The Palladian Basilica of Vicenza, rebuilt in 1614 by Palladio is a public building in Piazza dei Signori, which was the hub of activities not only political (city council, court), but also economic. The double order of loggias of white stone from Piovene shows the elegance and solemnity of the building: the rise of the structures seems infinite, the play of light and shade is captivating. The first part of the building called of the Reason was built in the mid-fifteenth century by unifying the oldest buildings: the “Palatium Vetus” and “Palatium communis.”

At the end of the fifteenth century, it was decided to give a new face to the factory and create a covered area for the market that took place around it. The ambitious coverage resembling an overturned ship’s hull, covered with copper plates, partly raised by large arches, dates from the mid fifteenth century. The architect Tommaso Formenton designed the lodges, which were supposed to surround the building. The lodges were built and gave the building a new image, similar to the building having the same name in Padua. The improper construction of the new structures led to their collapse just two years after completion, presenting the problem of reconstruction. The resolution did not come very soon though great artists were interviewed, such as Sebastiano Serlio Michele Sanmicheli, and Giulio Romano.

Fifty years passed before was elected the draft of Andrea di Pietro, later known as the Palladium. Built in Gothic style, Palladio with its classical lodges solved the difficult static problems and with the use of serliana adopted a clever ploy to hide the different distances between the pillars acquired from the previous sites.

Vicenza is known as ‘Palladio’s town’ as he realized several monuments here and it is one of the most relevant art sites not only in the Veneto. Just thanks to the works by the great architect, the Unesco has included Vicenza in the list of the World Mankind’s Heritage and, as a matter of fact, it is the destination of cultural tourism with flows of people coming from all over Italy and from abroad too.

 HISTORY

Already known as ancient Vicetia during the Roman Age, the most ancient match about its name dates back to 135 B.C.

The epoch of the communes then witnessed the infighting between the Guelfs and the Ghibellines, with alternating outcomes, until Vicenza was conquered in 1311 by the Veronese Scaligeri rulers. This family rebuilt the city walls around a greater area as a protection against the invasion of the Visconti family, who, nonetheless, finally prevailed in the conquest of the town and they continued to rule the city until 1404. From 1404 to 1797 Vicenza put itself spontaneously under the protection of the Republic of Venice (as other towns of the Veneto and the Lombardia did) and it became part of the Serenissima Republic of the Veneto.

During the four centuries which followed, characterized by peace and wealth, arts reached exceptional levels and the town economy flourished.

The Sixteenth century is related to the great late Renaissance architect Andrea Palladio, already previously mentioned, who bequeathed Vicenza and the whole world a unique architectural heritage. Among his main works, the Basilica Palladiana situated in the central Piazza dei Signori, the Olympic Theatre, Villa Capra, known as ‘The Rotonda’, placed just outside the urban area. The Palladian tradition was continued by Vincenzo Scamozzi and by other architects till the Eighteenth century.

In the Nineteenth century, after Napoleon’s fall, the town fell under Austrian dominion and later became part of the Kingdom of Lombardy-Venetia and it was annexed to the Kingdom of Italy in 1866. If during the First World War battles mostly took place just the province of Vicenza, the Second World War injured the town centre too, as it was severely damaged by the Allies’ air raids.

 

MONUMENTS

 

The Basilica Palladiana, rebuilt in 1614 by Palladio is a public building opening onto Piazza dei Signori, which represented the core of not only political activities (citizen Town Council, Court) but also economic ones.

The double order of white, Piovene stone loggias offers elegance and solemnity: the ascent of the structure seems infinite, the tricks of light and shade are captivating. The first nucleus of the building known as the Palazzo della Ragione was constructed in the middle of the 15th century by joining two older buildings: the “Palatium Vetus” and the “Palatium Communis”. Then, at the end of the 15th century, it was decided to give this building a new aspect and create covered spaces for the markets that were held around it. The ambitious capsized keel-shaped covering made of copper plates, partly raised by large arches, dates back to the half of the Fifteenth century. The loggias which were to surround the building were planned by the architect, Tommaso Formenton. These were duly built and gave the palace a similar appearance to the one of the same name in Padua. But faulty construction led to their collapse only two years after completion, presenting the problem of rebuilding. Though many great artists were consulted, from Sebastiano Serlio to Michele Sanmicheli and Giulio Romano, a solution was not quickly found – fifty years were to pass before the plans drawn up by Andrea della Gondola, later known as Palladio, were chosen. Built in a Gothic style, Palladio by his verging on classic style loggias solved the hard static problems and by his use of serlian windows he adopted an ingenious expedient in order to conceal the different distances between pillars inherited by previous work.

