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Main headquarter of the University of Padova, it is undoubtedly the most important public building built in Padova during the Reinassance. The skeleton on which it stands, however, has more ancient origins: the Palace, in fact, is the result of the grouping of noble houses already present in the 12th Century. During the 16th Century, important works took place, which remodeled the spaces and gave the medieval ensemble, in particular the facade and the ancient courtyard, the elegant Reinassance structure that it still retains. The radical intervention is attributed to Andrea Moroni, an architect very active in the city. Amog the most important spaces of Palazzo Bo are the Anatomical Theatre, the Medicine Room, the Quaranta Room and the Aula Magna.
The latter, a representation hall of University of Padova, was the seat and lecture hall of the Faculty of Law from the sixteenth to the nineteenth Century and, in a completely exceptional way, Galileo Galilei was granted the opportunity to hold his lessons there. The subject of numerous restorations over time, the hall presents, starting from the rearrangement of the south wall by Gio Ponti in 1942, the motto of the University of Padova: Universa Universis Patavina Libertas. One of the things that most catches the eye inside the Aula Magna is the quantity of coats of arms inside. More than three thousand of those present inside the Hall and the Ancient Courtyard are testimony to the professors, rectors, councilors and students who spent part of their lives within the Patavino University; they were painted or sculpted between 1542 and 1688 when the Venetian Government prohibited the placement of new coats of arms inside Palazzo del Bo.
Right in front of Palazzo del Bo stands Palazzo Moroni, made up of the mergeing of various buildings: the sixteenth-century Palazzo Moroni, the medioeval Palazzo del Consiglio and Palazzo degli Anziani, joined by the Tower which dominates Piazza della Frutta an finally the Moretti-Scarpari wing, built between the two World Wars.
A 250 years old treasure chest of art, restored after fire damage on 1995. The building was strongly desired by the minor friar Michelangelo Carmeli, originally from Cittadella (PD) (1705-1766), theologian and teacher of oriental languages, who made his school out of a wing of the convent complex of San Francesco Grande. A sort of cultural center which contained 22 thousand books and which brings to mind the Benedictine abbey of Melk, where the writer Umberto Eco set “The Name of the Rose”.
“Hall of Giants”, frescoed room, part of Palazzo Liviano, in the historic center of the city of Padova. In the late medieval period the hall was one of the representative rooms of the Reggia Carrarese, palace of the lords of the city; by will of Francesco I da Carrara the room was decorated with an elaborate cycle of frescoes whose theme was to represent illustrious men of ancient history.
The Caffè Pedrocchi is one of the symbols of Padua, a place voted for the taste of its coffee as well as its cuisine. Known as the most exclusive location in the center of the city. Padua, the City of the three “without”, “the Saint without a name, the field without grass and the Café without doors”: St. Anthony’s Basilica is referred to as “of the Saint”, the Prato della Valle, until the 1800’s lacked any grass, and the Caffè Pedrocchi, “without doors” because it used to remain open day and night since its inauguration in 1831 until 1916.
In collaboration with the city of Padua, Caffè Pedrocchi took on the project of renovating the building to return the rooms, marbles and furnishings to their antique beauty all while respecting the original structure and its history.