Fidenza Cathedral (Italian: Duomo di Fidenza; Cattedrale di San Donnino) is a Roman Catholic cathedral dedicated to Saint Domninus of Fidenza (San Donnino) in the town of Fidenza, province of Parma, region of Emilia Romagna, Italy.

It is the episcopal seat of the Diocese of Fidenza, known until 1927 as the Diocese of Borgo San Donnino.
History
Construction of the cathedral began in the 12th century. It was dedicated to Saint Domninus of Fidenza, who was martyred by order of the Emperor Maximian in 304 AD. The saint's relics were brought here in 1207, and are believed to be contained in an urn in the crypt. The town's previous name, Borgo San Donnino, was given in honor of the saint.

The building survived the sack and destruction of the town of Fidenza in 1268. The apse and façade were completed a few decades later. The cathedral is an example of the Lombard-Romanesque style. The upper part of the façade is incomplete, but the lower, with its three portals and sculptures, is a fine example of Romanesque architecture, including two statues by Benedetto Antelami and bas-reliefs depicting the Histories of St. Domninus. The interior is simple and well-proportioned, and has not been spoilt by restoration. The statue at the front of the cathedral of the apostle Simon Peter is famous for its pointing in the direction of Rome. Side chapels continued to be added into the 16th century.

The altarpiece depicting the Purification of Mary, by Andrea Mainardi (il Chiaveghino) was painted for the church circa 1600.

Sculptural decoration
Fidenza Cathedral, even in its incomplete state, preserves masterly Romanesque elements. The brick façade is flanked by two bell-towers, and has three entrance portals. The central portal has a protruding portico held aloft by thin columns with lion bases. Antelami in this portal sculpted the prophets David and Ezekiel flanking the doorway. In this portal, scenes narrate the life of Saint Domninus and subsequent miracles, who started as chamberlain to the Roman Emperor Maximian. Domninus' conversion led to his martyrdom. Other scenes depict the life of the Virgin, and a statue of Saint Peter. The side portals have carvings depicting Charlemagne and Pope Adrian II. Other carvings depict Hercules and the Nemean lion. Sculpted carvings continue in the inside of the church.

Fidenza Cathedral

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Il castello di Castelnuovo Fogliani, fino al 1450 circa noto come Castelnuovo dei Terzi, era una imponente rocca medievale. Interamente riedificato nel secolo XVII nelle forme di palazzo signorile secondo un progetto attribuito all’architetto Luigi Vanvitelli, della possente struttura medievale conserva soltanto la svettante torre, alzata nel 1377 dal condottiero visconteo Niccolò Terzi il Vecchio. Così ne scrive lo Zuccagni-Orlandini: “si eleva quasi isolato in riva all'Ongina, portava nel secolo XII il nome di M. Bello o di Belmonte, per l'amenissime prospettive che si godono in quell'alture. I Pelavicino vi costruirono alcuni fabbricati, e li munirono di bastioni e fortilizj. Restarono questi danneggiati dal furore delle fazioni, ma Niccolò Terzi, succeduto nel possesso del feudo, fece ricostruire nel 1377 l'elevata torre, e cosi venne a cambiarsi il nome di Belmonte in Castelnuovo: questo fortilizio resta tuttora in piedi, nel lato di una vasta piazza”.
Storia
L’antico maniero medievale, eretto nel XII secolo, fu dimora e base strategica di potenti casati parmigiani e padani, quali i da Correggio, i Pallavicino e quindi i Terzi di Parma. Nel 1364 Niccolò il Vecchio acquistò dal piacentino Gherardo Visconti le giurisdizioni di Castelnuovo e di Casale Albino che poi gli furono assegnate in feudo nel 1386 dal signore di Milano Gian Galeazzo Visconti.[2] L'anno successivo, nel 1387, l'imperatore Venceslao di Lussemburgo con proprio diploma siglato a Norimberga, confermava l’infeudazione di quelle terre, e di numerose altre minori nel Parmense, a Niccolò Terzi il Vecchio, e ai suoi discendenti: i figli Ottobuono, con il fratello Giacomo, e quindi il nipote Niccolò de' Terzi, il Guerriero che, nel confliggere di alterne vicende, riuscirono a conservarne il possesso sino al 1449. Il castello, divenuto la principale base strategica del casato, ebbe allora il nome di Castelnuovo dei Terzi.[3]

Sconfitto e costretto all’esilio presso la corte dei Gonzaga di Mantova, Niccolò il Guerriero, nel 1449, da Francesco Sforza, nuovo signore di Milano, il castello, passò brevemente in proprietà dei Terzi di Sissa.

