MANSIONS AND HISTORICAL DWELLINGS IN VAL DI NON

Caskets of a centuries-old history Cover: The door of the “Sala della Colonna superiore”, particular (Cles, Palazzo Assessorile) © 2019 Edizioni Associazione Culturale G. B. Lampi ISBN: 978-88-943936-4-4

Promoted and financed by: Comunità della Val di Non Provincia Autonoma di Trento

In collaboration with: Comune di Cles Comune di Predaia Comune di Revò Comune di Sanzeno Comune di Amblar-Don Comune di Sarnonico Comune di Livo

Texts by: Massimo Negri

Project coordination: Centro Culturale d’Anaunia Casa de Gentili

Photographs: Municipalities in wich Mansions and Dwellings are located, Candido Marches, Massimo Negri, Lucia Barison and Azienda per il Turismo della Val di Non

Graphic project: Blue Cookies di Ferrari Consuelo

Translations: EUROSTREET Soc. Coop. - Biella (Italy) Special thanks for the collaboration with Giulia Wegher

CENTRO CULTURALE D’ANAUNIA Associazione Culturale Comunità della Val di Non CASA DE GENTILI G. B. Lampi

Cles Predaia Revò Sanzeno Amblar-Don Sarnonico Livo Mansions and Dwellings foreword contents MANSIONS AND HISTORICAL DWELLINGS 8 - Palazzo Assessorile IN VAL DI NON 11 - The Exterior 1 14 - The Interiors A treasure trove of rare places alive and making them beauty, the Val di Non con- known, through the promo- tains a historical and artistic tion of events, to the local in- 30 - Casa da Marta heritage of outstanding quali- habitants and the large num- 34 - The Exterior ty and incontestable historical bers of tourists who visit the 2 40 - The Interiors value. Ancient castles, glori- Val di Non every year. These ous churches, charming her- activities accordingly include 46 - Casa Campia mitages and historical dwell- the publication – also in Ger- 51 - The Exterior ings, testifying to a secular man and English – of this 3 55 - The Interiors history, can be seen spread book, which is the fruit of in- throughout the whole region. depth research and historical Over the course of the years, reconstruction of the iden- 62 - Casa de Gentili these buildings have been re- tity of these places. The de- 65 - The Exterior stored and turned into venues sire is for readers to be able 4 70 - The Interiors for cultural events and exhibi- to immerse themselves in the tions, thanks to the commit- magical atmosphere of these 78 - Casa Endrici ment of the Municipalities, the places and thus be stimulated 81 - The Exterior Provincia Autonoma di Tren- to capture their beauty and 5 86 - The Interiors to and the Consorzio B.I.M. charm by participating in the dell’Adige. numerous cultural initiatives The Val di Non Com- which are periodically organ- 96 - Palazzo Morenberg munity, supported by the ised. 98 - The Exterior Centro Culturale d’Anaunia 6 103 - The Interiors and in collaboration with the CULTURAL COUNCILLOR regional Municipalities, works OF THE VAL DI NON 112 - Palazzo Aliprandini ceaselessly to put online and COMMUNITY 116 - The Exterior promote this precious herit- Fabrizio Borzaga 7 122 - The Interiors age, co-ordinating and co-fi- nancing cultural activities. By doing so, it serves the dual Fpurpose of keeping these B 130 - Bibliography 6 LEGEND Sarnonico MANSIONS AND 7 HISTORICAL DWELLINGS Livo 3 IN VAL DI NON Revò

1. PALAZZO ASSESSORILE 4 Cles Sanzeno 2. CASA DA MARTA Predaia, fraction Coredo 5 Amblar-Don 3. CASA CAMPIA 1 fraction Don Revò Cles

4. CASA DE GENTILI 2 Sanzeno Predaia fraction Coredo 5. CASA ENDRICI Amblar-Don, fraction Don 6. PALAZZO MORENBERG Sarnonico 7. PALAZZO ALIPRANDINI Livo Palazzo Assessorile – the half of the 15th Century, Giorgio City Council building – stands in di Riprando Cles (c.1410-1492), a the heart of Prato which, along leading figure in the family and with Spinazeda and Pez-San Captain of the Non and Sole val- Vigilio, is one of the ancient cen- leys, undertook a complete recon- tres around which the town of struction, widening the annex of Cles grew up. The piazza which the building which then assumed it overlooks is the central point its facies (appearance) of today. of the Anauni town, with Palaz- To celebrate the completion of this zo Scotti, where the council of- extensive building work, a fresco fices are today, and Palazzo Dal was painted, still visible today on Lago de Sternfeld, the former the principal southern prospect, seat of the law court. On the out- almost a painted standard, bear- Pside, the compact and austere ing the coat of arms of the House building, which is still medieval in of Cles and the year, 1484. Howev- style, masks well the complex ar- er, it was in the 16th Century that chitectural evolution of its fabric the palazzo reached the height of and the different uses over the its splendour. In 1538, on the wish- course of its history: from tow- es of Bernardo Cles (1485-1539), er house for living in and storing from 1514 was Prince Bishop of foodstuffs to a stately mansion Trento and, from 1530, cardinal of and then a public building, when it the church of Santa Romana, the became the headquarters of the ownership passed into the hands Councillor of the Non and Sole of Aliprando (c.1490-1551), his fa- Valleys, from which it derived its vourite nephew, who was then a current name. law student at the university of The first documented ev- Bologna. The noble and knight of idence relating to the building the Empire married in 1529 Anna dates back to 1356, when the an- Wolkenstein Rodeneck (1509- cient square 13th Century tower 1582). He was the Imperial Coun- house, with an external curtain sellor and hereditary Chamberlain wall which widens to the south of the Tyrol, Captain of the Valleys east, was sold to Giovanni di Ar- of the Noce and of the Four Vicar- pone of Castel Cles (died after ages in Vallagarina and of the Cas- 1363). Later, it became part of the tle of Pietrapiana, on the hill to the ownership of the noble None- east of Trento, between the cur- so lineage, to which its destiny rent towns of Povo and Villazzano. Palazzo Assessorile was linked for almost three hun- It was thanks to the two spouses Municipality of Cles dred years. During the second that the building’s surroundings

8 9 were refurbished and acquired a work which it underwent, organ- supported by three descending more comfortable aspect as well ised by the civic administration of The Exterior corbels, confer an originality and as a greater dignity on the artistic Cles and begun in 2005, was com- elegance on the facade. The top of level. The couple made their home pleted in 2009 and has led to im- The massive, square build- the front is dominated by Guelph here, preferring to stay in the cen- portant results as well as to some ing, dating to the late Middle Ages, battlements and by other defen- tre of the town, rather than at the surprising discoveries: in particu- sits between the two principal pi- sive features such as small open- family castle, outside the town of lar, the revelation of a series of azzas of the town of Cles, Corso ings and trapdoors which have Cles, which had become tempo- frescoes on the third floor, which Dante and Piazza Granda. Its south over time assumed an exquisite rarily uninhabitable after a seri- confirm and strengthen the image facing facade, which is somewhat ornamental character, so much ous fire had broken out in March of the building as one of the most linear in conception, is character- so that some of them are painted of 1542. The interior decoration, valuable and interesting buildings ised by some distinguishing fea- and are not in brick, as they might which was typical of Renaissance in the Trentino region between tures. The entrance portal, in red appear at first glance. Between courtly architecture, is a clear and the end of the Middle Ages and stone, is rather severe and ogival the defensive and service features tangible expression of the culture the early modern era. Since being in shape; the upper fresco, the there is also a small tower on the and taste of the owners, who set opened to the public, Palazzo As- work of a German painter, depicts northern side, perhaps originally out to sign their initials and to sessorile has hosted, and contin- two angels with rainbow coloured used to accommodate a connect- leave an imprint of the coats of ues to welcome, a wide range of wings spread out and supporting ing stairway between the floors, arms of their respective families in cultural activities and initiatives, the coat of arms of the Cles fami- but now occupied by a lift which, many of the rooms of the palazzo. including many exhibitions and ly with two red and silver rampant being of a good size, makes the Nearly three centuries af- displays, theatrical productions lions, with forked tails, rather curi- building fully accessible without ter it had come into their posses- and concerts, conferences and ously turned towards the right (in any architectural barriers. sion, at the beginning of the 1620s, events of significant importance. other words, to the heraldic left) the Cles family sold the building whereas the original coat of arms to the Thuns who, in turn, ceded would have had them turned to- it in 1677 to the Magnificent Com- wards the left (in other words, to munity of Cles. In 1679, it was de- the heraldic right). At the base finitively and permanently estab- of the mural there is an inscrip- lished as the seat of the Councillor tion on stone commemorating of the Noce Valleys, regional rep- the acquisition of the building by resentative of the Prince Bishop the Municipality of Cles in 1677 of Trento, on whose behalf he ad- and also, as already mentioned, ministered justice. From the 18th its use as the permanent seat of Century, the property was unfail- the Councillor of the Valleys from ing in its public purpose and was 1679. On the second floor, the four designated for various roles of a mullioned windows with trefoiled judicial and administrative nature; arches of clearly Venetian style, it was a place of detention and, embellished by mouldings ma- finally, the seat of the Municipal- chined by diamond tips, together ity of Cles. The careful restoration with the central balcony, which is

10 11 12 13 in the town of Campi Neri while the sides of the par- built from the foundations, The Interiors di Cles in 1896 and bears tially cemented archway between the walls of the a long inscription in Latin are set on stone corbels. Castello del Buonconsiglio The palazzo consists containing the edict with The three small communi- in Trento, on the wishes of five floors above ground. which, on the 15th March in cating rooms on the south- of the Prince Bishop, Ber- On the ground floor, it is 46 CE., the Emperor Claudi- ern side, whose planimetric nardo Cles (1485-1539). The easy to make out the overall us (10 BCE-54 CE.) grant- layout is replicated both on way in which the staircase structural composition, with ed Roman citizenship to the second and third lev- has been restored has once the oldest part being the Anauni, Sinduni and Tullias- els of the palazzo, are now again provided sufficient tower house. Once inside, it si; that is, to the populations used mostly for exhibition space for the ‘Sala Baronale’ is easy to see the building stationed, at that epoch, purposes. In these spaces, (Baronial Hall), also known materials consisting of grey, around the Valleys of Non fresco decorations, inspired as the hall ‘del Giudizio’ white and reddish pebbles, and Sole. From this place, by the heraldry of the Cles, (of the Judgement) or ‘del and the widening of the through an opening in the are still visible: above an Consiglio’ (of the Council), 15th Century facade, or- eastern wall, there is access imitation tapestry in red to be returned to being one ganised into three distinct to a passage which leads and white stripes, which area, to re-emphasise its spaces, nowadays with a to the stairs, in the north are in essence the colours multi-purpose use and the multi-purpose use where eastern section, entirely re- of the Cles coat of arms, is different legal and admin- informative material and configured under the most a border embellished with istrative functions which publications on the building recent reconstruction work wheels or stylised flowers were carried out there: if in are displayed. In the north in order to make the strat- in circles around it. ancient times justice was western corner, in the area ification of the building The staircase which administered here, in more of the original square tower more comprehensible. leads to the second floor recent times, the Municipal house, is now the so-called Going up to the first has also been repropor- Council of Cles met here. ‘Sala della Colonna’ (room floor, on the right we come tioned and repositioned, This is the main room of the of the column) which takes to the ‘Sala della Colonna based on the single stairway noble residence and which, its name from the central superiore’ (upper room of type which is recognisable more than any other, is de- column, in bare ashlar stone, the column) which repli- in other similar contexts scribed in terms of its gen- on which the cross vault is cates, in appearance, the of important Renaissance eral appearance. This can set. A copy of the Tabula room of the same name on buildings in our region be easily understood from Clesiana sits on a transpar- the ground floor. The door linked, not by chance, to the flamboyant frieze which ent display unit: the bronze in red stone with elegant the Cles family: from the an- is visible on the upper part sheet (49.9x37.8x0.61cm) diamond ashlar working as cestral castle a little to the of the walls. It represents which is today conserved in well as the beautiful solid north of the Anaune capi- a lively interpretation of the the Castello del Buoncon- wood windows and shut- tal, to the Magno Palazzo, so called peopled scroll or siglio in Trento, was found ters are valuable indeed, which is in fact the dwelling inhabited raceme, where a

14 15 plant scroll, populated with and red waves in the 1st and posing and majestic room in the flames neither al- enchanted prisons, cher- 4th quarters; in the 2nd and and it must also have been ters nor merges with other ubs and fantastical crea- 3rd in blue, elongated spike impressive during the ep- metals but rather acquires tures – satyrs and satyress- on a stake of three pieces of och of Aliprando and Anna, greater brightness. Also es, tritons, nereids, two silver on a red countryside); providing the homeowners contributing to the cele- tailed mermaids – hosts di- the emblem of the Lodrons and their guests with great bration of the Cles lineage vinities and allegorical fig- (red, with a silver lion, with pleasure as well as being a and, in particular, the con- ures, scrolls bearing mor- a tail in a love knot) and, sight to behold. The most jugal harmony between the alizing advice in Greek and lastly, that of the Traut- important wall is the south- august spouses, Aliprando Latin and, above all, the mannsdorfs (quartered: the ern one, with the insignia and Anna, parents of twelve coats of arms of some of 1st and 4th quarters in silver, of the palazzo owners, in a children, are the female di- the most important noble with three triangles in red prime location, to the sides vinities at the edges of the familes of the Trento-Tyrol one over the other; the 2nd of the female allegorical wall: to the left, Diana, with region. These are families and 3rd cutaway quarters in figure in the middle. She a crescent moon on her with which the Cles had red and silver with a rose has a partially uncovered forehead, intently caressing ties of kinship and had ap- coloured from one to the breast, a pinkish-orange a pure white greyhound, to proved matrimonial allianc- other rose coloured from dress and strings of pearls the right, Abundance, be- es. Starting with the east one to the other).Above embellishing her hair while jewelled and with a cor- wall and going towards the the staircase, meanwhile, at her side a flickering flame nucopia overflowing with west one we find, from left there is a sign which is diffi- burns. It concerns the per- fruit, flowers and sheaves to right, the coat of arms cult to identify, on the north sonification of Friendship, of corn who announc- of the Firmians just above side, above the large cou- alluded to in the motto es, with writing on a scroll, the window (quartered: the pled window restored to “QVAM FAVSTE NIL FICT- that she has settled in the 1st and 4th quarters in sil- 16th Century dimensions in VM IN AVRVM SEMPER house of the barons of Cles ver, with three bands of red, the last refurbishment, and IDEM” (transl. “Fortunately (“HIC DEGAM” meaning “I bearing three, two and one is that of the Völs-Colonna nothing false blends with will spend my life here”). upside down crescents in (quartered: in the 1st quarter the gold which always re- The lavish decoration in this silver; in the blue 2nd and 3rd in black, with a silver band, mains the same”). Without room takes you by surprise quarters a deer antler with carrying a Maltese cross in any precise literary sourc- with its over-abundance. four brancheseach); that of red and in the 4nd in black, es and findings, the sen- As well as the freize we the Arco family (with three with a silver band, carry- tence would indeed sug- have just described, there overlapping arches on the ing a red rose; the 2nd and gest friendship, understood are geometrical motifs fascia and the rope towards 3rd quarters in red, with a as love towards the spouse and red and white flow- the tip of the shield); the silver pillar). and neighbour, solid and ers covering much of the Cles and Wolkenstein coats One has the feeling constant even if put to the walls as well as the wooden of arms (quartered: silver here of being in a truly im- test, just like the gold which ceiling, with graceful pet-

16 17 18 19 tenelle - namely, small pan- surrounding valleys: from cessed from the Sala del and 1539 and decorated by els, also in wood, decorated Palazzo Firmian in Trento Consiglio, have been de- the same team of painters with monochrome animals to the Torre Franca in Mat- signed as intercommuni- co-ordinated by Fogolino. and incorporated in the tarello, from Castel Valer in cating rooms of equal size The head of Medusa in the space between two beams Tassullo (in the municipality and importance. The only centre of the west wall is at the top of the south- of Ville d’Anaunia) to Castel completely frescoed room also evocative of Alipran- ern wall. Such treatment, Cles. Whilst working in at- is the central ‘Salotto del do, echoed by, on the wall which addresses every de- eliers in the Trentino region, balcone’, in which Aliprando opposite, a plaque with the tail– even the most minor Fogolino also engaged in is exalted, dominating the year 1543. In fact the Gor- one – presupposes the intensive espionage activi- room by means of a cryp- gon, alluding to careful pru- work of a leading artist: an ty on behalf of the Republic togram, or a mysterious en- dence, armed and ready to artist who answers to the of San Marco, to the detri- crypted text, on the north respond in case of necessi- name of Marcello Fogolino ment of the ecclesiastical and south walls, where the ty and provocation, is rem- (1483/1488-doc.1550/1558) principality where he had letters “ALIPR” (above the iniscent of the nobleman from Vicenza, who was ac- taken shelter. During those door which opens onto of the House of Cles who tive in his native city, Venice years, his vast artistic out- the balcony) and “ANDUS” could easily be recognised and Pordenone and then in put emerged from all over (above the entrance to the in a similar guise. Trentino after being banned the region and was certain- hall) respectively stand out. In the adjoining from the Venetian region, ly carried out from a gen- These elegant gilded let- ‘Stanza dell’Erker’, decora- together with his brother uine studio. The équipe led ters, which together form tions only appear on the and partner, Matteo, fol- by him brought to the Val the name of the Baron, are small area of the overhang lowing the homicide of a di Non the sparks of that accompanied, in a tight- or rather erker , jutting out barber from Friuli in 1527. Renaissance splendour that ly entangled mass of plant of the main body of the During that year he is also Bernardo Cles had wished shoots, by the heraldic Cles building and supported, confirmed as being in Tren- to imprint on the capital of lions – red and white – and externally, by mighty stone to, where he became court his ecclesiastical principali- by goats, wolves, satyrs corbels. In the lunettes, the painter of the Prince Bish- ty, transforming it from a and strange dragons with allegories of the Seasons op Bernardo Cles and his medieval city into a centre the body of a dog, identi- unfold: there is a fresco of successor, Cristoforo Mad- of European rank, worthy cal ones of which are also Spring, young blonde and ruzzo (1512-1578). Fogolino of hosting the big Council found in the ‘Study’ of the flanked by two cupids of a worked in the bishop’s res- of the Church which would palazzo of the Magnificent very Fogolinian flavour, to- idence – the Magno Palaz- be held only some years af- Community of Cavalese wards the south; towards zo – as well as in numerous ter the death of the prelate in Val di Fiemme, a build- the west Ceres and Bac- aristocratic residences of of the House of Cles. ing whose reconstruction chus allude respectively to the south Tyrolean cap- The three rooms to was commissioned by Ber- Summer and Autumn; to- ital, its outskirts and the the south, which are ac- nardo Cles between 1537 wards the north is Winter,

