In 1633 the Ghetto Novissimo was added to the existing two ghettos, mainly for the purpose of accommodating Ponentine Jews. Situated at the confluence between the San Girolamo and Ghetto Novo canals, it is the smallest of the three. The area was formed of three blocks of houses, with fine buildings (such as the Treves and Vivante palaces), but did not contain shops or scole. At the end of Calle del Portòn was the gate, which was kept closed.
The Jewish Museum of Venice is not simply an expository space, but a widespread museum, i.e. an urban, architectonic and museum complex unique of its kind for its own specificity, which includes a permanent exhibition, the synagogues and some temporary exhibitions. The objects on display testify to the lively tradition and the long history of the Venetian community; among them you can find ancient books and manuscripts and objects used in the most important moments of the cycle of Jewish life. From the interior of the Museum it is possible to visit by guided tour two of the 5 Venetian synagogues. All guided tours to 3 or 4 of the five venetian synagogues start from the museum.
The Ghetto Novo is the area of the city to which, in 1516, the Jewish population of Venice was forced to move. The first ghetto in Europe, it stands on an island demarcated by the canals of San Girolamo, Ghetto Novo and Battello. It was originally only connected to the city by two gates. Initially, seven hundred Jews of Italian and Central European descent lived there. However, the population expanded rapidly following later waves of migration. The central square (“campo”) is where daily life was played out, with synagogues, workshops, pawnbrokers (note the sign of the Banco Rosso at number 2912) and wells for the water supply. As it could not expand beyond its borders, in order to increase its capacity for accommodation construction in the ghetto began first to become fragmented and then to take a vertical direction, so that some houses were extended up to as many as eight storeys (which was exceptional considering the instability of Venice’s sandy foundations). During the 19th century some buildings were demolished and rebuilt. This is the case of the current seat of the Rest Home, (n° 2874), where inside is preserved the aron of the Scola Mesullamim, which was demolished in the 19th century. On the wall of house number 2874 is the Holocaust Monument (1980). It consists of seven bronze bas-relief plaques depicting scenes from the Holocaust, by sculptor Arbit Blatas. Not far from here, another memorial by the same artist, from 1993, presents on planks of wood the names of the 246 Jews deported from Venice. Of them, only seven would return; a bronze panel depicts them boarding the train carriages. The main square of the Ghetto Novo leads to the first three synagogues and the Jewish museum. Visits: a guided tour of the area is available, visiting three of the five synagogues. This is run by the Jewish Museum of Venice.
The MEIS has been open for several years, staging exhibitions, conferences and festivals. For the events calendar see http://www.meisweb.it/. Further development is underway in the permanent building. The Museum was established as a Foundation by an Act of Parliament with the aim of illustrating the culture and history of Jews in Italy, dating back more than two millennia: a contemporary museum, a cultural arena, with no permanent collection, a space designed as a “ever-changing possibilities”. The Italian Parliament selected Ferrara as the seat of the National Museum for a number of reasons, including the glorious history of the local Jewry, once one of the largest and most active communities in Italy, which was further popularized in the 20th century through Giorgio Bassani’s stories, set in the city. When it came to choosing the site, the Via Piangipane former prison - built in 1912 and closed in 1992 - was selected. The museum design is based upon the building’s complete change of identity: from confinement and marginalisation, to openness and relationships. Only two of the original prison’s blocks, built as a T, have been preserved – those that best represent its original function: the panoptic block – with a view over all the compound –, and the one on Via Piangipane, the original façade facing the city. The entry selected in the international competition has five new glass and concrete buildings, on the site of the demolished blocks, for the five books of the Torah, and a garden. The buildings include the museum exhibition halls, educational rooms, an auditorium, a bookshop, kosher restaurant and coffee shop.
There is another Jewish cemetery not far from the one in Via delle Vigne, now used only for commemorations. The Levantine cemetery as it is known, in Via Arianuova, was purchased in 1570 by the community of the Sephardic Jews (aka the Portuguese Nation), and remained operational until 1879. Over the centuries the surface was cut and today it is but is a small rectangular plot with four 19th-century graves belonging to the Saralvos, a local family of Iberian descent.
