The Pozzo di San Patrizio, or St. Patrick's Well, is the second most important attraction in Orvieto, after the Duomo, and is located in the centre of Orvieto near gardens that include Etruscan remains.
","","St. Patrick's Well","The Pozzo di San Patrizio, or St. Patrick's Well, is the second most important attraction in Orvieto, after the Duomo, and is located in the centre of Orvieto near gardens that include Etruscan remains.The well was dug in the XVI century to guarantee a supply of water to its citizens all year round, in case of calamity or to survive prolonged sieges.
\r\n\r\nThe area in which the well was dug is interesting for various reasons. We suggest you visit it first of all for the amazing views you can enjoy from here over the entire Orvieto valley, but also for its vicinity to the Etruscan Belvedere temple and the grand fortress, now used as city gardens. The entrance is conveniently located next to the uppermost station of the funicular, which was built to make it easier to travel between the upper and the lower parts of the city.
\r\n\r\nThe Well of St. Patrick was dug at the behest of Pope Clement VII, who had taken refuge in Orvieto during the Sack of Rome in 1527. The project was entrusted to the Florentine Antonio da Sangallo the Younger. When he was absent, the work was supervised by Giovanni Battista da Cortona, while Simone Mosca did the decorations. In 1532, at a depth of two hundred âfeet', they even found a pre-Etruscan grave. They first dug through tuff and then through clay to reach the water tables and then lined the round walls of the well with brick. The work was finally completed in 1537.
\r\n\r\nThe well shaft is sixty-two metres deep and thirteen metres wide. To reach its depths, two completely separate spiralling ramps, a sort of double helix, were built one over the other into the wall of the well so that those going down to the bottom to get water with their mules would not encounter those who, already laden with water, were on their way up.
\r\n\r\nEach ramp has 248 stairs that both man and beast could comfortably walk up and down. Light was provided by seventy-two windows that opened up to the shaft. The light diminishes as you get further down until it is quite dark. At the bottom is a small bridge that connects the two staircases.
\r\n\r\nThe external part of the well up at ground level is a wide, low, cylindrical construction decorated with the Farnesian lilies of Pope Paul III, with two doors, one at either side.
\r\n\r\nThe water in the well comes from a natural spring and remains constant thanks to a stream that drains off any excess water and the bridge that connects the two staircases can always be crossed.
\r\n\r\nThe Pope also had Benvenuto Cellini coin a celebratory medallion which is now on display at the Vatican Museums. The inscription on the medallion reads UT POPULUS BIBAT, or SO THE PEOPLE MAY DRINK. The image on it is that of Moses striking the rock with his staff, from which water then gushes forth for the Jews to drink. A man can be seen scooping it up with a shell.
\r\n\r\nOver the entrance he had the phrase quod natura munimento inviderat industria adiecit (or \"what nature stinted for provision, application has supplied\") inscribed to celebrate the power of man's creativity, which can sometimes pick up where nature left off.
\r\n\r\nUnfortunately, Clement VII did not live to see the work he set in motion with his own eyes, which was completed under the papacy of Paul III. Today, the well can be visited in its entirety and has become a museum.
\r\n\r\nThe name of the well has a rather strange history. The well brought to mind an enormous, almost endless, underground cavity in Ireland. It was once even believed that the Irish cavity linked the world of the living to that of eternity, that is, that beyond it were the gates of Purgatory. St. Patrick, who spent much time evangelizing in Ireland, enjoyed retreating in prayer there.
\r\n\r\nThe Pope, who was well aware of this story, decided to name the deep well after the saint because it reminded him of the Irish cave in which St. Patrick prayed. And so a military well got a name with an aura of holiness. The expression \"well of St. Patrick\" is still used in Italy today to hint at a mysterious and incredibly wealthy reserve.
