Vicenza - Loggia del Capitaniato
Places to see in ( Vicenza - Italy ) Loggia del Capitaniato
Places to see in ( Vicenza - Italy ) Loggia del Capitaniato
The palazzo del Capitaniato, also known as loggia del Capitanio or loggia Bernarda, is a palazzo in Vicenza, northern Italy, designed by Andrea Palladio in 1565 and built between 1571 and 1572. It is located on the central Piazza dei Signori, facing the Basilica Palladiana. Palazzo del Capitaniato, floor plan (Pereswet-Soltan, 1969). The palazzo is currently used by the town council. It was decorated by Lorenzo Rubini and, in the interior, with frescoes by Giovanni Antonio Fasolo. Since 1994 the palace has been part of the UNESCO World Heritage Site of the City of Vicenza and the Palladian Villas of the Veneto.
When one compares the Gothic arches of the Palazzo Ducale in Venice with the loggias of Palladio’s Basilica, inspired by the classical language of ancient Rome (and even more if one compares the 16th-century (Cinquecento) palazzi of Vicenza with those on the Grand Canal), the Vicentines’ desire to emphasise their cultural autonomy from the architectural models of La Serenissima becomes quite clear. Nevertheless, twenty years later, when the Citizen Council commissioned for the same piazza the refacing of the official residence of the Venetian Captain (the military head in charge of the city on behalf of the Venetian Republic), it would again fall to Palladio to undertake the work, and the contest, if any, was between two extraordinary architectures rising one in front of the other.
It is extremely rare for any architect to have the opportunity to intervene twice in the same place, after an interval of twenty years. The young architect of the Basilica, then still under the supervision of Giovanni da Porlezza, had by now become the celebrated creator of several important buildings: churches, palaces and villas for the dominant élite of the Veneto. Palladio chose not to have the two buildings converse: against the purism of the Basilica’s double-storey arcades, we find the Loggia’s colossal engaged composite columns, and while the Basilica was executed in white stone and devoid of decoration (if one ignores the design of architectural elements like the frieze, keystones and statues), the Loggia abounds in rich stucco decorations.
Both the use of the giant order and this decorative richness are twin traits peculiar to Palladio’s architectural idiom in the last decade of his life. However, the chromatic contrast between the white of the stone and the red of the brick (even though desired by Palladio in the Convento della Carità in Venice) is only the product of the original surfaces’ degradation: ample remains of the light stucco which once covered the bricks are still quite visible, just below the great Composite capitals.
The Palladian loggia replaced an analogous building which had stood on the same site from the Middle Ages, and which had already been reconstructed at least twice during the Cinquecento: a covered public loggia on the ground floor and an audience hall on the upper storey. The new construction became economically viable in April 1571 and works began immediately. Palladio supplied the last drawings for the moulding templates in March 1572 and by the end of that year the building would have been roofed, since Giannantonio Fasolo could paint the lacunars of the audience hall while Lorenzo Rubini could execute the stuccoes and statues.
( Vicenza - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Vicenza . Through a series of videos we will try to show you recommended places to visit in Vicenza - Italy
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Azioni Solidali Vicentine 2013 - Talk Show nella loggia del Capitaniato a vicenza
Azioni Solidali Vicentine 2013 - XIII Festa provinciale del volontariato
Loggia del Capitaniato - Talk show dell’Agorà
Places to see in ( Vicenza - Italy ) Piazza dei Signori
Places to see in ( Vicenza - Italy ) Piazza dei Signori
In the center of Vicenza you will find, Piazza dei Signori, a rectangular square measuring 28-meters wide by 122-meters long, it’s surrounded by architectural masterpieces including Andrea Palladio’s Basilica Palladian and the Loggia del Capitaniato, along with Palazzo del Monte di Pietà, Chiesa di San Vincenzo, Torre Bissara and the Lion of St. Mark and Christ the Redeemer columns.
