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Archive for the ‘Renaissance History’ Category

Marco Caretlli in Studio Siena

Marco Caratelli in his studio

One a blustery March day, I was walking behind the Duomo of Siena. A small table with a gorgeous Renaissance style icon, presenting the location of an artisan’s studio, drew my attention.

Upon entering the workshop, the young gentleman introduced himself as Marco Caratelli. A small dog was curled up on a pillow in the corner. Heat created a welcomed respite from the fresh late winter weather.

The shelves of the small workshop were lined with extraordinarily beautiful icons; wings of angels, faces as if freshly taken from a Duccio di Buoninsegna work of the early Renaissance.

Marco graduated with an art degree from the University of Siena’s School of Art in 1998 and began his exploration of ancient techniques, now refined under his well experienced hand.

Marco Caretlli Icon Foil

Gold Foil after application

His dedication to keeping the art form alive is reflected in his commitment to using techniques outlined in Cennino Cennini’s Il Libro del Arte, early 14th Century studies of artists and the materials used to create early Renaissance panels and frescoes. Most of the wood types he uses, aged at least thirty years and specially selected for his purpose, are walnut, poplar or chestnut. Gesso or plaster is then applied to the wood. Twenty-four carat gold leaf follows on top of a layer of “bolo armenico”, a mixture of red clay and water.

Special tools, called punzoni or bulini, are used to create the incised patters which form the halos or other ornamentation on the icon.

Marco Caratelli Icon One

A completed work

When the time comes to paint, Marco uses only natural pigments and colors, following the traditions of the Renaissance iconists.

The texture of Italian culture is formed of many sources; food, wine, landscape, history, architecture, and art. When Marco’s hands touch aged wood, apply gesso, gold and paint inspired by centuries of artistic heritage he brings the past alive. At a time when we are driven by an unfounded need to have everything ‘now’, artists like Marco, their work and their passionate commitment to cultural memory are reminders of how we arrived to today and how we must keep the past alive.

NEW YORK OPENING

In early April 2016, Marco travels to New  York City for an opening of his work titled, “Details”. This exhibit will be presented at the Ward-Nasse Gallery, 178 Prince Street, NY, NY 10012.

You can contact the gallery on +1.212.925.6951.

APRIL 8 – 17, 2016

DETAILS

THE ART OF MARCO CARATELLI

The opening reception, April 9, 2016 from 4:00PM to 7:00PM offers the opportunity to meet Marco and view his historically important work.

If you cannot attend this exhibit, are next in Siena or wish to perhaps own one of his works, you can contact him on www.passatonelpresente.com.

You can find Marco, of a day when in Siena, at Via Monna Agnese 20. The street is located down the hill below the Baptistery entrance of the Siena Duomo.

For those who understand Italian, the link below is a recent interview with Marco from Siena TV.

Marco Caratelli-Siena TV

 

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Santa Maria Nuova Facade

As of December 15, 2015, those who seek an opportunity to discover an incredible collection of art in Florence now have a wonderful option: the Ospedale Santa Maria Nuova. This, the oldest hospital in Florence, now offers guided visits to some of is vast collection of treasures.

Arcispedale_di_santa_maria_nuova,_affreschi_di_antonio_pomarancio,_1614,_strage_degli_innocenti

Fresco by Antonio Pomarancio – 1614

The hospital was founded in 1288 by the father of Dante’s beloved Beatrice, Folco Portinari. He was asked to build the edifice after being approached by the matriarch of the founder’s family, Monna Tessa.

 

Over the centuries, donations have been made to the hospital in thanks for the care and service provided to various families.The rich variety of art  include works by Pietro di Niccolò Gerini, Andrea del Castagno, Della Robbia, Bernardo Buontalenti, and Pomarancio. Visits to this complex offer visitors rare glimpses of an invaluable, little-known, collection of renaissance treasures.

213-483px-Del_Castagno_Andrea_Crucifixion_and_Saints

Andrea del Castango, Crucifixion with Saints

Architecturally, the beauty of the structures, interior arches and various vast superb rooms with ceilings covered in frescoes, add yet another dimension to your visit.

Your visit to Santa Maria Nuova takes you through  many places of historical and artistic interest; the entrance to the area dedicated to Spedalinghi Hospital and the ” Hall of Crosses “, the cloisters of the ” Medicherie ” and ” Bones ” as well as the Church of Sant’Egidio , with its adjoining women’s gallery which once was the area reserved for nuns to attend religious services

In order to visit the Osepdale, you will need to contact them directly through the links below. Tours are organized with no more than twenty in a group, and are always lead by a guide so that the privacy of patients is observed and the size of groups well controlled.

