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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.

OPENING TIMES

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 – 6 pm

For information:
www.muvit.it 

Corso Vittorio Emanuele II
06089 - Torgiano (PG) 
email: prenotazionimusei@lungarotti.it

 

Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari 

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La fioritura di Castelluccio di Norcia

La Fioritura di Castelluccio di Norcia

Ogni anno Il Pian Grande di Castelluccio di Norcia si anima con uno spettacolo della natura tra i più grandi al mondo.

Tra inizio giugno e fine di luglio, è possibile vivere un’esperienza multisensoriale indimenticabile: papaveri, fiordalisi, margherite, violette, lenticchie, narcisi, genzianelle e tante altre specie spontanee creano un meraviglio mosaico di colorata bellezza e di profumi inebrianti. Il piccolo e delicato fiore bianco con sfumature viola chiaro è il protagonista di questo incanto: la lenticchia. Chiamata dagli abitanti di Castelluccio ‘’Lénta’’ è il prodotto rappresentativo del paese per eccellenza. Gli agricoltori della zona, per preservare i campi e non utilizzare i pesticidi per la coltivazione, hanno da sempre lasciato che anche le altre piante prosperassero nei terreni, traendo tantissimi benefici. É in questo modo che, in attesa della crescita delle lenticchie, le piante spontanee si rinnovano, fioriscono, dando vita ad uno spettacolo floreale unico al mondo.

Quando andare:

Purtroppo si può fare solo una previsione generale sui tempi della Fioritura, tutto dipende dall’andamento climatico della stagione. Neve, Piogge, temperatura e sole sono i veri artefici del calendario e solo per poche settimane si può apprezzare ed assaporare la bellezza delle fioritura che ogni anno produce unici ed irripetibili sfumature e campiture colorate. 

La Fioritura è ormai un evento naturale e culturale molto amato; per viverlo al meglio, si consiglia di scegliere i giorni infrasettimanali, evitando il weekend.

Come andare:

Se non potete rinunciare al mezzo proprio, parcheggiate nelle aree segnalate, evitate di andare verso il centro del paese, per poi raggiungere a piedi la fioritura, sarà un’esperienza unica. Si possono anche noleggiare bici elettriche, chiamando il 393.2096641. Il servizio e-bike vi consegnerà le bici nel punto da voi desiderato. Inoltre è possibile affittare dei cavalli e muli con guida.

Da non dimenticare, quest’anno, Il 25 e 26 giugno e il 2, 3, 9 e 10 luglio 2022 non ci si potrà fermare con le auto proprie a Castelluccio, mentre sarà consentito libero accesso ai mezzi a due ruote, ai bus turistici e alle autovetture di residenti, dimoranti, esercenti, soggetti non deambulanti o di coloro comunque in possesso di idonea autorizzazione. 

Pertanto, la chiusura deve intendersi riferita solo ad autovetture non autorizzate e a camper. La propria auto potrà essere lasciata in uno dei numerosi parcheggi in prossimità con previa prenotazione tramite il portale http://www.parchiaperti.it/. Castelluccio verrà poi raggiunto a piedi, in bicicletta o attraverso il servizio navetta da Norcia con quattro corse giornaliere A/R, attivo il sabato e nei giorni festivi. Per informazioni e orari, consultate il sito www.fsbusitalia.it

Cosa fare:

Nel rispetto della natura e della sua eccezionalità, per immortalare le stupende fioriture, cercate di rimanere lungo i sentieri vicini, evitando di entrare nei campi coltivati per non calpestare i fiori.

L’altopiano di Castelluccio apre le porte verso posti unici in cui è possibile fare un incredibile numero di attività: escursioni, trekking anche con i muli, mountain bike, bird-watching, rufting, deltapiano e parapendio.

Le guide, altamente preparate, potranno accompagnarvi alla scoperta di questi luoghi ineguagliabili, per immergersi nella tranquillità e meraviglia dei Monti Sibillini.

Per maggiori informazioni:

https://www.castellucciodinorcia.it/

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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:
www.rasigliaelesuesorgenti.com

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Campo del Sole

Campo del Sole

Campo del Sole in Tuoro sul Trasimeno is an original open-air museum, unique in its kind, rising on Punta Navaccia, an area of great naturalistic interest.

 

Designed by the famous artist Pietro Cascella, with the collaboration of the sculptor Mauro Berrettini and of the Swiss sculptor Cordelia von den Steinen, has the shape of a big spiral made of 27 columns-sculptures leading to a central table (almost a board) surmounted by a solar symbol.

 

 

The sculptures, that are all made in the laboratory of Giulio and Mauro Borgia di Tuoro by Italian and foreign artists, of different generations and research fields, are made of local grey sandstone called “Serena stone”. Each column - sculpture is about 4.5 metres high and has a diameter between 70 and 80 centimetres.

It’s a “place of the memory” that is not connected with any particular event, but that summarizes in itself the historical weight of those places, for then becoming an occasion of meeting, dialogue, daily encounter without walls or barriers, and a landscape reference point too.

The topic of the column ensures to the whole a widespread verticality, that makes Campo del Sole something like a Stonehenge of our time.

