| City of Vicenza and the Palladian Villas of the Veneto * | |
|---|---|
| Type | Architectural |
| Criteria | C (i) (ii) |
| Reference | 712 |
| Region ** | Europe and North America |
| Inscription history | |
| Inscription | 1994 (18th Session) |
| * Name as inscribed on World Heritage List ** Region as classified by UNESCO |
|
Casa Cogollo is a small palace in Vicenza built in 1559 and attributed to architect Andrea Palladio. Since 1994 it is part of the "City of Vicenza and the Palladian Villas of the Veneto" World Heritage Site by UNESCO.
Though known as the “House of Palladio”, in reality this building has no connection whatsoever with the residence of the Vicentine master. Rather it is its dimensions, quite contained if compared to the monumental emphasis of other Palladian palaces, which has forced into error all those who sought a visible sign of the architect’s domicile in the city.
In truth, the Maggior Consiglio (town council) forced the notary Pietro Cogollo to remodel the façade of his 15th century (Quattrocento) house as a contribution to the “decorum of the city”, making this provision (and a monetary investment in the work of not less than 250 ducats) a condition of the positive response to his request to gain Vicentine citizenship.
In the absence of documents and autograph designs, the attribution to Palladio of this most elegant façade still divides scholars. Yet, because of the intelligence of the architectural solution proposed, as well as the design of all the details, it is difficult to refer the project to any other designer. The constraints posed by a narrow space and the impossibility of opening windows at the centre of the piano nobile (because of an existing fireplace and its flue) induced Palladio to emphasise the façade’s central axis, by realising a structure with a ground floor arch flanked by engaged columns, and on the upper storey a tabernacle frame for a fresco by Giovanni Antonio Fasolo.
The ground level arch is flanked by two rectangular spaces which illuminate and provide access to the portico. Altogether they compose a type of serliana, as already done at the Basilica Palladiana. The result is a composition of great monumental and expressive force, despite the simplicity of the means available.