porta altinia in treviso
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PORTA ALTINIA - Treviso
 
Porta Altinia (Altinia Gate) is the third door raised in the first years of 16th century in the Treviso South area. The appearance changed in the history for the alterations imposed by the modern military strategies, it is less stately than Porta San Tomaso (St. Thomas Gate) and Porta Santi Quaranta (Forty Saints Gate) even if it is finer and prettier.
   

The name "Altinia" comes from the town towards which it was turned, namely "Altino", the Roman town devastated by Huns led by Attila (who pillaged the grounds near Padua, Vicenza and Verona) from which the other names might come, that is "Altilia" and it is arrived at the name "Altinia" from the combination of two names, similar in assonance.

Porta Altinia is the last gate belonging to the oldest medieval walls, included in the sixteenth-century circle; this door was stiffened and it was raised, in its history, by superstructures to adapt itself to different conditions to which the walls had to make up for.

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prints by chevalier pietro treviso
Porta Altinia a Treviso incisione
di Chevalier Pietro, anno 1856, FAST
- Foto Archivio Storico Trevigiano,
Fondo Fini, n. immagine: F 7988
   
According to the history all the goods, which went to Venice or which came form Venice, had to pass through Porta Altinia (Altinia Gate); thus the Gate worked as military bastion for a long period, but also as symbol of link among Treviso and Venice and the East Veneto.
   
photos porta altinia treviso images
Porta Altinia - outside view
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The links with the Maritime Republic lasted till the end of 18th century when the French army, at Napoleon’s service, occupied Veneto and thus it stopped that strong bond which had united Treviso with Venice for more four centuries.

The French occupation of Treviso went on less twenty years and its end corresponded with the defeat of the Russia campaign.
The facing fašade by Istrian stone is rich in decorations with bas-relieves, it seems to express refinement and grace or strength and structural sturdiness.

The segmental arch fits in wall prism which is higher than wide, this arch is supported by some pilasters holding up elegant trabeation on which the impressive bas-relief (the winged lion of St. Mark) is leaning, while there were the statues of Madonna and of the angel heralding some centuries ago. The pilasters don’t continue supporting the cornice of the roof and no architectural element gets to think this was included in a general scheme.


[ Porta Altinia today ... ]