Lucadea.com - Tag: marble

30 July 202630 July 2026

Neptune Fountain in Signoria Square, Florence

Fontana del Nettuno in piazza della Signoria a Firenze con statue in marmo e pietra

Neptune Fountain in Signoria Square, Florence.
During a walk through the heart of Florence, I wanted to dedicate a photograph to one of the city’s best-known monuments: the Neptune Fountain, standing in the open space of Signoria Square beside Palazzo Vecchio. In this image, I focused especially on the materials and small details of the fountain, elements that are often overlooked because of its fame.
The Neptune Fountain in Signoria Square, Florence, Tuscany, Italy, is one of the artworks that best represents the connection between art and history in the Renaissance city. I photographed this monument while observing the contrast between the different types of stone and marble used to create a rich composition, where every surface contributes to the final appearance of the work.
When you arrive in this area of Florence, your attention is immediately drawn to the historic buildings surrounding the square, but by stopping in front of the fountain for a while, many interesting details appear: the sculptures, the decorations, the natural colours of the materials and the way light changes the perception of the surfaces.
My photograph comes from this attention to details. Even a very famous monument can be told in a different way, choosing not only to photograph it as a symbol of the city but also to search for the elements that make it unique. In this case, the variety of stones and marbles captured my attention because it creates a balance between sculptural strength and elegance.
If you are visiting Florence, Signoria Square is one of the most interesting places to see in the historic centre. Here you can find some of the city’s most representative artworks, and every corner tells the story of the relationship between political power, art and culture that shaped Florence over the centuries.
A historical curiosity about the fountain is that it was created by Bartolomeo Ammannati in the sixteenth century after being commissioned by Cosimo I de’ Medici. The figure of Neptune, carved in Carrara marble, also had a symbolic meaning connected with Florence’s ambitions at sea and the power of the Medici family.
I wanted to capture this detail with my camera because materials, textures and small differences in surfaces are often what make an artwork truly interesting. Photography allows me to get closer to details that can easily be missed during a quick visit.
This image connects with other stories on my blog dedicated to artistic details of Italian cities, where I often try to tell famous places through less obvious elements.

Have you ever stopped to observe the different materials used in historic Italian fountains? Add a comment or go to the bottom of the site to read what other visitors have written.

Photos taken with a Canon EOS M100 camera and Canon EF-M 11-22 lens.

To see all the photos I took in the beautiful Tuscan town, click here:

Numerous sculptors participated, adopting an approach characterized by the use of materials differing in nature and color—a style favored by the patron. However, the result drew harsh criticism immediately upon its completion; today, it is viewed as an emblematic example of the renewal of Mannerist sculpture in the mid-16th century, standing in opposition to the prevailing Michelangelesque academicism.
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15 July 202621 August 2026

The Moor Fountain in Navona Square, Rome

Fontana del Moro in piazza Navona a Roma con scultura marmorea e dettagli barocchi nel centro storico

