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PEDROCCHI BUILDING In 1816, Antonio Pedrocchi, son of a coffee-house keeper originally from Bergamo, bought a group of dilapidated old houses north of property he already owned, to enlarge a building south of his coffee-house, making it into a Café which was to be “the most beautiful on the face of the Earth”. In 1816 Antonio Pedrocchi, son of a coffee-house keeper originally from Bergamo, bought a group of dilapidated old houses north of property he already owned. His intention was to enlarge a building south of his coffee-house, making it into a Cafè which was to be “the most beautiful on the face of the Earth”. The great Venetian architect Giuseppe Jappelli was entrusted with the new building project, and work started in 1826, during which many important architectural fragments of Roman age (now housed in the Eremitani Museum) came to light.
The interior was monumental in style. The central Red Room, with a semi-circular niche at one end, was subdivided into three parts by Ionian columns and its walls were decorated with large paintings of geographic maps. On both sides, symmetrically, were the White Room (south) and the Green Room (north).
The upper floor was opened in 1842, on occasion of the Fourth Congress of Italian Scientists, and was designed to serve as a ridotto (a foyer, or meeting place). Around the ballroom, dedicated to Gioacchino Rossini, a large room, double the height of the others, and decorated in dazzling Empire style, are placed all the rooms: the Etruscan vestibule, the Greek Room, the Roman Room, the Renaissance Room, the Herculanum Room, the Egyptian Room. The sequence of these rooms follows many styles of the past in an eclectic manner, as moments of autonomous aesthetic appreciation in a climate of revival, typical of the times.
In 1891, Domenico Cappellato Pedrocchi, adopted son of the founder Antonio, left the Caffè to the city of Padova, with the requirement that the authorities should “conserve the use of the building…as it is…not neglecting anything…so that it may maintain its record in Italy”.

 


ДОДАТКОВА ОПЕРАТИВНА ІНФОРМАЦІЯ
Information:
Pedrocchi Building, Piazzetta Cappellato Pedrocchi
tel. +39 049 8781231
Open from Tuesday to Sunday: 09:30 - 12:30 / 15:30 - 18:00
Closed: Mondays (unless public holidays), January 1, May 1, December 25 and 26.
Tickets: full price 4,00 euro; reduced price: 2,50 euro; children up to the age of 5 and disabled persons: free of charge.

To reach the building:
from train station: buses 3, 10, 12; Sundays and holidays: buses 32, 42.
by car and coach: motorway exit Padova Est, parking at Fiera (Fair); or motorway exits Padova Sud and Padova Ovest, parking in Prato della Valle (tram stop to centre of town), Via Valeri (off Via Trieste), Piazza Insurrezione.

 
  • piazzetta Cappellato Pedrocchi
    Padova (PD)

COMUNE DI PADOVA - SETTORE MUSEI E BIBLIOTECHE


The institutes called the City Museums of Padova (Musei Civici di Padova) include the Archaeological Museum, the Museum of Medieval and Modern Art, the Scrovegni Chapel and Palazzo Zuckermann (Museum of Applied Arts and Bottacin Museum). They contain the permanent collections of public property; during the year many  interesting activities take place, such as: cultural events, exhibitions, concerts, conventions.
Контакти з Підприємствами
via Porciglia 35
35121 - Padova (PD)
+39 049 8204513 padovacultura.padovanet.it/musei
Додаткова інформація
The Museums had their origins in various collections of works of art, gathered together over the centuries. After the official institution in 1857, collections of books, paintings, sculptures and applied arts all arrived, bearing witness to the history of Padova, from its remote origins until the present day. In 1985, the main museum was transferred to the cloisters of the old Eremitani monastery.
The original collection of the Archaeological Museum was represented by the stone tablets and other artefacts arranged in the loggias of the Palazzo della Ragione. The exhibition begins with objects of pre-Roman age, with findings of great interest going back to the 8th to the 4th-3rd centuries B.C.. There is an important series of Venetic funerary stelae, including those of Ostiala Gallenia. and from Camin. The Roman section is amply represented, with the bust of Silenus, the elegant memorial stone of the dancer Claudia Toreuma, and the monumental tomb of the Volumnii family. There are also many mosaics. The rooms devoted to Egyptian antiquities have two very fine statues of the goddess Sekhmet. Other smaller rooms contain Greek, Etruscan and Italiot materials, a large collection of Greek and Apulian vases. Architectural examples of Roman age are displayed in the cloisters.
Initiated in the late 18th century, the Art Museum now boasts a total of about three thousand paintings, offering a panoramic view of Veneto work in this field from the early 14th to the 19th centuries. Here are works by Giotto, Squarcione, J. Bellini, Giorgione, Titian, Romanino, Bassano, Veronese, Tintoretto, Piazzetta and Tiepolo, and also ones by foreign artists, mainly Flemish and Dutch. The Lapidarium contains architectural and decorative fragments coming from the city of Padova and its surroundings. The rich collection of sculptures going back to the 14th-16th centuries contains works by Briosco, the Lombardo family, and Canova. There is also an important section devoted to bronze sculptures, an expressive form which flourished in Padova in Renaissance times.
In 1300, a wealthy Paduan seigneur, Enrico Scrovegni, purchased the area of the Roman Arena in order to construct a sumptuous palazzo to be used as his residence. Next to this, he wished to build a chapel dedicated to the Blessed Virgin, in suffrage of his father Reginaldo, mentioned by Dante in Canto XVII of the Inferno, accused of being a usurer. After having met Giotto, Scrovegni commissioned the artist to decorate the Chapel. According to the most reliable statements, Giotto carried out this work between 1303 and 1305. The frescoes entirely cover the walls and ceiling of the building, and narrate episodes in the lives of the Virgin Mary and Christ. The vaulted ceiling is a blue star-spangled sky. The narration is depicted in three bands of frescoes on the walls and the triumphal arch. Under there is a basement of imitation marble, showing the Vices and Virtues in appropriate niches. Above the entrance is the Universal Judgement. The crucifix, which once completed the decoration of the Chapel, may today be admired in a hall of the City Museum. The altar holds statues by Giovanni Pisano.
The Multimedial Room at the Scrovegni Chapel includes an itinerary conposed of virtual-reality stations, video clips and real reconstructions. Visitors can experience full immersion in the 14th-century world of Giotto and of his painting, and come to know all about the great Tuscan artist, his work, and his life and times. The project also foresees the need to regulate the flow of visitors to the Chapel, in order to safeguard the precious frescoes.
Still conceived in late 19th-century style, Palazzo Zuckermann was designed by the Milanese architect Aroso, for the Paduan industrialist Enrico Zuckermann, in the years immediately preceding the First World War. The collections of applied and decorative arts are housed on the ground and first floors, and the numismatic displays of the Bottacin Museum on the second floor.

 
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