Pagello Altar

---

Pagello or Santa Maria Maddalena Altar
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The majestic altar in the second bay on the left was built—likely by the Pedemuro workshop—in the early 16th century and bears the Pagello family crest at the center of the entablature, commissioned by the family. In 1529, the Vicentine writer Luigi da Porto—author of the novella that inspired Shakespeare’s tragedy Romeo and Juliet—stipulated in his will to be buried in front of this altar. The altarpiece, painted between 1514 and 1515 by Bartolomeo Montagna, depicts Saint Mary Magdalene with Saints Jerome and Paula on her left, Saint Augustine and Saint Monica on her right. The depiction of Saint Monica, the widowed mother of Saint Augustine, is likely a portrait of the patroness Piera da Porto, widow of Bernardino Pagello.” (Santa Corona, Wikipedia)

Graziani Garzadori Altar

---

Graziani Garzadori Altar
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“Attached to the wall of the fifth bay on the left is the Garzadori Altar, the most sumptuous in the city, built in the early 16th century by the workshop of Tommaso da Lugano and Bernardino da Como, with contributions from Rocco da Vicenza, designed vertically with a mixed order of columns, pilasters, and pillars. Framing the arch are four ringed columns, adorned with garlands at the base; the upper shafts of the two more prominent ones have Corinthian capitals, while the two recessed ones have Ionic capitals spiraling upward. Flanking the arch are two narrow recessed pilasters with the Garzadori crests adorned with an imperial eagle and animal heads in the capitals. At the ends, two wider pillars with sphinges in the capitals support the entablature, above which, aligned with the columns, four small pillars hold a wide lowered arch pediment, with a coffered and rosette-decorated intrados and an extrados enriched with bicaudate Nereids and topped by the Redeemer. Within the tympanum, under a garland of flowers and fruit, is a medallion depicting the Virgin nursing the Child; on either side of the attic, two pairs of facing dolphins hold flaming vases. Throughout are embedded small and large paterae of polychrome marbles brought by Graziani from Palestine, like the black touchstone inserted in the pedestals or those forming a cross adorning the altar frontal of the table. The altar houses Giovanni Bellini's masterpiece, Baptism of Christ, which was painted around 1500–1502.” (Santa Corona, Wikipedia)

Main chapel

---

Main chapel
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The altar, from 1667–69, is the work of inlayers in precious stones, the Florentine Corbarelli, who also built the small temple above the altar in 1670–71. The grandiose complex stands isolated on three steps, adorned with inlays and geometric and floral motifs. The small temple rises from a base decorated with cherubim and consists of two orders of red marble Corinthian columns. The dome is topped by an image of the Redeemer. On the lower tabernacle door is painted the Resurrection; on the rear tabernacle door, the Christ dead with the Sorrowful Virgin, Saint John the Evangelist, and the Eternal Father to whom an angel offers the chalice. Flanking the doors are cornucopias. The apse’s stained glass windows, from Munich, date to the late 19th century. Every surface of the altar is adorned with polychrome inlays of precious marbles, lapis lazuli, corals, carnelians, and mother-of-pearl. The frames feature small animals, flowers, cherubs, objects related to the Passion, as well as houses, cottages, churches, and small landscapes.” (Santa Corona, Wikipedia)

