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La Calamita Cosmica (The Cosmic Magnet)

La Calamita Cosmica (The Cosmic Magnet)

The "Cosmic Magnet" is a contemporary artwork by Gino de Dominicis. It's housed at the Italian Center of Contemporary Art inside the ancient Church of the Holy Trinity. It is a sculpture representing a monumental anthropomorphic skeleton, with the exception of a bird's beak in place of the nose.


The Cosmic Magnet is made of fiberglass, iron and polystyrene, is 24 meters long, 9 wide and nearly four high.


The origins of the work are unknown but it is assumed that its name derives from the relationship between the skeleton and the golden rod in his hand, which is a magnet, and marks time.


The life of the sculptor Gino De Dominicis remains shrouded in mystery.

The Cosmic Magnet is exhibited at the ancient Church of the Holy Trinity, neoclassical architectural jewel by the genius Carlo Murena, a student of the Roman School of Luigi Vanvitelli. The church was restorated in 2011.Today the church is part of the museum of Italian Contemporary Art Center of Foligno (CIAC).

Before arriving in this, his final home, the Cosmic Magnet was displayed at MAC of Grenoble, the Capodimonte Museum in Naples, the Mole Vanvitelli in Ancona, the Piazzetta Duomo in Milan, the Palace of Versailles, the Grand Hornu Mons - MAC in Belgium and the MAXXI in Rome.


Opening times:

Monday: closed
Tuesday: closed
Wednesday: closed
Thursday: closed
Friday: closed
Saturday: 10h30 a.m. -12h30 p.m., 4h00 p.m. - 7h00 p.m. (from 31 October: 3h00 p.m. - 6h00 p.m.)
Sunday: 10h30 a.m. -12h30 p.m., 4h00 p.m. - 7h00 p.m. (from 31 October: 3h00 p.m. - 6h00 p.m.)

Address: Via Giuseppe Garibaldi, 153 / a, 06034 Foligno PG
Phone number: +39 340 867 8214

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The "Rocca Maggiore" Fortress in Assisi

The first historical mention of this fortified structure dates back to 1173-1174, when Christian, Archbishop of Mainz, sacked Assisi on behalf of Emperor Frederick Barbarossa. In 1198, a popular uprising tore down the Fortress.
Tradition says that on this occasion the townspeople kicked out Conrad I von Urslingen, the Duke of Spoleto, together with little Frederick II, who at the time was only four years old. What remained of the fortress remained neglected until 1362, when Cardinal Gil Albornoz decided to rebuild it over the ancient German fortifications.
The imposing and austere Rocca Maggiore fortress overlooks the historical city center of Assisi, the Tescio River's narrow ravine below and a large part of the Umbrian Valley, which extends from Perugia to Spoleto. Visiting its structure provides the opportunity to observe a significant example of well preserved 14th century military architecture, while enjoying one of the most evocative panoramas of Umbria.
The itinerary of the Tour brings the visitor inside the Albornoz style fortress—with its square plan—that consists of a Keep and a Polygonal Tower and has been expanded over the centuries with a surrounding system of walls and towers.

At the time of the Signoria of Biordo Michelotti—between 1394 and 1398—several maintenance and restoration actions were carried out; his coat of arms is sculpted in various parts of the fortress.
In 1458, on its northwest side, a Polygonal Tower was raised by order of Jacopo Piccinino. The next year, Pope Pius II ordered the construction of the Corridor that connected the Rocca with the Polygonal Tower. The entrance door near the Keep was opened in 1484; three coats of arms are sculpted above it, the one at the center is that of Pope Sixtus IV. At the end of the 15th century the Rocca became the setting of vicious fights between the Fiumi and Nepis families.
In 1501, first Cesare Borgia and later his sister Lucrezia lived there. The last important construction work on the Rocca fortress was carried out in 1535, when Pope Paul III ordered the building of the Circular Bastion. After its primary defensive function, the Rocca Maggiore became a residence of the castellans, custodians charged with the security of the surrounding territory. It later became a prison and then a warehouse.

Appreciated again, and enhanced by restoration work, the Rocca can be visited today.
The entrance door opens near the 16th century bastion; inside there is a courtyard, all paved with bricks of the 14th century; on the side there is the donjon, where the service rooms were located. The keep was the house of the castellan; there are five rooms inside it—one above the other—that are reached by a spiral staircase.

