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 paneling the 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 mansion.

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 Pietro Castelli.

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 Google.

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