In seguito fu assegnato ai Dalla Porta, poi ai Visconti di Piacenza. Nel 1466 il duca Galeazzo Maria Sforza, figlio di Francesco, investì il fratellastro Tristano Sforza del feudo onorifico terra Castrinovi.

Defunto Tristano, nel 1472, il feudo fu assegnato a Lodovico Fogliani da Reggio, che aveva sposato in seconde nozze la madre del duca Francesco Sforza, Lucia Terzani.

Nel 1479 il figlio di Lodovico, Corrado Sforza Fogliani, capostipite dell’illustre casato piacentino dei marchesi Sforza Fogliani d’Aragona, ebbe l’investitura del feudo di Castelnuovo che da allora si mantenne per tre secoli tra i possedimenti della casata, dando il nuovo nome al castello e al borgo di Castelnuovo Fogliani che tuttora lo distingue.

Intorno al XVII secolo il castello ha vissuto il suo periodo di massimo splendore, grazie soprattutto al rifacimento architettonico del Vanvitelli deciso dal duca Giovanni Fogliani. Nel 1769 questi lasciò eredi di tutti i propri beni il nipote Federico Meli Lupi di Soragna con l’obbligo di assumere il Casato dei Fogliani.

L’ultimo discendente della famiglia fu Federico, che nominò erede universale la figlia Clelia Sforza Fogliani d’Aragona, consorte e presto vedova del marchese Pallavicino di Parma. La duchessa, senza discendenza, nel 1925 poco prima della sua morte, donò il palazzo-castello di Castelnuovo alla Chiesa di Roma. Papa Pio XI decise di farne una sede universitaria riservata alle religiose intenzionate a perfezionare gli studi. Padre Agostino Gemelli, responsabile dell’Istituto, fondatore e rettore dell’Università Cattolica del Sacro Cuore di Milano, si assunse l’incarico di organizzarla e già nel 1926 venne inaugurato il primo anno accademico.

Castello di Castelnuovo Fogliani

The Labirinto della Masone, a cultural park, is home to the world’s largest bamboo labyrinth. It’s the brainchild of Franco Maria Ricci, a publisher, art collector, and bibliophile with an interest in bamboo.

The cultural park is home to about 20 different species of bamboo, ranging from dwarf to giant. The labyrinth is a living demonstration of the plant’s immense potential. Even the parquet floors of the park’s buildings were made of the same material.

The labyrinth takes the shape of an eight-pointed star, a nod to star-shaped fortress cities. Because you can’t quite appreciate the scope of the labyrinth while you’re wandering through it, there’s a model at the site that lets you appreciate the structure in all its scaled-down glory.

The whole complex covers about 17 acres. There’s a building that houses Ricci’s art collection, about 500 works ranging from the 16th to the 20th century. There’s also a library dedicated to the most illustrious examples of typography and graphics. In the middle of the maze, there is a square surrounded by arcades and large halls. Overlooking the square, a pyramid-shaped chapel recalls the labyrinth as a symbol of faith.

https://www.atlasobscura.com

The Labirinto della Masone

"Terme Berzieri" is one of the most complex and interesting buildings of Salsomaggiore Terme. The spa building is dedicated to Lorenzo Berzieri, the first doctor who systematically studied the therapeutic properties of the town's natural mineral waters. 

The "Terme Berzieri" were designed at the beginning of 1900. 
In 1912, the project was given to the architect Ugo Giusti, in an earlier phase he worked on the project with the engineer Giulio Bernardini. 

In 1919, after the interruption of the First World War, the project included Galileo Chini and his collaborators of San Lorenzo Ceramics Works, which prepared the building's decorative materials. 
The building's work ended four years later, and the pubblic opening was held on 27 May 1923. 

the facade
On the facade, you can recognize some of Chini's particular artistic experiments. Of note are the paired lion heads that decorate the roof over the entrance. The model of the lion head is the work of the sculptor Francesco Aloisi, who together with Guido Calori was one of Chini's closest collaborators. 
In the blue girls in lion cloths, placed to the lower side of the mezzanine windows, as in the lions that flank the word "Thermae", it is possible to see an echo of Chini's experience in Siam, nowadays Thailand. 