The Moor Fountain in Navona Square, Rome.
During a walk through the historic center of Rome, I stopped to photograph one of the most recognizable details of Navona Square: the Moor Fountain. Among the many artistic treasures of the city, this fountain immediately caught my attention because of its sculptural movement and the way it blends with the lively atmosphere surrounding it. Photographing the Moor Fountain in Rome means capturing not only a work of art, but also a small fragment of the everyday life that continues to flow around this historic place.
The fountain stands on the southern side of Navona Square, surrounded by the architecture and energy that make this area unique. While many visitors are attracted by the larger and more famous monuments nearby, I wanted to focus on the details of this particular fountain, from the marble figures to the relationship between the sculpture and the water. Sometimes a closer look can reveal a different story compared to a simple view of the whole square.
Navona Square, in Rome, Lazio, Italy, is one of the places where centuries of history meet the present day. If you are visiting Rome and looking for what to see beyond the most famous landmarks, the Moor Fountain is a fascinating stop that shows the artistic richness hidden in everyday corners of the city.
The fountain was originally designed by Giacomo della Porta in 1575, while the central statue of the Moor was added later by Gian Lorenzo Bernini in 1654. The sculpture represents a bearded man fighting with a dolphin while standing on a rocky base, creating a dynamic scene that seems almost alive. This combination of movement and detail is one of the reasons why the fountain remains such an interesting subject for photographers.
One curious aspect of Navona Square is that its unusual elongated shape comes from its ancient origins. The square was built on the site of the Stadium of Domitian, a Roman structure used for athletic competitions. Walking through the square today means walking through different layers of history, from ancient Rome to the Baroque period and modern city life.
What I enjoy most about photographing places like this is the possibility of preserving small moments in locations that are constantly changing. The Moor Fountain is not simply an isolated monument; it is part of the rhythm of Rome, surrounded every day by residents, travelers and stories.
On lucadea.com I have often shared photographs of historic places and architectural details, because I believe that small elements can sometimes tell the strongest stories. A fountain, a doorway or a street corner can become a way to remember a city and the feelings connected to it.
Rome is full of famous views, but sometimes the most memorable images come from stopping for a moment and observing a single detail.

Which place in Rome has given you the strongest memory during a visit? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS RP and Canon RF 24-50 lens.

Click here to see all the photos of Rome:

Here’s where the fountain is located:

Add one comment to this article or read here what other visitors have written.

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8 July 202625 July 2026

The Ganges statue in Rome’s Four Rivers Fountain

Statua del Gange nella Fontana dei Quattro Fiumi a Roma in Piazza Navona con dettagli scolpiti del marmo barocco.

The Ganges statue in Rome’s Four Rivers Fountain.
Looking closely at the Ganges figure in the Four Rivers Fountain in Rome, I focused on a detail that can easily be missed when admiring the entire monument and its impressive composition.
The Ganges statue in Rome, inside the beautiful setting of Navona Square, is one of those details that reveals the incredible richness of one of the most famous Baroque fountains in the city. Instead of photographing only the complete view of the fountain, I moved closer with my camera and tried to isolate the sculpture, allowing the details carved into the marble to become the main subject of the image.
The movement of the body, the folds of the sculpted fabric and the elements connected with the Asian world make this figure much more than a simple decorative part of the monument. This photograph was created from my curiosity for details: when visiting a place as famous as this, it is easy to focus only on the general view, while a closer look can reveal new stories hidden inside the artwork.
The Four Rivers Fountain is located in Navona Square, in the historic center of Rome, Lazio, Italy, and is one of the most important examples of Roman Baroque art. Created by Gian Lorenzo Bernini in the 17th century for Pope Innocent X, the fountain represents four major rivers of the world known at that time: the Ganges, the Nile, the Danube and the Rio de la Plata.
I took this photograph during a visit to Rome, trying to capture not only the beauty of the monument but also one of the many small details that make it unique. I have always enjoyed photographing famous places from different perspectives, focusing on elements that might remain unnoticed at first sight, just as I have done in other images dedicated to historic Italian squares on my website.
A curious detail about the Ganges figure is the presence of a paddle, a symbol connected with navigation on the great Asian river. Other elements surrounding the statue recall the distant world represented by Bernini and complete the symbolic meaning of the fountain.
Photographing this part of the Four Rivers Fountain reminded me that art can still communicate through small details, shapes and materials. Even after centuries from its creation, this fountain continues to offer different perspectives to those who take the time to observe it carefully.

Have you ever discovered a hidden detail while visiting a famous monument? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS RP and Canon RF 24-50 lens.

