Fuente de la Diosa Pomona

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Fuente de la Diosa Pomona by Juan Bautista Bado, 1864
Plaza de San Francisco
Málaga, March 2025

“The Plaza de San Francisco emerged in the mid-19th century as a result of the urban reforms brought about by the Mendizábal confiscation. The disappearance of the Franciscan convent of San Luis el Real allowed its square to become a public square. Several cultural institutions, such as the Lyceum and the Philharmonic Society, were built in parts of the former monastery, giving the square a cultured and romantic atmosphere as a meeting place for writers, musicians, and artists. It was precisely at this time that a classically inspired fountain was installed in the center of the square's triangular space, crowned by a sculpture of the Etruscan-Roman goddess Pomona, protector of flowers and fruits. This fountain, initially acquired for installation at Porta Nuova, was made of Carrara marble by the sculptor Juan Bautista Bado in the Italian city of Savona. The fountain's pillar rises from a circular marble basin, with a pedestal-like column shaft bearing the date of its execution (1864). The upper half of this shaft is fluted, while the lower half is decorated with four masks (from whose mouths water flows), connected by garlands. The goddess appears dressed in Roman style, wrapped in heavy draperies, and carries a basket of flowers and fruit in her left hand, symbolizing her protection of fruit trees.” (Fountain of the Goddess Pomona, Fuentes de Málaga)

Bartolomeo Montagna

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Bartolomeo Cincani ‘il Montagna’
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“Bartolomeo (or Bartolommeo) Montagna (1450?– 11 October 1523) was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.” (Bartolomeo Montagna, Wikipedia)

Canal de Isabel II

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Elevated reservoir of the Canal de Isabel II
Calle Santa Engracia, Chamberí
Madrid, September 2025

“Canal de Isabel II (CYII) is the company that manages the bulk of water supplies for the Community of Madrid. It is primarily owned by the regional administration through the so-called Ente Público Canal de Isabel II, with a minor stake owned by local governments. The Y in the abbreviated form of the company's name is from the old spelling Ysabel for Queen Isabel II, during whose reign a modern water supply was provided for Madrid. A canal was constructed to provide water from the catchment of the river Lozoya. The water entered the city through its northern suburbs using gravity.” (Canal de Isabel II, Wikipedia)

Tobiolo

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Tobiolo by Amleto Sartori, 1958
Piazzetta Garzeria
Padua, May 2025

“The sculpture ‘Tobias’ represents an emblematic moment in Sartori's artistic maturity, steeped in biblical and mythological imagery that reflects his passion for literature and the human condition. Made in 1958 as a full-relief bronze sculpture (approximately 1 meter tall), it depicts Tobias (or Tobiolo), the young protagonist of the Old Testament Book of Tobit, captured in the dynamic gesture of clutching a fish in his arms. This episode alludes to the miracle in which Tobias, guided by the Archangel Raphael, catches a fish in the Tigris River: from its entrails he will extract the gall that will cure his father Tobit's blindness. The figure is rendered with elegance and vitality: the boy's slender, athletic body, twisted, conveys muscular tension and a sense of imminent movement, as if the fish could escape at any moment. Sartori infuses the sculpture with a grace ‘possessed by the material’, where the bronze seems to come alive with an emotional storm – formal perfection combined with a playful cunning, echoing his theatrical masks. The work is part of a series of ‘heroic and mythological’ sculptures that Sartori produced in the postwar period, often in cast bronze, influenced by his exploration of form and gesture. Displayed in retrospective exhibitions (such as the 2015 one at the Galleria Cavour in Padua for the centenary of his birth), ‘Tobiolo’ is praised for its ability to ‘come alive in an instant’, symbolizing themes of salvation, youth, and divine intervention.” (Tobiolo, Grok)

Alcázar de Segovia

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Alcázar de Segovia
Plaza Reina Victoria Eugenia
Segovia, September 2025

