2018 Travel Diary

Roveretoext1

A building in Rovereto, one of my favorite places I discovered this past year

For me 2018 will always be associated with Palladian villas and the Veneto region of Italy, the excitement of Berlin and remarkable Czech sights. I also visited some unforgettable art exhibitions in Prague and elsewhere in Europe.

VicenzaBasilicata6

Basilicata Palladiana, Vicenza

During March I traveled with a friend via the arsviva agency to the Veneto to see Palladian sights and other architectural gems in Vicenza, Padua and Rovereto. The three cities were fascinating, each with its own unique character. I was especially drawn to Vicenza for the Teatro Olimpico, Palazzo Leoni Montanari and Palazzo Chiericati. Of course, I admired the elegant arches and arcades of the Basilicata Palladiana.

VicenzaTeatroOint14

VicenzaTeatroOint17

The highlight of my tour of Palladian architecture was the Teatro Olimpico, one of only three Renaissance theatres in existence. Palladio’s plan was based on classical architecture. I most admired the illusive architecture in the set for Oedipus Rex, the oldest existing theatre scenery, which featured painting with a false perspective. It looked as if the seven roads of Thebes led from the stage into the horizon. Also, it was difficult to fathom that the clear sky was really painted. The illusion seemed so real.

VicenzaGIintRus25

A Russian icon in the Gallerie d’Italia

I cherished my time in the galleries of Vicenza. The Gallerie d’Italia was decorated with rich statuary, stucco ornamentation and frescoes. It houses 18th century Venetian painting, a unique 17th century sculpture made of Carrara marble and vases from Attica and Magna Graecia. However, the highlight of the gallery for me was its superb collection of Russian icons. I had only seen more intriguing collections in St. Petersburg.

VicenzaMCint18

VicenzaMCint3

The interior of the Civic Museum

The Civic Museum in the Chiericati Palace also caught my undivided attention. The palace itself was a work of art, designed by Palladio in 1550 with frescoes and stucco adornment decorating the interior. The art spanning from the 1200s to the 20th century was incredible.

VilladellaRotundaext1

Villa Rotunda – no pictures allowed inside

I also saw some Palladian villas, including La Rotunda, which inspired Thomas Jefferson in his design of his home at Monticello. The exterior’s appearance is that of an antique villa. The geometric design connects the sloping portico roofs with the ribs of the dome. The geometric interior was planned for comfort and beautiful views. The rooms are organized around a central hall with a dome. The villa has three floors and a mezzanine.

PadiuaBasilicadelSanto1

Basilica of San Antonio or Basilica del Santo – no photos allowed inside

In Padua I gazed in wonder at the Basilica of Saint Antonio, which is huge with eight cupolas. The interior has a Latin cross pattern with three naves separated by pilasters. The various chapels were outstanding. The Chapel of Saint Giacomo, hails from the 14th century with six columns of red marble included in the décor. The work, “The Crucifixion” is divided into three parts on the walls. Pictures on lunettes narrate the life of Saint Giacomo the Great.

PaduaBasilicadelSanto8

Basilica of San Antonio, Padua

The main altar of the basilica was created by Donatello. The pictorial narration of the altar includes four miracles of Saint Antonio, sculpture of the Crucifixion, Madonna with Child and the figure of Saint Antonio, for example. The Chapel of the Saint includes the tomb of Saint Antonio. On the walls are nine reliefs of marble figures recalling miracles performed by Saint Antonio. There was so much to see, a person would need a few days to do this place of worship justice.

PaduaScrovegni1

Scrovegni Chapel, Padua

I also was enthralled with the Scrovegni Chapel, which featured amazing 14th century frescoes by Giotto di Bondone. Thirty-eight panels of frescoes cover three walls on three levels. I was flabbergasted, staring at each fresco in a trance.

