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Top Attractions in Vicenza

Palladian villas of the Veneto

The Palladian villas of the Veneto are villas designed by architect Andrea Palladio, all of whose buildings were erected in the Veneto, the mainland region of north-eastern Italy then under the political control of the Venetian Republic. Most villas are protected by UNESCO as part of a World Heritage Site named City of Vicenza and the Palladian Villas of the Veneto. The term villa was used to describe a country house. Often rich families in the Veneto also had a house in town called palazzo. In most cases the owners named their palazzi and villas with the family surname, hence there is both a Palazzo Chiericati in Vicenza and a Villa Chiericati in the countryside, similarly there is a Ca Foscari in Venice and a Villa Foscari in the countryside. Somewhat confusingly there are multiple Villas Pisani, including two by Palladio. UNESCO inscribed the site on the World Heritage List in 1994. At first the site was called "Vicenza, City of Palladio" and only buildings in the immediate area of Vicenza were included. Various types of buildings were represented in the original site, which included the Teatro Olimpico, some palazzi and a few villas. However, most of Palladios surviving villas laid outside the site. That is why in 1996 the site was expanded, hence "City of Vicenza and the Palladian Villas of the Veneto". Its present name reflects the fact that it includes villas designed by Palladio throughout the Veneto.

Casa Cogollo

Casa Cogollo is a small palazzo in Vicenza built in 1559 and attributed to architect Andrea Palladio. Since 1994 it has formed part of the UNESCO World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto". Though known as the “House of Palladio”, in reality this building has no connection with the residence of the Vicentine master. Rather it is its dimensions—quite contained in comparison to the monumental emphasis of other Palladian palazzi—which has led astray those seeking a trace of the architect’s residence in the city. In fact, the Maggior Consiglio forced the notary Pietro Cogollo to remodel the façade of his 15th century house as a contribution to the “decorum of the city”, making this provision a condition of their positive response to his request for Vicentine citizenship. In the absence of documents and autograph designs, the attribution to Palladio of this most elegant façade still divides scholars. Yet, because of the intelligence of the architectural solution proposed, as well as the design of all the details, it is difficult to refer the project to any other designer. The constraints posed by a narrow space and the impossibility of opening windows at the centre of the piano nobile induced Palladio to emphasise the façade’s central axis, by realising a structure with a ground floor arch flanked by engaged columns, and on the upper storey a tabernacle frame for a fresco by Giovanni Antonio Fasolo. The ground level arch is flanked by two rectangular spaces which illuminate and provide access to the portico. Altogether they form a type of serliana, as already done at the Basilica Palladiana. The result is a composition of great monumental and expressive force, despite the simplicity of the means available.

Palazzo Civena

Palazzo Civena is a Renaissance palace Vicenza, Italy, dating to 1540. It was the first city palace designed by Andrea Palladio. The palace was constructed for the brothers Giovanni Giacomo, Pier Antonio, Vincenzo and Francesco Civena. The date “1540” engraved on the foundation medal, preserved in the Museo Civico di Vicenza, fixes the laying of the foundation stone to that year. The building was probably finished twenty-four months later, six months before the start of works on the Palazzo Thiene. The history of the palace includes being heavily modified by Domenico Cerato in 1750, being half destroyed by Allied bombardment during World War II and thence reconstructed only for its façade. Palazzo Civena was not included in the Quattro Libri dellArchitettura by Palladio, but various autograph drawings by Palladio exist to document the several alternatives he elaborated during the design stage. Today’s distribution of internal spaces does not replicate Palladio’s definitive idea but is the fruit of Cerato’s heavy interventions, which prolonged the atrium and modified the stairs. The original plan, however, may be reconstructed thanks to a 19th-century survey published in 1776 by Ottavio Bertotti Scamozzi : the grouping of rooms in two nuclei placed to either side of the atrium, with a serliana providing the filter to the exterior, is very close to Palladio’s villa projects in the same years. The very early date of the project makes Palazzo Civena evidence of Palladio’s youthful activity and his architectural culture before the journey to Rome in 1541. As was already the case with the villa at Cricoli, this building marks a rupture with constructional praxis in Vicenza: the traditional polifora at the centre of the façade has been substituted with a regular sequence of bays, rhythmically articulated by paired pilasters. In this respect Palladio was evidently inspired by the Roman palaces of the early 16th-century, but it is clear that this did not result from direct acquaintance: the building’s façade is devoid of any real plastic substance and seems cut from a sheet of paper. Moreover, all the elements of his architectural vocabulary derive from Venetian models, not Roman ones, above all the buildings realised by Giovanni Maria Falconetto in Padua.

