Mini Tour – Thursday morning, 26th May 2011
PALAZZO DELLA RAGIONE – PIAZZA DELLE ERBE – PIAZZA DELLA FRUTTA – PIAZZA DEI SIGNORI - PALAZZO BO
Figure 1 – Prato della Valle
Source: International Welcome Office
Time
9.15 – 12.00 am
Included stages
Palazzo della Ragione, Piazza delle Erbe, Piazza della Frutta, Piazza dei Signori, Palazzo Bo
Basic information
The tour is intended to give visitors the opportunity to admire the heart of the city of Padova, including its most beautiful squares and
historical buildings.
Tour description
The Mini Tour provides a pleasant way to discover both the most beautiful part of the city and the most important historical buildings of
Padova.
The tour starts with a visit to Palazzo della Ragione, which is the ancient seat of the law courts, hosting a wonderful 15 th century astrological
cycle of frescoes. The following tour stage will include a visit to the most beautiful squares that make Padova greatly attractive, i.e. Piazza
delle Erbe, Piazza dei Frutti and Piazza dei Signori.
The tour will subsequently lead you to Palazzo Bo, the famous seat of the University which dates back to the 16th century. Here you will visit
among the others the Aula Magna, where Galileo Galilei and other eminent professors taught, Sala dei Quaranta, where Galileo’s desk is
conserved, and the Teatro Anatomico, which is the world’s first permanent anatomy theatre, built in 1592.
Timetable
Meeting point: Intenational Welcome Office, 9.15 am
Palazzo della Ragione: 9.30 – 10.15 am
Piazza delle Erbe: 10.15 – 10.30 am
Piazza della Frutta: 10.30 – 10.45 am
Piazza dei Signori: 10.45 – 11.00 am
Palazzo Bo: 11.15 – 12.00 am
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Palazzo della Ragione
The Palazzo della Ragione (Palace of Reason), also called Salone (Great Hall),
was built between 1218 and 1219 in the political, economical and civic heart of
the city, between Piazza delle Erbe (Herbs Square) and Piazza della Frutta
(Fruit Square) to accommodate the law courts.
The original palace, which partially reused the structures of an ancient
Romanesque building, was divided into three parts, separated by huge pillars
covered in leather: in the eastern part was the Chapel of Saint Prosdocimus,
the first bishop of Padova; in the central part the law courts and the financial
offices had their seat, whereas the prisons were set in the western part.
In the Chapel there was a copy of the Civic Statute, tied with an iron chain: it
was where the judges swore their loyalty before entering the court. Lawsuits
Figure 2 - Palazzo della Ragione
Source: www.wikipedia.it
and conflicts were settled by a public court. All the citizens, both from the city
and from the country, could apply to it, since it was open many hours a day. The most serious crimes were tried by foreign judges, so that
impartiality could be guaranteed. The fact that each court had its own symbol (the animals in the lower part) allowed analphabet people,
representing once the majority of the population, to find the right way easily.
Palazzo della Ragione was enlarged between 1306 and 1309 by Fra’ Giovanni degli Eremitani, who raised the walls, added the two external
loggias and covered the whole structure with an inverted ship-bottomed roof. The decoration of the walls was assigned to Giotto, who carried
it out between 1315 and 1317, but the frescoes were destroyed by a fire in 1420 and were subsequently re-painted by Nicolò Miretto, Stefano
da Ferrara and other artists.
The cycle of 333 frescoes, inspired by the astronomical and astrological works by Pietro d’Abano, can be divided into 12 compartments,
starting from the south-east corner with the month of March (Aries) and ending at the end of the southern wall with February (Pisces). Each
compartment is structured according to the following scheme:
Ex.
APOSTLE
ZODIAC SIGN
PERSONIFICATION OF THE MONTH
PERSONIFICATION OF THE PLANET
TYPICAL ACTIVITIES OF THAT MONTH
HUMAN CHARACTERISTICS ASSOCIATED WITH THAT SIGN
St. James (son of Zebedee)
Aries
March
Mars
Fish sale (Lent)
Strength, violence, passion
This astrological theme was chosen to help judges during trials, as they could
judge people by considering the influences of Planets and Stars on human
behaviour. The astrological scenes are interrupted by two larger scenes on the
eastern and western sides, representing respectively the Coronation of Our Lady
and St. Mark giving alms to the beggars. St. Mark, the Saint Patron of Venice,
symbolized the generosity of the Venetian Republic towards Padova, which was
conquered in 1406, whereas the winged lions on the walls symbolized its power
over the city.
On the north-east corner of the Salone is the Pietra del Vituperio (Stone of
Shame), used as a punishment for insolvent debtors and probably placed there in
1231 at Saint Anthony’s praise for the abolition of torture and life prison for
them. They had to sit on the stone three times, wearing only their underwear and
uttering the words “Cedo bonis” (“I renounce my goods”). They were banished
from the city and, if they came back and were caught, had to go through the same
procedure again, but this time three buckets of water were poured on their heads.
Figure 3 – The 15th century wooden horse
Source: www.padovanet.it
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On the opposite side there is a great wooden horse constructed in 1466 for the Capodilista family in occasion of a great Paduan parade dealing
with mithology. The horse was hauled by 12 bulls, whose horns were painted in gold. On the horse back, covered by a scarlet saddlecloth,
there was a statue of Zeus. After the parade, the horse was placed in the courtyard of Capodilista’s Palace and subsequently used for a play
performed in Prato della Valle. It was a tragedy about the distruction of Troy, a myth strictly connected to Padova’s origins. As some details
of the animal (the hoof leaning on the globe, the position of the muzzle, the ribbon on the tail) remind of the one sculpted by Donatello,
which stands in Piazza del Santo, the horse has been believed for century to be his work; but this is actually chronologically impossible. The
horse realized by Donatello for the equestrian monument to Gattamelata was probably just used as a model.
On the south-east corner of the hall is Foucault’s pendulum: the 19th century French physicist Léon Foucault conceived it as an experiment to
demonstrate the rotation of the Earth about its axis. It is a an extremely important experiment not only because it was based on Galileo’s
theories, but also because it enables us to explain an astronomical phenomenon on the basis of a terrestrial phenomenon.