Click here to see all the photos of Rome:

Here’s where the fountain is located:

Bernini’s giants move with lively gestures and an irrepressible expressive exuberance. The Ganges holds a long oar that suggests the river’s navigability. The sculptor seeks a more careful study of movements and expressions, which the artist varies to the maximum.
Continue and learn more at Wikipedia

4 July 2026

Tympanum of San Michele in Foro in Lucca

Timpano marmoreo della chiesa di San Michele in Foro a Lucca con sculture di animali e San Michele con la lancia

Tympanum of San Michele in Foro in Lucca.
In the center of Lucca, Tuscany, Italy, the church of San Michele in Foro dominates the square with a richly decorated facade, where every detail seems to carry a precise symbolic meaning. The tympanum above the main entrance is one of the most striking elements, immediately drawing attention even in a quick passing glance.
Looking closer, the marble reveals a dense composition of carved figures, where real animals and fantastical creatures coexist within a layered visual narrative. At the center stands Saint Michael, depicted with his spear in the act of defeating evil, following a traditional Romanesque iconography.
San Michele in Foro fits perfectly into the urban fabric of the square, one of the most important places in Lucca, where history and daily life blend seamlessly. Here architecture is not just a backdrop, but an active part of the experience of the place.
While observing the tympanum, I noticed how daylight brings the marble to life, revealing depths and textures that change depending on the viewing angle. In other posts on lucadea.com I have explored architectural details from other Italian cities, but here the density of visual storytelling is particularly powerful.
A small curiosity is that the facade of San Michele in Foro is considered one of the finest examples of Pisan-Lucca Romanesque style, where decoration is never purely ornamental but always carries symbolic and religious meaning.
I stayed there a few more moments, trying to catch every hidden detail carved into the stone.

Have you ever found yourself unable to look away from a single architectural detail? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS M100 and Canon EF-M 11-22 lens.

Click here to see all the photos of the Tuscan city of Lucca:

This is the website of the parish community in the center of Lucca: luccatranoi.it.

Portal of the Church of San Michele in Foro in Lucca. First half of the 12th century. Architrave of the central portal. The pediment is richly decorated with winged griffins, two-tailed sirens with tails ending in monstrous heads, men with the bodies of animals, two-headed beasts, and beasts mauling other beasts (a clear reference to sin, which can overtake even the most peaceful men at any moment).
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Where the church is located:

Tympanum of San Michele in Foro in Lucca – Tympan de San Michele in Foro à Lucques – Tímpano de San Michele in Foro en Lucca – Tímpano de San Michele em Lucca – Tympanon von San Michele in Foro in Lucca – Phần đỉnh cửa San Michele in Foro ở Lucca – 卢卡圣米凯莱教堂的山花雕刻 – ルッカのサン・ミケーレ・イン・フォロのティンパヌム

The text of this post was written with the help of ChatGPT, a language model from OpenAI.

3 June 202614 August 2026

Inside Santo Stefano Basilica in Lavagna

Interno della Basilica di Santo Stefano a Lavagna con decorazioni e dettagli architettonici delle navate

