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 ville 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 Villa Pisani, including two by Palladio.
UNESCO inscribed the site on the World Heritage List in 1994.[1] 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. Because most of Palladio's surviving villas lay outside the site, in 1996 the site was expanded, hence the newer name "City of Vicenza and the Palladian Villas of the Veneto". This name reflects the fact that it includes villas designed by Palladio throughout the Veneto.
By 1550, Palladio had produced a group of villas, whose scale and decoration can be seen as closely matching the wealth and social standing of the owners: the powerful and very rich Pisani family, bankers and Venetian patricians, had huge vaults and a loggiafaçade realised with stone piers and rusticatedDoric pilasters; in his villa at Bertesina, the (briefly) wealthy minor noble and salt-tax farmer Taddeo Gazzotti had pilasters executed in brick, though the capitals and bases were carved in stone; Biagio Saraceno at Villa Saraceno had a loggia with three arched bays, but without any architectural order. In the Villa Saraceno as in the Villa Pojana, Palladio gave presence and dignity to an exterior simply by the placing and orchestration of windows, pediments, and loggia arcades. His less wealthy patrons must have appreciated the possibility of being able to enjoy impressive buildings without having to spend much on stone and stone carving.
Palladio's reputation initially, and after his death, has been founded on his skill as a designer of villas. Considerable damage had been done to houses, barns, and rural infrastructures during the War of the League of Cambrai (1509–1517). Recovery of former levels of prosperity in the countryside was probably slow, and it was only in the 1540s, with the growth of the urban market for foodstuffs and determination at government level to free Venice and the Veneto from dependence on imported grain, above all grain coming from the always threatening Ottoman Empire, that a massive investment in agriculture and the structures necessary for agricultural production gathers pace. Landowners for decades had been steadily under stable Venetian rule, been buying up small holdings, and consolidating their estates not only by purchase, but by swaps of substantial properties with the other landowners. Investment in irrigation and land reclamation through drainage further increased the income of wealthy landowners.
Palladio's villas (that is, the houses of estate owners) met a need for a new type of country residence. His designs implicitly recognise that it was not necessary to have a great palace in the countryside, modeled directly on city palaces, as many late fifteenth-century villas (like the huge Palazzo Porto Colleoni Thiene, also called a "Villa") in fact are. Something smaller, often with only one main living floor was adequate as a centre for controlling the productive activity from which much of the owner's income probably derived and for impressing tenants and neighbours as well as entertaining important guests.
The frescoes in the Villa Caldogno main hall depict the different moments of the life in villa at Palladio's age
These residences, though sometimes smaller than earlier villas, were just as effective for establishing a social and political presence in the countryside, and for relaxing, hunting, and getting away from the city, which was always potentially unhealthy. Façades, dominated by pediments usually decorated with the owner's coat of arms, advertised a powerful presence across a largely flat territory, and to be seen did not need to be as high as the owner's city palace. Their loggie offered a pleasant place to eat, or talk, or perform music in the shade, activities which one can see celebrated in villa decoration, for instance in the Villa Caldogno. In their interior, Palladio distributed functions both vertically and horizontally. Kitchens, store-rooms, laundries and cellars were in the low ground floor; the ample space under the roof was used to store the most valuable product of the estate, grain, which incidentally also served to insulate the living rooms below. On the main living floor, used by family and their guests, the more public rooms (loggia, sala) were on the central axis, while left and right were symmetrical suites of rooms, going from large rectangular chambers, via square middling sized rooms, to small rectangular ones, sometimes used by the owner as studies or offices for administering the estate.
The owner's house was often not the only building for which Palladio was responsible. Villas, despite their unfortified appearance and their open loggie were still direct descendants of castles, and were surrounded by a walled enclosure, which gave them some necessary protection from bandits and marauders. The enclosure (cortivo) contained barns, dovecote towers, bread ovens, chicken sheds, stables, accommodation for factors and domestic servants, places to make cheese, press grapes, etc.
Already in the 15th century it was usual to create a court with a well in front of the house, separated from the farmyard with its barns, animals, and threshing-floor. Gardens, vegetable and herb gardens, fish ponds, and almost invariably a large orchard (brolo) all were clustered around, or located inside the main courtyard.
Palladio in his designs sought to co-ordinate all these varied elements, which in earlier complexes had usually found their place not on the basis of considerations of symmetry, vista, and architectural hierarchy, but of the shape of the available area, usually defined by roads and water courses. Orientation was also important: Palladio states in I quattro libri dell'architettura that barns should face south so as to keep the hay dry, thus preventing it from fermenting and burning.
Palladio found inspiration in large antique complexes which either resembled country houses surrounded by their outbuildings or which he actually considered residential layouts – an example is the temple of Hercules Victor at Tivoli, which he had surveyed. It is clear, for instance, that the curving barns which flank the majestic façade of the Villa Badoer were suggested by what was visible of the Forum of Augustus. In his book, Palladio usually shows villa layouts as symmetrical: he would have known however that often, unless the barns to the left and right of the house faced south, as at the Villa Barbaro at Maser, the complex would not have been built symmetrically. An example is the Villa Pojana, where the large barn, with fine Doric capitals, was certainly designed by Palladio. It faces south, and is not balanced by a similar element on the other side of the house.