“The Alcázar of Segovia is a medieval castle located in the city of Segovia, in Castile and León, Spain. It has existed since at least the 12th century, and is one of the most renowned medieval castles globally and one of the most visited landmarks in Spain. The fortress stands on a rocky crag at the western end of Segovia's Old City, which was declared a UNESCO World Heritage Site in 1985, above the confluence of the rivers Eresma and Clamores. Since its declaration as a National Archive by a Royal Decree in 1998, it has been used as a museum and a military archive. It has also been used as a state prison, a Royal Artillery College, and a military academy. The Alcázar served both as a royal palace and a fortress for the Castilian monarchs. Its history begins in the 12th or early 13th century when the royal family of Castile had quarters in the Alcázar, known as the "major palace". In the Homage tower, the treasure of the Crown of Castile was stored, from which funds were secured to finance Christopher Columbus's first voyage. In 1437, the books of the royal administration were moved to the Alcázar, establishing one of the first royal archives of Castile and laying one of the foundations for the current General Archive of Simancas. Additionally, the Alcázar housed the royal armory, which served as the basis for the one now exhibited in the Royal Armoury of Madrid.” (Alcázar of Segovia, Wikipedia)

Church of San Giuseppe

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Church of San Giuseppe
Via San Giuseppe
Florence, December 2024

“San Giuseppe is a Baroque architecture, Roman Catholic church building located on Via San Giuseppe, near Piazza Santa Croce, in central Florence, region of Tuscany, Italy, and is one of two churches and an oratory in the city dedicated to Saint Joseph. The church was built on a site that once held the oratory of the Confraternity of St. Joseph, and the present church was designed by Baccio d'Agnolo. In 1583, the complex was deeded to the Minims of Saint Francis of Paola. A new façade was completed in 1759. When the Minim order was suppressed in 1784, the convent was put to new uses.” (Church of San Giuseppe, Wikipedia)

Palacio de la Salina

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Palacio de la Salina
Calle San Pablo
Salamanca, September 2025

“The Palacio de la Salina in Salamanca is a Plateresque-style building with Italian elements, constructed in 1538. It features a graceful façade and a courtyard with arches, capitals, and corbels of great interest. The architect was Rodrigo Gil de Hontañón. The palace was built by Rodrigo de Messía Carrillo (or Mejía), married to Doña Mayor de Fonseca y Toledo, lords of La Guardia, which is why it is also known as the Palace of Don Rodrigo de Messía or Fonseca. The firstborn of the marriage, Gonzalo Messía Carrillo, inherited most of the family assets on August 17, 1549, but the mother wanted to bequeath to her second son, Juan Alonso de Fonseca, some assets she had brought to the marriage and, among them, the palace (and it is quite possible that the son adopted his mother's family name for this reason). For this reason, the Fonseca coat of arms appears on the façade and the palace is known as the Palace of Fonseca. It owes its name (La Salina) to having been the headquarters of the salt monopoly (until 1870) and its layout, open to the street, shows that it is a building constructed from the beginning to be public and not intended as a residence, so it can be stated that said Juan Alonso de Fonseca, was the concessionaire of the salt monopoly in the city. And also that the legend that links the palace to Archbishop Fonseca is not true either. It has been the headquarters of the Provincial Council since 1884. The institution purchased it in 1881.” (Palacio de la Salina, Wikipedia)

Church of San Pietro Martire

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Church of San Pietro Martire
Via Sant'Alessio
Verona, May 2025

“The church of San Pietro Martire, also called the church of San Giorgetto, is a deconsecrated Catholic church located in Verona; built on the churchyard of the Basilica of Santa Anastasia, it constitutes an interesting scenic backdrop to the Gothic square. Construction work began in 1283 and it was consecrated on 24 April 1354. From the mid- 14th century it was granted to the ‘Brandenburg’ knights following Cangrande II della Scala; subsequently it passed to a lay brotherhood, to a noble family and to the nearby Dominican convent. Suppressed during the Napoleonic occupation, today it is owned by the Municipality of Verona. Predominantly Gothic in style, its composition appears relatively simple but harmonious. The façade features a portal embellished with a suspended porch, while inside there are numerous frescoes by unknown artists, as well as works by Domenico Brusasorzi and Gian Maria Falconetto . Outside, on the rear wall, are set several finely crafted early medieval arches.” (Chiesa di San Pietro Martire, Wikipedia)

Torreón de los Guzmanes

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Torreón de los Guzmanes
Plaza Corral de las Campanas
Ávila, September 2025

“The Torreón de los Guzmanes is a Renaissance building located in the Spanish city of Ávila (Castile and León). The building is also the current headquarters of the Provincial Council of Ávila. It was built in 1513 by order of Garcibáñez de Mújica, on another building that previously belonged to Sancho del Águila.In 1878, King Alfonso XII, during a visit to the city, stayed in this palace. The Argentine writer Enrique Larreta set part of his 1920 novel ‘La gloria de don Ramiro’ (The Glory of Don Ramiro) in this building.” (Torreón de los Guzmanes, Wikipedia)