Piazza delle Erbe (Herbs Square)
The market in Piazza delle Erbe, founded in the 12th century and still existing, would sell wine, herbs, grains and other goods considered
worthless: the two staircases which leads to Palazzo della Ragione (i.e. Palace of Reason, the big palace between Piazza delle Erbe and Piazza
della Frutta, built at the beginning of the 13th century to host the law courts) are called “del vin” (of the wine) and “dei ferri lavorati” (of the
wrought iron) according to the kind of products which used to be sold at their bottom. On this side - the southern - of the Palace, the façade is
decorated with a sundial. This used to be the arrival of the Corsa del Palio, (Race of the Cloth) a race starting in Voltabarozzo, a few
kilometres from the city centre: the winners were awarded a silk cloth (1st classified), a goose (2nd classified) and an owl (3rd classified).
In 1734, the Venetian Republic instituted the public Lottery Game. By 1838, the numbers were extracted from the balcony of the Palazzo della
Ragione.
On the East side of the square is the back façade of the Palazzo
del Municipio (Municipal Building), which was the seat of
Padova’s potestà (governor) until the end of the 18th century.
The palace dates back to the 13th century, although it was reedited by Andrea Moroni between 1539 and 1558. On its 16 th
century façade you can find the engraving of the emblemi dei
rettori (rectors’ emblems) and the Statua della Giustizia (Statue
of Justice), a work of art by Tiziano Minio (1552). In the 20th
century it was further enlarged (with the so called MorettiScarpari Wing) and decorated with memorial inscriptions of the
Figure 4 – Piazza delle Erbe by night
1st World War. Among these, a marble plan of Padova with the
Source: campodarsego.blogolandia.it
indication of the 912 bombs dropped on the city.
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Piazza della Frutta (Fruits Square)
It
was once called “del Peronio”: the “peronio” is the
Romanesque column that stands in the square, just in front of
via Breda. It comes from the Latin word “peronem”, which
means “boot”, because there used to be a shoe market nearby
the column. Its capital presents four reliefs: a pumpkin, a palm
tree, a pear tree and a quince tree. On the capital, a block of
Istria stone bares Padova’s coat of arms (a cross shield) and the
image of Saint Prosdocimus, first bishop of the city. In the
square, on the 1st Thursday of May, the fraglia degli strazzaroli
(corporation of the junk dealers) would organize the “Festa
Figure 5 – Piazza della Frutta
della borsa” (Bag Festival), with the greasy pole contest: as it
Source: flickr.com
is known, the greasy pole contest consists of a high pole, covered
with grease, that must be climbed to the top in order to reach the prize, usually something to eat or to wear. In this case, the prizes were a
bag and a pair of gloves, and that’s the reason why it was called “Bag Festival”. A marble relief of a bag is sculpted on the façade of a house
in via Marsilio da Padova.
The market in Piazza della Frutta, founded in the 12th century and still existing, sells fruit, vegetables, fish, eggs, birds, roasted meat: the two
staircases which lead to Palazzo della Ragione (the big palace between Piazza delle Erbe and Piazza della Frutta, built at the beginning of the
13th century to host the law courts) are called “delle erbe” (of the herbs) and “degli osei” (of the birds) according to the kind of products sold
at their bottom.
On the square lies also Palazzo del Consiglio (City Council Building), a Romanesque building characterized by a loggia on the ground floor
and built in 1285 by the architect Leonardo Bocaleca, when the podestà (governor) of the city was Fantone De Rossi. The three arches on the
ground floor, in the past opening to form a portico, are supported by two columns surmounted by Byzantine capitals from older buildings,
called i due catini d’oro (the two golden bowls). The western side is partially covered by the Volto della Corda. This was a pillory, where
criminals were sentenced to tratti di corda (punishment by ropes): the cheating traders
were raised from their wrists until the height of 3-4 metres to be subsequently dropped.
Hooks for ropes were inserted into five stone rings, the remains of which may still be
seen along the wall leading to the Salone.
Next to Palazzo del Consiglio is the high Torre degli Anziani (Tower of Elders), which was
sold to the city of Padova by the Tiso family from Camposampiero in 1215. At that time
the tower was also called Torre Bianca (White Tower). Its bell was used to gather the
populace together and as a signal of fire. A Torre Rossa (Red Tower) was built alongside
Palazzo del Consiglio but was later destroyed.
The Torre degli Anziani borders on Palazzo degli Anziani (Palace of Elders): completed
in 1285 when the podestà was Guglielmo Malaspina degli Obìzzi and enlarged in the 16 th
century, its ground floor was once the salt store of the city. Engraved in the stone above
Figure 6 – Torre degli Anziani
the pillars of the portico, Malaspina’s coat of arms alternates with the cross shield,
Source: flickr.com
symbol of Padova.
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Piazza dei Signori (Square of the Lords)
Piazza dei Signori (Square of the Lords) takes its name from
the ancient Reggia dei Da Carrara (Da Carrara’s Palace), which
doesn’t exist anymore.
On the pavement, in a corner, stands a column with the Lion of
Saint Mark, that was destroyed by the French in 1797 and
replaced in 1870.
During the 16th century there used to be the arrival of the Corsa
degli Asini, delle putte e degli ebrei (Race of donkeys, girls and
Jews), a race starting at Ponte Molino, at the end of via Dante:
the race celebrated the Venetian victory against the Austrian
emperor Maximilian I of Hapsburg in 1509.
Figure 7 – Piazza dei Signori and Palazzo del Capitanio
Source: www.magicoveneto.it
On the West side of the square is Palazzo del Capitanio
(Capitanio’s Palace) with its Torre dell’Orologio (Clock Tower),
on the South side Loggia del Consiglio (Council’s Loggia), and
on the East side the small Chiesa di S. Clemente (Church of Saint
Clement).
Palazzo del Capitanio was once the seat of the Capitanio, one of the two Venetian rectors living permanently in Padova. In the middle of its
façade (1598-1605) stands the Clock Tower. The clock, the first in Italy to
show months, days, Moon phases and position of the Sun in the Zodiac
Did you know…?
besides hours, was created in 1437 by Giovanni delle Caldiere and is
based on a 1344 project by Giovanni Dondi, nicknamed dell’Orologio (of
Among the signs of the zodiac represented on
the Clock dial, the Libra is missing. Instead of
the clock).
it, there are the Scorpion’s pincers. The most
The Loggia del Consiglio, conceived to be the new seat of Council
common interpretation of the fact is that the
meetings after the destruction of Palazzo della Ragione by a fire in 1420,
artist who made the paintings hadn’t been
paid suitably and therefore he erased the
was projected by Annibale Maggi in 1492 and accomplished by Giovanni
Libra, symbol of justice, or, according to other
Maria Falconetto (beginning from 1530). Inside the Loggia, the walls of
sources, the commissioner’s zodiac sign.
