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Bolognatourist guide

a city fullof emotion

ENG

[email protected]/turismo

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Bologna, July 2010


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Bolognatourist guide

a city fullof emotion


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Welcome to this new and easy-to-use guide toBologna, a city unlike any other in the world.Designed along various thematic lines, theguide tells of the historical and artistic periodsthat have transformed the city throughout thecenturies and offers an overview of its mostcompelling sites, as well as selected glimpsesof interesting places outside its old walls.

This visitors guide to Bologna is the latest ina series of guides published as part of a newtourism information initiative promoted by theProvince of Bologna, and implemented by theTourism Service between 2005 and 2009.

The publication offers visitors new texts andthemed maps which invite them to exploreBologna and its surroundings via an extraor-dinary journey through its 60 municipalities.Visitors can decide for themselves which ofthe many itineraries in the area to follow: fromcultural tours of more than 100 museums,nature tours through its many parks, oases andreserves, sports tours via the many opportu-nities to enjoy an active vacation, an itinerarycelebrating the world-famous local food andwine traditions and - last but not least - a richcalendar of cultural events for which this areais the perfect natural setting.

This particular guide offers ten themed tours:

Piazza Maggiore - Referred to locally as lapiazza, today this square in the heart of thecity still maintains its age-old rhythms andvital importance. The square is, and alwayshas been, the grand meeting place for all ofBolognas residents, or Bolognesi.

TheClassics - For those who want to expe-rience the beauty and excitement of the citybut have little time at their disposal.

TheTowers - A tour of mediaeval Bologna,with its famous Two Towers that date backto the time of Dante.

ThePorticos - The covered sidewalks, knownas the peoples umbrella, are a symbol ofthe citys hospitality, where the blending ofpublic and private spaces nurture a specialfeeling of belonging.

TheCanals - A tour of underground Bolognaand the Aposa Creek, which flows underthe city, and of the ancient thermal baths

recently brought to light thanks to the rapidlygrowing interest in health and beauty spas.

Wine and Food - Explore the city through itshistoric shops and markets as old as the cityitself, along elegant streets and passageways,where jewellery and cold cuts are proud toshare centre stage.

Gardens andParks - From the secret gardensof the historic centres great palazzi to theBotanical Gardens founded in 1500 by UlisseAldrovandi, framed by the scenic hillsidessurrounding Bologna.

Music - Experience the musical traditionspanning the periods from Martini andRossini, through all the musical genres, tothe 70s and its rock and pop musicians, tothe present-day with its great contemporaryartists. In 2007, Bologna has been declaredCity of Music by UNESCO.

Automobiles and Motorcycles - 84 famousnames in the world of motorcycles were bornhere, witnessing the mechanical know-howthat is the envy of the modern world. Donot miss visiting the Ducati and LamborghiniMuseums. As you may know, Bologna is thehalfway mark between Maranello and Imola.

Modern Bologna - Discover the modern-daycity that continues to grow, as its importantinfrastructures, like the Bologna ExhibitionCentre (Bologna Fiera), demonstrate, and thatcontains - both in the City and throughoutthe Province -examples of architecture bysome of the great masters of the 20th cen-tury, from Le Corbusier to Kenzo Tange andAlvar Aalto.

Welcome to Bologna! It is not just a citysomewhere between Florence and Venice, butrather an important destination in its ownright, rich in history and beauty, awaiting to bediscovered by curious travellers - with the helpof the pages of this guide. Enjoy this new guide, and, above all, enjoyBologna!

G RAZIANO P RANTONI

Assessore Attivit Produttive e TurismoProvincia di Bologna

Palazzo MalvezziProvince of Bologna Archive

Introduction


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Table of contents

The Piazza Maggiore Tour

Map and Tour HighlightsThe Route

The Classic TourMap and Tour HighlightsThe Route

The Towers TourMap and Tour HighlightsThe Route

The Porticos Tour Map and Tour HighlightsThe Route

The Water TourMap and Tour HighlightsThe RouteMap of the Canals and City Walls

The Musical TourMap and Tour HighlightsThe Route

The Food, Wine and Shopping TourMap and Tour HighlightsThe Route

The Bologna Nature TourMap and Tour HighlightsThe Route

The Bologna Motor TourMap and Tour HighlightsThe Route

The Modern Bologna Tour

Map and Tour HighlightsThe Route

Credits

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MuseumsMap of the Historic CentreMap of Access PointsTourist informationIntroduction to the history of Bologna

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- Palazzo del Podest, Piazza Maggiore, 1/e - 40124 Bologna (Accessible way from Piazza del Nettuno under Voltone del Podest)- Central Station FS, Piazza Medaglie d'Oro, 1 - 40121 Bologna- G. Marconi Airport - Arrivals Hall - Via Triumvirato, 84 - 40132 Bologna

Tel. +39 051 239660 - 251947 - 6472113 Fax +39 051 [email protected] - http://iat.comune.bologna.it

Piazza XX Settembre, 4 - 40024 Castel San Pietro Terme (BO)Tel. +39 051.6954137 Fax. +39 [email protected] - www.castelsanpietroterme.it

Via Roma, 56/1 - Loc. Molino del Pallone - 40045 Granaglione (BO)Tel./Fax +39 [email protected] - www.molinodelpallone.it

Galleria del Centro Cittadino Via Emilia, 135 - 40026 Imola (BO)Tel. +39 0542.602207 Fax + 39 [email protected] - www.visitare.comune.imola.bo.it

P.zza Marconi, 6 - 40042 Lizzano in Belvedere (BO)Tel./Fax +39 0534.51052

[email protected] - www.comune.lizzano.bo.itP.zza XXVII Settembre - Loc. Vidiciatico 40042 Lizzano in Belvedere (BO)Tel./Fax +39 [email protected] - www.comune.lizzano.bo.it

Via Matteotti, 1 - 40063 Monghidoro (BO)Tel. +39 [email protected] - www.comune.monghidoro.it

Piazza della Libert, 11 - 40046 Porretta Terme (BO)Tel. +39 0534.22021 Fax:+39 [email protected] - www.comune.porrettaterme.bo.it

Via Porrettana, 312 (Piazza dei Martiri) - 40037 Sasso Marconi (BO)Tel. +39 051.6758409 Fax +39 [email protected] - www.infosasso.it

Villa Garagnani Via Masini, 11 - 40069 Zola Predosa (BO)Tel./Fax +39 [email protected] - www.iatzola.it

IAT -Tourist Informationand Reception Office

I - Tourist Information Office

Bologna

Castel San Pietro Terme

Granaglione

Imola

Lizzano in Belvedere - Vidiciatico

Monghidoro

Porretta Terme

Sasso Marconi

Zola Predosa

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TOURIST INFORMATION


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An Introductionto the History ofBologna

The Asinelli Tower, a historical symbol of Bologna - Province of Bologna archives

Bologna has always been an important cros-sroads between Northern and SouthernItaly and between Northern Europe andthe Mediterranean region. Its history hasbeen enriched by the influence of variouscultures and people who have marked theterritory and contributed to the economicand cultural development of the city overthe centuries.

The first human settlements, dating back tothe Bronze Age, were located between thelower hills and the plains (between two tri-butaries of the Reno, the Aposa and RavoneRivers). Between the 9th and the 10th cen-turies B.C. the first villages of the Villanovanperiod began to appear and one of thefirst Iron Age sites was discovered here, atVillanova di Castenaso.

In the centuries that followed, starting withthe first decades of the 6th century B.C.,the economic and cultural influence of theEtruscans was felt and when Bologna becamethe capital of the Etruscans they named itVelzna or, Latinised, Felsina.

Between the 4th and 5th century B.C., the BoiiGauls began to occupy areas of the peninsulaand the Etruscans gradually became a minori-ty. The supremacy of the Gauls in Felsina con-tinued until the arrival of the Romans in 196B.C., and seven years later (in 189 B.C.) Bononia,a colony ruled by Latin law with its own inde-pendent administration, was founded. Afterthe fall of Roman Empire, in 476 A.D., thecity was ruled by the Goths, Byzantines andLongobards during the following centuries.In 774 the city was annexed by Charlemagnefollowing his victory over the Longobards andthen handed over to Pope Adrian I.

In 1088, the Alma Mater Studiorum, stillrecognised today as the first university in thewestern world, was founded. It was a driving

force for the economic and cultural deve-lopment of the city, and allowed Bologna topresent itself to the world as a true cosmo-politan city.

Periods of struggle and conflict characte-rised life in medieval Bologna. Among the

major events of the period was the defeat ofEmperor Federico Barbarossa in 1176, thanksto an alliance of towns that united their for-ces under the Italian, Lega Lombarda, and thecapture, in 1249, of King Enzo, son of FedericoII, by his own people. The King was impriso-ned in Bologna in the building that now bearshis name - Palazzo Re Enzo.

During the second half of the 13th centurythe city was the setting of constant warsbetween the Guelphs and the Ghibellines.Between the 14th and 15th century Bolognawas governed by the Pepoli and Bentivogliofamilies, names that can still be found insome among the citys most famous places.As a matter of fact, Bologna owes much of itsmost important Renaissance art and master-pieces to the Bentivoglio family.

By the end of the 13th century Bolognahad the fifth largest population in Europe,counting approximately 60,000 residents.The growth of the textile industry broughtthe city to the forefront as one of the largestindustrial centres in Italy. The city boasted

an efficient system of canals (among themost advanced in Europe) that powered themany textile mills and facilitated the tran-sportation of goods throughout the city. As aresult, a flourishing economy brought to theconstruction of the first tower-homes.

In 1506, the city was conquered by PopeGiulio II and annexed to the Papal State,under whose domain it remained until 1860.It is worth pointing out, however, that Papalrule was interrupted by the Napoleonic rulebetween 1796 and 1815, when, at the order ofthe Congress of Vienna, the city was returnedto the Church. In 1860, the city became partof the Kingdom of Sardinia first then becamepart of the Kingdom of Italy.