Roveretoext17

Rovereto

RoveretoDepero20

From the Depero Futurist House of Art, by Fortunato Depero

I was very impressed with Rovereto, a picturesque town below the Dolomites. Its charming, narrow streets and squares cast a magic spell on me. I visited the Depero Futurist House of Art, the only Futurist museum in Italy, featuring the works of Fortunato Depero, a painter, sculptor, writer and graphic designer. I learned that Futurism rejected the past and celebrated modernity as well as technological advances. The museum included furniture, painting, tapestries, cloth material, drawings, collages, posters, toys and a film. I loved the vibrant colors of many of the works.

BerlinWallM4

Nowadays school children hang out or wait for tours at the Berlin Wall remnants

BerlinReichstag12dome

Glazed dome of Reichstag

In May I spent five days in Berlin, a city I had not visited since 1991 except for a one-day visit to the Gemaldegalerie several years earlier. The East had undergone radical changes since then, to say the least. Most of the Wall is gone. The former Communist section of the city is lively with bars and restaurants and includes most of the main sights. Now a Dunkin Donuts and Starbucks greet visitors past the Brandenberg Gate. Back in 1991, the difference between East and West Berlin was almost tangible, the East being gray, depressing and drab.

BerlinHolocaustM6

The Memorial to the Murdered Jews of Europe

BerlinGemald30

Pieter Bruegel the Elder in the Gemaldegalerie

Once again I inspected the art ranging from medieval days to Neoclassicism in the Gemaldegalerie. I was very moved by the 220 meters of original Berlin Wall at the memorial on Bernauer Strasse. Berlin’s Cathedral impressed me a great deal with the eight mosaics decorating its dome. I had a tour of the Reichstag’s glazed dome, a superb structure of modern architecture soaring 47 meters. The Memorial to the Murdered Jews of Europe greatly moved me with its 2,711 concrete blocks of equal size but different heights. The DDR Museum with its multimedia exhibits gave me an idea of what life was like for East Germans under Communism. The Old National Gallery bewitched me with its 19th century art collection, and the temporary exhibition Wanderlust featured 19th century landscapes with travelers on foot. I particularly liked the pictorial renditions of Naples and places in Sicily. I saw the Ishtar Gate and a building from Aleppo in the Pergamon Museum, for instance. The Museum of Decorative Arts was a treasure, too, with amazing exhibits in fashion, design and object art from the Middle Ages through Art Deco.

BerlinGHM47

Plague mask worn by doctors in the German Historical Museum

BerlinGHM40

BerlinGHM64

Pictures of concentration camp prisoners

What impressed me the most was the German Historical Museum, where I spent a good part of two days. Encompassing 2,000 years of German history, the museum takes the visitor from the reign of Charlemagne to the departure of the Allies in 1994 by presenting historical facts, personalities and events and by portraying everyday life in the various eras. I especially liked the plague mask worn by doctors treating patients with this disease. Made of leather, it had a long beak and looked as if it belonged in a commedia dell’arte play. The section about World War II was especially gripping. The Germans were certainly facing that horrific part of their past head-on in this museum.

PragueBG28chateau

Troja Chateau from Prague’s Botanical Gardens

When my parents visited, we toured the dazzling Rudolfinum with its beautiful Dvořák concert hall. President Tomáš G. Masaryk was elected in that building on three occasions, when Parliament had met there during the First Republic. I visited the lovely and vast Botanical Gardens in Troja, examining the southern part and the greenhouse. The views of Troja Chateau from the gardens were unbeatable.

NtlMuseumint1

Prague’s National Museum restored

NtlMuseuminthrad5

Painting of Karlštejn Castle in National Museum

Shortly after it reopened after a seven-year renovation, I spent time in the National Museum of Prague. The exhibition about Czech and Slovak relations during the past 100 years and life under Communism was outstanding. The permanent display also was captivating, but the place was so crowded. A Neo-Renaissance gem, the National Museum features amazing sculpture, painting and architectural elements. I especially liked the pantheon, where paintings, statues and busts celebrate Czech culture and history. The four paintings of castles in Bohemia impressed this avid castlegoer. I also explored the Hanspaulka, Ořechovka and Baba sections of Prague with their distinctive villas.

