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VICENZA , a See also: town and episcopal see of See also: Venetia, See also: Italy, capital of the province of Vicenza, 42 M
.
W. of Venice by See also: rail, 131 ft. above See also: sea-level
.
Pop
.
(1901) 32,200 (town); 47,558 (commune)
.
It lies at the See also: northern See also: base of the Monti Berici, on both sides of the Bacchiglione, at its confluence with the Retrone
.
It was surrounded by 13th-century walls, once about 3 M. in circumference, but these are now in See also: great See also: part demolished
.
Though many of the streets are narrow and irregular, the town has a number of See also: fine buildings, many of them the See also: work of See also: Andrea See also: Palladio
.
The best of these is the town See also: hall, otherwise known as the
See also: basilica, one of the finest See also: works of the See also: Renaissance See also: period, of which Palladio himself said that it might stand comparison with any similar work of antiquity
.
It is especially noteworthy owing to the difficulty of the task the architect had to accomplish—that of transforming the exterior of the Palazzo della Ragione, a See also: Gothic See also: building of the latter See also: half of the 15th century, which the colonnades of the basilica entirely enclose
.
It was begun in 1549, but not finished till 1614, long after his See also: death
.
He also designed many of the fine palaces which give Vicenza its individuality; only two of them, the Barbarano and Chiericati palaces (the latter containing the picture gallery), have two orders of architecture, the rest having a heavy rustica basis with only one See also: order above it
.
Many palaces, however, have been wrongly attributed to him which are really the work of Scamozzi and others of his successors
.
The famous Teatro Olimpico was begun by him, but only finished after his death; it is a remarkable attempt to construct a theatre in theSee also: ancient See also: style, and the stage, with the See also: representation of streets ascending at the back, is curious
.
The See also: cathedral, which is See also: Italian Gothic,dating mainly from the 13th century, consists of a See also: nave with eight chapels on each See also: side, and a very high Renaissance domed choir; it contains examples of the Montagnas and of Lorenzo da Venezia
.
The churches of S
.
Lorenzo (1280—1344) and S
.
See also: Corona (1260—1300), both of brick, are better examples of Gothic than the cathedral; both contain interesting works of art—the latter a very fine " See also: Baptism of Christ," by Giovanni Bellini
.
In S
.
Stefano is an imposing altar-piece by Palma Vecchio
.
The See also: church of SS
.
Felice e Fortunato was restored in A.D
.
975, but has been much altered, and was transformed in 1613
.
The portal is of 1154, and the Lombardesque square brick tower of 1160
.
Under it a mosaic pavement with the names of the donors, belonging to the
See also: original church of the Lombard period (?), was discovered in 1895 (see F
.
Berchet, III . Relazione dell' Ufficio Regionale per la conservazione dei monumenti del Veneto, Venice, 1895, p . 111) . None of the churches of Vicenza is the work of Palladio . Of the See also: Palladian villas in the neighbourhood, La Rotonda, or See also: Villa Palladiana, 12 m
.
S.R., deserves See also: special mention
.
It is a square building with Ionic colonnades and a central dome, like an ancient See also: temple, but curiously unlike a See also: Roman villa
.
Vicenza also contains some interesting remains of the Gothic period besides the churches mentioned—the lofty tower of the town hall (1174–1311–1446; the Piazza contains two columns of the Venetian period, with S
.
See also: Theodore and the See also: Lion of S
.
Mark on them) and several palaces in the Venetian style
.
Among these may be especially noted the small Casa Pigafetta dating from 1481, but still half Gothic, prettily decorated
.
Some of these earlier houses had painted facades
.
The fine picture of " Christ bearing the See also: Cross " (wrongly ascribed to See also: Giorgione), according to Burckhardt once in the Palazzo Loschi, is now in the See also: Gardner collection at See also: Boston, U.S.A
.
The most important manufacture is that of See also: silk, which employs a large proportion of the inhabitants
.
Great numbers of mulberry trees are grown in the neighbourhood
.
Woollen and See also: linen See also: cloth, See also: leather, earthenware, paper, and articles in gold and See also: silver are also made in Vicenza, and a considerable See also: trade in these articles, as well as in corn and See also: wine, is carried on
.
Vicenza is the ancient Vicetia, an ancient town of Venetia
.
It was of less importance than its neighbours Venetia and Patavium, and we hear little of it in See also: history
.
It no doubt acquired Roman citizenship in 49 B.C., and became a municipiv.m; and is mentioned two years later apropos of a dispute between the citizens and their slaves
.
Remains of a theatre and of a See also: late mosaic pavement with hunting scenes have been found, three of the See also: bridges across the Bacchiglione and Retrone are of Roman origin, and See also: arches of the aqueduct exist outside Porta S
.
Croce
.
A road diverged here to Opitergium (mod
.
Oderzo) from the See also: main road between See also: Verona and Patavium (See also: Padua) : see T
.
See also: Mommsen in Corp
.
Inscr . Latin. v . ( Berlin, 1883), p . 304 . It suffered severely in the invasion ofSee also: Attila, by whom it was laid waste, and in subsequent incursions
.
It was for some See also: time during the See also: middle ages an See also: independent republic, but was subdued by the Venetians in 1405
.
Towards the end of the 15th century it became the seat of a school of See also: painting strongly influenced by See also: Mantegna, of which the See also: principal representatives were, besides Bartolomeo Montagna, its founder, his son Benedetto Montagna, Giovanni Speranza and Giovanni Buonconsiglio
.
See also: Good altar-pieces by the former exist in S
.
Bartolommeo, S
.
Corona, and the cathedral, and several pictures also in the picture gallery; while his son Benedetto had greater merits as an engraver than a painter
.
Some works by both of the last two exist at Vicenza—the best is a Pieta in tempera in the gallery by Buonconsiglio, by whom is also a good Madonna at S
.
Rocco
.
Andrea Palladio (1518–1580) was a native of Vicenza, as was also a contemporary, Vincenzo Scamozzi (1552–1616), who was largely dependent on him, but is better known for his work on architecture (Architsttura universale, 1615) . Palladio inaugurated a school of followers who continued to erect similar buildings in Vicenza even down to the French Revolution . (T . As.) See G . Pettina, Vicenza (See also: Bergamo, 1905)
.
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