Caldogno is a town and comune near Vicenza in Italy. It has a population of 11,337 inhabitants.
The Villa Caldogno Nordera in its territory is attributed to architect Andrea Palladio.
It is the birthplace of the football player Roberto Baggio.
Physical geography Caldogno rises on a completely flat territory where the Timonchio river flows.
Caldogno borders:
to the north and north-east with Villaverla; to the east with Dueville; to the south with Vicenza; to the south-west with Costabissara; to the north-west with Isola Vicentina.
Origins of the name
Caldogno In Roman times, Caldogno was the village located six miles away from the city and placed at the lower decumanus of the Vicentine Agro Centuriato of Thiene. For this reason, unlike other municipalities that have this particular location (such as Sesto San Giovanni in the province of Milan, but also Quarto d'Altino in Venice or Noventa Vicentina in Vicenza), it is strange that the name of the municipality is completely different or not derived from Sesto; many historians have tried to explain the etymology of the name.Prof. Pendin in his History of Caldogno dedicates a chapter to the discussion of the various theories concerning the etymology of the name. Among the authors mentioned there are the Mantese, the Benetti, the Dani and some notes about the Barbarano whose hypothesis is cited as a reworking in imaginative form of many bombastic deductions. Each hypothesis is however analyzed by grasping both the correct deductions and inaccuracies.
First of all, the author Mantese considers it derived from "Carturnium": a purely philological analysis, however, would like that while the alternation of dental r > l could be accepted, the resulting alteration of vowels and consonants is rare to encounter in a single word.
The researcher Benetti connects it to "Calidarium", assuming that in the territory there were some hot springs or a hot bath establishment. However, there are two criticisms that can be made against this hypothesis, given the lack of evidence about the existence of such a place. The first one is that baths were usually designed to be in a city, not in a small agricultural village. Secondly, Caldogno was probably the seat of springs that fed the Roman aqueduct and therefore it must have been a place provided with fresh water springs rather than hot ones.
The researcher Dani«A. Dani, Le antiche comunità cristiane di Caldogno (Vicenza) e le loro chiese, 1972, in La parrocchia di S. Giovanni Battista in Caldogno a pag. 27» cfr. states instead that the name comes from the Latin noun "calleu", mangling of "valleus" (vallis), adjective form of calloneus that would mean "valley area". In addition to the fact that Caldogno does not rise in a valley, it should also be considered the high number of modifications that the name would have undergone to get to the current.
Pendin, on the other hand, argues that the change of name from Sesto is to be found in some events that occurred after the Roman era. In the history of Caldogno there are two other possible hypotheses, both to be traced back to the Longobard period:
the name could come from the Germanic adjective "kalt", linked to the fact that clear and cold water came out of the springs, which then became "Caldonus"Pendin p. 57 according to the normal alternation of the two dental consonants D-T;Pendin, p.61 the name could come from "aldiones" that indicated the semi-free peasants in the Longobard era. This word, if pronounced with a slight aspiration, can be transformed into Haldiones, becoming by metathesis Caldonius, signifying the whole "village of semi-free peasants" to separate them from the serfs.
Cresole Olivieri, a great scholar of the toponymy of the region, assures a Latin origin linked to the name of the ancient owner "Cresius", who first built, in the area overlooking the banks of the Bacchiglione, the huts that constitute the first residential nucleus.Pendin, p.58
Pendin explains how the name could derive from "cretulae", a species of marsh reeds present in the area originally marshy.
Rettorgole Both Formenton and Olivieri agree that the name of the hamlet derives from "rivus turgulus", “rivo o fiumicello torbido” for the appearance the water had when flowed into the various streams. Already in an act of 1499 the area of Rettorgole is called "villa de Roturgule".
