The most recent of the five Scole of the Ghetto, it is located in front of the retirement home and to the left of the Canton Synagogue, in the Campo del Ghetto Nuovo.
The Italian Jewish community was smaller than the others at the time- could this be why the place of worship dedicated to them is architecturally simpler compared to the other synagogues of the Ghetto?
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Five large arched windows symbolizing the five books of the Torah make the Italian Synagogue immediately recognisable from the outside. The most recent of the Synagogues of the Ghetto owes its construction, in particular, to the ‘Santa Comunità Italiana’ from Rome in 1675, as the emblem in the center of the façade declares; the building then underwent restoration in 1739 and 1759.
The small building, particularly on its first floor, suggests that there was originally a ceremonial and prayer hall and that only later was it converted into to the current place of worship. Even the architecture of the façade seems to confirm this theory, as there are two columns and two Roman-style pillars that are presumed to lead to a n atrium and another hall, now demolished.
"Humble in act and with sure faith/here every pious person brings their prayers / and even when their foot turns elsewhere / they always keep their thoughts turned to God" is the 19th century inscription present at the entrance of the Scola Italian.
In the atrium, before entering the prayer hall, is a fountain to wash one's hands, an offering box and a plaque in memory of the Rabbi Itzhag Pacifici. The worship hall is rectangular like most other Synagogu es in the area; the wood paneling in the room is very plain and sober, while the golden decorations on black stone give a rather severe appearance to the entire room. A balustrade with small columns, built and donated by Menachem Joshua Guglielmi (1842) separates the area of the aròn (the cabinet containing the sacred scriptures) from the other par ts of the hall. The aròn is composed of Corinthian columns and dark wood, with marvelous doors decorated in minute detail with engravings of the Ten Commandments by Beniamino and Marina di Consiglio.
Worth noting is certainly the section of the hall surrounding the tevà (pulpit), as the four Corinthian columns support a polygonal apse and the whole area is richly illuminated by large windows and a skylight tha t juts out of the building.