Muzea i terytorium

Ląd w Bibione składa się z wielu połączonych rzeczywistości, które pozwalają na przeżycie wakacji w pełni, podczas których plaża i morze wyłaniają się na pierwszy plan.

Wybrzeże i ląd pozostają w synergii, aby zaoferować wizytatorom nowe doświadczenia i okazje. Co znajdziesz na tym terytorium? Małe centra historyczne, muzea, wykopaliska archeologiczne i firmy rolnicze, gdzie można spróbować typowych produktów z okolic.

To co nadaje jeszcze większą wartość terytorium to powolne jego poznawanie, dzięki któremu miasto i okolice nie są postrzegane jako rozdzielone, ale raczej jako unicum.

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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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This interesting museum is located in the Belfiore area, a hamlet of the Municipality of Pramaggiore. It is housed near Villa Dalla Pasqua, one of the most ancient buildings, with the special shape of a defensive-style closed courtyard.
Inside the museum is a grinding room, work tools and various objects used for a range of activities. It reconstructs the economic and agricultural history of the local area.




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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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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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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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 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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The Villanova Paper Mill, which gives the name to the town, was perhaps built by the will of the Barbarigo family, who took advantage of the ample presence of water in this area, transferring production from Venice which, although it had a very active publishing sector, suffered from the lack of 'running water'. 

It was powered by a water mill and was run by a "maestro cartaro", who took care of all the technical, productive and organizational aspects. For a while, the building worked as both a mill and a paper mill. 

From the first half of the eighteenth century, work at the paper mill gradually began to decline. It remained active until the beginning of the 20th century when, based on a project by Vittorio Biaggini, a hydroelectric power station was built to provide light to the entire town of San Michele al Tagliamento. 

The building has recently been renovated with a project financed by the LAG and the Municipal Administration to be turned into a museum of rural civilization.

Cycle path -> GiraTagliamento
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Questo ossario si trova all'interno del cimitero di San Michele al Tagliamento ed è composto da 10 file di tozze lapidi di cemento seminterrate, recanti un fregio cruciforme sulla parte superiore. Subito sotto, scritti su una piastrina metallica (posta nel 1984 a coprire l'incisione dell'epoca, ormai illeggibile) si possono scorgere il nome, il cognome di ognuno dei 483 soldati sepolti: ci sono cognomi tipicamente austro- tedeschi, altri di inconfondibile origine slava e balcanica, altri di provenienza italiana, oppure i lunghi e contorti cognomi ungheresi, e quelli di chiara origine latina dei rumeni; e la data di morte (in qualche caso anche quella di nascita: il soldato più anziano ivi sepolto risulta essere del 1863, il più giovane dell'anno 1900).

Centralmente si trova un monumento marmoreo a forma di croce "patente" con la scritta "Im Tode Vereint" (affratellati nella morte) circondato da due piccoli cipressi, inaugurato nel 1984 quando il piccolo ossario fu restaurato, con la collaborazione della Croce Nera d'Austria, un'associazione austriaca fondata nel 1919 che collabora con il Ministero della Difesa austriaco avente lo scopo di commemorare i militari caduti nei conflitti mondiali ed a lato, esternamente al perimetro, un cippo a forma di tronco di cono con iscrizioni in italiano e tedesco.
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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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The building dates back to the 18th century, although one particular document attached to the baptism registry hints at a pre-existing church dedicated to the Blessed Virgin. It has an atmospheric facade embellished by an harbour and by two characteristic grooved oval windows.
Inside is a statue of the virgin by the artist Valentino Besarel. The dedication of the church recalls the proclamation of the dogma of the immaculate conception by Pope Pius IX, on 8th December 1854.

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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 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.

Info: https://polomusealeveneto.beniculturali.it/musei/museo-nazionale-concordiese-di-portogruaro-e-area-archeologica-di-concordia-sagittaria
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Lino Grando has always loved local memorabilia and other objects and has an extraordinary collection of furnishings, knick knacks and objects from the daily lives of our ancestors. Giannino Fontanel’s private museum is an extraordinary example of a historic reconstruction of the First World War. Inside are thousands of objects, from uniforms to camp utensils. It is a monument to our history. 

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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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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 Portogruaro Municipal Contemporary Art Gallery dates back to just after the Second World War. It has hosted exhibitions by internationally
famous artists like De Pisis, Carena, Guttuso, Saetti, Guidi, Afro, Vedova and Springolo.

https://www.comune.portogruaro.ve.it/it/page/galleria-ai-mulini
Details
 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 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.




Details
It is possible to visit the Bunker, as part of the free guided tour in the historical-cultural itinerary "The wars of the 20th century"-> On Thursday from June to September at 5:00 pm. On Sunday from October to May at 10:30 am.
Booking: within 1:00 pm on the previous Wednesday, at:
- Tourist Information Office (Bibione Via Maja 84 – 0431 444846 – iat@comunesanmichele.it)
- Tourism Office of the Town Hall (S. Michele al T. Piazza della Libertà 2 – 0431 516130/133 – turismo@comunesanmichele.it)
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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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