Palazzo Ariani, less known by non-Venetians, is an extraordinary gothic masterpiece that faces rio dei Carmini in the Dorsoduro neighborhood.
It is crafted in Murano, blown in antique crystal and crystal glass, on which the extraordinary tri and quatrefoil marble decorations of the façade repeated on two lines are grinded. The engraving captures the laced effect, typical of the perforated stone that captured John Ruskin’s interest. He in fact utilized the term “laces” to describe the facades of Venice’s Palazzi.
The Palazzo glasses are perfect to serve water or wine, their personality is strong enough to be able to adapt to any type of use and inhabit the table as if they were miniature buildings.
The life of Giberto Arrivabene Valenti Gonzaga is viscerally linked to Venice. His childhood memories, the most beautiful, are those that have taken place in the rooms of Palazzo Papadopoli, between frescoes of Tiepolo and family affection. “In my earliest memories Venice had other colours. It was more obscure, dramatic, decayed and deeply romantic – simply beautiful. There wasn’t the same light like there is today – more dazzling perhaps, but less poetic.”
Each piece derives from a watercolour sketch made by Giberto on tracing paper: “When I see something that inspires me, or an object that I like, I sketch and rework it – then move on to the realization of it.”
The glass, the main material in the collections, is worked exclusively in Murano. Each glass, each specific object, is blown by master glassmakers in the Venetian furnaces.
Giberto takes his watercolours to discuss with them and refine the project, check its feasibility, and to make eventual changes.