Currently the Rocca Maggiore of Assisi is closed for restoration. 
The visits will resume regularly at the end of the works.

Opening times

March and October: from 10 am to 5.30 pm

April, May and September: from 10 am to 7.30 pm

June, July and August: from 9 am to 8 pm

From November to February: from 10 am to 4.30 pm

Entrance allowed up to 45 minutes before closing


Full 6 € - Reduced 4 €


Integrated: full 9 € - Reduced 6 €

Discounts: university students with ID card, schools, 8 - 18 years, over 65 years old, groups of more than 20 people

Free: students with guided visits, residents of Assisi, children under 8 years old, people with limited mobility



Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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MUVIT – Torgiano Wine Museum

MUVIT – Torgiano Wine Museum

The Museo del Vino-MUVIT is hosted inside Palazzo Graziani-Baglioni, along the main street of Torgiano, a renowned viniculture production centre between Perugia and Assisi.

This Palace, built in the 17th century, represents an important example of a patrician rural estate. It was the summer residence of the Perugian Graziani family.

Its name "Graziani-Baglioni" is due to the marriage, in the 19th century, of Anna Graziani and Pietro Baglioni. Its premises have hosted the Wine Museum-MUVIT since 1974, when it was conceived of and realized by the initiative of Giorgio and Maria Grazia Lungarotti. The museum is unusual  in that it is privately owned with a thematic character, and is motivated more by historical and cultural ambitions than by business interests.

The collection is subdivided into thematic sections, but all of them are centered on the main subject: wine.

Here the visitor can admire rare and important archaeological finds like ancient wine amphorae, ewers and symposium cups, ceramics from the Early Middle Ages to contemporary times, engravings, winemaking tools and, unique in its genre, a collection of Waffle Irons.

Managed by Lungarotti Foundation, the Museum occupies the rooms of the building that were once used for the storage and processing of agricultural products. Among the most interesting items collected are some ceramics, dated from the 16th century, of the Master Giorgio Andreoli, skilful master of the lusterware technique; engravings from Mantegna to Picasso and also the 18th century monumental wine press named "Catone", used until 1973.

Peculiar beer steins of a convivial banquet kind such as "drink if you can", alluding to ironic and convivial games, are exhibited inside the Museum, and the visitor is invited to find the mechanism that releases the wine. 

The museum's audio guides and multimedia contents are available directly on smartphones by connecting to the access points located along the museum route.


From October to March:
Tuesday to Sunday 10 am -1 pm/3 – 5 pm
From April to June: 
Tuesday to Sunday 10 am -1 pm/3 – 6 pm 
From July to September:
Monday to Sunday 10 am -1 pm/3 – 5 pm

For information: 

Corso Vittorio Emanuele II
06089 - Torgiano (PG) 


Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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Vini Doc Assisi

The town of Assisi, perched on the slopes of Mount Subasio in what is now a UNESCO World Heritage area, has attracted pilgrims from all over the world for centuries. The City of Peace is famous for being the birthplace of St Francis, the patron saint of Italy, and of St Clare.

The magnificent Basilicas of the two saints, the Cathedral of St Rufinus and the Rocca Maggiore are just some of the great monuments that continue to draw large numbers of visitors to the town, and provide a source of inspiration for artists of all kinds.

The rich culinary traditions of Assisi have always been heavily influenced by the proximity of Mount Subasio. Of all the local produce, one of the best-known comes from the plains of Cannara, famous for its onions.  Extra-virgin olive oil is another extremely important ingredient, as is the local wine. The typical varieties found in this area include the Grechetto, Trebbiano and Sangiovese, and over the last two decades they have been joined by various international varietals such as Cabernet Sauvignon, Merlot and Pinot Nero.




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Museo della Stampa

Museo della Stampa. La prima copia della Divina Commedia

Il Museo della Stampa, dove la “carta canta”. Se siete in visita a Foligno, non perdete una visita a Palazzo Orfini dove si trova il Museo della Stampa, preziosa testimonianza sulla produzione della carta e sull’editoria folignate dal XV secolo a oggi.

Entrare nelle sue sale, che un tempo ospitavano una delle prime tipografie d’Italia, significa diventare parte della storia cittadina. Potete accedere al museo dal portale rinascimentale in via Pertichetti, sormontato dall’iscrizione “Laborandum Ut Quiescas” (è necessario affaticarsi per potersi riposare), una frase che rende l’idea di quell’epoca, ricca di invenzioni, scoperte, arti e mestieri nuovi. 

