Simple, comfortable apartment, next to all the services that are usually in the town centres.
A beautiful double room with the comfort of the toilet in the room.
Upstairs is a double bedroom with private bathroom and, in a separate bedroom, an extra bed.
Large terrace overlooking the garden, for summer breakfasts.
Opening period: all year
]]>They were jailed with ferocious murderers, thieves, brigands, swindlers and also tax evaders unable to pay any of the many levies that were already in force at the time.
Justice at the time was very severe, and in front of the prison, in the current Via Arcipretura where you find paper and print shops, lived an esteemed public servant: the executioner.
November, St Prospero’s day, a condemned prisoner, chosen at random, was instead taken to the omonimous Basilica and pardoned. It was the tribute from the city to its Patron Saint.
- Attilio Marchesini -
]]>Via Spallanzani, 1 - 42121 Reggio nell'Emilia 0039 0522 456816 - Museums Palace
0039 0522 456477 - Offices
musei@comune.re.it Museum Palace
GiraReggio
September-June
Tuesday-Thursday
10.00 a.m. - 1.00 p.m.
Friday-Sunday and holidays
10.00 a.m. - 6.00 p.m.
July-August
Tuesday-Sunday
10.00 AM - 1 PM
Monday closed
Free entrance
Reggio nell'Emilia - Town centre
The museum overlooks Piazza Martiri del 7 Luglio and is located in front of the Valli Municipal Theatre.
The history of the Museums Palace begins eight centuries ago, exactly in 1256 when the Franciscans, by concession of the bishop Guglielmo Fogliani, settled in the church of San Luca and the adjoining imperial palace, in use as a bishopric starting from 1195. The transformation from palace to convent will take place a few decades later. Over the centuries the convent took shape, first developing on two floors and around a large porticoed cloister, then acquiring a large space used as a vegetable garden and surrounded by a wall. The aspect with which we know it now is a great makeover in the early decades of the XVIII century. During the Napoleonic suppressions, The Museums Palace ceases to be a convent and turns into a barracks and stable for horses, therefore in the seat of educational institutions.
After the Restoration, the building housed the Royal Boarding School or Legal College on the first floor and the Royal High School of Chemistry and Physics on the ground floor. Precisely the presence of scientific educational institutes led to the decision, in 1830, to set up the private collection of Lazzaro Spallanzani, purchased by the Municipality in 1799. In 1862 the Reggio Don Gaetano Chierici founded the Cabinet of Antiquities country, from 1870 Museum of Homeland History, divided into large collections that favor the collection and conservation of material of local interest, but placing them within the framework of the national cultural tradition. The Museo Chierici di Paletnologia exhibits local prehistory and protohistory materials collected by Chierici himself, accompanied and compared with objects of the same period, but of different geographical origin, especially Italian. The collection reflects the methods of the new palethnological discipline that Chierici himself was defining.
The Marbles Gallery, established and open to the public in 1875, then restored and enlarged in 1991, houses stone finds and Roman epigraphs, mostly funerary, remains of architectural decorations, epigraphs and sculptures from the Middle Ages to the 18th century. Roman architectural marbles are also displayed outdoors in the adjacent Cloister. The Atrium of the Museums preserves, in addition to mosaics with geometric motifs from the Roman age, large mosaic fragments of the floor decorations, dating back to the XII-XIII century, of some churches in Reggio: Cathedral, San Prospero, San Giacomo and San Tommaso. The XIX-century collections are completed with the naturalistic collections of zoology (Antonio Vallisneri room), anatomy (Paolo Assaliniroom) and botany. They are flanked by the collections of Ethnography (Giambattista Venturi room), rearranged in 1999 with the integration of a nucleus of objects acquired by the Museum of Antiquity of Parma.
Ideal extension and completion of the Chierici Collection, it is the room dedicated to the Roman Reggio (1996-1998), in the context of the new archaeological collections, including numismatic and epigraphic collections, sculptures, mosaics, fragments of architecture, ceramics, goldsmith's art and minor arts, from the Roman foundation of the city to the barbarian age. In May 2015, the room was renovated with a permanent virtual museum: Regium @ Lepidi-Project 2200, with a totally innovative concept. In fact, it is dedicated to a not only virtual, but also interactive reconstruction of the Roman city, through the use of different equipment. In the naturalistic field, the collections dedicated to Geology (1989), Fauna del reggiano (1992) and the display of the remains of the Valentina whale (2001), a 3.5 million-year-old fossil cetacean found on the hills, were added to the XIX-century collections from the Secchia Valley.
