Casa di Giulietta – Juliet’s house

Cenni storici. La “casa Capuleti” è stata a lungo proprietà della famiglia Dal Cappello. L’accostamento Cappello-Capuleti ha portato a credere che questa sia stata la casa di Giulietta, l’amante infelice della nota tragedia scespiriana. In realtà l’edificio risale al XII secolo. Nel 1905 la casa fu acquistata dal Comune di Verona. L’edificio ha assunto l’aspetto attuale soltanto settant’anni fa: a trasformarlo da anonimo ex-stallo a dimora della sognante Giulietta fu Antonio Avena, il direttore dei musei cittadini. L’aspetto e la strutturazione interna dell’edificio, prima del restauro, rimangono avvolti nel mistero. Dobbiamo accontentarci di osservare il fatto compiuto, tutto all’insegna di una “scenografia del medioevo”.

Architettura ed arte. Nel complesso gioco del “restauro” la più rispettata fu la struttura degli spazi: infatti, studi recenti sulla casa medievale restituiscono l’immagine di un ambiente abbastanza simile a quello di casa Capuleti. Qui sono ancora leggibili elementi come la balaustra che mette in comunicazione, dall’esterno, i diversi corpi della casa, e la sala principale al primo piano, che ben si adatta all’immagine di stanza “a più usi”: tradizionalmente, infatti, la stanza più importante era adibita a camera padronale, ma poteva, all’occorrenza, trasformarsi in salone delle feste; stava poi all’abilità dei servi spostare mobili, tappeti ed arazzi dando vita in pochi istanti ad uno scenario di festa. Significative, a questo proposito, sono le decorazioni pittoriche che, pur riproponendo temi più o meno correnti per l’epoca di costruzione della casa, sono state integralmente proposte ex-novo. Un unico brandello di pittura originale si intravede nella sala principale: in un punto è ancora leggibile l’evanescente traccia di una bordura a “finto vaio”, ossia riproducente quei festoni di pelli di ermellino con cui i più ricchi ornavano i saloni delle loro dimore. Nel cortile è collocata la statua bronzea di Giulietta, opera dello scultore Nereo Costantini.

Juliet’s house

Historical Notes. “Capuleti House” was long the property of the Dal Cappello family. The combination of Cappello and Capuleti led people to believe that this had been Juliet’s house, the unhappy lover of the noted Shakespearean tragedy. In reality the building dates from the XII century. In 1905 the house was purchased by the City of Verona.
The building took on its current aspect only seventy years ago: Antonio Avena, director of the cities museums transformed it from an anonymous ex-stall to the home of the dreaming Juliet. The aspect and internal structure of the building, prior to the restoration, remain a mystery. We must be satisfied to observe the end result, under the sign of a “medieval scenography”.Architecture and Art. Overall, the “restoration” respected the structure of the interior more than anything else. In fact, recent studies on medieval living give us an image of a living environment that was quite similar to Capuleti House.
Elements such as the banister that puts the various bodies of the house into communication, and the prinicple hall on the first floor, which is well adapted to the image of the “multi-purpose” room, can still be read: traditionally, in fact, the most important room was appointed as a master bedroom, but it could, if necessary, be transformed into a hall for parties; it depended upon the ability of the servants to move furnishings, carpets and tapestries, giving life in a few minutes to a scenario suitable for a party.
The pictorial decorations, in this connection, are meaningful. Although they re-propose more or less current themes for the era the home was built in, they have been proposed entirely ex-novo. Only one single strip of original painting can be glimpsed in the main hall: at one point the evanescent trace of an “imitation vair“ border cans till be seen, which reproduces the festoons of ermine furs, with which the rich decorated the halls of their dwellings.
In the courtyard there is a bronze statue of Juliet, a work by the sculptor Nereo Costantini.

One of the most celebre Verona attractions ever. Read details about Romeo and Juliet story and Juliet house .

Visiting hours: 8am-7pm
closed on Monday




Historical Notes. Regardless of the ancient site that hosts it (the convent, which previously belonged to the Cappuccini Monks, dates from the XIII century), Juliet’s tomb as we now see it dates only back to 1937. That year, the Director of Veronese Museums Antonio Avena decided to give a new face to the site most identified as the place of burial of the Shakespearean heroine. An ancient red marble sarcophagus had lain in the garden of the former convent for decades, perhaps even centuries. With no cover, the completely empty sarcophagus was indicated as the place of burial of the beautiful Juliet, as early as the beginning of the nineteenth century.
Another important event created the final push to transform the site that hosted Juliet’s tomb: a stay in Verona by the troupe of Metro-Goldwin-Mayer, which was then seeking ideal settings for its new colossal film, Romeo and Juliet. The film (starring Norma Shearer and Leslie Howard), was not recorded in Verona, but the extraordinary success that it enjoyed allowed Avena to imagine an imminent, conspicuous flow of tourists to Verona, in search of the places described in the film. Here, however, the final scene of the double suicide was not set in the cloister of the convent, but in a crypt: it was probably on inspiration of the cinema choice that the museum director decided to give the sarcophagus a more suggestive backgound. Today, Juliet’s tomb is the sight where civil weddings are celebrated: many couples come especially from abroad, to crown their dream of love in the place where Romeo and Juliet saw their hopes shattered. And here, in the den illuminated by the high gothic windows, where the empty tomb awaits the romantic tribute of visitors, a singular tradition was born: the habit of addressing messages of love to “Juliet, Verona”. An entire squad of secretaries gathers these messages and answers them, because the story of Juliet is legend, but the throes of love that afflict men and women from every continent are a reality.


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