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Muzea a teritorium

Vnitrozemí Bibione tvoří několika vzájemně spojených lokalit, které umožňují doplnit další zážitky z dovolené, kde jsou moře a pláž jen prvními z dlouhé řady zajímavostí. Pobřeží a vnitrozemí se pohybují ve vzájemné synergii a nabízejí svým návštěvníkům nové zážitky a výhody.

Co na vás čeká na tomto území? Malá historická centra, muzea, archeologická naleziště, přírodní krajina, systém zemědělský podniků a farem, kde lze ochutnat typické místní produkty. Přidanou hodnotou tohoto teritoria je volba pozvolného využití, takže město a jeho okolí nejsou vnímány jako oddělené, ale spíše jako jeden celek.

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The Gaspari Temple is a funerary temple that houses the remains of Gaspare Luigi Gaspari, his son, and wife Rosa de Egregis Gaspari. Designed by architect Andrea Scala from Udine, the temple is one of the best examples of Neo-Classicism in Friuli Venezia Giulia.
It has a quadrilateral central body and has the three apses on three sides. The facade is in Neo-Classical style and it is covered by a large centre cupola with three semi-cupola covering the three apses. The Gaspari Temple has been declared a building of special interest by a Ministerial Decree.

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The facade of the Church of St. Biagio is in Renaissance style. However, in 1937, it collapsed and was rebuilt in a classical, neo-Palladian style. The current church has three naves and was completed at the end of the last century.
Inside is a marble baptismal font made by Giovanni Antonio Pilacorte in 1486 and an altarpiece of the crucifixion by Gregorio Lazzarini. The latter is a fine painting that effectively renders the dramatic tension of the event.


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The Apostolorum Maior Basilica, under the present cathedral, is part of the complex archaeological area of piazza Costantini. It was erected on the remains of warehouses linked to homes from the 1st century A.D. to house the reliquaries of several saints.

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This ancient church of Concordia, recently requalified as a cathedral, was extensively renovated in the late 15th century. It originally had a single nave and two other naves were added in the 17th century. There are many wooden parts and furnishings inside. 

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This building is part of Villa Dalla Pasqua and, together with the Belfiore Mill, forms a sort of closed courtyard to the right of the River Loncon. The Castellina has recently been restored. It has a polygonal shape and features a framework of brick eaves in Medieval style. Arts and recreational events are organised here. 

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St. Andrew’s Cathedral was built on the remains of three previous churches: St. Frances, St. Lazarus and St. James. Work began on 4th August 1793 and ended only in 1893. It was inaugurated in the same year by Bishop Carlo Fontanini, who consecrated this majestic Neo-Classical church.
The cathedral, with its three naves, is 55.07 metres long, 20.38 metres wide at the transept, 23.4 metres high at the central cupola and 19 metres high at the ceiling. In 1925 it was decorated by Tiburzio Donadon from Pordenone. It contains various fine works of art, including the “Holy Conversation” and the “Stories of St. Andrew” by Pomponio Amalteo, and the “St. Roch, and the “Resurrection Altarpiece” by Jacopo Negretti.
The “St. Thomas Altarpiece” by Cima da Conegliano, which was originally housed in the cathedral, was sold at a time when money was short for 1800 pounds to the British Museum. The bell tower, which is currently 59 metres high was originally 47 metres. The facade was renovated in 1879, together with the pinnacle.
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 This was built in 1592 at the behest of monsignor Matteo Sanudi, Marquis of Cordovado, who accepted the request of a woman (and of the local community) who was the protagonist of an extraordinary and miraculous event: the apparition of the Virgin Mary who requested that a church be built and dedicated to her.
The Sanctuary was completed in 1602 and consecrated on the first of May the following year. The fame of the graces and miracles spread beyond Veneto, as far as Austria, from which dozens of the faithful came on pilgrimage.
The main altar has an image of the Virgin Mary by Andrea Bortolotti, known as “il Brunello”.















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The National Museum of Concordia is certainly a reference point in the entire area of Concordia and Portogruaro for the Roman and Christian history of the area and relics that are evidence of its most important stages. However, a few years ago, a Civil Archaeological Museum was also opened in Concordia Sagittaria, containing recently discovered relics from the Roman, Paleo-Christian and Romanesque periods. 



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This was founded in 730-735. In 899 it was sacked by the Magyars but St. Mary’s Abbey rose again and was fortified in the 10th century. In 967 Emperor Otto I donated the abbey to Rodoaldo, the patriarch of Aquileia. From 1441 - 1786 the abbey became a commendam and in 1818 the religious jurisdiction returned to the diocese of Concordia and the abbey was finally re-established in 1921.
The first walls were created in the 10th century, after the devastation caused by the Magyars. The facade is dominated by a fresco representing the lion of St. Mark, dating back to the late 15th century. Below it is a bas-relief with the crest of cardinal Grimani, to the left is a fresco where the Grimani crest is repeated and to the right there is a fresco of a crest with a cross, whose ownership is unknown.
Beyond the entry tower you access a large courtyard that has recently been paved, onto which all the main buildings of the abbey complex look. There is also a brick bell tower here.