HorsTyninthradarchwaychapel

Gothic archway in Horšovský Týn Castle

HorsTynintzamek6

From Horšovský Týn Chateau

Out of Prague I made my way back to Osek Monastery below the Krušné Mountains, established in the 13th century. The Chapter Hall was one of the first Gothic buildings erected in the Czech lands while the interior of the church takes on a Baroque appearance. Hořovice Chateau is much younger, hailing from the late 17th century. The Late Baroque décor includes a fantastic ceiling fresco in the hall of the main staircase. The Large Dining Hall amazes with Second Rococo adornment. Horšovský Týn Castle and Chateau offers six tours; we had time for two. Established in the 13th century, it includes an 18th century pool table with its sides decorated in tortoiseshell and intarsia. A Rococo jewel case and Holland Rococo display case caught my attention, too. The Italian vedutas of Venice made me long for that Italian city. The 18th century Dancing Hall features four big wall mirrors and a 28-branch chandelier made of Czech glass. Ceiling frescoes also captured my interest. However, the original Gothic portal at the entrance to the chapel was the most outstanding architectural feature. The chapel was magical, too. Velké Březno, one of the youngest and smallest chateaus in the Czech lands, also amazed.

Horoviceintfresco1

Ceiling fresco at Hořovice Chateau

VelkeBreznoint15

Velké Březno Chateau interior

VelkeBreznoext18

Velké Březno Chateau exterior

I also spent time in museums this past year. In Vienna I saw the excellent Monet exhibition as well as the Pieter Bruegel the Elder exhibition. Both captivated me. In Prague the exhibition showcasing the various collages of Jiří Kolář was an art highlight. The exhibition about Czech and Czechoslovak history in the Riding School of Prague Castle was unforgettable. There were many more art-related highlights, but I do not have time to mention them all.

Kolar18

Collage by Jiří Kolář

PragueCastleexhibit14

Prague Castle Riding School exhibition

NtlMuseumexhibit57

From Czechoslovak Exhibition at National Museum, cash register from beginning of 20th century

Tracy A. Burns is a writer, proofreader and editor in Prague.

 

 

 

Palazzo Leoni Montanari Diary

VicenzaGIint18ceiling

My visit to the Gallerie d’Italia in the Palazzo Leoni Montanari of Vicenza proved to be one of the most enthralling art experiences I have ever experienced. The gushingly Baroque palace was built in the 1670s, commissioned by Giovanni Leoni Montanari. The combination of statuary, stucco and fresco decoration in the building enhanced my great interest in the exhibitions. Owned by Intesa Sanpaolo bank and opened in 1999, the gallery houses a collection of vases from Attica and Magna Graecia, 18th century Venetian painting, a unique 17th century Carrara marble sculpture and the most impressive collection of Russian icons I have seen outside of the Russian Museum and the Hermitage in St. Petersburg. In this post, I am concentrating on the interior of the gallery itself and the exhibition of Russian icons as well as a temporary show of Soviet era icons.

VicenzaGIint19

While the palace is by no means as vast as the Hermitage or Prado, it certainly made an everlasting impression. In fact, its size allows for an intimate atmosphere in which the visitor can become well-acquainted with its displays without feeling overwhelmed, though the gallery is by no means small.

VicenzaGIint21

This definitely is one of my favorite art galleries in the world, ranking up there with the Doria Pamphilj in Rome or Lazaro Galdiano Museum in Madrid. The Baroque palazzo is a work of art itself. Indeed, the palace ornamentation is unbelievably rich. The inner courtyard with loggia features a superb statue of Hercules clubbing a monster to death. Just looking at the statue makes one feel imbued with the mythological character’s strength and determination. I was reminded of the theme of Hercules that was promoted in the Teatro Olimpico, an architectural gem designed by Andrea Palladio and a breathtaking sight I had visited earlier that day. In addition, in the palace courtyard I saw five frescoes sporting classical themes.

VicenzaGIint23

VicenzaGIint24

Sculptural adornment greets the visitor in the entrance hall as dragons and hideous creatures make appearances in stucco forms. One space near the main staircase is designed as a sort of grotto with exquisite painting decoration. The Hall of Apollo celebrates that deity as well as Hercules. It features tapestries and stucco portrayals of protagonists from The Iliad, too. The Room of the Old Testament and the Room of Ancient Rome have stunning friezes.  The Room of the Four Continents prominently displays stucco figures of America, Africa, Asia and Europe above the entrances. Frescoes take on historical themes, such as Aristotle mentoring a young Alexander the Great in geography. Allegorical statues also add eloquence to the space.

VicenzaGIint26

VicenzaGIint27

The Gallery of Truth is the room that most amazed me. I could not look away for a long time, as I was so mesmerized with the stucco and fresco decoration that covers the entire ceiling. The central fresco celebrates the triumph of truth. Nine muses are represented, too. Putties and garlands abound, and grotesque creatures join in the exuberant fray. The paintings show the feats of Hercules. In this room, I saw him slaying serpents, freeing Prometheus from the rock and holding up the world for Atlas.

VicenzaGIint28

VicenzaGIint31

VicenzaGIint33

While ceramics are not usually my cup of tea, this collection did feature an impressive 500 items, many unearthed in Ruvo di Puglia, a town in Puglia I had visited the previous year and one of the most tranquil places I had ever seen. It brought back memories of that astounding trip to Apulian Romanesque churches and tranquil settings without hordes of tourists. Puglia had given me a sense of serenity and a feeling of peace. I was reminded of those feelings, as I better comprehended the ancient history of Ruvo di Puglia.

VicenzaGIint34

VicenzaGIint35

VicenzaGIint36

VicenzaGIint41

VicenzaGIint42

VicenzaGIint43

VicenzaGIint52

VicenzaGIint53

The 18th century Venetian paintings brought back memories of my trip to Venice, just one of many places in Italy to which I longed to return. The 14 paintings of everyday life in the society of the Venetian nobility by Pietro Longhi triggered thoughts of a Prague exhibition of works by Rococo painter Norbert Grund, who was a masterful observer of his era. Yet Longhi did not only paint common scenes. I also admired his portrayals of exotic animals surprising and enthralling an audience.

VicenzaGIint37

VicenzaGIint39

VicenzaGIint40

I was entranced with the works of Canaletto and his contemporaries. The Venice landscapes spoke to me. I recalled the exhibition of Canaletto’s works I had seen in Aix-en-Provence a few years earlier. I also thought of the Canaletto painting that I had admired in Nelahozeves Chateau and later in the Lobkowicz Museum in Prague.

VicenzaGIint46

In a room punctuated by stucco decoration, I admired the unique sculpture “The Fall of the Rebel Angels” by Agostino Fasolato, created in the 18th century. Shaped as a pyramid, the sculpture features 60 intertwining figures, all twisting and turning, carved from one piece of Carrara marble. Once on display in Padua, the plethora of figures exhibit a great attention to detail as masterful as that in paintings by Pietor Brueghel the Elder. I was entranced with the dynamic sense of movement attained by the sculptor. The sculpture, indeed, seemed to be in motion as figures wiggled and writhed.

VicenzaGIint47

VicenzaGIint49

VicenzaGIint50

VicenzaGIint51

The Russian icons enthralled me so much that I was just as astounded by this gallery as I was by the comprehensive Van Gogh exhibition at the Palladian Basilicata with its elegant arches and arcades. At this gallery I saw 140 icons ranging in age from the Middle Ages to the 20th century and giving a superb overview of the history of the icon in Russian society throughout the centuries.

VicenzaGIintRus12

VicenzaGIintRus3

VicenzaGIintRus5

VicenzaGIintRus7

The icons boast various themes. They are inspired by the Bible, legends, liturgical hymns, theological texts and feasts, for instance. The Mother of God and Saint Nicholas are featured in some of the artistic creations. Icons of saints and monks, some with monasteries in the background, make many appearances. I also saw frames and covers for icons made with precious materials. A mastery of the goldsmith trade also is illustrated in some items. The schools represented include Moscow, Novgorod and Vladimír. The icons are organized by subject matter, which was helpful and intriguing.

VicenzaGIintRus8

VicenzaGIintRus11

VicenzaGIintRus12

VicenzaGIintRus13

I also found the temporary exhibition of Soviet icons by Grisha Bruskin to be very impressive. A monumental painting called “The Fundamental Lesson,” created in 1945, features 256 white figures. The painting stresses the significance of statues in the Soviet Union as each person represented has an ideological meaning. Instead of a celebration of saints, Madonnas and monks, I saw workers, pioneers, athletes, functionaries, astronauts, soldiers and doctors exalted onto ideological pedestals. Small sculptures of these figures are also displayed. There are 25 porcelain pieces and 49 renditions in bronze.

VicenzaGIint1

“The Fundamental Lesson”

VicenzaGIint2

VicenzaGIint5

VicenzaGIint7

I remembered how, as a child growing up in America, I had been taught by society that Russia was the enemy, all Communists were bad people, and everything was black-and-white. Russia was evil, we were good. I had wondered what life was like in a Communist country. Did people ever cry with joy or truly feel happy and at peace with themselves and with the world? I wondered what people ate, what people wore, what people were thinking about.

VicenzaGIint9

VicenzaGIint11

VicenzaGIint13

Overall, I was most impressed with this exhibition because it exposes the dangers of Soviet ideology. It impressed upon me how Soviet society had been inundated by the ideological myths represented by the painting and small statuary.

More Russian icons from the permanent exhibition:

VicenzaGIintRus15

VicenzaGIintRus16

VicenzaGIintRus17

VicenzaGIintRus18

I came away from this gallery with a heightened appreciation of having grown up in a free, democratic society. I had attained a deeper understanding of the art of Russian icons. I had seen a unique sculpture carved with precision. The visit had triggered golden memories of Venice. I had examined Venetian society in the 18th century thanks to Longhi. I had seen artifacts from one of my favorite Apulian towns, Ruvo di Puglia and had thought about that unforgettable trip. I had experienced all this in a building that was a masterful work of art, the Gallery of Truth being my favorite space.

Tracy A. Burns is a writer, proofreader and editor in Prague.

VicenzaGIintRus19

VicenzaGIintRus20

VicenzaGIintRus21

VicenzaGIintRus22

VicenzaGIintRus23

VicenzaGIintRus24

VicenzaGIintRus25

 

 

Teatro Olimpico Diary

 

VicenzaTeatroOint17I cannot choose one place as the highlight of my trip to the magical world of Palladian architecture in Vicenza, but certainly seeing the Teatro Olimpico ranks right up there. Recognized by UNESCO, this is one of the three Renaissance theatres in existence. The 72-year old Andrea Palladio designed what is now the oldest covered theatre in Europe, and construction began in 1580. When Palladio died in August of that year, Vicenza-born architect Vincenzo Scamozzi took over.

VicenzaTeatroOint9

Still, the theatre clearly features many Palladian characteristics. For instance, the plan for the theatre was based on classical architecture. As usual, Palladio had found inspiration in the writings of Roman architectural guru Vitruvius, who lived during 1 BC. Indeed, I felt as if I were seated in a theatre dating back to antiquity. The classical forms gave the Teatro Olimpico a very majestic quality.

VicenzaTeatroOint11

The theatre held its first performance on March 3, 1585, as actors who were at the time well-known performed Oedipus Rex, a play chosen for its classical theme. The costumes were extravagant. About 1,500 spectators watched, and the play was a huge success. However, the theatre was only used for a few performances.

VicenzaTeatroOint13

Palladio had had his work cut out for him. The theatre was built on the site of a former prison, which had a box-like shape. Palladio was able to turn the audience hall into an oval shape, and the seating was sloped steeply, as if it were a Roman amphitheatre. The amphitheatres I had visited in Taormina, Segesta and Syracuse, Sicily and in Arles, France came to mind. I also thought of the Roman amphitheatre I had seen the previous year in Lecce, Puglia.

VicenzaTeatroOint18

The classical architecture and statuary captured my immediate attention. Three orders of columns decorated the proscenium. The 41 statues that adorned the theatre on the proscenium and in the wings looked as if they were made of stone. That was just one of the many illusions in this theatre. In reality, the statues were sculpted from swamp reeds, tow, earthenware and mortar. While the statues showed off aristocrats from the 16th century, these figures were clad in classical attire, often wearing armor or long gowns. Thus, they were not portraits but likenesses set in a past time period. Because Leonardo Valmarana had been an ardent supporter of the Habsburgs, his statue has a face similar to that of Emperor Charles V.

VicenzaTeatroOint19

Notably, there were no women represented. Still, some of the men rendered had distinctive feminine features. Initially, some of the statues had been designed to show female figures, but they were changed into men. This produced some hilarious results. In the upper tier, the statue of Gerolamo Forni sports a beard but has a female body.

VicenzaTeatroOint20

VicenzaTeatroOint7

Furthermore, all of the statues were not of the same quality. That’s because the quality of the statue depended on two factors – how influential the man represented was and how much the man had paid to have the statue sculpted. It would have been interesting to be able to inspect each one and learn who was most valued in Renaissance society. There were other statues, too. These included renditions of Olympic deities and one of Palladio himself, designed after the masterful architect had died.

VicenzaTeatroOint1

Hercules held a prominent position in the décor of the theatre. This legendary figure was the focus of stucco-clad bas-reliefs that told the story of his life. The artistic narration included scenes in which Hercules takes over for Atlas holding up the world, the Hercules – Antaeus encounter in which Hercules was victorious and Hercules’ successful fight against the Cretan bull. Thus, another classical theme was portrayed. The bas-reliefs by no means stagnant. There is a strong dynamic quality to the episodes that are brought to life in a vivacious way. So, while the theme stems from the classical world, the bas-reliefs provide a much livelier look than that expressed in the classical world. The figures even have a Baroqueness about them.

VicenzaTeatroOint14

One feature that enamored me was the illusive architecture, the false perspectives utilized in the design. The set for Oedipus Rex, the oldest existing theatre scenery, looked as if the seven roads of Thebes led from the stage far into the horizon, but it was really painted so that it created a fake perspective. I couldn’t believe that it was all an illusion. I could see myself meandering down the streets. It was architecturally amazing. I thought of the basilica at Hejnice and how the main altar was really painted on the wall, while it appeared three-dimensional. This feature of the theatre was designed by Scamozzi, who was known for his talent using false perspective. Via Theatres showed spectators a world of illusion. The world of the play was not the real world. This theatre also was a place of illusion itself.

VicenzaTeatroOint16

Another illusionary feature was the false sky above. It looked like the theatre was not covered at all, as if it were open and light under a clear sky. The likeness to a real sky was incredible. I did not sense I was in a closed space. This feature was designed at the beginning of the 20th century.

VicenzaTeatroOint2

The lighting played a major role in producing the illusive perspectives due to their location. Originally, the lights consisted of colored oils inside glass bulbs or wicks in metal boxes. They were hidden within the architecture featuring false perspective, so no one could tell where the source of the lighting was. It was a masterful idea, I thought. Scamozzi was responsible for the lighting. I wondered if my friend and former college lighting professor had ever been here. She would have a field day studying the lighting features.

VicenzaTeatroOint3

The theatre soon became an entertainment venue. During the 17th century, the theatre was used for receptions of VIPs the town was hosting. Fencing tournaments also took place there. Until recently, graduation ceremonies were held there. It is still used as a theatre on occasion, but only 400 spectators are allowed to watch performances for safety reasons.

VicenzaTeatroOint4

I appreciated the classical features of the theatre that had a distinguished feel. The statues added a classical elegance, and the bas-reliefs gave the theatre’s décor a vivacious character. I also was enthralled by the false perspective. Both the scenery and the fake sky were unbelievable.

VicenzaTeatroOint21

When it was time to leave, I did not want to go. I could have stared at the proscenium, wings and false sky for hours. It certainly was a unique structure. It would prove to be one of most bewitching sights I visited in Vicenza.

Tracy A. Burns is a writer, proofreader and editor in Prague.

 

Church of Saint Corona Diary

VicenzaSantaCoronaint1

VicenzaSantaCoronaint2

VicenzaSantaCoronaint5

VicenzaSantaCoronaint8

VicenzaSantaCoronaint11

The first place our guides took us in Vicenza was the Church of Saint Corona, a three-nave Gothic structure with many treasures inside. The church harkens back to 1261, when it was constructed to house a Holy Thorn that the bishop of Vicenza had received as a present from French King Louis IX.

VicenzaSantaCoronaint12

VicenzaSantaCoronaint13

VicenzaSantaCoronaint14

VicenzaSantaCoronaint16

VicenzaSantaCoronaint17

I loved the interior with its paintings, frescoes, superb choir, ceiling and chancel. The artwork included a masterpiece by Paolo Veronese, “Adoration of the Magi.” The main altar featured Giovanni Bellini’s “The Baptism of Christ” while Bartolomeo Montagna’s “Magdalen and Saints” also made an appearance. I was especially entranced with Giabattista Pittoni’s “Enthroned Madonna and child venerated by Saints Peter and Pius V,” though all the paintings greatly impressed me. I loved art, and seeing these paintings filled me with joy and excitement as if I were at a renowned art museum.

VicenzaSantaCoronaint19

VicenzaSantaCoronaint21

VicenzaSantaCoronaint22

VicenzaSantaCoronaint23

VicenzaSantaCoronaint24

The choir in the apse was another wonder. The carved, inlaid decoration on the wooden choir was so delicate and detailed. The frescoes in the Thiene Chapel hailed from the early 15th century. The chancel was also of Renaissance origin. The painted coffered ceiling with stucco decoration was another jewel.  The superbly adorned main altar also appealed to me. The stained glass windows amazed.

VicenzaSantaCoronaint25

VicenzaSantaCoronaint26

VicenzaSantaCoronaint27

VicenzaSantaCoronaint31

Of course, we could not take a good look at the church without paying close attention to the Valmarana Chapel, designed by Andrea Palladio around 1576 and located in the crypt. The Valmarana clan had been buried in the church, so it was no surprise that Antonio Valmarana had chosen to be interred there. The chapel was simply designed as a balanced space with a square space. The two niches in the chapel were simple yet helped give the space a sense of elegance. I liked the symmetry, and I would appreciate this characteristic of Palladio’s architecture in many other works that day and in the following days of our trip.

VicenzaSantaCoronaint32

VicenzaSantaCoronaint35

VicenzaSantaCoronaint37

VicenzaSantaCoronaint39

Every element of the church seemed unique. The paintings each told a powerful story. The Gothic characteristics, the ceiling, the chancel, the choir, the chapel designed by Palladio – everything fused together to make this an architectural gem, just one of the many architectural gems that awaited me in Vicenza.