PALAZZO CHIERICATI

Its construction was started in 1557 and it was ended in 1680 by Palladio. It was a private residence composed by a central body with two slightly behindhand symmetrical bays, endowed with two great loggias on the ‘noble floor’. The harmonious façade has got two superposed orders, which is a solution never used before for a town private residence, and decorated with statues. Located where in past times the rivers Bacchiglione and Retrone met, the architect placed the palace on an elevated position to protect it from frequent floods. From the half of 1500 to the first half of 1600 Chiericati Palace remained a majestic fragment (similar to the present Porto Palace in Castello Square) but half-finished at the fourth bay, just as proved by the Pianta Angelica and the note-books of travellers.

Only at the end of the Seventeenth century the palace was finished according to the rules of Palladio’s Four Books. There are different Palladian autographs testifying the developing of the plan, from an early solution where the portico juts out just in the middle of the façade (besides it is covered with a tympanum, as it will be for Villa Cornaro) till the current one. Its plant is determined by the narrow dimensions of the site: a central entrance with two apses next to two nuclei of three rooms having harmoniously joint together dimensions, each of them with a service spiral staircase and a monumental one next to the back loggia (another element which will be present in Pisani and Cornaro villas). In order to supply the building with magnificence, but also to protect it from frequent floods (and from the cattle which used to be sold in front of the palace during market days), Palladio placed it on a raised platform which, in the middle, displays a wide staircase clearly inherited by an ancient temple. The extraordinary novelty represented by Chiericati Palace among the existing Renaissance urban residences owes so much the Palladio’s ability to interpret the place where it was built; a wide open space on the borders of the town, near a river, that is a context giving the building an ambiguous look, namely a palace and a suburban villa at the same time: it is no coincidence that there are a lot of affinities with Villa Cornaro in Piombino and Villa Pisani in Montagnana.

Olympic Academy

Founded in 1556, the Olympic Academy had to wait more than twenty years before succeeding in realizing a permanent theatre where performances could be held, as in the past they were staged on ephemeral wooden structures in the palaces courtyards or in the hall of the Palazzo della Ragione. Only in 1580, in fact, the Academy starts, on an area of the Isola, handed over by Vicenza town hall, the construction work of the theatre according to the plan of its academic Andrea Palladio. But in the August of the same year the architect died without seeing the end of the construction, carried out by his son Silla. After Palladio Vincenzo Scamozzi was entrusted with the development of the theatre and he added the stage as well as the scenery, which was set up for the inaugural performance in 1585 of the Sette Vie di Tebe, which was to become an integral part of the building. Some recent studies have shown that the original Palladian plan envisaged just one perspective developed in connection with the central entrance of the stage, whereas on the two side openings some painted backgrounds would have had to be placed.

PIGAFETTA’S HOUSE

It was restored till it put on its present look in 1440. Inhabited by Antonio Pigafetta and modified in 1481, it is a rare example of florid Gothic, having queer decorative partitions, based on twisting subjects. The arabesque style side entrances have got three arches. The Renaissance portal is next to a writing hinting at the coat of arms of Pigafetta’s family.

THE ROTONDA

On one of the hills surrounding Vicenza, you can see Villa Almerico Capra di Valmarana, known as the Rotonda. It is the most famous and imitated work realized by Andrea Palladio, whose artistic originality is slowly unveiled to the amazed eye of spectators in front of four perfectly identical facades. Villa Capra, known as the Rotonda, was ended in 1585 by Andrea Palladio and it is a villa with a central plant, built as a suburban residence for entertainment functions, but also as a quiet shelter for meditation and study. It is composed of a square building which is completely symmetric and which can be inscribed in a perfect circle. Each of the four facades was endowed with a forepart having a portico from where people got to the domed central hall. Also the decorations are enriched with formal elements which were to suggest a sacred meaning. Located on the roundish top of a small hill, in order to let every room get an equal sunlight, its plant was rounded for 45 degrees with respect to the cardinal points.