The City of Vicenza is a UNESCO World Heritage Site. Piazza dei Signori is the perfect place to begin getting acquainted with Vicenza, the “City of Palladio.” In 2012, the City of Vicenza re-opened the Basilica Palladian and now allows, at no charge, the public to explore the rooftop and the wrap-around loggia created by Andrea Palladio. This is a not-to-be-missed opportunity to take a few bird’s-eye view photos of the classic square of Vicenza.
This piazza was originally named the Foro Romano when the city was ruled from afar by the Roman Empire, then changed to Piazza Grande during the Middle Ages, and finally to Piazza dei Signori during the Renaissance when Vicenza fell under the control of the Signoria, the governing body of the Republic of Venice.
Piazza dei Signori hosts the weekly Tuesday and Thursday open-air markets, fills the night with concerts in a variety of musical genres throughout the year, showcases festivals for just about every occasion, and is the center for many Vicentini out for a stroll passagati or a pre-dinner aperitivo (cocktail) with friends.
( Vicenza - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Vicenza . Through a series of videos we will try to show you recommended places to visit in Vicenza - Italy
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Captaincy Palace, Vicenza, Veneto, Italy, Europe
The Palazzo del Capitaniato, also known as Loggia del Capitanio or loggia Bernarda, is a palazzo in Vicenza, northern Italy, designed by Andrea Palladio in 1565 and built between 1571 and 1572. It is located on the central Piazza dei Signori, facing the Basilica Palladiana. The palazzo is currently used by the town council, inside the Sala Bernarda. It was decorated by Lorenzo Rubini and, in the interior, with frescoes by Giovanni Antonio Fasolo. Since 1994 the palace has been part of the UNESCO World Heritage Site of the City of Vicenza and the Palladian Villas of the Veneto. When one compares the Gothic arches of the Palazzo Ducale in Venice with the loggias of Palladio's Basilica, inspired by the classical language of ancient Rome, the Vicentines’ desire to emphasise their cultural autonomy from the architectural models of La Serenissima becomes quite clear. Nevertheless, twenty years later, when the Citizen Council commissioned for the same piazza the refacing of the official residence of the Venetian Captain (the military head in charge of the city on behalf of the Venetian Republic), it would again fall to Palladio to undertake the work, and the contest, if any, was between two extraordinary architectures rising one in front of the other. It is extremely rare for any architect to have the opportunity to intervene twice in the same place, after an interval of twenty years. The young architect of the Basilica, then still under the supervision of Giovanni da Porlezza, had by now become the celebrated creator of several important buildings: churches, palaces and villas for the dominant élite of the Veneto. Palladio chose not to have the two buildings converse: against the purism of the Basilica's double-storey arcades, we find the Loggia's colossal engaged composite columns, and while the Basilica was executed in white stone and devoid of decoration, the Loggia abounds in rich stucco decorations. Both the use of the giant order and this decorative richness are twin traits peculiar to Palladio's architectural idiom in the last decade of his life. However, the chromatic contrast between the white of the stone and the red of the brick (even though desired by Palladio in the Convento della Carità in Venice) is only the product of the original surfaces’ degradation: ample remains of the light stucco which once covered the bricks are still quite visible, just below the great Composite capitals. The Palladian loggia replaced an analogous building which had stood on the same site from the Middle Ages, and which had already been reconstructed at least twice during the Cinquecento: a covered public loggia on the ground floor and an audience hall on the upper storey. The new construction became economically viable in April 1571 and works began immediately. Palladio supplied the last drawings for the moulding templates in March 1572 and by the end of that year the building would have been roofed, since Giannantonio Fasolo could paint the lacunars of the audience hall while Lorenzo Rubini could execute the stuccoes and statues. While the upper hall displays a flat, coffered ceiling, the ground-floor loggia has a sophisticated vault covering, certainly to better sustain the weight of the hall. The overall design is extremely sophisticated, as witnessed for example by the portals which open within the niches and follow their curvature. The debate on whether the loggia was meant to extend to five bays has now grown stale. It is, however, worth noting Palladio's compositional liberty in designing the façade onto the Piazza in a radically different manner to that on the Contra’ del Monte and thereby somewhat rupturing the building's unitary logic. On closer observation, however, Palladio limited himself to applying an adequate response to different situations: the piazza's broad visual frontage made necessary the powerful verticalising of the giant order; the reduced dimensions both of the building's flank and of the Contra’ del Monte itself obliged the use of a more temperate order. Moreover, the façade onto the Contra’ del Monte would be used as a sort of perennial triumphal arch, recording the victory gained by the Venetian forces over the Turks at the battle of Lepanto in October 1571.
