VICENZA. 43. Route. 265
p. 256). To the right appear the Monti Beríci, a chain of volcanic
hills, with large quarries worked from antiquity to the present day.
— 20 M. Montebello Vicentino. The handsome cháteau belongs to
Count Arrighi. Beautiful view towards the mountains (left); on a
hill, the ruined castles of Montecchio (p. 269). Then (25 M.) Taver-
nelle (light Tailway to Valdagno and to Chiampo, see p. 209). —
30 M. Vicenza._____________
Vicenza. — Hotels. Roma (Pl. a; B, 3), Coreo Principe Umberto, near
the Porta Castello, with trattoria and amall garden, R. 272-3, omn. 1/2 fr.,
variously judged. — Tre Garofanj (P. c; B, 2), in the narrow Contrada
delle Due Rodé, R. 2, omn. 1/2 fr., good, though unpretending; Cavalletto
(Pl. d; C, 3), Piazza della Biava, quite unpretending.
Cafés. Garibaldi, Piazza de' Signori; Nazionale, in the Corso.
Cab from station to town 75 c. (at night, 1 fr.); first hr. 11/2, each ad¬
ditional hr. 174 fr.; trunk 25 c.
Post & Telegraph Office (Pl. C, 2), in the Corso.
Chief Sights (1 day): Corso Principe Umberto and Piazza de' Signori,
with the Basilica Palladiana (p. 266); Palazzi in the Contrada Porti and
Contrada Giacomo Zanella(p. 267); Teatro Olímpico (p.260; Museo Cívico
(p. 266). In the afternoon: Madonna del Monte (p. 268) and Rotonda (p. 268).
— The Festa della Rúa, a popular festival, takes place on Sept. lst.
Vicenza (130 ft.), the ancient Vicetia, capital of a province and
see of a bishop, with 24,300 inhab., lies at the N. base of the Monti
Berici (see above), on both sides of the Bacchiglione, at its con¬
fluence with the Retroné. Although closely built, the town possesses
many interesting palaces, to which, with the picturesque environs,
a short visit may profltably be devoted.
Vicenza, like most of the larger towns of N. Italy, boasted in the 15th
cent, of a School of Paintino, which, though it was strongly influenced
by Mantegna (born here in 1431, but active in Padua and Mantua alone),
and never produced masters of the highest rank, yielded results of consider¬
able importance. The gallery and the churches (Cathedral, Santa Corona)
of Vicenza contain numerous works by Bartolomeo Montagna (ca. 1450-1523),
of Orzinuovi. Hia compositiona are atrongly realistic, and he shows a
predilection for muscular figures, and for colouring of a rich brownish
tint. Hia drapery ia ungraceful, but, like that of Dürer, boldly defined.
Giovanni Buonconsiglio, surnamed Marescalco (d. 1537), resembling the Ven¬
etians both in conception and colouring, ranka as the second master of
note. His chief works are the Pieta in the Museum (p. 267), and the
Madonna at San Rocco (p. 268). — In the 16th cent. Vicenza lost its im¬
portance as a school of painting, but attained a high reputation in the
province of Architecture, having given birth to Andrea Palladio (1518-80),
the laat great architect of the Renaissance, the chief sphere of whose
operations was his native town. By his study of the antique in Rome he
was enabled to effect a revi val of what may be termed the ancient language
of forms, and he made it his endeavour to exhibit in his buildings the
organic connection between the different members. The chief character-
istic of hia school consists in a studious adherence to impressive simplicity
of form, and a very aparing indulgence in the lavish enrichments in which
the early-Renaisaance waa too apt to revel. His flnest churches are at
Venice (comp. p. 290), but his most numerous palaces are at Vicenza, to
which they impart a uniform and handsome appearance.
We enter the town by the W. gate, Porta del Castello (Pl. B, 3).
Immediately to the right, at the S. end of the narrow Piazza del
Castello, is the Palazzo Giulio Porto, formerly called Casa del Diavolo,