Gian Giorgio Trissino

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Gian Giorgio Trissino by Giuseppe Zanetti, 1950
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“Gian Giorgio Trissino (8 July 1478 – 8 December 1550), also called Giovan Giorgio Trissino and self-styled as Giovan Gi?rgio Trissino, was a Venetian Renaissance humanist, poet, dramatist, diplomat, grammarian, linguist, and philosopher. He first proposed adding letters to the Italian alphabet to distinguish J from I, and V from U. Trissino was born of a patrician family in Vicenza. He sided with Holy Roman Emperor Maximilian whose army entered Vicenza in June 1509, accompanied by members of Vicentine nobility including the Thiene, Chiericati, and Porto families. When Venice reconquered Vicenza on 12 November 1509, Trissino was punished for his betrayal and sent into exile. He then traveled to Germany and Lombardy and was pardoned by Venice in 1516. He eventually came under the protection of Pope Leo X, Pope Clement VII, and Pope Paul III. He had the advantages of a good humanistic training, studying Greek under Demetrios Chalkokondyles at Milan and philosophy under Niccolò Leoniceno at Ferrara. His culture recommended him to the humanist Pope Leo X, who in 1515 sent him to Germany as his nuncio; later on Pope Clement VII showed him special favour, and employed him as ambassador.” (Gian Giorgio Trissino, Wikipedia)

Plaza de la Merced

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Monumento a Torrijos
Plaza de la Merced
Málaga, March 2025

“Plaza de la Merced is a public square located in the barrio La Merced in central Málaga, Spain. The plaza has been a part of the city since the city of Málaga's Roman era, and has been operating as a town market place since at least the fifteenth century. It is one of the largest public squares in Málaga’s city center, and is also known for containing Pablo Picasso's childhood home.” (Plaza de la Merced, Wikipedia)

Museo Antoniano

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Museo Antoniano
Piazza del Santo
Padova, May 2025

“The Antoniano Museum, annexed to the Basilica of the Saint in Padua, is a permanent exhibition of historical-artistic objects linked to the life and cult of Saint Anthony of Padua. In 1895, during the restoration of the basilica and the entire Antonian complex, it became necessary to give a home to the relics that were scattered in the Antonian Library, in the cloisters and in other areas of the convent: these were artefacts that the basilica had abandoned or received as gifts. Opened at the beginning of the twentieth century, the museum was closed in 1940 with Italy's entry into the Second World War, to be reopened in 1995 when eight centuries had passed since the birth of the Saint.” (Museo Antoniano, Wikipedia)

Puerta de Alcalá

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Puerta de Alcalá
Plaza de la Independencia
Madrid, September 2025

“The Puerta de Alcalá is a Neo-classical gate in the Plaza de la Independencia in Madrid, Spain. It was a gate of the former Walls of Philip IV. It stands near the city center and several meters away from the main entrance to the Parque del Buen Retiro. The square is bisected by Alcalá Street, although the street does not cross through the monument, and it is the origin of the Alfonso XII, Serrano and Olózaga streets. Its name originates from the old path from Madrid to the nearby town of Alcalá de Henares. Madrid in the late 18th century still looked like a somewhat drab borough, surrounded by medieval walls. Around the year 1774, King Charles III commissioned Francesco Sabatini to construct a monumental gate in the city wall through which an expanded road to the city of Alcalá was to pass, replacing an older, smaller, gate that stood nearby. It was inaugurated in 1778. The ornamental details were sculpted by Francisco Gutiérrez and Roberto Michel, and made of white stone from Colmenar. The architectural elements are chiefly made of granite from Segovia.” (Puerta de Alcalá, Wikipedia)

Carlo Maggiorelli

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Monument to Carlo Maggiorelli, 1966
Anconella water treatment plant
Via Villamagna
Florence, December 2024

