The Municipio itself was not a dead, dull thing in drab stone, but with a warm red tower, brought entire, it is said, from Venice, along with two columns of the façade which are borne aloft on two sculptured lions.
Vicenza, the neglected tourist point, was offering much, and we were glad we came.
Vicenza, more than any other of the little frequented tourist cities of Italy, may be counted as the city of palaces. They are of two non-contemporary styles, the Venetian semi-gothic of a good era, and Palladio’s classical copies, also good of their kind, particularly so when seen here in their natural environment.
In the Corso is a curious monumental structure called the Casa di Palladio, built it is said by the great architect for his own use. He had need for it as his work here was great and long in completion. It is something more than a mere architect’s office or bureau; it is in fact a palace.
One of the most curious buildings in the city, and certainly one of the most remarkable with which the name of Palladio is connected, is the Teatro Olimpico. Contrary to the architect’s manner of working, the edifice has no façade, being entirely surrounded by houses. It was begun in 1580, but in consequence of his death almost immediately afterwards it was completed by his son, Scilla.
The scenery, which is fixed, represents the side of a species of piazza, from which diverge streets of real elevation, but diminishing in size as they recede in the perspective. A great effect of distance is obtained, especially in the middle avenue. Daylight, however, by which a traveller usually sees it, is injurious to the effect.
Palladio’s architectural ideas went abroad even to England and many a “stately home” in Britain to-day is a more or less faithful copy of a Vicenza sixteenth century palazzo.
