FASOLO, Giovanni Antonio

The decoration in the camerone is attributed to Fasolo, with a contribution by Zelotti. Here, inserted within elegant Corinthian loggias on the long wall, are four scenes taken from Roman history: Mucius Scaevola before Porsena and Sofonisba Asking Massinissa for Mercy (east wall), Scipio Returning Lucius’s Betrothed and the Banquet of Antony and Cleopatra (west wall). On either side of the fireplace the figures of Vulcan and Venus Holding Cupid, and above the door, the figures of Minerva and Mercury complete the decoration.

The present picture shows the east wall.

In the Villa da Porto, the artist placed his ancient historical events on a spatial plane that corresponds entirely to that of the viewer. He thereby underscored with the actors’ clothing, which is sometimes contemporary and sometimes ancient, that the moral example depicted here should be applied to everyone.

The represented scenes on this wall are Sofonisba before Masinissa and Mucius Scaevola.

The picture shows a detail of the scene Sofonisba Asking Massinissa for Mercy.

The picture shows a detail of the scene Mucius Scaevola before Porsena.

The picture shows a detail of the scene Sofonisba Asking Massinissa for Mercy.

The picture shows a detail of the scene Mucius Scaevola before Porsena.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

Despite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo’s best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

Despite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo’s best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

Despite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo’s best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

Despite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo’s best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

Despite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo’s best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.

The construction of the Villa Da Porto Colleoni probably began in 1440-41 at the behest of Francesco Da Porto. Its decoration was commissioned in the sixteenth century from Paolo Veronese, Giovanni Battista Zelotti, and Giovanni Antonio Fasolo. Unfortunately, the decoration, with the exception of that in the camerone (large room) was later obliterated.

The decoration in the camerone is attributed to Fasolo, with a contribution by Zelotti. Here, inserted within elegant Corinthian loggias on the long wall, are four scenes taken from Roman history: Mucius Scaevola before Porsena and Sofonisba Asking Massinissa for Mercy (east wall), Scipio Returning Lucius’s Betrothed and the Banquet of Antony and Cleopatra (west wall). On either side of the fireplace the figures of Vulcan and Venus Holding Cupid, and above the door, the figures of Minerva and Mercury complete the decoration.

The Villa Caldogno is the result of one of Palladio’s early projects. Its construction began in 1542. The construction of the building and the decoration of the interiors extended over a long period of time, brought to completion only in 1570. The fresco decoration was completed by Giovanni Antonio Fasolo and Giovanni Battista Zelotti.

The fresco decoration transfigures the interior spaces into a sumptuous architectural stage set. It unfolds in the loggia, the Central Hall, and two rooms on the left. The frescoes in the loggia and the Central Hall are the work of Fasolo, whereas the other two rooms, the Room of Scipio and the Room of Sofonisba, were decorated by Zelotti, with some contributions by Fasolo.

The walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.

The sixteenth century lacks almost entirely what accounted for a large part of secular decorations of the fifteenth century, namely the depiction of aristocratic society’s pastimes: hunting, gambling, banquets, dances and concerts. There are scenes of such activities in the Villa Caldogno and several other villas in the Veneto, but few other comparable examples. When such themes were treated, they were typically either part of a cycle devoted to historical events of the recent past or dressed in antique, mythological, or historical garb.

The Villa Caldogno (also known as Caldogno Nordera) was built by Palladio for the aristocratic Caldogno family on their estate in the village of Caldogno near Vicenza. The decorative scheme of the Villa is by Giovanni Antonio Fasolo.

The two scenes on the left wall are the Concert and the Banquet.

Artists were clearly aware that stage-like depictions of events in the same space as the viewer would produce a strong sense of presence. For that reason, they used this form primarily for themes that depicted either timeless or contemporary events, or the sociable pleasures of aristocratic society of the villa owner in Caldogno.

The scenes on the right wall are the Invitation to Dance and the Card Game.

The decoration in the camerone is attributed to Fasolo, with a contribution by Zelotti. Here, inserted within elegant Corinthian loggias on the long wall, are four scenes taken from Roman history: Mucius Scaevola before Porsena and Sofonisba Asking Massinissa for Mercy (east wall), Scipio Returning Lucius’s Betrothed and the Banquet of Antony and Cleopatra (west wall). On either side of the fireplace the figures of Vulcan and Venus Holding Cupid, and above the door, the figures of Minerva and Mercury complete the decoration.

The present picture shows the west wall.

The Villa Da Porto is a large building often regarded as a castle due to its unusual architectonic forms related to a villa. It is composed of two high embattled towers which enclose the central body. Inside there are some paintings by Fasolo and Zelotti.

The represented scenes on this wall are Cleopatra’s Banquet and The Continence of Scipio.

The picture shows a detail of the scene Scipio Returning Lucius’s Betrothed.

The picture shows a detail of the scene Banquet of Antony and Cleopatra.

The picture shows a detail of the scene Scipio Returning Lucius’s Betrothed.