the interior
The interior of the atrium, decorated by Giuseppe Moroni, contains marbles, murals and stuccoes. The monumental double staircase at the end of the vestibule leads to the first floor. By climbing it one can see the stucco rosettes on the ceiling, that frame the artificial lights like flowers, while the skylight, open above the funnel of the stairs, confers a suffused luminosity to the entire space. At the end of the staircase are the frescoes of Galileo Chini. The female figures hover on the gilded background among dense scrolls in a fantastic landescape of water and luxuriant vegetation, evidently an allegory using the environmental motifs that characterize the watering place. On the front wall is a fresco of Giuseppe Moroni, of 1923. It is a typical example of Art Déco.

http://www.visitsalsomaggiore.it

Terme Berzieri

The Rocca Meli Lupi, also called Rocca di Soragna, is a castle-palace located in the town of Soragna, Province of Parma, region of Emilia-Romagna, northern Italy. It has a rough, unfinished exteriors and highly decorated interior rooms.

History
A first fortress was built here by marquis Adalbert I of Milan in 985, who had received Soragna and Busseto by emperor Otto I. The area was acquired in the 12th century by the Pallacivino. In 1186 the castle was stormed by combined Guelph troops of Piacenza and Cremona. The lordship however was confirmed to the Pallavicino by emperor Frederick Barbarossa in 1189. A few years later, however, the Lupi acquired the castle through marriage and started a reconstruction program.

Built in 1361, the castle once belonged to the princes of the Meli Lupi family of Soragna. The castle had corner towers. In 1446, ornamental grapevine frescoes were painted in the ceilings of the courtyard portico. In 1513 the Meli inherited all the Lupi fiefs, including the castle. Further reconstructions and expansions occurred through the centuries. The castle is still inhabited by descendants of the Meli Lupi family.

Donna Cenerina is the nickname attached to Cassandra Marinoni of Milan, wife of marquis Diofebo II Meli Lupi, who was assassinated in this castle by her brother-in-law Giulio Anguissola in 1573. Legend claims her ghost still haunts the castle.

Description
The castle has a symmetrical, roughly squared plan. At the four corners are quadrangular towers. Another, narrower tower (added in the 17th century) is located at the entrance. A moat, now waterless, protects the three frontal sides. A structure in the rear area connects a tower to the S. Croce Chapel, in turn connected at a smaller fortress, the Fortino Neogotico. The latter is accompanied by a small lake surrounded by grottoes and Baroque statues.

The main façade, in brickwork, is accessed through a small bridge build in the 17th century replace the former drawbridge. Two lions are placed at the side of the bridge's side walls. The central tower has a large window and balcony, above which is a small arch featuring the Meli Lupi coat of arms.

Rocca Meli Lupi

Il Museo ebraico Fausto Levi, con annessa sinagoga, ha sede in via Cavour 43 a Soragna, in provincia di Parma.

Il museo fa parte dell'Associazione dei Castelli del Ducato di Parma, Piacenza e Pontremoli.
Storia
Verso il 1980 la Comunità ebraica di Parma decise di raccogliere in un museo i preziosi arredi e oggetti sacri appartenuti alle otto comunità del Parmense, in buona parte scomparse;[2] la scelta della sede espositiva ricadde sul palazzo adibito fin dagli inizi del XVII secolo a sinagoga e sede della Comunità israelitica soragnese, per la posizione geografica baricentrica del paese rispetto alle antiche comunità di Borgo San Donnino, Busseto, Colorno, Cortemaggiore, Fiorenzuola d'Arda, Monticelli d'Ongina e Soragna stessa.[3]

L'edificio fu completamente ristrutturato e, al termine dei lavori nel 1981, il museo fu inaugurato dal presidente della Comunità ebraica di Parma Fausto Levi, al quale fu successivamente intitolato.[2]

Percorso espositivo
Il percorso espositivo si sviluppa nei primi due livelli del palazzo; al piano terreno si trovano le prime tre sale, mentre al primo sono collocate la sala delle Sinagoghe scomparse e la sinagoga.[3]

Sala della storia
Nel primo ambiente è descritta, attraverso originali e copie di antichi manoscritti, la storia del popolo ebraico fin dalle sue origini, soffermandosi in particolare, grazie a documenti settecenteschi, sulle comunità del Parmense.[4]

La sala, grazie alle sue vaste dimensioni, è utilizzata anche quale sede per conferenze.
La sala è dedicata alla vita di una famiglia ebraica, rispetto alla pratica religiosa quotidiana; vi sono esposti vari oggetti e arredi di uso domestico, tra cui una tavola apparecchiata in occasione di una festività sacra, un'ottocentesca sedia di Elia utilizzata per le circoncisioni, libri di preghiera, due ritratti risalenti alla fine del XIX secolo e alcune antiche mezuzot.[5]