In the summer 1985 columns and sculptures have been designed and executed by: Kengiro Azuma, Iginio Baldieri, Mauro Berrettini, Rinaldo Bigi, Pietro Cascella, Adolfo Innocenti, Mauro Staccioli, Joe Tilson, Cordelia von den Steinen; in the summer 1986 by: Anselmo Giardini, Pasquale Liberatore, Luigi Mainolfi, Friedrich Volker Marten, Costantino Nivola, Joshin Ogata, Joaquìn RocaRey, Francesco Somaini, Alì Traoré; between the summer 1988 and the autumn 1989: Nicola Carrino, Aurelio De Felice, Leo Lionni, Idetoshi Nagasawa, Annibale Oste, Giò Pomodoro, Jørgen Haugen Sørensen, François Stahly and Valentino Tubbiani; facilities at the entrance of the itinerary have been executed by KuoWei Tu.

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Rocca Albornoziana fortress

Spoleto’s Rocca Albornoziana

One of the very first things to see in Spoleto is the Rocca Albornoziana (Albornoz Fortress) which overlooks a large part of the valley of Spoleto (also called Valle Umbra) from atop Sant’Elia Hill. History says that Pope Innocent VI ordered the building of the fortress, to restore the authority of the Church over the area. In fact, since 1309, the Pope and the Curia had resided in Avignon and, expecting the Pope’s return to Rome, the complex task of restoring order in the territories was entrusted to the Spanish cardinal Egidio Albornoz. Matteo Gattapone of Gubbio, an expert in military architecture, was appointed in 1362 to build the fortress as a defensive stronghold in the heart of the Papal State. The Cardinal, who died in 1367, was unable to see the completed work, but the fortress has always been closely linked to his name.

Lucrezia Borgia, the most fascinating woman of the Italian renaissance:

The fortress was designed as an instrument of control and defence of the territory, to restore order to the region. The governors of the city, often chosen from among the Pope’s closest relatives, resided in the fortress; among these, the best known is surely Lucrezia Borgia, secured in Spoleto in 1499 by her father, Pope Alexander VI (Lucrezia was also the sister of Cesare, the famous “Prince” addressed by Machiavelli), who did everything possible to reunite with her husband Alfonso of Aragon. As evidenced by the numerous papal coats of arms that decorate its entrances, towers and two courtyards, the Rocca was often visited in the fifteenth and sixteenth centuries by the Popes, who sometimes used it temporarily as a papal residence. In 1499 Nicholas V stayed for a few months in Spoleto to escape the plague of Rome.

A frescoed prison:

The Rocca Albornoziana in Spoleto has a rectangular plan of 130 x 33 meters and six towers. From 1817 to 1982 it was used as a prison and, following extensive restorations that brought to light numerous painted decorations dating from the fourteenth to the eighteenth centuries, has it been the seat of the National Museum of the Duchy of Spoleto since 2007.

The six towers:

The fortress has six towers, at its corners and midway along its longer sides. They are named: on the eastern side, the tallest is Torre Maestra, flanked by Torre della Balestra on the left and the Torre Nuova on the right. On the western side are the Torretta (or Torre del Tinello), the Torre dell’Acqua and the Torre del Forno.

Courtyards, arcades and halls The fortress has two courtyards: the Cortile d’Armi (courtyard of weapons), intended for soldiers, and the Cortile d’Onore (courtyard of honour), for the papal governors. The two courtyards are separated by a transverse wall and connected by an arch frescoed at the time of Pope Gregory XIII, whose coat of arms is seen in the centre of the vault. On the sides, five cities of the Papal State are also represented: the port of Anzio, Perugia, Orvieto, Ripatransone (a city in the Marche region) and Spoleto. Leaving the Cortile d’Armi, you can climb to the Upper Loggia, then to the piano nobile where the governors of the city received guests and celebrated banquets in the great Hall of Honour. Nearby is the Painted Room, whose walls are decorated with one of the most important cycles of early 15th century secular painting in the region, with romantic scenes of stories of knights and of hunting and fishing.

The other Albornoz fortresses: 

In Umbria Other dominion fortresses, as majestic as they are austere, were built in Assisi, Todi, Spello, Orvieto and Narni.

Hours: from 1 April to 30 September 2022 – every day: 9:30 a.m. – 7:30 p.m. (last entry at 6:45 p.m.).

Tickets: adults € 7.50 (over age 25); youth ticket € 2,00 (18 - 25 years); free for EU citizens under age 18

Address: Piazza Campello, 1 – 06049 Spoleto (PG)

Telephone: +39 0743 223055
 

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Museo storico del tabacco

The Museo Storico e Scientifico del Tabacco (Historic and scientific museum of tobacco) is housed in the former Tobacco Growers' Consortium building, near the train yard of San Giustino. The building that once was a tobacco warehouse is now the premises of the Museum.

The edifice was built at the end of the 19th century by the Municipality of San Giustino. The structure was expanded in the following years and remained active until 1992, when tobacco processing was transferred to the industrial area, inside new warehouses.

The Museum is unique in its genre, the structure hosting it is of notable historical interest both for documenting tobacco cultivation and its manufacturing stages, and for the importance this has had on the economy of the territory. At first entirely dedicated to tobacco processing, the Museum was founded by the Foundation for the Historic-Scientific Museum of Tobacco, constituted in 1997 by all participants, such as businesses and associations acting in the tobacco productive chain, from farmers to tobacco shops.

 

The Museum presents the legislation on the subject, and reconstructs the various processing stages, divided into the three main ones of farming stage—growing and cultivation; raw-material treatment stage—sorting of the leaves, selection of quality and treatment;  manufacturing stage—the actual production of the final products—snuff, cigars and cigarettes. The Foundation also benefits from the involvement of the municipalities of the Upper Tiber Valley, where tobacco manufacture was imported for the first time in Italy, at the end of the 16th century, in the territory of the historic Republic of Cospaia, 1441-1826.

