(via Manzoni, 2)

Inaugurated in 2011, today Palazzo Fava is Genus Bononiae’s Exhibition Centre. Covering an area of more than 2600 square metres, Palazzo Fava regularly houses national and international exhibitions like The Girl with a Pearl Earring and From Cimabue to Morandi-Felsina Pittrice. Frescoed on the noble floor by the young Annibale, Agostino and Ludovico Carracci, Palazzo Fava was defined by Roberto Longhi an historical novel, imagined on the great previous painting that was able to overcome mannerism in order to openly and direcly communicate not as a book but as a window. The frescoes are the first important cycles of the Carraccis’ career, they were commissioned by Filippo Fava in 1584. Among all the frescoed panels, the episode about the Enchantments of Medea stands out. The sorceress is sitting naked about to bathe herself in a creek under the moon rays; this fresco was defined as the first modern nude in art history, by the art historian Andrea Emiliani.

(via Parigi, 5)

The Complex of San Colombano is composed of a series of buildings joined together over time, starting from the 7th century.
During the recent restoration works, an ancient crypt dating back to the medieval era was discovered together with an important 13th century wall painting, attributed to Giunta Pisano, representing Crist on the cross between the Virgin and St. John the Evangelist.
Inaugurated on 21st June 2010, the Complex houses the antique musical instrument Collection donated by the Bolognese Maestro Luigi Ferdinando Tagliavini, composed of approximately 90 items including clavichords, spinets, harpsichords, pianos and other instruments, and the specialized library of the Bolognese Scholar Oscar Mischiati. The calendar of events includes guided tours of the Complex, afternoon concerts in the Oratory and monthly evening concerts on the instruments of the Tagliavini Collection.

(via Clavature, 10)

The Monumental Complex of Santa Maria della Vita, whose management has been entrusted to the Fondazione Cassa di Risparmio in Bologna since 2006, was reopened to the public in 2010 after a complete restoration. The Church, whose dome was designed by the architect Bibiena, is the most important example of Bolognese baroque. Inside the Church, the famous Compianto sul Cristo Morto by Niccolò dell’Arca is preserved, that “scream of stone”, as it was defined by Gabriele D’Annunzio, that has deeply influenced the history of Italian culture. Next to the Church is the Oratory, where it is possible to admire the terracotta sculpture group Transito della Vergine by Alfonso Lombardi, and  the Old Hospital now turned into the Museum of  Health and Assistance.

(via Farini, 15)

Considered to be one of the most interesting buildings in the city from the Renaissance period towards the late 15th century, today the historical residence of the noble Saraceni family is home to the Fondazione Cassa di Risparmio in Bologna.

(via de’ Chiari, 25)

The Aula Absidale of the Santa Lucia complex was designed for different uses in the past, and it is part of the Bolognese University; it is the location dedicated to conventions and concerts. Its main nave has over 100 seats, while in the apsis there is a wide amphitheatre room. The Architect Roberto Scavannini oversaw the huge restoration of the complex, which was finished in 1998 and brought back the building to its ancient radiance.

(via Manzoni, 5)

The Oratory of San Filippo Neri is a fascinating cultural container property of the Fondazione del Monte di Bologna e Ravenna, that bought and restored the building in 1997 with the objective to return it to the city as a centre of cultural activities. The restoration work lasted 18 months: it faithfully returned what was a masterpiece of Baroque architecture by continuing the works started by Barbacci and using a wooden scaffolding to reconstruct the dome and the vaults. Inside the Oratory we can admire the architecture by Alfonso Torreggiani, the sculptures by Angelo Gabriello Piò (1690-1770), the altar piece by Francesco Monti (1685-1768), interventions by Fernando Galli Bibiena (1657-1743), decorations and plasters by Carlo Nessi and the Ecce Homo by Ludovico Carracci (1555-1619). In the Oratory there is also an organ constructed by the organ-builder Marco Fratti, under the direction of Luigi Ferdinando Tagliavini and Oscar Mischiati. The organ is located in the same place where there once was the original instrument that was completely destructed during the bombings of 1944.

Anatomical Theatre
Stabat Mater lecture hall
Società Medica Chirurgica of Bologna lecture hall
(piazza Galvani, 1)

The monumental 16th century building of Archiginnasio is one of the most meaningful palaces of Bologna. It was built in only one year and half between 1562 and 1563, and in the pope’s intentions the “new schools’ building” or Archiginnasio had to join and dignify the several University schools of the city, to give importance to the Bolognese studies in the face of the competition with the new European University centres. The palace is irregularly built on the previous structures, and moves around a central courtyard with a double loculus order and is enriched with vaults, stairways, arcades and architectural elements of a great value. The two rooms that will host the events of the Festival of Medical Science are the two original lecture halls that were attributed to the Artists and to the Jurists.

