bottacin2Famous for its extensive collection of coins, the Museum was founded between 1865 and 1870, thanks to Nicola Bottacin who bequeathed to the City of Padua all the collections which he had painstakingly put together over many years of work.
The Museum, with more than 50,000 coins, medals and seals, is one of the most important numismatic collections in the world. However, only a small part of this material is on display for educational purposes, aimed at illustrating the history and function of money.
Among the pieces exhibited are some "Venetic" coins ( IV-II centuries B.C.), some very rare Roman medallions of the Emperors Hadrian, Septimus Severius and Maxentius, the Longobard tremissis of Aistolfo, and some coins from the Museum's Venetian series, one of the most complete in the world.
Although mainly known for its numismatic collections, the Bottacin Museum also contains important collections of sculptures and paintings of the 19th century (including works by Induno, Querena and Vela) which highlight the prevailing taste of bourgeois patrons in that century.

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piana2Founded at the end of the 18th century, following the suppression of the religious bodies and including many private bequests, the Art Museum holds about three thousand paintings, and presents a fine panorama of paintings of the Veneto region from the early 14th to 19th centuries.
Works by Giotto, Squarcione, J. Bellini, Giorgione, Titian, Romanino, Bassano, Veronese, Tintoretto, Piazzetta and Tiepolo are housed in the museum, together with works by foreign artists, most of whom were Flemish and Dutch.
The collection of stone inscriptions contains architectural-decorative fragments found in Padua and the surrounding area. The bronzes on exhibition are only some of the vast number of sculptures, but they do illustrate a form of artistic expression that flourished in Padua between the 15th and 16th centuries.
The collections of artefacts (ceramics, precious stones, jewellery, fabrics, furniture and ivories), together with prints and drawings, are available for study by experts upon request.

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restauro24Seven centuries ago, during the first Jubilee Year (1300), the foundation stone was laid for the chapel that Enrico Scrovegni, a wealthy banker and merchant, wanted to build as the finishing touch to his new home in Padua.
To embellish the building, which was intended to hold his own tomb and those of his descendants, Enrico summoned two of the greatest artists of the period. Giovanni Pisano, who was commissioned to sculpt three marble altar statues of the Virgin and Child between two angels, and Giotto, who was asked to fresco the walls and ceiling.
Giotto was already an established artist - he had worked for the Pope on the Basilica of St. Francis in Assisi and the Basilica of St. John Lateran in Rome, and in Padua on the Basilica of St. Anthony and the Palazzo Comunale (town hall), also known as the Palazzo della Ragione.
For the Scrovegni Chapel, Giotto was asked to depict a series of stories from the Old and New Testaments, culminating in Christ's crucifixion and resurrection, and the Last Judgement.
The aim was to encourage visitors to the Chapel to meditate more deeply on Christ's sacrifice and the salvation of mankind.
Giotto planned an architectural structure in painted imitation marble supporting the vaulted roof, decorated as a star-spangled sky, with framed stories of episodes in the lives of the Virgin Mary and Christ on the walls.
The whole project was finished in a short space of time and, in 1305, after only two years' work, the Chapel was consecrated for the second time (the first time was on completion of the building).
Very little is known about the history of the Chapel from then until the 19th century, when it was almost destroyed as a result of lack of interest on the part of its new owners. The portico on the façade collapsed and the house built by Enrico was demolished.
These events had a disastrous effect on the Chapel, the left side and façade of which were left unsupported and exposed to the elements. In the meantime, the building had passed to the City Council (1881), which took steps to prevent further loss and damage. But the building and its frescoes had already undergone severe deterioration.
Major restoration work was undertaken in the late 19th century and again in the 1960s. More recently, a new problem has arisen – damage due to atmospheric pollution, which causes the painted surfaces to crumble away.
In order to decide what action to take, a series of scientific studies was carried out, lasting several years. Results showed what could be done to slow down deterioration and, just as importantly, how to prevent further dangers arising in the future.
Urgent restoration was carried out immediately and, on May 31 2000, a special technical installation was set up, a sort of "artificial lung". This special air-conditioned environment now both purifies the air inside the Chapel and monitors its atmosphere continuously, in order to protect these unique frescoes, some of the most important of all time.
Nearly a year was needed to check that the environmental control system was working properly, after which further restoration and conservation work could be planned.


restauro1The restoration project for the Scrovegni Chapel was presented at the City Museum (Eremitani) on June 12 2001. The following criteria were applied:

Urgent conservation work on high-risk areas
Smoothing of unevennesses in painted surfaces caused by previous attempts at restoration (Botti and Bertolli in the late 19th century; Tintori in the early 1960s)

