Villa Widmann

Mira, Italy

The Villa Widmann-Foscari is located at the shores of the river Brenta located in the small town of Mira, between Venice and Padua. The present palace was built in the 18th century; a succession of families including the Scerimann, Donà, Foscari, had previously owned the site. The present villa was apparently designed and built in 1719 by Alessandro Tirali, a Venetian architect.

The Widmanns commissioned the internal frescoes mainly by Giuseppe Angeli, a pupil of Giambattista Piazzetta, and Gerolamo Mengozzi Colonna, who worked with Tiepolo. The Villa is surrounded by cypress and horse-chestnut trees, and gardens interspersed by several stone statues of gods, nymphs and cupids. A Barchessa (a protruding arcade wing usually functioning as storage sheds or stables) and a small church, where Elisabetta and Arianna Widmann are buried, are also part of the Villa’s buildings.

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Address

Via Nazionale 421, Mira, Italy
See all sites in Mira

Details

Founded: 1719
Category: Palaces, manors and town halls in Italy

Rating

4.1/5 (based on Google user reviews)

User Reviews

Vernon McClure (2 months ago)
Stopped here to pick up local info and maps.
massimo malvestio (6 months ago)
Ancient mansion with astonishing paintings and a nice park
Donato Palombo (2 years ago)
Sono andato a visitare la villa in occasione di una rappresentazione per bambini della Bella e la Bestia che si svolgeva all'interno. Gioiello tra i gioielli architettonici costruiti dai nobili veneziani per la loro villeggiatura che hanno reso famosa questa verde località, Villa Widmann Rezzonico Foscari è uno splendido esempio di Villa in stile rococò di gusto francese in posizione strategica quasi a metà strada tra Venezia e Padova. Il complesso è formato dalla Casa dominicale aperta per visite turistiche, servizi fotografici, esposizioni e mostre, dalla Barchessa e dalle Serre che offrono spazi polifunzionali per attività business & leisure, dall’Oratorio, dal Giardino storico e dal Parco monumentale.
Ward Ward (3 years ago)
The Villa across the road sold as a combined ticket is the star and A five star attraction
Michela Bedognetti (3 years ago)
Belliasima
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

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The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.