LEONI MONTANARI PALACE

Finished in 1678, it is a baroque residence built where the Leoni Montanari family already owned some buildings, including some rooms for the spinning of silk. The palace is decorated with some episodes of Greek and Roman mythology. In the Eighteenth century the building was modified according to a neo-classical style. It has got a remarkable picture gallery displaying some masterpieces of the art of the Veneto region as well as a collection of Russian icons.

 

THE MUSEUMS

MONTANARI PALACE GALLERY

It is a museum owned by Banca Intesa. The gallery is permanently located in the baroque residence of the Leoni Montanari family and supplies the public with two of the most relevant art collections in the Institute. On the noble floor, next to the hall for performances and concerts, the architectonic visiting path of the Eighteenth century rooms displaying exuberant decorations based on mythological subjects, has arranged a precious painting collection from the Veneto Region of the Eighteenth century, among which a remarkable corpus of paintings by Pietro Longhi, some urban views and architectonic ‘capricci’ by Canaletto, Luca Carlevarijs, Francesco Guardi.

On the upper floor of the palace, plunged in a rarefied and bated spiritual atmosphere, a careful selection of 130 Russian icons is displayed. They have been chosen among over four hundred paintings belonging to the collection owned by Banca Intesa. Such collection is regarded by critics as one of the most important in the West for its narrative themes, its chronological variety going from the thirteenth to the fourteenth centuries as well as for the presence of several masterpieces of other historical periods. Thanks to the wide range of regional schools which are there testified, besides works deriving from major cities such as Mosca, Novgorod, Vladimir, Tver’ and Pskov, this collection represents the various souls of Russian painting.

CIVIC MUSEUM

The museum is arranged inside Chiericati Palace, namely a marvelous building planned by Palladio for Girolamo Chiericati in 1551. the visiting path follows chronological standards and begins with a section devoted to sculpture and painting of 1300, where a polyptych by Paolo Veneziano stands out; then there is a section of 1400 with works by local artists and works from the school of Verona and Lombardia; the Sixteenth century is represented by some masterpieces by Paolo Veronese, Jacopo Tintoretto, Lorenzo Lotto and Jacopo da Bassano; the Seventeenth century includes some works by local artists such as Francesco Maffei and Giulio Carpioni, as well as ‘The ages of man’, that is a wonderful painting by Van Dyck and the ‘Madonna of velvets’ by Bruegel; the Eighteenth century preserves some paintings by Giambattista Piazzetta, Giambattista and Giandomenico Tiepolo, Rosa da Tivoli and many others.

In the end, in the northern aisle of the palace there is a contemporary art collection with works by Carrà, De Pisis, Guidi, Oppi, Tancredi and others. You cannot miss four maps of the world of the Seventeenth century, endowed with their original supports.

RISORGIMENTO and RESISTENZA MUSEUM – Historical Museum

SANTUARY OF MONTE BERICO MUSEUM – Art Museum

NATURE MUSEUM OF SANTA CORONA

SMALL MUSEUM OF COINS

 

HOW TO ARRIVE

BY PLANE

There are airports nearby, in Venice (60km) and Verona-Villafranca (60 km), Mialno –Linate (200 Km), Milano – Malpensa (260 Km).

a (Verona’s Valerio Catullo Airport).From these airports it is BY Vicenza has its own airport (Tommaso Dal Molin), which is currently operating for military purposes as well as for night and day civilian and trading routes. It deals with scheduled flights, executive, private, transport of valuables and goods, health, assistance and civil defence flights.

BY CAR

Vicenza is a hour away from Milan, one and a half hours from Bologna and 30 minutes from Venice and Verona.