However, this interpretation doesn’t seem to
Sala del Consiglio (Council’s Hall) are decorated with a fresco paintings
be confirmed by any historical document. The
by Pier Antonio Torri (1667).
Libra was probably removed on the occasion
of
a
clockwork
modification
by
an
The small Church of Saint Clement dates back to 1190; its façade was
enterprising person, Abbot Bartolomeo Toffoli
modified during the 16th century, when the pseudo-pilasters were added,
from Calalzo, who was mistakenly convinced
that Egyptian astronomy was based on eleven
together with the statues of St. Clement, St. Justina and St. Daniel. The
signs of the zodiac.
interior is a single nave with a square apse and altar on both sides: two
of them belonged to the ancient corporations of oresi (jewellers) and
casoini (cheese and milk sellers).
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Palazzo Bo (Bo Palace)
The “Bo” – the name used to indicate not only the palace occupied
by the University of Padova’ s central government, but also the
University as a whole and an institution – is the Veneto form of the
Latin expression Hospitium Bovis which, together with an ox’s head,
appeared on the sign of a famous Paduan inn that was acquired by
the University at the end of the 15th century.
The conversion work began in 1493 and was completed at the end
of the 17th century. A new series of renovation and construction
works took place in 1889. The completion of the architectural
arrangement dates from 1938-1942, under the architect Ettore
Fagiuoli from Verona, while the architectural solutions for the
interior were handled by the architect Gio Ponti from Milan.
Figure 8 – The Old Courtyard
Source: www.unipd.it
The ancient courtyard, one of the most beautiful Renaissance buildings is a
work by Andrea Moroni (1546 – 1587), the most important architect to
th
work in Padova in the mid-16 century. It is surrounded by a double loggia with two rows of columns, Doric in the lower order and Ionic in
the upper one. The walls and vaults of the portico are entirely decorated with the coats of arms of the rectors and councilors who ran the
University from 1592 to 1688.
At the foot of one of the staircases leading to the loggias, there is a statue representing Elena Lucrezia Cornaro Piscopia, the first woman in the
world to be awarded a degree (1678), graduating from the University of Padova. The Loggia leads to Sala dei Quaranta (Hall of the Fourty); to
the right of the entrance is the cathedra which, according to the tradition, was prepared so that Galileo could teach in the scuola grande dei
legisti (now the Great hall), since the other halls could not contain the enormous crowd that flocked to his lessons. Above the cathedra stands
the bust of the scientist.
On the walls are portraits of forty great foreign scholars of the University
of Padova, coming from all over Europe. The paintings were distempered
by Giacomo dal Forno in 1942. Among so many scholars, three are
particularly worthy of note:
- Michel de l’Hospital, of France (1504 – 1586), collaborator to
Catherine de Medicis and French Chancellor;
- Thomas Linacre, of England (1460 – 1524), physician and humanist,
first president of the Royal College of Physicians in London, he taught
Greek at Oxford and was personal physician to Henry VIII.
- William Harvey, of England (1578 – 1657), in Padova he became
interested in the problem of the circulation of blood and he is considered
the founder of the English medical school.
Figure 9 – Sala dei Quaranta
Source: www.unipd.it
From here it is possible to reach the Aula Magna “Galileo Galilei”(Great Hall “Galileo Galilei”), which was occupied from the 16th to the 18th
century by the Scuola grande dei legisti and was used for lectures. As already mentioned, Galileo also taught here and the hall is dedicated to
his name. In the first half of the 19th century it was used as a room for drawing classes. For its conversion into the Great Hall it was restored
(1854-1856) and decorated with the frescoes on the ceiling “Knowledge and the Disciplines” by the painter Giulio Carlini. The coats of arms
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are all original. The end wall, where the members of the Academic Senate sit during the most important ceremonies was restored in 1942 by
Gio Ponti. It bears the ancient University motto: UNIVERSA UNIVERSIS PATAVINA LIBERTAS.
On the opposite corner of the upper loggia is the Aula della Facoltà di Medicina (Hall of the Faculty of Medicine), one of the most ancient
rooms of the building, that has became famous during the history of the University. Characterized by the typical medieval ceiling and frieze,
on its walls hang portraits of illustrious anatomists such as Morgagni, Vesalio, Eustachio and Falloppio. In a display are also exhibited some
skulls belonging to 19th century professors who decided to donate their body after death to science research.
Next to the Hall of the Faculty of Medicine is the Teatro Anatomico (Anatomical Theatre), built in 1594 by the famous anatomy professor
Gerolamo Fabrici d’Acquapendente. The first permanent anatomy theatre in the world, it is nonetheless still perfectly preserved. It is a
wooden construction in a funnel-like shape, with an oval base and
six concentric orders of steps rising around the anatomical table.
The balustrades are made of engraved walnut. The originally blank
windows were only opened in 1844 and the anatomy lesson used to
be held under torch-light. Legend has it that when corpses had been
dissected, they were thrown into the river flowing under the
building by opening the planks which formed the bench. The
theatre was used for lectures up until 1872; it was somewhat altered
in 1842-44 and completely restored in 1991-92.
At the top of the Anatomical Theatre stands a monument to G.
Battista Morgagni, who taught at the University of Padova for more
than fifty years (1715 – 1771) and is considered to be the father of
Figure 10 – The 16th century Anatomy Theatre
modern anatomy and pathology.
Source: katrinmed.wordpress.com
Focus on: Famous Professors and Students at Padova University
In its almost eight centuries of history, the University of Padova has hosted many important personalities of the academic world, both Professors and
Students, which contributed significantly to develop culture, art and science.
The first, in chronological order, is Alberto Magno (Magno = the Great) of Bollstädt (1206 - 1280), bishop and saint, the greatest German
theologian and philosopher of the Middle Ages and teacher of Saint Thomas Aquinas, who studied at the University of Padova during his youth. In
addition to him, the famous humanist and educator Vittorino da Feltre (1378 - 1446) and the philosophers Nicholas of Cusa, known in Italy as
Nicola Cusano, (1401 - 1464) and Giovanni Pico della Mirandola (1463 - 1494) studied here.