On the upper floor of the building, the Prehistory and Protohistory Collection (1992) displays the archaeological collections after the Chierici order, presenting an exhaustive overview of the most ancient civilizations that inhabited our territory, through artifacts found from the most recent excavations and findings.
The Antonio Fontanesi Gallery, established in 1902 and reordered, enlarged and enriched several times, documents the artistic culture in Reggio from the XIV to the XX century. In the collection, the sections dedicated to the deposits of the works of art by Bipop-Carire, the Art Institute of the Artistic Lyceum Gaetano Chierici, the room dedicated to paintings, sculptures, drawings and engravings by Antonio Ligabue, and the room dedicated to Marco Gerra.
The recent history of the Museums Palace begins in 2005: the project to rethink and renovate the museum is entrusted to the great architect Italo Rota. The return to the town of the top floor of the building, unusable for several years, is the main novelty introduced by Rota's project, which intends to propose a new idea, a new museum project, which compares and dialogues with the contemporary. The architect has reconstructed a red thread that binds and connects the old with the new, the plan of the historical collections, first of all the Spallanzani Collection, with the plan of the Fontanesi Gallery and of the archaeological collections up to the third and last floor where the museum is it opens up to the complexity and contamination of contemporaneity. The comparison is with the generation of the new contemporary museums and with the territorial civic museums that offer themselves as an individual and collective opportunity in which the architecture and materials of the museum are transformed together into a museum and simultaneously become a source of experience and a means of knowledge.
On the first floor, the entrance hall has been completely renovated through a library, ticket office and studio. In all three levels of the building, a unique Pièce was designed: the precious and very rare Gold Cup dating back to the Bronze Age (about 3,700 years ago), found in Montecchio Emilia; the Venus of Chiozza, classifiable among the most ancient Paleolithic idols; the contemporary works La monta solar, sculpture in brass and ceramic from 1969-79 by Fausto Melotti; Cross of light, a work of particular spiritual intensity by Claudio Parmiggiani. They are unique pieces, masterpieces that also have a special attractive function and invite the viewer to linger and reflect.
On the top floor, Laboratory spaces invite the public to participate actively and critically in relation to the contents of the visit and encourage their creativity. In continuity with these spaces, the Agora, a place of exchange and discussion, to renew the dialectic between doing and being, between work and the word, between creativity and exchange, comparison, participation. It is in particular with the idea of the new Long Sleeve, space of the temporary museum, which occupies the whole large nave on the top floor, to highlight the message linked to contemporaneity starting from the first installation For inspiration only, curated directly by Italo Rota. In the Long Sleeve, the historic Sperm Whale has found a new location and more adequate conditions of visibility, an object particularly important for the memory of the town and one of the typical symbols of the Museum.
She is famous for creating an arsenic-based poison, known as "acquetta di Novellara", which she used to get rid of her enemies.
After learning that her husband had become infatuated with Orsola Manari, Matilda tried to have him killed by two hired killers who, June 8, 1714, fired some harquebus shots at his carriage as he was leaving the castle. The Count escaped unhurt, but as a punishment, and in order to avoid any scandal, he sent Matilda back to her father, keeping their children with him. Matilda returned to Novellara just eleven years later for the christening of her grand-daughter Maria Teresa, Ricciarda’s daughter (according to what was written by the canon Vincenzo Davolio in his Memorie Storiche della Contea di Novellara - Historical Memories of the County of Novellara).
]]>Via Mussini Sante, 9 - 42015 Correggio
Phone 0039 0522 694640
Fax 0039 0522 691042
www.coriandoline.it
The story started way back in 1995 when the Correggio-based cooperative Andria (named after one of Italo Calvino’s invisible cities and with a long history of building human-friendly ‘dream’ neighbourhoods) decided to create a neighbourhood especially for children.
The history of Coriandoline
Children: an odd target for the construction of something as solid as houses. But in 1995 the architect who designed the project, Luciano Pantaleoni (previously the cooperative’s Director as well) together with pedagogy specialist Laura Malavasi, set the project in motion inviting 12 local schools to collaborate with them. Thus, 700 children helped by 50 teachers, 2 pedagogy specialists and a further 20 participants including architects and engineers, “pedarchitects and archigogists” (the term used by Luciano to describe his and Laura’s new role in this project) started putting down their initial ideas on paper and video.
In the neighbourhood, besides the see-through house with glass panels all around, there are also doorbells decorated with the names of the household members (all of them, including cats, and not just surnames), and in the tower houses, in addition to the lifts, there are also helter-skelter slides next to the stairs. Then there is the Coriandoli Workshop (coriandoli means confetti in Italian) which is used as a common room for meetings and gatherings and acts as a sort of documentation centre of the project. All the drawings made by the children and Luzzati, who worked with them, are assembled here alongside the plastic model and, hanging from – or rather nailed to – the walls, are some old manuals.
(for adults)
UIT Ufficio Informazione Turistica di Correggio
via Borgovecchio, 39
Phone 0039 0522 631770
turismo@comune.correggio.re.it
www.turismocorreggio.it
(for children)
Ludoteca Piccolo Principe
via Fazzano n. 9
Phone 0039 0522 643811
ludoteca@comune.correggio.re.it
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This garden, which was originally called "Jardin del Principe" and has now disappeared, is clearly marked on a map of Guastalla and surrounding areas made in 1689 by D. Joseph Chafrion ¹. It is still possible to see the raised mooring of the old pontoon bridge built in 1927-29 now replaced by the modern bridge. A charming feature is the characteristic Chalet now turned into a restaurant ²
¹ Il Tempo 1985, 175
² IORI 1989, 106
IGM F 74 IV NE
For political reasons she married Goffredo the Hunchback and will have to leave her lands to settle in her husband’s homeland, Lorraine. The marriage ended after a few years and Matilda will be able to return to her mother Beatrice in the Italian territory. Thus, she was an example of the worsening of differences between Pope Gregory VII and Emperor Henry IV, the first one determined to impose the supremacy of the Papacy over every earthly power, the second one ready for war to assert his rights as absolute sovereign.
After the excommunication of Henry IV, Matilda will act as mediator between the rebel sovereign and the Pope at the Canossa castle, showing her ambivalence due to loyalty to her cousin Emperor and the desire to be a good Christian. The humiliation of Henry IV is only a strategic move of convenience and the fight will resume shortly.
Because of her role as intermediary Matilda was stripped of the title of Countess and deprived of her lands, so she was a lonely woman. Some vassals rebelled against her and, to defend her fiefdom under attack by the imperial troops, she contracted a second marriage, also unhappy and disastrous. Only in the last years of her existence Matilda will be able to devote herself to prayer and religion, which she neglected in her youth because of her political role. She will die near the monastery of Saint Benedict in Polirone, and since 1632 she has rested in Rome, in the Saint Peter church.
Emperor Henry IV arrived in Canossa January 25, 1077 and was granted audience, then forgiveness, on January 28. Some historians have disputed claims that the Emperor had to wait three days at the entrance to the Canossa Castle in a state of severe physical discomfort, but the recorded date in which the Emperor was led to meet the Pope and appeared before him is actually January 28. The iconic image, passed down through the centuries, of the German Monarch kneeling in the snow during that harsh winter at the gates of theCanossa Castle, Matilda’s residence in the Reggio Emilia Apennines, remains the symbol of that event.
The lands of Matilda included the foggy mists of the low Po river valley, the cities of the plains and the ridges of the Apennines, and were characterized by an imposing system of fortifications featuring countless castles, churches and tower houses. That landscape, the symbol of a political, social and religious system, has left us an invaluable heritage from that time which needs to be preserved so as to be handed down to posterity.
The Canossa Castle, which hosts a national museum and is part of Italy’s national heritage, is therefore the centre of a territory sculpted by the history that led to the transition between medieval and modern Europe. During that time, the charisma of Countess Matilda shaped the landscape of the Reggio Emilia Apennines almost after her own image and characteristics, and that landscape still bears proudly the thousands of marks left by her passage. This territory, which was at the heart of European medieval history and provided the stage for such leading players as Pope Gregory VII, Emperors Henry IV and Henry V and Saint Francis, offers a blend of nature and drama, history and culture, economics and environment, and to this day enjoys a strong cultural tradition deeply engrained in the memory and the very identity of the local communities. The Canossa Castle itself was the main stronghold in a defensive theatre - certainly unique in Europe during the period between the X and XII centuries -designed to secure control over communication routes across the Po river plain and the Apennines. Throughout the period of the wars of investiture, this system provided crucial military support to the Papacy, with Countess Matilda of Tuscany, in its continual struggles against Emperor Henry IV.
Castles
Brochure | The Canossa Castle
Giorgio Galeotti, Badlands - Canossa, 2014, CC BY-NC 2.0
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The service is active every day from 06:00 a.m. to midnight.
Opening hours of the office of A.s.d. Pallacanestro Scandiano
Monday, Tuesday and Thursday from 09:30 a.m. to 12:30 p.m. and Wednesday from 03:00 to 05:00 p.m.
It is possible to enjoy the bike hire service every day from 06:00 a.m. to midnight in the following posts:
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Viale Timavo, 43 - 42121 Reggio Emilia 0039 0522 708714
0039 0522 708511
0039 0522 708764
clubdiprodotto@ascomre.com Reggio Tricolore
At every time, Reggio Emilia offers its best side to its guests: an interesting historical and artistic heritage, a town of art and culture, also known for the birth of the Tricolour flag; natural landscape and territory from the rocky peaks and green valleys of the Apennine mountains and the gentle hills of the Countess Matilda, to the flat Po plain that slopes down to the great River Po; a renowned enogastronomy and culinary art in which Parmigiano-Reggiano, Lambrusco and Traditional Balsamic Vinegar are the main products. All that in the Motor Valley where Ferrari, Lamborghini, Maserati and Ducati, are just a few of many elements of this land, synonymous with glamour and passion.
Itinere is the incoming partner of the Club di Prodotto Reggio Tricolore, a tour operator that offers a wide range of itineraries and theme tours for individuals and groups, creating tailor-designed travel packages for Reggio Emilia, Emilia Romagna and the surrounding regions of northern Italy.
0039 0522 1696020
info@itinere.re.it Itinere
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Piazza Del Monte, 6 - 42121 Reggio nell'Emilia Palazzo Busetti
GiraReggio
The lower floors of the Palace are visitable during the opening hours of the Galleria del Monte shoppin center.
Reggio nell'Emilia - Town centre
The Palace is in faces on Piazza del Monte.
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Monday-Saturday: 8.30 a.m. - 12.30 p.m.
Sunday and holidays: closed.
Credit giropercampeggi.it
The Vezzano sul Crostolo parking area is located in the first parking area of the "La Pinetina" Ecopark; from here it is possible to reach by bike or on foot the most important naturalistic areas, walk across the Via Matildica del Volto Santo, trek through the park or use it as a starting point to visit the Apennines. The waste discharge area is located in the middle of the camper area and can be activated only with a badge that you can buy at the Bar Sport, located in via Roma Sud.
This area is open all year, and dogs are allowed but under strict owner's responsibility and surveillance. Dejections must be collected and thrown in the nearest bin.
Available services (only with badge):
• waste discharge area
• drinking water fountain
• toilet discharge area
• electric charging column
• public illumination
Free parking, services for a fee.
Maximum stop time: 72 h.
Tavern
Groups are accepted.
Reservation recommended.
Weekdays: 12.00 - 11.00 p.m.
Sunday and holidays: 12.00 - 11.00 p.m.
Weekly closure: Monday
]]>By the XV century, the convent was already structured over two floors, and a large porticoed cloister had been built close to the northern side of the church. As can be gathered from several views of the city dating back to the XVII and the XVIII centuries, the building was characterised by a large vegetable garden and by a boundary wall that extended to occupy part of the current via Spallanzani.
This configuration was subsequently modified during projects completed from 1700 to 1725 from a design by architect Giovanni Maria Ferraroni, also known as Brighi. Both the convent and the church were refinished, which partially conserved the arrangement of the buildings on the one hand, but completely changed the urban configuration and impact, with the buildings we now see in the city’s landscape being the final result.
