Destination: Verona

A new multi-purpose art space has opened in Verona: it’s called E.ART.H., which stands for Eataly Art House, and it promises to become a beacon of art and culture for the general public.

The Eataly Art House project

E.ART.H. is a project designed to make art, seen as an essential tool for understanding the reality around us, accessible to as many people as possible. To achieve this, Eataly Art House offers an innovative, overall cultural experience: as well as holding high-quality exhibitions of contemporary art and photography, by nationally and internationally renowned artists and curators, it aims to facilitate encounters with the artworks themselves.

Visitors can gain a deeper insight (with the help of mediators and ad-hoc digital support) into the context of the works and, if of interest, purchase them in the Art Market space designed for this purpose.

E.ART.H. also runs educational activities: workshops, talks, seminars and many other events provide an opportunity to explore the social and cultural issues addressed in the exhibitions, successfully combining learning with entertainment. A way of showing how art is not just for the few, but is a precious resource that’s open to everyone, starting with local communities.

One of the founding values of the project is inclusiveness, along with beauty, sustainability and the wish to elicit, through art, a reaction in the visitor, who is encouraged to contemplate the present.

Art, in all its guises, in a new, cutting-edge space

E.ART.H is housed in the wonderful spaces on Via Santa Teresa 12 in Verona, where the vision of the great architect Mario Botta has made it possible to restore and convert what in the 1930s was Europe’s largest cold storage facility. The Eataly market, the mecca of Italian fine food and wine, is also located here.

So in what were once refrigerated units beneath a reinforced concrete dome measuring 24m in diameter, you can enjoy a unique venue offering art in all of its forms, combining tastings of the finest local produce with a stroll among works that tell the story of Italy, or exhibitions by renowned contemporary international artists, of the calibre of Ibrahim Mahama or Anton Corbijn.

You are offered a 360^o cultural experience: as well as contemporary art, with works from some of the greatest national and international galleries, there are also sections dedicated to photography, where iconic images alternate with those seen through the eyes of young photographers, and a selection of works by artists under 40.

In Verona’s central Via Cappello there is a a medieval palace with an internal courtyard, overlooked by possibly the most famous balcony in the world. This place is visited by millions of lovers every year. Around Valentine’s Day, it becomes the destination for a kinf pilgrimage of love that has no equals.

What has always struck me about Juliet’s Balcony – because that is the balcony I’m talking about – is that even though it is a complete and utter fabrication, it nevertheless retains huge evocative and symbolic power. William Shakespeare never set foot in Verona. Romeo Montague and Juliet Capulet are children of his imagination (although a Cappelletti family of Verona did actually live in the Palazzo in Via Cappello). The balcony itself was added in the twentieth century.

Basically, if we want to be accurate, nothing could be more fictional than Juliet’s House (or Juliet’s Tomb, for that matter, or even the lesser known Romeo’s House). So why does it exert such enduring fascination? Why do they still queue up to rub the right breast of the bronze statue of Juliet? Why do visitors cover the courtyard walls with writings, graffiti, stickers and padlocks, unopposed?

It has got to be because Verona is indeed, in the eyes of many, “the city of Love”. Yet this is not the result of a marketing campaign, although admittedly Shakespeare’s was indeed the greatest unintentional marketing campaign Verona has ever benefited from. It is the hold of a mighty and immortal symbol, which millions of people still identify with.

Verona is now learning to manage this great legacy. The town hall is looking into projects that would radically change the appearance of Juliet’s House, mainly by charging an entry fee. It makes sense to wish to manage such a vast phenomenon and, if possible, make some money out of it. And yet, I hope that place doesn’t become an “official” tourist attraction, and lose some of its poetic charm in the process. In any case, it is a long-term project: Juliet’s courtyard will as it is for the time being: crowded, a bit kitschy and free.

Should you visit Verona around Valentine’s Day, you needn’t limit your visit to celebrating the myth of the Shakespearian heroine. Every year in Verona they hold a special exhibition called “Verona in love”, with events, concerts, and film screenings, all designed to delight the many loving couples who visit the city at this time of year.

Similarly, some of the most romantic places in the city – such as the Notaries’ Chapel, an eighteenth-century artistic jewel inside Palazzo della Ragione, or Juliet’s tomb – are available to those who wish to celebrate their wedding there (the initiative is called “Marry me in Verona”).

