Casa del Rigoletto

This was the description in the Verdi's work.
Today, however, the house is not in a deserted location, nor is it in a dead-end road.
Given a certain degree of inventive and creative freedom, when the opera was created, many of the architectural elements surely matched.
The proximity of the house to the Duke's residence was ideal for an employee, and in particular for the court jester.
Today, we find the house in an airy piazza - neither dark nor deserted.
Up until the beginning of the Twentieth century, on the other hand, this end of the Piazza could have given this impression, as the area was divided into two spaces by a structure that connected Palazzo Ducale to the church of San Pietro.
This piazza, very dark and deserted, was referred to as the "piazzetta della legna" [the wooden piazza].
The nicest part is possibly the delightful loggia - now embellished by flowers - which is referred to by opera enthusiasts as "Gilda's balcony".
Between 1976 and 1977, due to the deplorable state of conservation of the house, conservative restoration work was carried out, with the collaboration of technicians and academics, and thanks to the sponsorship of Cassa di Risparmio di Verona, Vicenza, Belluno and Ancona.
The work uncovered evidence that certain structures confirm the theory of the walls forming the perimeter of the house being a part of the defensive wall around the city, so this house has very old origins.
Restoration work identified this construction in the outer part overlooking Vicolo Gallo.
Inside, they uncovered evidence of typical medieval construction materials (pebbles and bricks).
The house also shows signs of refurbishment, possibly in the Fifteenth century.
Different maps, from the past, show the existence of the house, albeit in different ways.
The most recognisable element in the maps is the entrance to the building, which is believed to have been in Piazza Canonica, instead of in the present-day Piazza Sordello.
Probably, the part of the building overlooking Piazza Sordello was the back of the original home which, during the Renaissance, was refurbished and converted to a more distinguished design, with elements like the pleasant loggia - in Fifteenth century Tuscan style - made of marble columns supporting a wooden architrave.
In the portico, on the ground floor, one may notice two Thirteenth century marble columns, which soften and embellish the entrance.
They probably come from the presbytery's cloister, and this would confirm the theory of refurbishment taking place in the Sixteenth century, modifying the original structure.
The house was provided by the Church Chapter to clergy.
or anyway to priests in the diocese.
Some of them were highly educated.
One, in particular, is believed to have made a contribution that would leave a permanent mark.
In fact, certain frescoes, two capitols on columns and certain decorations in the wooden ceiling on the ground floor contains a coat of arms with the monogram of the Arrivabene family.
Presumably, a clergyman of this family ordered the refurbishment of the house when he was living there.
As a decoration in the garden, a statue was added in 1978, representing "Rigoletto", the imaginary inhabitant of this home, as interpreted by sculptor Aldo Falchi.
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