Comune di Noventa Vicentina (VI)
VILLA BARBARIGO - REZZONICO
VILLA BARBARIGO
Noventa Vicentina (from “nova entia” – new land) a Centre of the Lower Veneto between the Berici and Euganean Hills, already characterized by human presence back in prehistoric times, and densely inhabitet in Roman days, recalls in its name the great work of land reclamation carried out after the disastrous floodings of the Longobard era which had considerably modified the territory.
Closely involved in the wars between the Communes and the Empire, in common with the rest of the Vicentino, Noventa, which from 1404 had entered to form part of the “Serenissima” (“most high and serene”) Republic of Venice, found in the following century, after the conclusion of the troubled vicissitudes linked with the League of Cambrai (1508), the conditions which permitted it to develop both economically and socially.
In the climate of re-discovered tranquillity numerous families of the venetian nobility, urged by the crisis in marittime traffic, and looking for new openings for their capital, became interested in agricultural investments and established themselves in the country, building splendid villas in the centre of vast estates.
At Noventa, reached easily from Venice along the waterway that goes as far as the port of Caselle, the first to arrive were the Barbarigos, followed by the Manins, the Loredans, the Zenobios.
On 25 October, 1540, Giacomo di Andrea Barbarigo acquired, for the sum of 250 ducats, "a house with a dovecot" in the neighbourhood of the Church. It is, however, necessary to arrive at 25 November, 1588, before the noble Venetian entrusted to a certain "Master Venturin, stonemason" the task of erecting, in the place of the old house, an edifice more suited to the ambitions and the role of the family, rendered even more illustrious by the accession to the Dogate, consecutively, of Marco (1485-1486) and Agostino (1486-1501). The result of all this was a complex (the principal mansion, the barchesse, open sheds where carriages and farm implements were stored, dovecot) destined to insert itself authoritatively at the centre of the estate, and "to determine the following urbanistic arrangement". The architect of the project is not known, nevertheless one might indicate, as a fruitful field of research, "the artistic ATMOSPHERE OF Venice that gravitated around the figure of Vincenzo Scamozzi".
On 1891, after a long series of changes of ownership, the Commune acquired the Villa from the Amenian Mechitaristi Fathers of St. Lazzaro in Venice, and assigned it to minicipal uses.
Closely involved in the wars between the Communes and the Empire, in common with the rest of the Vicentino, Noventa, which from 1404 had entered to form part of the “Serenissima” (“most high and serene”) Republic of Venice, found in the following century, after the conclusion of the troubled vicissitudes linked with the League of Cambrai (1508), the conditions which permitted it to develop both economically and socially.
In the climate of re-discovered tranquillity numerous families of the venetian nobility, urged by the crisis in marittime traffic, and looking for new openings for their capital, became interested in agricultural investments and established themselves in the country, building splendid villas in the centre of vast estates.
At Noventa, reached easily from Venice along the waterway that goes as far as the port of Caselle, the first to arrive were the Barbarigos, followed by the Manins, the Loredans, the Zenobios.
On 25 October, 1540, Giacomo di Andrea Barbarigo acquired, for the sum of 250 ducats, "a house with a dovecot" in the neighbourhood of the Church. It is, however, necessary to arrive at 25 November, 1588, before the noble Venetian entrusted to a certain "Master Venturin, stonemason" the task of erecting, in the place of the old house, an edifice more suited to the ambitions and the role of the family, rendered even more illustrious by the accession to the Dogate, consecutively, of Marco (1485-1486) and Agostino (1486-1501). The result of all this was a complex (the principal mansion, the barchesse, open sheds where carriages and farm implements were stored, dovecot) destined to insert itself authoritatively at the centre of the estate, and "to determine the following urbanistic arrangement". The architect of the project is not known, nevertheless one might indicate, as a fruitful field of research, "the artistic ATMOSPHERE OF Venice that gravitated around the figure of Vincenzo Scamozzi".
On 1891, after a long series of changes of ownership, the Commune acquired the Villa from the Amenian Mechitaristi Fathers of St. Lazzaro in Venice, and assigned it to minicipal uses.
ARCHITECTURAL CHARACTERISTICS
Front Facade
The Villa Barbarigo rises to a height of four storeys. The ground floor, very nearly an ideal plinth interrupted only by the two stairways of the pronaos, supports the main floor, reserved for use on public occasions, and the second floor, reserved for private us. Above comes the garret.
In the wings a Tuscanic colonnade establishes the rhythm of the main floor and supports the second floor, marked by four windows ti which, as a kind of counterpoint, are three rectangular windows on the top floor.
