishing.

But what triggers Tiepolo this new idea for the wing drawing? Certain commentators approve it is pure imagination from Tiepolo, others think that it is the idea from dragonfly or the rare species, Pseudimares, which is known and found in southern Iran and Morocco that Giambattista Tiepolo might have chances to see it somewhere in the science and art booming age and inspired by it. 

But either of them, such spots signal astonishment, amazement, instinct to flee and correspond perfectly to the definition of “wonder”.


                                                                                EXHIBITION SPACE: PALAZZO BEMBO

Palazzo Bembo

PALAZZO BEMBO was built by the noble family of Bembo, in the 15th century. It has been modified several times over the centuries; however it still maintains its original external structure. The Palazzo’s red façade combines old Venetian elements with influences from the Byzantine and is considered an example of the Venetian-Byzantine or -Gothic style, a style of architecture originated in 14th century Venice with the confluence of Byzantine styles from Constantinople, Arab influences from Moorish Spain and early Gothic forms from mainland Italy. Palazzo Bembo’s 17th century restoration, taking influences from that period with polychromy, three-partitioned façades and loggias.


The building is on the San Marco side of the Canal Grande, wedged in between Rio di San Salvador and Calle Bembo.Palazzo Bembo is the birthplace of Pietro Bembo (1470-1547), a Venetian scholar, poet, literary theorist, and cardinal. Today, following years of neglect, Palazzo Bembo has regained its original atmosphere and is once again home of the arts, culture and education. Global Art Affairs Foundation, has restored and adapted its premises at Palazzo Bembo into an exceptional contemporary art exhibition space.


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