To arrange your visit, here are details:

Address: Piazza Santa Maria Nuova, 1, 50122 Firenze, Italy

Visits last 40 to 50 minutes and groups can be no larger than 20. A professional guide always accompanies the group.

Reservation number, exclusively for these tours:  055 20.01.586
Tours are available to schedule from 9.00 – 13.00 / 14.00 – 18.00
Saturday, 9.00 – 13.00
Email: info@exclusiveconnection.it

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It was during a recent visit to the Alte Pinakothek in Munich that I encountered The Annunciation by an artist whose name I did not recognize: Fra Carnevale.

Portrait Fra Carnevale 1470 Artist Unknown

Portrait Fra Carnevale
1470
Artist Unknown

My curiosity was roused and I began to research this little known, reclusive, Renaissance artist.

Between the years 1420 and 1425, records are scarce; a child by the name of Bartolomeo di Giovanni Corradini was born in the city of Urbino. Little is known of his childhood. At the age of sixteen, he entered an apprenticeship under the guidance of a respected artist from Ferrara, Antonio Alberti. With the encouragement and connections of his master, the twenty year old Corradini moved to Florence in 1445 and, for one year, studied under Fillipo Lippi, one of the finest painters of his age. 

While Corradini’s apprenticeship in Florence was but one year long, he studied works by Donatello, Brunelleschi and Battista Alberti. It was during the apprenticeship that his fascination with architectural perspective began.

In the latter part of 1448, he left Florence and returned to Urbino.

Here is some important historical background about Carnevale’s home city.

Between the years 1444 and 1482 Urbino was controlled by a powerful condottieri, Federico di Montefeltro. From within the walls of Palazzo Ducale in Urbino, Federico assembled one of the finest libraries in Renaissance Italy. His interest in art and the creation of a center for learning, caused him to issue numerous artistic commissions across Italy.

Presentation of the Virgin at the Temple Fra Carnevale, Circa 1467

Presentation of the Virgin at the Temple
Fra Carnevale, Circa 1467

The Dominican order in Urbino was centered in the Church of Santa Maria della Bella. It was amidst the convolutions of power, politics and religion that Federico first encountered Fra Carenvale, who had taken the Dominican vows in 1449.

One of Carnevlale’s earliest works, part of an altarpiece for a church in Urbino, is Presentation of the Virgin in the Temple (Circa 1467). This particular work clearly demonstrates Carnevale’s fascination with perspective. The powerful arch and background of his work nearly overpower the figures in the foreground. An interesting side-note about the work is that the shape of the altarpiece is recognizable at the top of the painting. The two figures that surmount the arch were originally the edges of the painting’s frame.

One other work stands out among the many created by Carnevale: The Ideal City (ca 1480 – 1485). This was one of several commissions by Duke Federico di Montefeltro of Urbino for his palace.

In a long rectangular frame, the artist has created a sterile, balanced and bleak study of a city. Perspectives are finely focused, the four Cardinal Virtues of Justice, Prudence, Temperance (Restraint) and Courage (Fortitude), top four columns near the center of the work.

Why the artist chose to include only twenty-one figures in the work remains a mystery. There is a sterility to the painting. While the scene is balanced in its geometric form, the work exudes no warmth, no emotion. Were the intent to replicate Carnevale’s interpretation of an ideal world, one based on Roman concepts of balance and form, then the artist has well succeeded. This work does show a clear retreat from the emotion demonstrated in his 1467 work of the Virgin and Temple, possibly in reaction to his ascetic and withdrawing life in the Dominican order.

https://i1.wp.com/upload.wikimedia.org/wikipedia/commons/5/5c/Fra_Carnevale_-_The_Ideal_City_-_Walters_37677.jpg

The Ideal City
Fra Carnevale
ca. 1480-1485

The three panels in Carnevale’s only polyptych (altar piece with three or more panels) have been dispersed across Italy. Visitors can view one panel each in the Pinacoteca di Brera and the Pinactoteca Ambrosiana. The third panel is in the province of Le Marche Italy, in Loreto’s Museum of the Holy House.

This elusive and little understood artist created numerous works that remain enigmatic gifts to the world of Renaissance art. He is much worthy of more study. 