Inside Santo Stefano Basilica in Lavagna.
As I step inside the Santo Stefano Basilica in Lavagna, Liguria, the first thing that catches my attention is the number of details unfolding along the nave. After photographing the exterior of the basilica and several views around the town, looking at the church through my camera from the inside gave me a completely different perspective.
This photograph came from that attention to the interior. I wanted to include the depth of the nave while keeping some of the decorative elements visible: the columns, the side altars, the decorated vaults and the artworks leading the eye toward the main altar. It is an interior where the eye keeps moving because there are so many different details to discover.
Santo Stefano Basilica stands in Piazza Guglielmo Marconi, in the centre of Lavagna, Liguria, Italy. If you are visiting Lavagna and wondering what to see beyond the seaside and the streets of the town centre, this is one of the places I would naturally include in a walk. The large staircase and the risseu-covered churchyard already make the basilica easy to recognize from outside, but stepping through the entrance reveals how much artistic detail is preserved inside.
The photographs show above all the Baroque character of the interior. The church has three naves divided by columns and arches, with the central nave covered by a barrel vault. Along the sides are several altars, each with its own decorations and artworks. In a wide photograph it is impossible to show every single detail, but that visual richness is exactly what makes the interior interesting to photograph.
The history of the basilica is much older than the appearance we see today. The complex stands on the remains of an ancient fortification, and the origins of the religious site go back many centuries. The present building was rebuilt in the seventeenth century: construction officially began in 1650, the work was completed in 1668 and the solemn consecration took place in 1703. The two bell towers were completed in 1657 and still help make the basilica one of the most recognizable buildings in Lavagna.
One small detail I particularly like is the connection between the outside and the inside. The churchyard is decorated with a traditional Ligurian risseu made from small, differently coloured sea pebbles, while inside there are numerous altars and artworks associated with artists from the Ligurian tradition, including Domenico Piola and Carlo Fontana. The wooden Madonna traditionally associated with the figurehead of an old sailing ship adds another small connection between the basilica and Liguria’s maritime culture.
I took this photograph myself with my Canon EOS M100 and a Canon EF-S 10-18 lens. The wide-angle lens was particularly useful here because I wanted to keep a substantial portion of the interior in the frame without completely losing the side details. In a church this richly decorated, a tighter photograph can easily become a picture of one object rather than a photograph of the space itself.
This image also fits naturally into the other stories I have photographed in Lavagna. I previously photographed the Basilica of Santo Stefano from outside, concentrating on the façade and the open space around it. I also dedicated another article to the large churchyard of the basilica, where the traditional risseu almost becomes the main subject of the photograph.
Another related image is the view along Dante Alighieri Street, which runs in front of the basilica and shows how closely the building is connected to everyday life in Lavagna. These are very different photographs, but together they create a small visual route: first the street, then the churchyard, then the façade and finally the interior.
That photographic sequence is what interests me most. A church is not only its façade, and it is not only what is preserved inside. The surrounding spaces, the streets leading to it and the details encountered along the way all become part of the visual story. In the case of Santo Stefano, this connection is particularly clear because the basilica dominates a recognizable open space while its interior offers a completely different collection of details.
If you are visiting Lavagna and wondering what places are worth seeing in the town centre, I would not stop with a photograph of the façade. Walking inside reveals a space where marble, paintings, sculpture and decoration preserve an important part of the town’s artistic history.

For me, this photograph completes a story I had already started outside. After seeing the basilica from the square and from the narrow street, I wanted to photograph the view that was still missing: the interior, more intimate and full of details. Which element inside Santo Stefano Basilica would you have photographed first? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS M100 camera and Canon EF-S 10-18 lens.

1 June 2026

The stylophorous lion of Santa Maria Maggiore in Bergamo

Il leone stiloforo di Santa Maria Maggiore a Bergamo

The stylophorous lion of Santa Maria Maggiore in Bergamo.
In the beautiful Cathedral Square of Bergamo Alta there is this impressive portal, known as the “Porta dei Leoni” (Gate of the Lions), where two red marble lions support two columns.
Since this is not the first stylophorous lion I’ve come across, I decided to dedicate a specific post to them.

Do you know Bergamo? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS RP camera and Canon RF 24-50 lens.

To see all the photos I took in Bergamo, click here:

Where is the basilica located:

The northern door, known as the Red Lions, which opens into the left transept and leads to Piazza del Duomo, is surmounted by a porch by Giovanni da Campione, dated 1353 but with significant late-14th-century renovations. It is supported by columns supported by two standing lions in Veronese marble, surrounded by human and animal figures.
Continue and learn more at Wikipedia

The column-bearing lion of Santa Maria Maggiore in Bergamo – Le lion stylophore de Santa Maria Maggiore à Bergame – El león estilóforo de Santa Maria Maggiore en Bérgamo – O leão estilóforo de Santa Maria Maggiore em Bérgamo – Der Griffellöwe von Santa Maria Maggiore in Bergamo – Sư tử Stylophore của Santa Maria Maggiore ở Bergamo

31 May 2026

The Contarini Fountain in Upper Bergamo

La centrale Fontana Contarini in Bergamo Alta

The Contarini Fountain in Upper Bergamo.
When you reach the upper part to visit Bergamo, you go up to the central square of the old town, Old Square, where in the middle stands this beautiful marble fountain decorated with sphinxes, lions, and a couple of zoomorphic figures.