“The Monument to Carlo Maggiorelli (Italian: Monumento a Carlo Maggiorelli) is a memorial dedicated to Carlo Maggiorelli, an aqueduct worker and the first victim of the devastating 1966 Florence flood (Alluvione di Firenze). It honors his heroic sacrifice during the disaster. Maggiorelli (1915–1966) was an operaio (worker) employed by the municipal aqueduct service in Florence. On the night of November 3–4, 1966, during his night shift at the Anconella water treatment plant (Impianto di Potabilizzazione dell'Anconella) on the banks of the Arno River, the river burst its banks, flooding the city with up to 6 meters (20 feet) of water and mud in some areas. Instead of fleeing, Maggiorelli stayed at his post to secure the facility and protect the water supply for Florence. He was tragically swept away by the torrent and drowned, becoming the flood's first confirmed casualty. Unveiled in 1996 at the initiative of the association Firenze Promuove, the monument is a simple yet poignant bronze plaque and bust sculpture depicting Maggiorelli in his work uniform, symbolizing labor and heroism. It was created to preserve his memory as a local hero. Situated at the main entrance to the Anconella Water Treatment Plant. Originally inside the adjacent Parco dell'Anconella, it was relocated and restored in 2016—marking the 50th anniversary of the flood—to improve visibility from the street. The site overlooks the Arno, tying directly to the events of his death.” (Monument to Carlo Maggiorelli, Grok)

Iglesia de la Vera Cruz

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Iglesia de la Vera Cruz
Carretera de Zamarramala
Segovia, September 2025

“The church of the True Cross (Iglesia de la Vera Cruz) is a Roman Catholic church located in the San Marcos district of the city of Segovia, in the autonomous community of Castile and León, in Spain. Formerly known as the Church of Holy Sepulchre, it is located to the north of the city, very close to the convent of San Juan de la Cruz, on the slope that ascends to Zamarramala, a town of which it was, for centuries, a parish church. It consists of a nave with a dodecagonal floor plan that surrounds a small central two-story shrine (edicule), to which apses and the tower were added. It is one of the best-preserved churches of this style in Europe. It was declared a Spanish Property of Cultural Interest on 4 July 1919.” (Iglesia de la Vera Cruz, Wikipedia)

Frutto Oggetto Scultura

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‘Frutto Oggetto Scultura’ by Gino Bogoni, 1990
Piazza San Nicolò
Verona, May 2025

“‘Frutto Oggetto Scultura’ is a round bronze sculpture with a three meters long diameter, erected on a cylindrical pedestal. It was made by the sculptor Gino Bogoni (Verona, 1921-1990), who wanted to reproduce an earlier work he had created in 1967. The work was donated by Bogoni’s family to the city of Verona and inaugurated in 1999. The sculpture is in good conditions; the bronze is slightly damaged in the upper part of the sphere, because of oxidation. In the pedestal there are some signs of vandalism.” (Frutto Oggetto Scultura, VisitVerona)

Torre del Clavero

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Torre del Clavero
Calle Consuelo
Salamanca, September 2025

“The Torre del Clavero is one of the most typical and well-known monuments in the city of Salamanca, Spain. Although it is not very well documented and lacks a specific monograph. There is no agreement among historians as to who commissioned its construction, this Gothic tower is one of the best preserved in the peninsula. On the one hand, there are authors such as Villar y Macias who believe that its promoter was Mr. Baño Clavero in 1470 (the person who guarded the keys and archives of the Order of Alcántara), hence its name, or it is thought that it was commissioned by Francisco Soto Mayor, a member of the aforementioned order. On the other hand, there are those who say that it was commissioned by Diego de Anaya, also a member of the same Order of Alcántara; this thesis is defended by researcher González Dávila y Dorado. It is true that the heraldic emblems of both decorate and adorn their walls. The Clavero Tower was erected in the second half of the 15th century, although there is some controversy as to its function, whether it was a defensive tower or an integral part of a palace in the second half of the 15th century. Although its height is low to be defensive, some authors assume that the tower was attached to a civil construction; if so, it would follow a typical construction of urban buildings, so Professor Edward Cooper points out that it could have been a reduced imitation of the Cordoban Castle of Belalcázar, whose tower is practically identical and with which there are existing links. Other authors, such as Álvarez Villar, think that its layout and height do not allow us to imagine any type of defense. Again in the 15th century, its status as a noble promotion will be seen, although we must not forget the very important Board of Trustees of the University existing at the time”. (Torre del Clavero, Wikipedia)

Muscovy duck

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Muscovy duck
Giardini Salvi
Corso SS. Felice e Fortunato
Vicenza, May 2025

