“Et de presente habita ser vetor scarpaza depentor”: new documents on Carpaccio’s house and workshop at San Maurizio
The basic structure of the casa da stazio remained almost
unchanged until the nineteenth century, when the
whole plot of land was radically modified (fig. 5).46
Carpaccio’s residence was demolished to make way for
a pavilion (Sala consiliare) attached to Ca’ Corner which,
it must be emphasized, nowadays stands exactly where
the painter once lived (fig. 6); the eight case da serzenti
and the terreno vacuo were knocked down and replaced
by Ca’ Corner’s side garden; the squero and the three
small houses met the same fate and accommodate the
so-called Casetta delle Rose today. Just as in the sixteenth
century, the narrow Calle del Tagiapiera still makes its
way amongst these new buildings and connects Calle del
Dose da Ponte (fig. 7) with what remains of Pin’s court:
the elongated Campiello del Tagiapiera (or del Pozzetto)
with a modern well-head and, past it, a direct access to
the Grand Canal (fig. 8).47
Fig. 5 / Dionisio Moretti,
Corner della Ca’ Grande ora
I. R. Delegazione Provinviale,
in Il Canal Grande di Venezia
descritto da Antonio Quadri,
(Venice: Andreola, 1828).
Fig. 6 / Ca’ Corner della
Ca’ Granda and the Sala
Fig. 7 / A view of the
crossroad between Calle
del Tagiapiera and Calle del
Dose da Ponte.
“Et de presente habita ser vetor scarpaza depentor”: new documents on Carpaccio’s house and workshop at San Maurizio
Unfortunately, the 1526 map does not provide any
insights into the internal layout of Carpaccio’s casa da
stazio. A later document, however, offers some useful
clues as it describes several inner sections of the house
neglected so far by previous records. On 18 August
1534, Giovanni Pin sold what had remained of his father
Francesco’s property to Giacomo Corner for 2,200
ducats. The purchase deed describes the “domus a statio”
fairly precisely. It features a “ground floor and upper
storey with three small houses to rent placed below it with
its vacant plot of land, or vegetable garden, and court
and well uncovered in the backyard of said house”.48
Evidently, Carpaccio’s casa da stazio was anything but
modest. Not only did it have two floors, but it also
included three small houses below it and, at the rear
of the building, a vegetable garden and an open court
with a private well. This description allows us to address
several critical issues. Firstly, the house was large enough
to accommodate not only Carpaccio’s household, with
his wife Laura and two sons Benedetto and Pietro,
but also his pupils, who must have been numerous
considering the number of commissions Carpaccio
was able to carry out by the late 1510s.49 Secondly,
the house came with three case da serzenti in which, one
could assume, Carpaccio installed his workshop. The
document specifies that they were located “subtus”
the house, which allows us to identify them with the
three houses standing along the northern side of Calle
del Dose da Ponte on the map (see fig. 3). Carpaccio’s
workshop thus overlooked a highly symbolic (and,
therefore, implicitly upscale) calle, as it hosted the
annual triumphal parade of the Doge and his Signoria
during the official andata to the church of San Vio.50


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