Do you know Bergamo? Add a comment or go to the bottom of the site to read what other visitors have written.

Photo taken with Canon EOS RP and Canon RF 24-50 lens.

To see all the photos I took in Bergamo, click here:

Where is the fountain located:

The fountain owes its name to Alvise Contarini, podestà of the Republic of Venice, who donated it to the citizens in 1780 when he left his post in the Orobic city. The then city rector’s intention was both to beautify the central Piazza Vecchia and to provide residents with a valuable tool for domestic purposes and to combat drought.
Continue and learn more at Wikipedia

The famous Contarini Fountain in Bergamo Alta – La célèbre fontaine Contarini à Bergame Alta – La famosa Fuente Contarini en Bérgamo Alta – A famosa Fonte Contarini em Bergamo Alta – Der berühmte Contarini-Brunnen in Bergamo Alta – Đài phun nước Contarini nổi tiếng ở Bergamo Alta

12 May 202614 August 2026

Inside San Luca in the heart of Genoa

Inside San Luca in the heart of Genoa.
As I step inside the church, the transition from the narrow alleys of the old town to this richly decorated interior is immediate, drawing my attention toward the nave, the altars and the artworks along the walls. The Church of San Luca stands in Piazza San Luca, in Genoa Old Town, right in the historic centre of Genoa, Liguria, Italy.
That contrast between outside and inside is what first caught my attention while taking this photograph. Just a few steps earlier, the streets were enclosed by the dense urban fabric of the old city; inside, the perspective suddenly opens into a space filled with marble, paintings, sculpture and decoration. I wanted the photograph to preserve that change of scale, allowing the depth of the nave to lead the eye through the scene.
San Luca is one of the historic churches found in the oldest part of Genoa, and its central position makes it an interesting place to notice while exploring Genoa Old Town. Piazza San Luca is close to Via San Luca, Piazza Banchi and many other parts of the historic centre. This is one of those areas where I enjoy walking without following a strict route, because a small square, an open church door or an architectural detail can easily change the direction of the walk.
The interior shown in the photograph has a strong Genoese Baroque character. The nave, side altars and decorative elements create a dense visual composition in which the eye can move constantly from one detail to another. When I photograph historic churches, I often look first for a viewpoint that can keep the architecture and the artworks together. Here, I wanted to show that richness without turning the photograph into a catalogue of individual objects.
The history of the church adds another layer to the image. San Luca was founded in 1188 by Oberto Spinola and rebuilt during the seventeenth century, when it acquired much of the Baroque appearance visible inside today. The church preserves works associated with important Genoese artists, including Domenico Piola and Filippo Parodi, while the high altar contains the Adoration of the Shepherds by Giovanni Benedetto Castiglione, known as Il Grechetto.
This combination of medieval origins and Baroque transformation is one of the reasons I find San Luca particularly interesting to photograph. The building does not belong to a single historical moment. Different periods remain visible through the architecture, decoration and artworks, allowing the interior to be read almost like a layered photograph of Genoa itself.
I took this photograph myself because I wanted to give enough space to the overall structure of the interior. Rather than isolating one statue or painting, I tried to preserve something of the feeling of entering the church from the small square and suddenly discovering a much richer space than the exterior might suggest.
On my photoblog I have photographed several other places along the same route through the historic centre. A natural connection is Piazza San Matteo and its Abbey, another historic place connected with Genoa’s powerful medieval families and easy to reach while walking through the old streets. I have also photographed the interior of Santa Maria delle Vigne, where the relationship between architecture and decoration offers another perspective on the historic churches of Genoa.
Looking at this photograph again, what strikes me most is how much information can fit into a single frame. The columns establish the perspective, the side altars interrupt the walls and the artworks create different points of attention. It is an interior that rewards a slower look, much like the narrow streets outside, where details often appear only after you stop and look carefully.
One of the things I enjoy most about Genoa’s historic centre is this constant alternation. You do not have to walk far to move from a quiet square into a church filled with artworks, or from a narrow alley into an unexpectedly elaborate interior. San Luca fits perfectly into this rhythm: it is a discreet presence in the square, but its interior reveals much more once you decide to step through the entrance.
If you are visiting Genoa and want to discover a less obvious part of the historic centre, San Luca is a church worth taking a few minutes to explore. Its interest is not only historical; it also offers a close look at the way Genoese Baroque art transformed a building whose origins go back several centuries.