Palazzo Pojana

Palazzo Pojana is a patrician palace in Vicenza, northern Italy, attributed to the architect Andrea Palladio, about 1540. The palace we see today was created from two buildings separated by the alley known as Do Rode, probably in 1566, following upon a request by Vincenzo Pojana to the Town of Vicenza in 1561. The attribution to Palladio is founded neither on documentary evidence nor on autograph drawings, but rather on the evidence of the architectural quality of the articulation of the piano nobile, with its order which embraces two whole floors, not to mention the design of various details, like the very elegant and fleshy composite capitals and the entablature. However, elements such as the pilasters devoid of entasis conform so little with Palladio’s vocabulary in the 1560s, that one may hypothesize that the design of the left-hand portion of the palace was the product of a youthful project by Palladio, only later extended to include the neighbouring building during the 1560s, when Pojana decided to enlarge his own residence. This would also explain the differences in the configuration of the basement zone between the two halves of the building.

Teatro Olimpico

The Teatro Olimpico is a theatre in Vicenza, northern Italy, constructed in 1580-1585. The theatre was the final design by the Italian Renaissance architect Andrea Palladio and was not completed until after his death. The trompe-lœil onstage scenery, designed by Vincenzo Scamozzi, to give the appearance of long streets receding to a distant horizon, was installed in 1585 for the very first performance held in the theatre, and is the oldest surviving stage set still in existence. The Teatro Olimpico is, along with the Teatro allantica in Sabbioneta and the Teatro Farnese in Parma, one of only three Renaissance theatres remaining in existence. Both these theatres were based, in large measure, on the Teatro Olimpico. Since 1994, the Teatro Olimpico, together with other Palladian buildings in and around Vicenza, has been part of the UNESCO World Heritage Site City of Vicenza and the Palladian Villas of the Veneto.

Santa Maria Nova

Santa Maria Nova is a 16th-century church in Vicenza and attributed to 1578 designs of Andrea Palladio. It is the only church design in Vicenza assigned to Palladio, although he did design the chapel Valmarana in Santa Corona, a portal and the cupola of the Cathedral, and the portal of Santa Maria dei Servi. Nel 1578, the nobleman from Vicenza, Lodovico Trento, funded the reconstruction of a church adjacent to the Augustinian convent of Santa Maria Nova in Borgo Porta Nuova, in the west of the city. Members of the aristocracy often joined this convent. In 1590, the church was completed. The interior including ceiling and wall paintings were completed by Francesco Maffei, Andrea Vicentino, Palma il Giovane, Giulio Carpioni, and also by Alessandro Maganza and his studio). The works were dispersed during the nineteenth century when the church was deconsecrated. The only construction documents list as capomaestro, Domenico Groppino, who worked on other Palladian structures.