Dovete sapere che la fortuna di Foligno nel campo dell’editoria e dell’arte della stampa nacque da un insieme di fattori che si incontrarono al momento giusto: la presenza di innumerevoli cartiere nel territorio della Valle del Menotre, attestata sin dal XIII secolo; l’arrivo in città intorno al 1463 di un gruppo di tedeschi, tipografi e calligrafi, con a capo il chierico Johannes Numeister, fresco delle innovative tecniche di stampa a caratteri mobili apprese a Magonza nella “scuola” di Gutenberg, padre di questa invenzione; la lungimiranza di due illuminati e ricchi imprenditori locali, i fratelli Mariotto ed Emiliano, della famiglia degli Orfini, zecchieri pontifici (Emiliano era anche medagliere e abile incisore). 

I due decisero di investire sul giovane Numeister e sulle sue conoscenze, aprendo nel 1470 in un locale del palazzo di famiglia una tipografia, la sesta in Italia in quel primo diffondersi della nuova arte.

Qui, l’11 aprile 1472 fu stampata la prima copia della Divina Commedia, a opera di Johannes Numeister, con il finanziamento di Evangelista Angelini di Trevi e con la collaborazione di Emiliano Orfini. Del prezioso volume potete ammirare solo una pagina, l’unica nella disponibilità del Museo, riferita alla terzina dell’XI Canto del Paradiso, dedicato a San Francesco, in cui Dante descrive il territorio umbro.

Vi invitiamo a visitare al piano terra la sezione dedicata alla produzione della carta a Foligno, con la ricostruzione di un torchio da stampa quattrocentesco; al terzo piano, nella Sala degli Incunaboli è possibile ammirare, oltre al prezioso foglio dell’opera dantesca, le edizioni quattrocentesche della tipografia Orfini Numeister; nella Sala dei Lunari troverete invece una panoramica di lunari e di almanacchi, tra cui spicca il celebre Barbanera, pubblicato per la prima volta alla metà del 1700 e ancora oggi annualmente diffuso su tutto il territorio nazionale; infine nella loggia dei Trinci, interamente affrescata, potete soffermarti sulla sezione dedicata ai tipografi presenti in città tra XVI e XIX secolo.

Museo della Stampa - Foligno, piazza della Repubblica, ingresso in via Pertichetti n. 6, tel. +39 0742 330584

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Rasiglia and its sources

Rasiglia and its springs

I find myself alone in this Alpine spot at the foot of a holy and glorious mountain, where a source with whispering waters arises among alive stones…” 

Marco from Rasiglia, poet

Rasiglia is a little mountain village located at above 600 metres of altitude, along the Sellano State Road 319, approximately 18 km from Foligno, its municipality .

It maintains the typical characteristics of the medieval village with its amphitheatre structure, and is especially famous for its springs: while you walk along Rasiglia's charming alleys, you can't resist the enchantment of the watercourses that cross it and make it unique and fascinating.

The main spring that waters Rasiglia is Capovena: it is located in the high part of the village, at the foot of the palace occupied by the Trinci, who were lords of Foligno between 1305 and 1439, and crosses the village through rivulets and small waterfalls that flow together into a big tank called “Peschiera”, and then into the river Menotre.

The other springs are:

• Alzabove, rising below the mountain Carosale and flowing into the aqueduct of the southern Umbrian Valley; 
• Venarella, in front of the sports field of Rasiglia, feeding into  the Verchiano aqueduct
• Le Vene, at Chieve;
• La Vena Pidocchiosa, at Pallailla;
• Le Vene di Campolungo, in the pit of Volperino.

The origins of Rasiglia can be traced back to the 12th century, as recorded in some ancient documents. Its location on the border between the territory of Sellano and the diocese of Spoleto meant that the Trinci family built a defence structure here to secure and control its boundaries, the Castrum et Roccha Rasilia.

The Fortress of Rasiglia originally occupied the summit of the hill with a rectangular walls, and today some stretches of the town walls and the ruins of a tower remain visible. A mill, a fulling mill, some houses in the village were property of the Trinci family who, by exploiting the precious presence of water, started those activities that for centuries guaranteed the survival of all the community (mills and factories) thanks to the hydropower coming from the river Menotre.

Today the life of this splendid village still continues to be marked by water, an element used in the weaving, the wool making and dyeing that is constantly re-proposed through a very ancient tradition, dating back to 1200.