For me, this photograph remains the memory of one of those moments when entering a church almost out of curiosity leads to a discovery that is much richer than expected. Which detail inside San Luca would you have chosen to capture with your camera? Add a comment or go to the bottom of the site to read what other visitors have written.

L'interno della chiesa di San Luca nel cuore di Genova

Photos taken with Oppo Reno 12.

Here’s where the church is located:

9 May 202625 March 2026

The lion of San Lorenzo watching over Genoa

Il leone di San Lorenzo che osserva Genova.
Stare ai piedi della Cattedrale di San Lorenzo significa sempre alzare lo sguardo, ma quella volta è stato impossibile ignorare ciò che avevo davanti. Il leone di pietra, disteso e vigile, sembrava aspettarmi da secoli. La fotografia nasce proprio da lì, da quella sensazione di essere osservato mentre, in realtà, ero io a fermarmi davanti a lui. Il suo corpo è allungato, le zampe raccolte con calma apparente, la testa alta. Non c’è aggressività nel suo atteggiamento, piuttosto una sicurezza silenziosa, come se nulla potesse sorprenderlo davvero.
Mi sono avvicinato lentamente, quasi per non disturbarlo. Il marmo, levigato dal tempo e dalle mani dei passanti, racconta una storia fatta di attese, di pioggia, di sole che batte forte sulla facciata a righe bianche e nere. In quel momento, con il cielo azzurro che faceva da sfondo, il leone sembrava ancora più solido, ancorato al suo ruolo di guardiano. Ho scattato la foto dal basso, lasciando che la cattedrale salisse verso l’alto, imponente, mentre lui restava lì, saldo, a presidiare l’ingresso.
Intorno, Genova continuava a muoversi. Turisti che salgono e scendono i gradini, voci che si mescolano, qualcuno che si ferma un attimo, proprio come me, a osservare. Il leone però resta immobile, indifferente al passare del tempo. È questa contraddizione che mi affascina sempre: una città viva e rumorosa che convive con simboli antichi, immobili, che sembrano sapere già tutto.
Questo leone fa parte della scenografia simbolica della cattedrale, uno di quei elementi che spesso si notano solo distrattamente. Eppure la sua funzione è chiara: proteggere, sorvegliare, dare un senso di forza e stabilità. Nella tradizione medievale, i leoni posti agli ingressi delle chiese non erano solo decorativi. Rappresentavano la custodia del luogo sacro, un confine ideale tra il mondo esterno e quello interno. Qui a Genova, questo significato si fonde con il carattere della città, fiera e riservata, sempre pronta a difendersi ma senza ostentare.
Riguardando la foto, mi rendo conto che il leone non è solo una scultura. È un punto fermo, un riferimento visivo e simbolico. Ogni volta che passo da San Lorenzo, so che lui sarà lì, nello stesso identico modo, a ricordarmi che alcune cose, per fortuna, non cambiano mai.

Ti sei mai fermato a osservare davvero i guardiani silenziosi delle città? Aggiungi un commento oppure vai nella parte bassa del sito per leggere cosa hanno scritto gli altri visitatori.