The central body is seen to be compact in its entire vertical development. The loggia, Tuscan below, Ionic above, is crownwned by a pediment.
The rear facade
The three bodies of the fabric which protrude from the rear prospect are divided into the central one occupied by the stairways connecting the various floors, while the sideones lead to the services, going back to the end of the Nineteenth Century. Originally there was well in the centre, but there is no record to-day of its structure or volume.
The sides
The sides, of a reduced depth, make one think because of the asymmetric distribution of the openings there might have been different moments of execution. The pronaos was probably added later.
The barchesses
The barchesses, marked by therobust Tuscan type columnswhich support the trabeation, appear to be work of an experienced and expert architect. Most probably these buildings houses the dependents of the estate.
The towers-dovecot
To the north, a low building now disappeared but visible in a design of 1622 connected the two dovecot towers.
The Villa Barbarigo rises to a height of four storeys. The ground floor, very nearly an ideal plinth interrupted only by the two stairways of the pronaos, supports the main floor, reserved for use on public occasions, and the second floor, reserved for private us. Above comes the garret.
In the wings a Tuscanic colonnade establishes the rhythm of the main floor and supports the second floor, marked by four windows ti which, as a kind of counterpoint, are three rectangular windows on the top floor.
The central body is seen to be compact in its entire vertical development. The loggia, Tuscan below, Ionic above, is crownwned by a pediment.
The rear facade
The three bodies of the fabric which protrude from the rear prospect are divided into the central one occupied by the stairways connecting the various floors, while the sideones lead to the services, going back to the end of the Nineteenth Century. Originally there was well in the centre, but there is no record to-day of its structure or volume.
The sides
The sides, of a reduced depth, make one think because of the asymmetric distribution of the openings there might have been different moments of execution. The pronaos was probably added later.
The barchesses
The barchesses, marked by therobust Tuscan type columnswhich support the trabeation, appear to be work of an experienced and expert architect. Most probably these buildings houses the dependents of the estate.
The towers-dovecot
To the north, a low building now disappeared but visible in a design of 1622 connected the two dovecot towers.
PICTORIAL DECORATION
The vast cycle of frescoes, which originally extended for an area of 430 square metres, is connected with a very precise iconographic program, with the intention of celebrating the power and the glory of the Barbarigo family. This function is particularly evident in the main floor, destined for State functions. Here in the cruciform room which opens on to the entrance, appear, closed within imitation columns beneath the wooden ceiling with its painted beams, episodes of war, heroic undertakings, bloody battles all of which had the Barbarigo as protagonists.
In the lesser rooms, apart from representations of military vicissitudes we find allegorical figures celebrating Peace, Abundance, Wisdom, the splendour of the Name, Fame, Fortune; in two rooms from whom they take their names, are portraits of the Doges Marco and Agostino.
The frescoes in the little room at the left of the entrance have been attributed to Antonio Vassillacchi, known as "the Aliense", those in the room on the right to Antonio Foler, executor, together with some collaborators of "the Aliense", of almost all the frescoes of the crossway entrance hall.
The frescoes on the second floor express a taste rich in classical reminiscenzes, evident in the reproduction of some of the most celebrated Greek myths, such as Venus and Adonis, Perseus and Andromeda, the Judgment of Paris, Diana and Atteone.
The hall, which preserves the splendid original floor in brick, has, in an ideal architectonic setting, two powerful figures representing Athena and Mars, attributed, as the scene showing Apollo and the Nymphs to Luca Ferrari of Reggio.
Discovered and restored between 1955 and 1957, the frescoes were damaged during 19th Century interventions.
In the lesser rooms, apart from representations of military vicissitudes we find allegorical figures celebrating Peace, Abundance, Wisdom, the splendour of the Name, Fame, Fortune; in two rooms from whom they take their names, are portraits of the Doges Marco and Agostino.
The frescoes in the little room at the left of the entrance have been attributed to Antonio Vassillacchi, known as "the Aliense", those in the room on the right to Antonio Foler, executor, together with some collaborators of "the Aliense", of almost all the frescoes of the crossway entrance hall.
The frescoes on the second floor express a taste rich in classical reminiscenzes, evident in the reproduction of some of the most celebrated Greek myths, such as Venus and Adonis, Perseus and Andromeda, the Judgment of Paris, Diana and Atteone.
The hall, which preserves the splendid original floor in brick, has, in an ideal architectonic setting, two powerful figures representing Athena and Mars, attributed, as the scene showing Apollo and the Nymphs to Luca Ferrari of Reggio.
Discovered and restored between 1955 and 1957, the frescoes were damaged during 19th Century interventions.