Worth visiting nearby are the Ancient Sanctuary of Our Lady of Graces and the Park of Altolina, with a landscape rich in biodiversity: the Waterfalls of Menotre and the Caves of the Abbess, of karstic origin, with inspiring stalactite and stalagmite formations.

Furthermore, each year two important events takes place: the living crib at Christmas time and “Penelope in Rasiglia”, in June, devoted to the ancient weaving trades.

Don’t miss this highly irresistible spot far away in time, where the cheerful gurgling of rushing water accompanies each step. 

For further information:

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Urne etrusche. III-I sec. a.C.

Antiquarium - Corciano

Opened in 2009, the museum is subdivided into three sections: Paleontological, Prehistoric and Proto-historical and Archaeological. All these sections present finds that had already been collected and held, in a small quantity, inside the rooms of the Town Hall since the 1990s. In the Paleontological section, it is possible to admire the fossil remnants of the Mesozoic Ammonites from Migiana—Lower Early Jurassic—and that of the Quaternary Mammals—Lower Pleistocene—from Ellera; an updated didactic apparatus illustrates two of the important and far away stages in the history of the Corciano area.

The Prehistoric and Proto-historical sections, mainly consisting of stone tools collected in several localities of the region, offer an interesting panoramic picture of Umbria, from the Upper Paleolithic to the Iron Age. Two cinerary vases, dated from the latter period, testify the diffusion of the Villanovan Culture in the territory between Trasimeno Lake and Perugia. The section dedicated to Classical Archaeology opens with the reconstruction of two princely chariots, found on April 1912 near Castel San Mariano inside a tomb dating from the 6 century B.C. Then comes the section dedicated to Sanctuaries, simple enclosures or altars built along the main roads of communication and on top of the hills, dedicated to deities, protectors of health, the body, fertility, affluence and livestock breeding.

The Hellenistic period is represented by materials coming from the Etruscan Necropolises of Strozzacapponi and Fosso Rigo, with the reconstruction of three burial sites that have their funerary goods placed in the original position. The section ends with an interesting nucleus of items from the Roman period, represented by the finds coming from the Roman Villa of Palazzo Grande and the funerary goods from the so called "tombs a cappuccina", discovered in the area.


Via Cornaletto 4/c
06073 - Corciano (PG) 


Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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Pieve del Vescovo

Pieve del Vescovo

Setting: rural
Dating: 16th Century

The castle Pieve del Vescovo, so-called because for centuries it has been owned by the Archbishop of Perugia's mensa, rises on a green hill that dominates the Caina Valley, a kilometre from the town of Corciano. 

The fortified building with an imposing and solid structure, has a quadrangular plan with internal courtyard and four corner towers.
Arranged on three levels, in around 1570, it was transformed into a luxurious residence following the designs of architect Gaelazzo Alessi, losing its strictly defensive features.
The late Renaissance layout, for which splendid hanging gardens and a fishpond were also designed, refines the building.
Inside there are large rooms frescoed by Taddeo Zuccari, a chapel dedicated to Saint John the Baptist, dungeons and stables.
The first historical information about the site dates back to 1206, when a papal bull by Innocence III put the pieve di S. Giovanni (Parish Church of St. John) under the jurisdiction of the Bishop of Perugia; which in 1394, was occupied by aristocrats who had fled Perugia and in 1396, it was fortified with defensive walls and high towers by Biordo Michelotti who celebrated his lavish wedding to an Orsini princess in the castle.
Between 1560 and 1570, the fortified building was transformed into a residence, designed by the architect Galeazzo Alessi, at the wishes of Cardinal Fulvio 1 Della Corgna. In the second half of the Nineteenth century it was the residence of the Archbishop of Perugia, Gioacchino Pecci (later Pope Leo XIII).
In the Nineteenth century it was badly damaged, whilst during the last world war it was home to a military garrison. The castle was then abandoned, in a state of almost total degradation until 1999, when the Scuola Edile di Perugia began restoration work.
Since May 2005, the castle has been home to the Museo Diocesano Diffuso di Pieve del Vescovo.
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Strozzacapponi Necropolis

Strozzacapponi Necropolis - Corciano

There are hundreds of tombs, organized according to a plan: similar in structure and size, they have a dromos (corridor) with steps leading to the entrance, closed by a large slab. The interior space on three sides had ledges where the urns or ollae holding the burial ashes were placed together with funerary objects.