Podestà hall
Re Enzo hall
Atti hall
Quadrante hall
(piazza Nettuno, 1)

Palazzo Re Enzo was built in the 14th century immediately after the Palazzo del Podestà, and it was called originally New Palace to distinguish it from the latter; its function was new indeed, since it had to include the widespread representatives of the people. It became later the forced house of King Enzo of Sardinia, son of the Emperor Frederick II, who, captured during a war, was imprisoned there for 23 years, until his death. The Palazzo was rebuilt and restored several times, and it is one of the most important venues of the city. The crenelated profile of the building faces Nettuno Square and bears witness to the splendour of Bologna during the Middle Ages.

(via Musei, 8)

The Arcade of Death takes its name from the nearby Hospital, now home of the Archeological Civic Museum. The members of the “Death Company” took care of those who were sick and incurable and also those condemned to death. Since 1931 Nanni Bookshop has been located under the Arcade of Death, where also a young Pier Paolo Pasolini would often go. Here, since 1825, there has been an antique bookshop and in the XVIII century “della Colomba” printshop was also active.

(piazza del Nettuno, 3)

Right in the heart of Bologna, inside the wonderful setting of Sala Borsa, the Enzo Biagi Auditorium is located. Offering about 200 seats, the Auditorium is a venue for cultural events, conferences, meetings, congresses, festivals and seminars. The building also houses one of the most important libraries of Bologna as well as archeological digs that preserve the traces of the city’s antique civilizations.

(via Cartoleria, 42)

Teatro Duse is the traditional theatre of Bologna and one of the oldest in the city. It is also one of the most important prose theatres in Italy. The new artistic direction of the last years has given to this historic stage a strong innovation and a rich cultural programme.

(via Belle Arti, 54)

The Academy of Fine Arts in Bologna is located in the heart of the University district. Together with the Pinacoteca Nazionale, it occupies the Complex of Sant’Ignazio Church and Jesuit Novitiate, founded by Alfonso Torreggiani between 1728-1735. The Academy was then refounded during the Napoleonic era, from Palazzo Poggi it was transferred into this convent building that was readapted (Sant’Ignazio Church  was transformed into the Lecture Hall of the Academy and in 1805 the dome was also reduced). After that, the Collamarini wing was added, whereas the modern spaces of the Artistic High School (Irnerio wing) were only recently added. New extentions have been realized over the last years, during the requalification project involving the Academy of Fine Arts: in 1997 with the basement restoration, new expositional spaces for the Academy and Pinacoteca were added, called “Sale delle Belle Arti”, next to them the Museum of the Academy was opened; together with the Arcangeli classroom, used for lessons and conferences, the Guidi classroom and the annexed gallery were also built, used as didactic and expositional spaces. In 2001 the former theatre was transformed into the polyvalent hall called “Padiglione De Vita”.

(via Zamboni, 33)

The current structure of Palazzo Poggi building dates back to remodeling and expansion work done in the 16th century on a home purchased by the Poggi family at the end of the 15th century . Some scholars attribute the design of the remodeling to Pellegrino Tibaldi, others to Bartolomeo Triachini and others yet to Gaetano Alessi. The plans called for a two storey building, with an imposing façade on via San Donato (today via Zamboni), an atrium and a lodge with a portico, and a staircase leading to the noble floor. Most of the laboratories of the Science Institute were housed right there on the first floor, where the museum is located today, starting from 1711. The tower of La Specola astronomical observatory was completed in 1726, on a design by G.A. Torri and C.F. Dotti, while the Aula Magna of the Institute’s Library (today the University Library) was completed in 1744 with blueprints by C.F. Dotti. During the Napoleonic era, from 1803 to 1805 the headquarters of the University was transferred from the Archiginnasio to Palazzo Poggi.

Wax Museum “Luigi Cattaneo”
(via Irnerio, 48)

The normal and pathological human anatomy collection of the Museum shows the path followed by 18th and 19th centuries medical sciences scholars who, after having acquired all the knowledge about the real nature of the human body, would start to study its diseases.
The wax sculptures, natural and dried bones are an important material with valuable didactic purposes that completes the 18th century normal anatomy collection of the Palazzo Poggi Museums, representing thus a continuum in the medical research stranding out in Bologna between the 18th and the 19th centuries.