Leon Battista Alberti (1404 - 1472), artist, architect and writer, was a young brilliant student of humanities at our University. It’s interesting to
remind that one of his works, Della famiglia (On the family), is a fictional dialogue set in Padova.
Pietro Bembo (1470 - 1547), the most influential figure in the development of Italian language, studied and lived for many years in Padova.
Torquato Tasso (1544 - 1595), best known for the epic poem Gerusalemme Liberata (Jerusalem Delivered), studied here Law, Literature and
Philosophy.
The study of Astronomy largely expanded thanks to two “superstars”: Nicolaus Copernicus (1473 - 1543), who studied here and was the first to
formulate a comprehensive heliocentric cosmology, and Galileo Galilei (1564 - 1642), Professor of Geometry, Mechanics and Astronomy from 1592 to
1610 and still considered the Father of the modern scientific method.
In the 16th - 18th centuries, the Medical School of Padova gained a considerable standing, starting from the studies of Girolamo Fracastoro (1478 1553), who understood that infections are driven by bacteria which multiply inside the body and can be transferred from one to another; he also
published a medical poem, Syphilis sive morbus gallicus (On syphilis or French Disease), in which the name syphilis was first given to the disease.
Andreas van Wesel, known in Italy as Andrea Vesalio (1514 - 1564), brilliant Professor of Anatomy and Surgery, is often referred to as the founder
of modern human Anatomy: understanding the importance of corpse dissection, he was able to give the first accurate descriptions of significant part of
the human body. Gabriele Falloppio (about 1523 - 1562), who studied for the first time in history the real structure of the female system (the
fallopian tubes are named after him), of the oculomotor muscles (inside human eye) and of various parts of the human ear, was Professor of Anatomy,
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Surgery and Botany. His gifted pupil Girolamo Fabrici D’Acquapendente (about 1533 - 1619), who replaced him as a Professor after his death,
donated his own money to build the famous Anatomy Theatre (opened in 1594), and made important studies about blood circulation, reviewed and
developed by William Harvey (1578 - 1657) a few years later. Giovanni Battista Morgagni (1682 - 1771), founder of the modern
anatomo-pathology, was the first one to observe the correspondence between illnesses and anatomical alterations, discovered
through the autopsies. The ancient Pinali and the central University Libraries own a treasure of many ancient books of the famous Anatomical
School, included the entire Morgagni library.
In the same years, the smart and spirit-free Elena Lucrezia Cornaro Piscopia (1646 - 1684), was the first woman in the world to get a degree (in
Philosophy, in 1678).
Giuseppe Tartini (1692 - 1770), before becoming a famous violinist and composer, studied Law to please his parents, and
secretly married Elisabetta Premazone, a woman of lower social class and, according to some historians, Padova’s bishop nephew. For this
reason he soon had to escape to Rome, disguised as a pilgrim.
Giacomo Casanova (1725 - 1798), the famous ladykiller and adventurer, mentioned in his Memorie (Memoirs) that he graduated
in Law from the University of Padova.
Ugo Foscolo (1778 - 1827), a very famous poet in the history of Italian literature, was a very young student when he sent to his
Professor Melchiorre Cesarotti (1730 - 1808), translator of Homer’s Iliad and of the so-called Poesie di Ossian (Ossian Poems), a
copy of his first tragedy, Tieste, full of giacobines ideas hidden by classical references. Ippolito Nievo (1831 - 1861) and Niccolò
Tommaseo (1802 - 1874), writers and patriots, were both students of Law here.
Recently the University of Padova has also hosted distinguished scholars, such as Vittore Branca (1913 - 2004), the discoverer of Giovanni
Boccaccio’s autograph manuscript of the Decameron (known as Code Hamilton 90), who was Professor of Italian Literature until his death, and talented
students such as the the physicist Eugenio Curiel (1912 - 1945), the poet Andrea Zanzotto (1921) and the writer Boris Pahor (1913).
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Mini Tour – Thursday afternoon, 26th May 2011
TOMBA DI ANTENORE – BASILICA DEL SANTO – ORTO BOTANICO – PRATO DELLA VALLE
Figure 11 – Prato della Valle
Source: International Welcome Office
Time
2.45 – 5.45 pm
Included stages
Tomba di Antenore, Basilica del Santo, Orto Botanico, Prato della Valle
Basic information
The tour is intended to give visitors the opportunity to admire the heart of the city of Padova, including its most beautiful squares and
historical buildings.
Tour description
The tour starts with a visit to the Tomb of Antenor, the legendary Trojan hero who is supposed to be the founder of the city of Padova.
The following tour stage will be the Basilica di S. Antonio, the spectacular sanctuary dedicated to the Portuguese friar arrived in Padova in
1228. After that you will have the chance to admire the Orto Botanico, which was founded in 1545 and nominated a world heritage site by
UNESCO.
Not far from the Basilica is the last tour stage, Prato della Valle, which is one of the biggest squares of Europe and constitutes the central
meeting place in Padova.
Timetable
Meeting point: Intenational Welcome Office, 2.45 pm
Tomba di Antenore: 3.00 – 3.15 pm
Basilica del Santo: 3.30 – 4.30 pm
Orto Botanico: 4.30 - 5.15 pm
Prato della Valle: 5.15 – 5.45 pm
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Tomba di Antenore (Antenor’s Tomb)
According to a tradition recorded, among others, in Virgil’s Aeneid (I, 242,249), and in Livy’s Ab urbe condita, Padova was founded around
1183 BC by the Trojan prince Antenor, who was supposed to have led the people of Eneti or Veneti from Paphlagonia (the northern part of
today’s Turkey) to Italy, after the burning of Troy. The prince is presented in Homer's Iliad (Book 11) in a positive (or at least neutral) light as
one in favour of returning Helen to the Greeks for the good of Troy. On the contrary, in Dante’s Inferno (Canto 32), the ninth circle of Hell
(where traitors to their Homeland or their Party are punished) is named “Antenora”
after the Trojan prince because of some medieval sources which describe him as a
traitor who plots with the Greeks to destroy the city.
In 1274 a large sarcophagus, containing human rests, a sword and some gold coins,
was found by chance and digged out. The famous judge Lovato Lovati, poet and prehumanist, declared that it was Antenor’s grave. Thus, in 1283, it was stated to build a
monument (a cuspidated brick ark) to host the sarcophagus. Lovati composed the
inscription engraved on the stone, on the northern (first four verses) and the western
Figure 12 – Antenor’s and Lovati’s tombs
sides:
Source: upload.wikimedia.org
Northern side:
CUM QUATER ALMA DEI NATALIA VIDERAT HORRENS
POST DECIES OCTO MILLE DUCENTA CAPER
EXTULIT HEC PADUE PRESES CUI NOMEN OLIVE
COGNOMEN CIRCI PATRIA FLORIS ERAT.