Those of the traditional aristocratic class are flanked by burials of many lower-ranking, free men or freed slaves. Used between the third century and the first century BC, the necropolis was associated to a mining settlement in the nearby travertine quarries in Santa Sabina.

The urns, some of which are exhibited in the municipal Antiquarium of Corciano, are generally smooth; only in some cases do they have sculpted decorations enriched by lively polychrome decoration. The lids are often engraved with the name of the deceased.

The necropolis-museum is part of a wider nature-archaeological route that also includes the necropolis of Fosso Rigo, used by craftsmen engaged in stone working.

The archaeological area is temporarily closed to the public.


Località Strozzacapponi - Via Einaudi
06073 - Corciano (PG) 


Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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Palazzo municipale

Palazzo Municipale - Corciano

The Palazzo Municipale of Corciano is found on Corso Cardinale Luigi Rotelli.             

It was built in the mid-16th century by the Della Corgna dukes, who after the election of Fulvio della Corgna's uncle to the papal throne as Julius III (1550), built imposing residences in the areas under their jurisdiction including Corciano, Pieve del Vescovo, Castiglion del Lago and Città della Pieve.

The palazzo then passed to the Doni family, who were related to the Della Corgnas, and they sold it to Innocenzo Massini. He ceded it to Count Ungaro Oddi who used it as a holiday home; it then changed hands to the Innamorati family. The municipal authorities bought the palazzo in 1887, paying Luigi Innamorati 800 scudi.

The palazzo was built over homes dating back to medieval times, traces of which can be seen along its whole outer wall. The façade is made up of a central receding void on which two side avant-corps rest. The design and construction of the building, as well as the restoration of the Castello di Pieve del Vescovo promoted by the bishop Fulvio della Corgna, have been variously attributed to the architects Alessi and Vignola.

Organised over three floors, which are linked both externally and internally, the palazzo had storerooms and stables on the lower floors; above was the piano nobile, with its rooms frescoed by Salvio Savini, a Mannerist painter in the style of Zuccaro. There was a private apartment on the top floor.

The building, which was completely renovated in 1980, houses paleontology and archaeology collections on its ground floor.    

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The church of Santa Maria Assunta

Chiesa di Santa Maria Assunta

Setting: Urban
Dating: 13th Century 

The church of Santa Maria Assunta is situated near to the main square in Corciano, which was named after Coragino, the town's legendary founder, who was said to be a fellow traveller of the mythical Greek hero Ulysses.

Dedicated to the Assumption of the Madonna into Heaven, it is the main church. Originally with a Gothic structure, it was radically transformed into a neoclassical one in 1870. Squeezed between the ancient medieval houses, you can reach it via the arco della Vittoria, going up a steep stairway or by going down a few steps from piazza Coragino. As there is no piazza in front of it, one has the impression of being immediately taken in by the large neoclassical main body of the church.
The oldest document concerning this structure dates back to 1254.
Between 1332 and 1334 it assumed the name of "Pievana", and as such, installed a baptismal font and also took on the role as a cemetery. Until 1848 the church did not undergo any radical changes, but in the second half of the century, it was transformed from a Gothic to a neoclassical structure following a design by Lardoni, an architect from Perugia. It was during this period that the new bell tower was added, using the square-shaped stone medieval tower nearby.

Today, inside the church we can admire valuable masterpieces of the highest quality. Entering the church, our attention is immediately captured by the altarpiece depicting the Assumption of Mary by the painter Pietro Vannucci, better known as Perugino, 1513, located above the high altar. In addition to the high altar, there are two side altars in the church. The one on the right is dedicated to the Madonna of the Rosary, where there is a statue of her, the one on the left is dedicated to the Sacred Heart, where there is also a statue of the same name located in the niche. Don't miss the beautiful Processional Banner of Plague (Gonfalone della Peste) painted by Benedetto Bonfigli for the church of Sant'Agostino which has been kept here since 1879, in which the town of Corciano is depicted at the bottom of the painting. The striking thing about this is the attention with which the artist has reproduced the ancient castle, and the fact it looks so similar to the town today.
Under the choir, to the right, is the baptismal font, and behind is a fresco with Christ's baptism painted by Don Guerriero Giappesi in 1946, inspired by Gerardo Dottori's Futurist art. On the other side is Cardinal Rotelli's funeral monument, made in 1891 by the sculptor Luchetti from Perugia.
High up above the main entrance is a pipe organ. It was made by the master organ makers Angelo and Nicola Morettini, a famous family in the trade from Perugia, which was active for more than a century. Corciano's organ was made in 1863 and cost five hundred lire.