During the Second World War, Bologna was

an important urban crossroads and the stra-tegic value of its railway network made thecity a primary target of the Allied Command.Bombed on several occasions, in 1944, thecity was behind the Gothic Line, the greatdefensive barrier created by the Germansalong the Tuscan-Emilian Apennines.


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The Piazza Maggiore tour is recommendedfor those primarily interested in the historicalcentre of the city. It includes all the sights thatcan be reached on foot, with a focus on pede-

strian areas (without lengthening the route toomuch) and staying within an urban-architecto-nical scenario that is unique in Europe.The starting point is, of course, Piazza Maggiore,the square of the citizens of Bologna. It is theheart of Bologna and, using the axis formedby Via Rizzoli and Via Ugo Bassi (the decumanof the Roman city), all of the areas locatedwithin the walls can be reached. Monumentalbuildings of religious and political importancesurround the square and even today it is thesymbol of its civic life. You do not have to walkfar to admire Palazzo del Podest and PalazzoRe Enzo, with the more interesting faadesfacing Piazza Re Enzo and Piazza Maggiore.

Piazza Maggiore is one of the largest, mostfascinating and ancient squares in Italy. Here,under the balcony of Palazzo del Podest,Bolognese people would gather to witnessthe proclamation of laws and the executionof death sentences. The square used to hosttournaments featuring knights, public festi-vals with popular games and any kind of lar-ge-scale public entertainment, too. Up untila century ago, it also hosted a lively weeklymarket. With your back to the faade of SanPetronio and Palazzo dei Notai, you face themost ancient complex of buildings: Palazzodel Podest, Palazzo Re Enzo and Palazzodel Capitano del Popolo, underneath whichthe grand arcade, or voltone of the Podest,passes. To the left is Palazzo Comunale (the

City Hall) - made up of the Accursio Palaceand the adjoining Palazzo del Legato - andto the right is Palazzo dei Banchi, wherePavaglione undoubtedly the most famousof Bolognas many kilometres of porticos -begins, connecting Piazza Maggiore to theArchiginnasio Museum.

Piazza Maggiore

ThePiazza Maggiore tour

Palazzo dei Banchi - Province of Bologna Archives

Piazza Maggiore - Province of Bologna Archives

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Map ofPiazza Maggiore Tour

TOUR HIGHLIGHTS

PALAZZO DEL PODEST

PALAZZO RE ENZO

PALAZZI DEL COMUNE (CITY HALL)

BASILICA OF SAN PETRONIOPALAZZO DEI NOTAI

PALAZZO DEI BANCHI

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Construction onPalazzo del Podest and thesquare in front if it began in 1200. Only a por-tion of the original faade of this Romanesquebuilding remains. What we see today is theresult of a reconstruction project datingback to 1484, during the rule of Giovanni IIBentivoglio. However, it was never completedas a popular insurrection led to the abrupt endof his rule over the city, leaving the buildingsfaade without eaves and merlons. The sup-ports of the magnificent portico are enhancedby more than three thousand carved rosettes,each one different from the next.Above the portico is theSalone del Podest (the largest hall in Bologna), once the Hall of Justice and the venue of important festivalsand events. Above the arches of the porti-co runs a balcony from which governmentdecisions were announced to the public andwhere death sentences, usually by hanging,were carried out.Palazzo Re Enzo and Palazzo del Capitanodel Popolo were built alongside Palazzo delPodest, and are separated only by the groinvolt of the Podest, which extends all theway to the ground floor forming a coveredpedestrian zone. At this intersection one findsthe majestic Arengo Tower, which sits on fourlarge pillars and their respective arches. The

great bell of the Tower, known as thecampa-nazzo , was installed in 1453 and served to callthe people together in times of danger. Todayit only chimes during important public events.

Legend has it that Federico II of Swabia, toget his kidnapped son Enzo back, offered agolden thread long enough to encircle the

walls of the city of Bologna. The young KingEnzo, a captive of his people, was none-theless treated with all the honoursor royalty, with even a small butadoring royal court. There aremany stories real or legen-dary - about his captivity:from his love affairs with the young ladies of Bologna whofought amongst one anotherto win his heart (and his bed),to the story of his love affairwith a simple peasant girl,Lucia di Viadagola, who oftenpassed under his window asshe carried her vegetables tothe nearby market, and withwhom he had a baby boy wholater became the founder of the

great Bolognese Bentivoglio family.His attempts to escape from his luxu-rious prison are also legendary. One of themost famous occurred in 1265 and is depic-ted in two unfortunately badly damagedbas-reliefs on the side pillars of Palazzo delPodest: with the help of an accomplice, a

brentatore (a wine bearer), Enzo succeeded inescaping from his Palazzo prison hidden in awine barrel (brenta) that the man was carryingon his shoulders. Unfortunately, a woman at

the window of a nearby house saw the kingsblonde locks protrude from the vat and rai-sed the alarm: Enzo was immediately

recaptured. Re Enzo was buried, athis behest, in the Basilica of SanDomenico, where his tomb canstill be found today. In memoryof his burial, a plaque and aportrait of his profile wereplaced on the wall to the leftof the basilicas main altar in1731 after the church had beenrenovated.In ancient times, the groundfloor of the palazzo was usedas an armoury and as stora-ge space for the carroccio , a

large cart on which an altar wasmounted, and a true symbol of the

city of Bologna. According to tra-dition, it had been pulled into battle byoxen, and was valiantly defended by soldiersto avoid its capture by the enemy. PalazzoRe Enzo, as it is today, is the result of a radi-cal restoration project by Alfonso Rubbianibetween 1905 and 1913.

King Enzo: History and Legend

Palazzo Re Enzo and the Fountain of NeptuneProvince of Bologna Archives

Palazzo Re Enzo. The old palatium novum was built between 1244 and 1246, to house theCity Hall, but instead became the luxuriousprison of Enzo, King of Sardinia, the son ofEmperor Federico II of Swabia. King Enzo wascaptured during the Battle of Fossalta in 1249,and kept as a prisoner here by his own peopleuntil his death in 1272 hence the name ofthe palace itself. Going up the stairs along thecourtyard of Palazzo Re Enzo you reach thehall of Palazzo del Podest, and what was thenthe Palazzo del Capitano del Popolo. It standsbetween Palazzo del Podest and Palazzo ReEnzo, facing the Town Hall. From the street anold tower, built into it on the corner during itsconstruction, is still visible. This tower, whichbelonged to the Lambertini family, has beenused in various ways over the centuries - froma notaria , an office where notaries drew upcontracts for citizens, to a female prison.The groin volt of the Podest, which, as pre-viously mentioned, links various buildings, was

once one of the citys most vibrant socialhubs, thanks to the great market that filled itwith colourful vendors and customers. Deathsentences were also carried out here, andtwo gallows from which the criminals werehung are still visible in the wing of the arcadethat faces the square. The four statues of thepatron saints of Bologna, placed at the arcadesintersection in 1525, portray San Petronio, SanFrancesco, San Domenico and San Procolo.The intersection of the arcade, upon whichthe Arengo Tower sits, has a curious acousticfeature: put your ear against one of the fourcorner pillars and have someone whisper inthe opposite corner. You will hear their voiceclearly!

Continuing past the buildings that face PiazzaMaggiore, you reachPalazzo dAccursio (orPalazzo delle Biade ) municipal buildings, Piazzadel Nettuno, the statue of Neptune (Nettuno)and the Basilica of San Petronio.

The Fountain of Neptune, also known asThe Giant (Il Gigante inItalian), is one of the mostfamous monuments of thecity. The square on which itsits (Piazza Nettuno ) was laidout in 1564, and a large num-ber of small buildings wererazed to make room for it.The architect was TommasoLaureti, a sculptor andpainter from Palermo, whorecruited the Flemish sculp-tor Jean Boulogne de Douai,known asGiambologna , forthe making of the great sta-tue. Zanobio Portigiani, anexpert caster, provided thebronze fusion. The statue was made in theFabbriceria of San Petronio, in a building onwhat is now Piazza Galvani, also known asPalazzo dellAccademia or delle Scuole orevendel Pavaglione .Today, on the west side of the square, thereis a plaque that reads: IN THESE DWELLINGSOF THE FABBRICERIA OF SAN PETRONIO, INA LARGE ROOM ON THE GROUND FLOOR,IN 1506 MICHELANGELO CAST THE STATUEOF GIULIO II - GIAMBOLOGNA IN 1564

CAST THE NEPTUNE MENGANTI IN 1580CAST THE STATUE OF GREGORY XIII - HEREAT THE BEGINNING OF THE 16TH CENTURYTHE SCULPTOR ALFONSO LOMBARDI FROMFERRARA LIVED AND HAD HIS WORKSHOP.The fountains stone base is the work ofGiovanni Andrea della Porta and Antonio

Fasano, from Mantua, and Andrea Riva, fromMilan. Two types of Venetian limestone

were used, red ammonite anda lighter version ofbronzet-to from Verona. Just like theBasilica of San Petronio, thered and white colours wereused to evoke the Free City ofBolognas ones.Grisante then had water chan-nelled to the fountain fromtwo sources south of the cityand, for the masonry, bricksfrom the dismantling of thecity walls merlons wereused. On each of the foursides of the great limestonebasin there are carvings thatread, FORI ORNAMENTO

(built to decorate the square), POPULICOMMODO (built to be used by the citi-zens), AERE PUBLICO (built with publicfunds) and MDLXIIII (1564 in Romannumerals), although the work was actuallycompleted only in 1566. It is worth notingthat this fountain, like theFontana Vecchia ,which is now also considered a monument,was actually built for the practical purposeof supplying water to the areas citizens.With the help of severalacquaioli , the water

carriers who worked at the fountain, resi-dents could even have water delivered totheir homes for a small fee. The monumenthas undergone many renovations over thecenturies. The statue of Neptune was disas-sembled and cleaned during the last twoworld wars.

