Welcome to Coradi Rare Finds, a business dedicated to art, antiques, and collecting. We are passionate custodians of historical treasures, committed to the research and preservation of unique pieces that tell stories of elegance and history through the ages.
Coradi Rare Finds was born from a shared passion for art, a deep love for antique objects, and collecting. Every piece that comes into our hands is carefully selected, contributing to the creation of an eclectic collection that spans artworks to objects representing different eras and stories.
At the heart of our business lies antiques, where every item tells a unique story. We are dedicated to unearthing forgotten gems, ensuring each piece has an authentic origin and intrinsic value. From elegant porcelain to refined furniture, our collection reflects the art and craftsmanship of past epochs.
Collecting is another chapter in our story, where every object becomes a small part of a larger world. Our selection embraces various passions and interests, creating a bridge between different eras through the fascinating world of collecting.
Our location is a place where enthusiasts can immerse themselves in a journey through time, exploring the different areas of our collection.
We are committed to preserving cultural heritage through meticulous care and attention to detail. Each piece in our collection is an investment in the past, a tribute to the craftsmanship of bygone times that continues to inspire and captivate future generations.
Join us on our journey through time and timeless beauty. Our business is more than a place to purchase; it is a haven for those who share a passion for art, antiques, vintage cars, and collecting. Welcome to our world, where the past still lives.
Fenaroli Palace
The palace was commissioned by Pietro and Francesco Fenaroli at the end of the 18th century to architect Giovanni Donegani (Le Dimore Bresciane in cinque secoli di storia, Fausto Lechi, 1977; Volume VI, pp. 219-227). Its facade is wide, framed by two large stone pilasters, with a modest number of openings, returning to the austere classicism of the 16th century. The rhythm of the windows, arranged in two levels and divided horizontally by a stringcourse, adds to the classical elegance. The stone balcony, supported by four fluted pilasters, frames the portal and embraces the three central windows, which are adorned with stone panoplies of arms. Two stone seats are placed on the sidewalk between the lateral pilasters. The linear jambs of the windows on the first floor are supported by consoles with volute designs. The atrium, with two columns at the center and two columns toward the garden, is airy and harmonious.
The central body of the building is developed according to a U-shaped plan, overlooking a large Italian-style garden with three fountains. Two fountains are contemporary and made of Botticino stone, while the central fountain, known as the "Fountain of Neptune," is attributed to Sante Callegari il Vecchio and dates back to the late 17th century (Di Mille Fontane a Brescia, Danilo Allegri, 1974). This fountain originally adorned Palazzo Martinengo Cesaresco, known as the Palazzo dell’Aquilone, and disappeared during renovations in 1896. In 2022, it was acquired by the new owners of Palazzo Fenaroli and placed in the center of the garden. Fausto Lechi, in Le Dimore Bresciane in cinque secoli di storia, Volume VI, p. 337, incorrectly mentions the original location of the fountain as Palazzo Martinengo Villagana, located on Corso Martiri della Libertà 13.
On the opposite side, closing the garden, there is another building erected between the 14th and 15th centuries, later used as a stable by the Fenaroli family (Le Dimore Bresciane in cinque secoli di storia, Fausto Lechi, 1977; Volume II, p. 214). The facade facing the evening sun is notable for its details. The wall is constructed with cobblestones arranged in a herringbone pattern, with a large brick portal and six ogival windows. This area, in the 15th century, was known as "Pozzo dei Cazagi," suggesting it may have been the home of the ancient Cazzago family. The 1416 land registry reveals that Guglielmo Cazzago lived here.
In 1970, a chapel was established at the request of the Bishop of Maringà, Brazil, Jaime Luiz Coelho, to facilitate Brazilian priests in transit who needed a private place to celebrate mass. Inside, the Rocchetto di Giovanni XXIII is kept, a relic donated to Priest Loris Capovilla, who offered it to the Missionary Works at Palazzo Fenaroli during Christmas of 1971.
Beneath the atrium is the Scalone d’Onore (Staircase of Honor) with two flights and a baroque balustrade. The walls and ceiling of the staircase and the adjacent gallery are filled with decorations of faux columns, windows, arms, and trophies. These were created by Giuseppe Manfredini in 1804, as noted by the date inscribed by the artist on one of the trophies in the gallery’s north wall. Two medallions, one round with symbols of fame and one octagonal with symbols of nobility, appear on the ceiling. These were not painted by Manfredini and are stylistically different from the rest of the decor.
The Sala Grande d'Onore (Great Hall of Honor) is the most striking expression of Giuseppe Manfredini’s work in Brescia and one of the pinnacles of Italian Neoclassicism, showcasing his skillful use of perspective and scenography. The room is entirely painted, with an inscription reading: INGENIO ET MANV IOSEPHI MANFREDINI ANNO MDCCCVI. The short sides of the hall feature perspectives with views of Italian gardens, framed by draped curtains and ancient statues. The long sides are marked by columns, painted female divinities, and a balustraded loggia with figures in aristocratic dress, surrounded by symbols of knowledge like globes, compasses, architectural plans, and books. The ceiling includes another balustrade and a view of the sky with flying birds.
Towards the courtyard, a vaulted room called the Sala delle Rovine (Room of Ruins), also painted by Manfredini in 1804, was restored by Giuseppe Pasotti in 1970. The walls depict ruins from various eras—Egyptian, Greek, Roman, and Gothic—framing clear perspectives that showcase Roman monuments. The absence of human figures suggests a reflection on the transience of life and the inevitability of time’s destruction. Notably, Egyptian ruins with a hieroglyphic stele and Gothic ruins appear for the first time in Brescia.
The rooms facing the street include a vaulted hall with neoclassical decoration. The ceiling features an imposing grisaille frame with candelabra elements, shields, and dragons surrounding putti. On the short sides, the Fenaroli and Caprioli family crests are flanked by amorini and floral garlands, symbolizing the union of the two families. The central part of the ceiling depicts an allegorical scene within a golden frame.
Downhill, another hall known as the Sala delle Divinità (Room of Divinities) contains four paintings: Diana, Endymion, Bacchus, and Ariadne, by the same artist. An alcove room separated by an arch with wooden decorations of oak leaves, vines, and roses symbolizes strength, power, well-being, fertility, and beauty. At the top of the arch, two doves surrounded by leaves and grape clusters symbolize peace, love, and purity.
The north side of the building contains a vestibule with trompe l'oeil decoration reminiscent of the Scalone d’Onore. The ceiling is a polygonal opening with a cross-shaped lacunary motif, adorned with rosettes and ancient amphorae.
Under the Law of June 1, 1939, n. 1089, protecting objects of artistic and historical interest, Palazzo Fenaroli was declared of particular historical importance on January 3, 1957, and is subject to all protection regulations.
In recent history, Palazzo Fenaroli has hosted various events. In 1974, it served as the meeting place for the founders of the newspaper Bresciaoggi. Some scenes from the 1974 film Allonsanfan by the Taviani brothers, starring Marcello Mastroianni, were filmed in the halls of the Scalone d’Onore and the Gallery. The palace also hosted the studios of Teletutto, a television station founded in 1977, and served as the headquarters for the Secretariat of the Brazilian Works of Pope John XXIII for several decades. In June 1973, it welcomed a Lao Buddhist delegation led by Patriarch Somdet Phra Phutta Sinoroth, the highest religious authority for Laotian Buddhists, on an official invitation from the Vatican.
Today, the palace houses a collection of artworks and antiques of significant historical and collector value.