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Park of sculptures in Brufa

The project “Sculptors in Brufa. The Street of Wine and Art” was started in 1987 to create an original and modern artistic experience: the establishment of a real open-air museum. 

 

Each year, since then, a sculptor has been invited to exhibit his or her artworks along the streets overlooking the vineyards and the small squares of the village, which buys one piece from each artist.

 

The result, in continual evolution, is an itinerary of contemporary sculptures made by artists of national and international reputation in an harmonious combination of nature, urban and rural landscape as well as contemporary sculpture, stretching along the crest of the hill of Brufa, in the Torgiano district.

The position devoted to the permanent installation of an artwork is identified by the artist, who lives and studies the territory to get to know it in each form, so that sculptures can always be an authentic enrichment of the surrounding environment and, without affecting its key elements, can create a new natural and cultural itinerary.

 

 

 

 

Displayed Artworks

 

1987 Massimo Pierucci - Brufa

 

1988 Marcello Sforna - L’Equilibrista (The Tightrope Walker)

1989 Mario Pizzoni - La Serena di Tuoro (The Serene of Tuoro)

1990 Agapito Miniucchi - Thaun

1991 Giuliano Giuman - Ianuae

1992 Aurelio De Felice- La montanara (The highlander)

1993 Bruno Liberatore - Torri (Towers)

1994 Nino Caruso - La porta di Dioniso (Dioniso’s Door)

1995 Loreno Sguanci - Il grande segno (The big sign)

1996 Umberto Mastroianni - Primavera per Brufa (Spring for Brufa)

1997 Mirta Carroli - Il tempio delle voci  (The temple of voices)

1998 Carlo Lorenzetti - Arc-en-ciel (Arch in the sky)

1999 Joaquin Roca Rey - Sursum corda

2000 Nicola Carrino - Progetto Brufa Costruttivo modulo L (Brufa Building project - Module L)

2001 Giuliano Giuliani - Tronco (Trunk)

2002 Gino Marotta - Grande Alone (Big aura)

2003 Eliseo Mattiacc i- Porta di Castelgrifone (Door of Castelgrifone)

2004 Mauro Staccioli - Brufa 04

2005 Valeriano Trubbiani - Volo frenato (Hampered Flight)

2006 Pietro Cascella - Fontanina (Small fountain)

2007 Teodosio Magnoni - Ara (Altar)

2008 Federico Brook - Le nuvole di Brufa (Clouds of Brufa)

2009 Umberto Corsucci - Vitalità (Vitality)

2010 Ettore Consolazione - Contro tutti i terrorismi  (Against all forms of terrorism)

2011 Beverly Pepper - Broken Circle

2012 Federica Marangoni - Un volo impossibile (An impossible flight)

2013 Marco Mariucci - L’uomo di Brufa (The man of Brufa)

2014 Tito Amodei - Vibrazioni (Vibrations)

2015 Paolo Pasticci - Macina umana (Human millstone)

 

 

Source: http://www.scultoriabrufa.it/

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Grechetto di Todi

Grechetto di Todi

The Grechetto from Todi is an ancient autochthonous grape of the territory, already mentioned by Pliny the Elder in his Naturalis Historia.

The author described a particular kind of grape with a characteristic bitter aftertaste, typical of Todi.

 

Since 2003 it has been considered genetically unique and different from the Orvieto Grechetto. Although different, they share some similar identifying traits deriving from their belonging to the wide family of Greek vines.

The Grechetto is produced with the Todi DOC certification that includes the municipalities of Collazzone, Massa Martana, Monte Castello di Vibio and Todi.

It’s a white wine with a brilliant straw yellow colour and golden highlights. Its perfume is slightly winey but delicate, whereas its flavour can vary from dry to slightly sweet, velvety, balanced with a characteristic slightly bitter and fruity aftertaste.

It is well-suited to accompany first courses that are not very structured, white meat dishes, grilled fish and soft cheeses.

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Palazzo Baldeschi al Corso

E’ un’antica residenza nobiliare le cui origini risalgono alla fine del Trecento, completamente affrescata verso la fine dell’Ottocento dall’artista Mariano Piervittori.Al suo interno è custodita la prestigiosa raccolta d’arte della Fondazione Cassa di Risparmio. La collezione permette un percorso a trecentosessanta gradi sull’arte umbra dal Medioevo al Novecento, da Perugino a Gerardo Dottori.

Oltre duecento dipinti tra Perugino, Pintoricchio, Matteo da Gualdo, Signorelli, Cerrini e Dottori.

Altrettanto importante fu l’operazione di acquisire quella che ad oggi è una delle più prestigiose Collezioni di maioliche Rinascimentali in ambito nazionale, una raccolta di 147 pezzi che si può ammirare negli spazi espositivi di Palazzo Baldeschi. Complessivamente, tra i manufatti di epoca Rinascimentale e quelli ottocenteschi, la Fondazione ha un patrimonio ceramistico che sicompone di circa 300 opere

 

Un’altra tappa importante nell’ambito di questo percorso di accrescimento collezionistico è il lascito di circa 775 opere che il collezionista fiorentino Alessandro Marabottini aveva custodito per mezzo secolo nella sua casa di Firenze e che ha donato alla Fondazione Cassa di Risparmio di Perugia, proprietaria della dimora, affinché fossero esposte permanentemente al pubblico.

Periodicamente il palazzo, inoltre, ospita mostre di livello internazionale.

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National Archaeological Museum

MANU National Archaeological Museum - Perugia

The National Archaeological Museum is housed in the former convent of San Domenico, located along Corso Cavour, just outside the Etruscan walls of Perugia.
Since 1948 the Museum has occupied the area of the Dominican Convent complex, built over an earlier 13th century church that stood where the main cloister is today, which in the course of the centuries has been enlarged until assuming its current aspect.
With the occupation of the Napoleonic troops and the Italian process of unification, the complex was transformed to host military barracks, changing dramatically the original design: the cavalry was housed in the cloister, the stables were placed in the oratory and the old church was transformed into a refectory on two levels. During the Second World War the complex was occupied by German militias, then by the Allied troops and finally by refugees.
Since 1945, when it was handed over to the Municipality, it has become a place of culture, hosting the State Archives and Civic Museums. Apart from admiring the architectural complex of San Domenico, whose cloister—one among the largest and notable in town—allows a good view of the church's imposing tower bell, a visit to the Archaeological Museum represents a precious opportunity to be acquainted with the collections of Etruscan finds. These are among the richest in Italy, gathered above all in the course of the 19th century excavations in the necropolises around Perugia.


Next to the most ancient finds, the visitors can appreciate the numerous materials coming from the excavations that followed the start of the Superintendence of the Archaeological Heritage (1964) that are displayed in accordance with the most modern exhibition criteria. Furthermore, a significant amount of pre-historical finds completes the exhibition.
The Museum hosts the pre-historical and Etruscan-Roman collections, which were gathered starting from the 19th century by the illustrious scholars who as curators took over the responsibility of managing and preserving the archaeological heritage of the town, which at the time was an important center for Etruscan archaeological studies.
The central nucleus of the exhibition mostly contains material from the territory and the excavations in the necropolises of Perugia, which can be dated from the Archaic and the Hellenistic Ages, like the Cai Cutu Sarcophagus in Sperandio and the exceptional complex of archaic bronze coming from Castel San Mariano, as well as the Cai Cutu hypogeum reconstruction—as per the original arrangement—in a separate section located in the basement. Both levels of the Loggia in the cloister display the Etruscan-Roman Lapidarium composed of many cinerary urns, funerary cippus—i.e. memorial stones—and marble slabs with Latin inscriptions.
Pre-proto-historical material from diverse contexts in central Italy—Umbria, Tuscany, Marche and Abruzzo—along with the Bellucci Collection and the finds from the settlement of the Tuscan village of Cetona are placed in the upper floor. In the large Hall of the Bronzes, which has hosted for almost half a century the rich collections of proto-historical items that belonged to Giuseppe Bellucci and Umberto Calzoni, a new section has been arranged following the most recent museum criteria. This section illustrates the dynamics of the development of the Umbrian and Etruscan civilizations, the former settled on the left riverbank of the Tiber, while the latter on the right side, with the river as a figurative the central corridor.

Accessibility

 

For those travelling with their own vehicles, some car parks reserved for the disabled are located along Corso Cavour. Upon advance notice by phone to the number +39 075 5727141, it’s possible to drive to the cloister with one’s own car and park there for the duration of the visit. The facility can also be reached by public transportation: the nearest bus stop is in the “Tre archi” stop, about 200 metres from the entrance of the Museum along Corso Cavour. 

 

 

Information

Piazza Giordano Bruno
06121 - Perugia (PG) 
email: sba-umb@beniculturali.it
sito web: www.archeopg.arti.beniculturali.it

 

Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  

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Cathedral of San Rufino

Cattedrale di San Rufino

Where it is
The cathedral of San Rufino is in the historic centre of Assisi. Its wonderful Romanesque façade rises majestically over the piazza of the same name. 

 

Once upon a time
The religious building occupies part of the Roman terracing and according to some, in the area of the forum on which the Bona Mater temple was built.

 

Why visit it
The elaborately sculpted façade is one of the greatest examples of Romanesque art. The interior, modified in the 16th century, houses the baptismal font in which Saint Francis, Saint Clare and possibly the future Emperor Frederick II, the Duke of Swabia, were baptised.

Description
The church, built from 1029, was given the cathedral status in 1036. In 1140 it was re-built following designs by Giovanni from Gubbio. Pope Innocent IV consecrated it in 1253.
The façade, a real masterpiece of Romanesque sculpture, is divided horizontally into three sections.
In the lower part are three portals with lions and griffins at the sides.

The central portal is elaborately carved with floral motifs as well as allegorical figures and animals. In the lunette is a bas-relief of Christ enthroned, the Nursing Madonna and Saint Rufinus, by an unknown artist.
The middle part is decorated with three splendid rose windows; symbols of the four Evangelists surround the central rose window.
The upper part, with a gable roof, was added at the end of the 13th century.
Saint Clare's house was in the vicinity of the bell tower.
The interior which follows the layout of a basilica divided into a central nave and two aisles, was completely modified in 1571 by Galeazzo Alessi (architect of the nearby basilica di Santa Maria degli Angeli). The removal of the side altars in the aisle on the left, revealed part of a Roman wall and the ancient Roman cistern.
At the front of the right aisle is the baptismal font where Saint Francis, Saint Clare and possibly the future Emperor Frederick II were baptised. Nearby is the Chapel of the Blessed Sacrament, decorated in a Baroque style with Eucharist-themed images painted by Giacomo Giorgetti in 1663.
In the apsidal-conch are frescoes by Carlone, Giovanni Antonio Grecolini and Giorgetti. The apse is enhanced by the splendid wooden choir carved by Giovanni di Piergiacomo da San Severino, 1520. To the left of the main altar is a Crucifixion by Dono Doni.
In the central nave, at the sides of the entrance are two sculptures depicting Saint Francis  by Giovanni Duprè, 1882, and Saint Clare by Amalia Duprè, 1888.
From the sacristy you reach the oratorio di San Francesco, where Saint Francis retreated before preaching.
The crypt is divided into three naves and contains fragmentary frescoes from the 11th century showing Symbols of the Evangelists.
The Roman sarcophagus from the 3rd century A.D. holds the relics of Saint Rufinus.
Next to the cathedral, you will find the diocesan museum and crypt of San Rufinus.
Adjacent to the museum is the Capitolare Archive, containing many illuminated codes and documents dated as early as 963.

 

Trivia
According to San Pier Damiani (1052) the remains of Saint Rufinus, Bishop of Assisi and martyr in the 3rd century, were a matter of contention between the Bishop Ugone and the local people. The Bishop wanted to take the saint's body to the then-cathedral of Santa Maria Maggiore. The locals were firmly opposed to the idea and so a "tug of war" contest over the saint's coffin was set up, to decide what to do: seven men from Assisi managed to beat the Bishop's sixty men. After this extraordinary phenomenon, Ugone decided to radically transform the small primitive basilica where the remains of Saint Rufinus were kept from 412.

Opening time

The underground sections can be visited every day:

Monday: 10.00-13.00 / 15.00-18.00
Tuesday: 10.00-13.00 / 15.00-18.00
Wednesday: Closed
Thursday: 10.00-13.00 / 15.00-18.00
Friday: 10.00-13.00 / 15.00-18.00
Saturday: 10.00-18.00
Sunday: 11.00-18.00

Last entrance half an hour before the closing time.

To contact the museum send an e-mail to info@assisimuseodiocesano.it

Info and booking visits:

 

www.assisimuseodiocesano.it

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The Plains of Castelluccio di Norcia

The Plains of Castelluccio di Norcia

The Plains of Castelluccio are a karstic and alluvial plateau of the Umbro-Marchigiano Apennines.

Located at about 1,350 m above sea level, there are three Plains that cover an area of 15 km²: the Pian Grande (province of Perugia), the Pian Piccolo (province of Perugia) and the Pian Perduto (province of Macerata, in the Marche Region).

They are marked by karst phenomena, with the formation of karst structures known by local residents as Mergani, which are deep sinkholes in the main plain and drain rainwater into groundwater aquifers, which also bring water to the rivers Sordo and Torbidone, of the plain of Santa Scolastica.

The Pian Grande, which extends for about 7 km with an average width of 3 km and an altitude ranging from 1300 to 1252 m, is the second-largest karstic plateau in Italy, after the Piana del Fucino, and is entirely surrounded by the ridges of the Sibillini Mountains.

What makes the Plains famous is the Flowering which, starting in May and continuing into June and July, colours the whole area with poppies, cornflowers, daisies and lentils (the lentil is one of the most appreciated gastronomic excellences in the area).

Castelluccio and its plateau are the perfect shelter for mountain lovers: in addition to air sports, from hang-gliding to paragliding, you can enjoy many outdoor activities, both for experts and beginners, such as trekking, Nordic walking, biking and horseback riding.

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La Festa dei Ceri in Gubbio, Piazza del Comune filled with crowd

The Festa dei Ceri in Gubbio

The century-old tradition of the Festa dei Ceri takes place every year in Gubbio on May 15th, on the eve of the Feast of Sant'Ubaldo, the town's patron saint who died in 1160.
It is of little importance whether the origins of the Feast are Pagan or have something to do with the devotion for the patron saint - during this Feast you can truly breathe the soul, passion and traditions of Gubbio and the whole of Umbria.


The objective of the race is to glorify Sant'Ubaldo and it consists in transporting the Ceri from the church of Santa Maria Nuova into the town centre to the basilica dedicated to the Saint.
The Ceri are three enormous wooden structures that weigh four quintals each (nearly 900 pounds) and are topped by the statues of Sant'Ubaldo (protector of masons), San Giorgio (protector of artisans and tradesmen) and Sant'Antonio Abate (protector of farmers and students). These are carried along the streets of the town centre to the Sant'Ubaldo basilica on Mount Ingino. The "ceraioli" (ceri-bearers) take part in this wild race followed by an enthusiastic crowd.
A suggestive ceremony precedes the race - at midday in piazza Grande, the Ceri are carried three times around the square. They are then paraded through the streets of the city, before being taken to via Savelli Della Porta until the start of the race.
Each year, people from all over the world come to enjoy a bit of Umbrian folklore.

For more information:

www.festadeiceri.it

www.ceri.it

 

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Palazzo Cesi

Palazzo Cesi

Among the fiefs and properties that the noble family Cesi acquired in Lazio and Umbria, the residence of Acquasparta stands out. Certainly Palazzo Cesi was the most famous and important.

It was built in the town center. In 1540, Gian Giacomo Cesi and his wife Isabella of Alviano obtained the fief of Acquasparta from Pier Luigi Farnese, in exchange for that of Alviano. Ten years later the family decided that even if their home was already worthy, nevertheless they planned to enlarge it and transform it into a prestigious building. In 1561 the project was entrusted to the Florentine architect Guidetto Guidetti, later replaced by the Milanese Giovan Domenico Bianchi.
Around 1579 the construction of the building ended, when Federico Cesi, a nephew of Gian Giacomo, married Olimpia Orsini.

In the first months of 1604, Federico retired within its walls, discouraged by his father's intolerant and unsympathetic attitude towards the activity of the Accademia dei Lincei. A few month before Federico had founded the Accademia with other friends.
Once the critical phase was over, the four founders, including Federico, gathered again in the rooms of the palace which, in 1618, became Federico's residence and the official seat of the Academy.
The quietness of the Umbrian countryside made the residence of the Cesi an ideal place for academic work and scientific research. In 1624 Galileo Galilei was also a guest in the palace of Acquasparta.
The building is accessible from the entrance hall leading to the ground floor rooms. From the porch, through a staircase, you reach the main floor. Here precious frescoes celebrate the illustrious origins and the great military virtues of the Cesi family. Beautiful coffered wood ceilings adorn the rooms. On the main floor, in the reception hall, the coffered ceiling is carved with figures of Hercules, trophies of arms and gargoyles.
Among the decorative paintings that illustrate the military exploits and the origins of the Cesi family, is the emblem of the Academy: the lynx surrounded by a laurel wreath.
On the ground floor the decoration of the rooms used for the Cesi's private lives draws on the rich mythological heritage, in particular by Ovid's Metamorphoses. All the decorations are considered among the greatest examples of Roman painting style in Umbria.

Contats/ Tourist Info (guided tours and activities): 

FACEBOOK | E-MAIL:  infopalazzocesi@gmail.com | cell: 351 703 1853


Bibliography
Martinelli Imbriani A. (1982), Contributo alla storia di Acquasparta, Roma, Edizioni Oddo.
T.C.I. (2004), Umbria, Milano, Touring Editore.

 

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Church of San Bevignate

Chiesa di San Bevignate

The church of San Bevignate is just outside Perugia, in via E. Dal Pozzo, opposite the Monumental cemetery.

A complex series of factors contributed to its construction around the mid-13th century: Raniero Fasani's Flagellation movement, which, beginning in Perugia in 1260, spread all over Italy; the new working-class, who having gained political prominence, felt the need to legitimise themselves with their own temple and their own saint, choosing the mysterious Bevignate, who had never been canonized and of whom no reliable documentation exists. Lastly, because of the numerous hermits and hermitages in the area and the presence of Knights Templar who needed a new church in place of San Giustino d'Arna.

Indeed, it was precisely the Knights Templar who managed to obtain patronage for the building from the pontiff.
After the destruction of the order, in 1312 the church passed to the Order of the Knights of Saint John (of Jerusalem), then to the monks of Saint John and later to various confraternities until 1860, when it became property of the State, and was entrusted to the municipality of Perugia.
Outside, the church's appearance is rather bare, following the model of buildings built by the Templars in the Holy Land. Inside is a single nave with two bays and a groin-vaulted ceiling. There is a raised squared apse, introduced by a large triumphal arch, containing frescoes from the 13 th and 14 th centuries of great importance like Procession of the flagellants, the Battle between Templars and Muslims, the Legend of San Bevignate, on whose cape is some graffiti engraved between the end of the 15th and the 16th century perhaps by pilgrims, followers or Templars.

General informations:

- Entrance fee
- Totally usable by the disabled
- Bookshop, toilets, parking

Opening hours:

January, February, March, November and December: Saturday and Sunday: 10.00 - 13.00
April, May, June, July, August, September and October: Saturday and Sunday: 10.00-13.00 / 15.00-18.00 Closed 25 December and 1 January

- During the opening hours, audio guides (in Italian and English), informative and in-depth material, guide in Braille are available free of charge; operators can also answer questions and provide short free insights into the history of the museum.

- For guided tours, extraordinary openings, after hours, educational services / didactic workshops and other services
- For requests I use space

Info and reservations:
Munus s.r.l.
tel. 075 9477727
email: palazzodellapenna@munus.com

 

_________________________________________

Bibliography
Mancini F. F. &  Casagrande G. (1982), Perugia. Guida storico-artistica, Bologna, Fotometalgrafica Emiliana.
Roncetti M., Scalpellini P. et al. (1997), Templari e ospitalieri in Italia. La chiesa di S.Bevignate a Perugia, Milano.
Montella M. (1993) (a cura di), Perugia, Perugia, Electa Editori Umbri.
T.C.I. (2004), Umbria, Milano, Touring Editore.

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Civic Museum in Palazzo Eroli - Narni

Civic Museum in Palazzo Eroli in Narni

The Civic Museum is situated in Narni's old town centre, behind the Town Hall. With its 2700 sqm hosts major paintings, sculptures and archaeological sites that allow the reconstruction of the city's history.

Its centrality has transformed the Museum as a tourist information centre to find schedules of openings for visiting artistic heritage, events and initiatives in the city and in the territory, as well as book guided tours of the old town centre.

As the town culture building, the Museum offers the possibility of an ongoing cultural exchange through conferences, presentations of books and publications, meetings, thematic tours and workshops for children with a "child-friendly Museum" to create a permanent itinerary and to interact with the collection on display.

Palazzo Eroli, rich noble residence in Narni, is also a perfect setting for temporary exhibitions and for the Museum collection.
The Museum is divided into two sections: the archaeological collection, which includes artifacts from prehistoric to medieval times, and the picture gallery, with works dating from the 14th to the 18th century.

Among the most interesting works we can admire: the Incoronation of the Virgin by Domenico Ghirlandaio and the Annunciation by Benozzo Gozzoli, the Egyptian Mummy with its decorated wooden sarcophagus and the bronze Cup of the fountain in the main square (Piazza dei Priori) from 1303.

 

The whole is supported by state-of-the-art equipment like large screens and lighting systems.

The CaffEroli coffee bar inside the Museum invites visitors to read, relax and refresh themselves.
A large indoor room is stocked with an extensive bookshop, a reading section and a children's corner.

There is also an extensive consultation room for adults on art, history and tradition and one reserved for young visitors for an entertaining approach to art and history through didactic activities. Adjacent is a spacious terrace overlooking the charming Nera river gorge.

A child-friendly Museum!

New educational path devoted to families.

The project developed by Sistema Museo, with indispensable contribution of the Umbria Region and support from Narni Municipality, aims to improve accessibility for families of the Civic Museum and make it a more welcoming place for a very special target... the whole family!

Each station has different activities, divided by age groups, able to engage young visitors in an inspiring and creative way. Parents direct and support their children's experiences. Currently three positions have been created, one located in the Roman archaeological section, the second placed in the Medieval archaeological section, third placed in the art gallery.

Each totem includes a small handbook for parents and for each micro proposed activity there is some technical information and some text that goes more in-depth. All texts are in Italian and English! Lots of pictures, lots of games, lots of fun ... lots of culture for all ages! Let's follow Leon the museum's lion mascot, in this discovery route!

Days and Times

Summer opening hours (April / October):

Open Tuesday to Sunday 10:00 - 19:00 (last admission 45 minutes before closing)

Winter opening hours (November / March):

Open Tuesday to Sunday 10:00 - 18:00 (last admission 45 minutes before closing)

 

For information:
Tel. 800 266300 (Toll free number)
Mobile + 39 351 2385303 | +39 351 2385302
Mail: visitnarni@gmail.com | narni@archeoares.com
Web: www.archeoares.it 

Tickets:
The ticket includes the access to the Eroli Museum and to the Rocca di Albornoz.
Full ticket price: € 6,00
Reduced ticket price:  € 4,00 (children from 12 to 18 years; groups of more than 20 paying people; school groups)
Free for children up to 12 years, for disabled people with a certificate certifying disability of more than 74% and for residents in the Municipality of Narni.

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Rocca Albornoziana

Rocca albornoziana in Narni

The Rocca Albornoziana, or Albornoz Fortress, dominates Narni and the Nera River gorges from above. 

This imposing building was part of a system of forts that the Papal State, after Avignon, built to protect the territory it had just re-conquered. Its dominant position perched above the city and its construction style are a clear indication of the Papal State's intent to control the area's communication routes with Perugia, Terni and Amelia.

We suggest you stop in to enjoy the spectacular views over the vast countryside, and to visit its museums and multimedia centre.

The fortress is square, its four corners fortified by towers and a moat and second wall for even further protection. The walls and the towers, crowned with corbels, embrace a courtyard that can be accessed via two elegant gates. The courtyard is square and on it are two buildings. An elegant staircase leads to the first floor, once a noble residence. The largest of the four towers is the keep and has a side that is 20 bracci wide and four storeys tall, plus a basement.

Construction on the fort began in 1367 on top of what was once a military settlement built by Federico Barbarossa. Just four years later, in 1371, Pietro, or perhaps Giovanni, di Nevico moved in as the first castellano. Work was completed in 1378. Several architects worked on the project, and historians presume that Ugolino I di Montemarte and Matteo Gattapone, who worked on several buildings being built by Cardinal Albornoz, were among them.

Between 1370 and 1449 the fortress was home to popes, cardinals and generals, its fate linked closely to theirs. In 1449 the plague forced Niccolò V to move in and he embarked a series of projects to enlarge its defensive structures. These projects were continued under Pope Sisto IV and then Innocence VIII until the end of the 15th century.

The fortress resisted numerous assaults and was governed by a long series of castellani until 1798 when, after Rome declared itself a Republic and Pius VI fled, French troops stripped the fortress of its weapons and took away its canons.

In the 19th century it was used as a prison and in 1906 it was bought for pittance by the Russian prince Mestschezsy. In 1972 it was purchased by a Roman family and is now owned by the City of Narni and the Province of Terni.

Cardinal Egidio De Albornoz (Cuenca, 1299 - Viterbo 1367), papal legate and vicar, worked to strengthen the power of the Church all over the papal state. He had castles and forts built everywhere he could - often designing them himself - to serve as a symbol of the power of the Church.

You can walk up Via del Monte to the complex, or drive up over the Flaminia towards Rome and then turn left.

The fortress still represents a royal window overlooking the Middle Ages of Narni. Through guided tours it is possible to enter one of the most evocative environments of the territory.

On the main floor, the thematic layout accompanies visitors through the fascinating medieval world; here, in fact, it is possible to admire reconstructions that represent a focus on the life of the fourteenth century.

You can access the two main historical emergencies of the Narni Municipality - the Albornoz fortress and the Museum of the city and territory of Narni in Palazzo Eroli - with a single ticket.

Days and Times

SUMMER HOURS (April / October):

Open Tuesday to Sunday 10:00 - 19:00 (last admission 45 minutes before closing)

WINTER TIMETABLE (November / March):

Open Tuesday to Sunday 10:00 - 18:00 (last admission 45 minutes before closing)

For information:

Tel. 800 266300 (Toll-free number)

Mobile + 39 351 2385303 | +39 351 2385302

Mail: visitnarni@gmail.com | narni@archeoares.com

Web: www.archeoares.it

 

Tickets:
The ticket includes the access to the Eroli Museum and to the Rocca di Albornoz.
Full ticket price: € 6,00
Reduced ticket price:  € 4,00 (children from 12 to 18 years; groups of more than 20 paying people; school groups)
Free for children up to 12 years, for disabled people with a certificate certifying disability of more than 74% and for residents in the Municipality of Narni.

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Piandarca Shrine

Piandarca Shrine

The shrine was erected in 1926 in the locality Piandarca on the occasion of the 700th anniversary of St. Francis's death, in the spot where the Saint stood on a rock to preach to the birds. The sermon is said to have been delivered between 1212 and 1213.

The shrine, protected by a wall, bears a fresco of St.

Francis talking to the birds and, below, a marble slab on which is engraved: "In this place where St. Francis taught the praises of God the Creator to his little sisters, the birds, telling them you neither sow nor reap, God feeds you and gives you the rivers and springs, and God gives you the mountains and valleys for your refuge and the tall trees to make your nest and they with wonderful songs he shared out to proclaim to the world the word of renewed life in the faith of God's providence."

 

Crossing a gate and descending a few steps it is possible to reach a small altar.

The shrine is set in a beautiful landscape; from here begins a small path that according to tradition seems to coincide with the one followed by St. Francis when, after preaching in Cannara, he headed towards Bevagna.

Source:  Turrioni, O., (2010). Cannara. Piandarca della "Predica agli Uccelli". Letteratura e tradizione.

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Church of San Biagio

Church of San Biagio

The first mention of the Church of San Biagio dates back to a document of 1244 in which the monks of San Benedetto del Subasio include it among their possessions.


The facade is late Gothic and it was built with blocks of pink and white stone, arranged in alternate rows. On the main altar, to the left of the entrance, is a 16th century painting depicting the Trinity, with Saints Lorenzo and Benedict on the right and San Biagio and Beato Lorenzo Giustiniani on the left.

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Oasi di Alviano

Oasi di Alviano

L’Oasi di Alviano è una delle aree umide più importanti dell’Italia centrale, uno scrigno di biodiversità unico.

Compresa tra i comuni di Alviano, Guardea, Montecchio e Civitella d’Agliano, al confine tra Lazio e Umbria, nasce per tutelare un angolo di Tevere a suo tempo modificato e trasformato da parte dell’uomo. La Riserva è parte del Parco fluviale del Tevere e comprende tutti gli ambienti tipici delle zone umide ad acqua dolce e custodisce ambienti scomparsi da oltre un secolo.

Ha una estensione complessiva di circa 900 ettari, suddivisa in una superficie paludosa di circa 500 ha e oltre 300 ha di bosco igrofilo, oltre a prati umidi e stagni. Grazie alla diversificazione degli ambienti l’oasi è abitata da oltre 200 specie di uccelli, sia migratorie che stanziali, tra le quali si annoverano: la folaga, il falco di palude, il martin pescatore, lo svasso e numerose anatre.

L'Oasi di Alviano, oltre a essere una fondamentale zona di sosta durante il passaggio migratorio, è anche un sito di particolare interesse per la nidificazione. In particolare ospita una delle più importanti garzaie d’Italia, in cui nidificano l’airone guardabuoi, la nitticora, l’airone cenerino, la garzetta e la sgarza ciuffetto con un totale di oltre 200 nidi. Tra i mammiferi, abitano l’Oasi la volpe, il tasso, l’istrice, il riccio, la martora e lo scoiattolo europeo e il raro gatto selvatico. Importante la presenza di numerosi anfibi tra i quali troviamo la rana verde, la rana  dalmatina, il tritone punteggiato e il tritone crestato. Tra i rettili, si annovera la presenza della biscia dal collare, del cervone, del biacco e dell’elusivo orbettino.

L’Oasi è ben attrezzata con capanni per il birdwatching e per la fotografia naturalistica, con una torretta e un’aula all’aperto, proprio in mezzo alla palude, per un totale di 12 strutture, compreso un laboratorio didattico per le scuole.

Due i sentieri immersi nella natura. Il primo (Sentiero natura principale), lungo 1,5 km ad anello, costeggia in parte la palude per poi addentrarsi nel bosco igrofilo ed è accessibile a tutti. Il secondo Sentiero Vecchio è lungo 3,5 km, si snoda lungo il corso del fiume Tevere all’interno del bosco igrofilo e consente un approccio più selvaggio alla riserva. È possibile unire i due sentieri e percorrere un giro di circa 7 km.
 

L’Oasi di Alviano è tutto questo e molto altro, ma è innanzi tutto un luogo bellissimo, dove poter trascorrere una giornata serena, un luogo dove immergersi e perdersi nelle bellezze della natura in cui ogni scorcio regala emozioni ed esperienze indimenticabili. 

L’Oasi è aperta la domenica e i festivi dalle 10.00 a un’ora prima del tramonto dal 1 Settembre al 3 giugno. 
Per visite al di fuori dei giorni e degli orari sopra indicati occorre prenotare al +39 333 7576283. 

Per le scolaresche e i gruppi organizzati di almeno 15 persone è possibile prenotare una visita guidata in qualsiasi giorno. La durata della visita è di circa due ore e mezza.
L’Oasi è chiusa il 24, 25 e 26 Dicembre e il 1 e 6 Gennaio.

L’area è dotata di bar, servizi igienici e un’area pic-nic. Nelle immediate vicinanze ci sono anche due ristoranti.

Per informazioni:
www.oasidialviano.org - lagodialviano@wwf.it

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