Bologna Palazzo Comunale
Palazzo Comunale Photos
About Palazzo Comunale
Palazzo Comunale is one of the most important buildings in Bologna and has officially functioned as the seat of local Bolognese government since 1336.
This imposing tower-house on the corner was part of the original nucleus of a building that belonged to Francesco Accursio – son of a famous jurist – hence, the often misleading assumption that Palazzo Accursio and Palazzo Comunale are one and the same. Whereas, really, Palazzo Comunale’s construction is attributed to numerous transformations, extensions and alterations since 1287 when the Comune of Bologna purchased it.
Most of the houses were demolished except the tower and replaced with a vast vaulted hall and portico at the foot of Piazza Maggiore.
This large bronze statue of Pope Gregory XIII above the main entrance is attributed to Alessandro Menganti between 1576-1580.
Next and to the left of it is a bas-relief of the Virgin and Child by Niccolo dell’Arca replacing an earlier painting.
This ‘great window’ and the two red eagles in Veronese marble were designed by Galeazzo Alessi.
The castellated features of the complex were introduced in 1365 transforming the residence into a fortress by the Legate Androino de Grimoard. These defensive measures even included a moat during that phase.
A fire in 1425 destroyed part of the complex. Shortly after though, Fioravanti began to construct the main courtyard by building the porticoed wings on the west and north sides ex novo.1
Within the courtyard at the back is this fabulous monument. It is in fact only a reproduction of the original by Francesco Terribilia. He was the architect here for what was then the Botanical Gardens. The original can now be seen in Belle Arte Accademy.
A continuation of Fioravanti’s work included this spacious stairway presenting low, wide steps for access to those on horseback. The stairway is actually attributed to Bramante in 1597.
On the first floor are these bas-relief casts by the French sculptor Giovanni Goujon. These Nymphs were originally part of Fontaine des Innocents in Paris.
Next to it is this room called Sala Ercole – Hercules’ Hall. It follows the original Renaissance layout. At the far end is this huge terracotta statue from 1519 depicting Hercules killing the Hydra of Lerna. Painted in mock bronze, it’s the work of Alfonso Lombardi to whom it’s argued may actually represent the fall of the Bentivolgio family and the final reinstatement of Papal Rule over the city of Bologna in 1327.
Following along to where the main offices are located is this large canvas in the hallway. It depicts the Nativity scene by Nunzio Rossi completed in 1644. The origins of it state that it was originally placed in San Girolamo di Certosa on the outskirts of the city.
Immediately to the right of this is the Sala Rossa. From first impressions it’s quite obvious from the tapestry and decorative elements why this is called the Red Hall.
This room would have held many important meetings of the political senate in the 16th century. However, it was not until the 19th century that the hall was given its present ‘Empire’ style with Bohemian crystal chandeliers – said to have been a present from Napoleon to his sister Elisa Baciocchi.
The barrel arches were designed and decorated by Luigi Busi and Luigi Samoggia.
At the top of another flight of steps to the second floor is this group of sculptures by Camillo Mazza in 1660. The work of art was part of the façade of the Crucifix Church demolished in 1935.
This next room is called Sala Farnese. It used to have a painted vaulted ceiling but this was replaced by the present lacunar ceiling in the late 1800’s. The frescoes are due to a team of painters, led by Carlo Cignani, with Lorenzo Pasinelli, Luigi Scaramuccia, Girolamo Bonini, Giovanni Maria Bibiena.2
The last room here is La Cappella Farnese or Farnese Chapel. It was built by the architect Aristotele Fioravanti in the mid-15th century.
The fresco decoration dates back to 1562, when Pope Pious IV was ruling, and his representatives in town were the legate Carlo Borromeo and deputy legate Cardinal Pier Donato Cesi, who ordered and followed the monumental restoration effort made in the town centre.3
The artist who painted the fresco cycle (only fragments remains now) with Stories of the Virgin’s Life was Prospero Fontana, at the time a leading painter of the “Mannerism” school in Bologna and Rome.4 The main reason for the irreparable damage suffered to the art work was due to this room being used for storage purposes during Napoleon’s rule.
References
1 Sassatelli, Giuseppe; Govi, Cristiana Morigi; Ortalli, Jacopo; Bocchi, Francesca. Atlante Storico Delle Città Italiane Emilia Romagna Bologna, Bologna IV,III,II,I, Bologna 1996, pp185-186.
2 http://www.comune.bologna.it/sale-accursio/english/sala-farnese-eng.htm
3 http://www.comune.bologna.it/sale-accursio/english/cappella-farnese-eng.htm
4 As above.
External Links