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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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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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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Built in 1458, the Church of St. John the Baptist is located in the area of Settimo. The land for its construction was donated by Giovanni Battista Banchiani from San Vito and Daniele di Toffolo donated land to maintain the resident priest.
Inside the church of St. John the Baptist are “The Adoration of the Magi” and “The Martyrdom of Saint Sebastian and Saint Anthony Abbot”, both by Gian Francesco del Zotto, known as da Tolmezzo; the “Madonna del Latte” by a pupil of the Pordenone, Calderari, and “Stories of the Baptist” by Cristoforo Diana.
On the main altar is a particularly fine “Virgin and Child with Saints John the Baptist and Mark”, by Alessandro Varotari, known as il Padovanino.



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The current cathedral is to all effects the last of a series of cathedrals that were built over time in Concordia Sagittaria. The first dates back to the late 15th century and was destroyed by the invasion of the Huns in 452.
The later cathedral was submerged when the River Lemene broke its banks in the mid-6th century. Other cathedrals were built in the 11th and 14th centuries.
The present construction dates back to 1466, and was commissioned by Bishop Antonio Feletto. It was completed in the 19th century, with the building of the choir stalls. At the beginning of the 20th century, during the bishopric of monsignor Francesco Isola, the present facade was built and the Martyrs’ Chapel was added, with the crypt in which their reliquaries are preserved.
The exterior of the church has a walled facade in exposed brick. In the centre of the Romanesque façade is the portal, surmounted by a circular rose window. Each of the two lateral naves has a single lancet window. On the right hand side of the church is a 12th century bell tower, 28 metres high, with two tiers of mullioned windows on each facade, and the baptistery with the layout of a Greek cross and a small cupola.
The exterior of the Gothic-style apse is decorated with another four mullioned windows. The interior of the cathedral is in the form of a Latin cross, with three naves separated by two lines of rounded arches resting on quadrangular pillars with semi-columns. In the Martyrs’ Chapel, enlarged at the beginning of the 20th century by the future cardinal Celso Benigno Luigi Costantini, is an altarpiece by Alessandro Varotari, known as “il Padovanino”.


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The Dominican convent complex passed into private hands in the 19th century, purchased in lots by families whose names survive: Palazzo Marzin, Palazzo Mainardi and Palazzo Cecchini. Interesting 19th century frescoes adorn the interiors of Palazzo Cecchini, with episodes ranging from allegorical and patriotic scenes to grotesques and landscapes with a Pompeian and neo-Gothic flavour.

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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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The Zignago Industrial Group was founded in the ‘30s by Count Gaetano Marzotto, an entrepreneur who was head of the Valdagno (VI) textile group set up in the 19th century by his grandfather Luigi. Count Marzotto acquired an estate of over 1,000 hectares in the area of Villanova, a hamlet in the municipality of Fossalta di Portogruaro. Here the new agricultural centre gave an enormous impetus to the local Fossalta productive framework, managing companies according to the model of the social town of Valdagno, creating homes for workers, a nursery school, a hotel, a park, two tennis courts, a boules court, a skating rink, a Carabinieri barracks, a hospital and a textiles school. The Marzotto family are still the owners of Zignago Santa Margherita Industries today, including a glassworks, flax mill and wineries in Villanova.


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The Church of St. Mark the Evangelist is situated in Corbolone, a hamlet of San Stino di Livenza. It is a fine treasure trove of precious works of art. The first stone was laid on 29th May 1514 and included the ancient Chapel of the Annunciation, built by the confraternity of the same name in 1459.
The church has a rectangular form with an apse and on the left side is the Chapel of the Annunciation. The facade is embellished by a rose window and on the sides there are two blind arches whose cornices are extended to the floor. The church contains an altar above which there are two black columns with a “Pietà”, created in 1585 by Benedetto Stefani from Verona.
On the main altar is the famous “Titian altarpiece”, showing St. Mark enthroned between St. Sebastian and St. Roch. The frescoes in the Chapel of the Annunciation are by G. Antonio de Sacchis, known as “il Pordenone”.

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San Michele al Tagliamento was virtually rebuilt after the Second World War. Among the various restorations is the little Church of St. Elizabeth of the Agnolina, inside which are two frescoes that date back to the 16th century, showing the Blessed Virgin of the Graces and the Annunciation with the Trinity.

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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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 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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This is without doubt the oldest church in Latisana. It was first mentioned in 1368. In the 18th century the Cathedral of St. John the Baptist underwent radical renovation, with the addition of Baroque elements to the facade. A few relics remain of the ancient church, probably in late-Romanesque style, including the whole frame of a rose window and its central keystone. The rose window elements are now displayed on the northern side of the church.
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The parish church of St. Vitale dates back to the 15th century, but it was rebuilt in the 17th century and restored in 1946.
During restoration in 1763 an octagonal pinnacle surmounted by another pinnacle was added. Inside there is a monumental main altar, an architrave structure with a coffered ceiling, tympanum and lateral niches, the work of the stonemason Rinaldo from Portogruaro. The antependium has a bas-relief of Christ and two angels in symmetrical movement.
The altar originally contained an altarpiece of St. Vitale, now probably substituted with a copy. The bell tower is from the 16th century, and was probably built on a previous military tower.
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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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The first surrounding wall of the abbey was built 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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The Civic Archaeological Museum is the witness of the ancient Roman colony.
Currently housed in the Civic Library in Concordia Sagittaria, inside there are archaeological finds from the Roman times and early Christian era.


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The noble homes of Portogruaro frame the historic centre and embellish its architectural beauty. The most important include the 15th century Palazzo de Götzen, Casa Longo, with its important decorative compositions, Palazzetto Fratto, which also hosted Ippolito Nievo, Palazzo Moro, with two elegant trifora, and Palazzo Muschietti, still embellished today by an external frieze featuring fruit under the eaves of the roof. 

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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 Museum was founded in 1885 and named the National Museum of Concordia to underline its close relationship with the nearby archaeological area of Concordia Sagittaria. It was headed by Dario Bertolini, who first organised the archaeological material in the building. Most of the materials are relics discovered between 1873 and 1882 in the vast archaeological area of Concordia Sagittaria; above all the burial site from the late Roman Age.

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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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