Vicenza

Vicentia was settled by the Italic Euganei tribe and then by the Paleo-Veneti tribe in the 3rd and 2nd centuries BC.[7] The Romans allied themselves with the Paleo-Veneti in their fight against the Celtic tribes that populated north-western Italy. [8] The Roman presence in the area grew exponentially over time and the Paleo-Veneti (whose culture mirrored Etruscan and Greek values more so than Celtic ones) were gradually assimilated. In 157 BC, the city was a de facto Roman centre and was given the name of Vicetia or Vincentia, meaning "victorious".

The citizens of Vicetia received Roman citizenship and were inscribed into the Roman tribe Romilia in 49 BC. The city was known for its agriculture, brickworks, marble quarry, and wool industry and had some importance as a way-station on the important road from Mediolanum (Milan) to Aquileia, near Tergeste (Trieste), but it was overshadowed by its neighbor Patavium (Padua). Little survives of the Roman city, but three of the bridges across the Bacchiglione and Retrone rivers are of Roman origin, and isolated arches of a Roman aqueduct exist outside the Porta Santa Croce.

During the decline of the Western Roman Empire, Heruls, Vandals, Alaric and his Visigoths, as well as the Huns laid waste to the area, but the city recovered after the Ostrogoth conquest in 489 AD, before being conquered by the Byzantine Empire soon after. It was also an important Lombard city and then a Frankish center. Numerous Benedictine monasteries were built in the Vicenza area, beginning in the 6th century.

In 899, Vicenza was destroyed by Magyar raiders.

In 1001, Otto III handed over the government of the city to the bishop, and its communal organization had an opportunity to develop, separating soon from the episcopal authority. It took an active part in the League with Verona and, most of all, in the Lombard League (1164–1167) against Emperor Frederick I Barbarossa compelling Padua and Treviso to join: its podestà, Ezzelino II il Balbo, was captain of the league. When peace was restored, however, the old rivalry with Padua, Bassano, and other cities was renewed, besides which there were the internal factions of the Vivaresi (Ghibellines) and the Maltraversi (Guelphs).

The tyrannical Ezzelino III from Bassano drove the Guelphs out of Vicenza, and caused his brother, Alberico, to be elected podestà in 1230. The independent commune joined the Second Lombard League against Emperor Frederick II who sacked the city in 1237, after which it was annexed to Ezzelino's dominions. On his death the old oligarchic republic political structure was restored – a consiglio maggiore ("grand council") of four hundred members and a consiglio minore ("small council") of forty members – and it formed a league with Padua, Treviso and Verona. Three years later the Vicentines entrusted the protection of the city to Padua, so as to safeguard republican liberty; but this protectorate (custodia) quickly became dominion, and for that reason Vicenza in 1311 submitted to the Scaligeri lords of Verona, who fortified it against the Visconti of Milan.

Vicenza came under the rule of the Republic of Venice in 1404, and its subsequent history is that of Venice. It was besieged by the Emperor Sigismund, and Maximilian I held possession of it in 1509 and 1516.

Vicenza was a candidate to host the Council of Trent.

The 16th century was the time of Andrea Palladio,[9] who left many outstanding examples of his art with palaces and villas in the city's territory, which before Palladio's passage, was arguably the most downtrodden and esthetically lacking city in Veneto.

After the Fall of the Venetian Republic in 1797, under Napoleonic rule, it was made a duché grand-fief (not a grand duchy, but a hereditary (extinguished in 1896), nominal duchy, a rare honor reserved for French officials) within Napoleon's personal Kingdom of Italy for general Caulaincourt, also imperial Grand-Écuyer. One of the consequences of the city's occupation was the destruction of a prized silver model of the city, the Jewel of Vicenza.

After 1814, Vicenza passed to the Austrian Empire. In 1848, however, the populace rose against Austria, more violently than in any other Italian centre apart from Milan and Brescia (the city would receive the highest award for military valour for the courage displayed by revolutionaries in this period). As a part of the Kingdom of Lombardy–Venetia, it was annexed to Italy after the Third War of Italian independence.

