Dominiko Bellini de Letise di Venezia
The museum Querini
Stampalia is a historic mansion, located on the second floor of a building of
the sixteenth century, inhabited by the Patriarch of Venice, embellished with
stucco and frescoes.
It was here that
our ancestor Dominico Bellini de Letise resided.
The most famous part of the collection is the most extensive pictorial
documentary on Venice in the eighteenth century: one hundred thirty paintings
which are genre scenes Pietro Longhi and sixty-seven are seen by Gabriel Bella,
a minor painter, copyist works seventeenth and eighteenth centuries.
Museum Querini Stampalia maintains, despite the current need of the plants, the
character of the house-museum, where the works on display and the visitor in a
typical scene of eighteenth-century splendor. refined
rooms decorated in soft pastel colors, from light stucco ceilings, mirrors and wood
walls soften the eye of the beholder in a curious way the paintings, the
furniture of the eighteenth century and neoclassical, Murano chandeliers,
fabrics woven on ancient drawings, tapestries, Meissen porcelain, Vezzi, Sevres,
Cozzi, sculptures Horace Marinali, Antonio Canova, globes Willem Blaue and
Robert-Gilles de 'Vaugondy. portego
The, boardroom and space connecting the Venetian palace, fulfilling its role as
the original input of the historic home, with marble busts of the walls, the
majesty of the great polychrome Ca 'Rezzonico chandelier and fresco accompanied
by the allegory of Dawn Twilight.
A few steps from
Piazza San Marco is one of the most interesting artistic complexes of Venice:
Palazzo Querini Stampalia, seat of the Foundation commissioned in 1868 by Count
Giovanni, the last dscendente Querini Stampalia, where they keep the entire
heritage of the ancient Venetian family.
According to the heraldic tradition the Querini have ancient origins. The
branch that lived in Santa Maria Formosa was first known by the nickname of
"Uncles", ie the lilies that were depicted in their arms, and then, to avoid
confusion with the many other branches, was identified by adding your name to
"Stampalia" drawing it from the feudal possession of the island in the Aegean.
Some testimonials attest to their
presence in Santa Maria Formosa since the thirteenth century. but
you have more news by the end of the fifteenth century only. A
first iconographic source of fundamental value is certainly the plan of Venice
by Jacopo de 'Barbari, documenting the presence of two separate buildings in
campo Santa Maria Formosa where later will be developed and expanded the family
For the official
residence of the Venetian nobles in the city, and especially the facade of the
building to which they always tried to give maximum visibility, was a window on
the world to show their power and wealth and to raise awareness of the political
and social role of the family.
In the factory Palazzo Querini Stampalia since the Middle Ages and in particular
the first five onwards, it was customary for every wedding and every death of an
adult male giving a new division of the building into apartments, catering to
grace the halls with new stucco, frescoes, marble, textiles and furnishings. Certain
documents attest to a significant expansion of the building in 1513-14 under the
patronage of Nicholas Querini and another substantial intervention in 1515-18
when they were of the money spent for a further extension, repair and
beautification of the residence. The
first batch of interventions completed by July 31, 1525. During the work Palma
Vecchio was commissioned to decorate the "Golden Camera" in which there was also
a marble fireplace finely enriched with the family crest which resumed as soon
as the sixteenth-century facade, probably made from the circle of Lombardo.
Between 1614 and 1654 a property was purchased at the border and the building
facing the river, now owned by the parish and between 1660 and 1710 it was the
unification of the two ancient houses sixteenth. In
this series of actions is to be ascribed the creation of an air bridge that
connected the building with the new purchase in front of the river and an
additional airlift, which still exists today, which linked the building of the
church of S. Maria Formosa.
Further work reorganization of the residence were built between 1789 and 1797 on
the occasion of the marriage of Maria Theresa and Alvise Querini Lippomano;the
building was added to the third floor and the decoration of the portego and the
bridal chamber was enriched with frescoes by Jacopo Guarana and Vincent, with
assistance dell'ornatista Giuseppe Bernardino Bison and plasterers Giuseppe and
During the nineteenth century there were no particular architectural
interventions, however, Count Giovanni, he decided to transfer his residence on
the first floor of the building, renting the entire floor to the Patriarch of
Venice. In 1869, the death of John,
the Palace of the Holy Maria Formosa became the headquarters of the Foundation
he wanted; the first floor was set up
the library, which is open during the hours and days when all others are closed
and the main floor were collected paintings, furniture, porcelain, sculptures
and objets d'art that allowed him to re-arrange and open to the public the
historic home of the noble Venetian family.
Translated from the original italian text by our friend