Monuments and places of interest
Religious architecture
Church of San Giovanni Battista, church of the parish of Caldogno. As evidenced by the discovery made in the early seventies during the arrangement of the heating system, the church has undergone several reconstructions throughout history.This work of excavation took place mainly thanks to the chaplain Don Tarcisio Pirocca who, although not specified by Pendin, was vicar cooperator of Caldogno from 1970 to 1972. cf. Pendin, p. 154 Dating is difficult since there are no graffiti or decorative elements and the bricks with which the walls are made are both well-shaped and squared (index of a florid period) and rough and mixed clay (typical instead of poorer periodsPendin, p.156), although it is certainly before the little church of San Michele, whose origin seems to date back to the second half of the seventh century.Pendin, p.157 The lowest level, in fact, corresponds to the fifth century and had the apse to the east; the next level is from the sixth century and the upper one from the tenth century. During the XVI and XVII centuries it was modified several times until 1648, when it was totally rebuilt. The work led to the reconstruction of the high altar and the purchase of the tabernacle, still present today, with the two angels on the sides and two other smaller ones that have been lost. The facade was rebuilt buying the five statues still present today. The church was damaged during the Napoleonic raids, giving way to the church built in 1818.Pendin, p.158 The present structure originates from the central nave, built in 1818, which was the church of that time and was enlarged in the first half of the 20th century by a design of Ferruccio Cattaneo. The structure was often modified during the 20th century both to expand and restore it, especially after the Friuli earthquake in 1976. In 1990 a new pavement was laid, which brought to the same level the three naves designed by Cattaneo in the early twentieth century. Inside there is the tomb containing the bones of Felice Ponso,Pendin, p.145 parish priest of Caldogno from 1901 to 1908. The entire ceiling of the nave is painted with a series of four frescoes representing four important stages in the life of the patron saint Saint John the Baptist. Near the entrance there is the annunciation to Zacharias of the birth of his son, in the centre of the nave is depicted the birth, in the third panel the figure of John the Baptist and above the presbytery the image of the banquet during which Salomè received on a silver tray the head of the one who blamed her and her mother for the sins committed: John the Baptist. The author of this work, in 1839, seems to be Giuseppe Poppini of Schio whose signature, however, is present only in the last box. In the baptistery there is a canvas depicting the Baptism of Christ by Giuseppe Poppini.Pendin, p.150 Church of Sant'Urbano. The church of Sant'Urbano is the parish church of Cresole, hamlet of Caldogno. It has existed since 1185, the year in which the confirmation of the officiation of the Canons of Vicenza by Bishop PistorePendin, p.129 took place and became a parish in 1444. The first rebuilding of the walls took place in 1656 and at the time it was officiated by the parish priest and a chaplain who, as a collaborator, could use a house that became property of the church in 1829. In 1797 a third altar was restored and added. As early as 1901, the first expenses for the expansion works began to appear in the church's accounting register, but they were officially carried out between 1906 and 1907. The designer was Gerardo Marchioro and the inauguration took place on 11 August 1907 in presence of Monsignor De Marchi. A further restoration took place in 1994. The church has a facade facing south and is built with a predominantly neoclassical style. The church clearly has three naves with four side altars: one from the eighteenth century dedicated to the Saints Gaetano and Lucia with a canvas by Giobatta Stefani dated 1843, one with the marble statue of "Our Lady of the Rosary" of 1944 and the two on the right built in the nineties dedicated to Saint Anthony and Our Lady. Bruno Vedovato painted two frescoes for this church: one on the ceiling depicting the transfiguration of JesusPendin, p.127 and one above the front door with the sermon on the mountain. The altarpiece of the high altar seems to be attributed to Agostino Bottazzi who painted it in the middle of the nineteenth century with the representation of Saint Urban dressed as a pontiff with Saint Lucia and two soldiers in chain, his brothers Valerian and Maximus.
Church of San Bartolomeo, parish church of Rettorgole, hamlet of Caldogno. The first church built on the site probably dates back to the eleventh century and was built in the north-south direction. After being stripped of property and partially demolishedAs can be read from a document of 1600: «turpato il Cemeterio, demolita la casa, cavati li morari, et spoliata di tutti li suoi beni mobili et stabili et venduto ancor il quartese»; he bishop Michele Priuli, in a visit of 1584 wrote that he found it : «derelita et spoliata di tutti li suoi beni» cfr. Pendin, Storia di Caldogno, p. 136 by a certain Francesco Milano who recovered the bricks to build his home, it was demolished to leave room for an eighteenth-century church of which the two side altars were inherited. The church was rebuiltPendin, p.135 respecting the pre-existing structures in the years 1888–89, with a neo-Gothic structure inspired by the Florentine churches of the fourteenth century and with an appearance not very dissimilar to that of today. In 1898 the church was enlarged by adding a fourth arch to the nave, thus expanding the facade to the north.
Church of San Michele, or Longobard church,As the road signs tell is the church of the cemetery of Caldogno. The church was almost certainly built in the Lombard era, as evidenced by the lintel above the main entrance. During the centuries it has suffered countless destructions that have definitely changed the original appearance leaving only the original materials, which have been recycled for remaking. In 1927 the podestà wanted it to be shot down. The apse towards the east, denotes early Christian features. Built with various materials, ranging from rough bricks to small stone cubes tied by layers of abundant mortar, it presents numerous inaccuracies in the structure, typical of that era. Originally it was not close to the cemetery, which was built around the church later to move it from the church of San Giovanni Battista, the current parish church. On the outside and inside there are frescoes of the fourteenth century, now very faded, representing figures very dear to the Longobard tradition: Saint Martin of Tours, Christ, the Virgin and Saint Agatha.Pendin, p.235