\r\n\r\n","Orvieto | Ancient history","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi27.png/640a50e9-cdc3-468d-ba5d-44bd5bd16db0?t=1423749275337",42.7217401,12.118025399999965,"Orvieto",55023,"","","","[ ]",""], [8,"Attrattore","en_US",3208921,"90422","https://www.umbriatourism.it/web/umbria/-/ipogeo-di-villa-sperandio","The Villa dello Sperandio Necropolis","The Etruscan necropolis known as âdello Sperandio' can easily be reached from the Etruscan Arch (also known as the Arch of Augustus), walking down Corso Garibaldi and then Via dello Sperandio until you reach the Villa of the same name, around which the remains of the necropolis lie scattered. ","","The Villa dello Sperandio Necropolis","The Etruscan necropolis known as âdello Sperandio' can easily be reached from the Etruscan Arch (also known as the Arch of Augustus), walking down Corso Garibaldi and then Via dello Sperandio until you reach the Villa of the same name, around which the remains of the necropolis lie scattered.
The necropolis was located north of Perugia in the area just outside of the old walls where there were three urban necropoles dating to at least the 4th century B.C.E. (the Archaic Era). The celebrated dello Sperandio sarcophagus dates to this era and was uncovered in 1843 in a room of the tomb that also held the remains of a warrior whose effects included iron weapons. The sarcophagus is made of pietra fetida, or limestone, and is adorned with scenes from a banquet on the short ends while the front portrays an exceptional scene that has been interpreted in various ways: from a ver sacrum (or âmigration' of a part of a social group) to a funerary procession to a Dionysian parade.
\r\n\r\nThe material and style in which it was made point to Chiusi as its place of origin, a city with which Perugia had had cultural and economic exchanges since Archaic times. The aristocratic client who ordered it from the Chiusi craftsmen had some unusual and very precise specifications that differentiate it from the work these artisans usually did, mostly urns and memorial stones, for his own burial. The sarcophagus is on display at the National Archaeology Museum in Perugia.
\r\n\r\nThe next period can be attributed to between the middle of the 5th and the early 4th century B.C.E., when more finds are concentrated in areas nearer to the city. Between 1857 and 1858, the site offered up a stamnos attributed to the Polignoto group found inside a niche carved into the wall of a burial room and perhaps used to contain ashes, and then the celebrated pointy amphora by the Pittore di Perugia, which had been placed by the head of the deceased.
\r\n\r\nExcavation activity between 1900 and 1903 brought to light the only complete set of funerary inclusions found in the necropolis, an untouched grave at the end of a room carved into the stone wall. Its sandstone door was decorated with two bronze knobs that somehow survived all that time. It was a single tomb containing a 2-m-long sandstone box with the remains identified as a female, because of the rich effects found both inside and outside of the box. Several precious personal ornamentation objects in gold (a diadem and some earrings) lay on her bones while several other funerary effects were found inside the sarcophagus: crockery and bronze objects.
\r\n\r\nOther similar discoveries dating to this same era (late 4th and 3rd century B.C.E.) found in the necropolis stand out for their unusual characteristics: the sarcophagus was placed in the centre or back of the funerary chamber and then urns containing the ashes of those who died during a later period were placed around it.
\r\n\r\nThe Sperandio necropolis offers a unique panorama of the types of funerary rites practised over the long period during which it was used for burials, estimated to be between the 6th and 3rd centuries B.C.E.
","Perugia | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1213722,12.386574600000017,"Perugia",54039,"","","","[ ]",""], [10,"Attrattore","en_US",29004231,"93925","https://www.umbriatourism.it/web/umbria/-/fonti-del-clitunno","Sources of Clitunno","The Clitunno riverâs springs have created a lake with very clear and emerald green waters. This water garden inspired poets such as Propertius, Pliny, Virgilio, Byron and Carducci.
","Sources of Clitunno, Plinio, Campello sul Clitunno, Small Temple on the Clitunno, Unesco, Carducci, Umbria","Sources of Clitunno","The Clitunno riverâs springs have created a lake with very clear and emerald green waters. This water garden inspired poets such as Propertius, Pliny, Virgilio, Byron and Carducci.
Groundwater comes to the suface as several water springs, a few of which can be found on the lakebed.
\r\n\r\nThe water mirrors intense and changing colours, is rich in rare vegetal species (phanerogams, horsetail, moss, aquatic nasturtiumâ¦) that create a luxuriant appearance of rare beauty. Its shores are surrounded by a thick vegetation, particularly weeping willows and poplars.