“The Muscovy duck (Cairina moschata) is a shelduck native to the Americas, from the Lower Rio Grande Valley of Texas and Mexico south to Argentina and Uruguay. The species has been domesticated, and feral Muscovy ducks can be found locally in New Zealand, Australia, the United States, and in Central and Eastern Europe. It is a large duck, with the males significantly larger than the females. The males are 76–84 cm (30–33 in) long and weigh up to 3–4 kg (6.6–8.8 lb); females are 71–76 cm (28–30 in) long and 1.25 kg (2.8 lb) weight, roughly half the weight of the males. The wingspan is from 137 to 152 cm (54 to 60 in). The plumage is predominantly black, with large white patches on the wing; the back and wing feathers being iridescent and glossy in males, while the females are more drab. Muscovy ducks have long claws on their feet and a wide, flat tail. On the head, the male has a short crest on the nape. The bill is black with a speckling of pale pink. A blackish or dark red knob can be seen at the bill base, which is similar in colour to the bare skin of the face. The eyes are yellowish-brown. The legs and webbed feet are blackish. The female is similar in plumage, but smaller, with a feathered face and lacking the prominent knob. The juvenile is duller overall, with little or no white on the wing.” (Muscovy duck, Wikipedia)

Palacio de los Superunda

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Palacio de los Superunda
Plaza Corral de las Campanas
Ávila, September 2025

“The Palacio de los Superunda is a building in the Spanish city of Ávila , Castile and León . It has the status of Site of Cultural Interest. Located in the Castilian-Leonese city of Ávila, within the walled enclosure, close to the gates of the Matadero and the Rastro, along with other buildings of outstanding artistic and historical value. The palace, of Italian style, was built in the 16th century. In 1595 the stonemason Juan Vela carried out the works of the façade. Although its first resident was Ochoa de Aguirre, it owes its name to the Count of Superunda and Marquis of Bermudo, who had the opportunity to inherit it in the 19th century. This is a beautifully proportioned Renaissance building with a square floor plan. It consists of a basement, two floors, and two turrets at the ends of the main façade that break its horizontal character. The organization of the façade, although overall symmetrical, is not so in detail, as the doorway is under one of the side turrets.” (Palacio de los Superunda, Wikipedia)

Alberto Cavalletto

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Monument to Alberto Cavalletto by Augusto Sanavio, 1902
Via Cavalletto
Padua, May 2025

“Alberto Cavalletto (Padua, 28 November 1813 – Padua, 19 October 1897) was an Italian politician. He was a member of the Chamber of Deputies of the Kingdom of Sardinia in 1860 and a member of the Chamber of Deputies of the Kingdom of Italy from 1864 to 1865 and from 1868 to 1892. In that year he was appointed senator of the Kingdom of Italy. He was born in Bassanello, a riverside suburb of Padua, on November 28, 1813, to Antonio Cavalletto and Maria Sandri. He graduated in hydraulic engineering from the University of Padua. He joined the ranks of the Liberals at a very young age, and in 1848 he fought in Vicenza as a major in the Brenta Bacchiglione Legion and played an active role in the defense of Venice. Arrested by the Austrian police in 1852, he was sentenced to death together with Tito Speri, Giovanni Malaman and other patriots, but obtained a commutation of the sentence to sixteen years of imprisonment, which was served in Josefstadt and Ljubljana. Released with the amnesty of 1856, he moved to Piedmont, where he continued his patriotic work in favour of the unification of Italy under the Savoy. From January 1859, Cavalletto became a key figure in the Central Political Committee of Veneto, created to coordinate the local secret committees that acted in the territory with propaganda actions against the Habsburg government. In the last years of Austrian domination in Veneto, Cavalletto was the instigator (or accomplice of the organisers) of various attacks and the throwing of ‘Orsini bombs’ against the houses of priests and private citizens accused of opposing unification. The Political Committee, of which the Paduan was secretary, was also responsible for financing protest demonstrations in Veneto and Friuli, characterised by the lighting of ‘Bengal fires’ and the display of tricolours.” (Alberto Cavalletto, Wikipedia)

Patatas Paco José

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Patatas Paco José
Calle Souviron
Málaga, March 2025

“In Malaga there is a blue and yellow store with a giant lollipop at the door, in the middle of the gray buildings of the city that forced me to take a break. The store Paco José, in fact, is a factory of fried potatoes and other types of chips. But also sells everything is crap. In a good way, of course! Rather than buying potatoes, I was intrigued with a pot of ‘stone balls’ with the perfectly shaped stones that are on the ground in any city, but which are actually sugar candies.” (Patatas and more, Minube)