Bagatti Valsecchi Museum Tickets

Bagatti Valsecchi Museum Tickets lets you access the conference room of the museum that was converted into a multipurpose area in June 2015 with the help of the Lissoni Associati studio's design work. The room has had a variety of purposes over the years, from Carolina and Giuseppe's closest to the management office, and it currently finds a setting that enables it to accommodate exhibitions, meetings, and events.

The room is a representation of the first room of Giuseppe Bagatti Valsecchi and his wife Carolina Borromeo's residence. It served as a living room and got its name from the wooden cladding that was installed along the walls of a furnace chamber in an old Sondrio house. The line "People who love to speak evil of the absent, know that this fireplace is closed to them" is used in a Latin inscription above the fireplace as a warning to those who might consider taking a break in front of the fire to gossip with the Bagatti Valsecchi Museum Tickets.

With Bagatti Valsecchi Museum Tickets observe how the two brothers displayed their collection of armor and weaponry in this long symmetrical room at the Galleria della Cupola, which is a characteristic of Lombard collecting. In order to create the idea that one is in an ancient armory, antique specimens are arranged alongside stylized or integrated items, just like the rest of the house. The collection is nearly entirely made up of sidearms, or weapons with blades, in addition to defensive items like shields and armor.

With Bagatti Valsecchi Museum Tickets see the dome with a skylight that sits above the Galleria della Cupola, and it is where it gets its name from. This chamber, which borders the spacious hall like the Galleria delle Armi does in parallel, serves as a link between the two buildings' bodies and connects Fausto's apartment to that of his younger brother Giuseppe. Some of the most significant ceramics from the Bagatti Valsecchi collection are shown on the long tables placed against the walls, with a big vase by Ippolito Rombaldoni with a date of 1678 standing out.

The Studio's entrance on Via Santo Spirito is connected to the ground level by a solemn staircase. Although this room no longer acts as an entrance in the present tour route, it did so when the home was inhabited, giving the two brothers' apartments complete independence. The 19th-century red marble sink, which has a Renaissance fragment put inside of it, stands out among the room's beautiful fixed furnishings.

The Library is contained within the little front of the wooden cabinets that adorn the walls and was created to provide a space suited for study and concentration. The frescoes by Bergognone in the chapter house of Santa Maria della Passione in Milan, painted in the sixteenth century, served as the inspiration for its visual ornamentation, which was added in 1887 by Luigi Cavenaghi. On 19th-century pedestals are a priceless pair of 1579 globes, one terrestrial and the other celestial, while the long central table is filled with historical ivory objects, coffins, and scientific apparatus.

Museo Bagatti Valsecchi tickets gives you access to see the paintings in the Bagatti Valsecchi collection date from the fourteenth to the sixteenth centuries and are all works on wood that mostly depict Tuscan, Lombard, and, to a lesser extent, Venetian regions. The opulent residential setting combines writings by famous authors—the Santa Giustina by Giovanni Bellini is perhaps the best known—with paintings by lesser-known artists, occasionally alluding to remote locations like the Larian area or the Bergamo valleys. The fragmentary polyptych doors—a typology that is highly represented in the collection—are turned into pleasing paintings in and of themselves thanks to the Neo-Renaissance frames, which also manage to soften the character of a compartment already embedded within a more articulated piece.

The most significant portion of this collection consists of reliefs that were either put as fixed furnishings inside the residence or walled up in the courtyards of the Palace. Despite the small number of pieces, there are a number of artifacts that are difficult from an attributive standpoint as well as in terms of their chronological characterization. Regarding works, like the Flagellation of Christ by Alceo Dossena, whose nineteenth-century realization is now known, it is still necessary to comprehend the two Bagatti Valsecchi brothers' degree of knowledge.

With Museo Bagatti Valsecchi tickets see the comprehensive collection organized in the Galleria delle Armi, a setting with great impact, where the relics are displayed on old chests and the pole weapons and swords are displayed on racks along the walls. In order to create a scenographic overall effect, styled and original artifacts are juxtaposed.

Although there are many later pieces, the majority of Bagatti Valsecchi ceramics are antiques from the fifteenth to the eighteenth centuries. In a sort of mapping of the major Italian manufacturers, there are numerous production sites depicted, including Venice, Pavia, Ferrara, Faenza, Pisa, Montelupo, Urbino, Casteldurante, Pesaro, Deruta, as well as Rome, Gerace, Trapani, and Burgio. Dismembered crockery from ancient pharmacy kits that dates to the 19th century. One exception to the collection's overall Italian theme is a collection of lustres from the sixteenth to seventeenth centuries that are associated with Valencia and Manises.

With Museo Bagatti Valsecchi tickets visit the core of this collection, which is made up of home items and liturgical items: crosses, and reliquaries. The Eucharistic vases present here are surrounded by enameled caskets or antique cutlery, and they date from the fourteenth to the seventeenth centuries. The collection's purpose, which is wholly used in the decoration of the rooms in which the numerous objects are skillfully arranged, does not aim to be complete from a chronological or typological point of view.

A key element of the Bagatti Valsecchi housing project and home collection is the extensive collection of furniture. The two brothers combine furnishings from the 14th to 16th centuries without any restrictions and recompose them with antique pieces or period furniture to create a space where the total impact is more significant and compelling than the originality of any one piece.