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The mark left by Bentivoglio in the field of the arts was truly great: he was responsible for much of the current layout of the main streets and squa… - Guido Zucchini
" "The mark left by Bentivoglio in the field of the arts was truly great: he was responsible for much of the current layout of the main streets and squares of Bologna and his desire to offer the foreigners who gathered here illustrious weddings and for splendid tournaments the view of a renewed city proud of its importance. The fortresses of the countryside and the walls and gates of the city were reinforced according to what the new science of war and the new obsidian methods required: his palace it was finished and enriched with a large tower and gardens, and rooms painted and decorated with gold ceilings (Gigli) and vast stables: the buildings of the Municipality and the Podestà at his behest they were restored and covered with new architecture: private individuals competed to erect houses and palaces so that in a short time the majority of the city was renovated and every man tried to build to the pleasure of Signor Messer Joane (Gaspare Nadi). Architects and bricklayers came from Lombardy and Veneto, sculptors from Tuscany, painters and illuminators from Ferrara and Modena; new and rich decorations in brightly colored terracotta, elegant candlesticks and boulder decorations came to adorn the facades of the houses, new paintings and frescoes enriched the churches, and Bologna was soon «bold, fantastic, shapely» (G. Carducci). (p. 81)
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About Guido Zucchini
Guido Zucchini (C.E.1882 – 1957), Italian engineer and art historian.
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Additional quotes by Guido Zucchini
Towards C.E.1199, Bologna saw the two most singular and famous towers rise simultaneously: slender and vibrant, like a sword pointed towards the sky, the one built by the Asinelli and thrown upwards for more than ninety-seven meters above a square base of approximately eight meters on each side; slightly less wide, still resting on a base covered with selenite blocks, but inclined towards the east and unfinished due to the subsidence of the land, that of the Garisendi, who in the new competition of noble emulation had to stop the construction of the symbol of their strength. (pp. 28-30)
[...] if the decorations of the candlesticks and the capitals and moldings are due to Tuscan stonecutters, the architectural ensemble of the [del Podestà] palace appears to be the creation of a local craftsman who, in designing the model, had guided by the technical needs of the construction, the new renaissance forms and especially the design of the pilasters imported from Pagno di Lapo and finally some purely local uses, such as that of placing small circular windows in the frieze to illuminate the large and traditional flat ceiling rich in carved wood and paintings. (p. 83)
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The internal peace in the city of Bologna is matched by a new development of the arts, especially of architecture: so that the destruction of the Palazzo Bentivoglio [in C.E.1507] really seems to mark the death of the elegance and minute and hackneyed decorations of the fifteenth century and the beginning of a new rebirth by classical examples. (p. 116)
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