As the Capricorn has seen four illustrious God’s Christmases,
After one thousand, two hundreds and eighty years,
Padova’s governor, whose name was Oliviero and
surname Dei Cerchi, from Florence,
erected this monument.
(to be continued on the Western side)
PROTESTATE NOBILI VIRO DOMINO
FANTONE DE RUBEIS DE FIORENTIA
PERFECTUM FUIT HOC OPUS.
Under the governor Fantone De Rubeis, from Florence,
This work was completed.
Did you know…?
It’s funny to know that,
due to the image of a wolf
sculpted on the eastern
side, Lovati’s tomb has been
believed for centuries to be
Antenor’s dog tomb!
Western side:
INCLITUS ANT(H)ENOR PATRIAM VOX NISA QUIETEM
TRANSTULIT HUC ENETUM DARDANIDUMQ(UE) FUGAS,
EXPULIT EUGANEOS, PATAVINA(M) (CON)DIDIT URBEM,
QUEM TENET HIC UMILI MA(R)MORE CESA DOMUS.
The glorious Anthenor, efforting voice to homeland peace
Accompanied here the escape of Eneti and Dardanidi,
Chased away the Euganei, founded the city of Padova.
A marble humble dwell holds him here.
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The nearby Chiesa di San Lorenzo (Church of St. Lawrence), demolished in 1937, hosted Lovato Lovati’s sarcophagus after his death in 1309.
After the demolition, in 1942, Lovati’s tomb was placed next to Antenor’s.
In 1985 the ark was re-opened and the human rests were subjected to scientific analysis by Tuxon University (Arizona, USA): it revealed that
the body belongs to a 3rd - 4th century AD man, probably a warrior, killed by a hard knock on the head (his skull has a big hole) and
subsequently embalmed.
Basilica di Sant’Antonio (Basilica of St. Anthony)
The Basilica was built on the small church of Santa Maria Mater Domini
(St. Mary Mother of God), which was integrated as the Chapel of the Black
Madonna in the left aisle, to host the faithful who wanted to listen to St.
Anthony’s sermons. Next to this the Friary, which was probably founded
by St. Anthony himself, sprang up. Together with other 3 places of
worship in Italy, it belongs directly to the Vatican State, and it is
subjected to its jurisdiction.
The equestrian statue left to the façade is a masterpiece by the famous
Florentine sculptor Donatello, who worked in Padova between 1443 and
1453. The statue represents Erasmo da Narni, known as the
“Gattamelata”, a mercenary who served many Italian governing
authorities of those time, including the Pope. The bronze statue was
Figure 13 – Basilica of St. Anthony
done in the lost wax method. Its dignity, majesty and grandeur recall
Source: www.italos.it
earlier equestrian statues of the Roman era, such as “Marco Aurelio” in
Rome. Both the man and the horse are portrayed in life size; the man wears his armor with a lengthy sword upon his waist, the horse holds
its front left hoof on a globe, symbolizing the power upon the entire world. The statue is placed on a high pedestal decorated with two reliefs
toward the top with fake doors underneath (symbols of the hereafter).
The Basilica is the result of three reconstructions which were realized over a period of 70 years (1238-1310). After the fire and the collapse of
a bell-tower in 1394, restoration works went on in the 15th century. New works of art have been added inside the Basilica until the
contemporary age. As a result, elements of different styles and ages coexist.
The brick gabled façade, characterized by a Romanesque central section which was extended outwards when the aisles were built, acquiring
in the process four deep Gothic recesses, is surmounted by a gothic arcaded balcony and enriched with a rose-tympanum, some archlets and a
round little cuspidate steeple on the top. The complex is refined by the rosette window, the mullioned windows on the sides and the vivacious
chromatic effect due to the insertion of white stones in the arches. The domes, like the domes of St. Mark's Basilica, were raised in height
externally, giving a Byzantine appearance to the building, while the multitude of small belfries which accompany the domes recall Turkish
minarets. The lunette above the central door is a copy of the original fresco by Mantegna (15th century), representing St. Anthony and St.
Bernardine of Siena, which is nowadays preserved inside the Antonian
Focus on: St. Anthony
Museum. The bronze doors date back to the end of the 19th century.
The Latin crosswise interior is divided into a nave and two aisles by pilasters,
St. Anthony (1195-1231), a Franciscan friar of Portuguese origin,
stayed in Padova on two occasions: the first between 1229 and
with recurrent galleries and hemispherical domes hold up by pointed arches.
1230 and the second between 1230 and 1231, during which he
The apse is entirely frescoed and contains nine radial chapels and a wide
met his early death. He was a very famous and appreciated
presbytery. Behind the choir is an ample ambulatory which is joined to the
preacher, and said to be author of many miracles. He also had a
aisles.
hand in changing the municipal legislation of Padova, in
On the counter-façade, there is a 1985 fresco by Pietro Annigoni, which shows
particular, a statute regarding insolvent debtors, dated 17 March
1231. In the same year, he became so ill with dropsy and asthma
Sant’Antonio che predica dal noce (St. Anthony preaching from the
that he went to the woodland retreat at Camposampiero with two
walnut tree), as he used to do during his stay in Camposampiero. Another
other friars for a respite, where he lived in a cell built for him
painting by the same author is the altarpiece (the first on the left) of
under the branches of a walnut tree. He died on the way back to
Maximilian Kolbe, a Polish Franciscan friar who volunteered to die in place
Padova on 13th June (when nowadays is celebrated his feast) 1231,
of a stranger in the Nazi concentration camp of Auschwitz, and was canonized
at the Clarisses convent at Arcella, in the suburbs of the town.
for this reason (1982) by Pope John Paul II.
11
On the first column of the left nave there is the so-called Madonna del Pilastro (Our Lady of the Pillar). This fresco was painted slightly
after the middle of the 14th century by Stefano da Ferrara, but the angels above, the two apostles and the brilliant diadems on the heads of the
Virgin and Jesus were added later.
In the left transept there is the Cappella dell’Arca del Santo (Chapel of the Saint’s Ark), which keeps St. Anthony’s relics from 1350, after
being previously moved from the church of Santa Maria Mater Domini to the centre of the Basilica (1263), under the present cone-shaped
cupola (in front of the Presbytery). Until the beginning of the 16th century, the style of the chapel has always been Gothic, with frescoes by
Stefano da Ferrara. The current decoration was completed in the 16th century, and it has been attributed to Tullio Lombardo. The statues on the altar (St.
Anthony between St. Bonaventure and St. Louis of Anjou) and the altar itself, including the green marble sarcophagus, are works of art by Tiziano Aspetti
(end of the 16th century). The nine high-reliefs on the walls present some episodes of St. Anthony’s life, mostly his miracles.
From left to right:
St. Anthony receives the Franciscan habit (A. Minello, 1517);
St. Anthony heals the wife stabbed unjustly by her jealous husband (G. Rubino – S. Cosini, 1536);
St. Anthony resurrects a young man to make him testify in favour of the Saint’s relatives (D. Cattaneo – G. Campagna, 1573);
St. Anthony resurrects a young girl who drowned (J. Sansovino, 1563);
-St. Anthony resurrects his nephew (A. Minello – J. Sansovino, 1536);
The heart of the dead usurer is found inside his jewel chest, according to the Gospel (Matthew 6:21): “Ubi est thesaurus tuus, ibi est
cor tuum”, which means “For where your treasure is, there will your heart be also”. (T. Lombardo, 1525). It is funny to point out
that, using the English language, this story is much more effective: the heart, in fact, is supposed to be found inside someone’s
chest, which is a word that means both that part of the human body and a large box used for storage;
St. Anthony reattaches the foot of a young man (T. Lombardo, 1504);
Aleardinus, an heretic, is converted by the miracle of the glass which remain intact after being thrown on the ground (M. Mosca –
P. Stella, 1529);
St. Anthony makes a newborn baby speak to prove his mother’s faithfulness to husband (A. Lombardo, 1505);
Moving forward, there is the Cappella della Madonna Mora (Chapel of the Black Madonna),
which belonged to the ancient church of Santa Maria Mater Domini. The statue on the altar,
representing Our Lady with the Child, is a 1396 work by the Gascon artist Rainalde du Puy
L’Evéque, and Paduans have called it the “Black Madonna” because of her dark complexion.
Just next to it is the Cappella del Beato Luca Belludi (Chapel of the Blessed Luca Belludi),
dedicated to St. Philip and James the Younger, built in the second half of the 14 th century. The
Blessed Luca Belludi, whose tomb is under the altar, was the friar who succeded Saint Anthony.
On the walls are painted a fresco, by the Florentine
artist Giusto de’ Menabuoi, the Stories of the Saints
Philip and James the Younger. Ruined by humidity,
Figure 14 – A cloister of the Basilica
they have recently been restored and brought back to
Source: padova24ore.it
their former splendour, allowing us to appreciate their
considerable artistic level.
The ambulatory leads to 9 chapels, decorated at the expense of the Nations they refer to. Arriving at
half of the ambulatory, there is the 17th century Cappella del Tesoro o delle Reliquie
(Treasury Chapel or Relics Chapel), designed by Filippo Parodi, one of Bernini’s pupils. It contains
the most precious relics of St. Anthony: his tongue (inside a gilded silver masterpiece by Giuliano da
Firenze, made in 1436), his jaw (inside a big reliquary by an unknown Paduan artist, made in 1350),
his larynx, the stone pillow used by the Saint during his last days.
On the left, before the balustrade, are displayed some objects found during the so-called
Figure 15 – Saint Anthony’s Relics
“recognition of St. Anthony’s body”, which took place in January 1981, on the occasion of the 750th
Source: www.basilicadelsanto.org
anniversary of the death of St. Anthony, with the intention of specifying the exact state of St.
12
Anthony's remains: his tomb was opened, and the content examined. In the Treasury Chapel there are: the Saint’s tunic, two wooden boxes,
the cord, two seals, three crimson red cloths reconstructed as a cope, two large decorated drapes, the plaque, some small coins and the rings.
The decoration of the apse of the Basilica was painted at the beginning of the 20th century by Achille Casanova and his assistants. Until 1649
the choir was in front of the altar, in the presbytery. This was its position in the majority of churches which had a choir until the Council of
Trent, and can still be seen in that position in Anglican churches; the choir was then gradually moved behind the altar (its current position)
so that the faithful could see the altar better and follow the liturgy more closely. The actual stalls date back to the latter part of the 18th
century, while the previous stalls, a Gothic masterpiece by brothers Lorenzo and Cristoforo Canozzi and their workshop (1462-69), were
destroyed by fire in 1749.
The bronze Paschal candelabra is a masterpiece by Andrea Briosco known as “Il Riccio” (the Curly), one of the greatest candle-holders of
the Western Church (almost 4 mt. high plus the 1,5 marble base).
The High Altar is preceded by a red marble balustrade (1661) decorated with the statues of Faith, Charity, Temperance and Hope by Tiziano
Aspetti (1593).
In 1895 Camillo Boito gathered here the various bronze masterpieces by Donatello which have been spread in the Basilica at the end of the 16th
century. The composition of the Altar was completely made up by Boito, so it must be quite different from the original one, made by Donatello
between 1446 and 1453.
The bronze decorations of the High Altar are:
the tiles representing 10 small angels and, in the middle, the Lamentation of Christ;
the tiles with the symbols of the Four Evangelists (Mark = lion, John= eagle, Matthew= angel, Luke = ox)
the statues on the altar, representing (from left to right) St. Louis of Anjou, St. Justina, St. Francis, Our Lady with the Child, St.
Anthony, St. Daniel, St. Prosdocimus;
the Crucifix;
the four panels illustrating four miracles of St. Anthony;
the Deposition of Christ (behind the altar)
In the right transept there is the famous Cappella di San Giacomo
(Chapel of St. James). This beautiful gothic chapel, whose
construction started in 1372 as will of Bonifacio Lupi di Soragna
(Parma), a very cultured knight and diplomatic, was completed by
one of the most important Venetian sculptors and architects of that
times, Andriolo de’ Santi, and decorated a fresco by Altichiero da
Zevio (1377-78). The chapel's entrance has five tri-lobed arches. The
eight lunettes and a compartment of the chapel present moments of
the life of St. James, the knights’ patron saint, as narrated in the
Legenda sanctorum or Legenda aurea by Jacopo da Varazze, a
Figure 16 – The Crucifixion by Altichiero da Zevio
religious text concerning the lives of the Saints which was widely
Source: www.italos.it
disseminated for devotional purposes and influenced many artists of the past.