Sala della Shoah
Nella sala sono descritte, attraverso pannelli e numerosi oggetti provenienti da lager, le persecuzioni causate dalle leggi razziali fasciste e le deportazioni nei campi di sterminio nazisti che subirono le famiglie ebraiche del Parmense; le vetrine espongono anche alcuni indumenti appartenuti a Samuel Spritzman, sopravvissuto ai lager.
La sala ospita alcuni arredi provenienti dalle comunità ebraiche scomparse, tra cui:

un pregevole camino seicentesco, con cappa riccamente decorata con altorilievi in stucco raffiguranti la Legatura di Isacco, proveniente dall'abitazione del rabbino di Cortemaggiore;
un antico lavacro per la Netilat Yadaim;
la cornice scolpita e dipinta del portale dell'aron di Cortemaggiore;
varie foto d'epoca delle sinagoghe scomparse di Busseto, Fiorenzuola e Cortemaggiore;
alcuni indumenti sacri per le preghiere.

Museo ebraico di Soragna

The Castle of Scipione, one of the oldest in the region, was built in the eleventh century by the Marquis Pallavicino, one of the few European families to have more than a thousand years of documented history.

Even today inhabited by the direct descendants of the same family, the castle was born as a military structure within a broader defensive system, in defense of the Pallavicino State, fief of the Holy Roman Empire and had considerable strategic importance throughout the Middle Ages for the its crucial position for the defense of wells for the extraction of salt, an element at the time necessary for the preservation of food, of which the Marquis Pallavicino were the major producers. Legend has it that the castle owes its name to the pre-existing Roman villa built by the family of Publius Cornelius Scipio the Emilian, the Roman general who annihilated Carthage.

At the time of the bitter fights between the Guelphs and the Ghibellines, in 1267 the castle suffered various attacks from the Piacenza area and later in the early 1400s by the Guelph families Rossi and Da Correggio. Rebuilt and enlarged in 1447 by the Pallavicino family, which adapted it to new defensive needs, it saw the addition of the cylindrical tower and the "reinforced", reinforced and lowered walls. Even the small prisons date back to the same years, which have remained unchanged until today and can be visited under the castle.

During the Second World War the fortress was turned into a concentration camp for foreign enemies, in particular Slovenes and Dalmatians, as well as for political prisoners, reaching up to 173 people in July 1943; following the armistice of 8 September 1943, the castle was used by the German armies as a sorting camp before the definitive deportation to the Nazi concentration camps in Germany.

After a few years of neglect, in 1969 the manor was bought by Count Christian Frederik Per von Holstein, who gave it to his wife Maria Luisa Pallavicino, descendant of the ancient lineage; in the following years the first restoration works were started, which involved the main rooms of the large structure, which in 2008 was partially open to the public.

Among the first in the region to be declared a National Monument (in 1922) for its historical and artistic value, the Castle of Scipione today, after a careful restoration, offers inside its elegant suites of charm for a stay full of history immersed in a romantic atmosphere of an evocative medieval village.

Equipped with a kitchenette and comfortable lounges, the spacious and bright suites offer enchanting views of the surrounding hills, the village and the plain. The interiors are furnished with care, with antique furniture and precious fabrics and along the rooms of the castle you can admire the many testimonies of the seventeenth century, from the frescoes to the wooden ceilings to the coffered.

On the southern edge of the castle there is a noteworthy seventeenth-century loggia, characterized by the portico plastered with round arches that develops at an angle on two sides, culminating in the cylindrical corner tower on the southern edge; the large terrace, supported by the high walls of the shoe, allows you to admire a fine view of the valley below, while on the eastern side gives access to the scale of the horses, which leads to the secret garden, full of tall trees in addition to roses and irises .

https://www.histouring.com

Castello di Scipione

An hotel of absolute charm in a village with a castle nestled in the first hills of Parma, the Antico Borgo di Tabiano Castello dates back to the eleventh century, but was built on a previous settlement of the Roman era.

The defensive fortress of the Marquis Pallavicino, one of the most powerful and influential families in the Ghibelline area of ​​the period, has been the center of many historical events and a strategic area for the domination of the nearby salt marshes and control of the Via Franchigena. Tabiano passes several times by hand, is the subject of contests involving the great feudal families - the Pallavicino, but also the Terzi, the Cornazzano, the Visconti and the emperor Federico Barbarossa himself; from the end of the fifteenth century a slow decline began, linked in part also by the change in military strategy that makes defense fortresses less and less important.