This burial ground was granted to the Jewish community in 1626. It lies next to the Certosa cemetery, in the north-eastern section of the Addizione Erculea (the addition under Duke Ercole), in a large space that had been left as a lawn under Rossetti’s original project. At the end of Via delle Vigne, the entrance to the cemetery bears a large granite gateway designed in 1911 by the Jewish architect Ciro Contini. He also designed the burial chapel inside, in the same style as the gateway decorating it in a neo-Babylonian style. These developments gave the Jewish community of Ferrara the visibility it had sought for after Emancipation, which in other cities had led to the construction of new monumental synagogues. The vast cemetery has an irregular shape due to several consecutive developments: each section has imposing constructions, most of which against the perimeter walls, mixed in with simple old and recent headstones and tombstones. Even to date the plain lawns bear witness to the ban on tombstones imposed by the ecclesiastical authorities in the 18th century. In the same period the cemetery was raised by the Inquisitors and 16th- and 17th-century tombstones were demolished in 1718 and reused to build Duke Borso’s column.
There are four plaques along the low moat wall surrounding the Este’s Castle placed in memory of the massacre that took place on November the 15th, 1943. Eleven people selected among Jews and political opponents held in the jail via Piangipane were brutally murdered in retaliation for the assassination of the Fascist Federal, a member of the party re-established after the of 8th of September armistice. Eight of them were slaughtered near the Castle and two on the San Tommaso Bastion, where a memorial stone commemorates them. An eleventh victim, probably a witness trying to flee, was murdered in Via Boldini not far from the Castle. Their bodies were left there till the following morning as a warning. After the war, the street was renamed Corso Martiri della Libertà when the plaques were put in place. In his short story "Una notte del '43" (A Night in 1943), the writer Giorgio Bassani wrote about the Corso Roma massacre through the eyes of a pharmacist living opposite.
The column of Borso d’Este dates back to 1452: a squat bi-chrome marble column built as the base for a statue of the duke on his throne. Along with the monument to Marquis Niccolò III, it marks the entrance to what was historically the ducal court, through the “Volto del Cavallo” (the Horse’s Vault) archway. It was damaged by a fire and restored in 1718 using marble taken from the tombstones in the Jewish cemeteries. The circumstances surrounding the event have never been fully understood: there are records of a sort of payment made to the Jewish community for the material, there is no mention of the fact that tombs were violated to build one of the city’s hallmarks. It was reinforced in 1960 during which time it was possible to photograph and study the inscriptions, before the monument was reassembled.
The house in Via Vignatagliata 33 was home to Isacco Lampronti (1679-1756), a Rabbi, medical doctor and philosopher who lived there. Lampronti was a preeminent figure in Ferrara’s Jewish history, he was a teacher and president of the Rabbinical Academy, and practiced the medical profession alongside his other intellectual pursuits. His name is associated with the Paḥad Yiṣḥaq (‘the Fear of Isaac’), an encyclopaedia of Talmudic laws and the subsequent responsa (answers), many of which were his or by his teachers, pupils and colleagues. The author continued to work on the book throughout his life, and had it published as an old man. The whole twenty volume collection was printed at the end of the 19th century, almost 130 years after the author’s death. We do not know which grave is Lampronti’s because for years there was Church ban on placing tombstones, and the Ferrara’s Jewish cemetery was also looted at the time. In 1872 a plaque was placed at his home in Via Vignatagliata, and in 1957, the town council added a second commemorative plaque to his house to mark the bicentenary of his death, as well as naming the small square connecting Via Vittoria and Via Vignatagliata after him. The Jewish community also placed a plaque in his memory in the main hall of the former Italian Synagogue.
A collection of ceremonial artefacts and many other items witnessing Ferrara’s Jewish history.
The Synagogue was originally built in 1603 as German rite and is currently used as the main temple for well attended ceremonies. In 1532, the Ashkenazi community had obtained permission from the Roman Catholic Apostolic Delegate to open its own place of worship. Initially it was just a room in what is now Via Vittoria but subsequently, the ecclesiastical authority ruled that it had to be within the premises of the Italian one. Thirty years previously (1573) the two had already merged. Over time, the hall repeatedly underwent renovation, as can be seen in the 1760, 1827, 1859 and 1905 plaques. Architect Ippolito Guidetti carried out the most significant refurbishment in the late 19th century when he had also begun restoration on the Italian Tempio Maggiore. Both synagogues were renovated according to a floor plan informed by the Roman Catholic liturgical space, with the tevah in front of the Aron and the public seating in rows of parallel benches. Opposite the five large windows there are square stucco panels depicting furnishing and objects of the Tabernacle. The current layout is the result of the post-war reconstruction, that took place after the Nazi-Fascist destruction. The original 17th century carved wooden Aron was saved, while the marble balustrade that enclosed the tevah was in such a state it could not be repaired, so a similar one was made rescuing parts from the Italian Temple. In addition, chairs and benches were brought from Lugo’s synagogue, closed since the 1930s.