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"The Lauri Garden" - Città della Pieve

"Il Giardino dei Lauri" is the new location dedicated to Contemporary Art created by the art collectors Angela and Massimo Lauro to exhibit part of their personal collection.

The Lauro Collection was started in 1990 and today includes approximately 300 works of art. Collecting the work of the most representative artists, protagonists on the national and international artistic scene, the exhibit represents a narrative itinerary through the most updated research in the field of visual art.

The display is hosted inside the 650 square meters of the industrial facility and in a garden. It is animated with 70 installations of new talents from a completely new generation. The artistic selection in the exhibition, which mainly includes artists from Italy, the United States, the United Kingdom, Germany, Switzerland and Poland, sees names of classical artists—such as Takashi Murakami, Mariko Mori, Roxy Paine, Michael Heizer, Rudolf Stingel, Ugo Rondinone, Tim Noble & Sue Webster, Massimo Bartolini and Maurizio Cattelan—side by side to a nucleus of artists born between the end of the 1960s and the beginning of the 1980s, who more recently have appeared on the scene receiving important international appreciation such as Aaron Young, Eric Wesley, Dash Snow, Piero Golia, Matthew Monahan, Piotr Uklanski, Urs Fisher, Gary Webb, Martin Creed and Jonathan Meese.


Località San Litardo
06062 - Città della Pieve (PG) 
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Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  

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Church of St. Mary of Servants

Church of St. Mary of Servants

The Gothic church of Saint Mary of Servants is located right outside the medieval city walls of Città della Pieve, next to the Roman gate. 
Since the 13th century we have records of a church devoted to Our Lady of the Star, located near the former Hospital of Saints Philip and James, where the Servants of Mary settled in the middle of the1200s, establishing a small parish with an annexed convent. Work continued for a century both in the church and in the convent, greatly increased between 1486 and 1487. After the ecclesiastical suppressions during the Unification of Italy the convent became city hospital.
The plan of the church is typical of the monastic orders: the interior has just a nave with a square apse and a cross vault.

On the façade, Gothic details, later walled up, are still visible, with trefoil arches made of brick. 
Around the mid-19th century a bell tower, designed in Neoclassical style by the architect Giovanni Santini, was built next to the church. 
The interior, remade in the 17th century, houses Baroque-style stucco decorations. Particularly interesting is the wooden choir and the large wardrobe in the Sacristy, commissioned in 1628 to Giuseppe di Francesco Bendini di Montepulciano. On the first altar to the right, a fresco depicting Our Lady of the Star among Saints, with a typical Perugia style, was brought back to the light by demolishing a part of the Baroque stucco. The Baroque altar with stucco statues made by Bernini depicting the Blessed James Villa and the Blessed Matteo Lazzari on its sides has a particular theatrical effect. 
The Deposition from the Cross (1517) by Pietro Vannucci, called Perugino, although incomplete, is one of the highest moments of his artistic production, few years before his death. Here the Master was also inspired by the sentimental aspect of Raphael, his former pupil, now possessing an everlasting fame. The Christ indeed shows many connections with the art of the Urbino artist. The episode of Mary’s fainting shows, echoing the similar subject depicted by Giotto in the Basilica of St. Francis of Assisi, as Perugino continued to be an interpreter of the typically Umbrian world of lauds, rooted in the medieval period. The Master represents a scene according to a very original version, with an extreme formal synthesis that is almost impressionistic, in the rapid touches of the landscapes, but at the same time stressing the drama of the event. 
The fresco, hidden by a wall cavity, was rediscovered in 1834 by the German Antoine Remboux. After him, the fresco impressed several painters including Nazarenes, Purists and Pre-Raphaelites, who took him as source of inspiration for their romantic sensibility. 

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Church of Santa Maria dei Bianchi

Church of Santa Maria dei Bianchi

The church of Santa Maria dei Bianchi, former Oratory of the Disciplined, is at the center of Città della Pieve.

From some documents we know that the church already existed in the 14th century and had annexed the hospital, which later became a hospice. Starting from the 18th century a new church was built on the structure of the previous one. In 1743 the interventions inside were completed, in 1772 the facade was started, finished around 1780. The latter was influenced both by the Rococo and Neoclassical taste.