Thiene Chapel

---

Thiene or Saints Peter and Paul Chapel
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The chapel concludes the right nave, retaining its original 13th-century rectangular plan. Originally in late Gothic style, it was called the golden chapel for its walls painted with saints ‘mixed with gold’ and a blue ceiling studded with stars, illuminated by a large golden ray. It was granted in 1390 to the knight Giovanni Thiene, who was buried in 1415 in the sarcophagus he had prepared, located on the left wall, adorned with three later marble statues. On the right wall is the sarcophagus of the knight Marco Thiene, Giovanni’s great-uncle, decorated with an image of the Madonna and Child. The two sarcophagi are among the most significant works of Venetian sculpture from the late 14th to early 15th centuries. The deceased are depicted lying with hands clasped, fully dressed in armor with a sword at their side; at their feet lies a dog, a symbol of loyalty. The sarcophagi feature bas-relief images of helmets and crests on the front. Above the sarcophagi are two flamboyant Gothic lunettes, frescoed inside. In the frescoes, the two knights are depicted symmetrically, kneeling, presented by a saint to the Madonna enthroned with the Child, accompanied by other saints, likely works by the Lombard painter Michelino da Besozzo. The entire chapel was renovated in the early 18th century due to its poor condition, redecorated in the Rococo style under the supervision of Francesco Muttoni. A new altar was installed, featuring an altarpiece of the Madonna enthroned with the Child venerated by Saint Peter and Saint Paul, with Saint Paul visually recalling Pope Pius V, the proponent of the Holy League that led to the Battle of Lepanto, a work by Giambattista Pittoni.” (Santa Corona, Wikipedia)

Chapel of Our Lady of the Rosary

---

Chapel of Our Lady of the Rosary
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“As a thanksgiving for the victory at the Battle of Lepanto, to which Vicenza contributed two ships, the Confraternity of the Rosary erected this large chapel—the fourth on the right—completed in 1619, on the site previously occupied by two smaller 15th-century chapels of the Nievo and Monza families. To add height and integrate the chapel with the church, the right nave’s vault was demolished and replaced with a higher ceiling with a grand scenic effect; the imposing entrance arch to the nave is echoed inside. Ten years later, a majestic altar of light and gray marble was erected, featuring polychrome statues of Saint Thomas and Saint Catherine of Siena—the patrons of the two previous chapels—flanking the Virgin of the Rosario, from whose starry crown rays of light emanate throughout the niche. In the intrados of the niche, fifteen painted octagons depict the Mysteries of the Rosary. Above the archivolt, three cherubs symbolize the Virginity of Merciful Mary (with the attribute of a cedar), Divine Grace (with a cornucopia), and Prudence (with a mirror and serpent). The two statues on the entablature are allegories of Meekness (holding a lamb) and Temperance (flanked by a camel). Above the attic, three putti symbolize Purity (with a dove), the Holy Spirit (a dove resting with spread wings on its head), and Providence (with a rudder).” (Santa Corona, Wikipedia)

L'adorazione dei Magi

---

‘L'adorazione dei Magi’ by Paolo Veronese
Chapel of St. Joseph, Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The chapel—the third on the right—was built in the last decade of the 18th century, after demolishing the wall where the urn containing the remains of the blessed Bartholomew of Breganze was embedded, now in the Holy Thorn Chapel. During the mid-19th century restorations, an altar with fluted columns and a triangular pediment, erected around 1570 by artists from the Pedemuro San Biagio workshop, was placed there, along with the Adoration of the Magi from the mature period of Paolo Veronese, a painting of exceptional quality and great evocative power that significantly influenced the Vicentine artistic environment, particularly the development of Francesco Maffei. The composition, with a vertical orientation, features a caravan in the lower register moving from the left, guiding the viewer’s gaze toward the Holy Family on the right, with the Madonna standing out for her beauty against a towering column. In the upper section, a metaphysical burst of light, a tangible sign of the Epiphany, contrasts with a dark sky streaked with blue. The light, as a protagonist, skillfully highlights the architectural structures and the rich garments of the figures.” (Santa Corona, Wikipedia)

Cinema Odeon

---

Cinema Odeon
Corso Palladio
Vicenza, May 2025

“The Odeon cinema is a historic cinema in Vicenza, still in operation. It began its activity on 18 May 1907 as the ‘San Faustino cinema’, taking its name from the deconsecrated church of Saints Faustino and Giovita inside which it is located. The architectural structure and decorations of the church are substantially intact. The church had been redesigned in Baroque style in the eighteenth century. The Odeon cinema in Vicenza has been cited as the longest-running cinema in Italy for continuous programming activity, having never stopped screening films since 1907 (not even during the two world wars), except during the summer closure periods and during renovation works over the years.” (Cinema Odeon, Wikipedia)

Fedele Lampertico

---

Monument to Fedele Lampertico by Carlo Spazzi, 1924
Piazza Matteotti
Vicenza, May 2025

“Fedele Lampertico (Vicenza, 13 June 1833 – Vicenza, 6 April 1906) was an Italian economist, writer and politician. He has been defined as a ‘paternalistic agrarian, undisputed leader of the conservative oligarchy, discreet and omnipotent ruler of local public life’. He was born to Domenico and Angela Valle, of a noble family. He attended high school in his hometown and was taught by Abbot Giacomo Zanella , with whom he remained a deep friend. Numerous correspondences remain between Fedele Lampertico and Giacomo Zanella, which Lampertico himself donated to the Bertoliana Library in Vicenza. He studied law in Padua, where he graduated in 1855 with a thesis in statistics.” (Fedele Lampertico, Wikipedia)

Farmacia al Redentor

---

Farmacia al Redentor
Piazza delle Erbe
Vicenza, May 2025

“The Farmacia al Redentor is located in one of the most characteristic corners of the centre of Vicenza, Piazza delle Erbe, in the shadow of the Basilica Palladiana. Entering it today is like taking a leap back in history: walnut furniture dating back to 1850, a painting depicting the Annunciation, stills, ancient pharmacy jars and a wooden statue of the ‘Redentor’, the symbol of the pharmacy itself. Upon entering, you feel like you're visiting an ancient pharmacy. Over the years, however, the business has successfully blended its tradition with the modern needs of the pharmaceutical market, offering customers a complete solution for every need and optimizing its service to meet today's dynamics. Stepping into a shop like this pharmacy is highly recommended, even just to admire a glimpse—almost unchanged—of the ancient shops of Vicenza.” (Farmacia al Redentor, Le Botteghe Storiche di Vicenza)

Monument to Giuseppe Garibaldi

---

Monument to Giuseppe Garibaldi by Ettore Ferrari, 1887
Piazza Castello
Vicenza, May 2025

“The monument to Garibaldi is a sculpture located in Piazza del Castello in Vicenza and is the work of the sculptor Ettore Ferrari. It was inaugurated on 21 August 1887 (27th anniversary of Garibaldi's entry into Reggio Calabria). The monument's inauguration took place in pouring rain. The day's program included: the inauguration of the monument at 10:00 a.m., a musical concert at the Teatro Olimpico at 1:00 p.m., a social banquet at 4:00 p.m., a torchlight procession in the evening (which was cancelled due to bad weather), and a gala performance of the opera-ballet ‘L'Africana’ at 9:00 p.m. at the Teatro Comunale. Sculptor Ettore Ferrari himself was present that day, praising Vicenza for its patriotism, similar to that of his native Rome. Among those present were Garibaldi's followers from Vicenza and the surrounding province.” (Monumento a Garibaldi, Wikipedia)

Bartolomeo Montagna

---

Bartolomeo Cincani ‘il Montagna’
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“Bartolomeo (or Bartolommeo) Montagna (1450?– 11 October 1523) was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.” (Bartolomeo Montagna, Wikipedia)

Gian Giorgio Trissino

---

Gian Giorgio Trissino by Giuseppe Zanetti, 1950
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“Gian Giorgio Trissino (8 July 1478 – 8 December 1550), also called Giovan Giorgio Trissino and self-styled as Giovan Gi?rgio Trissino, was a Venetian Renaissance humanist, poet, dramatist, diplomat, grammarian, linguist, and philosopher. He first proposed adding letters to the Italian alphabet to distinguish J from I, and V from U. Trissino was born of a patrician family in Vicenza. He sided with Holy Roman Emperor Maximilian whose army entered Vicenza in June 1509, accompanied by members of Vicentine nobility including the Thiene, Chiericati, and Porto families. When Venice reconquered Vicenza on 12 November 1509, Trissino was punished for his betrayal and sent into exile. He then traveled to Germany and Lombardy and was pardoned by Venice in 1516. He eventually came under the protection of Pope Leo X, Pope Clement VII, and Pope Paul III. He had the advantages of a good humanistic training, studying Greek under Demetrios Chalkokondyles at Milan and philosophy under Niccolò Leoniceno at Ferrara. His culture recommended him to the humanist Pope Leo X, who in 1515 sent him to Germany as his nuncio; later on Pope Clement VII showed him special favour, and employed him as ambassador.” (Gian Giorgio Trissino, Wikipedia)

Muscovy duck

---

Muscovy duck
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“The Muscovy duck (Cairina moschata) is a shelduck native to the Americas, from the Lower Rio Grande Valley of Texas and Mexico south to Argentina and Uruguay. The species has been domesticated, and feral Muscovy ducks can be found locally in New Zealand, Australia, the United States, and in Central and Eastern Europe. It is a large duck, with the males significantly larger than the females. The males are 76–84 cm (30–33 in) long and weigh up to 3–4 kg (6.6–8.8 lb); females are 71–76 cm (28–30 in) long and 1.25 kg (2.8 lb) weight, roughly half the weight of the males. The wingspan is from 137 to 152 cm (54 to 60 in). The plumage is predominantly black, with large white patches on the wing; the back and wing feathers being iridescent and glossy in males, while the females are more drab. Muscovy ducks have long claws on their feet and a wide, flat tail. On the head, the male has a short crest on the nape. The bill is black with a speckling of pale pink. A blackish or dark red knob can be seen at the bill base, which is similar in colour to the bare skin of the face. The eyes are yellowish-brown. The legs and webbed feet are blackish. The female is similar in plumage, but smaller, with a feathered face and lacking the prominent knob. The juvenile is duller overall, with little or no white on the wing.” (Muscovy duck, Wikipedia)

Paolo Rossi

---

Paolo Rossi by Eduardo Kobra, 2024
Torre Everest
Viale Torino
Vicenza, May 2025

“Footballer and symbol of the Italian national team, with which he won the world championship in 1982, Paolo Rossi was a great talent of Italian football and sport. The latest mural by Eduardo Kobra (São Paulo, 1975), the internationally renowned Brazilian street artist known for his pop frescoes inspired by great historical figures, is dedicated to him. Recognized throughout the world for his kaleidoscopic style and strong graphic impact, the painter from São Paulo was ‘hired’ by the cultural association Wallabe to create a huge open-air painting in homage to the iconic footballer. The location chosen for the intervention (financed by a special crowdfunding campaign and thanks to the significant contribution of the Hera Group) was the Everest Tower, a seventeen-story building that is a symbol of the city of Vicenza and of the economic boom of the 1950s. Paolo Rossi spent several years of his career in the Veneto capital, remaining tied to the city even after the footballer's transfer to Juventus. With the artistic direction of Federica Sansoni, Eduardo Kobra's urban intervention aims to reaffirm the love of this place towards the athlete, condensing the values ??of humility, dedication and resilience that have always been associated with the figure of ‘Pablito’ into a huge outdoor fresco.” (Omaggio a Paolo Rossi, Artribune)

Parco Querini

---

Parco Querini
Viale Rumor
Vicenza, May 2025

“Querini Park is one of the main green lungs of the city of Vicenza. Located in the historic center, it is characterized by vast expanses of lawns, bordered by a large wood full of plants and has an extension of approximately 12 hectares. Querini Park is located in the north-eastern sector of the historic center, surrounded on two sides by the banks of the Bacchiglione river and its tributary Astichello , and on the third side by the line of the Venetian walls, along today's Viale Rodolfi. From the back of Palazzo Querini, a majestic tree-lined avenue branches off, flanked by classical statues, which runs lengthwise through the park until it reaches the pond surrounding a small island (not accessible to the public despite the pedestrian bridge), surmounted by a small temple.” (Parco Querini, Wikipedia)

Palazzo Chiericati

---

Palazzo Chiericati
Piazza Matteotti
Vicenza, May 2025

“The Palazzo Chiericati is a Renaissance palace in Vicenza (northern Italy), designed by Andrea Palladio. Palladio was asked to design and build the palazzo by Count Girolamo Chiericati. The architect started building the palace in 1550, and some further work was completed under the patronage of Chiericati's son, Valerio. However, the palazzo was not fully finished until about 1680, possibly by Carlo Borella. Palladio also designed a country home, the Villa Chiericati, for the family. The palazzo was built in an area called ‘piazza dell'Isola’ (island square, currently Piazza Matteotti), which housed the wood and cattle market. At that time, it was an islet surrounded by the Retrone and Bacchiglione streams, and to protect the structure from the frequent floods, Palladio designed it on an elevated position: the entrance could be accessed by a triple Classic-style staircase.” (Palazzo Chiericati, Wikipedia)

Cloister of San Lorenzo

---

Cloister
Church of San Lorenzo
Piazza San Lorenzo
Vicenza, May 2025

“The original cloister, built in the first half of the fourteenth century, was lost and replaced by the current one at the end of the fifteenth century, in elegant classical-Renaissance forms. In the centre of the courtyard, a Gothic wellhead from the second half of the fourteenth century was placed in the last century, which bears the coat of arms of the Loschi family on its four sides. On the northern side, under the portico surmounted by the convent cells, the chapter house opens up, flanked by two beautiful late thirteenth-century mullioned windows with elegant white marble columns, inserted into pointed Gothic arches. Also under the portico, on the eastern and western sides, numerous tombstones, statues and funerary urns belonging to different centuries, collected when, in the nineteenth century, it was decided to make San Lorenzo the city temple.” (Church of San Lorenzo, Wikipedia)

Church of San Lorenzo

---

Church of San Lorenzo
Piazza San Lorenzo
Vicenza, May 2025

“The church of San Lorenzo is a Catholic place of worship in Vicenza, built at the end of the 13th century in Gothic style, in its Lombard-Padanian version of the 13th century. It is located in the central Piazza San Lorenzo, along Corso Fogazzaro, and was officiated by the Conventual Franciscans until 2017. The presence of the Franciscans in Vicenza dates back, most likely, to the time when their founder was still alive: perhaps 1216; his passage through the city, however, is not documented. It seems that in 1222 they officiated at the church of San Salvatore, the location of which is not clear, whether in contrà Carpagnon or in the contrà later renamed San Francesco Vecchio near the bishop's palace, where in 1232 they renovated or built their own church. It is certain, however, that in 1280 they exchanged this last church for the chapel of San Lorenzo in Portanova - built 40 years earlier close to the early medieval walls - and for an adjacent piece of land.” (Church of San Lorenzo, Wikipedia)

Palazzo Trissino

---

Palazzo Trissino
Corso Palladio
Vicenza, May 2025

“Palazzo Trissino al Corso (also known as Trissino Baston) is a building located along Corso Palladio, corner of Contrà Cavour, in Vicenza, designed by the architect Vincenzo Scamozzi. Since 1901 it has been the main seat of the Municipality of Vicenza. The building is characterised by the presence of classical elements in the facade on the Corso and is arranged around the square of the central courtyard. The palace stands a few blocks from other buildings linked to the Trissino family, such as Palazzo Trissino al Duomo in contrà Cesare Battisti, Palazzo Trissino Sperotti in contrà Porti, Palazzo Trissino Lanza in contrà Riale.” (Palazzo Trissino, Wikipedia)

Ponte San Paolo

---

Ponte San Paolo
Contrà Ponte San Paolo
Vicenza, May 2025

“The Ponte San Paolo (or Ponte di San Paolo) is a bridge of Roman origin that crosses the Retrone river in Vicenza. The San Paolo bridge has had various names throughout its history: in the Middle Ages it was called Ponte Bericano, in the second half of the 14th century Ponte delle Beccarie and in modern times it was called Ponte di San Paolo. It was described for the first time by Andrea Palladio who illustrated it with some drawings: it was a three-arched bridge, demolished in 1875 and replaced with a modern bridge with a single arch that maintains the alignment with the ancient one.” (Ponte San Paolo, Wikipedia)