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VILLAS


Visualizza Villa Badoer in una mappa di dimensioni maggiori

Badoer - Patrimonio UNESCO World Heritage Site

Still today, the Badoer Villa, known as the Badoera, is the characterizing element of the small Polesine town of Fratta Polesine and is rich in important architectural structures and history.
Whoever arrives here, is pleasantly struck by Villa Badoer, integrated in the town, in harmony with the surrounding environment and enhanced by it. The Fratta Polesine complex is unique, for its precious architecture, gardens, surrounding walls, in its relation with the agricultural landscape. A real jewel, one of the most prestigious villas in Veneto, returned to its original splendour by an expert restoration that today, enables visitors to have a cultural experience of a high level.

It is the first villa where the great architect of Padua, Andrea Palladio, one of the best Italian architects of the 500s, used a pronaos with front gable, the only one present in Polesine territory; it was included, along with the other villas of Palladio in the Veneto, in the UNESCO World Heritage List of important heritage sites for humanity.

The architectonic plant of Villa Badoer was planned and built by Andrea Palladio under commission of the Venetian nobleman, Francesco Badoer. It was built and surely occupied in 1556, and was destined to become the centre of gravity of the great agricultural farm, inherited by Badoer’s wife, Lucietta Loredan, at the death of her brother six years before and is visible evidence of the presence of the Badoer family in the territory.

The coat of arms of alliance between the two families in the pictorial decoration testifies the union of Badoer – Loredan, presupposition for the villa’s construction, erected on the site where a castle once stood.
Very evident is the relation between the Villa and its landscape, emphasised by Andrea Palladio with the elevation of the Villa on a base of “five feet”: from the large main hall the surrounding landscape of fields and old farmsteads can still be made out.

The imposing façade of the central body, designated to be the residence of the noble owners, presents an Ionic order loggia from which it is possible to access, by way of a spectacular flight of stairs, the front garden and the “barchesse”, the rural outbuildings. The columns support a great triangular gable that makes the central part more imposing than the sides. The elegant hemicycle structure of the verandas, placed to hide the outbuildings attached to the villa, the only ones actually realized by Palladio among the many designed, evoke the image of opened arms ready to receive the visitors. In addition to the noble floor designated to be the residence of the owner, the villa has a basement for the service rooms and a garret for the granary.
The interior is most prestigious. The hall walls of the noble floor are covered in frescos of Giallo Fiorentino and represent pastoral scenes, grotesque and mythological allegories, the meanings of which are still obscure. However, experts collocate them in the celebration of the bonds of friendship between the Badoer and Loredan families, in particular, between Francesco Badoer and Giorgio Loredan.

Thanks to its renovation the Villa has been brought back to life, now the centre of various cultural activities, a special venue for exhibitions, conferences, events and entertainment.
Moreover, the northern barchessa of the villa hosts the National Archaeological Museum of Fratta Polesine, which in particular, contains important finds regarding the commercial life and craftsmanship of the village of Frattesina, which was situated near the bank of an ancient branch of the Po river. (XII – X Century BC)

 

THE GARDEN

The Garden probably already existed in the Palladian era and the 17th Century, it was said to have been adorned with citrus vases placed on stone pedestals and along the pond walls of a fish pond. The plan of the garden today, favours the historical phase during which the villa was built and underlines some key aspects such as the relationship with the landscape and with the compositional conventions of architecture, from which it borrows formal rules.


The front garden
The historical element of reference of the project was the front of the villa and the movement of the hemicycles of the two ‘Barchesse’ both dominated by the presence of two ancient magnolias. (2). The lawn areas surrounding the fountains with statues (1) have been redefined to form two regular squares of grass delimited by cobblestoned and trachyte paths.