Following is a partial list of his known works and current collections:

Birth of the Virgin, Metropolitan Museum New York

Annunciation, National Gallery, Washington, DC

Presentation of the Virgin in the Temple, Boston, Museum of Fine Arts

 

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Givovanni d"Ambrogio 15th Century Museum of the Works of the Duomo, Florence

Givovanni d’Ambrogio
15th Century
Museum of the Works of the Duomo, Florence

A recent incident with priceless art in Florence has me considering the easy access the world has to Florentine art.

While comparing his own hand to that of a 15th Century work by the Renaissance sculptor Giovanni d’Ambrogio, a visiting American surgeon broke one of the fingers off Ambrogio’s statue of the Virgin Mary. Tempers flared, threats made, waters calmed and the surgeon is, by this writing, on his way home or already home.

Hmmm . . .

What I have always shared with clients as we travel across Italy is that all of Italy is an open air museum. The temptation to touch a work of art is so strong, and the accessibility of those art works so open in museums, that such temptation proves too much for some.

In the Museum of the Works of the Duomo, only steps from where this American surgeon created such a stir, is Michelangelo’s Nicodemus Pieta, one of the last of the master’s works.

You can walk right up and, if you were so inclined, reach over a short railing and touch the master’s work.

This is not the first such incident with Florence’s art.

In August of 2005, a young Italian man under the substantial influence of alcohol accepted a bet from friends to climb the Fountain of Neptune (Amananti, 16th Century, called “biancone“) in the Piazza della Signoria. As he reached to pull himself up using Neptune’s left hand it came off. Video surveillance captured the incident and eventually the damage was paid for by the guilty party.

The Broken Finger

The Broken Finger

I feel badly for the surgeon that made this error, and at the same time am embarrassed about the incident.

Yes, there are many more important events occurring in our world these days. However, the attention that this incident has garnered underscores the commitment a civilized society places on its art.

Bottom line? When you are in museums anywhere, no less Florence, enjoy . . . but DON’T TOUCH!

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Evening View of Modica Sicily

Evening View of Modica Sicily

Modica. A city of intense beauty, part souk, part Renaissance fantasy, a mosaic of buildings reflecting an equally diverse populace.

Over the course of many years of travel to Sicily, I have stayed in Modica numerous times. In this post I will share some of the little known treasures – and some well known – in a Sicilian city I have come to love.

Some orientation will help you understanding the geography and cultural diversity of the city. Modica Basso is located in the center of Modica’s valley. Despite the destruction caused by the devastating earthquake in 1693 (which destroyed the greater part of eastern Sicily), the city has survived and restored its Sicilian Baroque splendor.

Sicilian Baroque? This is a style of architecture established in this area of Sicily after the 1693 earthquake. Known for fantastic sculptures in the facades of buildings and churches, it has come to symbolize a unique style particular to this geographic area of the island.

Until 1902, there were numerous bridges across the river Modicano, formed by two rivers called the Pozzo dei Pruni and the Janni Mauro. After a disastrous flood that same year, the city redirected the river through culverts beneath what is now called the Corso Umberto I, the city’s main thoroughfare. Shops abound along this road offering everything from jewelry to clothing to restaurants.

Over the course of centuries, Modica Alta was established above the city’s valley. It is here that one of the most beautiful churches in Italy is located. (See “Churches” below). This is a residential area of the city offering few shopping options. The views, however, from the high point above the city are spectacular.

Churches:

San Giorgio Modica

San Giorgio Modica

The Cathedral of San Giorgio: Located on the steep hillside above the lower city, this is one of the most striking examples of Sicilian Baroque in Sicily. The facade was rebuilt after the earthquake of 1693, and the results are spectacular. One of the island’s first meridians, a means of tracing the seasons by the position of the sun on the floor of the cathedral, crosses in front of the main altar. It was in 1895, that the mathematician Armando Perinio received permission from the church to install the meridian.

The rays of sunlight that pierces the high windows of the interior, particularly in the afternoon, create prisms of light on the surface of huge white interior marble column; an evocative sense of the spiritual in a spiritual place.

The Cathedral of San Pietro: Older than San Giorgio, this was the diocesan church of the city until factions formed around Modica Alta and Modica Basso. The  ensuing divisions ended in their being two patron saints of the city – San Giorgio for the upper city and Saint Peter for the lower city. The statues of the twelve saints that stand along both sides of the entrance stairway to the church are beautiful, as is the interior of this historic church.

