A Journey in Prague and Beyond Through the Italian Influence

What is surprising, however, is the remarkable scale of the phenomenon, which paints a particularly rich picture not only in Prague but also in the less urbanized areas of Czech territory.

While Renaissance was struggling outside the Italian peninsula, the Summer Pavilion of Queen Anna Jagiello was built in Prague's Castle gardens in 1538, marking a significant achievement at the beginning of the 16th century.

The creator, Paolo della Stella from Ticino, had been in the Bohemian capital since April 10, 1538. This true gem of early Prague Renaissance was designed as a "pavilion of pleasure or delight," intended for parties, receptions and other court celebrations. 

Litomyšl Castle, located in the Pardubice region, is worth a visit. The beautiful building was commissioned by Vratislav of Pernštejn, known as the "Magnificent," starting in 1568.

The most significant feature of this building is undoubtedly the magnificent internal courtyard, with multiple orders of loggias designed by Giovanni Battista Aostalli de Sala. This type of courtyard, with its multi-storey loggias, most likely arrived in Bohemia from Germany.

Another castle worth visiting on the way to Český Krumlov is Kratochvíle. Constructed by Baldassarre Maggi in 1583, it was inspired by Italian villas and reflects the imaginative dream of its patron, Vilém of Rožmberk.

A member of the Rožmberk family, responsible for the creation of the marvelous Český Krumlov Castle, traveled to Italy several times. During one of his trips to Genoa, he made a stop in Mantua where he had the opportunity to explore it in depth.

There, he had the opportunity to admire Mantegna's work at the Castle of San Giorgio, as well as the marvelous Palazzo Te, which had been constructed just a few years prior by Giulio Romano.

Kratochvíle Castle reflects many of Giulio Romano's ideas, like its symmetrical square layout and central square pool that surround the main building.

During this period, the Italian community in Prague was responsible for creating one of the most significant architectural works north of the Alps. To admire it, you must walk the entire length of Karlova Street. It is a small chapel dedicated to the Virgin Mary.

This chapel belonged to the Congregation of the Blessed Virgin Mary of the Assumption, founded in 1573 and better known as the "Congregation of Italians."

The exceptional nature of the Italian Chapel lies entirely in the highly original design chosen by its unknown architect. The choice to use the oval plan, representing the symbol of creation was undoubtedly quite "modern."

The chosen typology served as a testament to Italian identity, a way for the Italian community in Prague to draw the attention of the entire city.

This is Palazzo Valdštejn; one of the most important buildings of the early Czech Baroque, created by architects Giovanni Battista Pieroni, Andrea Spezza and Nicolò Sebregondi. Its garden, most likely designed by Pieroni himself,  was constructed alongside the palace (1623-1630).

It is a large loggia that opens onto the front garden, serving as a space of mediation between the building's interior and its stunning exterior.

The large loggia of the Sala Terrena derives from the portico in front of the Cathedral of Livorno, designed by Bernardo Buontalenti starting in 1594 and continued by Alessandro Pieroni, an architect and painter of the Medici family.

Palazzo Černín is located in the Malá Strana district. It was constructed in 1668 and was based on a design by Francesco Caratti, who was born in Bissone, in what is now Canton of Ticino, like the more famous Francesco Borromini.

The imposing façade is almost 150 meters long, and is distinguished by thirty colossal columns. Some historians suggest that Caratti's project may have been directly influenced by some of Bernini's drawings, which Count Humprecht Jan Černín brought directly from Rome.

This fascination with Bernini is even more evident in another palace designed by Alliprandi for a prominent Bohemian family: Palazzo Lobkowitz.

Similar to the Šternberk Palace, the main façade of the Lobkowitz Palace also faces the rear garden. It features an elliptical central section that extends outward from two concave wings with large recesses.