Inside are remarkable frescos and paintings of the Roman painter Giovanni Miselli, 1743-1744, the Presentation at the Temple of the High Altar and the stuccoes by Stefano Cremoni. The interesting organ on the counter-façade is by Claudio Carletti da Fabriano.

In the sacristy there is a remarkable fresco of 1606 by Antonio Circignani, unfortunately very damaged, depicting The Presentation of Mary in the Temple.

In 1504 the friars had master painter Pietro Vannucci, known as Perugino, painted the Adoration of the Magi scene on the whole back wall of the church. He executed the work with such solicitude that he finished it the same year. It is one of the greatest and most complex works that the master did. The nativity scene conceived and largely executed by Perugino, is certainly one of his most beautiful works: from the splendid landscape represented in the background, to the fineness of the characters, very numerous in this composition, only thirty life-size figures, more small ones. The central part is the most accurate and shows that Perugino, in the part that most attracts the observer's gaze, put all his ingenuity into action, leaving to his help the groups of lateral figures.
The church is one of the three parishes of the city.

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Church of Santi Gervasio e Protasio

Church of Santi Gervasio e Protasio

The cathedral of Città della Pieve is the church of Santi Gervasi e Protasio. It’situated at Piazza Gramsci and Plebiscito, the most central square of the city.
The Church stands on the site of a primitive church dedicated to the Holy Martyrs Gervasio and Protasio. Perhaps it was erected in the eighth century and expanded in the mid-thirteenth centur. In the sixteenth century the church was completely renovated and onsecrated in 1584, then again it was modificated after the trasformation to Cathedral.
Under the church there are remains of the original building dating back to the thirteenth century. There are a crypt, part of the façade, on which it’s visible a series of Gothic arches. The lower part of the bell tower with a series of mullioned windows, three lights and four . In the sixteenth century the church was raised and built the external staircase floor; in 1574 he redid the apse. The truss roof collapsed in 1667 and was replaced with a brick vault in 1679. The interior, with a nave, a Latin cross with side chapels. In the counter frescoes by Annibale Ubertis of the late nineteenth century they are visible. In the first chapel on the right it is a beautiful wooden crucifix attributed to Peter Teutonic (XVI century); in the second chapel it is a Madonna and Child with Angels and Saints by Domenico Alfani; in the third chapel there are kept frescoes by Giacinto Boccanera dating the beginning of the eighteenth century. In the presbytery there is a Madonna with Saints John the Evangelist, John the Baptist, Peter Martyr and Blessed Giacomo Villa Giannicola of Paul and the apse a Madonna and Child with Saints Peter, Paul, Gervasio and Protasio (1514)by the Perugino, which is also the author of the San Giovanni Battista (1510)in the first chapel on the left.
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Church of the Madonna della Stella

The church of Madonna della Stella is situated in the southern part of the small village of Paciano, just outside Porta Rastrella.

In 1562 it was built in Renaissance style and preserves important art works. Among these are the remarkable frescoes by Scilla Pecennini in the side chapels and the fresco, depicting the Madonna, in the niche of the major altar. It was executed by a painter of the Umbrian school in the 13th century. In the sacristy there are other frescoes depicting the Stories of the Sanctuary, painted between 1590 and 1620.
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Church of St. Sebastian - Panicale

Church of St. Sebastian - Panicale

The church of San Sebastiano was certainly built between the 14th and 15th centuries and was modified to its present form in 1623.

It was adorned with capitals, cornices, two altars and two small choirs.

Inside the church you can see the fresco of The martyrdom of St. Sebastian, by Pietro Perugino.

Outside the Church in the upper left part there are two terracotta panels bearing the dates 1690 and 1725, and it’s possible to find the date 1692 in the external part of the garden.

It’s very difficult to interpret these three dates. It is assumed that the date 1690 refers to the year when Nuns took possession of the building thanks to a legacy from Monsignor Paolo Corsetti to the College of Virgins.

Very probably the date 1725 could refer to another legacy to the College.

The last date, 1692, certainly refers to the building of the surrounding wall at the initiative of the College’s Nuns. 



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Anita Belleschi Grifoni

"Anita Belleschi Grifoni" Tulle Museum - Panicale

Inaugurated in 2001, the Museo del Tulle "Anita Belleschi Grifoni" has its premises in the 1500s Church of Sant'Agostino, in Panicale, restored so that it could conserve and exhibit the numerous embroidered Tulle manufactured articles that had been spread around in private hands and in town churches.

