Villa Barbaro: Difference between revisions
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'''Nymphaeum'''[[Image:VillaBarbaro 2007 07 08 09.jpg|thumb|Nymphaeum]] |
'''Nymphaeum'''[[Image:VillaBarbaro 2007 07 08 09.jpg|thumb| The "Nymphaeum" located on the Barbaro family estate behind the villa ]] |
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In the rear grounds of the villa resides the ''[[Nymphaeum]]'', an arching architectural structure that frames the natural spring that has flown on the site since antiquity. The form is dedicated to the spirits of the woods, in honor of the villa's country setting. It has 7 figural statues in niches and 4 nearly free-standing figures which may have been carved by Marcantonio Barbaro himself. The spring forms a pool, which can be used for fishing. The water also flowed to the kitchen as well as watered the gardens. <ref> Wundram, Manfred, ''Andrea Palladio 1508-1580: Architect between the Renaissance and Broque'' (Koln, [[Taschen]] 1993) p. 123/128 </ref> |
In the rear grounds of the villa resides the ''[[Nymphaeum]]'', an arching architectural structure that frames the natural spring that has flown on the site since antiquity. The form is dedicated to the spirits of the woods, in honor of the villa's country setting. It has 7 figural statues in niches and 4 nearly free-standing figures which may have been carved by Marcantonio Barbaro himself. The spring forms a pool, which can be used for fishing. The water also flowed to the kitchen as well as watered the gardens. <ref> Wundram, Manfred, ''Andrea Palladio 1508-1580: Architect between the Renaissance and Broque'' (Koln, [[Taschen]] 1993) p. 123/128 </ref> |
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Revision as of 23:12, 6 May 2008
| Villa Barbaro | |
|---|---|
 | |
 | |
| General information | |
| Architectural style | Palladian |
| Town or city | Maser |
| Country | Italy |
| Construction started | c.1560 |
| Client | Barbaro family |
| Design and construction | |
| Architect(s) | Andrea Palladio |
Villa Barbaro, also known as the Villa di Maser, is a large villa in Maser, Treviso in the Veneto, of northern Italy. It was designed and built by the Italian architect Andrea Palladio for two of his most important patrons, the brothers Barbaro (Daniele, patriarch of Aquileia and ambassador to Queen Elizabeth I of England, and Marcantonio an ambassador to King Charles IX of France). The Barbaro family is an old Venetian noble family documented as holding high office in the Republic of Venice as early as the ninth century.[1]
History
The authorities vary as to the dates given for the building of the villa. The architectural author and historian Adalbert dal Lago states it was built between 1560 and 1570 [2], while others state that the villa was mostly completed by 1558 [3]: Hobson [4] concurs with dal Lago that the date of commencement was probably 1560. Hobson credits Daniele with the idea of not only building the villa but also the choice of architect and the sculptor Alessandro Vittoria. While Daniele was the connoisseur of the arts - it was for the use of Marcantonio's family and descendents that the villa was truly intended. [5]
Palladio planned the villa on low lines extending into a large park. The ground floor plan is complex - rectangular with perpendicular rooms on a long axis, the central block projects and contains the principal reception room. The central block, which is designed to resemble the portico of a Roman temple, is decorated by four Ionic columns, a motif which takes inspiration from the Temple of Fortuna Virilis in Rome. The central block is surmounted by a large pediment with heraldic symbols of the Barbaro family in relief. Below the pediment is a Latin inscription on the entablature dedicating the villa to the family member Francesco Barbaro. It states, "Daniel Barbaro, the Patriarch of Aquileia, and Marcantonio Barbaro, French ambassador, the descendants of Francesco Barbaro".[6]
The central block is flanked by two symmetrical wings. The wings have two floors but are fronted by an open arcade (architecture). The Villa Barbaro is unusual as it is the only one of Palladio's works from this era to site the private living quarters on the upper level of the "barchesse" (that is; the rooms behind the arcades of the two wings): in most of Palladio's designs these wings were merely open colonnades or housed secondary service rooms.
The wings are terminated by pavilions which feature large sundials set within their pediments. The pavilions were intended to house dovecotes on the uppermost floor, while the rooms below were for wine-making, stables and domestic use. In many of Palladio's villa's similar pavilions were little more than mundane farm buildings behind a concealing facade. A typical feature of Palladio's villa architecture, they were to be much copied and changed in the Palladian architecture inspired by Palladio's original designs.