Piazza and Fountain of the Neptune

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Basilica di San PetronioThe Basilica of San Petronio was built at therequest of the Bologna city fathers who, in1390, entrusted the project to the architectAntonio di Vincenzo. Many houses in theimmediate vicinity were razed to make roomfor what was to be the largest church inChristendom.The project was finished in 1659 with theconstruction of the apse. In keeping with thewill of the citizens of Bologna, the Basilicawas to be shaped like a huge cross, with eachof its gigantic arms sitting on its own square.One was meant to reach all the way to ViaDAzeglio, overlooking Piazza dei Celestini, theother to reach beyond the Archiginnasio, tothe alley that leads to Via De Foscherari, whilethe longest arm was to stretch all the wayfrom Piazza Maggiore to Piazza Galvani. A 150metres- high and 50 metres-wide dome was

originally meant to be built above the mainaltar.Over time the dimensions of the project werereduced and only the longer arm was actuallycompleted. This change can be attributed toboth the arrival of the Papal army in 1506 andthe excessive cost of the project. The Basilicaof San Petronio is, nevertheless, still one of thecitys largest churches - measuring 130 metresin length, and being 58 metres wide, and 45metres high at its centre with a 51 metre-widefaade.The faade, however, remains incomplete. Theupper section is made of brick while the lowerpart is covered with marble.Another point worth noting is that the niches

designed to house statues have remainedempty all these years. Along the base of thefaade eight bas-reliefs can be seen depictingthe saints who played a role in the historyof the Church in Bologna. There are beautiful

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The City HallsThe part of the building where the clock towerrises was the residence of the illustrious lawyerAccursio during the 13th century. In 1284, hesold the building to the city, and it was conver-ted into a public granary: thats the reason whyit is also known as Palazzo delle Biade (literally,The Grain Palace). A mechanical clock ador-ned with moving statues was mounted in theancient tower only to be replaced in 1700 withthe current clock. High up on the faade thereis an importantMadonna with Child paintedby Niccol dellArca. Above the portico therewas once a balcony from which the city autho-rities would threw a roast pig into the jubilantcrowds during the celebrations of August 24th.A statue of Boniface VIII dominated the squarefrom above the balcony: this statue, sculptedin 1300 and covered with gold foil, is now hou-sed at the Civic Mediaeval Museum. The otherpart of the building (to the left of the entrance)was extended at the end of the 1500s to makeroom for the apartments of the City Governor,who, in reality, was the Cardinal Legate.The Palace of the Cardinal Legate actually loo-ked like a fortress - with lots of walls, merlonsand towers - and, in ancient times, it was sur-rounded by a deep moat and drawbridge.At the base of the walls you can still see theancient measurement units used by artisans

and vendors: the arm, the pole, the Bolognesefoot and the official sizes used to manufactureroof tiles and bricks.Above the entrance gate, designed by theGenovese architect Alessi in the mid-1500s,there is a statue of Gregory XIII, sculpted byMenganti. This statue is the copy of a bronze

one made by Michelangelo, and was erectedat the order of the Bentivoglio family, theRenaissance lords of Bologna, and then destroyed after the city fell under Papal control. Theoriginal bronze statue was melted down by thepeople of Ferrara and used to make cannons.During World War II, a wall was built aroundthe statue to protect it from bombardments.Pope Gregory XIII, a native of Bologna, was thereformer of the ancient Julian calendar, whichin 1583 was a full ten days out of alignment.Entering the building you cross over threecourtyards: one for receiving guests, one forstoring weapons and one serving the prison(which was greatly reduced in size at the endof the 19th century to make way for the SalaBorsa). It was here that Ulisse Aldrovandi laidout the botanical gardens calleddei semplici,consisting in a series of beds to show medicalstudents the fundamental semplici (Italian forbasic) plants, which medicine was derivedfrom in those days. The great staircase, desig-ned by Bramante, was built so that horses andcarriages could actually take their passengersall the way up to the apartments located onthe upper floor.Once inside, a great many halls and roomsflow into one another, including the FarneseHall (from which you can access the MorandiMuseum), the Cappella Farnese (Farnese

Chapel), the only remaining one of twelvechapels which were once in the palace, theSala dErcole, named after its large statue ofHercules, the hall of the City Council and theapartments of the Cardinal, which now housethe Municipal Art Collections.

Detail of Palazzo dAccursio - Province of Bologna archives

Central Nave of the Basilica of San PetronioProvince of Bologna Archives

The San Petronio MuseumProvince of Bologna Archives

Basilica of San Petronio (detail of the photo of Piazza Maggiore)Bologna City Archives - Sergio Buono


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Palazzo dei BanchiPalazzo dei Banchi owes its name to the smallbanks and money-changers stalls that onceoccupied the area where the shops now exist.Built in 1412, it is not really one building butrather a faade constructed by Jacopo Barozzida Vignola between 1563 and 1568 to cover themany, and certainly less elegant, houses thatonce gave onto the square here. The buildingsportico is the centre of a series of pedestrianporticos that begin at the corner of Via Rizzoliand Piazza Re Enzo, and go all the way to thePavaglione portico.

The collection of paintings was started in1796, from works found in churches andconvents that were suppressed during theNapoleonic Era. It was moved here, into whatwas once the convent of San Ignazio, in ViaBelle Arti, in 1808. The tour of the gallery isdivided into the following sections: Primitive ArtThis section hosts the works of local artistsof the 13th and 14th centuries. Prominentamong them is Vitale da Bologna, with hisSan Giorgio and the Dragon and the seriesof frescoes removed from Sant Apollonia inMezzaratta. Other rooms exhibit works bynon-Bolognese artists, including the polypt- ychMadonna on the Throne with Saints , theonly work of Giotto that bears his signature. The RenaissanceThis area hosts early Bolognese Renaissancemasterpieces, with works by Francesco delCossa, Lorenzo Costa and Francesco Francia,who worked in Bologna in the heyday of theBentivoglio family.Here you will see works not from Bolognaitself, though nonetheless linked to localculture, such as the famousEcstasy of SantaCecilia by Raphael. Worth mentioning, fortheir imaginative portrayals, are the so-called Altarpiece of the Apprenticeship and The

Adoration of the Magi by Amico Aspertini,and, for its formal elegance,Our Lady ofSanta Margherita by Parmigianino. Beforethe room housing the foreign paintings, aVisitation by Tintoretto, an important work inthe aesthetic education of the Carraccis.MannerismThis area houses works by artists from thesecond half of the 16th century, including

Pinacoteca Nazionale (National Pictur Gallery)Federico Barocci, Bartolomeo Passerotti,Giorgio Vasari, Prospero Fontana andBartolomeo Cesi. The CarracciThe most important masterpieces ofLudovico, Agostino and Annibale Carracci- who founded Accademia degli Incamminati in the 1580s - are housed in a hall especiallydedicated to them. The academy foundedby the Carraccis aimed to reform painting byproposing a return to natural art, while lea-ving the intellectual attitude of Mannerismbehind. Ludovico, an interpreter of theCounter-Reformation movement, plays a

leading role here, with such works asTheConversion of San Paolo and Madonna ofBargellini, while there are fewer paintings byAnnibale, who left Bologna for Rome in 1595.The Dressing of San Guglielmo , a youthfulmasterpiece by Guercino, concludes the visitto this hall. Guido ReniThis artist is the leading exponent of 17thcentury classic ideals, a creator of inten-se religious iconographies of the Counter-Reformation movement, includingThe Pietyof the Beggars and The Massacre of theInnocents. The Baroque Era and the 1700sA series of rooms host other works by theCarracci and students of their academy, byGuercino (in his later period) and other expo-nents of the Bolognese school of the 1600s,including Alessandro Tiarini and ElisabettaSirani. Among the painters of the 1700s, CarloCignani, an exponent of the Academic tradi-tion, Giuseppe Maria Crespi, for his represen-tative immediacy, and the Gandolfi brothers,are also worth mentioning.

decorations on the three doors: the centraldoor, calledPorta Magna , was designed in 1425by Jacopo della Quercia. The bas-reliefs of thearchitrave and side pillars depict biblical storiesand the lives of the prophets. The sides areadorned with the stained glass of the twenty-two chapels inside the Basilica.The interior is Gothic, with three aisles, sup-ported by ten pillars of different styles thatsupport the pointed arches. On the pavement you can see the famous Gian Domenico Cassinisundial built in 1655. The most famous chapelsare along the aisle on the left: frescos painted

by Giovanni da Modena decorate the firstand the fourth chapels, and theSan Rocco byParmigianino can be admired in the eighth cha-pel. In the minor naves you can see four carvedcrosses that, according to legend, were erectedby San Petronio at the four cardinal points ofBologna. The crosses on display today are theresult of a reproduction project dating backto 1798. Many famous historical ceremonieswere celebrated in San Petronio, but the mostimportant event took place on the 24th ofFebruary 1530, when Charles V was crownedEmperor by Pope Clemente VII.

Exiting the Basilica into Piazza Maggiore, not faroff to the right, is Palazzo dei Notai.

Palazzo dei NotaiThe Guild of Notaries (notai in Italian) was veryinfluential during the Middle Ages. Initially, asmentioned, the individual notaries practisedtheir profession under the porticos of thePodest, where the market also conducted itslively commercial activities. They later movedtheir desks into a room on the ground floorwith other public offices. The offices of theGuild itself were located in a 13th centurybuilding overlooking the square, Palazzo deiNotai. The six original windows were the workof Antonio di Vincenzo, but in early 1900, thebuilding was renovated by Alfonso Rubbiani. Inthe 1700s the ground floor was used as a salara

(a salt warehouse). In those days there was norefrigeration and salt was essential in the pre-paration and preservation of meat.On the main faade overlooking PiazzaMaggiore, the emblem of the Guild of Notaries,three ink pots with quills on a red background,can still be seen.