There are three motorway junctions: two on the A4 Serenissima Brescia-Padua motorway (Vicenza East and Vicenza West) on the major route from Turin to Trieste.

The third one (Vicenza North) is the A31 Valdastico motorway exit, which connects Vicenza to the A4 motorway and to its province, in particular the North-Eastern areas such as Thiene, Schio, Asiago, Marostica,Bassano.

Villa Badoer Trissino Rigo in Cricoli

It is a villa designed by Palladio; in its Renaissance structure we can see some castellan tradition: the palace is in fact enclosed by four towers. Its façade has got a Renaissance aspect.

(It can be visited on request).

Villa Bertolo Valmarana called ‘at Dwarves’ in Vicenza

The nickname is due to the presence of several statues adorning the brick wall, which represents some dwarves. These statues were placed in 1700s on G.B. Tiepolo’s advice. The villa is composed of three buildings placed one behind the other inside a large Italian style garden; the first building is the real villa (1665-1670) behind which we find the barchessa (1736) used as guest-rooms; then there are the stables. (It can be visited on working days).

Villa Almerico Capra Valmarana called ‘ The Rotonda’in Vicenza

It was begun by Palladio and finished by Scamozzi probably between 1570 and 1580. Its structure is composed of a stone cube ending with a dome and enriched, on each side, by Ionic colonnades preceded by staircases. All the four sides are identical. It has got a symmetrical structure both outside and inside, with its central hall covered by a dome. An internal round terrace opens to the hall below the dome. (It can be visited against payment).

Villa Valmarana Rossi in Bolzano Vicentino, Lisiera

This villa was designed by Palladio and rises on the ruins of a former building. The whole structure is very different from Palladio’s designs except for the arcade with Ionic columns. (It can be visited)

Villa Sesso Schiavo Narbone in Sandrigo

It was built in the 1500s and has got a regular lenghtwise plan. A Doric colonnade opens onto four rooms painted in fresco; the central body is currently used as a residence. Opposite the courtyard there is the barchessa following the same Doric colonnade. (It can be visited by appontment).

Villa Angaran delle Stelle Cattaneoin Mason Vicentino

It is a refined representation of the eighteenth century in Vicenza. This villa appears rather bare on three sides while the fourth one is enriched with Ionic pilaster strips and statues on its top.

Villa Rezzonico Gaspariniin Bassano Del Grappa

It was built by family Rezzonico following a design which traces the model of a medieval castle: four square towers surround the central body. The barchesse and the patrician chapel placed in a large park are of late Baroque-style.

Villa Giusti del Giardiniin Bassano Del Grappa

It was the seventeenth century residence of family Zimbelli. In the 1700s two lateral arcades were added to the villa; at the beginning of 1900s behind the building a pronao with enormous Ionic columns supporting two balconies was built. (It cannot be visited inside)

Villa Gradenigo now Michiel Bianchiin Bassano Del Grappa

It is a building of late seventeenth century by the architect Domenico Margotti, maybe following the project of Baldassarre Longhena. The plan of the whole edifice has got a U shape containing two barchesse with a Doric portico. Inside the barchesse there is a patrician chapel.

Villa Negri Da Porto Piovenein Mussolente

It was erected in 1763 by the architect Antonio Gaidon. An impressive staircase leads to the villa: a master’s house on three floors close to two lateral arcades. The attics are adorned with several statues. (It can be visited only by groups and by appointment)

Villa Cortellotto Comelloin Rossano Veneto, Mottinello Nuovo

It was built in 1500s and renewed in the eighteenth century. It was an enormous self-sufficient edifice: the actual villa, the barchessa, an area with the houses of the members of the staff, a spinning-mill and a mill. All that was all around a square. (It can be visited outside).

Villa Dolfin Boldù in Rosà, Ca’ Dolfin

It is a large dimensions edifice which surrounds a closed courtyard. Inside there is a very interesting play room containing some rare Baroque-style realizations such as: a roundabout, a machine for perpetual motion and some animated metal pictures.

Villa Morosini Cappelloin Cartigliano

It represents an original structure of the second half of the sixteenth century: a rectangular central body which is arranged on two floors, completely surrounded by a Ionic colonnade placed on a portico with enclosed arches. (It can be visited by appointment).