Saints Entrance San Pietro Modica

Saints Entrance San Pietro Modica

San Niccolo Inferiore: It was in the late 1960’s, when a car repair garage was being renovated, that the workers opened up a cave that had been used by early (4th Century A.D.) Christians as a place of worship. Located almost directly across the street from one of Italy’s premier chocolatiers (see Chocolate below), you have to ring a bell to enter this little known treasure in the heart of the city. Once you ring the bell, a warden leans out of a window above you, descends and opens the cave for you. The walls retain remnants of fourth and fifth century frescoes created by the artists of the day, gorgeous in their simplicity, moving in their beauty.

Frescoes Chiesa Rupestre San Niccolo Inferiore  Modica

Frescoes
Chiesa Rupestre San Niccolo Inferiore
Modica

Chocolate in Modica:

Chocolate Assortment Bonajuto Modica

Chocolate Assortment
Bonajuto Modica

You can find few chocolatiers in Italy that can match the history of Bonajuto (bon-aye-u’-toe) in Modica Basso. Established in 1880 by Francesco Bonajuto, the recipes used in this workshop date to the time of Spanish occupation on the island. The grainy texture of the chocolate,(they do not allow the sugar to dissolve completely)  mixed with ingredients as diverse as red pepper or lemon, are a delight. Guided visits are possible at Bonajuto. See below under “IF YOU GO” for further details.

Day Trips

There are numerous options open to visitors who choose Modica as the base for their visit to this part of Sicily. Easily reached are the other famous Sicilian baroque cities of Scicli, Noto and Ragusa. Lovely small fishing villages dot the southeastern coast and offer quiet (except in July and August!) respite from the cities.

A longer day trip can take visitors to the extraordinary Valley of the Temples near the southern town of Agrigento. (A future post will discuss the Valley in great detail).

On many evenings, I have walked up to the piazza above the Hotel Palazzo Failla – see “Hotels” below (not for the feint of heart!) and looked out over the valley of Modica. Despite the occasional group of local youths who gather as young people are wont to do, the timelessness of the buildings, the rugged beauty of the architecture and the long sifted light of sunset evoke a different time, a different era, a different Italy.

No matter where your travels take you during time in Sicily, visit Modica. You will not be disappointed.

IF YOU GO:

Hotels:

Entrance Palazzo Failla Hotel Modica

Entrance
Palazzo Failla Hotel
Modica

Absolutely and without question, the Palazzo Failla in Modica Alta. The Failla family opened this lovely hotel in their family palazzo. The resultant restoration is gorgeous; the master bedroom, replete with original floor tiles from the Sicilian ceramic city of Caltagirone, are one of the many options for guests. In 2008, the family opened a dependance across the road from the original hotel where suites that include every modern convenience (Spa tubs, steam showers for example) are available. There are two restaurants in the hotel – the Gazza Ladra and La Locanda del Colonnello. The Gazza is one of the finest restaurants in Italy and the Locanda offers more typical Sicilian fare. Both are excellent places to eat in the city.

In closing I must write that the Failla family has cared for many of my company’s clients over the years. Their extraordinary service would be difficult to match in the highest luxury level hotels across Italy. Truly a wonderful place to stay during your explorations of southern Sicily.

Via Blandini, 5 – 97015 Modica (RG)

Tel: +39.0932.941.059

Restaurants:

Osteria dei Sapori Perduti

In addition to the two restaurants listed in the Hotel Palazzo Failla, I also strongly encourage you to enjoy a meal (or meals!) at the

Osteria dei Sapori Perduti - Modica

Osteria dei Sapori Perduti – Modica

Osteria dei Sapori Perduti. This is a treasure of a place to enjoy a fabulous meal in Sicily. The recipes are generations old, traditional in every sense. The translation of the Osteria’s name (The Osteria of Lost Flavors) is not quite accurate as the flavors, rediscovered in traditional recipes, are unforgettable. This is a very affordable place and the service is matched by the owner’s dedication to satisfying even the most discriminating palate.

Corso Umberto I, 228, 97015 Modica, Sicily, Italy

Tel: +39.0932.944.247

Pizzeria Smile

Pizzeria Smile? Yes. A short walk from the Palazzo Failla in Modica Alta is this wonderful pizzeria. After long days of travel and visiting across this part of Sicily, the pizzeria offers simple and flavorful fare served in a very plain atmosphere. Weather permitting, the dining rooms open to the street and absent the occasional motos that rip past the restaurant, the cool evening breezes are a welcome respite from the heat of summer and welcome cool in the autumn and spring.