The imposing castle is located on a spur of rock overlooking the village and its elaborate defensive system: the watchtower dating back to the thirteenth century, which with its drawbridge represented the main access to the castle, the circular ramparts and the city walls in defense of the village.

From a fortress of defense, Tabiano has now become a very charming hotel and the Borgo is the center of various food and wine and tourism activities.

All the suites and apartments, divided between the manor houses and the watchtower, have been created combining the ancient charm of vintage furniture with modern comforts.

The structure as well as two pools, then offers a spa for lovers of relaxation, housed in a natural cave: sauna, massage, turkish bath, whirlpool and beauty treatments are just some proposals for the well-being of guests.

A stay in Tabiano is a dive into history, immersed in a charm of the past, combined with the psycho-physical well-being and also the pleasures of enogastronomy. The "Locanda di Posta" inside the village is in fact the ideal place to delight with traditional local dishes, taste a good wine, discover the culinary traditions and buy the typical products.

Castello di Tabiano

La rocca Sanvitale, nota anche come castello di Fontanellato, è un maniero d'epoca medievale interamente circondato da fossato colmo d'acqua, che sorge in piazza Matteotti 1 a Fontanellato, in provincia di Parma; al suo interno si trova la Saletta di Diana e Atteone, nota per gli affreschi manieristi del Parmigianino.
L'originaria fortificazione a difesa del borgo di "Fontana Lata" fu eretta a partire dal 1124 per volere del marchese Oberto I Pallavicino, che ottenne il feudo in seguito a uno scambio di terreni con i marchesi Folco e Ugo I d'Este. Nel 1145 Oberto cedette al comune di Piacenza la torre e il suo territorio, in seguito conquistati dai Terzi.

Nel XIV secolo i Visconti si impossessarono della fortezza, che nel 1378 Gian Galeazzo Visconti concedette in beneficio ai guelfi Sanvitale, come compenso per la loro fedeltà.

Nel 1386 i nuovi feudatari avviarono i lavori di costruzione di un nuovo castello attorno all'antica torre; la cinta muraria fu completata verso il 1400 e nel 1404 il duca di Milano Giovanni Maria Visconti innalzò al rango di contea il territorio di Fontanellato, investendone ufficialmente i fratelli Giberto e Gian Martino Sanvitale.


Stemma dei Sanvitale
Nel 1482, durante la guerra dei Rossi, la rocca subì l'assalto da parte delle truppe rossiane.

Nel 1551, durante la guerra di Parma, il castello fu attaccato dai soldati imperiali, che furono respinti.[2]

Il castello fu in seguito ampliato e trasformato in elegante dimora nobiliare, ricca di importanti opere d'arte e affreschi; la struttura fu pressoché completata nelle forme attuali nel XVI secolo.[5]

Nei primi anni del XVII secolo la rocca subì un attacco da parte dell'esercito spagnolo, che causò il danneggiamento delle fortificazioni;[3] di conseguenza l'ingegnere di corte Smeraldo Smeraldi fu incaricato della sistemazione del fossato,[6] su cui fu edificato un nuovo ponte in muratura in sostituzione dell'antico ponte levatoio.


Nel 1688 il conte Alessandro III Sanvitale trasformò in cappella il livello terreno dell'antico mastio d'accesso, che era stato adibito a legnaia agli inizi del secolo in seguito allo spostamento dell'ingresso nella torre adiacente; fu modificato inoltre il precedente oratorio posto sull'altro lato del cortile centrale, mentre furono ristrutturati alcuni ambienti del primo piano; fu infine realizzato l'attuale grande orologio sulla fronte dell'alta torre, in sostituzione di un altro strumento risalente al XVI secolo.

Altri piccoli interventi furono eseguiti nel XVIII secolo, quando furono aperte le portefinestre con balconcini in ferro battuto in facciata e sulle torriNel 1611 il conte Alfonso Sanvitale fu accusato di aver partecipato alla presunta congiura ai danni del duca Ranuccio I Farnese, che comportò la confisca di tutti i suoi beni e la condanna a morte di tutti i nobili coinvolti. Solo dopo alcuni anni suo cugino Alessandro II Sanvitale, in segno di riconoscenza da parte dei Farnese, ebbe il permesso di acquistare dalla Camera Ducale di Parma la rocca di Fontanellato.


