Palazzo dei Priori - Perugia en - Palazzo dei Priori - Perugia en

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Palazzo dei Priori - Perugia

Considered among the finest Gothic buildings in Italy, Palazzo dei Priori has been—and still is—the seat of Perugia’s public administration. It stands in the very heart of the Umbrian city, in that platea communis which has always been its centre. Although the result of the merging of different construction phases and several building units, it appears as a unified structure: an elegant succession of triple lancet windows and decorative elements that make it resemble a precious lacework framing the southern side of today’s Piazza IV Novembre.

Multiple buildings, one single heart for governing the city

The first nucleus of the palace dates back to 1292. According to historical sources, it consisted of a very simple structure: two vast superimposed halls—almost like two covered squares—intended for public assemblies. A few years later (1294), the hall on the first floor became the Sala del Capitano del Popolo, today the Sala dei Notari, connected to the magistrate’s residential quarters. Of this original 13th-century structure remain the three beautiful triple lancet windows on the second floor and the portal facing the square, which at the time was located at the centre of the building, as well as the ten triple lancet and four lancet windows along the palace façade overlooking Corso Vannucci.

The palatium novum populi, as it appears in contemporary documents, was subsequently expanded in successive phases by incorporating several private buildings. In the 14th century, with the establishment of the magistracy of the Priori, a larger structure became necessary—one that could house the ten administrators (two for each city district or “Porta”) for the entire duration of their term of office, which generally lasted two months and was spent entirely within the palace in a sort of political seclusion, from which they could leave only for public ceremonies. Furthermore, the demographic growth and the economic and social development of Perugia required a more articulated administrative structure, with additional spaces for offices, archives, and more.

Between 1317 and 1326, the palatium priorum was built, most likely designed by the Sienese architect Ambrogio Maitani. This phase saw the construction of the splendid main portal on the side facing Corso Vannucci. In 1323, the public palace reached the current Via dei Priori, “overpassing” it with a covered archway. In the years immediately following, the bell tower was erected and the first Cappella dei Priori (Chapel of the Priori) was built, dedicated to Saint Louis of Toulouse, brother of the King of France Charles of Anjou, a powerful ally of the Perugia: indeed, the French fleur-de-lis appears on the lunette of the portal facing Corso Vannucci and in the masonry along Via dei Priori. Around 1335, the façade on the square side was expanded, incorporating the medieval church of San Severo and adding a portico with arches in front of the original structure—an intervention that caused the loss of the façade’s original symmetry. On this occasion, a new staircase was built (the current semicircular one dates to 1902).

Between 1429 and 1443, the building was further expanded to the south, on the side facing the Corso. The small church of San Giovanni “de Foro” was incorporated into the palace and today forms part of the Collegio del Cambio. The major guilds of the city, in fact, were granted the privilege of being housed within the communal palace: the Collegio della Mercanzia (Merchants’ Guild) obtained such a seat in 1390, while the Money Changers' Guild were admitted in 1452; both powerful guilds created splendid headquarters in their allotted spaces.

Starting in 1534, the palace became the seat of the papal legate, and some rooms in the more recent wing were adapted for this purpose. Specifically, between 1545 and 1548, when Pope Paul III Farnese appointed Tiberio Crispo as papal legate, a luxurious apartment was created for him on the second floor, while on the third floor Tommaso Bernabei, known as “il Papacello”, frescoed the “Sala della Congregazione governativa per la state” (Hall of the Governmental State Congregation).Another important intervention was carried out by the architect Galeazzo Alessi, who built a beautiful loggia around 1580, while the architect and sculptor Vincenzo Danti had designed the monumental staircase between 1570 and 1574. Between the 17th and 19th centuries, periods strongly marked by papal rule, the palace underwent numerous alterations. It was completely restored and returned to its original form only after the Unification of Italy, when it became the seat of the Municipal Administration. From 1879 onwards, the third floor housed the Municipal Art Gallery “Pietro Vannucci”, today the National Gallery of Umbria.

Perugia

The façade on the square: between ancient symbols and public functions

Through the fan-shaped staircase, one reaches the upper terrace; to the right of the entrance portal, a short staircase leads to the lateral loggia supported by three arches; between the first two arches is a pulpit once used for reading public proclamations. The first small doorway led to what were once the municipal prisons; the second gives access to the Sala della Vaccara, the ancient municipal archive: a beautiful hall with cross vaults that preserves fragments of frescoes from various periods, depicting saints and other sacred images.

The ancient ogival portal of the communal palace is surmounted by two large corbels supporting the bronze copies of the statues of the Griffin, symbol of the city, and the Guelph Lion (the originals are housed in the palace atrium); they were created in the second half of the 13th century for a now-lost fountain designed by Arnolfo di Cambio. The chains and bars held by the animals’ paws are those taken by the Perugians from the gates of Torrita di Siena during a battle between the two communes in 1358. The portal leads to the Sala dei Notari: a large rectangular hall supported by eight massive arches, originally used for civic assemblies but, from 1582 onwards, home of the Notaries’ Guild, from which it takes its current name. The hall is entirely decorated with frescoes from the late 13th century, heavily restored at the end of the 19th century: they depict biblical stories, ancient fables, legends, and the coats of arms of magistrates and captains of the people.

The façade on the main street: “Enter pure, walk safely”

Such is the inscription held by an unknown male figure on the left jamb of the main portal: an invitation to enter without fear that has greeted visitors for seven hundred years.

The magnificent round-arched portal, the work of unknown 14th-century craftsmen, is flanked by pillars supported by lions and topped by two griffins tearing apart calves—probably an allusion to the wealthy Butchers’ Guild, likely commissioners of the sculpture. The panels and geometric frames contain allegories and scenes of human life. In the lunette are the copies of statues representing Saint Louis of Toulouse, patron saint of the palace; Saint Lawrence, the Roman martyr to whom the city cathedral is dedicated; and Saint Herculanus (Ercolano), in the centre, the defensor civitatis and patron saint of Perugia; the originals are preserved in the National Gallery of Umbria.

The first floor houses the municipal administration; inside survive frescoes from different periods, including decorations by Bernardino Pinturicchio in the Council Hall. On the third floor, seat of the National Gallery of Umbria, is the Cappella dei Priori (Chapel of the Priori), frescoed by the Perugian painter Benedetto Bonfigli with Scenes from the Life of Saint Louis of Toulouse and Saint Herculanus (1454–1480). The scenes painted on the walls are a precious testimony to the appearance of the Umbrian city in the mid-15th century.

In the same building, along Corso Vannucci, were the prestigious rooms of two powerful medieval guilds, now museum spaces. The Noble Collegio del Cambio includes several rooms, entirely decorated with masterpieces of woodcarving and painting; the Sala delle Udienze preserves precious frescoes executed between 1498 and 1500, a masterpiece by Pietro Vannucci known as Perugino. The Noble Collegio della Mercanzia still retains its original portal, opening into the Sala delle Udienze, where disputes among merchants were settled, weights and measures were checked, and the municipality's accounts were examined. Inside, it features elegant carved-wood panelling, probably the work of craftsmen from beyond the Alps.