Villa Barbarico Rezzonico in Noventa Vicentina

This Villa was built by an unknown architect of Venetian school in the last decades of the Sixteenth century. The impressive mass on four floors opens on the first floor with a long colonnade; the upper floors are, on the contrary, shut up with high and narrow windows. Two steep flights of steps are close to a stately colonnade and lead to an interior endowed with paintings in fresco by Antonio Foler, Antonio Vassillacchi and Alessio Maganza, celebrating the deeds of the Barbarigo family.

(Today the building is used as a centre for municipal offices and it can be visited)

Villa Valmarana Morosiniin Altavilla Vicentina

It was built in 1724 by architect Francesco Muttoni. The building, which can be easily seen from the park, is arranged on lowering sectors: a high central body, two smaller wings and then an hemicycle barchessa (a long lateral arcade). The upper parts are enriched with eightennth century statues. The main hall is richly adorned with paintings in fresco by Pasqualotto. Now the villa is the seat of the University Association for business Administration studies of the University of Padova.

(Generally it cannot be visited, anyway, if asked, C.U.O.A. usuallyallows tourists to enter)

Villa Cordellina Lombardi in Montecchio Maggiore

It was built between 1735 and 1760 by Giorgio Massari. Its wonderful interior has its strong point in the series of paintings in fresco of the main hall: they are by G.B. Tiepolo. Its scenographical French-style park has got a front area (flower-beds and cedar gardens) and a rear one (courtyard, lawn with a fountain).

(It can be visited on pay admission)

 Villa Da Porto Zordan called ‘La Favorita’in Sarego, Ponticello

The building is situated on a small hill which names such place and from where you can enjoy a marvellous view of the surrounding country. It was built by Francesco Muttoni between 1714 and 1715.

Villa Pisani Ferri called ‘La Rocca Pisana’in Lonigo

The building, probably erected on the foundations of an ancient castle, enjoys a very wide view. The project, dated 1576, is by Vincenzo Scamozzi who recovered with more manneristic outlines, the structure planned by Palladio for ‘The Rotonda’. The façade is characterized by a large flight of steps giving on a central enclosed colonnade with Ionic columns.

(It can be visited by appointment)

Villa Pisani Mistrotigo De Lazarain Lonigo

This country house was built by Palladio for the three brothers Pisani – Vittore, Marco and Daniele. It is one of the first works of this architect. The impressive mass is not finished; in fact it completely lacks the colonnade courtyard which had to be placed before the house. Some time ago the building was endowed with very wide barchesse which were so large that they could contain in their embrace, the whole St. Mark Square, as proudly the Pisani used to say. Today only the western side of such additional elements are existent, as they were ravaged by a fire in 1806 and by a violent air raid in 1945.

Villa Querini Stampalia now Baldisserottoin Pressana

Its foundation can be dated back to the second half of the fifteenth century; the actual building contains also some specific elements of medieval castles such as the battlements which adorn the master’s residence.

Villa Poiana now Betteroin Pojana Maggiore

It was erected between 1550 and 1563 for Bonifacio Poiana, an influential member of the Town Council.

It is an atypical building by Palladio: here the traditional loggia is replaced by a façade with a tympanum in which there is a sort of arched frieze on pillars; such frieze is adorned with five round holes enclosed between two frames, representing an ideal extension of the pillars. (It can be visited)

Villa Saraceno Lombardiin Agugliaro

The central building, designed by Palladio, had to be placed close to two barchesse with a colonnade.

(It can be visited only outside by appointment)

Villa Fracanzan now PiovenePorto Godiin Orgiano

The villa rises on the boundary of the inhabitated area dominated by its mass. It was built in the early years of the eighteenth century, on the foundations of a previous building, by an unknown architect. (It can be visited by appointment)

Villa Dolfin in San Germano dei Berici, in Campolongo

It is a complex building born between the sixteenth and the seventeenth century, on the foundations od an ancient castle. This villa is not in good conditions but on the whole it has kept a great charm.