Accesso ai servizi


In questa pagina:


Noventa Vicentina (from "nova entia" - new land) a Centre in the lower Veneto between the Berici and the Euganean Hills, already characterized by the presence of human beings in the prehistoric times, and densely inhabited in Roman times, recalls in its own name the valuable drainage work carried out after the disastrous floods of Longobard days which changed the territory considerably.
Involved closely in the wars between the Communes and the Empire, as was the Vicentino territory, Noventa, which from 1404 had come to form a part of the Most Serene Republic of Venice, after the end of the troubled vicissitudes linked with the League of Cambrai (1508) found the conditions which allowed it to develop economically and socially.
The Vicentino followed the fortunes of Venice to the bitter end, and after the fall of the "most Serene", passed under Austrian rule, and later (1866) became part of the Kingdom of Italy.
To-day the area, while maintaining its true agricultural tradition, can boast of a significant industrial importance in the weaving and metal-mechanic sectors, and interesting perspectives in the tertiary sector.
The Scholastic centre of the area, Noventa is also the site of cultural manifestations of a high level (Noventa boasts a theatre), and initiatives favourings the economic-productive development, and also the social development of the Lower Vicentino.
A touristic-cultural itinerary might well start with the Villa Barbarigo, a splendid example of that "Season of the Veneto Villas" which has characterized the Vicentino, too, from the 16th Century onwards.
From the centre of Noventa, our journey leads us, in an alternation of civic and religious edifices, as far as the surroundings, which are also rich in valuable proofs.



The complex (the main mansion, barchesses and dovecot), was built at the wish of Andrea Babarigo in 1588 to emphasize the role and the importance of the noble Venetian family, proprietors of vast areas of land at Noventa. The villa was established where it appeared to belong, in the very centre of the property. The architect is unknown. Nevertheless one might indicate, as a fruitful field of research "The artistic ambit of Venice gravitating around none other than Vincenzo Scamozzi".The building develops in height for four storeys; above the cellars is the main floor, destined for public life, the second floor reserved for the private life and on the summit, the garret.
In the wings a Tuscan style colonnade indicates the main floor. The central portion, compact in all its vertical development, has at its centre a loggia, Tuscan style below and Ionic above, crowned with a pediment. The three bodies of the the fabric which thrust out from th rear perspective, date back to the end of the 19th Century. The sides of a reduced depth make one think, by virtue of the assymetrical distribution of the openings that probably the execution was carried out at different times.
The "barchesse", with the robust tuscan style columns, most probably housed the dwellings of the dependents of the property. The vast cycle of frescoes that originally covered 430 square metres, can be seen to follow a precise iconographic program, tending to celebrate the glories and great doings of the Barbarigo family, particulary on the main floor; or else reproduce some of the most famous Greek myths. They were the work of Antonio Vassillacchi known as l'Aliense and Antonio Foler.
The various CHANGES OF OWNERSHIP were from Barbarigo to Loredan, then on to Rezzonico, Pindemonte-Rezzonico, the Mechitaristic Fathers of San Lazzaro in Venice and now to the Comune of Noventa.



Erected between 1640 and 1650 on the same spot as its predecessor in Gothic style, the church, dedicated to theSaints Vito, Modesto and Crescienza, was amplified and modified at the end of the Nineteenth Century,. The interior is in a single nave, with six lateral altars, and three grndiose apses which frame the presbitery. The main altar is in Carrara marble and is attribuited to Antonio Bonazza, 18th Century, and bears in the centre a low relief of The Supper at Emmaus. On the left wall above the altar of San Rocco is a painting byGiambattista Tiepolo, oil on canvas, 321X165 cm. Representing the Saints Rocco and Sebastian. The canvas was commissioned by the cardinal Carlo Rezzonico, Pope in 1753 under the name of Clemente XIII.
The marble facade, re-built at the time of enlargement, presents a portal ending in a frescoed round lunette.
Adjoining the Church, at the back, is a negothic sacellum, ending, in pinnacles, built during the second half of the Nineteenth Century as an exorcism against the dangerous cholera.
In the square to the east of the Church is a column with a Corinthian capital, erected in 1878, the first monument in Italy to King Vittorio Emanuele II.



Brief History

Villa Manin Cantarella was built between the late sixteenth and early seventeenth century by the noble family Manin of Venice, precisely in the period characterized by the construction of the first Venetian Villas in the Veneto and Friuli-Venezia Giulia area. At the end of 700, for a series of unfortunate circumstances, the villa passed to the family Masotto "that held the Agency": in this period the Manin property began to be divided and, gradually, new roads and buildings surrounded the villa, that however maintained a vast park. In 1882 it became the property of Bortolo Cantarella who entrusted the renovation the Architect Antonio Caregaro Negrin, with the task of "reform and beautify it." On November 23, 1864 here was born our most illustrious citizen: Umberto Masotto, Captain of the Royal Army, Gold Medal for Military Valour. A commemorative plaque was placed on a flower bed of the park and a commemorating plaque can be seen on the south external wall of Villa Manin Cantarella, at the end of Via Masotto. After several changes of ownership, the villa was acquired by the Agricultural Cooperative of Noventa Vicentina that adapted to his business needs: offices in the main floor, warehouse in the Barchesse and parking for cars, trucks and tractors under the porch, and then it deleted a part of the original park . In 1997 Villa Manin Cantarella was acquired by a private who destinated the 19th century buildings to private house and head office of his business, while the halls on the first floor, the barchesse, as well as the halls of old cellars are used to accommodate celebrations, presentations and cultural events. Part of the north-west park was transformed into the Via dei Martiri public parking.

Original project
Villa Manin was built between the late '500 and early '600 by the noble family Manin in Venice and it's located 100 meters north-west from the parish church, in the center of Noventa Vicentina. The house was, at that time, in open country and was connected with the ancient "square of the market" - the current center - with a street called precisely "Cà Manin." The original designer is unknown but the horizontal movement of the building the leads back to an architect who trained its style in Padua: it was conceived at two levels: the type of resume large central room on the main floor, raised above the vast basement vaults cross (the ancient halls of cellars). Four rooms are arranged symmetrically to the right of the hall, and four on the left, some of these rooms, as well as the central hall are numerous frescoes of exquisite workmanship, still in good condition. Above the main floor there is a large attic of the same size as the other two floors. An elegant cornice toothed emphasizes the eaves and the beginning of the cover, a large central skylight and four tall chimneys pyramidal damage vertical momentum building. Facing the back of the house are the large barns, consisting of four round arches and feature decorations that recall the agricultural vocation.

Restructure and changes
In 1882 it became the property of Bortolo Cantarella, who entrusted the restructure the architect Antonio Caregaro Negrin. In the front part the Caregaro reduced the two rows in a single central staircase, added the molding above the central door to weld the door to the two windows side by side, restored the large skylight and softned with a trio of arched windows between four pilasters supporting a pediment, inserted perforated balustrades and gave the impression fifteenth capitals, joining the rise of the roof the entire building with two volutes. Initially at the top of the gable should be placed a statue of the patron, was instead placed a statue of a female figure with a fruit in his hand.
He also added the outside decoration, with which he intended to embellish the simple and quiet architecture of Villa Manin and give to the three core elements the adequate importance to the large size of the villa. The Caregaro Negrin did not intervened in the back side of the villa, that, free of 19th century embellishments, is presented as originally conceived by the unknown architect. The project was completed in 1883, date inscribed on the threshold of the front door. Against the northwest side of the barns there's a building dates back to the second half of the 19th century.

Recent restoration
During the last decade of the last century and the last decade, together with the complex philological restoration of the walls inside and outside of the villa, it was decided to restore the park to its former glory, retracing the paths of the garden, designed almost certainly from Caregaro Negrin and rebuilding the central flowerbed with the palm, which is typical of the gardens of the '30s.
In 2010, during the restoration of the floors and walls of the large cellars, were recovered some frescoes still in a good state of preservation, they represent a part of the Annunciation with the figures of the angel and the Virgin Mary. On the wall in front of you instead see the figures of St. Joseph, St. John the Baptist and St. Anthony of Padua still with St. Francis of Paola: since the latter saint was canonized in 1519 is assumed that these paintings are after that date . Thanks to the work of restoring the frescoes, well made, have been restored to original colors from the important discovery and other construction details of the salt cellars is assumed that the villa is built on the foundations of an existing building, it is assumed a building religious. John Mantese fact, in his ponderous "History of Noventa Vicentina" [6] speaks of two existing churches in Noventa already in the Middle Ages, one dedicated to St. Vito and Modesto, and Santa Maria Nova, which has never been located and has disappeared from the documentary evidence at the beginning of the Renaissance.

Inaugurated in September 1876 with the name of the Theatre of Concord, it was later re-named Social Theatre. Rebuilt with the addition of the Coffee Shop, and of a wing for the dressing rooms, it was re-opened in December 1910.
The hall assumed its present name when in 1919 it was transformed into a cinema. It became the property of the Commune in 1936. The works of restoration carried out between 1982 and 1985 have brought the building back to its original appearance, both inside and out. From 1986 the Theatre has been the site of important cultural displays.



Originally 16th Century, this was re-built in the 17th Century by the Arnaldis. The asymmetrical facade, bears at the sides of the entrance door four ashlar pilasters, continued, on the main floor by similar ionic pialster strips which support the triangular gable. At the rear, in the garden, in front of the 16th Century wall there is a Gothic well-head. In the interior there is an imposing great staircase, an 18th century intervention. In the side rooms are door-heads in lacquered wood and friezes on the beams; stuccoes on the ceiling of the entrance hall.
The elegant little chapel (1741) adjacent to the Villa has on altar a statue in marble of the Virgin, attributed to Orazio Marinali.
CHANGES OF OWNERSHIP: Poiana – pigafetta – Arnaldi – prosdocimi – Romiati – Hospital organization of Noventa – now U.S.S.L. No. 9 Lower Vicentino.



This complex, outside Noventa, on the road leading towards the Caselle locality, entirely surrounded by a wall, includes, in addition to the main house, an oratory and the annexed out-houses. The mansion, of Renaissance appearance, of a single main floor, bears on its doors and windows frames in Nanto stone. In the interior, a huge central hall, extending for the entire length of the buildings, links the main entrance with that of the courtyard. Rooms open at the sides. The cellars are vaulted. Adjacent to the house are the granaries, the habitations of the dependents and the stables with large arched porticos. In the large courtyard is the “seleze” (threshing floor) in brickwork.
Facing the house, in addition to the threshing-floor there is the oratory dedicated to San Floriano, dating back to the XIII Century.
CHANGES OF OWNERSHIP: Poiana – Erizzo – the Mechitarist Fathers of San Lazzaro in Venice – Violani, and now Stefani.



This edifice, in the Saline localit, three floors in the height, has typically Renaissance characteristic. The facade presents a fine moulding in Nanto stone around the central door, and a denticulated cornice below the roof. The threshing-floor is in "masegna" stone. Separated from the house beyond the road leading to Este, are the porticoes, all in brickwork.
At the back is a little church dedicated to St. John the Evangelist.
CHANGES OF OWNERSHIP: Vidiman - Zenobio - Albrizzi and now Busato.

Ignora collegamenti di navigazione