Romeo and Juliet’s is not the only legend of tragic love set in Verona, anyway. There is one about a young soldier from the Holy Roman Empire army, around the 1500s, called Corrado di San Bonifazio, who fell in love with the beautiful Isabella, who rejected him. In despair, Bonifacio threw himself into a well. Isabella, moved by his sacrifice, followed him into the icy water.

The well is now known as the Well of Love. It lies hidden at the end of a closed alleyway in one of the most beautiful spots of the historical centre of Verona. You used to be able to throw a coin in it and make a wish. Now, however, the well has been sealed to avoid unpleasant harvesting by the area’s residents. You can still push a few cents through the wooden planks, though. You can’t let a wish that comes this cheap, to have an unrequited love returned or consolidate a bloomed romance, just slip away.

I’m writing this article after a family visit to the new Christmas markets that have just opened in Verona. But first, I should explain what I mean by “new”. For some years now, the city has been a kind of unofficial Christmas capital for Italy, with a whole calendar of events attracting around two million visitors who fill the streets and squares, as they do their shopping or simply enjoy the magical atmosphere of the lights and decorations.

Piazza dei Signori, in the heart of the city’s old town and just off Piazza Erbe, is the traditional gathering point for Christmas shopping. And it’s also where you’ll find the Nuremburg Christmas market, which is the main attraction for tourists. Piazza Bra is the other Christmas hive of activity, with its traditional comet star sculpture surging out of the Arena, and the typical Veronese stalls of the Santa Lucia fair, to mark Saint Lucia’s Day  (13 December).  But this year, we have some newcomers: Christmas in Verona is no longer concentrated in one or two squares, but has now spread to many other parts of the city.

To start with, there’s the wonderful riverside walkway of Lungadige San Giorgio. It is perhaps the most beautiful of the less familiar parts of Verona. The Christmas stalls have now arrived here too; you can nibble on artisan chocolate or warm yourself up with mulled wine, although the main attraction is a large funfair overlooking the river to delight both little ones and parents alike. It certainly gets my vote.

As you stroll towards the Ponte Pietra bridge in the evening, you can’t help but notice the illuminated funicular that takes you to up to Castel San Pietro. Only a few months’ old, you can take it (thus avoiding the steep but charming climb up the steps) to the top of the hill that overlooks the city, where you’ll find a lounge bar inside an igloo-shaped structure, ideal for an aperitif as you enjoy the best view of Verona.

One of the most undeservedly overlooked places in Verona has, this year, become part of the Christmas circuit. I’m talking about Piazza San Zeno, with its wonderful Romanesque basilica dedicated to the city’s patron saint. A well-known Veronese garden centre company has created an impressive nativity scene, whilst inside the cloister of the church is another nativity scene that is a joy to admire, made from recycled materials. And if you love this kind of thing, this year you can visit the international exhibition of nativity scenes in the Arena, now in its 31^st year.

Anyone lucky enough to find themselves in Verona over the festive period should also visit Palazzo Forti, which specialises in well curated and organised monographic exhibitions. Currently – and until 28 February 2018 – it is showing the oversized portraits by the great Colombian artist Fernando Botero. But in one wing of the palace, there’s also another exhibition which, to my mind, is a must, although there’s no comparison in artistic terms. It’s called “I love Lego” and features reconstructions of real and fictitious settings made exclusively from these famous bricks. There’s also a reconstruction of Verona’s Piazza Erbe, which is a feast for the eyes.

Finally, to round off the celebrations, all you need is to raise a toast, accompanied by a slice of Verona’s finest sweet speciality: the pandoro. Merry Christmas to you all.

Verona is a city full of churches. Wikipedia lists at least fifty in the centre and surrounding area alone. Some are true architectural masterpieces, with their interiors in turn boasting works of art, justifiably highlighted by the main tour guides: the Cathedral, San Zeno, Santa Anastasia, San Fermo. But alongside these are other lesser-known churches (often unfamiliar even to the locals themselves), whose roots lie in the city’s deep Christian tradition. These places are heavily infused with mysticism. Whether you are a believer or not, you will surely be struck by their charms.

Sante Teuteria e Tosca. This is the oldest church in Verona and in the Veneto region as a whole, consecrated in 751 and dedicated to two saints who are practically unknown. It can be found beside the more recent church of Santi Apostoli, in a small square behind Piazza Bra. The church is very small and stands partly below street level: as you walk down the steps you feel as if you are entering a catacomb. It has an interesting square plan with its font in the centre, around which the faithful gather for the baptism ceremony, as they may well have done at the dawn of Christianity. This is a place that is very close to my heart, as my daughter was christened here.