Photos taken with Oppo Reno 12.

If you’re interested, this is the official website that keeps you updated on Catholic initiatives and liturgies: chiesadigenova.it.

All the photos I took on a previous visit are here:

Here’s where I took the photo:

Saint Lawrence was one of the seven deacons of Rome, where he was martyred in 258 during the persecution ordered by the Roman Emperor Valerian in 257. The Catholic Church venerates him as a saint. Since the 4th century, Lawrence has been one of the most venerated martyrs in the Church of Rome. Constantine I was the first to build a small oratory on the site of his martyrdom. This building was enlarged and embellished by Pelagius II (579-590).
Continue and learn more at Wikipedia

The lion of San Lorenzo watching over Genoa – Le lion de San Lorenzo qui veille sur Gênes – El león de San Lorenzo que vigila Génova – O leão de San Lorenzo que observa Gênova – Der Löwe von San Lorenzo über Genua – Sư tử San Lorenzo nhìn xuống Genova – 圣洛伦佐大教堂的守护狮子 – サン・ロレンツォ大聖堂を見守る獅子

The text of this post was written with the help of ChatGPT, a language model from OpenAI.

4 May 202622 August 2026

Ancient marble measures beside Portovenere gate

Le antice vasche in marmo per le misure di grano e vino a Portovenere

Ancient marble measures beside Portovenere gate.
Entering the oldest part of the village, right beside the Borgo Gate, I stopped to look at these small but remarkable pieces of its past. They are ancient marble vessels once used to measure products such as grain and wine, the kind of detail that can easily go unnoticed while walking through Portovenere.
Portovenere in Liguria is one of those places where slowing down is often enough to discover something worth photographing. The Borgo Gate marks the entrance to the historic part of the village and, immediately beside it, these marble measures stand out precisely because they are much less spectacular than the buildings and views usually associated with Portovenere.
I photographed two of the three vessels, concentrating on their shapes and on the texture of the marble. The material itself makes them especially interesting to photograph. They are not simply old containers: they are physical reminders of a time when measuring goods was part of everyday commercial life.
When looking for what to see in Portovenere, most visitors naturally focus on the harbour, the colourful houses and the famous Church of Saint Peter. I often find myself looking at smaller details instead, particularly when an object gives me a way to imagine how the village worked in the past.
These marble vessels are interesting because their purpose was extremely practical. Before modern measurement systems became standard, goods in many communities were measured using containers and units established by local customs. Objects such as these therefore played a role in making commercial exchanges more consistent and easier to control.
Their position beside the Borgo Gate also makes sense when thinking about the everyday life of the old village. People, goods and products passed through this entrance, and places connected with trade naturally needed ways of measuring what was being bought and sold. It is a small historical curiosity, but for me it gives the photograph a much stronger meaning.
What I like about details like these is that they shift the attention away from the most obvious monuments. Portovenere is famous for its dramatic coastline and historic architecture, but the smaller objects found along its streets can sometimes tell a more intimate story.
This photograph came from exactly that kind of observation. I was not looking for the most famous view or another classic postcard image. I simply noticed these old marble measures beside the gate and decided they deserved a place in my photographic record of the village.
That is also what connects this image with other photographs I have shared on the blog from Ligurian historic centres. From the narrow alleys of Genoa to the steep creuze of coastal villages, I often find myself photographing details that might otherwise be passed without a second glance.
For anyone wondering what to see in Portovenere beyond the best-known landmarks, details like these are part of the pleasure of walking through the old village. They do not demand much time, but they can add another layer to the experience.

Would you have noticed these ancient marble measures while passing through the Borgo Gate? Add a comment or go to the bottom of the site to read what other visitors have written.

Photos taken with Canon EOS RP and Canon RF 24-50 lens.

Click here to see all the photos of the village:

Where to find them: