Palace Colloredo Orgnani

Colloredo palace, passed in the 1830 in property of the Nobleman Giovanni Orgnani Batiste for 34,482 Liras Austrians and thirty years after widened from Massimiliano Orgnani. The history of the noble dwelling is enough linear and sinks the roots to the half of the 1300's, when the place in which rises was from the owner, certain Enrico di Castellerio, donated to the convent of the Franciscans of Udine who in XVI the century will sell it. The purchaser, the nobleman Giovanni di Colloredo, builted a house for his descendans, between the end of the 1600's and the beginning of the 1700's, restructured, with plane of a unknown architect, transforming it in the palace that hour is looked at: which, then, it was completed with an Italian garden(than very it that you can recognizes in the beautiful View of Udine, to flight of bird painted around the 1660 from Giovanni Cosattini Batiste and conserved near the Civic Museums of Udine) and, as was custom, encircled from fields grain cultivated. A "vast expanse of land" that it comes remembered also in a nineteenth-century guide of Udine' and that confined equally with the immense property of the Torriani, like extension a design of the 1772 relative one to their palace. The small garden still remains, in place of the fields was builted some anonymous hauses. Of the use of the annexed lands to the palace and of the consequent agricultural activities that still was inside the city is a good witness, the granary large mask in stone walled in the underpass: large mask from whom the persons go down the grain from cjast (the attic) culvert from which it was made to come down the grain from cjast (the attic) in the courtyard. Not only element, because you can find some in Udine , in the palladian Antonini Palace (now Bank of Italy), in the Beretta Palace (now the Region, in street Vittorio Veneto) and quite in the Palazzetto Billia-Concina right in the center, to the angle between the ways Rialto and Erbe street. The Orgnani Palace is a construction of sober elegance that adds in himself the characters of aristocrated palaces and at the same time those of the main houses of the Friuli province . The facade, of rigorous and clear measurability, hardly is moved from a portale late-baroque flanked from sturdy semipillars covered horizontally from bands in stone that create an effect of recess and shelf and continue with analogous reason in the base hoof (that it would seem to be later). On the architrave, articulated in the part centers with tans shaped, adopts a position of a broken eardrum. One three-mullioned windows with equally tympanum crowning surpasses the main door. Of good taste they turn out the nineteenth-century rail-guards to the aggraziate windows of the ground floor from a tenuous reason to arabesque. The small door that is opened on the right of the main door is fruit of a modification of 1942, when the Orgnani entrusted to architect Ermes Midena the task to restructure the building, even if that was not never maid. All' inner covers particular interest the underpass of unusual largeness, an evocative small public square from the walls not plasted that leave a sigth of cobbled paving or large stones of construction, and the scenographic great staircase in stone, one of the beautiful invention of Udine. The hall of honor instead, made object of restructure in the 1800's, with the division in two spaces has lost its extraordinary dimension originates them. Between the artistic works, the remenbrance of some decorations of the end of the 1800's and beautiful fresco of 1500's devotion, detached in the years Thirty of the 1900's from one house of walled of place Mercatonuovo and in the underpass. It represents the Madonna with Child in throne between Sebastiano, Martino, Rocco and a Saint bishop that is attributable to Gaspare Negro, follower of the venetian painter Giovanni Bellini, settled down in married in the 1503 Maddalena Floreani and particularly active in Udíne and in all Friuli. Corrected in the pagination, lively in the colors and still discreetly conserved, it remembers the many devotion fresco, tangible sign of the religiousness of the people of Friuli and the demand for divine protection ,to refulgence, to beautiful, to tempestate, that a time embellished many facades of udinesis hauses. That to the end of the 1700's some students of good name: Gerolamo Asquini, Variente Percoto and Leopoldo Zoccolo had in mind to copy, record in order to make of one publication.