San Procolo. When I was a child and spent my summer days kicking a ball around Piazza San Zeno, San Procolo (consecrated in the name of one of the first bishops of Verona) was always closed. To its right stood a warehouse, and if my memory serves me well, there was also a cinema, to give an idea of how little respect it was given at that time. I wondered for so long what secrets lay inside that mysterious church, whose origins date back to the early Christian period, with that “poor” façade made of stone and river pebbles. Fortunately, subsequent renovation work saved it from neglect, also bringing to light some 12^th century frescoes. The church only has one nave, but its most interesting feature lies below ground level: steps lead down to the crypt, which contains the remains of an ancient pagan necropolis, reminding us that the ancient Via Gallica, one of the “motorways” of the Roman Empire, once ran right past here.

San Lorenzo Martire. I discovered this church as a child, on a school trip, and I have never forgotten it. The particular feature of this small medieval church, nestling between the Adige river and Corso Cavour (but not visible from the street), that had such a lasting impression on me, was the presence of the matronei: the galleries overlooking the central nave and accessed by staircases, which were reserved exclusively for women in the days when, even in church, they had to be kept physically apart from the men.

Santa Maria Antica. This church stands right in the heart of Verona, sheltered by Piazza dei Signori and behind the Scaliger Tombs, the resting place of this noble Verona family, whose private chapel it once was. Dating back to 1185, it was built on the former site of a 7^th century Lombard chapel, of which only the mosaic floor remains. The church has three naves, in the classic Romanesque style, giving it a rather austere air. Every year, people gather here to worship Saint Rita. On 22 May, as dawn breaks, the women of Verona come here to bless the roses and to pray to the “Saint of the Impossible”.

San Rocchetto. In the hills of Verona there is a small hermitage, an oasis of peace, silence, tranquillity and spirituality. It can only be reached on foot from the hamlet of Quinzano, or from the church of San Rocco, at the foot of the hill. It is a steep climb, but when you reach the top you are rewarded with wonderful views of the city. The atmosphere is bucolic: green meadows, well-tended flower beds, olive trees, vineyards. The lovely little church, with its portico entrance, is decorated with a series of frescoes depicting the life of Saint Roch. From the hermitage you can take one of the paths leading into the surrounding hills, where the local community grow grapes and olives. A leap into the past, and it is hard to believe that you are scarcely ten minutes from the centre of Verona.

Roman, medieval, Venetian and Renaissance city. All these influences help make the centre of Verona a UNESCO World Heritage Centre. Yet it has been the more recent Austrian heritage which has given the city today’s definitive layout.

From 1796 on, the French and Austrian armies clashed many times in Verona and the surrounding area. After one bloody battle in 1805, Napoleon entered the city (on a wall of the Palazzo Forti a plaque bears witness to his stay there), conquered it and occupied it until, at the Congress of Vienna in 1815, Verona was assigned to Austria-Hungary.

After that, and until its annexation to Italy in 1866 following the plebiscite (the false results of the vote are still shown on the door of the town hall in Palazzo Barbieri), Verona was a city on the frontier of the glorious but crumbling Habsburg Empire. A military stronghold on one of the most hotly-contested frontiers of that era.

The first thing the Austrians did was to strengthen the fortifications which dated back to the rule of the Republic of Venice. This is one of the reasons why the walls of Verona, with their Renaissance gates, are so well preserved today. Nowadays covered in grass and trees, they form a green ring where the Veronesi stroll, walk their dogs and go jogging.

The Austrians extended the walls of fortification to the hills north of the city, which everyone knows today as the “Torricelle” for the many guard towers and forts located on the walls. One of the most beautiful and best preserved, from which you enjoy a beautiful view over the city, is the Forte Sofia, built in 1837 and named after the mother of the future Austrian Emperor Franz Josef. Today it is run by an association of volunteers who organise guided tours every Saturday.

The most important example of Austrian military architecture in Verona is unquestionably the former Arsenal, the largest of its kind in the world after that of Vienna (but, compared to Vienna, it is much more intact). Just see it from above and you will see that you could fit at least 3 Arenas inside.

The Arsenal is also one of the great unsolved issues of city planning because it is close to the historic town centre (just beyond the Castelvecchio bridge), hemmed in by the loop of the river Adige and it would cost a fortune to finance the projects for its restoration.

Personally, I love strolling around the Arsenal. I do this often because it is the shortest and most convenient way between the city centre and Borgo Trento. The fact that it is in a state of substantial disrepair, with parts literally falling off and breaking into pieces, does not detract from its charm. In fact, in some ways, it amplifies it.

It is composed of four principal large courtyards, around which the buildings were erected, covered with lawns, trees and open spaces where there are often fairs, markets and theatrical performances. You can explore it as if it were an ancient ruin, even if it is less than 200 years old.

The central building, called the command centre, is in the best state of conservation and houses a fascinating section of the Verona Natural History Museum dedicated to botany, with one of the oldest plant collections in Italy.

Just outside the Arsenal there are beautifully landscaped gardens, ideal for a picnic on a spring day, and a large pool of water where the Veronesi find relief from the heat in the summer months.

Another impressive building from the Austrian era is the Santa Marta former military bakery. It was built in 1863 on the remains of an old monastery to bake bread and hard tack for the Austrian soldiers stationed in the city. After a careful restoration, it today hosts the Faculty of Economics at the University of Verona and the building is so beautiful that I almost want to go back and be a student again.

Inside the Santa Marta you can visit a small permanent exhibition, with interesting vintage photos and information about the history of the complex of buildings. And don’t forget that Verona, just a hundred and fifty years ago, was principally one large barracks.

A few years ago, a Hollywood film was set in Verona, inspired – it should go without saying… – by the tale of Romeo and Juliet. The scenographers, when looking for a suitable location for shooting scenes in the old part of the city, came across a small square that is not generally well known, nestling between two alleys, but which is certainly very familiar to the locals, not least because there have been two historical restaurants there for decades: Campidoglio and 12 Apostoli. The small piazza is special because it is overlooked by several buildings of various architectural styles and different colours, with well-preserved balconies adorned with plants, the paving, the wrought iron street lamps. In the eyes of the producers of Letters to Juliet (the title of the film), piazzetta Tirabosco symbolised the most beautiful and authentic image of Verona (and, in more general terms, of Italy).

I often reflect, as I walk through that place which is so familiar to me, on what it must be like to see it for the first time, stumbling upon it by accident, unexpectedly. But the fact is that Piazzetta Tirabosco is just one of the many corners that offer the same emotion, that leave you dumbfounded because you are not expecting, as you come out of that alley, such beauty to be hiding beyond that archway.

I have always thought that the best way of exploring a city is to stay away from the established routes and to immerse yourself in its labyrinths, forgetting about maps and navigation aids, allowing chance and intuition to lead the way. Most tourists in Verona gravitate towards Piazza Erbe and Piazza Bra, strolling along via Mazzini, the shopping street with all the major designer stores. But just a few metres away you can find peace and tranquillity and corners of the city all waiting to be discovered.

One of my favourites is the old Jewish ghetto which is right between via Mazzini, via Pellicciai, via Quintino Sella and Piazza Erbe. The Jewish community in Verona was confined within this quarter from 1500 until the city was conquered by Napoleon Bonaparte in 1797. Tiny alleyways intertwine in a maze of passageways. And here is where you will find the synagogue, designed by the architect Ettore Fagiuoli. Although Verona is famous for its churches, I find this building extremely beautiful; its style is Art Deco (and thus far removed from the medieval and Renaissance features typical of central Verona), its monumental façade is like a stage set.

The old ghetto is just a stone’s throw from Piazzetta Tirabosco, mentioned earlier. You simply climb the steps from via Pellicciai. And, from the square, you can easily reach corso Portoni Borsari (the old decumanus of the Roman city) where you will find another of my favourite places in the heart of central Verona: Corte Sgarzerie. Any tour guide will be more than familiar with its history: in the Verona of the Middle Ages, the production and trading of wool was one of the main economic activities and the Corte was the heartbeat of the sector’s artisans and merchants. And here is where you will also find one of the most beautiful and charming areas of Roman archaeological remains in Verona. For me, however, Corte Sgarzerie is above all a place of contemplation. Dominating the square is the large market hall (only partly occupied by the terrace of a restaurant/osteria) where, if you allow your imagination to wander, you can truly visualise the large cloth market that it once was.

On one side of the Corte are small arches – so small that they resemble secret tunnels – leading into the neighbourhood of Carega, one of the few in the old part of the city to have retained its original character. Its inhabitants are proud of their traditions, of their Carnival masks, of their piazza festivals. The heart of the neighbourhood is the osteria of the same name where I never fail to take my guests. Sitting outside, on wooden benches in a small, narrow, secluded square, I look around me and think how lucky I am. To have been born right here.