Point 1: work has been carried out to consolidate plaster and painted surfaces, at the same time removing efflorescences of salt, which not only caused blistering on the surface of the frescoes but also led to further deterioration.
Point 2: the most important aspects concern the large areas in which the blue background is missing, as well as certain sections of the plaster that had been filled in during previous restoration work.
The areas of missing blue background have been "receded"- in other words, they have been made
to retreat optically so that they do not disturb the viewer's eye (no attempt has been made to replace the colour). As regards the plaster, here too, the aim was to make it as homogenous as possible by "receding" certain parts so that they do not interfere with the overall effect. In particularly significant areas (e.g., the imitation painted architecture which supports all the decoration and contains the frames) the missing areas were treated using water-colours (the established practice in such cases).
restauro3On-site work is directed by Giuseppe Basile, and the staff includes restorers and students from the ICR school of restoration (co-ordinated by F. Capanna and A. Guglielmi). This high-priority work involves the following companies specialising in artwork restoration: Conservazione e restauro
di Colalucci-Bartoletti , Pinin Brambilla Barcilon, Giantomassi-Zari, Conservazione Beni Culturali, and Tecnireco di Fusetti-Virilli.
Project work is being carried out by the following organisations: ICR scientific laboratories (co-ordinator M. Marabelli) and digital documentation laboratory (co-ordinator F. Sacco), an international committee of experts on wall painting restoration, an interdisciplinary commission for the restoration of the Scrovegni Chapel, composed of technical experts from the City Council and the Ministry for Cultural Heritage, as well as university experts (co-ordinator Annamaria Spiazzi).
Further details will be made available at the forthcoming presentation of progress and first results of the project.


archeo2The first part of this Museum originally housed the tablets of the Palazzo della Ragione, arranged by Abbot Giuseppe Furlanetto (1825), and was soon enlarged with further relics from excavations in Padua and the surrounding area. The itinerary of the museum starts from the pre-Roman period with interesting remains dating from the VIII to the IV-III centuries B.C.
Among the finest are 88 pieces from the "Studded Vases" tomb, dating back to the early VII century B.C.
Unique in importance is the series of paleo-Veneto stelae, particularly those from the Camin excavation and the Ostiala Gallenia.
The Roman section is very rich and includes many busts, statues, funeral reliefs and votive altars. Some of the finest are those of Silenus, the elegant memorial stone of the dancer Claudia Toreuma, and the impressive shrine of the Volumnie.
Many mosaics are displayed on both floor and walls.
The Egyptian Rooms contain two fine statues of the goddess Sekhmet.
Other smaller rooms contain Greek, Etruscan and Italiot remains. Of particular importance is the collection of Apulian vases bequeathed by Prof. Calogero Casuccio.
Architectural findings from Roman times are also exhibited in the cloister.

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internocapThe Scrovegni Chapel, dedicated to St. Mary of the Charity, frescoed between 1303 and 1305 by Giotto, upon the commission of Enrico degli Scrovegni, is one of the most important masterpieces of Western art. The frescoes, which narrate events in the lives of the Virgin Mary and Christ, cover the entire walls. On the wall opposite the altar is the grandiose Universal Judgement, which concludes the story of human salvation.
The chapel was originally attached to the Scrovegni family palace, built after 1300, following the elliptical outline of the remains of the Roman arena.
The Chapel was acquired by the City of Padova in1880, and the vulnerable frescoes were subjected to several specialized restoration operations during the 19th and 20th centuries. From the 1970s until today, thanks to close collaboration between the city administration, cultural heritage authorities and the Istituto Centrale per il Restauro, the state of the building, the quality of the air in it, polluting factors, and the state of conservation of the frescoes themselves have all been subjected to careful study and monitoring. The addition of the new access building, with its special air-conditioned waiting-room, means that even great influxes of visitors can enter the Chapel and admire Giotto's masterpiece without further jeopardizing its fragile condition in any way.
The latest checks, which show that the condition of the frescoes is now stable, have allowed them to be restored further - delicate operations undertaken by the Istituto Centrale per il Restauro - thanks to an agreement between the City of Padova and the Italian Ministero per i Beni e le Attività Culturali.


adoramagiSince 26 March 2003, a room in the Eremitani Museum has been equipped with 7 workstations, some of which are multimedia, in order to allow visitors to study the frescoes in the Scrovegni Chapel and obtain information about the historical and artistic period in which Giotto lived and worked.
The use of various multimedia options (pictures, sound, commentaries, and real or multimedia reconstructions) will enable visitors to play an active role and virtually enter reconstructed areas. There are both "passive" and "active" study approaches, in which visitors can personally interact. They can thus become familiar with Giotto's art and its historical context, and concentrate on their favourite themes at the same time.




We kindly remind our visitors that it is not possible to book for the same day. Tickets should be collected 1 hour before the scheduled time of visit.

Compulsory bookings

Call centre: +39 049 2010020
The call centre is operative: Mondays to Fridays, 9.00 a.m. to 7.00 p.m. - Saturdays, 9.00 a.m. to 6.00 p.m.

Reservation is compulsory.
On-line reservations must be made at least 24 hours in advance. It is not possible to reserve for the same day.
It is possible to make reservation until the day before the visit if you pay by credit card.
If you want to pay by bank transfer, the reservation should be made at least 3 days before the day of the visit calling the call-center.
We count three days excluding the day of visit and the day of reservation.
For example: if you want to visit the chapel on Friday, you should make reservation by the previous Monday.

Tickets should be collected well in advance; groups should show up at least 45 minutes prior to visit.


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