The Church of St. Stephen, also called Complex of the Seven Churches. Connected with the most ancient records of history and religion of Bologna, is a monumental complex of buildings, noted since the year 887 as the “Holy Jerusalem”. A legendary account of the late twelfth century said it was founded by the bishop Petronio in Bologna (431/32-450), which dedicated the place to the Christian Martyr, Stephen, reproducing the places of the Passion of Christ, viewed in a trip to the Holy Land. According to archaeological excavations at the end of the fourth century, the area adjacent to the Via Aemilia (Major Road) and the then eastern suburb, used to be a Christian cemetery, where bodies of local Protomartyrs likely were buried, such as Vitale and Agricola, found in 392/93, and St. Ambrose of Milan, in the Jewish cemetery. The site also preserves the memory of the Lombards, who conquered Bologna in 727, and Charlemagne, who in 786 fetch some relics of the martyrs. After a decline between IX and X century about half of the complex was reconstituted by the arrival of Benedictine monks – their presence is documented for the first time in the year 983 – whose intense building activity concentrated between the eleventh and thirteenth centuries and gave to the center the Romanesque style that still retains, in spite of modern restoration. The complex structure is enriched by a further development, largely disappeared.

One of the richest churches of Bologna in historic art, the first offshoot of the Order of Preachers and custodian of the remains of its founder St. Dominic. Started after the saint’s death (1221), with a sober Romanesque front, is flanked by Ghisilardi Renaissance chapel built and designed by Baldassare Peruzzi on the Piazza San Domenico, one of the most beautiful squares of the city.
Inside – renovated in 1727-32 by Carlo Francesco Dotti, who merged the two primitive medieval cores in a single body of correct and bright lines – are preserved priceless works of art, including paintings by Guercino (St. Thomas), of Luca Cambiaso (Nativity), Filippino Lippi (mystic Marriage of St. Catherine, 1501), Lodovico Carracci (S.Raimondo), Giunta Pisano (Crucifix). The extraordinary chapel of San Domenico with its splendid marble arch that holds the remains, one of the purest Italian creations of plastic art, embellished by sculptures by Nicolo Pisano for the urn (1267), Alfonso Lombardi in the predella (1532) and GB Boudard in the frontal (1768) and topped with a beautiful patterned marble frieze in 1469-73 by Nicolò dell’Arca (the statues of S. Petronio, and S.Procolo and of the angel to the right are by Michelangelo). Dazzling the decoration of the chapel (the Glorification of St. Dominic in the basin is by Guido Reni).
A masterpiece of Renaissance marquetry is the wooden choir by Fra ‘Damiano da Bergamo (1528-51), described by contemporaries as the eighth wonder of the world and admired by the Emperor Charles V.
Of considerable charm the cloisters of the convent of St. Dominic and the cell.

Church and convent. On land donated by the city, outside the eastern side of the walls of Torresotti (now Porta Nova), in 1236 the Friars Minor, housed in S. Mary of Pugliole, began the construction of their magnificent basilica. In 1251 Pope Innocent IV consecrated the altar, the temple was completed in 1263. Uncertain is the name of the architect: sources mention Marco from Brescia, perhaps confused with Giovanni from Brescia, an engineer and architect, active in Bologna at this time. The chronicler of Pugliole Bartolomeo (fourteenth century), however, says that when in 1254 vaults gpot ruined, the works were wirected by the master ghiexia brother Andrea, who got his legs broken. On the southern side of the church, which is liturgically oriented to the east, was built the convent and behind the choir the cemetery, which held the graves of many lawyers and doctors of the University of Bologna. Today it remains the memory of the funerary monuments of Accursio, Odofredo and Rolandino de ‘Romanzi, visible in Piazza Malpighi (Tombs of Glossatori). Over the centuries the church got modifications, for example, a long colonnade, erected in the first half of the seventeenth century and demolished in 1890, which allong piazza Malpighi joined Via S. Isaia to Via Pratello, concealing the apse and the tombs of Glossatori.

Among the central municipal buildings, is the one with the merlons on north, on the Piazza del Nettuno. Palazzo Re Enzo was built around 1245 to flank the Palazzo del Podesta and allow the massive popular participation in city government. Initially called the New Palace, just to distinguish it from the town hall, then changed his name because of a historical episode. There was in fact locked up – and held prisoner for 23 years – King Enzo of Sardinia, stepson of the Emperor Frederick II, defeated in the battle of Fossalta (1249). On the captivity of King Enzo many legends are told as his attempted escapes and secret love affairs. We know for certain that King Enzo was treated with all the honors: he had around him a small royal court, even a personal chef. He was buried, as he had desired, in the great basilica of Saint Dominico.
From the architectural point of view, the building underwent changes of Antonio di Vincenzo in the late fourteenth century, and by the work of Dotti in the eighteenth century. Major renovations were carried out at the beginning of the twentieth century thanks to Alfonso Rubbiani. Under the building opens the vault of a picturesque pedestrian crossroads and on the right the chapel of St. Maria of the Prisoners, dedicated for the prisoners sentenced to death. The ground floor of the building was used as a warehouse for storage of weapons and deposit for the “Carroccio ( large vehicle used in medieval times)). The “Carroccio” must never fall into the hands of the enemy because it was a symbol of the city. Today in the Palazzo Re Enzo there are some offices.

The University of Bologna has very ancient origins as the first University of the Western world. Its history is linked with that of great thinkers in science and literature and is essential reference in the panorama of European culture. The origin of the University of Bologna is the year 1088, conventional date fixed by a committee of historians led by Carducci.
The institution which we now call the University begins to take shape in Bologna at the end of the eleventh century when grammar, rhetoric and logic begin to be applied to Law.

