Garden
The garden of Palazzo Malipiero was created, together with many others, at the end of the eighteenth century, when the large palace gardens situated on the outskirts of the city disappeared because of residential and industrial development.
No doubt due to the particularities of the building plan, with a large entrance hall connecting Campo San Samuele to the courtyard, the garden's layout is most original: the area, compartmented by a simple design of hedge lines, extends along the building and is aligned both on the courtyard and the Grand Canal.
Thus the garden, when viewed from the Grand Canal, is divided in two symmetrical parts centred around a Hercule's Nymph fountain. The latter is also aligned with the 17th century entrance hall, so that a perspective view can be seen when entering the palace from the main door, through to the fountain a statue of Neptune inserted in the opposite garden wall.
In the garden has been placed the large well (originally in the inner courtyard) that, with the family coat-of-arms and the sculpted figures of the bride and bridegroom Elisabetta e Caterino, bear witness to the union between the Cappellos and the Malipieros.
From the end of 19th century, a number of statues have contributed to enrich the garden landscaping. The hedge, thanks to its intense colouring and precise pruning, conveys a further sophisticated touch to this precious garden.
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“we know our end
A packet of worm-seed, a garden of spent tissues.”
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“He had the oaks for heating and for light.
He had a hen, he had a pig in sight.
He had a well, he had the rain to catch.
He had a ten-by-twenty garden patch.
Nor did he lack for common entertainment.
That I assume was what our passing train meant.”
—Robert Frost (1874–1963)