Rocca Sanvitale

Fontevivo Abbey (Italian: Abbazia di Fontevivo; Latin: Fons Vivus) is a former Cistercian monastery in Fontevivo, Province of Parma, Emilia-Romagna, Italy, about 15 kilometres west of Parma on the Via Emilia towards Fidenza.

In May 1142 a colony of twelve Cistercian monks from the abbey of Chiaravalle della Colomba founded a monastery on land given by Bishop Lanfranco of Parma and Delfino, son of Oberto Pallavicino, in a spot named Fontevivo ("living spring") after the spring that rose there on the left bank of the Parola brook.

After clearing and improving the site, which was a well-watered one between the Taro and the Stirone rivers, the Cistercians turned to construction and had soon built a large abbey church and the accompanying conventual buildings. In 1144 Pope Lucius II confirmed to Viviano, the first abbot, possession of the abbey's lands and put it under the immediate protection of the Holy See.

The newly-settled abbey, as a daughter house of Chiaravalle della Colomba, belonged to the filiation of Clairvaux. As early as 1146 Fontevivo was made the mother house of the abbey of San Giusto in Tuscania. (Mirteto Abbey near Pisa may also have been made a daughter house of Fontevivo in 1227).

In 1245 the abbey was occupied and sacked by the army of the Emperor Frederick II during the siege of Parma. By the 15th century its decline was unstoppable, accelerated by the introduction of commendatory abbots early in the century and by the damage caused by the troops of Ludovico il Moro in 1483. In 1497 Fontevivo entered the Italian Cistercian Congregation, but by this time was already fatally compromised.

In 1518 Pope Leo X united it with San Paolo fuori le Mura in Rome, thus transferring it to the Benedictine Cassinese Congregation.[1] It was at this point that the great majority of the abbey's archives was lost. The property and temporal jurisdiction of the abbey was acquired by Ranuccio I Farnese, Duke of Parma, in 1605. In 1614 the Cassinese transferred the spiritualities to the Benedictines of the abbey of Saint John the Evangelist in Parma, which was independent of the bishops of Parma, as Fontevivo had been as a territorial abbey. Only when it was finally merged into the Diocese of Parma in 1893, when the Benedictines gave it up, did the bishops gain authority over it, and have since used the honorary title of "Abbot of Fontevivo".

Fontevivo Abbey 

It is only natural for the itinerary to start from here. As can be read on his birth certificate (written in French, since at that time the Municipality of Busseto was under the Department of Taro, directly annexed to France), Giuseppe Fortunino Francesco Verdi, son of Carlo and Luigia Uttini, was born at eight o’clock in the evening on 10th October 1813. In this modest building, located at a crossroads in the centre of the village, his father ran an inn with an attached grocery store. His mother was a spinner.

As legend has it, because the yearly festivities for the feast of San Donino, the patron saint of the diocese, were underway at his birth, the music played by a group of strolling musicians was a good omen for the future of the newborn baby. According to recent studies, the Verdis were a family of small landowners who were not illiterate; often, in fact, the innkeeper read letters for those who could not. Hence, the legend of the poverty-stricken family, of the uneducated, poor little peasant, of the starving artist, later fuelled by the editor Ricordi, should be re-evaluated.

Yet, to this day, the most evocative place of Verdi, thanks to the important work of recovery and restoration begun in 2013, does not fail to touch the numerous visitors at the thought of the triumphant goals achieved by the composer. Verdi, however, never forgot his own origins and, in 1863, wrote: “I was, am and always will be a peasant from Roncole.” On the front of the house, a commemorative plaque from 1872 reminds us that the marquises Pallavicino, who were the owners, wanted the house to stay as it was. Over time, other commemorative plaques have been put up. One in particular should be recalled; that given by the poor of Roncole who were helped by the Maestro (1901). In 1913, the centennial of his birth, a bronze bust by G. Cantù was placed in the small garden in front of the house.
As you enter the Museum, the guide will hand you an iPad and earphones. That iPad has an app that allows you to visit the house independently. An interactive map helps you find your way around, the audio sections tell anecdotes and facts about the composer’s childhood, while textual and video materials supplement the narration. To see the same scenes that Verdi would have seen as a child, to listen to his voice telling the story of his own family and to catch sight of his shadow on the walls: all this is possible. Because your guide in this Museum will be Giuseppe Verdi.

http://www.bussetolive.com