Embroidery on Tulle was a needle activity, performed with material such as cotton and silk. It was already widespread starting from the first decades of the 19th century, thanks to the improvement in technique made by the English Heathcoat and Lurley, in 1809, with the introduction of a loom that mechanically produced Tulle, a very fine and vaporous netting fabric, which is light but at the same time very resistant. Tulle in fact is a fabric characterized by the typical machine made structure of interlaced fibers — producing small hexagonal designs — called "bobbinet", a perfect base for laces.
This embroidery technique, born to offer a production similar to the hand made one, like the needle-lace or the "Tombolo" and "Fuselli" — respectively ‘pillow' and ‘bobbins' — made lace, was practiced by the nuns of the Collegio delle Vergini di Panicale and taught to the young girls, pupils of the College up until 1872, year of its closure.

During the 1930s, this traditional activity was revived by Anita Belleschi Grifoni, a lady from Panicale who improved the techniques, revised designs and simplified the stitches. Convinced of the economic and social potentiality of this traditional activity, an exclusively women's activity, Anita Belleschi Grifoni founded a school and created its trademark, the "Ars Panicalensis".
From the beginning, 1936, the company entered into a sort of collaboration with the ENAPI —Ente Nazionale per l'Artigianato e le Piccole Industrie — and also entered into contact with many contemporary artists, who produced designs and models to reproduce in the form of laces. Thanks to Anita's initiative and to her numerous social relations, but also to the contained cost of the manufactured products, the Ars Panicalensis embroidery became célèbre among nobles and the families of the middle class and higher classes, to the point that some of its samples were also sold to the royal family of Savoia and to the princes of Torlonia.
The school, like previous and analogous experiences of the region, also had the aim of providing women with their own economic independence and personal self-realization through the production and commercialization of their handmade work. After the death of Anita Belleschi Grifoni and the closure of her school, some lace makers continued to keep this traditional technique alive.



Piazza Regina Margherita
06064 - Panicale (PG) 


Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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Sanctuary of the Madonna di Mongiovino - Panicale

Sanctuary of the Madonna di Mongiovino - Panicale

The Sanctuary of Mongiovino or of the Madonna di Mongiovino is within walking distance of Panicale (about 7 kilometres) and just beneath the ancient Castle of Mongiovino. 

It was built in 1524 by Rocco da Vicenza to replace a more ancient chapel which housed a miraculous picture of the Madonna.

The sandstone sanctuary has a Greek cross plan and an octagonal cupola supported at its interior by four pillars.

The portals of the building are also remarkable and are the work of the same Rocco, Giuliano da Verona, Bernardino da Siena and Lorenzo da Carrara.

The interior presents a square plan with four chapels on its corners and the main chapel preserving the miraculous painting.

Among the notable works there are the Deposition from the Cross by Arrigo Fiammingo, a Resurrection by Nicolò Pomarancio, the Coronation of Mary depicted on the cupola by Mattia Batini and other important sacred images including especially the miraculous image representing the Virgin and Child, of the 14th century.

Beyond the pictorial works, other noteworthy pieces are the main altar in stone and the terracotta statues located in the niches of the organ and executed by Bevignate da Perugia and Arrigo Fiammingo.

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Sanctuary of the Madonna delle Grondici - Panicale

Sanctuary of the Madonna delle Grondici - Panicale

The Sanctuary of the Madonna delle Grondici is located in a really evocative panoramic position near Tavernelle, a village in the district of Panicale. 

It was built in the 15th century to protect a Madonna painted on a votive shrine that according to legend, revived a child.

The word “grondici”, meaning “under-eaves” identifies the part of the roof protruding from the external wall of a building, the eaves.

The medieval theology thought that the souls of children who died without having been baptised would go to limbo and, consequently, they could not be buried in hallowed ground. Parents whose children were dying unbaptised would bring them to the Sanctuary, in the hope that they could still give some signs of life and receive both the Sacrament of Baptism and a religious burial. If this didn’t happen, the child was buried under the eaves; the name of Madonna delle Grondici developed over time from here.

The temple, totally renovated in recent years, was guided by hermits until the beginning of the 20th century. Inside it’s possible to admire “Virgin on the Throne between the Saints Sebastiano and Rocco”, artwork of Gregorio Gregori, the Teutonic (1295), who resided in Castel della Pieve. 

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