Via G. Marconi, 17

Tel: +39.0932.946.666

Churches:

San Giorgio and San Pietro: 10:00AM until 6:00PM except Sundays. Sunday 1:00PM – 5:00PM. The schedule for masses are posted on the doors and interior entrances to the churches.

San Niccolo Inferiore: Via Rimaldi, 1. Tel: +39.331.740.3045. Hours vary by request. You must ring the bell at the entrance to the site to gain entrance with no reservation. If you wish to set up a time to visit, call the Italian cell phone listed in this summary and make an appointment. This is a place with no formal hours, absent 10:00AM to 5:00PM. It is catch as catch can, but well worth the effort!

 
 

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Of an afternoon in summer Florence, the wide streets connecting the Duomo and Piazza della Signoria, the Ponte Vecchio and the Palazzo Pitti, are filled with visitors. Along the Via dei Calzaiuoli is one of the often overlooked treasures of the Renaissance, the church of Orsanmichele.

Built by the many, and powerful, trade guilds of the city, it is an edifice typical of the Renaissance in its

Donatello St. George Orsanmichele Florence

Donatello
St. George
Orsanmichele Florence

unification of religious purpose and civic power.

Bacchus Michelangelo Bargello, Florence

Bacchus
Michelangelo
Bargello, Florence

This is the story of how Donatello’s St. George (1420) spent time with Michelangelo’s Bacchus (1496-1497) during one of the darkest periods of art history.

In a niche created in the exterior walls of Orsanmichele, rests Donatello’s St. George. A masterpiece of early Renaissance sculpture, it was one of the first works by a maestro whose enormous talents forever changed the world of art.  Buonarotti shared with many of his contemporaries profound respect for Donatello’s incredible skill.

Across the center of Florence, rests one of Michelangelo’s masterpieces, his Bacchus. Created for a Cardinal of the Catholic Church in Rome, who rejected the work on initial viewing, the statue was returned to Florence where it has remained.

How did these two works of art, located across the city of Florence, ever “meet”? Read on.

Fast forward to the early years of the Second World War. The German’s, in partnership with their Italian allies, began a systematic and targeted removal of much of Florence’s art. From the Uffizi went works by Botticelli, Rubens and Mantegna. From the Museum of the Works of the Duomo went works by such Renaissance masters as Donatello, Michelangelo and Della Robbia. From the niche on the walls of Orsanmichele went St. George and from the Bargello went Bacchus.

As Allied forces began their landings at Salerno and Anzio, those works of art taken from museums all across Italy began to move north. German forces,  in response to orders from numerous quarters of the Nazi regime, placed the pilfered treasures in ‘safe havens’ across northern Italy and southern Germany.

Deane Keller Monuments Men

Deane Keller
Monuments Men

Frederick Hartt Monuments Men

Frederick Hartt
Monuments Men

It was in 1943 that an American artist and Yale art professor, Deane Keller, along with 345 other passionate and dedicated art historians, to include Frederick Hartt, joined the US Armed forces. They were tasked with the onerous responsibility of locating masterpieces taken by the Germans from museums and private collections across Italy.

As if the terrible confusion of the war zone was not enough, this small group of exceptionally creative and dedicated men and women had to deal with little, if any, budget, acquisition of resources as they needed them (and often, those resources were barely sufficient to the tasks at hand) and the pressures of time in securing masterpieces of art before they were lost.

Here is just one story of the innumerable successes achieved by this group:

In the course of pursuing a shipment suspected of containing the finest Renaissance masterpieces from the Uffizi and other Florence museums, the team of “Monuments Men” as they came to be called, received reliable information that the cache was located in the Castle of Neumelans (1582-1583) in the tiny northern Italian Tyrol village of Campo Tures. The secreted store of treasures was, indeed, there.

The discovery of the trove of art in the castle was eclipsed, however, by the treasures in the fortification’s nearby carriage house. In crates created years before were, among countless masterpieces,  Donatello’s St. George and Michelangelo’s Bacchus.

Further investigations yielded yet another highly valued shipment, stored in the village of San Leonardo, near the city of Trieste.

In total, when the treasures were inventoried and the shipment prepared for its triumphant return to Florence, the 1946 valuation was over $500,000,000.00. When the convoy of trucks carrying the irreplaceable art arrived in the Piazza della Signoria, the sense of closure, relief and of civilization’s victory was palpable.

