1749 - 1821
The architect Angelo Venturoli was formed in the context of the Clementina Academy in Bologna, where he was a pupil of Petronio Fancelli, then at the appointment of Academician in 1781, and as a "director" (professor) of Architecture.
The juvenile presence in Venice and in the North Veneto is to be considered the root of the assimilation of the Renaissance taste of architect Andrea Palladio, a component that will always be present in its production. The “neo-arts” of sixteenth Century, however, does not run out of its rich personality, which was a great professional, capable of responding to the needs of a very large commission, addressing an ever-changing architectural typology and always resolving every problem with a natural elegance that undoubtedly constitutes its constant figure. Venturoli appears to be the dominant figure of the period, capable of imposing its classicist taste throughout the Bolognese territory. Clear evidence of his human, political, and professional abilities is the unhindered past through the tumultuous years ranging from 1796 - the year of arrival of French troops - to 1815 with the restoration of the Pontifical State. In the various regime changes and governments, Venturoli has managed to keep intact the prestigious relationships with the local aristocracy and curia, with the most revolutionary and the most conservative members. In order to fully understand the quality and the size of its work, let us remember the sumptuous Palazzo Ercolani in Bologna and the suburban villa for the same family, as well as Villa Malvezzi Campeggi in Bagnarola of Budrio, considered the "Versailles of Bologna". Significant examples of his "sacred" production are the Church of the Sacred Heart at Castel Guelfo, the numerous Monuments for the Certosa of Bologna, and the many architectures always built for the cemetery. Venturoli maintained constant relations with his hometown, where he was repeatedly called for advice and projects of sacred furnishings.
Still today you can see its 'Porticone' in Saffi street and Villa Modoni (then Gennari), the latter recently restored. The need to follow and design buildings of the most diverse dimensions and functions of use leads him to surround himself with a real 'army' of artists, who call him to meet the aesthetic and practical needs of the clients: sculptors, painters, furniture makers, plasterers, clay workers. Among his collaborators is the figure of the sculptor Giacomo De Maria (1762 - 1838), then appointed director of the studies of the Venturoli artistic college of Bologna, founded by the testamentary will of the medical architect. The Collegium itself retains the files, letters, accounts and drawings of its vast design activities, which allow it to study its catalog from within - and step by step - by verifying ideas, intuitions, contacts with others contemporary architects. At the Marquis Antonio Bolognini Amorini (1767 - 1845) we must be the most important biography of Venturoli, published in 1827, which also includes a long list of his most important works. However, a true monograph is waiting for us to give you an overall picture, although we have to point out that many studies have been devoted to him in recent years.
Traduzione dall'italiano di Emanuele Mazzoli, Associazione Amici della Certosa di Bologna.