In 1798, Palazzo San Francesco was also subjected to Napoleon’s suppression, and the Conventuals abandoned their domicile, never to return to Reggio Emilia. During the French occupation, the convent was used as a barracks and as a stall for horses.
After the Restoration, the Palazzo hosted the Royal Legal Finishing School or Law School on the first floor, and the Royal Lyceum of Chemistry and Physics on the ground floor. The presence of these scientific
schools was the very factor that lead to the decision, in 1830, to set up the private collection of Lazzaro Spallanzani (purchased from the municipal government in 1799 and previously displayed in Palazzo San Giorgio) in Palazzo San Francesco, at the exact same spot where it can be admired to this day.
In 1862, don Gaetano Chierici of Reggio Emilia founded the Gabinetto di Antichità Patrie (Cabinet of Antiquities of the Native Land of Reggio Emilia), which became the Museo di Storia Patria (Museum of Homeland History) in 1870. The new facility was divided into large core collections that privileged the gathering and conservation of material of local interest, yet placed them within the framework of national cultural tradition.
The Chierici Museum of Palethnology displays local prehistoric and protohistoric materials gathered by Chierici himself, accompanied by and compared with objects from the same period but from different geographic areas, especially in Italy.
The collection reflects the methods of the new discipline of palethnology, as Chierici himself was in the process of defining.
The Galleria dei Marmi (Marble Gallery), which was created and opened to the public in 1875, and subsequently restored and expanded in 1991, hosts stone artefacts and Roman epigraphs (mostly funerary in nature), remnants of architectural decorations, and epigraphs and sculptures from the Middle Ages to the XVIII Century. Roman architectural items in marble are also displayed outdoors in the adjacent Cloister.
The Atrio dei Musei (Atrium of the Museums) contains not only mosaics with geometric motifs from the Roman era, but also large fragments of mosaic art from floor decorations that date back to the XII-XIII Centuries and were taken from several churches in Reggio, including the Cathedral, San Prospero, San Giacomo and San Tommaso.
The collections from the 1800s are completed with naturalist collections of zoology (in Antonio Vallisneri Hall), anatomy (in Paolo Assalini Hall) and botany. They are accompanied by collections of ethnographic materials (in Giambattista Venturi Hall), which were given a new layout in 1999, when a core group of objects acquired from the Parma Museum of Antiquity was added.
The perfect expansion of and complement to the Chierici Museum is the Sala di Reggio Romana (Hall of the Roman City of Reggio, 1996-1998). It includes collections of stamps, epigraphs, sculptures, mosaics, architectural fragments, ceramics, gold and jewellery, and handicrafts dating from the founding of the city by Rome to the Barbarian Age.
In the naturalist field, the XIX Century collections have been supplemented over the years with collections devoted to geology (1989) and the fauna in the Reggio area (1992), and with a display of the remains of the Valentina Whale (2001), a 3.5 million year-old cetacean fossil found in the Reggio hills overlooking Secchia valley.
On the top floor of the building, the Museum of Prehistory and Protohistory (1992) displays archaeological collections included after the rearrangement by Chierici. Using artefacts found in the most recent digs and finds, it presents an exhaustive overview of the highly ancient civilisations that once inhabited our area.
The Antonio Fontanesi Gallery, which was created in 1902 and has been reordered, expanded and enhanced a number of times, documents artistic culture in Reggio from the XIV to the XX Centuries.
Worth special mention in the collection are sections devoted to deposits of works of art from the BIPOP-CARIRE banking institute and the Gaetano Chierici School of Art – Institute of Art; a hall containing paintings, sculptures, drawings and engravings by Antonio Ligabue; and a recent hall devoted to Marco Gerra.
via Spallanzani, 1
42121 Reggio Emilia
T. +39 0522 456816
Website: http://www.musei.re.it/english-version/
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Phone: 0039.0522.456477; e-mail: musei@municipio.re.it
Special section dedicated to Gaetano Chierici.
He made embroider the national flag separately cloth by cloth (white, red and green) in three different institutes of young girls of which he was spiritual assistant, so as to hide the combination of the three colours until the end of the work.
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