As I stand at the base of Donatello’s St. George, or study the lines of Michelangelo’s Bacchus, I see not only the work of masters; I see cold nights in alpine villages, dark rooms where men, enemies or not, protected our civilization’s storied past and I recall tales of plunder and triumph.

FURTHER INFORMATION:

If you are interested in learning more about the Monuments Men, please visit The Monuments Men Foundation, established by Robert M. Edsel, author of the books mentioned in this article.

Monuments Men Foundation

Robert M. Edsel, who is the founder of the Monuments Men Foundation, was also the co-producer of the awarded documentary, The Rape of Europa. This fascinating documentary  tells the story of Nazi Germany’s plundering of Europe’s great works of art during World War II and Allied efforts to minimize the damage.

The Monuments Men is a film directed by George Clooney, scheduled for release later this year.

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Palazzo dell Archiginassio BolognaYes, it is a tongue twister, this gorgeous palazzo in the center of Bologna – Palazzo dell’Archiginnasio (Arkey-je-nah’-see-oh).

This was once the main building of the University of Bologna, Italy’s oldest university.

With the Cathedral of San Petronio, once a church well on its way to outsize St. Peter’s Basilica in Rome, the Fountain of Neptune and the food of Bologna to temp you, why visit? Read on.

The University was founded in 1088. It was not until 1563, when Pope Pius IV commissioned the construction of the Palazzo, that all university classes were consolidated.  Until then. classes were housed in various locations across the city. The facade of the Palazzo provides only a hint at the beauty within.

What draws many visitors to this fascinating and historic structure is the Anatomical Theater located on the second level of the palazzo.

Gli Spellati, Teatro Anatomico Archiginassio Bologna

Gli Spellati, Teatro Anatomico
Archiginassio Bologna

In 1637, Antonio Levanti was given the commission to build the theater, first of its kind in Italy. Constructed in both cedar and cypress wood, the theater was used for the first student human dissections permitted in Italy. The “Doctor” as the professor was called, sat on a special seat above the operating area. A large baldaquin rose above him,  upheld by carved figures of men with no skin on their bodies – called ‘gli spellati’ in Italian – created by Ercole Lelli. As morose as it may sound, the figures are beautifully carved, as are the busts and other figures in the theater.

Curiosity follows curiosity in this historic room. Statues of the most prominent physicians of Greece and Rome, Hippocrates and Galen, grace the front corners of the room. Directly across from the Doctors seat, above the theater seats, is a small door (often unnoticed by visitors). It was during the twenty-four hour dissections that members of the Dominican Inquisition would open the panel, observe and judge whether or not the teachings were heretical.

Under the watchful gaze of those judging eyes, the Doctor’s three meter pointer would be used to instruct the students in various important details about anatomy. If any of the teachings were judged inappropriate, the Doctor would have to pause instruction, then debate and defend his position.

Seat of the Doctor Archiginassio Bologna

Anatomical Theater, Archiginassio
Antonio Levante, 1637

Travelers have wondered why cedar and cypress were used to construct the theater. One only need imagine twenty four hour dissections, conducted with no break (and no opportunity to leave the room), to imagine why fragrant and odor absorptive woods were used.

In 1838, the gorgeous open rooms that once housed the University library became the home of the Communal Library for the city of Bologna. See IF YOU GO below for details about visiting the library.

This is certainly a unique and unusual corner of Bologna.

So, when you visit the city and have completed your time at the Duomo and the food market areas of the city, I highly recommend a visit to both the library of Bologna as well as the Teatro Anatomico in the Palazzo dell’Archiginassio.

IF YOU GO:

Palazzo dell’Archiginassio:

Both the Palace (including the library) and the Teatro Anatomico are open Monday through  Friday from 09:00AM to 18:45 (6:45PM). On Saturday, hours are 09:00AM to 13:45 (1:45PM). On Sundays and Holy/Festival days the building is closed to the public.

NOTE: From 1 to 24 August, the building is open only between the hours of 09:00AM and 14:00 (2:00PM) Monday through Saturday. Sundays and Holy Days/Festivals the building is closed.

Library

Over 38,000 manuscripts and incunabula, along with other objects, are now housed in the library. It is open to the public. However, you must leave your backpacks and books behind in a secure area when you register at the front desk. The only exception to allowing computers and other items in the library is if you present a letter of research from a college or university.

Teatro Anatomico:

The Anatomical Theater can be visited at any time during the palazzo’s open hours.

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