The church is located in the homonymous square, and Both were raised higher by many meters compared to nearby surrounding streets. According to tradition, the construction would begin in 433. Of course, the origins of the church and monastery are to be related with the slow revival of the city after the fall of the Roman Empire and with the presence of San Petronio in Bologna, and took references from the symbolism of the Holy places of Jerusalem, reproduced in the nearby complex of Santo Stefano church. This place, in fact, recalls the Mount of Olives. The original round church of the fifth century, seat in 1118 of a community of Canons Regular of the Lateran, was rebuilt in the thirteenth century and rebuilt in the Gothic style in the mid-century. XV. From the fifth century, after several modifications until the middle of the sixteenth century, San Giovanni in Monte finally got the actual aspect through the intervention of the prestigious Antonio Morandi and then Bartolomeo Belli between 1602 and 1652. Do not miss the artistic and historic works by Lippo Dalmasio, Guercino, Perugino and Raphael.
The elegant facade is inspired by Venetian-Ferrarese art. In the porch you can see a strong clay eagle, emblem of the evangelist John, by Nicholas Ark (ca. 1481). The octagonal dome dates back to 1496 and the bell tower was built during the XIII-XV. Remarkable interior. The church has three naves – divided by octagonal columns, on which are painted saints, abbots, canons – and has 17 altars. The twelfth is the chapel dedicated to St. Cecilia and was wanted by B. Elena Duglioli Dall’Olio (1472-1520), who commissioned the painting of Saint Raphael. (The image you find here is a copy of Clemente Alberi, while the original is in the Pinacoteca). The seventeenth chapel is important for its architecture, and has three paintings by Guercino. In the center of the church there is an altar with a large Roman capitals upside down, on which there is a column with cross and writings by the priest Barbato (VIII) and Bishop Vital (IX century). The wooden Christ is attributed to Alfonso Lombardi.

The church, defined the latest monument of Gothic in Italy and Europe, was built starting 1390 on the south side of Piazza Maggiore, by buying and demolishing eight buildings including churches, houses and towers. Although incomplete, the basilica is the fifth in size in the world: 132 meters long, 58 meters wide, 45 meters high and 51 meters in the interior façade can hold 28,000 people. The main portal of the church is a masterpiece of Jacopo della Quercia, who worked for twelve years (from 1426), decorating it with 15 stories of the Old and New Testament and with the great group of sculptures of the Virgin and Child, S. Petronio, S. Ambrose (the latter performed by Varignana). In 1530 the Church of San Petronio hosted the coronation of Charles V as emperor by Pope Clement VII. Inside you can admire numerous works of art by different authors and periods, but also the longest sundial in the world, drawn in 1655 by GD Cassini.

Traditional political center and meeting place of the community with the most significant sites of public life in Bologna. From the south, the basilica of S. Petronius, a witness for over six centuries of civic spirit connected with the cult of the patron saint, the Palace of Notaries, the site of a corporation among the most incisive political and social events in the Middle Ages in Bologna. From the west, surmounted by a clock tower, the long profile of the Town Council. From the east the Palace of the Banks, recalling the activities of money-changers, connects with the traditional commercial hub of the city until the streets that stretch towards the Middle-Market, the Carrobbio, the Palace of the Merchandise, or Forum Merchant , and the port of Ravenna Trivium. The original center of the Piazza Maggiore was Comunis Stalls open at the beginning of the thirteenth century with the demolition ordered in order to give place to the new city hall, the palace from the mid-century will be told “vetus” (and then the Podesta’s) for the construction of “novus” (King Enzo). The square, site of the Market de Platea, was expanded several times during interventions on public buildings. From 1390 on the south side raised the imposing outline of the “civic temple” St. Petronius. The amplitude and the uncommon setting of Piazza Maggiore made ​​the ideal setting for large public events and performances.

Symbol of the city, the 2 towers dominate an intersection of five streets each of which leads to a door of the ancient walls. The Garisenda Tower was named after the family Garisendi, who had set up. 61 meters high, the tower began to lean due to a failure of the underlying soil and works were suspended. The Tower degli Asinelli, the highest in the city, was built in the early twelfth century. It is 97.20 meters high. It’s possible to reach the top of the tower and admire a beautiful panorama of the city.

Location: Via Selmi, 3 – Bologna

Location: P.zza di Porta San Donato, 1 – Bologna

Location: Via Irnerio, 48 – Bologna

Sede: Via Irnerio, 46 – Bologna

Via Belle Arti, 56 – Bologna

Sede: Via Valdonico, 1/5 – Bologna

Conserva i resti del DC9 partito da Bologna ed abbattuto nel mare di Ustica il 27 giugno 1980.

Sede: Via di Saliceto, 5 – Bologna

Location: Palazzo d’Accursio, Piazza Maggiore, 6 – Bologna

Sede: Via Don Minzoni, 14 – Bologna

Sede: Piazza Carducci,5

Location: Piazza Carducci, 5 – Bologna

Sede: Palazzo Aldini Sanguinetti, Piazza Maggiore,6

Un ricco patrimonio di arredi e opere d’arte dal trecento all’Ottocento.
Sono presenti anche dipinti dei secoli XVI e XVII (Aspertini,Passerotti,Carracci) del secolo XVIII(Crespi,i Gandolfi,Creti) e del XIX secolo(Palagi,Hayez e altri)

Sede: Palazzo dell’Archiginnasio

Sede del museo è lo splendido palazzo quattrocentesco Ghislardi Fava.

Ha sede nella centralissima Piazza Galvani.
Il suo patrimonio è costituito dalle ricchissime raccolte che documentano l’archeologia bolognese e lo sviluppo della città sin dalla preistoria.