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.
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.
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 1833. 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.
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.
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.
Built in 1458, the Church of St. John the Baptist. 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.
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.
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.
This was designed by the architect Balestra and was the property of the Mocenigo family until the eve of the First World War, then passing into the hands of the Mayer family from Trieste, to the Sinigallia and the Gandolfi. To the left of the entrance is a tall rice stack, powered by a wheel placed on an artificial canal, which is now no longer in use. Today the building is the property of the ATER, which has carried out extensive restoration and has transformed it into a private residence.
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.
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 – firstname.lastname@example.org)
- Tourism Office of the Town Hall (S. Michele al T. Piazza della Libertà 2 – 0431 516130/133 – email@example.com)
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.