The interior of the central block is painted with frescoes by Paolo Veronese in the artist's most contemporary style of the period. These paintings constitute the most important fresco cycle by this artist and were inspirational to many of the frescoes painted by other villa artists at that time. The frescoes have been dated to the beginning of the 1560s, or slightly before, and take place in various rooms within the country retreat: in the Hall of Olympus, Veronese painted Giustiniana, mistress of the house and wife of Marcantonio Barbaro, with her youngest son, wetnurse and the family pets, a parrot and spaniel dog. The family dog also appears in another room, The Room of the Little Dog. The Crociera room depicts imaginary landscapes and the villa's staff peering around trompe-l'œil doors. The Room of the Oil Lamp has images symbolizing virtuous behavior and strenth. The Bacchus Room shows winemaking scenes and a chimneypiece carved with the figure of Ambundance, reflecting the bucolic ideals and splendor of the villa.[7] Within the central vaulted ceiling, is a depiction of astrological attributes and ancient deities. The goddess of earth, Gaia, is curiously depicted with the puzzling emblem of a dragon, possibly the result of a minor literary reference in antiquity chosen to symbolize Francesco Barbaro's chivalric order. [8]
The male line of the Barbaro's San Vidal branch, which owned Villa Barbaro, died out in the 18th century [9] and the villa passed through the San Vidal's female line into the ownership of the Trevisan and then the Basadonna aristocratic families. Finally, it passed to the Manin family, which produced Venice's last doge. Having been allowed to become ruinous in 1850, the villa was purchased by the wealthy industrialist Sante Giacomelli who began to renovate it. In 1934 Count Giuseppe Volpi di Masurata, founder of the Venice Film Festival and father of Giovanni Volpi, acquired the villa and began a full restoration back to its former glory. Today, it is lived in by his granddaughter.
Since 1996 the villa has been conserved as part of a World Heritage Site, the Palladian Villas of the Veneto which includes more than twenty villas. It is open to the public.[10]
Nymphaeum
In the rear grounds of the villa resides the Nymphaeum, an arching architectural structure that frames the natural spring that has flown on the site since antiquity. The form is dedicated to the spirits of the woods, in honor of the villa's country setting. It has 7 figural statues in niches and 4 nearly free-standing figures which may have been carved by Marcantonio Barbaro himself. The spring forms a pool, which can be used for fishing. The water also flowed to the kitchen as well as watered the gardens. [11]
Tempietto Barbaro
Towards the end of his life, Palladio received the opportunity to build a sacred centralised building: the Tempietto Barbaro on the estate of Villa Barbaro. The structure's connection of a temple front to a domed building referes to the Pantheon in Rome. A portico that is drawn out a long way, and has unusually steep proportions, leads along with the diagonal parts of the gable to two small bell-towers, which for their part pass on the upward-moving trend to the dome. The five spaces between the columns are framed by pillars, which are like the middle four columns in their antasis and tapering. The facade probably faced on to a small square originally.
The space inside has an alternation of deep niches on a rectangular ground-plan and closed wall areas with figure tabernacles between the eight regular half-columns. The lower part of the building is completed by an unbroken continuous ledge, whose profile- three flat bands which are contrasted with each other by ovolo moulding- is taken over from the arcade arches. An entablature is finished with a rich decoration of cherubs and tendrils and creates a transition to the dome vault, along with a balustrade. In Palladio's final work, the archietct contrast two forms of cylinder and semi-sphere by a repeated emphasis on horizontals, and, over and above that, divides them into a palpable terrestrial zone and into a light, celestrial one that cannot be precisely gaugued with the eye. Stucco decorations are attributed to Alessandro Vittoria. Tempietto Barbaro was built by the orders of Marcantonio Barbaro, and the patrician's name appears on the entablature. Its completion is the most fitting end to the career of the great Andrea Palladio and the most lasting tribute to the archietct's greatest patron, the Barbaro family. [12]
Media Interest
The villa was featured in Bob Vila's three-part six-hour production for A&E Network, Guide to Historic Homes: In Search of Palladio[13]
References
- ^ Hobson. p,91.
- ^ dal Lago, p.50
- ^ VILLA BARBARO: ARCHITECTURE, KNOWLEDGE AND ARCADIA
- ^ Hobson, p.91.
- ^ Hobson, p.91
- ^ Wundram, Manfred, Andrea Palladio 1508-1580, Taschen, Koln, ISBN 3-8228-0271-9 p.123
- ^ Boulton, Susie & Catling, Christopher, "Villas of Palladio: Villa Barbaro" in Venice & the Veneto, (Doling Kindersley, London 2001) p.25 ISBN 1-56458-861-0
- ^ http://www.chem.vt.edu/chem-dept/field/palladio.htm
- ^ Hobson, p.93
- ^ Homepage
- ^ Wundram, Manfred, Andrea Palladio 1508-1580: Architect between the Renaissance and Broque (Koln, Taschen 1993) p. 123/128
- ^ Wundram, Manfred, Andrea Palladio 1508-1580, Architect Between the Renaissance and Baroque (Taschen, Koln) 1993 ISBN 3-828-0271-9 p. 234-237
- ^ Bob Vila. ""Guide to Historic Homes: In Search of Palladio"". A&E Network.
- Dal Lago, Adalbert. Villas and Palaces of Europe. 1969. Paul Hamlyn
- Hobson, Anthony. (Villa Barbaro - pages 89 – 97) "Great Houses of Europe". 1961. Weidenfeld and Nicolson Ltd. London. ISBN 0-600-33843-6.
- VILLA BARBARO: ARCHITECTURE, KNOWLEDGE AND ARCADIA retrieved 09 July 2007
See also