Amico Aspertini was born in Bolognabetween 1474 and 1475. Some of his moreimportant works are now housed in thePinacoteca Nazionale di Bologna (BolognaNational Picture Gallery) and in the churchesof San Petronio and San Martino, where thepainter was buried on November 19, 1552.An original and highly educated painter,Aspertini had such an independent artisticpersonality and was so extravagant thathe actually never submitted to anyonesstyle. The speed with which he paintedwas incredible: being ambidextrous, he wasable to simultaneously apply thechiaro and scuro with both hands. After his worksin Rome for Pope Alexander VI, in 1506 hewent to work with Francia and Costa onthe Santa Cecilia frescos in Bologna, andlater on those of San Frediano in Lucca.His decorations in three halls in theRocca (fortress)Isolani in Minerbio are a master-piece from his later years. The preparatorydrawings of this work are preserved at theBritish Museum in London.

Amico Aspertini

Palazzo dei Notai as seen from Via IV Novembre - Bologna City Archives - Sergio Buono

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Palazzo dei Banchi detail of the porticoProvince of Bologna Archives


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The Classic Tour is ideal for those who wish todiscover Bolognas monuments and significantlandmarks in one day, starting from PiazzaMaggiore.

Leaving the Basilica of San Petronio (see PiazzaMaggiore and theQuadrilatero ) on the right,pass under the Portico del Pavaglione andcontinue until you arrive at the entrance ofthe Civil Archaeological Museum.

Continue under the portico to theArchiginnasio , one of the most importantand representative buildings of the wholecity, whose construction was ordered by PopePius IV and whose project was entrusted to

Antonio Morandi (also known as Terribilia),who finished the building between 1562 and1563. Composed of a 139 metre-long porticoand a central courtyard with two rows of gal-leries, this project brought about much nee-ded urban renewal and allowed the variousuniversity schools to assemble under a singleroof.

The Archiginnasio, rich in works of art, was, asa matter of fact, the seat of theStudium theUniversity - of Bologna until 1803. The building,which includes the former Church of SantaMaria dei Bulgari, is composed of two floorswith a frontal portico and courtyard. The upperfloor once housed study halls for lawyers andartists: the corresponding lecture halls are theStabat Mater Hall and the Reading Room ofwhat is now the Archiginnasio Library.Originally housed in the Convent of SanDomenico, the libra-ry was moved to theold rooms of theUniversity in 1838.The texts in the col-lection cover a widerange of subjectsrelating to histori-cal, political, literary,artistic, biographicaland philosophicaldisciplines, as well as

a rich section devo-ted to the cultureof Bologna. Todaythe library is hometo more than half amillion volumesand 12,000 manu-scripts.

The Civic Archaeological Museum is one ofthe most important archaeological museumsin Italy and has had its headquarters in PalazzoGalvani since 1881, when it was established.Its collections include artefacts dating backto the Villanovan period and local archaeo-logical findings of Greek, Roman and Etruscanrelics (in the picture:an Etruscan vase), aswell as a large col-lection of Egyptianones.Exhibits not to bemissed include theRoman lapidary (withthe torso of Nero decorated with a Gorgonshead) and the section devoted to thePrehistoric era in the Bologna area, the richEtruscan and Villanovan section (with a vastselection of tombstones, among which theGreat Tomb of Margherita Gardens GiardiniMargherita in Italian, one of the several parksof Bologna -, including personal items, bronzetools, ceramic and bronze vessels), the Romanand Greek sections (with FidiasLemnia

Athena) and the priceless Egyptian collection(among the most important in Europe).

The Civic Archaeological Museum

Courtyard of the ArchiginnasioProvince of Bologna archives

The Classic Tour

Teatro AnatomicoProvince of Bologna archives

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Map of theClassic Tour

TOUR HIGHLIGHTS

CIVIC ARCHAEOLOGICAL MUSEUM

ARCHIGINNASIO

BASILICA OF SAN DOMENICO

BASILICA OF SANTO STEFANO

PALAZZO DELLA MERCANZIABASILICA OF SAN GIACOMO MAGGIORE

PALAZZO MALVEZZI DE MEDICI

BASILICA OF SAN FRANCESCO

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Bearing witness to the history of the buildingas the seat of a university, a vast mural of heral-dic shields, thousands of student emblems andinscriptions honouring the teachers can stillbe admired. On the first floor, the AnatomicalTheatre, built by Antonio Levanti in 1637, canbe visited. This hall was dedicated to thestudy of anatomy. It was originally shaped likean amphitheatre and built of pinewood, witha caisson ceiling and decorated with statues.Unfortunately, it was destroyed by bombs inWWII, but then later restored.Leaving the residence, continue under theportico in the direction of Via Farini until youget to Piazza Galvani, built in 1563 by Pius IV,in order to create more space next to theArchiginnasio. At the centre of the squarethere is a statue dedicated to Luigi Galvani.

Basilica di San DomenicoGo over to the other side of Piazza Galvaniand you will find yourself on via Farini, where you can turn left to reach Piazza Cavour; turn

right and continue along the entire length ofthe Banca dItalia portico.Once on Via Garibaldi, keep on walking until you get to theBasilica di San Domenico .

From Via Garofalo and turning left onto PiazzaCavour, you will retrace the route back to ViaFarini. From here, turn right and just go straighton all the way to Via Santo Stefano, then turn

left onto the square and the Basilica of SantoStefano.

Piazza Santo Stefano is one of the mostbeautiful sights of Bologna. The square, oftenthe venue of cultural events and concerts, issurrounded by important buildings and closedoff from the Basilica of Santo Stefano.

Luigi Galvani

Luigi Galvani graduated in Medicine andPhilosophy from the University of Bolognain 1759. Once, while dissecting a frog, oneof his aides accidentally touched a nerveof the dead animal with an electricallycharged scal-pel, making itsleg move asif it were stillalive. This eventgave birth tothe study ofthe relationshipbetween elec-

tricity and life.However, after years of obser-vations anddiscoveries, Galvani was forced to inter-rupt his studies. In 1796, when Napoleonstroops occupied Bologna, he refused toswear allegiance to the Cisalpine Republic:as a result, he lost his Chair at the AnatomyFaculty of the University. He was rehabili-tated as aProfessor Emeritus only after hisdeath, occurring in 1798. Luigi Galvani is,without a doubt, the father of biologicalelectricity.

San Domenico and the San DomenicoMuseumThe Dominican complex in Bologna wasfounded in the early 13th century, with theconstruction of a church and annexed con-vent, when Domenico, founder of the Orderof Preachers, settled in the city. Following hisdeath in 1221, the importance of the mona-stery grew considerably, and the church wascompletely rebuilt and enlarged since 1234,to be finally consecrated by Pope InnocentIV in 1251. In 1469 a sculptor from Puglianamed Niccol was charged with creatinga monumental marble cymatium for thesarcophagus of the orders founder. The work

made him famous, but the artist, who waslater namedNiccol dellArca (arca alsomeans monumental sarcophagus in Italian),actually failed to complete it (he died in1496). A young Michelangelo, in fact, sculptedthe statues of San Petronio and San Procolothat stand over the tomb.The museum, located in several areas betwe-en the sacristy and the choir of the basili-ca, hosts numerous works of art previouslyscattered around the basilica or inside theconvent - in some cases even without ade-quate protection. In the two halls hostingthe museum, a fresco dating to the 17thcentury was discovered -Moses in the Desert ,attributed to Andrea Donducci, known asMastelletta , of whom there are other worksin the San Domenico Chapel inside the basili-ca. Among the works of particular importan-

ce is aPiety by Baccio da Montelupo, madeat the end of the15th century enti-rely of terracot-ta: only four ofthe many statuesthat were oncehere still remaintoday.

The Marble Cymatiumof Niccol dellArcaProvince of Bologna

archives

The Basilica of Santo Stefano is, withouta doubt, the most fascinating complex ofreligious buildings in Bologna. Looking overthe square named after it, it is known as thecomplex ofSette Chiese (Italian for SevenChurches).The basilica, more than one thousand yearsold, is made up of an intricate and highlyoriginal structure, in which several intertwinedcult-related buildings have come together tocreate a sort ofSancta Jerusalem a sort ofreconstruction of the holy places in Jerusalem.Tradition traces its foundation to the early5th century A.D.: Petronio, the Patron Saint ofthe city (in the 5th century Bishop of Bologna)wanted to be buried here. Moreover, it hasalso been discovered further documentationhinting at a previous construction in the sameplace, dating to the 1st century A.D. - possiblya temple dedicated to the goddess Isis, erec-ted on the site of a water spring that is stillvisible in the Basilica del Santo Sepolcro.

It was probably on the site of this temple thatthe first Christian temple was built givinglife, over the course of centuries, to thepresent-day structure. Very little remains ofthe original floor plan: the traditional SevenChurches have, in fact, been reduced tofour, due to restructuring projects executedbetween the late 1800s and the early decadesof the 1900s.

Piazza Santo StefanoProvince of Bologna archives

Santo Stefano MuseumProvince of Bologna archives

Piazza Santo Stefano by night - Province of Bologna archives

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The complex hosts the tomb of San Petronio,who was the Bishop of Bologna from 431 to 450and later became its Patron Saint. His feast dayis celebrated on October 4th. The head of theSaint was moved into a chapel of the Basilicanamed after him.The Church of San Vitale e Agricola, which hou-ses the sarcophagi of the two martyrs, datesback to the 5th century, but has been repeate-dly restored between 800 and 1000.Stepping through the so-called Pilates courtyard, an ancient portico dating to the 13thcentury, the Church of the Trinity (finished inthe 12th century) can be reached.

Leaving Piazza Santo Stefano behind and hea-ding towards the Two Towers, you reach Piazzadella Mercanzia, on which the eponymousbuilding stands.

Palazzo della Mercanzia is an elegant, brickGothic building built between 1384 and 1391.It was erected on the site where the olddogana (Italian for customs) once stood, andwas projected by Antonio di Vincenzo, thefamous architect who designed Palazzo deiNotai, Palazzo Re Enzo and the Basilica of SanPetronio, too. The pillars and the balcony, ador-ned with a canopy, are the work of Giovanniand Pietro dalle Masegne. Resulting from theNapoleonic decree dated June 27th 1811, theBologna Chamber of Commerce established itsheadquarters in this building, and it has remai-ned here ever since. Inside, the atrium and themagnificent Council Hall can be visited. Over the years, the building has also been the seat of theMerchants Forum and many guilds. Countlessdisputes between merchants were resolvedhere, by especially elected judges. Amazinglyfor the times, there was also a second level ofappeal administered by an official called thejudge of appellations. All judicial authoritieswere elected anew each year in the presenceof the Elders and theGonfaloniere di Giustizia (a sort of Manager of Justice), and remained inoffice for six months. From Piazza della Mercanzia continue past theTwo Towers towards Via Zamboni until you getto Piazza Rossini, in which the church of SanGiacomo Maggiore is located.

For the artistic treasures it holds, the church

of San Giacomo Maggiore is one of the mostillustrious in Bologna. It bears the name ofSan Giovanni Battistas brother, the ApostleGiacomo, the first martyr among the apo-stles, whose body is preserved in a shrine inSantiago de Compostela. The church was builtin Romanesque style between 1267 and 1315 by

the Augustinian Hermits, and was consecratedin 1344. The adjacent convent has always beenan important culture and study centre of theAugustinian Order. The bell tower was erectedin 1471. The portico, which is still consideredone of the greatest works of Renaissance stylein Bologna, was built subsequently. At the endof the 15th century, the churchs interior wasrenovated in full Renaissance style, only to bechanged once again in the 18th century.The church houses a gallery of precious master-pieces. The magnificent sacristy has vaultedGothic ceilings and the mighty wardrobe datesto 1640. The fresco, now barely visible in oneof the niches of the faade, dates to the 14thcentury.The apse houses the 15th century, square-basedBentivoglio Chapel, with an elegant cupolaadorned with frescos by Costa and Francia.The chapel was built at the behest of AnnibaleBentivoglio in 1445, in front of the suspendedtomb of Anton Galeazzo, his father, designedby Jacopo della Quercia and various fellowartists.There is a painting over the altar by FrancescoFrancia: the representation of theMadonnaSeated on a Throne with Child and Saints dates back to 1494. Every year on May 22nd, inSan Giacomo Maggiore, there is a great feastcelebrating Santa Rita da Cascia, and the rosetraditionally received on this occasion must bekept all year for good luck.

Palazzo Malvezzi de Medici , seat of theProvince of Bologna, is located in the samesquare facing the church. The building has beendescribed as palazzo dal portico buio for itsdistinctively shaded (buio, in Italian) portico.It was constructed at the request of theMalvezzi family, a prominent, wealthy familywhose presence in the city dates back to 1100.

The Malvezzis participated actively in localpolitics, occupying important positions in sup-port of the citys Guelph party and on severaloccasions supporting the Bentivoglio familypositions at least until 1488, when they tookpart in an ill-advised conspiracy against theBentivoglios by the Marescotti family. Once

Palazzo Malvezzi de MediciProvince of Bologna archives

defeated, they were stripped of their wealth.In 1506, after the Bentivoglio family had beenexiled and Bologna had been taken over by thePapal State, the Malvezzis returned to the city,regained possession of their properties, andwere even given back their senatorial titles.Construction of the building, designed byBartolomeo Triachini, began in 1560. Amongthe later, and more important, interventionswas the grand staircase built for MarquisGiuseppe Malvezzi de Medici in 1725 by thearchitect Alfonso Torreggiani, but actuallydesigned by Francesco Bibiena. Around themid-19th century the Malvezzi family enhan-ced the main floor, employing the genius

designer Francesco Cocchi, and figure pain-ters Antonio Muzzi and Girolamo Dal Pane,with ornaments created by Giuseppe Badiali,Andrea Pesci and Luigi Samoggia. In 1931, thebuilding was purchased by the Province ofBologna: unfortunately, the furniture and thelibrary, which were also up for sale were notpurchased and were lost to the antiquitiesmarket. Following restoration work comple-ted under the direction of Emilio Boselli in the1930s, the Bibiena staircase was dramaticallyaltered, but the decorated rooms of the mainfloor have kept their original appearance andare now used as reception rooms on impor-tant occasions.

The Bentivoglios are the Bolognese feudalfamily par excellence. They arrived in Bolo-gna in the 14th century, and among the manylegends surrounding the figure of King Enzo -son of Federico II and a prisoner of the peopleof Bologna - from whom the family claimeddescent, the most famous one claims that thehead of the Bentivoglio household was actual-ly the son he had with Lucia, a peasant girl. Itseems that the name of this child comes fromthe fact that Enzo often said to Lucia my love,I love you so (amor mio, ben ti voglio inarchaic Italian). The hegemony of thefamily has its beginnings on March14, 1401, after the expulsion ofthe Papal Legate, when GiovanniBentivoglio the 1st became Gon-

faloniere di Giustizia (Manager of Justice) for life. The family reignedover the city under Anton Galeazzo(laid to rest in the tomb Jacopo della Quer-cia created or him in 1435, in the church of SanGiacomo Maggiore), under Annibale I - killedby the Canetoli family in 1445 - and Sante,who brought a long era of peace to his fellowcitizens. After Santes death (1462), GiovanniII took over as lord of Bologna, and ruled formore than forty years. Under his command,and thanks to a new political and diplomaticbalance with the other Italian states, Bolo-gna definitively entered the Renaissance, notonly in the field of art, but also in every otheraspect of social and cultural life. During thistime significant changes were made to theurban landscape: the creation of Piazza Calde-rini, the building of the Volte dei Pollaroli andthe widening of the open areas in front of thechurches of San Salvatore and San Martino,to name but a few. The construction of newchurches and grand palazzos, and their embel-lishment with paintings and decorative works,gave the city a true Renaissance look. Among

other works, Palazzo Bentivoglio, in the areawhere today the Teatro Comunale (Bolo-gnas City Theatre) and the Guasto Gardens(Giardini del Guasto) stand, was completed.In the wake of this fresh series of initiativesand development, the teaching of medicine,philosophy and astronomy also advanced,with Girolamo Manfredi as main protagonist.It was also in this period that Giovanni Picodella Mirandola and Nicolaus Copernicussettled in Bologna. On the artistic front, thisera saw the arrival of the great painters of

the Ferrara school, while Niccol dellArcabrought to completion the magnifi-

cent cymatium which houses theremains of San Domenico, andAristotele Fioravanti designed andbuilt the grand portico of Palaz-

zo del Podest. Towards the endof his reign, Giovanni Bentivogliothe 2nd, under the influence of his

wife, Ginevra Sforza, committed severalfatal errors, gradually becoming a tyrant inhis management of public affairs and beha-ving ambiguously towards other states. Thebone of contention that ultimately led tohostilities with the other noble families ofBologna was the massacre of 240 membersof the Marescotti family: the bloodbath wasordered by Giovanni the 2nd himself, afraidthat Agamennone Marescotti intended tooverthrow him and take over the reigns ofpower. In 1504, in light of these events, Bolo-gnas people themselves helped Pope Giu-lio IIs troops in the conquest of the town.Giovanni the 2nd, together with his wife andtheir children, fled the city. In 1507, following

continued attempts by the sons of Giovannithe 2nd to regain their fathers power, thepeople of Bologna finally destroyed PalazzoBentivoglio. After the end of the Bentivo-glios hegemony, Bologna remained underPapal control until the end of the 1700s.

Bentivoglio family

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Once a Carthusian monastery, Bolognas citycemetery the Certosa differs from normalcemeteries for the structure itself and forthe wealth of its decorations. Once inside, you immediately notice that there are fewopen spaces.The plan of the cemetery is almost entirelycovered by porticos, and this feature pro-vides the whole place with a particularlydistinctive atmosphere, not to be found inother cemeteries. The range and complexityof the plan evokes in the visitor a sense ofbewilderment and awe at the same time.The arched portico at the eastern entrance

of the Certosa, converging with the one thatleads to the Sanctuary of the Madonna ofSan Luca, seeks to give a feeling of continuitybetween this city of the dead and the city ofthe living. Some tombs are decorated withpaintings instead of by monuments and thearchitectural fantasy alone certainly makes itworth a visit.

The Cimitero Comunale (City Cemetery)was built in 1801 inside the Certosa mona-stery, which was founded around 1350 byCarthusian monks (Certosini) and remainedactive until it was closed by Napoleon in1797. The church of San Girolamo, next tothe cemetery, houses a stunning inlaid choir

The Certosa of Bologna and paintings by many of the finest artistsof 1600s Bologna - Antonio and BartolomeoVivarini, Ludovico and Agostino Carracci,Bartolomeo Cesi and others. Thanks to thewealth of noble families and the bourgeoisieof Bologna, impressive family tombs werebuilt and the monastery grew until it becamea veritable open air museum.

The richness of the Neo-Classical sculptures,along with tombs from the Realist periodthat were installed there around 1870, is just one of the distinguishing characteristicsof the Bolognese cemetery. TheChiostro Terzo , in particular, offers a cycle of remarka-

ble Neo-Classical beauty and Enlightenmentsymbolism. The burial paintings - tempera orfrescos - on the walls are probably unique inthe world. For these reasons, especially in the1800s, the Certosa became so important thatis was included in the Grand Tour of famousEuropean travellers such as Byron, Dickens,Mommsen and Stendhal. Many famous figu-res from the citys history and Italys past areburied in here, including the poet GiosuCarducci, the author Riccardo Bacchelli, thestatesman Marco Minghetti, painters GiorgioMorandi and Bruno Saetti, the composerOttorino Respighi and industrialists and busi-nessmen such as Alfieri Maserati, EdoardoWeber and Nicola Zanichelli.

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grew steadily over time, and the City grantedthem land on which to build their basilica(completed in 1254). Built in French Gothicstyle, it houses a large marble altar created by Jacobello and Pier Paolo Masegne.Outside the basilica the tombs of the glossa-tors - legal scholars - can be admired.

Today, Via Ugo Bassi is a typical example of20th century urban architecture, with impo-sing buildings and faades embellished withArt Nouveau decorations. At the corner ofVia Ugo Bassi and Via Nazario Sauro is a statuededicated to Ugo Bassi.

From here, return to Piazza della Mercanziaand proceed along Via Rizzoli and the entirelength of Via Ugo Bassi to the corner of ViaGuglielmo Marconi and Piazza Malpighi, wherethe Basilica of San Francesco and the Tombs ofthe Glossators are located.

The Basilica di San FrancescoThe first visit of a messenger from the orderof San Francesco to Bologna, in the personof Bernardino di Quintavalle, was recordedin 1221. San Francesco himself came to preachin the city for the first time in 1222, in PiazzaMaggiore. The number of Franciscans in town

Ugo Bassi was one of the protagonist of theItalian Risorgimento - his father Luigi Sante,was a customs clerk for the Papal State and hismother, Felicita Rossetti, was a maid. Despitehis fathers opposition he became, while stillvery young, a Barnabite novice and in 1821took his vows in Rome at the church of SanCarlo. In the Barnabite Order he met andbefriended Alessandro Gavazzi, a fellow priestand great patriot with very liberal ideas, who

eventually became Garibaldis army chaplain.Bassi became a well-known preacher in hisown right, and during long trips around Italy,during which he always lived in total poverty,was often followed by people attracted to hisorations. During the revolutionary turmoil of1848 he did not hesitate to join Pio IXs forces

Ugo Bassi to defend Italy from invaders. Illuminated bya great sense of patriotism, Bassi set out toconvey the spirit of the revolution to soldiersand the people. Wounded in Treviso on 12May, 1848, he was treated in Venice, and, oncehealed, he fought for that Republic, only tocome back to Rome, where he witnessedthe birth of the Roman Republic. Ugo Bassiwas taken prisoner by the Austrians underGeneral Gorzkowski in Comacchio on August2, 1849 and transferred to Bologna on charges

of possession of arms, sentenced without atrial and shot together with others on August8, 1849. In the days following the execution,many citizens of Bologna went to his tomb topay him tribute and many writings against theAustrians, with promises of revenge, appearedspontaneously on the city walls. The Certosa of BolognaProvince of Bologna archives

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The pyramidal tomb of the great lawyerAccursio that stands in the garden of the Basi-lica of San Francesco was built around 1260,the year of his death. The monument as it pre-sents itself today, and the two similar ones(one of Odofredo and the one of Rolandinodei Romanzi), are the result of the restora-tion efforts (and of an outstanding inventivecreativity, too) of Alfonso Rubbiani (1848-1913). Accursio who was born in Bagnolo diToscana in 1182 and died in Bologna between1258 and 1260 - wasPodest (City Governor)of Bologna and a celebrated professor. InhisGlossa ordinaria or Glossa magistralis he

recorded most of the legalwritings ( glosse) of lawyers( glossatori ), as well as addingmany comments of his own,that eventually made up the JustiniansCorpus Juris. Noother legal publication hasenjoyed the same successas the Glossa, which forcenturies exercised almost

The Tombs of the Glossators absolute dogmatic authority concerning lawmatters. The large cubic base of the tomb isin brick covered with slabs of sandstone uponwhich, on the side facing the square, twoGreek crosses were carved. The four cornercolumns higher up are of cipollino marble,very likely leftovers from some demolishedbuilding; the others are of Istrian stone.The sarcophagus is in red ammonite anddecorated on all four sides with Greek cros-ses, and on both sides of the lower arm of thecross an inscription in Gothic letters reads:SEPVLCRVM ACCVRSI GLOSATO RIS LEGVMFRANCISCI EIVS FILII - namely the tomb ofAccursio glossator (commentator) of laws

and of his son Francesco.The second tomb, withtwo orders of columns,belongs to Odofredo andin the third, with the fourlions, lays Rolandino deiRomanzi.

Plate at the Civic MediaevalMuseumProvince of Bologna archives


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Bologna laturrita (the towered one): towersare the unique architectural icons distinguishingthe old city. LeDue Torri (The Two Towers)are the symbol of Bologna and the image thatrepresents the city throughout the World.

More than one hundred towers were builtbetween the 12th and 13th centuries, but fewerthan twenty remain standing today. NobleBolognese families built them near their hou-ses and used them as lookouts and places ofdefence in times of war. Despite the use of serfsfor manpower, the construction of the towerswas rather expensive and thus limited to onlythe most powerful and wealthy of families. Thebase of the towers was square and the founda-tions were usually at least five metres deep. Bigblocks of selenite - a type of stone whose den-sity had the effect of protecting wood from

rising damp - were used, while the rest of thebuilding was constructed using increasinglylighter material as it rose upwards. A masonryprocess known as a sacco (sacking), consistedin first constructing a very thick inner wall andthen a thinner outer one: the cavity betweenthe two walls, the sacco, was then filled-in with

pebbles and mortar. As the building proceededupwards, holes were usually left in the outerwalls to fit scaffolding, and hollows remainedin the selenite for fitting faades, decorationsand, later, aerial constructions generally madeof wood. The construction of a tower about 60metres high usually required between 3 and 10 years of work.

The tour begins at the centre of Piazza Mag-giore. Leaving San Petronio (see the tour ofPiazza Maggiore) to your left, walk along Via IVNovembre until reaching Piazza Galileo Gali-lei: here is the first tower on the itinerary, theAgresti Tower .The tower dates back to the 13th century and is20 metres high. Since the end of the 14th centu-ry, it has been property of the Collegio di Spa-gna. Following a great fire in 1641 it was rebuilt,

albeit shorter, to guarantee it greater stability.A short distance further on, theLapi Tower(1359) owned by the City and incorporated intothe walls of Palazzo d Accursio, is visible. In thepast it was used as a gunpowder storehouse.

TheTowers Tour

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HIGHLIGHTS OF THE TOUR

THE AGRESTI TOWER

THE LAPI TOWER

THE GALLUZZI TOWER

THE CARRARI TOWER

THE ALBERICI TOWER

THE TWO TOWERS:Asinelli and Garisenda

THE UGUZZONI TOWER

THE GUIDOZAGNI TOWER-HOUSE

THE PRENDIPARTE TOWER

THE AZZOGUIDI TOWER

SAN PIETRO BELLTOWER

THE LAMBERTINI TOWER

ARENGO TOWER

CLOCK TOWER

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Bologna TurritaBologna City archives - Alessandro Salomoni


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From Piazza Galileo Galilei turn left onto ViaBattibecco and then to Via de Fusari. Fromthere, turn right to get to Piazza dei Celestini.From here, cross over Via dAzeglio and walkinto Corte Galluzzi, where theGalluzzi Towercan be admired.

Galluzzi Tower was built in 1257, and wasoriginally taller than its current 30 metres.The original entrance was on a floor about 10metres above ground level, and the Galluzzifamily used to enter it through a windowlocated halfway up the tower, using mobilewooden bridges that stuck out from their hou-ses. This type of tower is called aconsortiumtower or turris maior , and was, above all, builtfor military and defence purposes, as an affir-

mation of the so-called consorteria - groupsof wealthy families linked by clan ties whobuilt fortified neighbourhoods dominated by aprotective tower. The thickness of the towerswalls sometimes more than 3 metres - andits remarkable height served to keep a watchfuleye over the surrounding houses.

From Corte Galluzzi cross Piazza Galvani andfollow Via dellArchiginnasio until reachingits intersection with Via dei Musei. Turn rightonto Via Clavature (Piazza Maggiore is visible)and then onto Via Marchesana. Here you cansee theCarrari Tower , which is 22 metres high.The tower is the only authentic building onthe entire faux-mediaeval block, which wasactually constructed in the 1930s. However, thetowers origins date back to the 14th century; itnow hosts a private residence.

Return to Via Clavature, turn right and continueuntil arriving at Via Castiglione. Turn right again,cross the street and continue until arriving atPiazza della Mercanzia (see the Classic Tour).From the square, turn right onto Via SantoStefano: theAlberici Tower is here, next tothe 13th centuryCase Serracchioli . It still hou-ses an ancient shop front nestled into its basesince 1273.

Going back to Via Santo Stefano once again, you will reach Piazza di Porta Ravegnana. Fromhere, the iconicDue Torri , a symbol of media-eval Bologna, strategically located at the entrypoint of the city for those who were travellingover the ancient Via Emilia, can be admired.Their current isolated position at the centre ofa broadened Piazza di Porta Ravegnana, doesnot correspond with their original setting.The towers had wooden constructions andsuspended connecting passages. Their names,Asinelli and Garisenda, derive from the familiesto whom the constructions, built between 1109and 1119, are attributed. It must be said, howe-ver, that the lack of documentation of thisperiod prevents us from determining the exactorigin of the towers: what is certain, though,is that the Asinelli family was associated withthe tower from as early as 1185. At the end ofthe 1300s, ownership of theAsinelli Tower (97 metres-high, 498 stairs to the top) passedto the City. The door, located on the StradaMaggiore side of the tower, was built during

the Renaissance period and was equipped witha low crenelated area. This area first housedsentries, and, later on, artisan workshops andstores.Immediately behind the portal there is a smalldoor with a selenite architrave, through whichthe tower is accessed. This narrow door is not

The Two Towers - Province of Bologna archives

the original one, as constructions with a defen-sive/offensive function did not have accessdoors as such, but rather openings, usuallyseveral metres above the ground.The towers were originally equipped withvarious wooden balconies supported by sele-nite bars calledmeniani , of which today onlythe stumps are still visible. Until a lightningrod was installed in 1824, Asinelli Tower wasoften struck by lightning. Scientists GiovanniBattista Riccioli (in 1640) and Giovanni BattistaGuglielmini (a century later) used the towerfor experiments with gravity and to study therotation of the earth. During WWII, between1943 and 1945, the tower was once again usedas a lookout post: four volunteers would waiton top of the tower during bombing raids andthen direct paramedics to where they wereneeded.TheGarisenda Tower , made famous by Dante,is distinguished by its pronounced slant of 3.25metres E/SE, which actually led it to be shor-tened by about 20 metres in the mid-1300s. Atthe beginning of the 1400s the tower was pur-chased by the Arte dei Drappieri (The DrapersGuild), which was its only owner until the endof the 1800s, when the building fell under Cityownership. The outer surface of the towerwas restored between 1998 and 2000, whilethe first phase to reinforce the tower wallstook place in 1999 -2000. TheRocchetta degli

Asinelli was restored in 1998.

From the opposite side of the square, takeVia dei Giudei and then Vicolo San Giobbe toVicolo Tubertini and Vicolo Mandria. Here youwill find the 13th centuryUguzzoni Tower ,located inside the part of the city known histo-rically as the Jewish Ghetto. Unlike the towersbuilt between the 11th and 12th centuries, theUguzzoni Tower has an ogival door at almostground level that has been there since it wasbuilt. This tower, with two passageways alongits flanks, represents one of the most characte-ristic corners of mediaeval Bologna. One of thepassageways is adorned with a beautiful 15thcentury style window in terracotta.Unlike nearby towers (Asinelli, Garisenda,Altabella and Prendiparte) some of the seleniteblocks at the base of this tower seem, at leastpartly, original, and therefore were not repla-ced during the restoration work carried outbetween 1800 and 1900.

Continuing along Via Oberdan, turn right andthen immediately turn left onto Via San Nicol(after the church), then right onto Via degliAlbari and left again onto Via degli Albiroli,where the Guidozagni Tower-House stands.After the collapse of the original structure in

1487, it was restructured into a tower-house.It bears witness to the feudal past of the cityand the rivalry among the noble families ofthe period.

Turning right onto Via SantAl you will findthe Prendiparte Tower , also known as theCoronata the crowned one. It was built inthe second half of the 12th century next to theArchbishops Palace. At the top of the towerthere is, in fact, a distinctive embellishment

of 4 spires per side, resembling a crown. TheCoronata is the second highest tower inBologna (58.60 metres tall). The nine seleniteparallelepipeds at the base have been restoredmany times. The walls are 2.80 metres thickat the base and gradually become thinner - toonly 1.35 metres - as they reach the top.

The Prendiparte TowerProvince of Bologna archives

The Romeo and Juliet of BolognaThe name Galluzzi recalls the tragic storyof Virginia Galluzzi and Alberto Carbonesi,the Romeo and Juliet of Bologna. In 1258,Virginia Galluzzi, who had secretly marriedAlberto Carbonesi, a young descendantof a rival family, was found hanging on abalcony of the tower, soon after Albertos

death by hands of her brothers. Virginiasdeath was the cause of great turmoil inthe city and the furious Galluzzis had theirrevenge by eliminating almost all of theCarbonesi family.


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Like all mediaeval towers in Bologna, it showsevidence of sack style masonry: the twoparallel brick walls that form the structure arefilled-in with a mixture of river pebbles rein-forced by white mortar. Taking into accountthe dimensions of the base (about nine metres)and the thickness of the walls there, it is likelythat the tower was originally designed to behigher.

The possibility that it was shortened at a laterdate should not be excluded, as this happenedto several other Bolognese towers. In the 13thcentury the tower was converted into a jailfor the Ecclesiastical Court (graffiti on its innerwalls made by desperate prisoners are still visi-ble today), and later it became a private resi-dence. The now worn-down sandstone coat ofarms that belonged to the first Archbishop ofBologna, Gabriele Paleotti, can still just barelybe made out 18 metres up on one side.

Retrace your steps back up Via SantAl untilreaching Via Altabella, where theAzzoguidiTower stands. According to measurementstaken in 1983, the tower is actually 54.80 metreshigh and not 60-61 metres as it was previouslythought. It was taller when it was built. A shopis located in a space carved out from theselenite-block base of the tower. From here you can see theBell Tower of San PietrosCathedral , erected around a pre-existing cylin-drical tower, dating back to Byzantine times.

From Via Altabella continue towards Piazzadel Nettuno and pass under the Voltone delPodest up to Piazza Re Enzo: theLambertiniTower (orTorre del Capitano del Popolo , mea-ning Tower of the Peoples Captain in Italian).The tower, built in Palazzo Re Enzo, is namedafter the Lambertini family, who had it builtin the 12th century. Now owned by the City,it is also called the Tower of Women (delleDonne) because it was used as a womens jail.

Once back in Piazza del Nettuno theArengoTower (or the Podest Tower) can be seen.Rising 47 metres up into the sky and built inthe 13th century, it seems to sit on the porticosof the Voltone del Palazzo del Podest . In themid-1400s the housing of a 4,700 kg bell (calledcampanazzo ) was installed, and the bell itselfwas hung there in 1453 by Aristotele Fioravanti,using a daring system of capstans that caused agreat deal of clamour and increased the fameof its inventor.

Now return to Piazza Maggiore, where the tourbegan and from where the last tower of thisitinerary can be admired: theOrologio Tower(the Clock Tower). Built at the beginning of the13th century, the Orologio Tower is locatedat the intersection of Piazza Maggiore and Via

IV Novembre. The clock was installed on itsfaade in the 15th century, after the height ofthe tower had been increased.

Panoramic photo of the Two TowersProvince of Bologna archives

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The Arengo TowerProvince of Bologna archives

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once consisted of 55 arches that started fromVia SantIsaia and finished at what was then thePrato di San Francesco . It was the stretch thathid the tombs of the glossators and the apseof the Basilica of San Francesco. Built in 1588,it was demolished in 1890. All that remains ofit today is the part that from the Franciscanconvent goes to Via SantIsaia.

From Piazza Malpighi, along Via Nosadella andVia Saragozza, you reach the most extraordina-ry portico of Bologna: the one that leads to theSanctuary of the Holy Virgin ofSan Luca. Itsconstruction began in 1674, and it extends for3,800 metres, with 666 arches. It is thought tobe the longest portico in the world today.

The entrance gallery of the portico atPortaSaragozza was built in 1675, based on a designby Giovanni Giacomo Monti. The stretch fromPorta Saragozza to theMeloncello is 1,550 metreslong, while the one from Via De Coubertin toVia della Certosa is 600 metres long.

The Meloncello Porticos (perspective)Province of Bologna archives

The Meloncello Arch was built in 1732, basedon a design by Carlo Francesco Dotti, and linksthe portico leading to San Luca with the onethat reaches theCertosa , Bolognas cemetery.The latter portico was built between 1811-1831,thanks to funds donated by Luigi Valeriani andseveral citizens groups. Once a year the porticois the setting of an age-old procession. In 1443,according to the chronicles, the constant rainthat had been falling since the beginning ofspring was threatening the entire harvest.To remedy the situation, Graziolo Accarisi sug-gested to the Elders of Bologna that a solemnprocession carrying the image of the Madonnadown to the city might help in resolving thecrisis. As the Madonna entered the city, therains suddenly ceased: since then, every yearBolognas citizens have renewed their pact,bringing her to the city and leaving her for aweek for all to see.

The Sanctuary of the Madonna of SanLuca sits on top of the Colle della Guardia,and can be reachedby walking underthe long and unin-terrupted porticofrom Porta Saragozzato the basilica. Overthe centuries thesanctuary has beenenlarged and reno-vated, but only in 1723 did architect CarloFrancesco Dotti give the building its currentlook, although until 1757 it continued toincrease in size around the main chapel thathouses the image of the Madonna with theHoly Child. This effigy is considered one ofthe portraits of the Virgin which legend attri-butes to the evangelist Luca, hence the nameof Madonna of San Luca. The effigy becamethe patron saint of the city in the 15th cen-tury, and since then it is carried through thestreets in a procession that takes place each year, on the days preceding the Ascension.Inside the sanctuary, which is in the shapeof a Greek cross, you can find works by suchartists as Donato Creti, Guido Reni, VittorioBigari, Guercino and Domenico Pestrini.The silver plating that covers the image ofthe Madonna is credited to Jan Jacobs ofBrussels (1625). The embellishments on thefaade were put there at the behest of PopeBenedict XIV and date to 1775.The sanctuary of San Luca is best visited onsunny and clear days when the panoramaover the SW part of the city, looking towardsthe Apennines, can be stunning.

San Luca Sanctuary

19th century. The interior of the Basilica, which

houses some of the Citys most importantworks of art, contains the famousMajesty byCimabue.

Retrace your steps back down from the Basilicaof Santa Maria dei Servi along Strada Maggioreuntil you come back to the Two Towers andthen enter Via Zamboni, another street com-pletely covered by porticos. Turn left onto ViaMarsala, where you can admire what is proba-bly the oldest portico in Bologna: thePorticoof Palazzo Grassi .

Palazzo Grassi is one of the most interestingand ancient buildings in Bologna. Begun inthe 1200s, it was built in Romanesque-Gothicstyle. The portico is made of highly charac-teristic wooden beams. At one end there is alarge arched door, while the windows on theupper floor are decorated with terracotta.The building was renovated between 1910 and1913. Today, Palazzo Grassi houses theCircoloUfficiali di Presidio.

Since the 13th century all of Bolognas porticoshave been built with these features, until 1568,when the Papal Legate, Mons. Giovanni BattistaDoria and theGonfaloniere , Camillo Paleotti,issued a decree ordering the replacement of allthe porticos wooden columns with brick ones.Failure to comply with the law resulted in a fine

of 10 golden scudi, and although the work wasto be completed within three months, many ofthe wooden columns were not replaced until

1800, when it was decided to standardize all theporticos of the city. Thanks to Count GiovanniGozzadinis intervention, we can still admire therare examples of wooden columns that surviveto this day.