Vicenza
Vicenza Italy. Basilica Palladiana, Teatro Olimpico, Loggia del Capitaniato ...
Loggia Lionello, Udine, Friuli-Venezia Giulia, Italy, Europe
The loggia of Lionello is one of the oldest and most important historical buildings in Udine, erected in Piazza Libertà it owes its name to the one who had it completed its construction: Nicolò Lionello. Characterized by a majestic structure and the elegance of its marbles, the Loggia gradually became a symbol of the city. The building appears to be composed of two floors and characterized by a covering with alternating bands of pink and white stones. The main façade has ten arches located in the lower part, while at the top there is a central balcony and two side windows, enriched with stone coats of arms that recall the city of Udine. The style of the building, on the whole, refers to the Venetian Gothic style. The upper part of the northern side has a refined pentafora characterized by a frame with denticles and round stones, depicting religious moments such as the Annunciation, and bas-reliefs of the evangelists. The main façade faces the castle hill, the left side faces a group of houses, the right one looks at Via Mercatovecchio, while the rear part forms the back wall of the Loggia. The latter joins the square through an elegant and wide staircase that occupies the two central arches. The origin of the lodge dates back to January 24, 1441, when in pleno consilio the construction of a new town hall was proposed, since all the renowned cities boasted the presence of spectacular palaces in which to carry out the Council of the city, while Udine did not have still of any building used for this function. It was, therefore, the noble deputy Nicolò Savorgnan to propose the construction of this new municipal building. To finance its implementation it was decided to use all the amount coming from the duty on bread and the Council's consent, on 24 January 1441, was almost unanimous. However, it was not until July of the following year that the materials were supplied. The Municipality was entrusted with the task of providing bricks, timber and all the remaining building materials necessary for construction, while the labor was left to the care of the masters of the land. The work plan was in fact modified many times over time, especially in the seventeenth century, when substantial extensions were carried out in the building under construction, which lasted until the nineteenth century, when the Loggia was tragically disfigured by a serious fire. In 1448, the year that marks the beginning of the works, four above the factory were named: Nicolò dei Bombeni, Raimondo della Torre, Giovanni Rainoldi and Nicolò Lionello. These personalities were decisive for the continuation of the works; however the judgments on the various modifications of the Loggia sometimes led to bitter conflicts: it was thus that in the middle of the same year Lionello proposed a new project for the construction of the building, signed by twenty-three Municipal Councilors. A new phase of work in the Loggia began at the end of the fifteenth century, more precisely on 20 March 1492, when the Council approved the acquisition and integration of the houses behind the Lodge as municipal properties. Shortly afterwards the Council decided to demolish these houses, defining this gesture as an act necessary for the enlargement and improvement of the Palace. It was probably the growth of the community's needs to determine the need for such extensions, in fact, the building that appeared at the end of the fifteenth century was very different from today's image.