The apostle is St. James the Great (St. John's brother), whose shrine is Santiago de Compostela (Galizia/Spain), one of the most important
destinations of a Christian pilgrimage, especially in the 10 th -15th centuries. Particularly remarkable is the great Crucifixion, considered one of
the greatest expressions of the 13th century art.
13
-
-
The Cappella del Santissimo Sacramento (Chapel of the Blessed Sacrament
Did you know…?
or of Gattamelata), which dates back to the 15th century, hosts the tombs of
Erasmo da Narni known as Gattamelata (left side) and of his son (right side).
Saint Anthony is usually referred to by
From the right aisle, near the sacristy, it is possible to reach the four cloisters
the Paduans as “The Saint”. Therefore,
according to the popular tradition, the
passing through a little atrium decorated with frescoes by Giusto de’ Menabuoi
nameless Saint is one of the three “-less
th
(14 century). After the Sacristy (on the lunette above the door, there is a
elements” of the city, together with Prato
beautiful fresco from the second half of the 13th century, representing the Virgin
della Valle (literally “Lawn of the
Valley”), which is “the Grassless Lawn”,
and Child between St. Francis and St. Anthony), is the 13th century Sala del
and Caffè Pedrocchi, that is also defined
Capitolo (Chapter Hall; Chapter = official meeting of friars) with ribbed vaults,
as “the Doorless Cafè”.
originally decorated by frescoes ascribed to Giotto. Unfortunately, only a few
fragments survive today.
The cloisters are:
Chiostro della Magnolia o del Capitolo (Cloister of the Magnolia Tree or of the Chapter), which dates back to 1433. The huge Magnolia
grandiflora tree in the middle was planted in 1810.
Chiostro del Noviziato (Cloister of the Novitiate), made in the second half of the 15th century in a gothic style. It can be visited only on
demand, because it gives access to the cells of the novices (= the men who have entered the religious order but have not yet taken final
vows).
Chiostro del Generale (Cloister of the General), a 1435 Gothic-style work by Cristoforo da Bolzano. It is called so because it gives access to the
cells of the General, who is the most important friar of the Congregation.
Chiostro del Beato Luca Belludi o del Museo (Cloister of the Blessed Luca Belludi or of the Museum), which dates back to the end of the 15th
century. It gives access to the Antonian Museum.
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Altar of Our Lady of the Pillar
Chapel of the Saint’s Ark
Chapel of the Blessed Luca Belludi (or of St. Philip and St. James the Younger)
Chapel of the Black Madonna
Presbytery and High Altar
Treasury Chapel or Relics Chapel
Chapel of St. James
Chapel of the Blessed Sacrament (or of Gattamelata)
Sacristy
Chapter Hall
Cloister of the Magnolia tree (or of the Chapter)
Cloister of the Novitiate
Cloister of the General
Cloister of the Blessed Luca Belludi (or of the Museum)
Figure 17 – Plan of the Basilica of St. Anthony
Source: www.basilicadelsanto.org
Orto Botanico (The Botanical Garden)
Created
in 1545 on the property of the Benedictine monks of Santa
Giustina, the Orto Botanico (Botanical Garden) of Padova is the oldest
existing university botanical garden in the world and it was nominated a
world heritage site by UNESCO.
The Senate of the Venetian Republic approved its foundation for the
cultivation of medicinal plants, which then constituted the largest portion
of the so-called "simple" herbs, i.e. medicaments of natural origin. This is
why early botanical gardens were called Horti simplicium (Gardens of
Simples). The identification of plants used for medicinal purposes by
renowned botanists of ancient times was uncertain, and frequently led to
mistakes and even frauds, which caused great damage to people's health.
Figure 18 – View of the Horto Sphaericus
The institution of a Horto medicinale, prompted by Francesco Bonafede,
Source: www.mondosegreto.eu
who held the chair of "Lecturer of Simples", enabled students to identify
true medicinal plants, and the first "custodian" of the Garden, Luigi Squalermo, called Anguillara, introduced and cultivated a large number
of species (1800).
15
In spite of severe punishments (fines, imprisonment, exile) for whoever damaged it, the Garden
was often the target of thieves, who stole many of the rare plants it contained, due to the high
prices that could be obtained for them. A circular enclosing wall was soon built (hence the names
Hortus sphaericus, Hortus cinctus and Hortus conclusus).
The Garden was constantly enriched with plants from all over the world, particularly from
countries where the Venetian Republic had possessions, or with which it traded. This is why
Padova played such an essential role in the introduction and study of several exotic species.
The Garden has witnessed the evolution of botany from a science originally applied to medicine,
to the various branches of botanical science. The library, herbarium, and several laboratories,
which sometimes replaced greenhouses, were later additions that updated the Garden.
Just like other similar Italian and foreign university institutions, the Botanical Garden not only
provides an opportunity for the general public to learn more about plants, but it is also a
resource for scholars, and aims at preserving rare and endangered plant species.
The Botanical Garden hosts incredibly old plants, usually called "historic trees". Like all the
plants in the Garden, they are labelled with the scientific name (Latin binomial) of the species, the
Figure 19 – Goethe’s Palm
initials of the scholar who first denominated and described them correctly, their family and place
Source: www.horti.unimore.it
of origin and, in this case, also the year they were planted in the Garden.
The Hortus sphaericus has a Mediterranean palm (Chamaerops humilis L.) which, at present, is the oldest plant in the Garden, as it was
planted in 1585 and made famous by Goethe who dedicated to it some of his essays and scientific works. There are also a southern magnolia
(Magnolia grandiflora L.) which was probably planted in 1786 and is considered to be the oldest in Europe, and an enormous ginkgo (Ginkgo
biloba L.) dated 1750.
