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Villa Foscari known as the Malcontenta Villa
Malcontenta of Mira - 1559
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The villa designed by Palladio for
the brothers Nicolò and Alvise Foscari around the end of the 50’s
rises as an isolated block and lacking agricultural appurtenances at the
border of the Lagoon on the side of the river Brenta. More than a villa
used for farming purposes, this was a suburban residence that could easily
be reached by boat from the centre of Venice. The family of its patron was
one of the most powerful families of the city. And it was so that the residence
was provided with majestic features, almost regal features, unknown to all
the other villas of Palladio, which is enhanced by the splendid interior
decorations by Battista Franco and Gian Battista Zelotti. The villa rises
on a high basement that separates the first or ‘noble’ floor from
the damp ground, augmenting the magnificence of the building that is lifted
up as though on a podium, like an ancient temple. The villa sees the coexistence
of motifs that recall the building traditions of the Lagoon while also evoking
ancient architecture: like in Venice, the main façade is turned to
the water, but the model for the pronaos and the large stairways is definitely
the small temple at the mouth of the Clitumno which was well known to Palladio.
The majestic twin access ramps forced visitors to walk along a ceremonial
pathway: having approached the front of the building they would ascend to
meet the owner who awaited them at the centre of the pronaos. The solution
traditionally adopted by Palladio to present stiff sides to the jutting
proanos is set aside in order to provide access to the stairways. The villa
provides especially effective evidence of the ability of Palladio to achieve
monumental effects while using poor materials, basically brick and plaster.
The degradation of the surfaces clearly shows that the villa is built in
brick, including the columns (with the exception of the elements that are
more easily derived from stone, including the bases and capitals), with
a marble-effect plaster that imitates the effect of a stone surface with
an ashlar effect, similar to what used to at times be visible on the naos
of the ancient temples. The rear façade is one of the most successful
examples of Palladio’s work: a system of gaps makes the interior plan
visible; think of the vaulted wall of the central hall that is almost see-through
thanks to the thermal glass panel overlapping a three-light window. |
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