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This is a continuous, open space gallery. It is located near the Mills; in a very small, intimate space. It continually combines different projects and influences, with all kinds of installations and painting. It is managed by the Porto dei Benandanti Arts Association. 


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This is housed in the St. Agnes’ Tower in the historic centre of Portogruaro. The Town Museum, opened in 1999, reconstructs the story of the town from the 12th century to the 20th century, highlighting and exploring the various aspects of public, private, civic and religious life in the town through the relics contained there. It contains many stone crests of noble families from Portogruaro, statues, libation dishes, inscriptions and ceramics. There are also fine 19th and 20th century prints, including a portrait of Quintino Sella as a member of the Accademia dei Lincei in 1877. 

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The San Stene Castrum has a thousand-year-old history. The first papal bull citing the Castle of San Stino dates back to 1186. In 1388 it was conquered and set on fire by the Venetians, who nevertheless over the years transformed it into a sumptuous home for noble Venetian families. Originally it probably had towers that no longer exist. The Castle is currently owned by the Tonini family.


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This was built in the mid-12th century then restored from 1252-56. After 1281 it took the name of the St. Francis Gate, after the adjoining church of the same name. It was also restored in the mid-16th century when the podestà Giorgio Gradenigo had what is now via Martiri paved. Its current name, Porta San Gottardo, recalls another church, which was originally outside the gate, on the site of the present Care Home for the Elderly. 

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The museum was created by a group of enthusiasts from the town, the municipality offered its full support and the Fossalta Ethnographic Museum was thus born in 1990.
It is a repository of the trades, uses and customs of local people in the first half of the 20th century, including the main artisan activities in the area, like that of the stonemason, blacksmith, shoemaker and tailor, etc. There are also external spaces divided into a portico, farmyard, sottoportico and cellar.
There are extremely valuable reconstructions of farming environments of the era, together with special features like the lighting, recreated using original materials, old dishes, bracket lights, woven electric wires and porcelain insulators etc.















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This was built around the mid-12th century and was once called Porta del Bando and then Porta S. Lazzaro (St. Lazarus’ Gate) after the lepers’ 
hospice of the same name, which was built in 1203 on what is now via Zappetti. It was restored in 1555-56 by podestà Girolamo Zorzi, as the inscription above the gate recalls.

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 This is built on the remains of a Roman castrum. The bishops of Concordia governed it through a guastaldo, under the responsibility of the Ridolfi family, who lived there permanently, guarded it and defended it. Towards the middle of the 16th century it became the property of the counts of Attimis, then in the 18th century it passed to the family of the counts Freschi di Cucanea. 

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St. Agnes’ Gate was built in the 12th century. It is owned by the Municipality of Portogruaro. Various restorations have taken place over the centuries, from the 16th century onwards, when podestà Girolamo Zorzi had pavement laid down from the tower to the bishop’s palace. 

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 Portogruaro town hall was erected in two different periods. The central part was built in 1265. Initially it reunited the original and free citizens of Portogruaro in a general assembly and later became the headquarters for meetings of the Maggio Consiglio, (The May Council) with 15 aristocratic members of 25 years of age or more.
This appointed the Podestà (a rare privilege for a Municipality, granted by Bishop Tisone da Camino). In 1371 the Palace caught fire and between 1372 and 1380 a new loggia was built with Ghibelline battlements.
The two lateral wings were built in the 16th century. In 1848 the building was partly decorated in “questionable Gothic style” and in 1887 the prison was moved to the ground floor of its new headquarters in via Seminario.


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Manor Houses
The countless manor houses in the area, inspired by or originating with the Venetians, are extremely well built and prestigious.
The most important:
include Villa Rubin, built in the 18th century by the Papadopoli, with a square Venetian plan over three floors;
Villa Migotto, featuring elegant stone cornices;/p>
Villa Murador, with an elegant balcony on which there are two mono spheres separated by a little column and a central salon illuminated by double lancet windows with semi-circular arches and exposed stone balconies;
Villa Migotto, where all the windows of the piano nobile have archivolts and the cornice of the eaves has a modilion;
Villa Gubitta, which dates back to the 16th-17th centuries;
Villa Correr Agazzi, which has recently been restored and is suitable for hosting all kinds of events;
Villa Piva, set in the centre of a large agricultural estate.


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On an octagonal base, next to the Palazzo Municipale, is the ancient well of the cranes, a symbol of Portogruaro. The well is the work of Giovanni Antonio Pilacorte, who completed it in 1494. The two cranes are the work of Valentino Turchetto, a sculptor from Portogruaro, who created them in 1928. The previous cranes were removed during the Austrian invasion in 1917 to make cannons. 


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