The rear garden
The secret gardens (3) are places designated to flowering plants and to botanic collections, privileging species and varieties used in gardens of the Sixteenth-Seventeenth-centuries.
The specific choices follow what the botanic Francesco Pona of Verona wrote in the book The Paradise of flowers, or the archetype of gardens (Verona 1622), in which he described the taste of the period for rare flowers and in particular, for their form, fragrance and colour.
The botanic composition of the two gardens includes evergreen shrubs and those of middle growth which maintain their aerial part also throughout the wintertime, planted near bulbous plants and perennial grasses which ensure gradual flowering and colour all year round from springtime through to late autumn.
In order to contain the maintenance of infesting grasses and in place of bark mulching, the plantation of several perennial spreading shrubs was preferred, such as the Carastium tormentosurn and the Thymus serpyllun.
Beyond the boundary of the two secret gardens, formed by a hedge of Buxus semper virens (4), is the rear area, conceived as a geometric space characterised by horizontal lines and by a controlled use of the colour, privileging planes and grassy paths distinguished from each other, only by the different height of the grass. There are three main axes of perspective: the central one (5), highlighting the historical alignment axis of the villa in relation to the landscape, and the other two lateral axes framing the Palladian aedicule (6). The long perspectives are marked by straight rectangular grass stretches, while the main double crossed sections are delimited by a border of Istria stones and by the border of Berberis thumbergii. Inside the lawn is left to grow freely.

The little channel
It is evidence of the passage from the garden to the agricultural landscape. The project redefined the border of the stream in such a way that the relation with the grassy area and the presence of the flowing water becomes evident (8).
At the end of the preliminary historical research, the most interesting thing to emerge was the presence of a walled pond mentioned in records dating back to the middle of the 1600s. The sounding excavations reported the presence of two heavy walls buried under the site which correspond perfectly to the width of the pond, deduced by comparing the historical cartography. The excavation also unearthed, in correspondence with the control dam of the channel, the presence of a brick water cistern and a brick duct to unload the water into the channel situated beyond the enclosing walls. In order to recover the memory of the pond, the lawn area corresponding to the enclosing walls, has been lowered slightly (7).



Key:
1a- Fountain of Neptune
1b-Fountain of Amphitryon
2-Magnolia grandiflora: specimens of tall trunked trees belonging to the first decades of the 20th Century.
3-The Secret Gardens: their shape recalls the labyrinth. All year round a part of these gardens is in bloom.
4- The hedge of Buxus semper virens as an element of separation from the secret gardens.
5- Geometric Garden: the outline of the flowerbeds arises from the scenic relationship with the front of the villa.
6- Palladian aedicules: the perspective reference for the lines of the main paths.
7- Perimeter of the seventeenth-century fish pond, now buried .
8- The little channel: water element which marks the transition from the garden into the agrarian landscape.
 

Information

Opening times:

from 1st March to 31st October: Saturdays, Sundays and public holidays: 10.00-12.30; 15.00-19.00

from 1st November to 28th February:  Saturdays, Sundays and public holidays: 9.30-12.30; 15.00-18.30

Closed: 25 December.  

Opening days and hours may change on the occasion of temporary exhibitions inside the Villa during the year.
 

Possible opening during different days subject to booking.

Tickets:
Full ticket: € 3,00
Reduced-rate ticket: € 1,50 euro (under 18, over 65, FAI members, TCI members  and groups over 25 pax)
Free: children under 6 y.o., handicapped persons and one helper, journalists with card, uniformed soldiers, tour guides with provisional license
Schools: € 1,50 euro (free for teachers)

Ticket price may change on the occasion of temporary exhibitions.

Frattacard

one ticket € 6,00 (validity one year)

to visit the following museums in Fratta Polesine: Villa Badoer, Giacomo Matteotti House Museum, National Archeological Museum.

Guided tours: for individual visitors on Saturdays and Sundays at 11.00 am and at 4 pm
Price: € 3,00 each head 
Visit modalities may change on the occasion of temporary exhibitions  inside the Villa during the year.

Guide service (max 25 pax) subject to booking: Guided tour of  Villa Badoer: € 75,00

School groups (max 25 pax) subject to booking: Guided tour of  Villa Badoer: € 65,00
 

Information, admissions and reservations

Aqua S.r.l.
mob. 366 3240619
e-mail:  info@aqua-deltadelpo.com   info@villabadoer.it



NATIONAL ARCHEOLOGICAL MUSEUM in Fratta Polesine

Opening hours 
8.30 - 19.30


Box office closes at 19.00

Ticket € 3.00


Information
Tel. +39 0425 668523

 



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