Oratory of San Nicola da Tolentino

The Oratory of San Nicola da Tolentino is a small chapel like structure in Vicenza, which is notable for its excellent collection of 16th- and 17th-century paintings. Construction of a home for the venerable confraternity of the saint began in 1505 and was completed by 1681, when the facade was finished (attributed to Carlo Bottiron). It is dedicated to Saint Nicholas of Tolentino. The interior has a number of canvases based upon events and miracles in the life of San Nicola, many inserted in niches in the wall; works include: Ceiling cycles by Giulio Carpioni. On the right 1st inset wall by Antonio Zanchi. 2nd inset canvases by Francesco Maffei. 3rd inset canvases by Giovanni Carpioni. On the right 1st inset wall by Giovanni Cozza. 2nd inset canvases by Maffei. 3rd inset canvases by Maffei. Three statues inside were completed in 1679 by Francesco Pozzo, including a "Madonna and child", "St Agustine and Nicola". Giuseppe Alabardi also has a work here.

Santa Maria in Araceli

The church of Santa Maria in Araceli is a late-Baroque style church built in the late 17th century in Vicenza according to designs attributed to Guarino Guarini. Documents first take note of a church at the site, dating from 1241. They refer to a church of Santa Maria in the area that stood near a convent. This convent, which in 1277 belonged to the Clarisse Nuns, was called Santa Maria ad Cellam, (referring to the nun's rooms). The suffix was then modified to alla cella, then Arcella and finally to Araceli. This church in Vicenza should not be confused with the church Santa Maria in Aracoeli in central Rome. Construction of the present church was begun during 1672-1680, a period during which the famous architect Guarino Guarini resided in Vicenza under the patronage of the Theatines. In 1965, designs for the church were found in the Vatican Library. Construction seems to have been guided by Carlo Borella. It was about 60 years after the start of construction, on November 17, 1743, that the church was consecrated. In 1810, during the Napoleonic occupation, the convent was expropriated, and the church became a parish church. The church was replaced by a new parish church, Cristo Re, in 1960. This church ceased being used until restoration in finished in 1990. The main baroque altar (1696), was carved in marble by Tommaso Bezzi . It contains an altarpiece representing the Tiburtine Sybil who portends the coming Virgin and Child to the Roman Emperor Augustus attributed to Pietro Liberi . The altar on the right has a 13th-century painted crucifix, originally from church of San Vito.

Palazzo Porto in Piazza Castello

The Palazzo Porto is a palace in Piazza Castello, Vicenza, northern Italy. It is one of two palazzi in the city designed by Andrea Palladio for members of the Porto family . Only two bays of it were ever built, beginning shortly after 1571. Why the patron, Alessandro Porto, did not continue with the project is not known. For completing the scheme, which was probably intended to have been seven bays wide, the Porto familys 15th-century case, still standing to the left of the great architectural torso, would have been incrementally demolished. The structure was completed after Palladios death by Vincenzo Scamozzi. The project seems to have been initiated immediately following the publication in 1570 of Palladios Quattro Libri dellArchitettura, in which its design does not appear. It was illustrated by Ottavio Bertotti Scamozzi in 1776, who called it the Casa Porto and traced the extent of foundations built for it, suggesting that an interior courtyard with an exedra end was contemplated, of which part was built. Bertotti Scamozzi attributed its design to Vincenzo Scamozzi. Palazzo Porto in Piazza Casello shows the influence of Palladios Roman visit. Its grandiose scale was not purely competitive with the Thiene, with whom the Porto were connected by contemporary marriages and whose palazzo faces it across the broad piazza, but corresponds with its urban position, intended to shape and dominate a great open space. The two standing bays fully define the programme of the intended façade: a colossal order of Composite half-columns stand on high socles — themselves on bases that are taller than a persons height — against the crisp and flat urbane rustication of the basement. The full expression of the order in columns breaks the entablature boldly forward over each column; it is one-fifth the height of the columns and pierced with windows in the manner of Baldassare Peruzzi, to give light to rooms of a mezzanine. A frieze carved with swags of oak garlands in bold relief, hung from the abaci of the capitals, passes between them, creating a richly sculptural unbroken band across the façade. Windows with alternating triangular and segmental pediments are each provided with a balustraded balcony supported by brackets.
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