At the end of Via Marsala, turn onto ViaIndipendenza . Here, under the porticos, aredozens of fashion boutiques, shoe shops andmany other types of commercial activity. Thestreet is one of the busiest of the city: onSaturday, people go shopping or simply gettogether here for a coffee and a chat, in sum-mer as in winter - and always sheltered fromthe weather.

From Via Indipendenza, turn left and follow ViaUgo Bassi to where it intersects withPiazzaMalpighi . Here you will find the portico ofthe former Convent of San Francesco, which

The Alemanni porticoThose who want to continue along StradaMaggiore to Porta Maggiore, can admirethe Alemanni Portico, just outside the citywalls. This is the oldest extramural porti-co in Bologna, being built between 1619and 1631 as an attempt by the BarefootCarmelites Order to connect the porta tothe church of Santa Maria Lacrimosa degliAlemanni. This true marvel has an impres-sive 167 arches and is 650 metres long.

Seeing how much comfort and publicornamentation is in the Porticos erectedin this magnificent city, it is desired notonly to maintain and retain these porti-cos; but also to extend them, and moreo-ver to embellish them for the decorumof the city and common benefit. TheMost Reverend Monsignor GianbattistaDoria, Governor, and the Magnificentand Mighty Sirs Cfoli and the Managerof Justice, together with the illustriousRegiment, have ordered and determinedthat each person of whatever status andgrade, must within the next three monthshave removed all the Wooden Columnswhich sustain these Porticos that belongto their houses, and in their place rebuildand strengthen them by Stone Columns,or baked Bricks with magnificent propor-tions as they see fit, and principally in thestreets of Stra Maggiore, San Felice andStra Santo Stefano....

The March 26, 1568 Edict -On the Reconstruction of the Porticos

The Santa Maria Dei Servi PorticoBologna City archives - Sergio Buono

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The Wooden Portico of Palazzo GrassiProvince of Bologna archives

The Evolution of Via Marsalas PorticoProvince of Bologna archives


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Bologna was an important industrial city witha sophisticated hydraulic system of which, tothis day, we can still find traces.Bologna was a city criss-crossed by canals:before running water became a domestic fea-

ture, canal water was used for the populationsdaily needs. With the advent of electricalpower and the subsequent changes it broughtabout, these canals were covered and more orless forgotten.Unfortunately, not much is left of the ancientsilk manufacturing district because the trade intextiles came to a stop at the end of the 18thcentury, and so the district slowly ceasedto exist.Hidden under the citys urban fabric, the net-work of canals is, nonetheless, still present,and in recent years there has been a genu-ine effort to rediscover this undergroundBologna. You can, in fact, still lean out overthe Moline Canal, walk along the Navile andadmire the Aposa Creek. And who knows...maybe in the future the Reno Canal in thecity centre will even be uncovered. The Water

Tour is ideal for people who want to discoverthe historical centres hidden nooks and cran-nies, and try to envision Bologna as the city ofcanals it once was.

The tour starts at Piazza Maggiore. With yourback to San Petronio, make your way down to

the end of Via Rizzoli to the corner of Piazzadella Mercanzia and head down Via Zamboni.Along Via Zamboni, on the left, an arch ador-ned with a mask marks the entrance to the old Jewish Ghetto , underneath which the Aposa

Creek flows. The ghettos Jewish Museum,housed in Palazzo Pannolini-Malvasia, includesa library and a documentation centre. Thepermanent collection of the Jewish Museumfocuses on themes of Jewish identity and runsthrough the main events in the history of the Jewish people here - over a period of almost4,000 years. Two rooms in particular arededicated to the long history of the Jews inBologna and Emilia Romagna, from mediaevaltimes to today.Take Via del Carro (characterised by its oldwooden portico) and turn right into Via dellIn-ferno to reach Piazzetta Marco Biagi, thenleave the Ghetto to get to Piazza San Martino.Here, at street level, there is a hatch that hidesa steep staircase leading to the undergroundriverbed of the Aposa Creek, which runs allthe way to Piazza Minghetti. You can visit the

underground route with a guided tour (con-tact the IAT offices for further details).

Continuing through the portico on the right,enter the side of the Church of San Martino,known as in Aposa and one of Bolognaspicture gallery-churches.

Water Level Regulation Project (Industrial Heritage Museum)Province of Bologna Archives

TheWater Tour

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Map of theWater Tour

HIGHLIGHTS OF THE TOUR

THE FORMER JEWISH GHETTO

THE APOSA CREEK

S. MARTINO IN APOSATHE MOLINE CANAL DROP

THE BEND OF THE DROWNED

THE LITTLE WINDOWON THE MOLINE CANAL

SANTA MARIA DELLA PIOGGIA

THE OLD PORT

THE SALARA

SANTA MARIA DELLA VISITAZIONEAT THE LAME BRIDGE

SANTA MARIA DELLA CARIT

SANTA MARIA AND S. VALENTINODELLA GRADA

INDUSTRIAL HERITAGE MUSEUM

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mediaeval times, the transport of this pri-zed commodity was effected along the PoRiver and the Reno River (reaching Bolognavia the canals). Today this area, where theFilm Library, University and MAMbo (the newMuseum of Modern Art) have settled, hasbeen dubbed theManifattura delle Arti (ArtsManufacture), to emphasize that the artists ofthe 20th century were based in the ancientindustrial heart of the city.

Exiting to the left, there is a great view overthe Salara and the old harbour basin, now theCavaticcio Garden. Turning back and thenright into Via Fratelli Rosselli, you will crossVia del Porto, retracing your steps on the

Cavaticcio, then Via Azzogardino, the heartof the cultural centre of the Manifattura delleArti, and the park of the formerManifatturaTabacchi , to arrive at Via Riva Reno.

Continuing on the right, heres the secondchurch on the water:Santa Maria della Visitazione al Ponte delle Lame , once sur-rounded by the Reno Canal and by a crowdof lively washerwomen.

A former bakery houses the MAMbo, thenew Museum of Modern Art, which ope-ned on May 5, 2007. Built up from thegreat collection of the Modern Art Galleryof Bologna and its acquisitions (includingworks from the 19th century up to the pre-sent), MAMbo houses a fine balance of artthat represents both artistic exploration andexperimentation, with all the qualities of aprecious collection. MAMbo is not just amuseum, but a place where one can exploreand reflect, too and it hosts numerousworkshops and events throughout the year.The transfer of the Modern Art Gallery

has also permitted other collections notdisplayed in the halls of the museum to be

MAMbo properly stored and preserved. These archi-ves include a collection of more than 2,000prints and drawings.MAMbo also hosts a library, as well as anewspapers and periodicals library (foundedat the Gallery in 1997), specialised in 20thcentury art. It safeguards some 2,000 maga-zines and 18,000 volumes, 8,000 of whichare available for consultation. The collectionconsists mainly of catalogues of exhibitionsof national and international contempo-rary art. During the temporary exhibitionsorganized by the museum, one can accessinformation about the artists and subjectsin a special biographical selection, which

underscores the close links that exist betwe-en exhibitions and artistic exploration.

The Moline CanalProvince of Bologna Archives

Upon leaving the church, take Via Marsala tothe left, go around the apse of the churchand turn into Via Mentana to get to Via delleMoline, another of the ancient citys canalzones. At the intersection with Via Capo diLucca (the ancientVia dei Molinari, where youcan still see the detached houses once inhabi-ted by the millers) you can hear the roar ofMoline Canal Drop , whose energy was onceused to turn the grain mills.From Via delle Moline take Via Oberdan.Here you can see the so-calledBend of theDrowned , one of the most picturesque sightsof the canal.

Turn right into Via Bertiera and then rightagain into Via Piella, passing under PortaGovese, or Torresotto dei Piella, and you getto the famous little window (finestrella) onthe Moline Canal and the bridge that crossesit, both with lovely views of the water.

Continue on Via Piella, turning left into ViaRighi; from there cross over Via Indipendenzaand then take Via Falegnami up to Piazza dellaPioggia. Here you can see the first of the fourso-called churches on the water:SantaMaria della Pioggia . The cult of theMadonnadella Pioggia (pioggia is the Italian equiva-lent of rain) was born in Bologna in 1561,when the city was struck by a terrible drought.A procession was authorised and attended bymany believers and citizens. According to thelegend, the expectations of the crowd werefulfilled and, in the days that followed, rainfallwas abundant.

Proceeding along Via Riva Reno, turn rightinto Via Polese (silk mills were active herefor many centuries), follow the street to theend and turn left into Via del Porto. CrossVia Marconi and Piazza dei Martiri, in orderto reach Via Don Minzoni. This area playeda decisive role in the hydraulic system andeconomy of Bologna starting at the end ofthe 12th century, with an artificial canal thatbrought water from the Reno River into thecity. The Port was built here in the mid-

16th century, to transport people and goods,exploiting the waters of the Cavaticcio Canalin town, and of the Navile Canal outside thecity walls.

A newSalara (from the word sale, meaningsalt) was built between 1783 and 1785. InThe Old City PortProvince of Bologna Archives

The little window in Via Piellathat loo ks on to the Moline Canal

Bologna City Archives - Alessandro Salomoni

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The Jewish GhettoThe word ghetto, as the neighbourhoods inwhich the Jews lived were called, comes fromthe Venetian word geto. In Venice, the areawhere the Jewish population lived hostedan iron foundry, where casts ( gettate in Ita-lian) of molten metal were made. The JewishGhetto in Bologna was founded in 1556. Twogates gave access to the Ghetto - one on ViaZamboni, next to the church of San Donato,and the other on Vicolo Tubertini. Anothertwo entrances were subsequently creat

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