A small Italian rite synagogue probably built between the 17th and 18th centuries, for everyday use in addition to the main synagogue. We know that it was still in use until 1943 for commemorations for the deceased, and for weekday services during the winter months. It now acts as a ‘small temple’ and is in use all year round. Along with the other halls in the community’s main building, it was ransacked and destroyed during the Second World War. Once rites resumed, the hall was renovated using 19th century furnishings from the town of Cento’s synagogue, not in use since the 1930s. The seating, tevah and the wooden portal all come from there. However, the marble inlaid Aron (1729) was already in the Fanese synagogue, arranged in a common tripartite layout, two chairs flanking the central compartment which holds the Scrolls of the Law.
Florence's ghetto was established by Cosimo I de’ Medici in 1570. It covered the area facing today’s Piazza della Repubblica, between Via Roma, Via Tosinghi and Via Brunelleschi, according to the plan of grand-ducal engineer Bernardo Buontalenti. The daily life of the local Jewish population was spent in this gated area. Two synagogues – the Italian one, and the Spanish one – overlooked a central square, in which a well provided the entire community with water. Between 1704 and 1714 the ghetto was expanded as far as Via de’ Pecori: an edict by Cosimo II had in fact withdrawn the privilege granted to many Jews to live outside the ghetto, and it became necessary to increase the available residential space. The restrictive conditions were somewhat relaxed after 1737, when the House of Lorraine came to power. After an interruption during the years of French rule, the gates were definitively dismantled in 1848 and Jewish emancipation was recognized by the Parliament of the Kingdom of Italy in 1861. In the late 19th century, an urban requalification plan led to the demolition of the original buildings, and the construction of the blocks which still exist today. You will not, then, be able to see particular buildings or vestiges of the ghetto, but simply identify the area on which it once was.
Many places once used as cemeteries have been identified. The first, across the Arno, at the Chiasso de’ Giudei, was replaced by a second near what is currently the Lungarno della Zecca; this in turn was supplanted by others, which were created in the Porta San Frediano area. Here in 1777 the plot was purchased on today’s Viale Ariosto, to house the new Jewish burial ground which still exists, although it is no longer in use. This was joined in 1884 by the Rifredi cemetery, designed by architect Marco Treves. When it will no longer be possible to use it, a new cemetery will be founded in the San Silvestro (Cercina) area, with its grounds designed by the architect Renzo Funaro.
“A corner of the city that’s hidden and unfamiliar even to most Florentines themselves”: such is the Jewish Monumental Cemetery, which opened in 1777 outside the gate of San Frediano and remained in use until 1870. A tall perimeter wall acts as a jealous guardian to protect, like a precious chest, a major cultural treasure. It is made up of funerary chapels and monuments, such as Cav. David Levi’s Egyptian pyramid-shaped tomb, which are timeworn yet worth visiting to discover this atmospheric place, which is emblematic of Jewish society. While there are none of the figurative works found in other Jewish cemeteries, some of the tombs are nothing short of sculptures, of considerable artistic value. Equally interesting are the funerary chapels in neo-Egyptian and neo-Renaissance style, such as that of the Franchetti family. The same styles are found in the oldest part of the Rifredi cemetery (13, Via di Caciolle), designed by Marco Treves (one of the three architects who designed the Tempio Monumentale) between 1881 and 1884. The recently-restored mortuary chapel takes the form of a central-plan temple in Renaissance style, with painted decorations on the inside. Jewish tradition does not allow for bodies to be exhumed, except in a few specific cases; generally more than one cemetery or “campaccio”, the term used to denote Jewish burial grounds, was found in each city. When the whole area had been covered by tombs, a new plot needed to be found, even though human and municipal circumstances often flouted this rule, requiring remains and tombstones to be moved elsewhere.
On the side of the Church of Orsanmichele, in the penultimate niche on Via de’ Lamberti, is the tabernacle of the Virgin. It is connected with an act of intolerance which took place in 1493, when a Jew was accused of having vandalized the face of the Virgin Mary, a 14th century work by Giovanni Tedesco, and was subsequently executed. The inscription on the sculpture’s plinth reads: “Hanc ferro effigiem petiit iudaeus et index / ipse sui vulgo dilaniatus obit / MCCCCLXXXXIII”.