Palladio Museum, Barbarano Palace, Vicenza, Veneto, Italy, Europe
Palazzo Barbaran Da Porto is a palazzo in Vicenza, Italy designed in 1569 and built between 1570 and 1575 by Andrea Palladio. Since 1994 the palace is part of the City of Vicenza and the Palladian Villas of the Veneto World Heritage Site by UNESCO. In the palace is located the Palladio Museum and the Centro Internazionale di Studi di Architettura Andrea Palladio (CISA). The sumptuous residence realised between 1570 and 1575 for the Vicentine noble Montano Barbarano is the only great city palace that Andrea Palladio succeeded in executing in its entirety. In his History of Vicenza of 1591, Iacopo Marzari records Montano Barbarano as a man “of belles lettres and most excellent musician”. Various flutes figure in the 1592 inventory of the palace, confirming the existence of an intensive musical activity there.
At least three different autograph projects survive, preserved in London, which document alternative hypotheses for the building’s plan, all quite different from the actual one and testimony to a complex design process. Barbarano, in fact, requested Palladio to respect the existence of various houses belonging to the family and already existing on the area of the new palace. Moreover, once the project was finalised Barbarano acquired a further house adjoining the property, which resulted in the asymmetrical positioning of the entrance portal. In any case, the constraints imposed by the site and by a practical patron became the occasion for courageous and refined solutions: Palladio’s intervention is magisterial, elaborating upon a sophisticated project for “restructuring” which blended the diverse pre-existing structures into a unified edifice. In 1998, after a twenty-year restoration, the Palace has been opened to the public. The exhibition activities began in March 1999. On the ground floor, a magnificent four-columned atrium welds together the two pre-existing building lots. In realising the scheme, Palladio was called upon to resolve two problems: one statical, how to support the floor of the great hall on the piano nobile; the other compositional, how to restore a symmetrical appearance to interiors compromised by the oblique course of the perimeter walls from the pre-existing houses. Departing from the model of the wings of the Theatre of Marcellus in Rome, Palladio divided the interior into three aisles, placing centrally four Ionic columns which allowed the reduction of the span of the central cross-vaults, set against lateral barrel vaults. He thus achieved a very statically efficient framework capable of bearing the floor of the hall above without any difficulty. The central columns were then tied to the perimeter walls by fragments of rectilinear entablature, which absorb the irregularities of the atrium plan: in this way he realised a sort of system of “serlianas”, a stratagem conceptually similar to that of the Basilica loggias. Palladio even adopted the unusual type of Ionic capital derived from the Temple of Saturn in the Forum Romanum because it permitted him to mask the slight but significant rotations necessary to align the columns and engaged columns. To decorate the palace, in several campaigns Montano employed some of the greatest artists of his time: Giovanni Battista Zelotti (who had already intervened in the interiors of Palladio’s Villa Emo at Fanzolo), Anselmo Canera and Andrea Vicentino; the stuccoes were entrusted to Lorenzo Rubini (who contemporaneously executed the external decorations of the Loggia del Capitanio) and, after his death in 1574, to his son Agostino. The net result was a sumptuous palace capable of rivalling the residences of the Thiene, the Porto and of the Valmarana, a palace which permitted its patron to represent himself to the city as a ranking member of the Vicentine cultural élite.
Vicenza - Palazzo Chiericati
Andrea Palladio, Renaissance architect (please turn on the cc)
Andrea Palladio (1508-1580), a closer look at some of his works - Basilica Vicenza (Serlio motif), Villa Barbaro (painter Veronese), Villa Rotonda and the Tempietto at Maser (Pantheon), Loggia del Capitanio and Palazzo Porto Breganze (both not finished), Teatro Olimpico (Scamozzi).
Also shown are the San Marco Library (Venice) of Sansovino and the San Benedetto (Polirone) of Guilio Romano.
The influence of Palladio can e.g. be seen in the following buildings (shown in this vid):
Inigo Jones (1573 - 1652) Queen's House, Greenwich, the first English Palladian house.
Colen Campbell (1676 - 1729) Stourhead House, Wiltshire, England.
Richard Boyle, 3rd Earl of Burlington (1694 - 1753) Chiswick House. Chiswick, London.
William Buckland (1734 - 1774) Hammond-Harwood House in Annapolis, Maryland, US
Claude-Nicolas Ledoux (1736 - 1806) Rotonde de la Villette, Paris.
Thomas Jefferson, 3rd president of the US (1743 - 1826) Monticello, his mountaintop home, Charlottesville, Virginia, US.
Giacomo Quarenghi (1744 - 1817) 'Smolny Institute for Noble Maidens', Saint Petersburg, Russia.
James Hoban (1762 - 1831) White House, Washington, D.C.
Philip Johnson (1906 - 2005) Hines College of Architecture, University of Houston, US.
My Playlist on Architecture:
Music at 4:41:
That Kid in Fourth Grade Who Really Liked the Denver Broncos by Chris Zabriskie is licensed under a Creative Commons Attribution license (
Source:
Artist:
Palazzo Barbaran (Vicenza)
Palazzo Barbaran (Vicenza). Cortile interno
Places to see in ( Udine - Italy ) Loggia del Lionello
Places to see in ( Udine - Italy ) Loggia del Lionello
The Lionello lodge is one of the oldest and most important historical buildings in Udine , built in Piazza Libertà, owes its name to the one who had it completed: Nicolò Lionello . Characterized by a majestic structure and by the elegance of its marbles, the Loggia progressively became a symbol of the city. The building is made up of two floors and features a covering with alternating bands of pink and white stones.
The main façade has ten arches located in the lower part, while on the upper side there is a central balcony and two lateral three-lancet windows, enriched with coats of arms that recall the city of Udine. The style of the building, on the whole, refers to the Venetian Gothic style. The upper part of the northern side has a refined pentafora characterized by a frame with dentils and rounds in stone, depicting religious moments such as the Annunciation , as well as bas - reliefs by the evangelists.
The major façade faces the castle hill, the left part towards a group of houses, the right side overlooks via Mercatovecchio , while the rear part forms the back wall of the Loggia. The latter joins the square through an elegant and wide staircase that occupies the two central arches.
The origin of the lodge dates back to January 24, 1441, when in pleno consilio was proposed the construction of a new municipal building, since all the famous cities boasted the presence of spectacular buildings in which to play the city council, while Udine did not have still no building used for this function. It was, therefore, the noble deputy Nicolò Savorgnan to propose the construction of this new municipal building. In order to finance its realization, it was decided to use all the amount coming from the duty on bread and the consent of the Council, on 24th January 1441, was almost unanimous.
The extension and embellishment modifications designed by Pietro Lombardo aimed at transforming the Loggia into an independent building, both in terms of height and out-of-scale floors. Another important element concerned its coverage, independent of the building built by Bartolomeo delle Cisterne , based on a design by Nicolò Lionello.
Today the Loggia del Lionello is a unique body with the Palazzo degli Uffici Municipali , the work of architect Raimondo D'Aronco and built in place of the ancient chancellery at the beginning of the twentieth century , in order to meet the needs of citizens. The Loggia del Lionello has a rectangular base that extends for 18.50 meters in width and 35.50 meters in length while, in height, it develops for 15,20 meters. This last building, with its white and pink stones, is the most imposing element of Piazza Libertà. At the center of the main façade there is a pentafora with a balcony placed between two windows; another distinguishing element is undoubtedly the façade that overlooks Piazza della Libertà, accompanied by the inscription in Gothic style UTINUM , representing the Latin name of the city of Udine.
( Udine - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Udine . Through a series of videos we will try to show you recommended places to visit in Udine - Italy
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Festival Alto Vicentino - Palladio va al cinema
Vi abbiamo fatto attendere qualche giorno ma ne vale la pena...ecco il video riassuntivo della stupenda giornata del 18 ottobre 2014: Palladio va al cinema, il Festival Alto Vicentino ospite di #Vicenza nella Loggia del Capitaniato!