List
The World Heritage site includes the following villas:
In the Quattro libri (1570), Palladio published other projects of villas, but unrealized. Among them Villa Mocenigo a Marocco (now in Mogliano Veneto)[3] and Villa Mocenigo alla Brenta.[4]
Andrea Palladio was an Italian Renaissance architect active in the Venetian Republic. Palladio, influenced by Roman and Greek architecture, primarily Vitruvius, is widely considered to be one of the most influential individuals in the history of architecture. While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition.
Villa La Rotonda is a Renaissance villa just outside Vicenza in Northern Italy designed by Italian Renaissance architect Andrea Palladio, and begun in 1567, though not completed until the 1590s. The villa's official name is Villa Almerico Capra Valmarana, but it is also known as "La Rotonda", "Villa Rotonda", "Villa Capra", and "Villa Almerico Capra". The name Capra derives from the Capra brothers, who completed the building after it was ceded to them in 1592. Along with other works by Palladio, the building is conserved as part of the World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto".
Villa Badoer is a villa in Fratta Polesine, in the Veneto region of northern Italy. It was designed in 1556 by Italian Renaissance architect Andrea Palladio for the Venetian noble Francesco Badoer, and built between 1557 and 1563 on the site of a medieval castle, which guarded a bridge across a navigable canal. This was the first time Palladio used his fully developed temple pediment in the façade of a villa.
Villa Chiericati is a villa at Vancimuglio in the Veneto, northern Italy. It was designed for Giovanni Chiericati by the architect Andrea Palladio in the early 1550s.
Villa Godi is a patrician villa in Lugo di Vicenza, Veneto, northern Italy. It was one of the first projects by Italian Renaissance architect Andrea Palladio, as attested in his monograph I quattro libri dell'architettura. The work was commissioned by the brothers Girolamo, Pietro and Marcantonio Godi, started in 1537 and concluded in 1542, with later modifications to the rear entry and gardens.
Villa Pojana or Poiana, is a patrician villa in Pojana Maggiore, a town of the Province of Vicenza in the Veneto region of Italy. It was designed by the Italian Renaissance architect Andrea Palladio. It is conserved as part of the UNESCO World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto".
The Villa Pisani is a patrician villa outside the city walls of Montagnana, Veneto, northern Italy.
Villa Saraceno is a Palladian Villa in Agugliaro, Province of Vicenza, northern Italy. It was commissioned by the patrician Saraceno family.
Villa Zeno is a patrician villa at Cessalto, Veneto, northern Italy, and is the most easterly villa designed by Italian Renaissance architect Andrea Palladio. The building is near the highway between Venice and Trieste, but was built to face a canal which served as the primary means of arrival.
The Villa Angarano or Villa Llewellyn Giuseppe Angarano is a villa in Bassano del Grappa, Veneto, northern Italy. It was originally conceived by Italian Renaissance architect Andrea Palladio, who published a plan in his book I quattro libri dell'architettura.
The Villa Pisani is a patrician villa designed by Italian Renaissance architect Andrea Palladio, located in Bagnolo, a hamlet in the comune of Lonigo in the Veneto region of Italy.
Villa Caldogno is a villa in the Veneto region of Italy, which is attributed to Italian Renaissance architect Andrea Palladio. It was built for the aristocratic Caldogno family on their estate in the village of Caldogno near Vicenza. It is also known as the "Villa Nordera" after Dr. Ettore Nordera who owned the property through a large part of the 20th century.
Villa Trissino is an incomplete patrician villa designed by Italian Renaissance architect Andrea Palladio, situated in the hamlet of Meledo in the comune of Sarego in the Veneto, north-eastern Italy. It was intended for the brothers Ludovico and Francesco Trissino.
The Villa Trissino is a patrician villa, which belonged to Gian Giorgio Trissino, located at Cricoli, just outside the center of Vicenza, in northern Italy. It was mainly built in the 16th century and is associated by tradition with the architect Andrea Palladio.
Villa Piovene is a Palladian villa built in Lugo di Vicenza, province of Vicenza, northern Italy. The building was commissioned in the 16th century for the aristocratic Venetian Piovene family, their architect believed to have been Andrea Palladio. It is part of the World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto" since 1996.
The Villa Valmarana is a Renaissance villa situated in Lisiera, a locality of Bolzano Vicentino, province of Vicenza, northern Italy. Designed by Andrea Palladio, it was originally built in the 1560s for the Valmarana family.
The Wing of the Villa Thiene is a construction designed by Italian Renaissance architect Andrea Palladio, located in Cicogna, a hamlet in the comune of Villafranca Padovana in the Veneto region of Italy.
Palazzo Porto is a palace built by Italian Renaissance architect Andrea Palladio in Contrà Porti, Vicenza, Italy. It is one of two palaces in the city designed by Palladio for members of the Porto family. Commissioned by the noble Iseppo da Porto, just married, this building had a rather long designing stage and a longer and troublesome realization, partially unfinished.
Palazzo Valmarana is a palace in Vicenza. It was built by Italian Renaissance architect Andrea Palladio in 1565 for the noblewoman Isabella Nogarola Valmarana. Since 1994 it is part of the UNESCO World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto".
City of Vicenza and the Palladian Villas of the Veneto is a World Heritage Site in Italy, which protects buildings by the architect Andrea 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.
↑ Project published by Palladio in the I quattro libri dell'architettura (book 2nd; 1570); in the same site Villa Volpi was realized with a different project
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