Vicenza's area was a location of major combat in both World War I (on the Asiago plateau) and World War II (a focal center of the Italian resistance), and it was the most damaged city in Veneto by Allied bombings, including many of its monuments; the civil victims were over 2,000. The end of World War II was followed by a period of depression, caused by the devastation during the two world wars. In the 1960s, the whole central part of Veneto, witnessed a strong economic development caused by the emergence of small and medium family businesses, ranging in a vast array of products (that often emerged illegally) that paved the way for what would be known as the "miracolo del nord-est" ("miracle of the northeast"). In the following years, the economic development grew vertiginously. Huge industrial areas sprouted around the city, massive and disorganized urbanization and employment of foreign immigrants increased.

Vicenza is home to the US Army post Caserma Ederle (Camp Ederle), also known as the U.S. Army Garrison Vicenza. In 1965, Caserma Ederle became the headquarters of the Southern European Task Force, which includes the 173d Airborne Brigade. In January 2006, the European Gendarmerie Force was inaugurated in Vicenza.

Vicenza is home to twenty-three buildings designed by Palladio. Famous examples include:

• Basilica Palladiana, centrally located in Vicenza's Piazza dei Signori, of which Palladio himself said that "it might stand comparison with any similar work of antiquity"
• Teatro Olimpico, designed for the Accademia Olimpica (Olympic Academy) and begun to be built in 1580, when Palladio died. The wooden scenes are by Vincenzo Scamozzi.
• Villa Almerico Capra (also known as "La Rotonda"), located just outside the downtown area
• Palazzo Chiericati, home of the city pinacotheca
• Palazzo Barbaran da Porto, home of the Museo Palladio
• Palazzo del Capitaniato, home of the city council
• Palazzo Porto
• Palazzo Porto in Piazza Castello (incomplete)
• Palazzo Thiene Bonin Longare (built by Vincenzo Scamozzi)
• Palazzo Thiene
• Villa Gazzotti Grimani, in the frazione Bertesina

Some of the main historical churches:

• Cathedral of Vicenza (church of Santa Maria Annunciata), dating from early in the 11th century, and restored in the 13th, 16th, 19th and after the ruinous destruction of World War II, possesses a number of paintings and sculptures, nearly all of them by Vicentine artists; the dome and north side door were designed by Andrea Palladio.
• Basilica Sanctuary of Saint Mary of Monte Berico: the structure was completed in two stages, creating two churches in different styles: the first in 1428 in Gothic style, the second in 1703 by Carlo Borella, designed as a late-baroque style basilica. The adjacent convent, houses The Supper of Saint Gregory the Great, a large canvas by Paolo Veronese. The bell tower (1826) was designed by Antonio Piovene. The basilica commemorates two apparitions of Our Lady to Vincenza Pasini, a pious woman who lived in a village in the province, and the liberation of the city from a terrible plague.
• Basilica of Santi Felice and Fortunato: church built in the 4th century within a Roman cemetery and expanded in the 5th century to house the relics of the martyrs Felice and Fortunato. In the 9th century, the city, and the church, were razed by the Hungarians; by the 10th century, the church had been re-erected by the bishop Rodolfo with the support of Emperor Otto II. It has the layout of a paleochristian basilica, initially rectangular, then doubled in width and divided into three naves. After the Hungarian invasions, the Benedictines built a new baptistery and the semicircular apse, adding the bell tower and the rosette, as well as a series of blind arches and a Byzantine cross in front. In later centuries, the interiors underwent a radical alteration, enriching it with Baroque altars and decorations. A 20th century restoration removed many of these embellishments. Next to the church there is a small museum exhibition with archaeological finds from the church and from the nearby Roman necropolis.
• Santa Corona: one of the oldest and most important churches of the city, this 13th century church first endowed by the bishop of Verona, the Blessed Bartholomew of Breganze, to shelter one of the thorns from Christ's crown. It was under the purview of the Dominicans after the death of Ezzelino III da Romano. It houses paintings by Montagna (The Magdelene), Bellini (Baptism of Christ) and others; the crypt hosts the Valmarana chapel by Palladio. The church underwent a major restoration in 2012.
• San Giorgio in Gogna: one of the oldest churches in the city, built before the year 1000 with a Romanesque façade. The outer walls consist of agglomerates of different materials (brick, stone, marble salvaged from other buildings) are clearly a demonstration of the origin of the construction craft, which can be seen especially in the polygonal apse. It was restored by the diocese in 2011.
• San Lorenzo (1280): church built by minorites in mixed Gothic and Lombard Romanesque styles. Located along Corso Fogazzaro facing the central Piazza San Lorenzo, it hosts the tombs of illustrious Vicentines and is served by the Conventual Franciscans.
• Santa Maria Nova: late 16th-century church is the only religious architecture designed and built by Palladio in Vicenza, apart from the Valmarana chapel and the limited interventions in the cathedral.
• Santa Maria in Araceli (1244): church later refurbished by Guarini in Baroque style, formerly belonged to the Clarisses, contains statues by Orazio Marinali and Cassetti, and the reproductions of original altarpieces by Piazzetta and Tiepolo (now at the Pinacotheca Civica).
• Santa Maria of the Servites: church in Piazza Biade adjacent to the Piazza dei Signori, was commissioned in the early 15th century by the order of the Servants of Mary. The church portal was executed in the studio where Andrea Palladio worked at the beginning of his career and would be one of his earliest works. In the cloister, in 1319, the miracles of St. Philip Benizi de Damiani took place.
• Santa Maria Etiopissa (1154): a simple stone and brick structure church.
• San Marco in San Girolamo (early 18th century): late baroque church built by the Discalced Carmelites on a previous convent and church of the Jesuati. The architect is unknown, but inside it is clear the influence of the style of the Venetian Giorgio Massari. After the Napoleonic abolition of the religious orders and their convents, it became in 1810 the church of San Marco, one of the oldest parishes in the city. It hosts many works by Vicentine and Venetian artists of the early 18th century, including some masterpieces. The sacristy preserves the complete original furniture of the time.
• San Vincenzo: church dedicated to Saint Vincent of Saragossa – ancient patron of Vicenza – overlooks Piazza dei Signori, facing the Basilica Palladiana, interrupting the smooth texture of the Palazzo del Monte di Pietà. The church was built between the 14th and the 18th centuries. The baroque façade (1614–1617) hosts two lodges with three arches, in Corinthian and composite style. The lodges are surmounted by a crown with Christ mourned by angels by Giambattista Albamese, also author of the five statues in the pediment. Behind the lodge there is the ancient church of 1387, offset in relation to the building that has incorporated, with the altar facing east. The interior of the church, as amended in 1499 and again in the 18th century by Francesco Muttoni, was restored in the 1920s. It hosts the ark of Simone Sarego (14th century), the impressive altar, rococo work of Bernardo Tabacco, and the altar of Pietà, masterpiece of a young Orazio Marinali (1689). Within the porch, a red marble stele is engraved with the ancient official linear measures of the Community of Vicenza.
• Sant'Agostino: church built upon older buildings in the 14th century, the ancient convent of Saint Augustine is located on the western outskirts of the city, giving its name to the parish and to the frazione. The abbey church was rebuilt in Romanesque style during the rule of Cangrande della Scala between 1322 and 1357. The church has a rich decoration and a large altarpiece of 1404 by Battista da Vicenza.
• Oratory of San Nicola da Tolentino: finished in 1678 on commission of the fraternity of St. Nicholas, it is a chapel that houses a series of paintings focused on the life of the saint, among the highest levels of the measured Baroque of Vicenza.
• The Churches of the Carmini (1372) and St. Catherine (1292), formerly belonging to the Humiliati, possess notable pictures.
• Santa Croce (1179)
• Santi Filippo and Giacomo (12th century)

• The Torre Bissara (clock tower) (1174), at 82 meters high, is one of the tallest buildings.
• The Biblioteca Civica Bertoliana, a public library founded by Count Giovanni M. Bertolo and opened in 1708
• Casa Pigafetta (1440), house of Antonio Pigafetta
• The Pinacotheca Civica houses mainly Vicentine paintings in the Palladian Palazzo Chiericati.

Vicenza is twinned with:

• Annecy, France (1995)
• Pforzheim, Germany (1991)
• Wuxi, China (2006)[14]
• Cleveland, Ohio, United States (2009)[15]

•  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Diocese of Vicenza". Catholic Encyclopedia. New York: Robert Appleton Company.
• This article incorporates text from a publication now in the public domain: Ashby, Thomas (1911). "Vicenza". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. p. 20.