VicenzaSantaCoronaint40

VicenzaSantaCoronaint41

VicenzaSantaCoronaint42

VicenzaSantaCoronaint45

VicenzaSantaCoronaint49

VicenzaSantaCoronaint51

VicenzaSantaCoronaint54

VicenzaSantaCoronaint55

VicenzaSantaCoronaint57

VicenzaSantaCoronaint58

VicenzaSantaCoronaint60

VicenzaSantaCoronaint61

VicenzaSantaCoronaint64

Tracy A. Burns is a writer, proofreader and editor in Prague.

Palazzo Chiericati Diary

VicenzaMCext1

VicenzaMCext3

VicenzaMCext7

In March of 2018, I spent time in Vicenza, where I admired Renaissance Palladian architecture. I was enthralled with Vicenza. The elegant arches and arcades of the Basilicata Palladiana and the Renaissance masterpiece called the Theatre Olimpico were two sights that took my breath away. The two art galleries I visited also were stunning. I could have spent hours at each gallery. The Civic Museum, housed in the Chiericati Palace, displays amazing art from the 1200s to the beginning of the 20th century. Even though renovation was ongoing, the collections were extensive.

VicenzaMCint3

VicenzaMCint5

VicenzaMCint6

VicenzaMCint7

The palace itself is a masterpiece designed by Palladio in 1550. The building is a work of art with enthralling frescoes and superb stuccoes and has been recognized by UNESCO. The Chiericatis were fans of Palladio; he also designed a villa for them. One prominent architectural feature involves Palladio making the palace look elegant by placing the structure on a podium. The central section, accessible by a grand staircase, resembles a temple, as Palladio respected antique forms. By raising the building, Palladio also was able to protect it from floods, so it served more than a merely decorative purpose. I also found these architectural elements at the Villa Rotunda and the Villa Malcontenta, two places designed by Palladio. The façade has a two-story loggia, typical of Palladio’s designs. One side of the loggia is closed off by a wall with an arch.

VicenzaMCint4

VicenzaMCint2

VicenzaMCint10

While I was enamored with the exterior of the building, I was not prepared for the onslaught of beautiful artworks that greeted me inside. The ground floor showed off frescoes, stuccoes, grotesques and lunettes. Seven lunettes told the story of the city’s prosperity during the 1500s and 1600s.

VicenzaMCint15

VicenzaMCint16

VicenzaMCint17

VicenzaMCint18

The first floor included a medieval section, where work by Hans Memling and others were showcased. I also was introduced to the paintings of Bartolomeo Montagna and his contemporaries. The second floor concentrated on Venetian paintings of the 1500s, with works by Bassano, Tintoretto and Veronese. The 17th century was also represented.

VicenzaMCint19

VicenzaMCint20

VicenzaMCint21

VicenzaMCint22

When I reached the attic, I no longer felt as if I was in a museum but rather as if I had set foot in a three-room house. These spaces held the paintings, drawings and etchings that once belonged to Marquis Giuseppe Roi. The works dated from the 15th century to the 20th century. Intriguing furniture also made up the collection.

VicenzaMCint47

VicenzaMCint48

VicenzaMCint49

VicenzaMCint50

VicenzaMCint52

The basement hosted temporary exhibitions. I could see the 14th and 15th century foundations of the palace, where kitchens and cellars used to be. There was a well and a barrel staircase, for instance. Walking through the basement was like walking back in time.

VicenzaMCint23

VicenzaMCint24

VicenzaMCint25

VicenzaMCint26

VicenzaMCint27

We got off the bus in Vicenza across from the Palazzo Chiericati, and this was the first building I saw in the city. The exterior certainly didn’t disappoint, and the interior was full of surprises and delights.

Tracy A. Burns is a writer, proofreader and editor in Prague.

VicenzaMCint29

VicenzaMCint30

VicenzaMCint31

VicenzaMCint33

VicenzaMCint34

VicenzaMCint36

VicenzaMCint37

VicenzaMCint38

VicenzaMCint39

VicenzaMCint44