La prima proiezione a Vicenza in una delle location più prestigiose di tutta la provincia, dopo Villa Rossi a Santorso, il FAV sbarca in Loggia del Capitaniato, in piazza dei Signori.
Vicenza - Palladio Museum a Palazzo Barbarano
Palazzo Barbarano o Barbaran Da Porto è un edificio realizzato a Vicenza fra il 1570 e il 1575 dall'architetto Andrea Palladio. È attualmente la sede del Centro Internazionale di Studi di Architettura Andrea Palladio (CISA) e del Palladio Museum. Con il Palladio Museum gli studiosi raccolti nel Centro palladiano raccontano ad un largo pubblico le proprie ricerche nel mentre si stanno svolgendo; in particolare - ma non esclusivamente - quelle su Andrea Palladio. Gruppi di studiosi lavorano su progetti di ricerca che diventano i temi delle stanze del museo, ognuna delle quali ha tendenzialmente la durata di un anno sulla base di un programma triennale.
Non è il mausoleo di un eroe morto, è piuttosto un luogo dove far crescere una cultura dell'architettura, lontano dalle ciniche logiche della professione, che consumano saperi senza produrne di nuovi. Il Palladio Museum lavora su Palladio, ma senza attualizzarlo, e men che meno proporlo come modello formale per l'oggi. Indaga il passato con gli strumenti della filologia e attenzione ai contesti, indispensabili per cercare di comprendere un mondo sfumato e lontano, e al tempo stesso vicinissimo e molto concreto, ogni volta che camminiamo fra palazzi, ville o chiese costruite secoli fa. La missione del Palladio Museum è leggere alla radice temi e concetti significativi anche nel nostro presente, rappresentandoli e discutendoli con l'orizzonte di creare una piattaforma culturale per l'architettura di domani.
Finora i progetti di ricerca hanno riguardato la comunicazione, la tecnologia, il rapporto con l'economia e con il paesaggio, il disegno di organismi complessi. Essi sono temi chiave per Palladio, e sono alla base della concezione dei Quattro Libri così come dei progetti urbani, delle ville in campagna e delle chiese veneziane; al tempo stesso sono temi di una agenda contemporanea.
TG VICENZA (17/01/2019) - PRESEPE DI VETRO, QUATTROMILA VISITATORI
TG VICENZA (giovedì 17 gennaio 2019) - Quattromila visitatori in tre settimane. Successo oltre ogni previsione per il presepe di vetro di Murano esposto nella Loggia del Capitaniato in Piazza dei Signori a Vicenza. Un presepe, costituito dalla Sacra Famiglia, che ogni anno potrà essere arricchito con altre figure della tradizione. Senza dimenticare lo scopo benefico dell'opera, collegata a una raccolta fondi per l'Altopiano colpito dalla strage di alberi. L'esposizione, che doveva concludersi in questi giorni, però, sarà prorogata.
Il presepe ha raccolto commenti entusiasti tra i visitatori, ma soprattutto ha dato lo spunto per una proposta. Aprire la Loggia del Capitaniato ai visitatori per tutto il resto dell'anno, e non solo per il periodo natalizio. Non servono eventi o mostre, ma dopo una necessaria ristrutturazione basta aprire le porte, come hanno chiesto i tanti visitatori, arrivati anche dal resto d'Europa e oltre con uno scopo preciso. (
Vicenza - Basilica Palladiana 2017
patrimonio artistico dimenticato Vicenza
in pieno centro storico, all'interno del parco pubblico dei Giardini Salvi, ecco come si presenta la storica Loggia del Longhena
Palazzo Valmarana Braga (Vicenza)
Palazzo Valmarana Braga (Vicenza): cosa si nasconade dietro quella porta?
32 Vicenza HD - PD, June 10-13, 2014
June 12th, 2014
Social evening of 32 Vicenza HD - PD