Other historic trees grow in the Arboretum (outside the circular wall), which was designed in the second half of the 18 th century, particularly
by the Prefects Giovanni Marsili and Roberto de Visiani. This area also contains an artificial hillock (Montagnola or Belvedere) with winding
paths recalling romantic English-style parks. Here stand moreover a gigantic hollow-trunked
Oriental plane (Platanus orientalis L., 1680) and a Himalayan cedar (Cedrus deodara), not
Did you know…?
as old as the previous trees and therefore not yet historic, but nevertheless important, as it
The Botanical Garden provides
was the first specimen of this species to be introduced into Italy (1828).
an itinerary for the blind: it
The Botanical Garden also hosts collections of plants with particular characteristics, which
consists of pots with plants
whose labels are written in
are either grown in greenhouses or in the open air. Among them particularly worthy of note
Braille. The plants vary
are the insectivorous plants, the medicinal and poisonous plants, the plants of the Colli
throughout the year: they can
be aromatic plants, thorny
Euganei (Euganean Hills), the rare plants, the sensitive plants and the plants introduced into
plants or other peculiar plants.
Italy by the Botanical Garden such as the acacia (Robinia pseudacacia), the potato
(Solanum Tuberosum), the sunflower (Helinathus anuuus), the jasmine (Jasminium
fruticans).
16
Prato della Valle (Prato della Valle Square)
The biggest square in Padova, Prato della Valle, is a
Figure 20 – View of Prato della Valle
Source: digilander.libero.it
sort of Paduan Hyde Park, which turns on Saturdays into
a very crowded market full of students, tourists, inlineskaters and every kind of sportsmen especially on sunny
days. It is one of the largest square in Europe (88.620
mq).
Prato della Valle includes 78 statues representing
illustrious people, which are set in two rings round a
large elliptical green island, surrounded by a canal
crossed by 4 bridges. Each bridge is connected to a path
that goes through the square and leads to the centre of
it, where a fountain is set.
This huge open space had since ancient times economical and recreational functions. In Roman time it was the seat both of a large theatre
called Zairo, and of a circus for horse racing which was also used for fights in the time of persecutions of Christians. Here Saint Justina and
Saint Daniel, two of the four Paduan patron saints, were martyred. Another important monument to be found in this area was a temple,
probably dated around 70 AD and dedicated to the Concordia (goddess of agreement, understanding, and harmony).
In the Middle Ages the Prato della Valle area was the seat of fairs, public feasts and competitions, but also of gatherings and markets. Even
some sermons by Saint Anthony were held here, because the area could host thousands of people.
The “Pra’” has maintained its current appearance and unique shape since 1775, when the enlightened Venetian noble and attorney of the city
of Padova Andrea Memmo, decided to reclaim the once marshy and unhealthy area of the city. The attorney charged Abbot Domenico Cerato,
professor of Practical Architecure at the University of Padova, with recasting the square.
Memmo’s idea was to create a sort of fair, in order to encourage citizens and outsiders to buy there.
Therefore “Memmia Island” was built at the centre of the area and surrounded by shops, which were
later demolished and replaced by plane trees.
The sculptures, made by Antonio Canova and other Paduan artists between 1775 and 1883, represent
many famous Paduan citizens such as Antenor, Galileo Galilei, Pope Clement XIII, Andrea Memmo,
Torquato Tasso, Ludovico Ariosto, Andrea Mantegna and Canova himself. Some statues were destroyed
during the Napoleonic invasion, in particular those representing Venetian doges like Domenico
Contarini, Alvise Mocenigo, Francesco Morosini and Antonio Grimani, and subsequently replaced by
obelisks.
Across the road stands the majestic Basilica of Santa Giustina. The abbey, a national monument whose
Figure 21 – Statue of Antenor
Source: www.pratodellavalle.org
length (122 m) and wideness (82 m) make it one of the largest in the Christian world, is home to
historical treasures and works of art, including a huge library of 130,000 books.
17
Figure 22 – The statues of Prato della Valle
Source: www.padovando.com
EXTERNAL RING
1.
Antonio Diedo
12.
Obelisk
23.
Pope Eugene IV
34.
Obelisk
2.
Antenor
13.
Bernardo Nani
24.
Bernardino Trevisan
35.
Francesco Petrarca
3.
Alberto Azzo II d' Este
14.
Vettor Pisani
25.
Antonio Da Rio
36.
Galileo Galilei
4.
P. Clodio Trasea Peto
15.
Lodovico Sambonifacio
26.
Andrea Da Recanati
37.
Alessandro Orsato
5.
Torquato Tasso
16.
Antonio Michiel
27.
Ludovico Ariosto
38.
Altenerio Degli Azzoni
6.
Pietro D' Abano
17.
Antonio Barbarigo
28.
Albertino Mussato
39.
Sicco Polentone
7.
Giovanni Francesco Mussato
18.
Domenico Lazzarini
29.
Giuseppe Tartini
40.
Antonio Zacco
8.
Pagano Della Torre
19.
Taddeo Pepoli
30.
Giovanni Maria Memmo
41.
Cesare Piovene
9.
Lucio Arrunzio Stella
20.
Marco Mantova Benavides
31.
Michele Morosini
42.
Maffeo Memmo
10.
Opsicella
21.
Andrea Mantegna
32.
Melchiorre Cesarotti
43.
Andrea Navagero
11.
Obelisk
22.
Pope Paul II
33.
Obelisk
44.
Andrea Memmo
INTERNAL RING
67.
Pope Clement XIII
(C. Rezzonico)
78.
Obelisk
57. Antonio Schinella
De' Conti
68.
Antonio Canova
79.
Pietro Danieletti
Tito Livio
58.
Jacopino De' Rossi
69.
Francesco Luigi Fanzago
80.
Rainiero Vasco
49.
Gerolamo Sarvognan
59.
Gustavo Adamo Baner
70.
Francesco Pisani
81.
Francesco Morosini
50.
Fortunio Liceti
60.
Gustavo II Adolfo di Svezia
71.
Giulio Pontedera
82.
Gerolamo Liorsi
51.
Lodovico Buzzacarini
61.
Matteo De' Ragnina
72.
Nicolò Tron
83.
Antonio Savonarola
52.
Giovanni Poleni
62.
Giobbe Ludolf
73.
Francesco Guicciardini
84.
Marino Cavalli
53. Guglielmo Malaspina
degli Obizzi
63.
Stefano Gallini
74.
Jacopo Menochio
85.
Andrea Briosco
54.
Giovanni Dondi dell' Orologio
64.
Filippo Salviati
75.
Giovanni Sobiesky
86.
Albertino Papafava
55.
Obelisk
65.
Uberto Pallavicino
76.
Stefano Bathory
87.
Michele Savonarola
46.
Zambono Dotto dei Dauli
56.
47.
Sperone Speroni
48.
Obelisk
66. Pope Alexander VIII
(Pietro Ottoboni)
77.
Obelisk
88.
18