Since last September the rooms of the Civic Museum of the Capuchins of Bagnacavallo (RA), host the Albrecht Dürer exhibition.
The privilege of restlessness, an ambitious exhibition project on Dürer's graphic production, with more than 120 works from prestigious Italian public and private collections.

The exhibition forms the perfect setting for an exceptional event: from next 14 December 2019 and until 2 February 2020, in fact, the museum will host the special exhibition of the Madonna del Patrocinio, also known as Madonna di Bagnacavallo, an extraordinary painting by the great Master of Nuremberg “discovered” in 1961 by the priest-scholar Antonio Savioli after, in living memory, it had always been before the eyes of the Bagnacavallese cloistered nuns as an anonymous object of devotion. From that moment the Madonna del Patrocinio "re-emerged" in the light of the historical-artistic research with the force of an unexpected and surprising revelation, immediately causing the ecstatic surprise of Roberto Longhi who, on impulse, did not hesitate to pronounce the name by Albrecht Dürer, then dedicating to the table a fundamental essay published in the magazine “Paragone”.

The sudden interest in the media and the scientific community around that painting that had remained until then in the shadow of the cloister represented at the same time a cause for disturbance for the nuns, who unwittingly found themselves guardians of a real treasure, but above all, as remember the chronicles of the time, they found themselves no longer knowing how to "respond to the numerous requests to view the work that reach them from all over Italy and abroad". Also for this reason, combined with the need to build a new convent since the Bagnacavallese one had long been dilapidated and unhealthy, the community came up with the idea of alienating the precious table, a project that took shape at the beginning of 1969 with the sale to the collector. patron Luigi Magnani. On that date the Madonna del Patrocinio therefore left Bagnacavallo forever, a painful event for the city, in which there was no lack of voices of remonstrance especially against the sudden departure of the masterpiece directly from the secrecy of the cloister, without ever having been a single moment of exposure to the citizens of Bagnacavallo.