20 21 in the guise of an ancient shows he worked alongside convicts, there were people in the Napoleonic era that bearded man who warms Fogolino, in the workshop who were well-educated this level became defini- himself at the fire in a well of Castel Selva at Levico, and of a certain social class, tively used as a prison and illustrated domestic inte- or to another painter very imprisoned behind dou- its rooms were subdivided rior. On the cross vault are close to Vendri. As regards ble doors with bolts, latch- into eight dark cells, lined featured the images of the the remaining parts of the es and peepholes secured with thick larch floorboards Moon and the Sun, which second floor, which come from the outside. under which valuable fres- determine the course of from within the perimeter A narrow rectangular coes remained hidden and the seasons. The face of the of the ancient tower house, shaped barely-lit passage, incredibly well preserved, Sun is accompanied by the they consist of two rooms the ‘Vestibule’ has walls until the recent restoration writing “COSSI RISPLENDE without any wall deco- decorated with frescoes of works which were conclud- D’VN CORTESE IL NOME” ration and of a vestibule red and white bands in the ed in the Spring of 2009. ”(Thus shines the name of which must have led to the lower part and, high up, by They have now re-emerged a courtly gentleman) whilst private rooms on the floor a frieze of grotesques on together with the original that of the Moon is ac- above and linked via the a yellow background. Be- floors in beaten lime: excep- companied by the words staircase which originated tween the tritons and the tional finds which enrich “SOL LA TVA LVCE L’OM- in the internally decorated plant tendrils of the frieze, the image and perception BRA MIA REMOVE” (only space where the tower was. subdivided on the four of these rooms. The room your light takes away my In the first two, the remains walls, runs the Latin inscrip- most towards the east, shade). These frescoes can of windows and pannel- tion “HAC CASTE ITUR between the three which be attributed to an artistic ling from the prisons have RELLIGIONE” (transl.: “with clearly make up the block figure who, although dif- been reassembled, the sur- religion, you live here in pu- of the facade, has been ferent to Marcello Fogolino, faces of which show signs, rity”) which calls people to called ‘Room of the Gods’, nonetheless worked in par- inscriptions, decorations of live in devout moderation. because of the Olympian allel, both chronologically various types and caricture If the rooms on the divinities portrayed on the and stylistically with the like drawings, engraved second floor had a rep- border around the top of Venetian maestro. Recent- or outlined on the wood- resentative function, gor- the walls. Here, marked at ly, and fairly persuasively, en boards with the means geously decorated with the sides by imitation cor- it has been suggested that that were available to the clear celebratory intent, nices with marble panels, these frescoes can be at- detainees who, according the third floor comprised runs a frieze of twisting ra- tributed to the Veronese to legend, would even have instead the private apart- cemes populated by plump painter, Antonio da Ven- written in blood in some ment of Aliprando Cles and cherubs who are in no way dri (1485/1489-1555), who cases. Apart from these his spouse, Anna Wolken- frightened by the mon- is documented as hav- gory details, the presence stein. Although it had al- strous creatures – goats ing been in Trentino from of this evidence leads us ready been carrying out this with tails and enormous the 1530s where evidence to think that, amongst the function for decades, it was hens – which surround

22 23 24 25 them. They climb over the The iconographic wall, is a clear example of the courtyard, frescoes are twisted branches then dan- scheme described above secular imagery, depicting conserved of eight scenes gle, like little Tarzans, above was one which particularly a stately procession on the inspired by Ovid. The scene the backs of the swift grey- emphasized feminine vir- landscape background just depicted reworks a compo- hounds which threaten the tues and therefore, more mentioned, where the fig- sition which can be traced nimble fleeing hares. It all or less explicitly, those of ures on horseback partici- to Giulio Romano (c.1499- stands out against a lumi- the baroness Anna. It is she pate in a Hunt with a falcon, 1546) and the same goes nous dotted yellow back- after all who is celebrated a favourite pastime in the for the Battle between the ground to great chromatic in the adjoining room: la courtly world. At the cen- Horatii and Curiatii (west effect. The true protago- ‘Stanza di Anna’, so-called tre of the scene, the ama- wall), fairly close to prints nists of the decoration are, because, on the imitation zon with a plumed helmet inspired by Giulio Romano. however, Mars, in a rest po- tapestry with elegant red advancing gracefully on Similar wall paintings, which sition, with a spear in his and white geometric dec- her steed led by a groom are like those on the sec- right hand, armour, helmet orations which include the and the gentleman next to ond floor and perhaps even and sparkling shin guards rampant lions of the Cles her whose bearded face more so, give a good por- which give off a realistic coat of arms – red on a she turns towards, must trayal of the sophisticated flash of metal; Diana, sym- white background (those be Anna Wolkenstein and culture of the owners and bol of disciplined and ath- of the walls to the south Aliprando Cles. of the people who grav- letic femininity, who avoids and north) and white on a The box on the wall itated around their small all male contact, staying in red background (those of opposite, on the other court, who were clearly not the woods with her band the west wall) – the name hand, depicts a mythologi- strangers to the sophistica- of Nymphs; and Jupiter of the noblewoman ap- cal episode told by Ovid in tedimagery chosen. deep in thought, with the pears frequently. The upper The Metamorphoses. It is of The choice of dec- inevitable eagle at his side. part of the frieze is divided the The killing of the Caly- oration of the last room in For reasons of symmetry into boxes in plain coppery donian boar by Meleager the south west corner was it is probable that, oppo- red on a blue background, and his hunting compan- fairly unusual: the ‘Room site Diana on the western framed by robust herms ions, amongst whom is the of Apollo’. Here, crowning wall that was demolished with the faces of satyrs. beautiful and reckless vir- the usual tapestry painted to create the above-men- The corners of the room gin huntress, Atalanta, who in alternate red and white tioned cells and which has are reinforced by some cl- was the first to reach with bands, embellished with now been re-erected to di- ypeate faces which, on her dart the fearsome wild geometric arabesques, is vide the ‘Room of the Gods’ the one hand are reminis- animal which for some time a frieze where the mas- from the next room, an- cent of Roman art but on had been devastating the culine and feminine char- other feminine divinity was the other have a sixteenth Calydonian forests. Also at acters, ending in racemes, portrayed, possibly Ceres century feel to them. The Castel Cles, in the small sec- amongst giant insects, ser- or Venus. principal box, on the north ond floor room overlooking pents and strange birds, are

26 27 arranged symmetrically at happened there, even with depicted. Taken from the their family life, their own the sides of three imitation the less well known events Books of Genesis, Exodus unorthodox inclinations marble classical busts, ac- which may appear rather and Numbers, they are the and tastes found expres- companied by inscriptions. obscure in the eyes of the transposition to fresco of sion which, in those days, The busts represent Apol- modern visitor. the woodcuts of the Ger- had taken root elsewhere lo, god of music and poet- On this floor, are man engraver Hans Se- in the episcopal princi- ry, patron of the arts; Geta also the ‘Vestibule’, which bald Beham (1500-1550) pality of Trento, amongst (189-212 CE.), son of Septi- is fairly spacious and with accompanying the volume the better off. Meanwhile, mius Severus (146-211 CE.) an east-west elevation, and Biblicae Historiae, artifici- the Trentino prince bishop, and brother of Caracalla two more internal rooms: osissimis picturis effigia- Cristoforo Madruzzo, suc- (188-217 CE.), with whom the ‘Stanza del Camino’ tae, published in Frankfurt ceeded the Cles in 1539 to he was co-Emperor of (Chimney room) and the in 1533 for the Lutheran lead the diocese and com- Rome before being killed; ‘Stanza del torricino’ (Tower Christian Egenolph (1502- mitted himself personal- and Agrippina the Young- room). In these three rooms, 1555), and are provided ly to defending the use of er (15-59 CE.), ambitious a very interesting cycle of with captions, with the ci- the vernacular in transla- and calculating spouse of as many as 34 scenes on tations and references to tions of the Holy Scriptures the Emperor Claudius, on an Old Testament biblical the sacred text drafted in during the work of the whom he managed to exert subject has come to light, German rather than in Latin. Council in 1546. a powerful influence paving divided from an illusionistic This is another unusual fact, A very evocative, and the way for his son Nero portico with columns and especially during the years not fully understood, chap- (37-68 CE.) in the succes- where people are dressed when the frescoes were ter in history and art, which sion to the Imperial throne. according to the fashion of executed: years under the makes the voyage of dis- Relations between the mid-16th Century with lee of the Council of Tren- covery of Palazzo Assesso- these last two individuals the dominant colours used to, which would have stipu- rile and its many attractions from antiquity are some- being green-blues, browns lated the supremacy of the all the more fascinating. what elusive, both fated to and other cold hues, nota- Latin version of the Bible at damnatio memoriae and bly in landscapes visible at the expense of the editions Cles, where they are – per- the shoulders of protago- in national languages. haps – represented be- nists, and generally in the The possibility can- cause they were put under foreground. This is a one not be ruled out that, in the protection of Apollo. off in the context of Renais- these rooms, which were There is no doubt, howev- sance residences in Trenti- more private than those er, about Aliprando and no, as much for the rarity of dedicated to public use Anna’s knowledge and fa- such a figurative choice as on the second floor and miliarity with the history of for the extraordinary scale therefore regularly used Rome and the events which of the sequence of scenes by Aliprando and Anna for

28 29 Coredo, today a fraction and the church of Our Lady of the Municipality of Predaia, of the Assumption and of the is an important centre of Val Invention of the Cross (Ital- di Non, and a panoramic bal- ian di Santa Maria Assunta e cony overlooking it. In the old- dell’Invenzione della Croce), est part of the town there are and Bragher Castle or Schloss numerous buildings of consid- Bragher which, among the best erable historical and architec- preserved of the entire Alpine tural value, the ancient walls of arc, still rises majestically on a which have acquired an unmis- rock guarded by deep ravines takable charm in the course of on the old road that leads the centuries. One of the most from Coredo to Taio (again in Csignificant of these old houses the Municipality of Predaia). It with a strong identity for the owes its original name to the local community is undoubted- eponymous builder Bracherio, ly Casa da Marta, in the centre or Bragherio Coreth, of whom of the town. there is no attestations until af- Its history begins in the ter his death, which occurred Middle Ages, when the building before 1266. In 1286 his niece faced the late-Gothic church of Faidia married Enrico Rospaz, San Rocco, demolished in 1948, the natural soh of Simone I and is connected to the noble Thun († 1314), in Bragher Cas- family of the Coreth counts: a tle, and a portion of the fam- family whose genealogy is very ily manor became possession complex to trace and that orig- of her husband as part of her inates with Oluradino (approx. dowry. With further transac- 1150-1217), to whom the first tions, the heirs of Bragher- written attestation of the terri- io, in 1321 and 1322, entirely tory of Coredo, dating to 1170, ceded the castle founded by can be linked. His descendants their ancestor to the Thun and erected two castles in the area: returned to Coredo. Castel Coreth or Coredo, of It is a common opinion which documentary mention that some members of the no- dates to 1291, built on a small ble lineage settled in Casa da Casa da Marta hill at the eastern edge of the Marta, once known as “Casa Municipality of Predaia, fraction of Coredo village near today’s cemetery Coreda”. In the second half of

30 31 the fifteenth century, Michele This evolution took tieth century, when it became terethnic fair held from 2000 Coreth lived here, among place starting mainly in the the property first of private in- for over a decade almost year- others, who was the episco- eighteenth century. In 1688 the dividuals and later of the local ly, which spread from Coredo pal “Massaro” or bailiff of the building had been partially giv- rural bank, from which the Mu- and reached different locations Noce valleys in the nineties en to Giacomo Antonio or An- nicipality of Coredo bought it in the Trentino Alto Adige re- of this century and in 1505 he tonio Sicher (born in 1662), son in 1992. The public body, with gion with performances of folk was already dead. At that time of Giovanni Antonio called “Ca- the help of the Autonomous groups from all over the world, the building, certainly erected dorino” (1625-1703), most like- Province of Trento, promoted allowing people to relive emo- much earlier according to the ly also because of the kinship a rigorous conservative res- tions that today can be found, information provided by Fed- between the Coredo and Sich- toration between 1995 and at least in part, in the spaces of erico Schuler, remembered as er families, which dated to the 1998. Its rooms now host cul- Casa da Marta. revolutionary and resident here first half of the century – Feb- tural events, temporary exhi- in 1336, must have been com- ruary 27 1615, the Countess Ca- bitions and also two museums: posed of only the northern terina Coreth, who was born in the Ethnographic Museum of portion, as suggested by the 1582 and was daughter of An- Farming Culture of Anaunia distribution of spaces, and in tonio († around 1605) and Mar- and the Museum of Popular particular, by the spaces open- gherita Heydorf of Castel Os- and Folkloristic Customs from ing on that side, all of reduced sana, married Bartolomeo, son the Around the World. size and enclosed by sober and of Matteo Sicher. During the The first, of significant essential stone frames. eighteenth century, Vincenzo documentary quality, is locat- During the sixteenth Antonio Rizzardi (1738-1807), ed in the basement. It consists century the factory was en- the factor that managed farm- of a rich and varied permanent larged and was equipped ers and workers employed by exhibition of past daily use ob- with the south façade, erect- the Sicher and Coreth, bought jects of the inhabitants of the ed according to renaissance the entire building which owes Val di Non, with special atten- construction methods and its current name to his wife, tion to domestic life, work in styles. Today’s global aspect Marta Pezzini (1749-1817) from the fields and local crafts. The is marked by successive inter- Amblar (a fraction of the Mu- second, located on the first ventions connected to chang- nicipality of Amblar-Don). floor, includes a noteworthy es, also radical ones, in the in- Casa da Marta was rec- collection of costumes and tended uses of the building. In ognized as being of particular ornamental accessories typ- the following centuries, in fact, historical-artistic interest al- ical of the popular traditions the building changed its voca- ready in 1922 and, after that, in of the most diverse corners tion, progressively being trans- 1949, and remained property of of the earth. It is an impor- formed from a noble residence the Rizzardi until the beginning tant donation of the Mondial into country house. of the seventies of the twen- Folk event, which was an in-

32 33 in light stone and bush-ham- volt which reads the date 1658, from 1667) in 1668. The Exterior mered surface, with a keystone carved in the wood, which On the mezzanine level on which the outline of a shield marks the year the frame was (second level), a graceful little The building, which is of is visible, with no further he- constructed, not the year the balcony is placed at the centre, great value, is one of the main raldic connotations, accom- jambs and the architrave vault- and in line with the portal and examples of Renaissance ar- panied on the top by the date ed door were installed, whose the small window with grating chitecture in Val di Non, where 1718 and below by the initials structure, with all evidence of above it: this balcony is the elements typical of the court- “A S”, most likely the initials the sixteenth century, is com- only detail providing a project- ly tradition coexist and min- of Antonio or Giacomo Anto- posed of pink and white lime- ing movement to the surface of gle with others of more rustic nio Sicher (1691-1754), son of stone. On the keystone there the wall. With a parapet made extraction. The oldest parts of the already mentioned Giaco- is a carved coat of arms, rep- of slender turned wooden Casa da Marta date to the 14th mo Antonio. The eastern front, resenting three mountains columns, it has a walking sur- century, and have undergone rather simple, is paced by the surmounted by a cross. Al- face and supporting corbels in expansion and various reno- regular rhythm of the open- though connected to the coat stone. A double colour pattern vations over the centuries. The ings: the window in the base- of arms of the Crociferi (azure similar to that of the entrance most important interventions ment is square and covered by with three silver cross pat- door can be found in the stone date to the sixteenth and to the gratings, while the windows of tée over three mountains, the elements that make up the por- nineteenth centuries, when the the first and second levels are central one taller [alias azure tal that gives on to the terrace, southern front and the Block- rectangular and with cymatium with three green mountains articulated precisely in beve- bau structure to the west were moulding. The southern façade surmounted by three golden led pinkish jambs and lighter added respectively. is certainly the most imposing: crosses]), it seems much more corbels that, embellished by a Of a substantially quad- the east and west corners are similar to that of the Hermits diamond-like effect on the in- rangular plan, the construction covered by rustic ashlar, and of San Girolamo of the Fie- side, support an equally light is now made up of a basement it is decorated with sixteenth sole Congregation (azure, with architrave, above which stands and three floors entirely above century frescos; on the whole three mountains surmounted a lunette in smooth stone with ground, and an attic. Its façade it determines the very image of by a red cross), established in a stronger pinkish nuance. On provides a remarkable variety Casa da Marta. Fiesole by Carlo dei conti Gui- the level of the balcony and of architectural details. In the At the basement lev- di di Montegranelli (approx. symmetrically arranged on its northern part full spaces pre- el (first level), the façade is 1330ca.-1417) of the Third Or- sides are four round arched vail clearly on empty spaces. marked, on the sides, by two der of Saint Francis, approved windows. The windows placed Here the ground level has been rectangular windows, not very by Pope Innocent VII (1336- to the left of the façade are al- raised to that of the first floor, large, rather high from the 1406, pope from 1404), which most all the same, inserted in connected to the road via Mar- ground, equipped with grating followed the rule of St. Augus- the front part of the imposts, ta through the characteristic and elegantly moulded stone tine and was finally suppressed, and are decorated with pat- “pont” (bridge) that leads to a sections; in central position despite its flourishing, by erae and semi-paterae inside large portal with square blocks there is a portal with an archi- Clement IX (1600- 1669, pope which are flowering corollas

34 35 36 37 and semi-corollas, respectively. underneath which are some tions. This is the case of the and to the geometric details, Those on the right, both marked small corbels decorated in red frames of the single windows: the pomegranates, the pump- by a regular series of notches and yellow: they were dove- the single arched window of kins, the stylized roses and the that, carved in the thickness of cotes, and the corbels’ function the left has a saw-tooth frame, schematic flowers inscribed in the stone, cover the arch, have was to facilitate birds to take while the one on the right has circumferences that embellish different imposts: one with flight and to return to the shel- a frame that imitates sectioned the three arched window. The fluting and ropework moulding, ter; this function is confirmed imposts with central clipei, the latter is also supported by an while the other is characterized also by the adjacent frescoes median triple arched window is expanded funnel support, also by chequered elements and that depict pigeons. framed with a red and yellow painted and defined by phyto- cabled moulding. The frescoes, which can chequered pattern that sim- morphic elements in the form The first floor (third be appreciated mostly in the ulates, together with the red of a trumpet, inside which a level) and the entire façade upper part of the building, from medallions in the spandrels of large horse-head shield stands is characterized by a beauti- the first floor to the level of the the round arches, perhaps once out with a light field and a red ful central triple arched win- dovecotes, provide interesting hosting old-fashioned profiles, cross, with two flagella and a dow composed of squared and clarifying information to typical solutions of Venetian paternoster, that is, a rosary. side lesenes with capitals with better understand the devel- architecture, to be found in Although literature provides no ropework moulding and me- opment of the entire prospec- the lagoon as much as on the indications, is not to be exclud- dian columns with circular tus and the evolution of the mainland. This motivates the ed that also such an emblem cross-section with a base sit- building during its history. The historiographical tradition that has its own precise value and ting, at the corners, on leaves band of hanging arches which, generally defines Casa da Mar- must be referred – at least as and capital with echinus and as a form of cornice, must have ta as having a “Venetian style”. a working hypothesis – to the four volutes in the angular cau- once served to delimit the front, The similarities with the Vene- Fiesole congregation, whose licules. As for the other win- recalls the original gabled roof tian rendering of the proto-Re- emblem marks the entrance dows, the arches are rounded. that was replaced, with the ru- naissance and Renaissance vo- portal at the basement level. On the right and on the left of ral conversion of the building, cabulary lead one to formulate Also, the meaning of the two the triple arched window, two with a four-pitch roof. the hypothesis of an interven- faces barely visible above the single-arched windows made Most of the façade is tion, here in Coredo, of workers arch of the single arched win- up of simple elements empha- covered with a faux rusticated geographically and culturally dow on the right is not clear: size the harmonious distribu- ashlar motif, of a pinkish-white connected to the territories of one, perhaps a female face, tion of the openings as well colour and with joints carved the Serenissima. covered by a cap, has today al- as the balance of the compo- into the plaster. The remaining frescoed most completely disappeared; sitional system marked by a As for the wall paintings motifs seem to respond to es- the other, framed by long thick strong symmetry. that frame the single arched sentially decorative needs: this hair, has very delicate and Finally, on the second and triple arched windows, applies both to the curious bas- masculine features. floor (fourth level) there are they clearly serve as a surro- es made up of delicate plant Such frescoes, a pre- some curious small-sized holes gate for architectural interven- racemes of the side openings, cious testimony of profane

38 39 decoration conveniently inte- before the last restorations and, the degradation process was grated into the architectural The Interiors near the west wall, the manger stopped using iron nails. organism, contribute to make in stone and wood. Today these The upper floors of Casa da Marta one of the ma- The profound changes rooms house the Ethnograph- the building are accessed jor examples of a Renaissance undergone by the building dur- ic Museum of Farming Culture through the stairs that today civil construction in Val di Non. ing renewal interventions – car- of Anaunia, inaugurated in stand in the block of the nine- The raising of the level of the ried out to meet the different 2011 and originating from the teenth-century barn where an eaves and the modification of needs of the various owners rich private collection of Dar- elevator has also been placed the original cover, which in the in the course of the centuries io Widmann, which includes that makes the entire building nineteenth century was in the – complicate the description of various objects and tools for free of architectural barriers shape of a pavilion and rested the original complex and of its everyday use, documents of and occupies the space of the on a sturdy wooden belt that, interiors. Restructuring, altera- life and agro-silvo-pastoral old toilet facilities (pit latrine). interposed between the walls tions and changes of use have work of the past, restored and The mezzanine floor is and the roof, allowed the ven- caused many of the original exhibited with labels that in the one that best reflects the tilation of the attic (which was features of Casa da Marta to addition to providing the name organization at the time of the used for storing hay and food be lost, and restorations car- of the objects, briefly describe construction of Casa da Marta. and as storage space in gen- ried out in the 1990s and ear- their history and use. In addi- It extends through the whole eral), renders the house an ly 2000s were able to recover tion to this information, illustra- length from north to south equally emblematic case of a them only partially. tions and photographs explain with a central corridor and a noble complex totally readapt- The overall structure of how these artefacts were used, vaulted ceiling. Along it there ed to a farmhouse. In this sense, the living room in the base- also illustrating the traditions are six architrave doors made the large barn on the west side ment, with a central column and social customs associat- of carved stone and datable to of the residence should also and groin vault, dates to the ed with them. The objects are the first half of the sixteenth be interpreted: its stone base first half of the sixteenth cen- arranged in “islands”, so as to century, which give onto many that serves as the base for the tury. Cutting the old vaults respect and evoke the specif- rooms, distributed regularly overlying massive septum con- without a precise criterion, the ic activities of the past: from to the right and the left. The struction formed by wooden room was divided at the begin- the old economic activities of doors are different and more or beams (Blockbau), demon- ning of the nineteenth century the town of Coredo and the less simple; those of the corner strates well the typical building (the date 1802 is engraved on valley, such as agriculture and rooms to the south-east and methods of rustic architecture the above mentioned column) crafts, to school, religious de- south-west recall the layout in the Anaunia region. to create additional spaces for votion and emigration. Among of the portal that gives onto the storage of hay, to create the items exhibited there are the balcony and have corbels cellars and barns: on the floor also some ‘relics’ of the ancient decorated with notched and of the room on the left of the furnishings of Casa da Marta diamond-like mouldings. Par- entrance the drainage channel such as the worn larch boards ticularly interesting is the room used for slurry was still visible set next to others in fir where in the south-east corner, its pe-

40 41 42 43 rimeter walls are covered with provincial territory. The event the Sicher and Rizzardi families wooden boards, according to is centred around dance and who resided here, such as Don the typical characteristics of a folklore but also and above all Celestino Rizzardi (1819-1888), “stube”, and the geometric-flo- the reciprocal enrichment de- dean of Fassa and Taio (today ral decorations in tempera, in riving from the encounter and a fraction of the Municipality the centre of the ceiling, are exchange of diverse experienc- of Predaia). In the remaining surrounded by a sinuous mixti- es, promoting, as is stated by rooms on this floor, as well as linear frame in stucco. the motto of the association, on the second floor, now to- This is the so-called “unity through the spontaneous tally reconfigured, events and “grandparents’ room” (Ital- exchange of cultures”. exhibitions of various kinds are ian “Stanza dei nonni”) where The stairs lead to the periodically held. it is possible to admire some first floor, where the large hall local and Italian traditional of the triple arched window clothes with very shapes, fab- opens up and where today civ- rics, colours and decorative il marriages are held in a very motifs different from those dis- picturesque setting. played in the other rooms on Its state of conservation the same floor, where dozens was partly compromised by of costumes, jewellery, musi- subsequent interventions and cal instruments are on display, the quality of the room is there- together with objects and var- fore lower compared to the ious ornaments belonging to floor underneath. Despite this, the folk customs of the various its internal organization is mod- nations of the world. elled on that of the floor below: The considerable and the room to the south-east has colourful collection belongs the same wooden panelling di- to the Associazione Culturale vided by thirteen columns with Trentino Mondialfolk, which capitals and a coffered ceiling, was born as a branch of the lo- also in wood; in the central cal folk group of “Lacchè” and section, in the shape of an oc- with the contribution of vari- tagon, a cross and the initials ous associations and institu- IHS, the Latin transcription of tions, and constitutes the leg- the abbreviation of the name of acy of the homonymous event Jesus in Greek (Ӏησους, in capi- started in Coredo in 2000 and tal letters: ΗΣΟΥΣ), to be linked later extended to the whole perhaps to the churchmen of

44 A natural terrace over- whose first husband was the no- looking the lake of Santa Giusti- ble Carlo Guglielmo d’Arsio and na – the large artificial reservoir Vasio (1540 approx.-1588) from formed with the construction of the Val di Non, who died the the imposing, homonymous dam same year of the marriage – in completed in 1951 – and the en- 1588 – on the battlefields in Flan- tire Val di Non, the village of Revò ders. Among the most interesting spreads over the great spur that aristocratic dwellings of the val- extends from the slopes of Mount ley, Casa Campia is located not Ozolo towards the lake basin, be- far from the main square of Revò, tween the Pescara torrent and the on the edge of Via IV Novembre, Rio Novella. Of remote origins, as i.e. the local stretch of the motor- demonstrated by the archaeolog- way 42 of Tonale and Mendola Aical findings in the area, inhabit- that leads to the town of Fondo ed since the Copper Age, in the and from here to the passes of village of Revò there are numer- the Palade and the Mendola, and ous testimonies of its illustrious then descends towards the Alto historical past. Adige valley floors. Purchased Revò has always been a by the Municipality in 1989 and cultural centre of “Terza Sponda entirely restored in the following Anaune” (transl. 3th shore of Val di years, it was the property of the Non), and boasts numerous build- noble Maffei family for centuries, ings and prestigious residences, who probably restored it and ex- such as Casa Thun-Martini, now panded it from a pre-existing con- Ziller and Zuech, and Casa Cam- struction assigned by tradition to pia. The first, with its unique fres- the nobles Campi of Cles, from coes that date to the beginning which it derived its peculiar name of the seventeenth century, is one of “Campia”. Active in notary and of the best examples of a domus trade, the Maffei of Revò, who picta, located in the Noce valleys, claimed to be descendents of a and was built between the end certain Alphonsus Mediolanensis, of the sixteenth century and the who lived in Bologna in 1036, were first decades of the seventeenth originally from Valtellina (SO) and, century, expression of the pa- like other inhabitants of the same tronage of two exponents of the area, of Comasco and of the re- main aristocratic lineages of the gion of Bergamo, and came to region: the spouses Giovanni Ar- Trentino in the sixteenth century. Casa Campia bogasto Thun (1565-1633) and Gi- According to the eighteenth-cen- Municipality of Revò uditta d’Arco (1564 approx.-1629), tury family tree preserved among

46 47 the furnishings of the house, the themselves to such an extent that philosophy, which he was forced from antiquity up to the author’s family history starts with a Maffeo they were elevated to the rank of to renounce due to his father’s time, including a geographical de Maffei “a Ganda Vallis Malenci nobles of the Holy Roman Empire. infirmity. Returning home, follow- and descriptive itinerary of the oriundus Bononiae”, that is Ganda Together with the noble dignity ing the premature death of his Noce valleys. in Valmalenco in Lombardy (SO), conferred on them, in November father, he devoted himself to the Giovanni, son of Jacopo native of Bologna, who in 1558 di- 1657, on behalf of the prince-elec- care of the family’s possessions, Antonio, studied first in Merano vided his belongings among his tor, duke of Bavaria and imperi- also offering legal advice and, and Trento and then moved to children. From his eldest son Piet- al vicar Ferdinand Maria of the above all, becoming passionate Padua and Pavia to pursue his ro il Vecchio, the branches of Cles House of Wittelsbach (1636-1679), about the historical events of the academic studies. In 1812 he inter- derived, still thriving today, and the Maffei also obtained a new Val di Non and Trentino. A mem- rupted his university career and the one of Revò. coat of arms (truncated: in the ber, from 1768, of the Accademia was enrolled in Napoleon’s Italian One of his sons, Andrea, 1st gold with black imperial dou- Roveretana degli Agiati, he was Royal Guards of Honour, reaching who was a merchant at the be- ble-headed eagle, surmounted by also a member of the Academy the rank of quartermaster and lat- ginning of the seventeenth centu- an imperial crown; in the 2nd az- of Sciences of Mantua and of the er first lieutenant of cavalry. In the ry, in fact settled in the territory ure with three golden beaded sil- Universities of Brescia and Tre- last campaigns of the Viceroy of of the parish of Revò, and died ver roses placed in bar [alias: sil- viso. Jurist and scholar, he was Italy Eugenio Beauharnais (1781- here in 1632 at the age of nine- ver bar with three natural roses]; a learned epigrapher, and com- 1824), in which he took part, he ty. His son Jacopo (1590-1668) crest: trunk of man without arms, posed various inscriptions, both earned the title of Knight of the worked in the field of trade, and with azure garments and hood in Latin and in vernacular, on the Order of the Iron Crown. he invested his earnings in land, of the same colour, with a silver occasion of certain occurrences His portrait on canvas, thus laying the foundations of the bend, carrying on his chest the or historical anniversaries. He was which depicts him in uniform, subsequent economic fortunes three silver roses of the shield). married to the noble Marianna with the sword and the military of the Maffei who, now owners of However, it is between de Wisenegg from Bolzano, and decorations pinned to his chest, is land also outside the boundaries the seventeenth and nineteenth died in April 1806 in Revò. Here, part of the municipal collections of Val di Non, had possessions centuries that the most impor- on the outer wall of the apse of of Revò. With the fall of Bona- also in the Merano area in South tant exponents of the family lived: the church of Santo Stefano, his parte, he retired to his native vil- Tyrol (BZ), around to the centres Jacopo Antonio (1745-1806), Gio- tombstone is still visible. His name, lage, where he occupied for a of Andriano and Gargazzone. The vanni (1791-1859) and Francesco however, is linked, in particular, to long time the role of head of the same Jacopo erected the family (documented 1771-1805). The first, his editorial endeavours: in 1805 municipality and took care of the tomb in the local curial church of born in Revò, son of the Doctor of his Periodi storici e topografia family farm. In 1848, following the Our Lady of Mount Carmel (Italian law Giovanni Francesco and Ma- delle Valli di Non e Sole nel Tiro- turmoil that affected the major Santa Maria del Carmelo) in 1653, ria Khuen, after completing sec- lo meridionale (Historical periods European capitals as well as the the epigraph of which mentions ondary school studied between and topography of the Val di Non Habsburg territories, he was dele- the Valtellina origins of the family. Trento and Merano, then went to and Val di Sole in southern Tyrol) gated to represent the Val di Non In the space of a few gen- Innsbruck and after that to Vi- was published in Rovereto. The and Val di Sole and their demands erations, the descendants of “Ma- enna, to attend university cours- volume contains a detailed ac- to the imperial Diet convened by ffeus de Maffeis” had therefore es in philosophy and law. In the count of facts and data as well Ferdinand I of Austria (1793-1875, become well integrated in the lo- Austrian capital he received the as a chronology of the events emperor from 1835 to 1848), dur- cal territory and had established post of substitute professor of that occurred in these lands ing which, together with the rest

48 49 of the Trentino delegation, he de- recent past. Beyond the substan- and in literature and philosophy manded that Trentino be united tial continuity in the possession and were retired teachers; Luisa The Exterior with the Lombardy-Veneto region, of the building, its owners, before (1896-1979), affable and sunny, or that administrative autonomy transferring it to the Municipality devoted herself passionately to The plan of Casa Campia from the German Tyrol be grant- of Revò in 1989, were not the only the care of the home and gar- is not regular and it is probably ed. This intense activity carried ones to live there. From the early den. They moved here with their the result of the subsequent en- out in the two years 1848-1849 did thirties of the twentieth century, elderly mother and lived here for largements of an original central not produce the expected results Dr. Keller, a pharmacist from the several decades. Maria Maffei, of nucleus that is of an almost rec- and Maffei abandoned active pol- village, resided there for a dec- whom we remember the long and tangular shape. The architectur- itics, withdrawing to private life. ade. In fact, Maria Maffei (1900- fierce canasta games which enliv- al complex is spread over three In 1858, a year before his death, 1974), who was the posthumous ened the rooms of Casa Campia, floors above ground on the south- he obtained from the French daughter of Scipione (1825-1900), died in the seventies of the twen- west side, while, due to the slope consul the medal of Saint Hele- rented the first floor preferring tieth century leaving the house to of the land on which it stands, on na which Napoleon, on his death to live near her brother Giovanni her brother Giacomo (1895-1979), the northern side it only has two bed, had ordered be given to his (1892-1946) in Palazzo Maffei in who, in turn, gave it to his adop- floors, to which the attic is add- “companions of glory”. Revò, next to the church of Our tive son who eventually entrust- ed. The northern prospect, on Via Finally, Francesco Maffei, Lady of Mount Carmel (Italian ed it to the Municipality of Revò. IV Novembre, is marked by ele- one of the noble founders of the Santa Maria del Carmelo). Re- The Administration promoted gant windows with stone frames agricultural tradition of Revò, and, turning to live in Campia, Maria its restoration, which ended in of good quality: those on the low- more generally, of the Anaune used the ground floor as her own 1998, and recovered the proper- er floor are protected by internal area, was a prominent figure in home and invited Messrs. Rigat- ty for public enjoyment, making it railings, while those on the upper the family and valley affairs be- ti to move into the upper level available for many different uses. floor are still the beautiful origi- tween the eighteenth and nine- of the building. They were the An ideal setting to host cultural nal ones with lead-glass. At the teenth centuries. Francesco, in daughters of the professor Bar- events and art exhibitions, con- centre of the ground floor stands fact, not only imported new vari- tolomeo (1851-1932) and of the certs and conventions, Casa Cam- the round arch portal in square eties of fruit trees, but also held noblewoman Anna de Stanchina pia also offers the possibility, in ashlars and with a keystone on the office of “mayor general” of di Livo (1858-1947), sisters of the the central hall on the first floor, which there is a shield bearing the the Val di Non and Val di Sole in engineer Augusto who was born to host civil weddings and, in the year 1669 and the inscription “P 1771, and worked to build impor- in Monza in 1891 and who died in basement rooms, banquets and M”, which stands for Pietro Maf- tant infrastructures, first of all the battle during the First World War, wedding receptions. fei, son of the already mentioned aqueduct, constructed in 1778 to in upper Malga Pioverna (in the Jacopo di Andrea. bring the waters of the Pescara Municipality of Folgaria) on Oc- He was born in Revò torrent to Revò. tober 20, 1915, to whom a com- in 1621 and became notary (his Although generally it was memorative plaque is dedicated, deeds dating to the twenty-year uninhabited during the nine- which is still visible on the façade period 1644-1664 are kept in the teenth century, Casa Campia al- of the Town Hall of Revò. None of family archive, donated to the Mu- ways remained the heritage of the them married – Rosa (1886-1977) nicipality of Revò). If it is very un- noble Maffei family, from genera- and Maria (1889-1947) graduat- likely that the date 1669 should be tion to generation and up to the ed respectively in mathematics related to the construction of the

50 51 52 53 building from its foundations, in- medallion and the sundial, ar- fake stone and a pyramidal spire deed it could more probably refer ranged with regular symmetry, culminating in weathervane, imi- The Interiors to the conclusion of a first phase the single-lancet windows of the tates the one, dated 1677, of Pala- of restorations promoted by Ma- two main floors are visible, pro- zzo Maffei, which stands near the The configuration of the ffei. As anticipated, in fact, Casa tected, on the first level, by rail- church of Santa Maria del Carme- interiors of the building, which Campia was built on pre-existing ings. The railings of one window, lo, in the town of Revò. Elements was essentially completed in the structures and its current struc- close to the protrusion of the such as the airy loggia and the second half of the seventeenth ture is the result of successive angular tower, has a curved pro- graceful turret belong to the vo- century, was very much influ- enlargement and restructuring file in the inferior part: an eight- cabulary of the Überetscher Stil, enced, with regard to the type of interventions, mostly document- eenth-century style that can also the style of late-Renaissance ar- plant and the structural and dec- ed by chronological indications be found in other buildings of the chitecture of the South Tyrolean orative elements, by the models inserted in precise points of the Val di Non, which allowed to lean Überetsch-Unterland, models of of the previous century of Renais- structures. The oldest inscription out of the window. The same type which can be found, for example, sance inspiration. This influence is in fact 1669, followed close- of hunched railings recurs on the in the Zinnenberg and Weissen- is visible in the two main floors ly by the one on the sundial on front north side, in correspond- heim residences in Appiano, built that both develop on the sides the edge of the window pointing ence with the southern section between the fifteenth and seven- of a wide passageway or “porte- north-west on the fourth floor of added during the eighteenth cen- teenth century by Lombard and go”, on which the various rooms the turret, completed in 1671. On tury. This façade, now surround- local workers. open up. the eastern side another year is ed by a lovely Italian garden with At the level of the base- engraved: 1736, it is the year the hedges, is decorated by an ele- ment, instead, spaces with rus- portal was placed on the ground gant double overlapping loggia: tic features prevail, reflecting its level. Moving up along the façade, on the ground level an impressive ancient use as a warehouse and on the same axis, we see the round arch is surmounted by an cellar. The two large main rooms ovate that contains the bas-relief encased parapet on which two have umbrella vaults that come representing a half-length Virgin, arches rest supported by square together in large pillars: the oc- her head veiled and surrounded masonry pillars, also with rounded tagonal one in the centre of the by twelve stars, according to the arches, accessible by means of a first ample room one encounters iconographic model of the Im- beautiful external stone staircase. when entering from the door to- maculate Virgin Mary. The style of On the upper floor stone columns, wards north bears the date 1789, the work suggests it may be at- with a slight entasis, support the the most recent chronological tributed to the sculptor Pietro An- architrave loggia; the balustrade indication among those, already tonio Barbacovi (1693ca.-1763) of is made of solid wood pillars. mentioned, that can be found Taio (today a fraction of the Mu- Here, on a beam of the roof in Casa Campia. At the base of nicipality of Predaia). The Marian facing south-west, the year 1739 the corner turret is the so-called icon is very close to a large fresco is recorded to mark the restora- “family room” with original wood- with a sundial surmounted by the tion – at least partial – of the roof. en lining where, according to tra- Maffei family’s coat of arms with a In 1765, on the other hand, works dition, the groom resides. heraldic crest. were carried out on the south- The large entrance hall On the sides of the carved east turret which, with an angle in on the ground floor, that once

54 55 ended with a thick wall placed fireplace and the hood supported closed by doors. compartment of the boiserie just at the level where the staircase by a horizontal wooden beam still An exquisite boiserie of described, is also an addition of leading to the upper level begins, visible today. great decorative effect, datable the eighteenth century. traces of which have been found Here there is also the to the early eighteenth century, Similarly to the ground during the last restorations, runs loading oven of the majoli- painted in green and enlivened floor, also the first floor is or- today throughout the depth of ca stove in the adjoining room, by slender carved lesenes, the ganized around the central hall, the building. Its vault is refined which has a panelled wooden panels of which are surrounded whose walls are embellished with towards the loggia by stucco floor and walls painted in a deli- by phytomorphic elements, also a fake draped curtain, dated 1673 frames, while on the walls the cate sage colour. The monumen- covers the long rectangular room and decorated with vaporous nat- large genealogical tree on canvas tal tower shaped stove, a typical that opens up south of the door ural roses evoking those that recur hangs, which traces in detail the artefact of the workshops active of the loggia. The room was once in the bend of the coat of arms of evolution of the Maffei family until since the mid-sixteenth century in heated by a stove, which rests on the Maffei. On the axis of the long the late eighteenth century, along the small village of Sfruz, on the stone feet turned in the shape of rib vault there is a succession of with some paintings, including Predaia plateau in Val di Non, is a baluster, placed at the corner stucco panels with a mixtilinear the portrait of Domenico Antonio dated 1753 and rests on a stone pointing south-east and powered and rectangular outline respec- Thun (1686-1758), prince-bishop base supported by ridged legs. by the tube installed in the con- tively. By the window-door that of Trento from 1730, portrayed on Finely decorated in saffron blue tiguous “portego”. To fix the stove overlooks the loggia there is a the occasion of a pastoral visit to (or cobalt) on an ivory back- in the vault, the pinnacle at the beautiful “fake fireplace” in stone, Revò in 1743. The beautiful stone ground, its base is decorated top was removed and placed on with an interrupted tympanum, doors with cymatium moulding, with the allegories of the months the side of the turret. Its copper used to load the majolica stove which open up along the side and seasons which alternate with green colour, on which the ivo- in the neighbouring south-east walls, still have the original eight- lesene-telamons, while, on the ry-white ornamental friezes stand room, closed by wooden doors. eenth century wooden windows. turret, on the front of which the out, is the most typical artefact Another tube, aesthetically less A peculiar one can be seen in the coat of arms of the owners stand from Sfruz. refined, is at the opposite end of first space on the right (west) en- out, there are depictions of the Finally, a small cham- the room, the design of which is tering from via IV Novembre: the four continents known at the time ber lined in wood, connected inspired by renaissance canons of so-called “vòut de fer”. Beyond (Oceania is missing) together directly by a small door with balance and regularity. this armoured small door, made of with spiral columns, fruit baskets fanlight openings on which hex- This second tube feeds a wood and iron, the family archive and grotesque masks. The space agonal glass modules with lead cylindrical stove in majolica in the was kept, which was generously of the corner turret corresponds are mounted, in the area added in adjoining north-east room. It is donated by the Maffei heirs to the to the beautiful boiserie paced by the eighteenth century and pro- manganese brown, enriched with Municipality of Revò. It includes pilasters with ridged stems and jecting south. The gold yellow of festoons depicting buds and ivo- documents from the sixteenth to composite capitals, the design of the wooden panels on the walls ry white leaves, an umbrella dome the twentieth century and today which includes a double order of and of the flat ceiling, decorated and a ribbed vase, its lid with a constitutes the Maffei Fund of acanthus leaves surmounted by with a large plastered panel with crowning pinecone. the local Municipal Historical Ar- oval motifs, which support a cor- a mixtilinear profile, is predom- One of the most charac- chive. In the room on the opposite nice with ovules and dentils. The inant. A room characterized by teristic rooms of Casa Campia is northern side, the kitchen used to thickness of the walls allows for a light stucco frame on the ceil- the one facing north, on this same be located, with a large traditional shelves and various cabinets en- ing, which closes the rectangular level: a typical “stube” (living

56 57 58 59 room) with a wooden panelling recesses that were functional to the extensive apple orchards cov- that recalls that of the boiserie of accommodate the altarpiece, re- ering the slopes of the high pla- the turret on the lower floor. Here cently restored and depicting teaus and the more circumscribed one finds the same ridged lesenes, Saint Joseph with Baby Jesus be- vineyards of Groppello nero, the which rise quickly on high plinths ing invoked by the faithful, which, pride of Revò’s countryside, in and end in composite capitals. thanks to an accurate compari- the production of which the Ma- Above the mighty cornice, cov- son with the altarpiece depicting ffei distinguished themselves, and ered by friezes with dents and a similar subject in the church of which, in the most generous years, ovuli alternated with simpler Our Lady of Mount Carmel (Italian were distributed in the markets of mouldings, is a quadrangular la- Santa Maria del Carmelo) in Revò, Überetsch and Merano in South cunar ceiling radiating from the can be said to be the work of Mat- Tyrol (BZ), sometimes reaching central panel characterized by a thias Lamp (approx. 1698-1780), a the square of Desenzano del Gar- more elaborate octagon. A large painter from the Pusteria Valley da on the Garda Lake (BS). stove in copper green, exemplary who moved to Romeno, in the up- of the production of Sfruz, with a per Val di Non, and father of the combustion chamber and a tur- very known artist Giovanni Batti- ret, both round, rises on a stone sta Lampi (1751-1830 ). Above the base partially embedded in the entrance to the noble chapel runs wall and supported by only two the biblical quote from the Book free-standing balusters. In the of Numbers: “OFFERETIS HOL- small passage that leads to the OCAUSTUM DOMINO” (transl. window pointing north-west, one you are to give a burned offering can admire a precious portion of to the Lord). the stuccoed vault, fortunately re- From the longitudinal covered in the last restorations. hall you can enjoy a breathtak- Within the perimeter of ing view of the Val di Non, which the turret there is a square room opens up before the eyes of visi- whose west wall is replaced by a tors, and lets itself be discovered simple wooden partition to com- gradually together with its na- plete the adjacent “stube”. The rib ture, its history and its vocation vault and the original pale floor tofruit growing. with darker zig-zagging inlays are From here it is possible very interesting. to contemplate the Lake of San- On the opposite southern ta Giustina and Castel Cles, which side, there are other rooms, part is reflected in the lake, standing of the eighteenth-century addi- on the top of a small promonto- tion. In 1788 there was a private ry, from where one passes to the chapel, with a ceiling embellished nearby Val di Sole and the Bren- with a double stucco frame and ta Dolomites, but also to observe

60 Sanzeno, which developed ing residences of the entire valley. on one of the three high plateaus Its foundations were laid where the Val di Non is located, is certainly in more ancient times, as a real treasure of historical, artistic is confirmed by the archaeological and religious importance. It is cor- investigations (2009) that have nerstone of regional archaeology, documented an intense and artic- with numerous important finds ulated settlement activity in the mainly from the north of the in- area in question which dates from habited area and now partly kept the pre-Roman era to the Renais- in the Museo Retico of Sanzeno, sance and modern age; the build- inaugurated in 2003. The village is ing underwent transformations also one of the most relevant sites that were decisive for the current of the spirituality of the Trentino layout from the second half of the Sregion, because of the presence of sixteenth century. Subsequently, a the three deacons Martirio, Sisinio definitive arrangement, dating to and Alessandro – Sanzeno owes the eighteenth century, shaped its name to the second one – who, it into an authentic patrician res- originally from Cappadocia (now idence, suited to the status of its Turkey) were sent by Saint Vigil inhabitants, embellished by formal to convert these lands, and were details such as decorated doors, martyred here on 29 May 397 d. elegant three arched windows C. The village is mostly located and wrought iron gratings of un- along the state road (SS 43 dir), common beauty and rarity. The which from Dermulo (a fraction building owes its name to the de of the Municipality of Predaia) Gentili, who belonged to the “mi- leads to the Passo della Mendola, nor” or “rural” nobility. and around the main square, from Originally from Denno, a where it continues in the direction village in the lower Val di Non, and or the small church of Santa Maria, descendants of Oluradino (ac- on the edge of the wild Valle del cording to attestations: 1170-1205), Rio San Romedio where, on top of the established ancestor of the da a rock, the famous shrine, with the Denno, they are attested to have same name, stands. lived in Sanzeno from the early Opposite the large stone decades of the sixteenth century, fountain in the above-mentioned when, together with his brothers, square, stands Casa de Gentili: a Giorgio (approx. 1505-post 1576), property of inestimable value – the ancestor of the owners of the Casa de Gentili not only architectural –, and one of building, obtained from the court Municipality of Sanzeno the most significant and interest- of Vienna a new certificate of no-

62 63 bility where he also claimed a Cen- the castle was owned, together cultural events, conferences, sem- tral Italian ancestry from Camerino, with the nearby mineral depos- inars and informative evenings, The Exterior in the province of Macerata. In the its of Fursil, by the prince bish- the cultural centre of Anaunia, following centuries, in addition to op of Bressanone. These charac- “Val di Non Multimediale” is locat- Externally Casa de Gentili, practicing the trade of pharmacist, ters have also left their mark on ed, and a restaurant. which stands on a terrain charac- until his death, (also the last de the ancestral palace, where the terized by a difference in altitude Gentili, Dr. Guido, was pharmacist memory of Giovanni Giorgio Gi- between the mountain (east) and in Egna, in South Tyrol), the expo- useppe is, for example, entrusted valley (west) of about six meters, nents of the family distinguished to two portraits painted during has a solid and compact structure themselves as artistic patrons and the period of his service at the in late Renaissance style which military administrators. fortress near Belluno. gives it a remarkable unity and On the one hand, in fact, Inhabited until 1996, Casa tends to conceal its hypothesized the brothers Francesco Antonio de Gentili is now owned by the origin with the addition of differ- (1709-1771) and Giovanni Michele Municipality of Sanzeno, which ent blocks and of successive ex- (1712-1778) built, between 1770 promoted the purchase and there- tensions, in line with a very com- and 1771, the grandiose high al- fore a careful and widespread mon and widespread construction tar, in polychrome marble, of the restoration in collaboration with practice of the Valley. The building local church of Pieve – which in institutions such as the Autono- rises on three levels above ground, 1973 acquired the title of basilica mous Province of Trento and the to which the attic must be added, –, to which the family also donat- BIM Consortium of the Adige re- with a beautiful truss structure, ed the altarpiece, painted in 1775 gion, which now owns the herit- and only one fully underground by Giovanni Battista Lampi (1751- age composed of the valuable room accessible from the ground 1830) and illustrating the Glory of original interior furnishings, and floor, in the heart of the house. To the Holy Martyrs Sisinio (bearing includes paintings, chests, chests the east, the property includes the coat of arms of the de Gen- of drawers and other furniture a fairly large area, completely tili embroidered on his dalmatic), from different periods and of dif- fenced, which spreads over two Martirio and Alessandro and of ferent styles, some items bearing distinct levels articulated by an in- Our Lady of Good Counsel. The the coat of arms of the de Gentili ternal retaining wall and recently aforementioned Francesco Anto- family (azure and silver bend with reconfigured in such a way as to nio and his nephew Giovanni Gior- a pair of proboscis also with azure reinforce the peculiar and close gio Giuseppe (1740-1782), as cap- and silver bend), but also pottery relationship existing between the tains, were in charge, respectively and kitchen utensils, a remarkable architecture and the exterior. On from 1740 to 1765 and from 1765 collection of antique locks and, the highest level a small public to 1774, of the garrison guarding above all, the historical pharmacy park has been created, open to the Castle of Andraz in Livinallon- with its set of jars, alembics and the community, directly connect- go del Col di Lana, in the province various equipment. In the prestig- ed to the village through a gate of Belluno, from the early fifteenth ious setting of the building, which opposite the entrance of the century until the secularization of has hosted over the years and still church of Santa Maria, where the the principality in Napoleonic age; hosts important art exhibitions, road that descends towards the

64 65 66 67 sanctuary of San Romedio starts, connects the road axis leading up visible on the façade and the other elements soften the gran- creating a direct visual relation- to small church of Santa Maria to ones placed after the angle, to- deur of the façade such as the ship between the palace and the arched and rustic portal on wards the state road – in this time stone balcony, always on the first the small sacred building. In this the eastern façades, which reads, frame: all four are characterized floor, with a central door window space, covered by grass and scat- on the keystone, the date 1673. by similar cymas terminating, at and lateral rounded arch windows, tered with some trees, in a sort of Different in the making the top, in a series of rings gath- separated by columns with a rath- ideal continuity with the ancient and the design, which is more or ered together and, at the side, in er marked entasis. pharmacy inside the building, ar- less elaborate, the gratings were bunches of grapes represented On the second floor, slight- omatic and medicinal plants have put into place at slightly different in a very simplified but effective ly off-axis with the terrace below, been planted. Close to the build- times, but all during the eight- manner. Certainly the richness there is a triple arched window be- ing and at a lower level than the eenth century; many similarities and decorative exuberance that tween two squared jambs on the above mentioned garden, there is with artefacts from the regions characterize them are explained sides and two circular separation a paved courtyard, with a slight- of the Überetsch and the South by their special location. Inserted columns. The other openings of ly inclined surface, part of the de Tyrolean Unterland in Alto Adige in the context of the more “public” this same level are large rectangu- Gentili property. are visible. Critics, in fact, have façade of the building, and fac- lar single arched windows, sober- The north façade gives correctly pointed out the similar- ing the main square of the village, ly framed in stone, above which onto to the secondary via di ities between the Sanzeno grat- these bars, as well as other details are painted polylobed rosettes. Sant’Alessandro, connected to it ings and those of civil and sacred of the same front, were used to Looking at the top of the build- by a traditional “pont” (bridge) buildings in Appiano (Eppan) and enhance and celebrate the own- ing, finally, on the beams of the which, from the arched door in Egna (Neumarkt), places with ers of the house. roof that protrude at the corners pink ashlars, the shutters of the which the de Gentili always main- The arched portal had a of the house towards the square, arch embellished by elements tained close economic-cultural similar function, in squared stone emphasized by bush-hammered moulded in lighter stone, leads links, as is attested by the fact blocks and engraved on the key- quoins, we can see the date 1777, to the church dedicated to Ales- that the last descendants of the stone, inside an almost heart- carved in Roman numerals, which sandro, the youngest of the three family practiced as pharmacists in shaped section, the year 1694 can probably indicates the date of a Holy Martyrs Anauniensi or of the Egna where they also had a home. be read. The inlaid wooden win- total or partial restoration of the Val di Non. The west façade over- The gratings above the dow is worthy of note, conceived large pavilion roof. looks the main road and is char- main entrance belong to the old- as a miniature triumphal arch with acterized, on the first floor, by six est kind, where the lobed lozeng- aediculae in the sections and bro- wrought iron railings that protect es of the upper part give way to ken elliptical pediment in the mid- as many windows. These grat- the gibbosity of the lower band, dle of which stands a small finial in ings are undoubtedly among the and the letters “G G C G” appear the shape of a triangular tympa- most distinctive elements of Casa – the hypothesis is that they are num. In the median section of the de Gentili. They are to be found the initials of Giovanni Giorgio Gi- door the de Gentili coat of arms is also on all the other openings of useppe, Captain of Livinallongo inserted without its heraldic col- the same level: three on the main from 1765 to 1774. It therefore is ours, but rendered finely. Togeth- façades, pointing south; two on possible to date the instalment er with the aforementioned grat- the northern one and the single of the gratings in question and of ings to protect the single arched window just before the “pont” that the most similar ones – the ones windows of the first level, several

68 69 tations and transformations over inhabitants of the Val di Non who On the first floor the The Interiors the centuries than the others, the migrated in not so distant times. rooms, in greater number, are rooms have less regular shapes As regards the history of organized in a more orderly way. The interior of Casa de and seem to be placed one in the the building, the most interest- Here there is the operative office Gentili offers the visitor many other: the rooms along the perim- ing room is the one located left of the Cultural centre of Anaunia surprises, with an organization of eter of the building all commu- of the entrance hall. Beyond a (Centro Culturale d’Anaunia), with spaces that is much more artic- nicate with the outside through very heavy door in wood and iron, the library and the workstations ulated than what one would im- windows that are mostly quad- which today we would say is “ar- equipped with information tech- agine from the outside. rangular and covered with grat- moured”, was the pharmacy and nology equipment, and the large The construction system is ings. Many of these rooms must herbalist workshop where the last congress hall which is located the traditional one to be found in have once been used for storage, de Gentili still worked, Dr. Guido where once the characteristic “so- these areas, with walls and stone as cellars and perhaps barns for (1908-1993). He was the heir and mass” was, typical of the Trentino vaults with slaked lime mortar poultry and small to medium size last exponent of the family tra- and Val di Non houses in particu- and an arrangement of the areas animals such as chickens, rabbits dition, indeed his ancestors had lar, joined to the street level by a which corresponds to typologies and pigs, given the lack of traces been pharmacist and herbalists ramp on the northern side of the that can also be found elsewhere of structures – mangers, drinking since the eighteenth century, cul- building (via di Sant’Alessandro). in Val di Non, in similar elegant troughs – necessary for the shel- tivating strong interests in natural Carts once used this connection and rustic but refined construc- ter of larger animals such as cows, sciences. The small pharmaceu- to unload the goods they trans- tions: barrel vaults and cross oxen and horses. tical workshop, fully equipped ported. The room opposite the vaults on the bottom level; doors This floor is crossed by the with scales, stills, flasks, am- one hosting the cultural centre of of different rooms that open onto “Val di Non Multimediale” route, a poules and various other instru- Anaunia is particularly interesting a central corridor, rooms with flat showcase of the Anaune lands (or ments will soon be reorganized because of the sophisticated dec- ceilings embellished by pictori- Val di Non), its cultural and natural and made accessible. The front orations on the painted ceiling, al decorations, friezes and stuc- treasures as well as its historical, room is also protected by a very where refined frames ending in cos on the upper levels. Many social and economic-productive sturdy door, with iron framework oak branches support large blue rooms have wooden floors that, peculiarities. Thanks to projec- and covering, also in iron foil, re- crystal amphorae, with sinuous depending on the importance of tions and films, it is possible, for inforced by studs and diagonally looped handles and other inserts the room, form more or less com- example, to virtually fly over the placed strips. A very similar door of gold, filled with ferns, papyri, plex designs thanks to the use entire valley by helicopter, moving – as critics rightly point out – can berries and delicate flowers. The of different materials. The main between villages, castles, lakes be found in the residence of the adjoining room in the south-west staircase, quite steep, allows ver- and mountains from a perspec- noble Longo family in the South corner, lined with wood, is also of tical connections: two adjoining tive that is nothing short of unu- Tyrolean town of Egna, also fre- considerable interest. In this room ramps lead from the ground floor sual; plan excursions and obtain quented, as we have seen, by the there is a stove covered in ceram- to the second floor and to other timely information on multiple de Gentili. Carved in the wall is a ic tiles – the typical olle – in dark secondary staircases. itineraries; learn, in an agile and tabula ansata bearing the date brown manganese, with an ele- The total area is over 1800 captivating manner, about Casa 1684 and the name of the person gant perforated door in the tow- square meters spread over three de Gentili and its inhabitants, who probably had the underlying er that allowed the circulation of levels. The ground floor seems about agriculture, local crafts and small portal erected: Gaspare de hot air and was also used to warm to have undergone more adap- about the destinies of the many Gentili (1644-1689). food. Characterized by slender

70 71 72 73 forms, it can be dated to the end tolate” (fried eggs), illustrated by large room has a wooden floor en- room on the floor below (today of the nineteenth century and is a Bartolomeo Scappi (1500-1577), riched by two pentagonal walnut the library). On the wall flanking product of Sfruz, on the Predaia one of the most famous chefs stars and a perimetral band, prob- these stairs there is a large em- plateau, where kilns and artisans of the Renaissance age who was ably the work of Lombard crafts- blem, very realistically painted to specialized in the production employed in the service of vari- men, in light stucco in the upper mark a marriage alliance between of similar ceramic artefacts are ous popes, author of Opera, pub- part of the walls, where the de the de Gentili family and some documented since the sixteenth lished for the first time in Venice Gentili coat of arms with its crest other aristocratic lineage not yet century. In the adjacent rectan- in 1570 and enriched by twenty is inserted (west wall) and, in the identified. With an exception to gular corridor, which leads to the seven engraved tables. Many of four corners, the Allegories of the the rules of heraldry, the coat of balcony facing the square, there the dishes of the de Gentili kitch- seasons, personified by charming arms is divided into four sections is the loading oven of this stove, en, its wealth reflecting the wealth and plump putti. The allegory of and two different coats of arms with a beautiful stone frame in of the owners, are now carefully Spring is rocking happily astride a are joined with their respective Rococo style, with side with vo- placed on wooden shelves that wreath of flowers with overblown crests: the coat of arms of the de lutes decorated with knurled mo- cover, almost entirely, the north petals; that of the Summer is hold- Gentili is reproduced on the left of tifs and crowned with a striped wall of the room, framing a door ing in his left hand a golden sickle the viewer (azure and silver bend comb shell valve. with four sections which leads to and in the other a bundle of ears, with two proboscis also with az- Equally interesting, con- various rooms connected to one equally golden; that of Autumn ure and silver bend); on the right tinuing along the rectangular cor- another, through a sequence of is playing happily with a large there is a second crest that is to ridor, is the large kitchen, beyond aligned doors, and embellished wreath of grapes and grape vines this day mysterious (azure, gold the door at the opposite end of by beautiful painted decorations with which his crown is also made; chevron, with three spurs – or the terrace, characterized by the in correspondence of ceilings and the putto representing Winter is spur rowels – of the same colour presence of a large fireplace, the walls. Used once as living rooms wrapped in a drape that softly de- and a phoenix as crest). Along so-called “foglar”, consisting of a and bedrooms, these rooms cur- scends from his head covering his the corridor there are two “false single block in the shape of a par- rently host the furniture for the pudendum and is warming him- fireplaces”, which in the past were allelepiped. It is of considerable storage of materials and docu- self with the heat of the nearby used to fuel the stoves now no size, and the large surface allowed ments produced and collected by brazier with golden flames. A fifth longer existing. Also, the doors of both to heat the surrounding area the cultural centre of Anaunia to- enchanting putto leans out from a the various rooms give onto the and to cook using furnishings and gether with other important insti- dense acanthus head, from which corridor, framed with jambs and equipment which can be found tutions and cultural associations thin buds protrude, in the medal- cymatium moulding in stone. The in great number in the kitchen, operating on site – and not only lion in the centre of the ceiling, in- south-west corner room and the which is now being rearranged. – with partnership agreements. tent on playing a wind instrument other two placed west, which give On display are jugs, cof- The second floor’s explic- no longer in use. onto the highway, have refined fee pots, jugs, various containers, it function was reception, and it Similarly to the arrange- ceilings with both painted and ceramic and pewter dishes, pots consists of a smaller number of ment of the lower level, also here relief decorations. and pans in copper, some with a rooms which are, however, larg- the block of the southernmost On the opposite side there curious shape like the one with er. Here we find the Salone degli rooms is organized around a long is a second kitchen, with a small- cavities to keep the eggs sepa- Stucchi (Hall of the Stoccos), no- central corridor where the internal er fireplace than the one on the rate, that faithfully reproduces the table both for its size and for the stairs end – which allow a direct first floor, but well preserved and frying pan for making “ova frit- quality of its decorations. The connection with the south-east still equipped with a hood, black-

74 75 ened by centuries of use. The ac- last living room to the north, on by no means marginal, both for de Gentili (1699-1729), who died cessories linked to its functioning this level, engraved in the plas- the family history and for that of in Caprarola (in Latium, in the are displayed here today, such as ter of the wall facing north, the eighteenth-century fashion and province of Viterbo) in March firedogs, tripods and springs but date 1569 is visible, a date of costume, in that they offer an 1729, and had joined the order of also the typical “lavezi”, or wash- great significance for the building, impressively vivid representation, the Discalced Carmelites in 1716, ing pots, with three feet to allow it because it is the oldest among rich in details, also minimal, that and of St. Carlo Borromeo, de- to be placed on the cooking sur- those found. are investigated and described picted in devout prayer before face. In the wall to the east there Among the old furnishing with singular accuracy: from the the crucifix. Two regal portraits is a sink and next to it a double of Casa de Gentili, a place of pri- bonnets to the lace, from jewellery can also be identified easily, one arched window with ancient glass mary importance is the picture to fans and exquisite passement- of Empress Maria Theresa of the and small hexagons held togeth- galley, owned by the BIM Consor- erie for ladies; from embroidered House of Habsburg (1717-1780), er by lead threads. The room that tium of the Adige region, which tail-coats to fur-lined cloaks, from dressed in morning and there- directly communicates with the underwent a specific restoration refined buttons to lace jabots to fore immortalized after the death kitchen most likely served as a intervention that ended in 2004. powdered wigs for gentlemen. of her beloved husband Francis I, dining room, as is indicated by Originally consisting of Among the members of the family Holy Roman Emperor (1708-1765) the tempera decoration of the nineteen paintings, now mostly it is possible to identify with ab- and founder with his wife of the ceiling with four elegant gilded distributed in the rooms on the solute precision Giovanni Giorgio Habsburg-Lorraine dynasty, the risers – one on each side – with second floor of the building, the Giuseppe de Gentili (1740-1782), other of her son Joseph II of the fruit and vegetables of all sorts: collection has been recently en- whose identity is revealed to us House of Habsburg-Lorraine (1741 apples, pears, loquats, plums, larged with the acquisition of three by the letter addressed to him -1790), who shared the throne of cherries, figs, succulent slices of more paintings. On the north wall that he is holding in his left hand, the Holy Roman Empire with his watermelon, pomegranates, but of the already described kitchen which qualifies him as Captain of mother until her death in 1780. also pumpkins, turnips, asparagus, three paintings are hung, which the Prince bishop of Bressanone The two paintings can therefore artichokes and carrots. date to the second half of the in the Castle of Andraz in Livinal- be dated between 1765 and 1780. Paintings are a recurring seventeenth century, and repre- longo Col di Lana (BL). element in the rooms on the sec- sent two still lifes, with rather dark This portrait is perfectly ond floor, mostly in friezes and shades, and a hunting scene. The mirrored – similar elements are wall decorations, also present, portraits, however, many of which the refined frame and the setting, with a light blue band more than are displayed in the central corri- composed of a fluted column and one meter above the ground and dor, represent the most significant a red draped curtain in the back- stretching along the walls, in the pieces of the collection. Many of ground – by the one of his wife family chapel, which is at the top the portrayed subjects are ex- Anna Bombardi, whom he mar- of the staircase, and is separated ponents of the de Gentili fam- ried in September 1771. from these by a wrought iron gate, ily who are, however, to this day Although not on display, finely built. without a name, the same way other portraits are more easily The addition of the build- the artists who created them are recognizable thanks to the writ- ing giving onto the courtyard still anonymous. ings that accompany them, de- made it necessary to open a door The paintings, however, picting Father Epifanio, that is, where the altar used to be. In the have a documentary value that is Guidobaldo Giuseppe Daniele

76 77 On the slopes of Mount furniture and an intriguing gallery Roen, in a seclude position on a of portraits. These portray the plateau kissed by the sun lies the founding ancestors of the build- village of Don, now a hamlet of the ing, such as Giovanni Battista I municipality of Amblar-Don. The Endrici (1703-1783), and above village originates from three an- all, the numerous clergymen and cient villas: di Sopra, di Mezzo and high prelates of the family. This in- di Sotto. In the upper part of the cludes Giovanni (1707-1754), doc- town (Villa di Sopra), rising from tor of theology and parish priest the square in front of the parish of Romeno, up until Celestino church and beyond the charac- (1866-1940), last Prince-Bishop teristic portico of Casa Simbeni, and first Archbishop of Trento. you will find the front of Palaz- Celestino, ninth of elev- Ozo Endrici. The palace was built en children, was born in Don on in the eighteenth century by the March 14, 1866. After his child- Endrici family. hood in Val di Non, he completed Originally from Rallo - the his secondary school studies at current hamlet of the town of the princely bishopric school of Ville d‘Anaunia – the family was Trento. Once he graduated, he was ennobled on 6 January 1535 by sent to Rome, where he attended Prince-Bishop of Trento Bernardo the Pontifical Gregorian University Cles (1485-1539). In the first quar- of the Germanic-Hungarian Col- ter of the seventeenth century the lege. After first graduating in phi- family moved to Don. Here, in just losophy, he was ordained a priest a few decades, they established in 1891 and graduated in theology themselves amongst the richest in 1892. In that same year he re- in the country. Remodelled in the turned to Trentino and began his second half of the nineteenth cen- ministry, first in Cles, in his Val di tury and again at the beginning of Non, and then in Trento, in the the twentieth century, the build- parish of Santa Maria Maggiore. ing (which was largely under pub- From 1896 he was a professor of lic ownership) was restored at the philosophy and moral theology at end of the last century. In more re- the seminary of Trento, and was cent times, alterations were made subsequently entrusted as the to the facades, with restoration of chair of Social Doctrine of the the south-east terrace being com- Church. During these same years, pleted in 2015. Today, the palace’s he was a passionate spiritual as- Casa Endrici interior preserves a unique artis- sistant to the Associazione Uni- Municipality of Amblar-Don tic heritage, consisting of antique versitaria Cattolica Trentina. Not

78 79 yet thirty-eight, in January 1904 ticularly in border areas - to aban- to National Socialism and its per- the emperor of Austria Francesco don their homes, causing them to verse ideology, instead siding in The Exterior Giuseppe (1830-1916) appointed become displaced within the ter- defence of the German-speaking him Prince-bishop of Trento: an ritories of the Danubian monar- and Ladin-speaking population A typical example of res- appointment that was confirmed chy or Italy. Celestino Endrici was of South Tyrol. He fought both idential architecture of the small by the Holy See the following year placed under house arrest first in against forced “Italianisation”, rural nobility of the area, Endrici on the 6th of February. the suburban residence of Villa promoted by fascism, and against palace is divided into two distinct After taking his oath to San Nicolò near Trento, and then the practice of the so-called ‘Op- parts. Today the southern struc- the Hapsburg ruler in Vienna, he in Heiligenkreuz, a Cistercian ab- tions’. This was the agreement ture can be visited. obtained episcopal ordination in bey of ancient foundation in the signed in June of 1939 by Italy and This part looks noble, with Rome on March 13th. There, Ce- Wienerwald or Viennese Forest, Germany imposing the choice of the garden bordered by a merlon lestino and his delegation were southwest of the Austrian capital. either to retain Italian citizenship wall with squared top. It is held granted a special audience by At the end of the war, the or receive the German citizenship that the current structure was es- Pope Pius X (1835-1914), who had bishop pledged with renewed and be moved to the territories of tablished between 1720 and 1758, been elected in August 1903. On dedication to the material and the Third Reich. as evidenced by dates given to that occasion, the pontiff de- moral reconstruction of his land In the autumn of 1940, the western and southern eaves. fined him as “a special grace” for and its people. During this time, leaving Don, where Endrici had On the eastern front of this por- his diocese. Monsignor Endrici he dealt with the abuses caused spent the summer, as was his cus- tion of the building, another area held fortune for over three diffi- by fascism which had become tom he stopped at the Basilica of was added in the late nineteenth cult decades, marked by the first established in Trentino, as in the the Santi Martiri d‘Anaunia in San- century, perhaps with the inten- world war, the advent of the fas- rest of Italy. In 1929 the diocese zeno. It is supposed that here he tion of ensuring greater stability cist regime, by tensions in soci- of Trentino was elevated to the spoke the words: “Now let‘s go to in the south-eastern corner. This ety and the deterioration of the position of the Archdiocese by Trento to die”. corner had already been previ- local economy. Pope Pius XI (1857-1939, pope In fact, death took place in ously affected by creep phenom- During his long episcopal since 1922). Endrici, 25 years af- the following weeks, on the night ena towards the underlying valley. government however, he left his ter his episcopal appointment, between 28 and 29 October. By Used as a shed for agricultural mark in many areas of economic, became the first Archbishop of visiting his home village and the tools and as the attic, it is sur- social and political life in Trentino, Trento. After 5 years, during a stay house where he was born, along rounded by pillars of cement and making use of lay collaborators in his birthplace in Don, a heart with its collection of art and the a wrought iron railing, which has of high stature like the politician attack suddenly came to heavi- objects that belonged to him, you since been utilised as a terrace. and statesman Alcide Degasperi ly weaken his health. Despite his are given the opportunity to know The northern structure (1881-1954), who was held in high illness, Celestino Endrici did not a person of the highest level in dates back to 1755, a year insert- regard by the bishop. The out- cease to take an interest in dioc- contemporary Trentino. ed in a mixtilinear table in the break of the Great War represent- esan affairs and his parish, while façade. Today, it is used as a ware- ed a clear break in the pastoral the Holy See was provided with house and multifunctional recrea- activity of Celestino Endrici, who support by Enrico Montalbetti tion hall for the local community openly criticised military author- (1888-1943), proceeded by Oreste and, in part, is still used as a civ- ities and the arrests of Trentino Rauzi (1888-1974). Endrici contin- il dwelling by the descendants civilians. Many were forced - par- ued to demonstrate his objections of Bishop Celestino Endrici. This

80 81 portion is characterised by beige door (quartered: in the 1st and 4th PRINCE CELEBRATED THE XXV bucket of water that spills on a paint on which the portals in red quarter, silver bar in the red field; ANNIVERSARY FROM THE DAY burning house). stone ashlars and the windows in the 2nd, blue golden lily on the IN WHICH HE WAS AWARDED The five Saints interced stand out. These have a modest top, gold on the bottom, in the THE GLORIOUS CATHEDRAL OF jointly for the purging souls de- surface which compliments both 3rd quarter, red lion with gold). On S. VIGILIO. THE XXVI JUNE MC- picted below. They are situated the height of the interiors and the the left we can see the personal MXXIX BETWEEN THE PLAUSE in the centre of the fresco, be- needs of comfort in a mountain coat of arms of Celestino Endri- OF THE CLERGY AND THE PEO- tween tongues of flickering fire town like Don (the openings are in ci, with the eagle of the bishop‘s PLE WAS APPONITED TO THE and above the inscription “SVISC- fact always scattering elements). principality of Trento. The same DIGNITY OF I ° ARCHBISHOP OF IPE VIRGO DEI GENITRIX PIA The windows are softened by emblem is also carved in relief on TRENTO. THE CONCITTADS OF EXPOSCENTIVM VOTA” (transl: molded cymatiums and jambs the plaque placed by the commu- DON AND THE COUNCIL PLACE “Welcome, Virgin, Mother of God, decorated in marble imitation nity of Don to commemorate the THE DOUBLE FORTUNATE DATE the devotees prayers of those who in shades of red and dark doors 25th anniversary of the prelate‘s IN THIS MARBLE”). plead for you”). Some letters of with ocher-coloured frames. Due ascent to San Vigilio chair. It also On the façade, in line with the invocation, corresponding to to the slope of the land, the build- marks his appointment as first the portal, stands a fresco repre- Roman numerals, are highlighted ing has three floors above ground Archbishop of Trento, which took senting the Madonna and Child, in bold and, when added togeth- on the east side, at only two to place 25 years after the beginning crowned by angels and seated er, indicate the year the fresco the west. The development of the of his episcopate: “IL XIX MARZO on a cushion of clouds. San Ro- was created, 1747. The creator is latter was adapted to that of the MCMXXIX S. [UA] A.LTEZZA ILL. medio, who is venerated in the most probably Matthias Lamp (c. existing building units that the [USTRISSI]MA E REV.[ERENDIS- nearby dedicated Sanctuary, look 1698-1780), father of rather more Endrici unified in order to ensure SI]MA | MONSIGNOR CELESTINO devoutly at the Virgin Mary and famous Giovanni Battista Lampi larger and cheaper living spaces ENDRICI | VESCOVO DI TRENTO controls a bear holding the bri- (1751-1830), a highly appreciated in relation to their social status. E PRINCIPE | CELEBRAVA IL XXV dles. According to the legend, portrait artist in the great courts The building was formed ANNIVERSARIO | DAL GIORNO the bear ate the saint’s horse in of Europe. The persuasive attribu- through the addition and inte- IN CUI | ASCENDEVA LA GLO- the woods not far from here but tion of the wall painting is based gration of pre-eighteenth-centu- RIOSA CATTEDRA DI S. VIGIL- then was tamed by the saint: the on the stringent stylistic affinities ry structures. This can be seen in IO | IL XXVI GIUGNO MCMXXIX holy hermit was able to saddle identified with Mattia‘s autograph the varying vertical and horizontal | FRA IL PLAUSO DEL CLERO E and mount it. We can also see works and on the attestation of a alignments of the windows, which DEL POPOLO | VENIVA ELEVATO St. Anthony of Padua, with the special custom between the Lam- do not correspond between the ALLA DIGNITÀ | DI I° ARCIVES- white lily in his left hand, and St. pi and Endrici families. ground floor and the upper floor, COVO DI TRENTO | I CONCITTA- Anthony the Abbot, with his lit- On the one hand, there is and the bending of the perimeter DINI DI DON E IL COMUNE REN- tle pig at his side. Depicted out- in fact, no lack of precise referenc- walls, particularly evident on the DONO | LA DOPPIA FAU.[STISSI] side the mixtilinear frame of main es to the production of ‘Lamp’ - a west facade. The main entrance is MA DATA IN QUESTO MARMO” scene, are then St. Brigid, patron popular creation with mostly reli- characterised by an elegant door (transl. “THE XIX MARCH MC- of Don and owner of the parish gious characters (in many church- on which Giuseppe Golner (1848- MXXIX HIS ILLUSTRIOUS AND church, and St. Florian, very re- es in Val di Non there are cycles 1924) from Sarnonico carved, the HONOROUBLE HIGHNESS vered in German-speaking coun- of the Via Crucis he created and, coat of arms of the Endrici fam- MONSIGNOR CELESTINO EN- tries and invoked as a protector often, signed and dated). His ily on the right portion of the DRICI BISHOP OF TRENTO AND from the fire (distinguished by the work was so widespread that it

82 83 84 85 made him the most prolific paint- dismantled and a second door portrait of Adolfo Endrici (1888- er active in Val di Non during the The Interiors that leads to the dining room. This 1972), nephew of the bishop Ce- 18th century. was reduced in size in order to ob- lestino and from 1919 to 1926, first Conversely, on December The front door of Palazzo tain a storage closet and a hallway mayor of Don after the annexa- 31, 1751, 1751, Anna Maria Cristina Endrici leads to a vast hall, now to reach the kitchen with which it tion of this territory to Italy. This Endrici, the seventeen-year-old equipped for conferences, con- was directly connected. Here we was taken by Giuseppe Brunner daughter of previously mentioned certs, theatrical performances find a rustic wooden plate rack, (1871-1951), student of the afore- Giovanni Battista I (1703-1783), and other cultural events. The hall from the nineteenth century, on mentioned Unterweger, and is was the patroness of Giovanni has a partially irregular map but is whose shelves are arranged with characterised by a soft pictorial Battista Lampi at the baptism ad- normalised by the axis of the bar- fine pewter dishes. effect. Also worthy of mention is ministered by his uncle, Don Gio- rel vault. At the centre of which Beyond a double glazed the view of the sanctuary of San vanni Endrici, then parish priest stands the bishop‘s coat of arms door there is the cross vaulted Romedio, perched like a castle on of Romeno. for Celestino Endrici, modelled in passage, which serves as a con- a rocky spur in the middle of the stucco and created along with the nection to the reception hall to green woods, which was painted tempera decoration of sails and the left (east), and to the noble by Metodio Ottolini (1882-1958). walls, after his appointment as chapel, to the right (west). On The usual sign of the artist from head of the Trento church in 1904. the walls of the reception hall, Aldeno, just South of Trento, is “M. Underneath the coat of arms are furnished with care and with sim- 8lini”, as is the case here. Ottolini doors which open onto the balco- ple flat ceiling unlike the adjacent was trained at the Academies of ny. During this period, the building, spaces, there is the great lithog- Venice, Parma and Florence and adapted as a summer residen- raphy with Benedict XV, Giacomo was very active as a decorator cy for the bishop who was born Della Chiesa (1854-1922). Ben- of churches in the valleys of the here, was subject to a number edict XV was Pope from 1914 to Noce. He always had a privileged of improvements and changes. It 1922, during the difficult years of connection with the valleys and also underwent widespread dec- the confinement of Celestino En- he moved to the area during the orative changes under the hands drici in Austria, which the Pope Second World War. He settled of Ubaldo plugs (1873-1949), a. followed with great involvement. in Tres (today’s fraction of the painter from Mantova who spent The photo portrays Bishop Endri- municipality of Predaia), where large periods of time in Trentino. ci, who sits on a chair with a wide years before he had completed In 1910, he created the fresco de- back and arms ending in leonine a large-scale intervention fresco- picting Santa Brigida’s Glory on protomes, wrapped in an ermine ing the nave, the vault, the pres- the presbyter vault of the parish cappa magna on which the pec- bytery and the apse of the parish church of Don under the commis- toral cross is pinned. The picture church; rebuilt from the founda- sion by the Prince Bishop Endri- was taken in 1904 by Giovanni tions and consecrated around the ci. During this time, renovation Battista Unterveger (1833-1912), mid-nineteenth century. work also involved rooms on the pioneer of photographic art in On the opposite side of ground floor. On the right side of our region and the first perma- the reception room is the chap- the entrance there is the door of nent photographer in Trentino. el, first mentioned in 1795, when the ancient kitchen which is now We can also see the photographic Don Giovanni Nicolò Endrici

86 87 88 89 (1739-1795) who was already a and surmounted on the head by chetti (1843-1917 in 1909. The third of the brothers, cooperator in Termeno and ben- a six-pointed star of gold, with In that same year, the orig- Giovanni Battista I (1703-1783), is efited in Don since 1753, had ob- the head of Venice in silver, the inal painter and restorer of Moena depicted as a country gentleman, tained authorisation to build a winged lion watching and holding (Trentino) trained at the Academy with a tobacco-coloured jack- private oratory at his home from an open book). of Fine Arts in Venice. He perfect- et with high-bended cuffs and the prince bishop of Trento Piet- The upper floor is ac- ed his art between Munich and walking stick. Father of Giovan- ro Vigilio Thun (1724-1800, bishop cessed via a beautiful stone stair- Romeand also completed the al- ni Battista II (1753-1836), he was since 1776) the the authorization case that rises parallel to the tarpiece depicting San Romedio born in Don and, after finishing to build a private oratory at his entrance hall and separates the with the bear in the Chiesa Mag- his studies at the Germanic Col- home. The chapel has a lowered southern portion of the building giore of the Sanctuary of San Ro- lege of Rome, was assigned to the enclosure and fascinating testi- from the north. The various rooms medio. The church is reachable Nunciature of Vienna. Following monies connected to Celestino on this floor are arranged along on foot from Don, following a that, he became secretary of Fer- Endrici. Here we can find a plas- the corridor-gallery with a marked path (CAI SAT No. 539) of about dinand III of Habsburg Lorraine ter bust of the Archbishop mod- north-south axiality and ceilings ten kilometres. The path is set in (1769-1824), who followed him to elled by the Roman sculptor Piet- embellished with elegant tempera woods that slope steeply down to Florence when his superior was ro Lazzari (1898-1979) and a talar decorations of neo-Rococo style. the bottom of the canyon of the appointed Grand Duke of Tuscany gown with elegantly embroidered The gallery is overlooked by all the Rio San Romedio and retraces from 1790 to 1801 and then again priestly robe. This latter article rooms, whose access, surmount- the ancient pathways beaten by from 1814 to 1824. He remained was found in the attic and was ed by moulded cymatiums, are pilgrims to the suggestive place in Florence until 1836, the year recently returned for the visitors‘ specularly arranged and face two of worship. of his death. John Baptist II must enjoyment thanks to the passion by two. On the walls we can find Among Edrici’s ancestors be credited to the Habsburgs, as of the volunteers involved in the the eighteenth-century portraits immortalised in the paintings of testified by the offer of the bish- protection and enhancement of of the high priests of Trentino Do- Matthias Lamp, we can find the opric of Livorno, which he refused the site. In addition, we can also menico Antonio Thun (1686-1758), brother priests Nicolò (1693-1749) because of his advanced age. He find the statue of Our Lady of prince bishop of Trento (1730 and Giovanni (1707-1754), the par- would go on to be remembered Sorrows and the eighteenth cen- to 1758) and Leopoldo Ernes- ish priest of Romeno. These are in his native house by the photo- tury statues of St. Charles Borro- to Firmian (1708-1783). This was also remembered, for the expan- graphic reproduction of a paint- meo, patron of Don together with his coadjutor in Trento between sion of the old church of Don, by ing depicting a prelate, hanging St. Brigid. The decoration of the 1748 and 1756, but already prince a plaque now hung at the base on the immediate right of those room, with the ceiling imitating a bishop of Seckau in Austria from of the bell tower that rises along who enter the corridor. The origi- starry sky on a blue background 1739 to 1763 and therefore, until the wall of the local cemetery and nal painting, once in a private Sie- and the side walls painted in fake his death, of Passau in Bavaria. In bearing the following inscription: nese collection, could be the work stone blocks, dates back to the addition, we can see the portrai- “AD AVCTVM EXI|STENTIBVS of the aforementioned Giovanni decade of 1904-1914. This can ture picture gallery of the ances- PA|ROCHO IOANNE | ET BENE- Battista Lampi. be identified from the coats of tors of Celestino Endrici, evoked FICIATO | IOANNICOLAO | FRA- Other interesting portraits arms of Bishop Endrici and Pope from the portrait to a practically TRIBVS | ENDRICI | 1744” (transl. are exhibited in the side rooms. Pius X August 20, 1914 (blue, an- whole figure, in a purple dress and enlarged at the time of the parish Firstly, there is that of Felice En- chor with three arms placed in a a white bobbin with a lace trina) priest Giovanni and the benefited drici (1828-1898), professor of band above a natural sea wave painted by Giambattista Chioc- Giovanni Nicolò, brothers Endrici). theology at the Trentino seminary.

90 91 92 93 A diocesan vicar, he was canon of bow, school reports and numer- walnut and the front carved. Here the cathedral of Trento and uncle ous black and white snapshots leans a small cauldron (or lavéz to Bishop Endrici. It was painted that immortalise pastoral activity in the local dialect), suspended posthumously in 1910 by Agostino in various corners of the diocese. on three feet modelled like gro- Aldi (1860-1939). Another posthu- In addition, we can see the copy tesque masks with goat‘s legs mous painting is that of Monsig- of the decree with which he was and the insignia of Bishop Endri- nor Edoardo (1853-1921), brother awarded in 1919 the honour of ci. Finally, we can also see a small of Celestino and long parish priest the Grand Cordone of the Order bronze mortar, a modern imita- of Coredo (today a fraction of of Saints Maurice and Lazarus. tion of late-German specimens of the Commune of Predaia), paint- Finally, we can admire the wall German manufacture. ed in 1953 by Gino Bedin in oil on cupboard, now empty but used hardboard. Finally, there is that of at one time to put away hunting Celestino Endrici himself, made rifles, which the bishop practiced in 1926 by Orazio Gaigher (1870- with passion on Mount Roen. 1938) who after his studies in med- Monsignor Celestino also icine, devoted himself exclusively belonged to the Knights of Great to painting from the age of thirty. Cross decoration of the Equestri- Gaigher travelled throughout Eu- an Order of the Holy Sepulchre rope (England, Spain, France) and of Jerusalem. This is kept in the the Americas and specialised in same room in its south-east cor- portraiture, in which he achieved ner. The cross is that of Jerusalem, remarkably refined results. The glazed with red and surmounted fine results of his art made him by a military trophy, hanging from gain the appreciation of prelates, a band of black silk and a chest cardinals and pontiffs, who en- plate in silver, surmounted by an trusted themselves to him to eter- enhanced cross and enamelled nalise their image in the Vatican. with red. The small views of the Turning to the rest of the abbey of Heilingenkreuz and the furniture, the two sitting rooms Carmel of Mayerling handed down are in Biedermeier style in the two to us through the places of Celes- rooms towards east (on the left) tine Endrici’s ‘captivity’ during the are exquisite, as the briar-root First World War. In addition, there desk with objects of Bishop En- are many memorabilia, furnishings drici that we can find in the cor- and personal effects that evoke in ridor. Other examples of excellent these rooms the figure and the quality include the inkstand in work of the prelate. We can find perfect Liberty style with typical his stockings with his monogram, floral motifs and the trumeau, also the purple birettas with purple in briar wood, with the chest in

94 In the middle of the house) at the central public high plateau of Alta Val di Non square of the village. It is here (or Alta Anaunia), which ex- that, after a few decades, Carlo tends between the mountain settled, transferred to Sarnon- passes of Palade to the west ico from the Castle of Giovo and of the Mendola to the east, or della Rosa, in Ville di Giovo (important routes connecting (hamlet of the Municipality of the Alto Adige fondles) is the Giovo) in Val di Cembra, which town of Sarnonico. Its histor- the Morenbergs had acquired ical centre is concentrated to some time before together the east, that is to say on the with the feuds of the Giovo soft slope on which - in an el- family (German “Jauffen”). evated position - we find what He was responsible for remainsI today of the Moren- the radical reconfiguration berg castle. The castle, which of the building which, rede- was oldest domicile of the ho- signed and internally reno- monymous noble family, was vated, took on today‘s ap- destroyed by ruinous fires and pearance as a refined manor then decayed to a farmhouse. house. While the family was Attested since the thir- elevated, with the opening of teenth and fourteenth centu- the eighteenth century, to the ries, during the fifteenth cen- dignified comitia, the line of tury the Morenberg dynasty Sarnonico became extinct in was a “nursery” for lawyers the second half of the same and vicars in the non-jurisdic- century. The family’s posses- tion of Castelfondo and Arsio. sions passed into the hands of Thus, for example, it happened the barons of Cles. at the beginning of the six- Meanwhile, the build- teenth century for Nicolò who, ing in the heart of the village formerly Vicar of Castelfondo, had already changed hands. was then massaro vescovile of First it was owned by the Ge- the Valli del Noce, an office he netti of Dambel and their coat held until 1528. Advancing in of arms, granted by Charles VI the modern age, the Moren- of Habsburg (1685-1740, em- bergs thought of adding to peror from 1711) in 1717 - ter- the inherited manor, more iso- minus post quem to date his lated, a dwelling in the town execution and the transfer of Palazzo Morenberg of Sarnonico. In the year 1544 ownership of the residence - Municipality of Sarnonico they bought a „domus“ (a signs the entrance door at the

96 97 head of the external staircase tem of French or astronomical sitely embellished windows, that goes up to the first floor The Exterior hours and framed by a fake side piers decorated with ge- on the eastern front (quar- architecture in perspective of ometric motifs and central tered shield: the 1st and 4th In its historic core, late-fifteenth-century flavour. column with leaflet capital. silver field with a black ea- Palazzo Morenberg is a hap- To the north-east there On the first floor, on the rear gle - today no longer visible py example of a noble resi- is a non-pertinent building facing east, in the place of the -; the 2nd and 3rd blue field dence, totally reconfigured that once constituted the rus- mullioned window there is the with a golden griffon, hold- in the course of the sixteenth tic wooden annex, with the main entrance door of the ing a barely visible silver ar- century forwarded on older typical „pont“, functional to building, above which, as we row; in the heart of the coat pre-existences according to the climb of the carts. This have seen, stands the emblem of arms there is a small shield the model of the villa-palace, was replaced by a masonry of the Genetti family of Dam- on a blue background and a then affirmed in parallel to construction in the early six- bel. The archivolted portal on silver towered castle). the lack of defensive needs ties of the twentieth century. the ground floor is inserted Then it was the turn of the of the fortified castles of the Another merit of the last res- in a totally asymmetric posi- Martini family of Revò who, in medieval age. torations is that of having split tion with respect to the gen- 1766, sold the property to the It is spread over three the building of the last cen- eral context, which reflects parish priest of Sarnonico don floors above ground, to which tury from the historical part the destination of this level as Giuseppe Franzoi. The priest is added the tall attic with no with a clear caesura, made warehouse and animas shelter made it a canonical house that dividing walls, and is covered evident through the inclusion (very different uses compared remained here until the pur- by a large pavilion roof, which of a modern glazed structure to the upper floors). The radi- chase of Palazzo Morenberg is covered with shingles (over- of different height. cal humanistic-renaissance re- by the City to use it as institu- lapped larch tiles). The quad- The renovations pro- configuration of the building, tional headquarters. The com- rangular building has a dry moted by the Morenberg in perceivable with greater clar- plex restoration work, which and compact volume, altered the house they had acquired ity on the exterior, presuppos- ended in 2002, was conduct- only by the barbican. This was in the mid-sixteenth century es the involvement of a valiant ed with philological rigor and, leaned on the southern side were aimed at normalising the workforce. This was influenced focusing primarily on the pro- in the early eighteenth centu- fronts by giving them greater by the work experience on tection of the ancient archi- ry and covers the decoration harmony and balance. The var- the field and informed about tectural organism, restored it of the red painted bossages ious openings, carved in local early modern age architec- to its original elegance. This which are placed on the yel- limestone, are thus distributed tural novelties, as illustrated in is also to make it to a prestig- low coloured paint that cov- symmetrically. For the most contemporary essays. ious setting for the offices of ers the entire building. part architraves, the windows The Lombard stone the local administration as for The south façade is have a molded pediment and craftsmen, present per- the various cultural and exhi- also embellished by an im- windowsill, with the exception manently and extensive- bition initiatives hosted here. posing sundial, placed in the of the holes along the cen- ly working in the valleys of empty space between the tral axis of the east and west the Noce (Val di Non and windows of the first and sec- elevations. Here, there are Val di Sole), were already re- ond level. This was designed good-looking mullioned win- sponding to similar require- following the widespread sys- dows, characterised by exqui- ments, starting from the end

98 99 100 101 of the fifteenth century and, of a triptych assigned to the barrel-vaulted or flat), was with the new century, in the da Lurago are still preserved The Interiors intended for housing animals nearby Alto Adige. today, hung on the right wall and foodstuff storage. This is The stylistic-formal of the presbytery. The internal organiza- suggested by some particular consonances of some of its The half-bust Madon- tion of Palazzo Morenberg characteristics: the use of the South Tyrolese buildings, sug- na praying and crowned with tries to support the search for stone in the construction in gest to bring back the pa- stars now inserted in an ae- symmetry which, in the exter- order to have fresher environ- ternity to Silvestro del Gallo. dicule along the low perime- nal fronts, is mainly achieved ments and the limited height, Some examples are the cur- ter fence of the courtyard of through the distribution of with lowered vaults, until rent Weißes Rössl hotel, on Palazzo Morenberg was cre- the holes. The division of the the openings to the outside. the main square of Caldaro, or, ated in the mid-eighteenth rooms accommodates the Where today we find spaces in the same village, the Mühl- century by a sculptor from principles of Renaissance ar- for temporary exhibitions and burg residence (see “Ansitz Val di Non. It is attributed, ac- chitecture with median hall- events once there were sta- Mühlburg”). Another exam- cording to the style, to Pietro ways on which the doors of bles and cellars. ple is the Castel Campan (see Antonio Barbacovi, original- two-rooms (north and south) The first floor is very “Schloss Campan”) owned in ly from Taio (current fraction overlook. The presence of different, obviously destined 1582 by Cipriano Morenberg, of the Municipality of Pre- painted decorations on the to perform functions of rep- brother of Carlo, owner of the daia) where he died “70 years walls of the two upper floors, resentation and therefore to palace of Sarnonico. Silvestro and older” in 1763. so copious and widespread as the lord‘s negotia. It is reach- del Gallo was a lapicida, an ar- to make it a real domus pic- able via an external stone chitect and a master builder. ta, is linked to their different staircase, leaning against the Between 1580 and 1590 he is function. The first level was eastern wall and probably mentioned in relation both to intended for negotia, i.e. busi- built between the nineteenth the above mentioned South ness and public life, especially and twentieth centuries. The Tyrolean construction sites householder. The second was wrought iron parapet is more and to the same town of Sar- dedicated rather to the otia, recent, dating back to the six- nonico. In 1585, and therefore that is to the more recreation- ties of the twentieth century. at the time of the modernisa- al activities and to the private At the top of the staircase, tion of the residence of Car- life of the whole family. a trapezoidal door framed lo Morenberg, Silvestro was From the courtyard, by jambs of sober elegance in fact guarantor for the sum surrounded by a time of pe- leads into the central hall, anticipated by the communi- rimeter walls, you can access which extends longitudinally ty and the parish of Sarnon- both the ground and the throughout the entire body of ico to the painter Giuseppe upper level. the building and is lit by the da Lurago. The painter was The ground floor, mullioned window. On the temporarily residing in Sar- composed of rooms that dif- walls, where there are four noninco to perform an altar in fer from each other by sur- doors from the moulded cy- the local church of San Loren- face, plan and type of roof- matiums, there is a frescoed zo where the surviving doors ing (rib-vaulted ceilings or curtains decoration with real-

102 103 istic tassels and painted with must be curbed. In addition to in the medallion on the intra- er noteworthy elements are vertical bands alternated in the reasons now mentioned, dos of the mullioned window the fir cabinet with worked shades of white and yellow in the upper part of the (painted to imitate marble, is mirrors, work of local handi- and red ocher. The bands walls are shown some laurel dissolved in Maria (the daugh- crafts from the 17th and 19th evoke the heraldic colours of wreaths suspended from the ter of Carlo Morenberg). centuries, and the decorations the owners. The knowledge ceiling by red ribbons. Plant From the first door on of the doors, which are made and cultural interests of the garlands frame the coats of the southern flank of this en- are made with fluted columns. Morenbergs allude to the sub- arms with the intention of cel- vironment, we reach the room These are supported by a jects depicted in trompe l‘oeil ebrating the owners of the called “of the apples” because high architrave and a tympa- above the painted frame that palace and their important of the decoration on the walls. num, below which we can see closes the fake curtain. alliances with other families Here, in fact, the band that runs denticles moldings. The two Here we see many ob- of the Trentino-Tyrolean no- above the tapestry painted in rooms to the north compared jects related to music, alche- bility. The coat of arms today parallel strips (white, ocher to the median saloon have un- my, geography and everyday are not easily identifiable be- yellow and ocher red), similar- dergone more important tam- life of men who boasted - cause they have been largely ly to the Coat of Arms, serves pering due to the shifting of something uncommon in past made with the fresco-secco as a shelf on which are placed doors and the opening of win- centuries – such a degree of painting technique and there- red apples and quince apples, dows. The vaulted roof in the literacy that made writing and fore deteriorated, compared pomegranates and pumpkins. north-west environment (the studying familiar. Here is a to the remaining pictorial All these fruits are therefore only one of this type on the score and various musical in- passages. Among the coat of rich in seeds and harbinger first and on the second lev- struments - the mandola, the arms that can be better iden- of abundance, prosperity and el) would suggest that it was horn, the trumpet -; a magic tified are the Langenmantel di numerous descent. originally used as a kitchen. square, where the sum of the Termeno (a double silver R on Slender leafy branch- The connection with numbers shown on each side a red field), the Caldes (red, es stand out against the light the second floor is guaran- always gives the same result, silver band) and the Moren- background of the mason- teed by stairs obtained in the and an alchemical table; an berg-Giovo (quartered: in the ry and the wood is also em- former rustic annex and re- astrolabe and a globe; a book, 1st and in the 4th golden field, bellished with phytomorphic configured during the last res- a parchment and an inkwell. with a red hunting dog with motifs. The adjacent room, torations. On the other hand, In addition to the ter- the head turned and the sil- once connected to the “ap- we do not know with absolute restrial globe, another ref- ver collarin; in the 2nd and 3rd ple” room by a walled door certainty how it worked at the erence to distant worlds is silver field, with a red lion of and then used as a wardrobe, time of building of the palace. also the monkey represented red, holding a golden yoke). is completely covered with A very plausible hypothesis is at the right of the mullioned The latest is reproduced twice, Swiss stone pine boards and that the access was guaran- window, symmetrically to a one of which has its own crest wooden coffered ceiling. The teed by an external wooden cat on the opposite side. The (rising hunting dog turned room in question is charac- staircase ending in a walkway. exotic animal, caught in the and rising red lion). terised as a typical “stube”: in Two mullioned windows - one act of eating a fruit, is chained Another reference to the past equipped it was with on the east front and the oth- and therefore alludes to the the Morenberg family is the a stove, as indicated by the er on the west one - accom- lack of ways and habits that cryptogram which, inserted presence of a fireplace. Oth- panied by original stone side

104 105 106 107 seats, illuminate the central large volute shelves and pow- ated by Tuscan-style pilas- with a lamb on the side, and hall of this level. These pro- erful entablatures supported ters with a mirrored trunk, the allegory of Fortuna, por- vide with a certain solemnity by half-timbered figures with- above which a cornice is set, trayed according to the typ- which is also emphasised by out veils or wearing clothes distinguished above by an ically Renaissance iconog- the thresholds stones with that can be traced back late uninterrupted line of dentils. raphy: naked, with feet on a architraves and piers of re- to sixteenth-century fashion A similarly denticular frame globe, recalling the world on naissance style refined by of Nordic influence. The lintels encloses the tympanums of which she extends her own lozenges carved according to of the eastern and southern the portals framing the two domain, and a sail inflated by typical forms of the shops of windows lay respectively on entrances of the room, which the breeze in hand, allusion to stonemasons active in these naked atlantes, one bearded are conceived as en miniature the volatility of the wind and valleys during the sixteenth and older, the other beardless monumental architectures. fate. In correspondence with century. Here too, a rich pic- and much younger, and on Doric fluted semicolumns with the windows, the figurative torial parade unfolds along caryatids, always naked, with ovoid echinus rise to support cycle interrupts and leaves the wall surfaces in the “Sala one arm hidden by the dra- the architrave, topped by the room for the reproduction degli Stemmi” (transl. “Room pery and the other engaged tympanum, in whose central of two pairs of coats of arms of Coats of Arms”) on the to support the architectural field is a shield that, inserted bearing both, at the bottom, lower floor. Over a high band element above. in a fan of scalloped elements the date 1588, which provides with marble mirrors, some Around the door facing to create almost the valve of a secure chronological sup- greyhounds - or rather, some the living room we find two fe- a shell, had to bear a time the port to date the execution of hunting dogs, heraldic ani- male figures with a rather aus- Morenberg armor. the works. mals of the Morenbergs - are tere set with a crown on the In the upper third of Above facing south, the illustrated on all the walls in head and a ruff around the the walls, within panels with Morenberg emblem is next to different attitudes but mostly neck. Also the most mature horizontal pattern, eleven the coat of arm (in silver filed intent on chasing their prey: lady and gentleman flanking paintings are placed where, at a red salient steinbock with a pair of running hares and a the door to the south-west the centre of medallions with golden horns) identified as tawny fox holding a mallard in corner room wear a similar exuberant carved frames, we that of the Jelsperger. Above its mouth. pleated collar. It is evocative can see the Theological Vir- the single-lancet window to Other animals are rep- to imagine them as the por- tues (Faith, Hope, Charity) the west we can see the em- resented on the wall to the traits of the owners and pa- and the Cardinal Virtues (Pru- blem (quartered: in the 1st and south where there are a bear, trons of the decoration of the dence, Justice, Fortress, Tem- 4th blue field, with silver band, two wild boar and, above building: Carlo Morenberg, the perance). We can also find the accompanied by a golden star the loading mouth of the consort and daughters. Next biblical characters of Judith, to six tips at the top and at tiled stove placed in the next to the room, there is a second with the sword in one hand the tip of a golden crescent, room, an elephant. The first stube much more sumptuous and the head of Holofernes in in the 2nd and 3rd silver field, door towards south leads to than the one on the first floor the other, and of Salomè, with with a red salient chamois) of the “daughters’ room”, whose and entirely lined in wood, in- the severed head of St. John the Conzin Ritschenegg fami- two doors and two windows cluding the coffered ceiling of the Baptist on a tray. Inserted ly, to which also belonged the are enriched by complex fres- different geometric shapes. within rectangular geomet- mother of Carlo Morenberg. coed architectures: pedestals, The walls are punctu- ric patterns are the Patience, Resting on sturdy shaped feet

108 109 and decorated with geomet- Zuech) in the not far Revò. South Tyrolean manor seems ity working in these various ric modular motifs in green, Here the stove room, which is to be a sort of noble proto- rooms manifests a figurative yellow and blue lozenges, named after a tiled stove, pre- type for the one in Val di Non, culture of Nordic extraction there is also a tower-shaped sents a cycle of Virtues and archetypes of the north also re-elaborates suggestions stufa a olle (masonry heat- rural scenes, above a wooden looks at the decoration of the lead us to its important prec- er), typical of the production lining on the walls. Another last two rooms located in the edents in pictorial texts of the of Sfruz’s furnaces in Val di suggestive comparison is with north of the building. These area such as the frescoes of Non. Sfruz is the highest vil- the Room of the Prince of Vel- have suffered the most, over the Bertagnolli house. Owned lage of the Predaia plateau thurns Castle or Schloss Vel- the centuries, unfortunate by the Thun family, we can find where, from the 16th century, thurns in South Tyrol, summer alterations and renovations it in the nearby town of Fondo, the production of similar ar- residence of the prince-bish- not always respectful of the just over a kilometre away. The tefacts was flourishing. The ops of Brixen/Bressanone. original assets. house is imbued with late-Re- stove is wrapped half-height The room was built by Gio- In the north-west room, naissance and mannerist ele- by a band of elegant panels vanni Tommaso Spaur, who however, in the lower regis- ments and is characterised by representing folders with the was born in 1528 by the Val ter there is a parade with al- a lively chromatism. imperial bouble-headed ea- di Non captain Ulrico (1495- ternate stripes (green, white, The wall paintings rep- gle flanked by lions and bear- 1549) and Caterina Madruzzo yellow, purple) with ornamen- resenting musical animals, ing the date 1643. The stove († 1551). From 1578 until her tal motifs and, on the sides lansquenets and the Tro- culminates, at the top, with a death, which occurred in 1591, of the panel that acts as a jan outlet, were performed laced border as antefixes and Spaur sat on the episcopal painted overdoor towards the around the fifth decade of the angels who hold the coat of chair of Bressanone. hall, the personifications of sixteenth century by Bartlmä arms in the corners. The furnishings of the Justice, with sword and bal- Dill Riemenschneider (1500 Away from prying eyes, room of Velthurns were put ance, and Prudence, with the ca. -1550ca.). The painter was half hidden behind the stove, a in place in the early eighties mirror. Other frames, this time born in Würzburg by the fa- maid is finally painted in simple of the sixteenth century and grotesque, remain around mous sculptor and engraver clothes, barefoot and with the therefore in the same period the buffered openings of the Tilman (1460ca.- 1531). He was keys ‚of the house‘ tied at the of the Sarnonico stube. Ex- north wall. The one on the active for several decades in waist. This space, among the amples of the furnishing are right culminates in a mask the ecclesiastical principali- most beautiful interiors of the the elegantly inlaid boiserie, with a severe expression and ties of Trento and Bressanone, Val di Non, has some impor- the great majolica stove and presents, on the left margin, where he moved from the tant similar examples, more or the Cycle of the World Won- a humorous and scurrilous third decade of the century. less precise, both in the area ders painted in the upper scene at the same time: a na- and in South Tyrol. For some band of the walls. Although ked and crouched putto looks time now, the critics have not- documented as early as 1581 at himself in the mirror while ed the affinities that exist with (“nova stuba pallatii”), its dec- he is defecating on a second the subsequent pictorial dec- orative campaign ended in putto intent on reaching him, oration, dateable to the early 1588, marking the coats illus- climbing on the decorations seventeenth century, of Casa trated above the windows. If of the frescoed frame. Thun-Martini (now Ziller and the sumptuous room of the The artistic personal-

110 111 At the centre of the Mez- which gradually took life as a new zalone plateau, stretched between lineage during the Late Middle the Bassa Val di Sole, the central Ages, yet destined to differen- part of Val di Non and the so- tiate according to their place of called Terza Sponda anaune (the residence. The Aliprandini-Laifen- area north of the torrent Noce and thurn family resided in the ho- the Rio Novella), lies the town of monymous palace. This palace, Livo. Of ancient foundation, the commonly called “Toresela” or village includes several mansions “Castello della Rosa”, faces on the and country houses and, in the main - via Marconi - around which immediate surroundings, castles the town of Livo extends. The Al- such as Zoccolo. The castle once iprandini family may derive from stood where the remains of the the ancient lineage of the Malosco Afarm of the same name stands lords, with whom they share the today, on top of a hill among the coat of arms (silver field, with a inhabited Cis and Livo, or the late red rose; red filed with a silver rose Castel Livo. It is not currently pos- or red field with a purple rose). sible to identify its precise location, In 1385, indeed, Albert of although in the past there have Ortenburg (1335 ca. - 1390), who been hypotheses in favour of the was from 1360 the prince bish- doss Caslir, not far from the village, op of Trento, enfeoffed a certain placed in a dominant position. Leonardo of Malosco of the rights This would have provided natural owned by Giovanni Francesco di defences on three sides, being Livo, son of Adelpreto di Giacomo reachable only from the north. An- of Castel Cagnò. His son Ripran- other hypothesis is the Plodos or do, married to Giovanna daughter Plovi, a portion of the countryside of Genesio, notary of Varollo, had between the settlements of Scan- three children including Alipran- na and Varollo (fractions of the do, eponymous progenitor of Al- Municipality of Livo), in a site lower iprandini. The Aliprandini appear than the doss Caslir. in the lists of noble bishops of It is difficult to outline a Livo in the mid-sixteenth and in clear genealogical pattern that 1760 with such surname, appear- would encompass all the noble ing in the whole Mezzalone area, characters who have boasted the from Scanna to Varollo. During distinctive title and toponymic de- the modern age, the Aliprandini nomination of ‚da Livo‘ over the saw their nobility confirmed by Palazzo Aliprandini centuries. They could be consid- both the Holy Roman Emperors Municipality of Livo ered as a sort of “common stock” (1614) and the prelates of Trentino

112 113 (1704). In May of 1736, the Haps- title of bishop of Belinas in Syr- he devoted generous legacies. On ini who inhabited the Palazzo burg ruler Charles VI (1685-1740, ia, and was appointed suffragan July 4, 1570, he consecrated the Aliprandini-Laifenthurn for gen- emperor from 1711) was raised to bishop by the cardinal Cristo- chapel of St. Michael the Archan- erations, which, in more recent knighthood under the predicate foro Madruzzo (1512-1578), prince gel (italian San Michele) in Marce- history, was gradually bought by of “Leifenthurn”, that is “of the bishop of Trento (from 1539) and na (fraction of the Municipality of the municipal administration. His Livo Tower”, Giovanni Romedio Bressanone (from 1542). This was Rumo), not far from Livo. great-grandson was the previous- (1667-1755), personal physician an important investiture, especial- The destinies of his neph- ly mentioned Giovanni Romedio, of the prince bishops of Salz- ly in light of frequent absences of ews were also peculiar: the cous- a doctor in Salzburg, where he burg Leopoldo Antonio Eleuterio the prelate, which Aliprandini re- ins Biagio and Recordino or Ric- died on December 13, 1755 and Firmian (1679-1744, archbishop in placed, guaranteeing continuity cardino Aliprandini. The first, who was buried in the Archabbey of St Salzburg from 1727) and Jakob in the management of the Tren- died in 1629, was a Doctor of Law, Peter. Of his sons, Giuseppe An- Ernst von Liechtenstein-Kastelko- tino Bressanone episcopates. Bi- like the uncle whose name he tonio (1740-1779) was honorary rn (1690-1747, archbishop in Salz- agio was committed to applying bore, and a court chaplain. In 1609 canon of Coira and parish priest burg since 1745), both belong to decrees of the Council of Trent he became parish priest and dean of Mezzolombardo. Giuseppe important traces of the Trenti- (1545-1563), especially in the dio- of Linz, in the at that time diocese Antonio died in Mezzolombardo no-Tyrolean aristocracy. cese of South Tyrol, of which he of Passau. On 13 September 1614, before the age of forty, while Gio- In addition to the afore- was also vicar general, canoni- he and his cousin Riccardino, re- vanni Riccardo († 1767) married mentioned Giovanni Romedio, the co custode (since 1561) and then ceived from the monarch Mattia Barbara Elisabetta Teresa Betta of most famous member of the Al- canonico scolastico (from 1565). of Habsburg (1557-1619, emperor Castel Malgolo (1723-1788). From iprandini family was undoubted- Biagio died in Bressanone and from 1612), recognition of their an- their union fourteen children were ly Biagio (1501-1571), born in Livo was buried near the cemetery cient nobility with the predicates born with whom this branch of from Aliprando († 1542), son of of the city‘s cathedral which still of “Leuffen” and “Malusch” (i.e. the Aliprandini family died out. Giovanni Riprando († 1490), and holds, in the nearby cloister, the of Livo and of Malosco). He was The only attested marriage is that from Chiara Tavonatti. tombstone with the family em- also the author of the Carmina of daughter Anna Cattarina (1756- Biagio studied between blem with miter and crosier. ad varios and of the Oration De ?), with Luigi de Stefenelli of Fon- Rome, Padua and Pisa, where in Over the years, despite praestantia & utilitate sacerdotii, do. In the nineteenth century, the 1554 he obtained the title of Doc- numerous commitments relat- dedicated to his maternal uncle Palace was then sold to the Bondi tor Decretorum. In 1528, when still ed to its important function, Al- Giovanni Battista da Coredo († and Zanotelli families, ancestors a simple cleric, was appointed by iprandini did not fail to return to 1616), canon of Trento and Bressa- of the last owners of the building. the Prince of Trento bishop Ber- the inherited palace and the Valli none and bishop chancellor. During this phase, the building nardo Cles (1485-1539, bishop del Noce. Here, in 1567, he con- The cousin Riccardino, was able to accommodate rough- from 1514) in the parish of his na- secrated the church of St. Mary son of Giovanni Romedio, brother ly fifty people - consequently tive town. Here, in the fraction of Magdalene (italian Santa Maria of the bishop Biagio, was soldier splitting the palace into multi- Varollo, he also promoted the re- Maddalena) in Cusiano (part of in Spain and Portugal and, af- ple housing unit arrangements construction of the parish church the Municipality of Ossana) in Val ter his return home in 1587, held dictated by the various needs of (Italian “pieve”), dedicated to the di Sole. In 1569 he promoted the the position of Captain of Val individual residents. Nativity of Mary and completed in confraternity of St. Sebastian a di Non and Val di Sole. He got Since the end of the last 1537 in a beautiful Clesian style. Livo, to which, dictating his will married with Delaguardia and century and for over two dec- In 1558, he was given the in his native village, June 4, 1570, from him descend the Aliprand- ades, the Municipality of Livo has

114 115 progressively carried out its com- us a lot about its construction. volt in dark limestone ashlars and, plete acquisition, buying first the The Exterior The original nucleus of the build- underlining the arch, with fluted properties of the Rodegher and ing dates back to the Middle Ages capitals in lighter stone. On the Zanotelli family and, subsequently, The special historical-ar- and consists of a quadrangular keystone, there is an engraving those of the Bondi family. Mean- tistic value of Palazzo Aliprand- tower, built around 1000-1100 and with the date 1788 and the shield while, the Administration has also ini-Laifenthurn, which makes it developed with three floors above of Aliprandini, with the character- promoted an extensive, detailed one of the most important and ground. Its walls have considera- istic rose. That is where the name philological restoration of the appreciated constructions of the ble thickness and its openings are “Castle of the Rose”, which is complex. Today, recovered to be Val di Non, is its exterior. This is arranged only on the north side, widely used locally to indicate the utilised by the public, it welcomes distinguished both by angular the side most protected from building, derives from. This area the municipal offices and those of towers, inherited from its medi- enemy attacks. of the palace was considerably various local associations in the eval fortified architecture and by This turreted structure, altered in the eighteenth century southern wing. Here a lift has been Renaissance compostition of bal- which probably had a defensive by restyling and expansion aimed installed making access and con- anced proportions and symmetry function and viewpoint of the sur- at obtaining a single connect- nections much easier and more in the openings distribution (a rounding territory, remains hidden ing front. This was an example practicable than before. It allows trait that still dominates the many from the outside by the current of neo-renaissance, following the access to the various levels of the changes of the building). facades. The west-facing side, on model of Castle Cles, between the “Castello della Rosa”, eliminating These characteristics, typ- the stretch of Via Marconi in the aforementioned “Toresela” and any type of architectural barrier. ical of the so-called madruzziana direction of the church of St. Mar- the southern tower. In the remaining west, north and era at the turn of the sixteenth tin of Tours (Italian San Martino), As a consequence, an in- eastern portions of the palace and seventeenth centuries, are a faces the public park and is closed dependent perimeter curtain was events, temporary exhibitions and tangible manifestation of a new by two corner towers. The south built, which was only partially ac- cultural initiatives are hosted. sensibility, affirmed among the tower is sixteenth century and is companied by the older one. The noble classes of the entire valley slightly higher than the rest of the two walls then diverge by more but also of the nearby Oltradige building, while the north tower, than a meter, creating an inter- in South Tyrol. Here we find nu- commonly called “Toresela”, was space where they were created merous factories typologically built in the fifteenth century and service spaces, bathrooms and and morphologically similar to was then elevated in the madru- vertical connections now clearly that of Livo. These noble classes zzian period with the addition of identifiable by visiting the interior. subsequently busied themselves the dovecote. Organised on four The architecture of the converting their residences into levels, the western front presents northern front is more detailed palace-villas under the banner a double order of elegant win- and very suggestive, keeping its of greater elegance and comfort dows with shelves: five on the original appearance quite intact. and the clear influence of the second floor and four on the first. The “Toresela”, sixteen meters Italian Renaissance. Here there is a ramp in stone, re- high, is marked at the corners by Today‘s planimetric layout adapted in the nineteenth century false purple angle bars and with of the building is “U” arranged (the so-called ‘pont’), which leads beautiful external railings on the around the backyard and, togeth- to the round arch portal. The por- first floor. These are decorated er with the various elevations, tells tal is made up of piers and archi- at their middle by a flower with

116 117 118 119 four petals, a symbol of the he- teenth century. the castles ongoing descent into and its development by adding raldic rose of the owners. The The barbican placed in decadence, during the nineteenth new artifacts in successive stages. Toresela protrudes distinctively defense of the wall leaned un- and twentieth centuries, the need The oldest of these is contiguous from the façade, creating a move- til recent years on a lower rustic to cope with the needs, not only to the southern tower, born from ment that brings together both structure, with a two-pitched roof, housing, of the numerous families the Renaissance age as part of an- the different shape of the open- which was removed during the settled in the building complex led other building of which no trace ings and the presence of various restoration. This made it possi- to the raising of further buildings. remains. Subsequently, an angle protruding elements. ble to highlight the structural el- These were often rather invasive bar was created and then another, Close to the “Toresela”, we ements of at least one of the two and not very coherent with the which was hinged to the entrance find a staircase that gives access ancient bread ovens that served pre-existent structures: some of hall that brings to the ground floor. to an architraved door. This was the house, protruding from the them were also destined to agri- Finally, we can see the modern redesigned with the latest Cor- wall with wooden support and cultural and commercial activities. structure on the far right, which Ten steel restoration, which fits a characteristic plastered dome. Later restorations have system- was erected in the second half of well into the context because of Finally, on the third floor there is atically demolished such archi- the twentieth century. its aesthetic qualities and its ox- a long balcony, made entirely of tectural redundancies, reaching idized colour. Placed on the first wood. Secured to the roof above a new appearance, as well as the floor and with a fanlight, it ap- through five vertical and orthog- remaining areas outside Palazzo pears to be off centre from the onal beams, on its walking sur- Aliprandini-Laifenthur. In addition, rest of the building and the upper face there are long rectangular these restorations created an inte- windows, revealing its later inser- tables arranged parallel and sup- rior courtyard full of charm but at tion. On the left of the ground ported by eight large, wooden the same time equipped with the floor, there is a large portal con- load-bearing modillions. most modern facilities to accom- sisting of square stone blocks. Its This balcony, with a par- modate video projections and old closing frame in carved wood, apet formed by more modelled musical performances (including which is replaced by a glazed columns, was installed in a pe- a raised platform for orchestra window, is currently kept is now riod after the sixteenth century. and the structure for a big screen). admitted inside the building. In The access door was obtained Finally, we find the south- line with the door are arched sin- by demolition of the lower part ern prospect, which is different gle-lancet windows with elegantly of a sixteenth-century window and more regular, especially con- sculpted white limestone frames. and prior to 1748, when the wall cerning the sequence of open- The first of them is protected by was restored by applying a new ings. This was the first to be ac- a tympanum window grille sim- plaster that reaches the base of quired by the City of Livo and it ilar to that on the north face of the balcony. The latter, as well as is where the council headquarters the “Toresela”. The windows mark the aforementioned kiln, give the are, overlooking the square plant- the various floors, while towards space the character of a peasant ed with mulberries. The pres- the east three corbels connected yard: a sign of the progressive ence of false angle bars and the by small arches support a pic- conversion of the building from in-depth examination of the wall turesque bay window (or erker), a stately residence to a popular connections allow us to identify presumably erected in the seven- settlement of farmhouses. With the changes made in the façade

120 121 tral tower dates back to the XI- with white decorations that can with only one access point to the The Interiors XII centuries and is the heart of be certainly assigned to the Sfruz atrium. The access in placed in the entire system, which has, in factories, in Val di Non. In fact, correspondence with the room The internal layout of fact, determined its development the central panel of the square that looks yeast within the lim- Palazzo Aliprandini-Laifenthurn in later times. Its corners are un- tower refers to the well-known its of the old Romanesque tower. reflects the complex construc- derlined by angle bar stones and workshop of fornelari, active in Within the perimeter of the “Tore- tion of the building with several the wall surface is made of bro- the small village of the Predaia sela”, there is instead a beautiful parts adding to the initial nucle- ken stones of grey, red, and white plateau. Here, within an elaborate 18th century boiserie. The wood- us, which consisted of the ancient colour and generally quite regular lozenge defined by vegetal-flo- en cover that is placed on the Romanesque quadrangular tower. shape and size. ral elements, we can see a young walls includes the splays of the On the ground floor, the Continuing in the north- woman. The character is wrapped windows and the access door and building includes rib vaults, barrel ern portion of the building, on the in a long dress with small dense is extended up to the pedestals vaults and multiple rooms used in first floor we can still see doors parallel folds and marches carry- on which the rib vault cover is the past for housing livestock and with copings and jambs mould- ing in her hand a bouquet. The set. The cover is marked by pilas- storing food and work tools. This ed in stone, a provincial transla- clay mold of the female figure, ters with a mirrored trunk and by demonstrates the coexistence of tion of its own form of Renais- which is dated 1833, is preserved Tuscan-style capitals. These sup- traits of both elegant architecture sance courtly architecture. Three at the Museum of the Uses and port a cornice where fragments with the rustic and functional pur- of these overlook the corridor, Costumes of the Trentino People of fresco peep out on the eastern poses of such as agriculture. At where we find the small portal of San Michele all‘ Adige. This per- side, resurfaced under lime and this level of the palace, of particu- at the top of the external stairs suade us to place the making of tempera tints. These frescos de- lar interestis the “Sala della Col- (now in Cor-Ten steel). According the Livo artefact in the first dec- pict wheels, or corollas depicted onna”, which is northwest within to tradition, the suffragan bishop ades of the Nineteenth century. in a very concise manner and in- the structure of the original tow- of Trento and Bressanone Biagio According to a very com- scribed in circumferences. In ad- er. On a structural level, the room Aliprandini, who was the most au- mon practice, the stove was pow- dition, we can see a stylised rose, has compelling similarities with thoritative exponent of the fami- ered, for reasons of practicality which is a clear heraldic reference the homonymous environment ly, was born in the first room on and cleanliness, through an open to the Aliprandini. located on the ground floor and the left (east). pipe in the adjoining room facing Here there is a second this is proposed in an almost iden- The room has a ceiling east and looking over the inter- stufa a olle (masonry heater) in tical wat on the first floor of the with eight wooden beams, of nal courtyard. This area was once brown-coloured manganese with Palazzo Assessorile in Cles. On which the two sleepers along the used as a kitchen, as evidenced more modern lines than the previ- the southern wall of the room in walls are painted to imitate mar- by the “mouth” of the bread oven ous, but powered in a similar man- Livo, whose rib vault is set on the ble patterns. Traces of frescos and, above all, the two large, sol- ner through an ad hoc passage central pillar that gives it its name, also remain, although now virtu- id beams on which the hearth with outlet in the adjacent room. we can find the old wooden win- ally indecipherable, in the space mantle rests; once placed in the This is characterised by a peculiar dow frame from the previously of the erker connecting with the north-east corner. Mirroring what ceiling with decorated beams, to- mentioned north portal. This is hall. Next to the southern wall, was found in the part facing north, gether with the wooden partition carved with geometric patterns on the opposite side of the door on the western front we also find that they support. In addition, we and inlaid roses, evoking the arms just mentioned, is a ceramic stove two rooms, but this time directly can see luxuriant floral pattern of the Aliprandini. The old cen- in green copper and embossed connected with each other and with bright colours such as orange

122 123 124 125 126 127 red, green and ocher yellow. Mov- iprandini- Laifenthurn the external outside the south tower. This is ing on the same level along the reality. He could achieve that by similar to that of the so-called west wing of the complex, there is reproducing, via the peculiar pat- ‚Bishop‘s Room‘ both in its nu- an imposing void that constitutes tern of the light tubes, the contour ance (the traditional green ram- one of the most original outcomes lines of the cartography of the ina) and in the repertoire of the of the last restoration. It is a sort Mezzalone territory, on which lie ornamental elements (the hang- of large covered cavaedium with the town of Livo and its fractions ing leaves, the crowning vessel a considerable scenic value. This Varollo, Scanna and Pregehena. of the dome). However, it differs is developed over three floors and On the second floor of for the cylindrical turret instead makes the ancient warping of the the north block, we can admire of the parallelepiped one and for roof visible to the visitor. We can the large double-height living the combustion chamber lying on also see the outer walls of the Ro- room, with a walkway next to the a wooden base with molded feet. manesque tower, the south tower perimeter walls. This has been to- The walls of the room are also and also the gap created by the tally reconfigured during recent covered with wood which, pre- divergence between the walls of renovations and is destined to pared and well insulated as well the front in the evening, exploited host representations, events and as oriented towards the south, to obtain service rooms and stairs. public meetings. The recovery has all the characteristics of the All these elements can be en- operations undertaken aimed to „stua“ or stube. The stua is an en- joyed from unusual points of view evoke the ancient facies of this vironment typical of the valley thanks to suspended paths and room, which underwent a re- and alpine houses in general. Its balconies. These are absolutely development in the eighteenth furnishings and furniture changed invasive and are made with mod- century of which traces can be in a more or less significant way ern lines and materials that avoid seen in what is left of the stuc- according to the socio-econom- any mimetic intent or risks of fab- co moldings. These used to run ic conditions and the artisanal rications of history. The structures along the walls and on the vault skills of the workers responsible have been placed in order not to before the collapse of the ceiling for their construction. Used in the help the understanding and the occurred during the twentieth past as a living room, the room view of the volumes and spaces century due to the weight of the is currently home to the cultural brought to light and made usable hay here stored. association “Il Quadrifoglio”. again with the restoration of the In stucco are also the elegant mix- last thirty years. To enhance the tilinear and oval-shaped frame, cavaedium is the installation of which at this same level soften the Synthesis Space (Italian Spazio di ceilings respectively of the north- Sintesi): a site-specific interven- east room and the adjacent erker. tion specifically conceived for this On the same second floor place, by the Trentino artist Ste- there is a further stufa a olle made fano Cagol (born in 1969). The art- by the expert artisans of Sfruz. ist wanted to transport inside the This can be found in one of the centuries-old walls of Palazzo Al- rooms of the southern block, just

128 Armando Costa, Cardinali e Vescovi Tridentini per radici di famiglia, formazione e designazione, Trento 2014. Laura Dal Prà, “Biblicae historiae artificiosissimis picturis effigiatae”. Intorno alle Sacre Scritture, alle incisioni di Hans Sebald Beham e allo strano caso degli affreschi di Palazzo Assessorile a Cles, in Arte bibliography e persuasione. La strategia delle immagini dopo il Concilio di Trento, catalogo della mostra (Trento, 7 marzo - 29 settembre 2014) a cura di Domizio Cattoi, Domenica Primerano, Trento 2014, pp. 32-53. Cesare De Festi, Genealogia clesiana, in “Archivio Trentino”, XV, 1900, pp. 44-76. Ansitz – Freihaus – corte franca. Bauliche und rechtsgeschichtliche Aspekte adligen Wohnens in der Fiorenzo Degasperi, I castelli della Val di Non: rocche, manieri e ruderi dell’Anaunia, Trento 2010. Vormoderne, Akten der Internationalen Tagung (Brixen, Bischöfliche Hofburg - Cusanus-Akademie, 7. bis 10. September 2011) herausgegeben von Gustav Pfeifer, Kurt Andermann, Innsbruck – Bolzano Fiorenzo Degasperi, Palazzi Aperti in Trentino, Trento 2016. 2013 (Veröffentlichungen des Südtiroler Landesarchivs - Pubblicazioni dell’Archivio provinciale Dizionario degli Artisti Trentini tra ’800 e ’900, a cura di Fiorenzo Degasperi, Giovanna Nicoletti, Rita di Bolzano, 36). Pisetta, Trento 1999. APSAT 4. Castra, castelli e domus murate. Corpus dei siti fortificati trentini tra tardo antico e basso Edifici antichi di Coredo e Tavon, a cura di Giada Pilati e Dario Widmann, Coredo (Tn) 2006. medioevo. Schede 1, a cura di Elisa Possenti, Giorgia Gentilini, Walter Landi, Michela Cunaccia, Manto- va 2013 (Progetti di archeologia). Edoardo Endrici, Coredo nell’Anaunia. Memorie storiche, Trento 1911 (rist. anast. Coredo 1991). Modesto Endrici, Ricordo di Giovanni Battista Endrici, in “Vita Trentina”, 14 maggio 1953, p. 9. Vittorio Asson, Don. Notizie storiche e aspetti di vita, Cles 1982. Maria Rinalda Fellin, A lezioni di matematica, in “Vergót da Rvòu”, 2011, p. 32. Carl Ausserer, Le famiglie nobili nelle Valli del Noce: rapporti con i Vescovi e con i Principi. Castelli, rocche e residenze nobili. Organizzazione, privilegi, diritti. I Nobili Rurali (traduzione Giulia Anzilotti Sara Filippi, La quadreria di Casa de Gentili a Sanzeno, in “Strenna Trentina”, 2005, pp. 98-99. Mastrelli), Malè (Tn) 1985. Luciana Giacomelli, “da lasciar di stucco”. Fortuna dell’arte plastica in Trentino, in Passaggi a nord-est. Fabio Bartolini, Architettura civile e spazi sacri nel territorio vescovile in età madruzziana: il caso delle Gli stuccatori dei laghi lombardi tra arte, tecnica e restauro, atti del convegno di studi (Trento, 12-14 valli del Noce, in I Madruzzo e l’Europa. 1539-1658. I principi vescovi di Trento tra Papato e Impero, febbraio 2009) a cura di Laura Dal Prà, Luciana Giacomelli, Andrea Spiriti, Trento 2011, pp. 13-49. catalogo della mostra (Trento - Riva del Garda, 10 luglio - 31 ottobre 1993), a cura di Laura Dal Prà, Aldo Gorfer, Le Valli del Trentino. Guida geografico-storico-artistico-ambientale. Trentino Occidentale, Milano-Firenze 1993, pp. 615-629. Calliano (Tn), 1975 (2a edizione). Fabio Bartolini, La residenza Morenberg a Sarnonico, in “Strenna Trentina”, 1995, p. 99. Guide del Trentino. Val di Non, storia, arte, paesaggio, a cura di Eleonora Callovi e Luca Siracusano, Fabio Bartolini, Casa de Gentili a Sanzeno, in “Strenna Trentina”, 1996, pp. 133-135. Trento 2005. Fabio Bartolini, Gli animali del Palazzo Morenberg a Sarnonico, in “Strenna Trentina”, 2004, pp. 20-21. Il castello di Andraz e le miniere del Fursil. Un itinerario storico culturale nelle Dolomiti, catalogo della mostra (Agordo - Cortina d’Ampezzo - Stra, agosto 1993, dicembre 1993, marzo-aprile 1994), a cura Fabio Bartolini, Le quattro stagioni a Sanzeno in Casa de Gentili, in “Strenna Trentina”, 2009, di Marino Baldin, Venezia 1997. pp. 165-166. Il Maffei ritornato, a cura della redazione, in “Vergót da Rvòu”, 2000, p. 1. Fabio Bartolini, Sara Filippi, La chiesa di San Lorenzo a Sarnonico, Sarnonico (Tn) 2005. Immagini di un’epoca: la quadreria restaurata di Casa de Gentili, a cura di Fabio Bartolini, Sara Filippi, Alessandra Bertoldi, Gianni Faustini, Augusto Giovannini, Castelli, fortificazioni, residenze nobili. Tren- Trento 2004. tino. Le Valli del Noce, Trento 2004. Giovanni Battista Inama, Antichi dinasti di Castel Coredo, in “Rivista Tridentina”, IX, 1909, pp. 1-25. Marco Bettotti, La nobiltà trentina nel medioevo (metà XII - metà XV secolo), Bologna 2002. Giovanni Battista Inama, Famiglie Sicher di Coredo. Genealogie, in “Rivista Tridentina”, VII, Andrea Biasi, Le antiche stufe ad olle di Sfruz, Sfruz (Tn) 2016. 1907, pp. 152-172. Tomaso Bottea, Storia della Val di Sole, Trento 1890 (rist. anast. Bologna 1984). Walter Iori, Casa Ferrari e Casa Campia: due restauri, due esiti, in “Vergót da Rvòu”, 1997, pp. 6-7. Memmo Caporilli, L’arte del calore, Trento 1986. Walter Iori, Sgarbi catturato a Casa Campia da Mattia Lampi, in “Vergót da Rvòu”, 2011, pp. 30-31. Casa Campia… in mostra, a cura di Alessandro Rigatti, Revò (Tn) 2011 (pubblicazione in occasione La famiglia Endrici di Don, in “L’amico delle famiglie”, XII, 1904, numero 11-12 (19 marzo 1904). dell’evento “Casa Campia… in mostra”, Revò, 18 giugno - 18 settembre 2011). Joseph Sebastian Kögl, Genealogisch-heraldisches Adelslexikon von Tirol und Voralberg, a cura di Ezio Chini, Palazzo Assessorile. Storia e vicende architettoniche, in I tesori di Cles. Guida alla visita dei Olaf Stanger, Innsbruck 2015, 2 voll. Beni aperti in Trentino-Alto Adige (XVII Giornata FAI di Primavera), a cura di Giovanna degli Avancini, Ezio Chini, Trento 2009, pp. 21-26. Franco A. Lancetti, Bresimo, Cis, Livo, Rumo. Guida Artistica, Trento 1992 Luigi Conter, Fatti storici di Livo narrati ai suoi compatrioti, Cles (Tn) 1913 (rist. anast. Trento 1982). Franco A. Lancetti, Livo. Storia, vita, arte, Trento 1997. Luigi Antonio Conter, Il Castello ritrovato. Famiglia Aliprandini, in “Mezalon”, VI, 2009, 2, pp. 9-11. Elisa Lona, Le stanze affrescate di Aliprando Cles ed Anna Wolkenstein nel palazzo Assessorile d Cles, in “Studi Trentini. Arte”, XCV, 2016, pp. 227-249. Coredo in Val di Non. San Romedio, Castel Bragher. Origini, Storia, Turismo, a cura di Memmo Caporilli, Giulia Baldin, Coredo (Tn) 1972 (2a edizione ampliata). 130 131 Lucia Longo, Grottesche: motivi dell’antico nei fregi di alcune dimore gentilizie, supplemento di “Civis. Storia del Trentino. V. L’età contemporanea: 1803-1918, a cura di Maria Garbari, Andrea Leonardi, Bologna 2003. Studi e testi”, XV, 1999. Storia del Trentino. VI. L’età contemporanea: il Novecento, a cura di Andrea Leonardi, Paolo Pombeni, Bologna 2005. Gabriele Lorenzoni, Massimo Negri, Tra borghi e castelli… Appunti di viaggio. Itinerari alla scoperta della nobiltà perduta, Cles (Tn) 2011. Gianmaria Tabarelli de Fatis, Luciano Borrelli, Stemmi e notizie di famiglie trentine, Trento 2004. Silvia Merler, Ruggero Mucchi, Palazzo Assessorile. Breve guida al palazzo dopo il restauro, Cles - Katjuscia Tevini, Palazzo Morenberg, Sarnonico, Cles (Tn) 2006. Trento 2009. Val di Non - Antica Anaunia, Treviso 2014 (Le Tre Venezie - Monografie, n. 129). Guido Moretti, Case di Montagna. Stùe e stufe a óle nelle Valli del Noce, Ozzano Emilia (Bo) 2008. Severino Vareschi, L’episcopato trentino di mons. Celestino Endrici (1904-1940). Progetto, realizzazi- Alberto Mosca, Revò: viaggio nella memoria. Guida alla storia, all’arte, al territorio, Revò (Tn) 2010. oni, significato storico, in “Studi Trentini. Storia”, XCVI, 2017, pp. 429-458. Ruggero Mucchi, Il carcere di Palazzo Assessorile e gli appartamenti clesiani, in “Strenna Trentina”, Franz-Heinz von Hye, Die Wappen des alten Tiroler Adels bis zum Übergang Tirols an Bayern 1805/06, 2010, pp. 138-141. Innsbruck 2010. Francesco Negri, I signori di S. Ippolito e di Clesio nei loro rapporti genealogici, domestici e censuari Stefania Wegher, Palazzo de Gentili tra architettura ed arte, in “Anaunion. Antologia di Studi”, I, fino al secolo XVI con Tavole, Illustrazioni e Regesto, Trento 1922. 2004, pp. 63-71. Palazzo Assessorile si presenta, a cura di Marcello Nebl, Cles (Tn) 2015. Maria Zanotelli, Il Castello ritrovato. L’evoluzione storica, in “Mezalon”, VI, 2009, 2, pp. 5-8. Palazzo Endrici Don, Comune di Don, Trento s.d. (pieghevole). Roberto Pancheri, I Maffei: una storia ritrovata. Guida alla Casa Campia e all’Archivio Maffei di Revò, Revò (Tn) 2002. Roberto Pancheri, Il “mondo alla rovescia” e la decorazione pittorica di Casa Thun a Revò, in “Anaun- ion. Antologia di Studi”, I, 2004, pp. 73-93. Roberto Pancheri, “Un semplice pittore di paese”. Profilo di Matthias Lamp, in “Anaunion. Antologia di Studi”, II, 2008, pp. 45-68. Roberto Pancheri, Lampi, opere sacre, Sanzeno (TN) 2013. Roberto Pancheri, Casa Endrici a Don. Dimora storica del XVIII secolo. Casa natale di Celestino Endrici, Amblar-Don (Tn) - Trento 2017. Roberto Pancheri, Anna Perini, Bruno Ruffini, Maurizio Visintin, Il Groppello di Revò. Una storia di vino e cooperazione, Revò (Tn) - Trento 2009. PrimaVera. La rinascita delle opere di nove artisti delle Valli del Noce, catalogo della mostra (Sanzeno - Coredo - Revò - Sarnonico - Don, 13 maggio - 18 giugno 2017) a cura di Lucia Barison, Sanzeno (Tn) 2017. Domenica Primerano, Bernardo Clesio. Signore del Rinascimento, Trento 1984. Chiara Radice, Torre di Regola ora palazzo Assessorile, Cles, in Castelli trentini. Decori e fantasie nei cantieri rinascimentali, a cura di Annamaria Azzolini, Marina Botteri, Cinisello Balsamo (Mi) 2015, pp. 129-137. Desiderio Reich, Notizie storiche del comune di Coredo, Trento 1886. Desiderio Reich, I luogotenenti, assessori e massari delle Valli di Non e Sole, estratto da “Programma dell’Imperial Regio Ginnasio Superiore di Trento”, anno scolastico 1902-1903. Bruno Ruffini, La Valle di Non durante il Settecento, in Dai castelli anauni alle corti europee: Giovanni Battista Lampi pittore, catalogo della mostra (Sarnonico, 24 giugno - 31 ottobre 2001) a cura di Bruno Ruffini, Gianmatteo Caputo, Lia Camerlengo, William Belli, Romeno (TN) 2001, pp. 14-36. In addition to the bibliography researches have been undertaken in different archives. For Scultura in Trentino. Il Seicento e il Settecento, a cura di Andrea Bacchi e Luciana Giacomelli, Trento this research documents have been studied both of the archives of the Diocese of Trento and of the 2003, 2 voll. State Archives of Trento and of the Municipal Library of Trento and, especially, of the archives of the Storia del Trentino. III. L’età medievale, a cura di Andrea Castagnetti, Gian Maria Varanini, Superintendence of Cultural Heritage of the Autonomous Province of Trento (Italian “Soprintendenza Bologna 2004. per I Beni culturali della Provincia autonoma di Trento”). For the precious collaboration the author thanks the staff of these Institutions and the people who opened the doors of Palaces and Dwellings Storia del Trentino. IV. L’età moderna, a cura di Marco Bellabarba, Giuseppe Olmi, Bologna 2002. to carry out the various inspections.

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134 135 ISBN: 978-88-943936-4-4