\r\n\r\nTheir rare beauty has inspired painters, poets and writers since ancient times.
\r\n\r\nVirgil narrated the legend of oxen that were purified by being immersed in the waters. Pliny the Younger wrote an epistle recalling the sacredness of the river, its navigability, its division between a bathing (the Springs) and a non-bathing part. Indeed, the area was rich in villas and spas along the water course as well as of chapels. The emperor Caligula was also a regular visitor of the âSacred Clitumnaliaâ, namely the spring festivals in honour of the god Clitunno, who was believed to inhabit the deep waters.
\r\n\r\nThis enchanted place has also been admired over the years, for example by Corot, George Byron and Carducci, the latter who dedicated his famous poem âOde to Clitumnoâs Sourcesâ. A marble stone carved in bas-relief and an epigraph by Ugo Ojetti memorialize his visit in 1910.
\r\n\r\nThe springs, said Pliny himself, were so copious to create a big river navigable to Rome, and flowing into the Tiber. In 440 AD a terrible earthquake radically changed the area by scattering most of its veins. Despite this, Clitunno is still one among the largest springs in Umbria, producing 1300 â 1500 litres per second. The present arrangement is due to the work of the Count Paolo Campello della Spina who between 1860 and 1865 created the pond and planted poplars and willows around that. Besides fish, the lake is home to distinctive swans and some species of aquatic birds.
Source: www.comune.campello.pg.it
","Campello sul clitunno | Lakes, rivers and waterfalls","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.8335356,12.767791699999975,"Campello sul Clitunno",54005,"","","","[ ]",""], [11,"Attrattore","en_US",21008796,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-s-andrea","Church of Sant' Andrea","The church of Sant' Andrea, one of the oldest in Gualdo Cattaneo, paid tithes as far back as the thirteenth century.","Castello di Gualdo Cattaneo, romanico in Umbria","Church of Sant' Andrea","The church of Sant' Andrea, one of the oldest in Gualdo Cattaneo, paid tithes as far back as the thirteenth century. The external structure, in blocks of sandstone, is in good condition, while the sixteenth-century stucco interior has sustained much damage. Itâs placed in a scenic and isolated location, near the city walls, a space whose elements (stairs, ladders, paths, hanging gardens) are together an example of a city-planning of the thirteenth century. ","Gualdo Cattaneo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9120496,12.556193399999984,"Gualdo Cattaneo",54022,"","","","[ ]",""], [12,"Attrattore","en_US",27756127,"90590 | 43534959","https://www.umbriatourism.it/web/umbria/-/rasiglia-e-le-sue-sorgenti","Rasiglia and its springs","Rasiglia is a little mountain village of the Foligno municipality that is famous for its picturesque springs and canals.
","Rasiglia, foligno, rasiglia sorgenti, umbria, umbria vacanza, umbria borghi, umbria turismo, umbria itinerari, umbria viaggio","Rasiglia is a little mountain village of the Foligno municipality that is famous for its picturesque springs and canals.","âI 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 stonesâ¦â
\r\n\r\nMarco 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 .
\r\n\r\nIt 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.
\r\n\r\nThe 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 âPeschieraâ, and then into the river Menotre.
\r\n\r\nThe other springs are:
\r\n\r\n⢠Alzabove, rising below the mountain Carosale and flowing into the aqueduct of the southern Umbrian Valley.
\r\n\r\n⢠Venarella, in front of the sports field of Rasiglia, feeding into the Verchiano aqueduct
\r\n\r\n⢠Le Vene, at Chieve.
\r\n\r\n⢠La Vena Pidocchiosa, at Pallailla.
\r\n\r\n⢠Le Vene di Campolungo, in the pit of Volperino.
\r\n\r\nThe 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.
\r\n\r\nThe 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.
\r\n\r\nToday 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.
\r\n\r\nWorth 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.
\r\n\r\nFurthermore, each year two important events takes place: the living crib at Christmas time and âPenelope in Rasigliaâ, in June, devoted to the ancient weaving trades.
\r\n\r\nDonât miss this highly irresistible spot far away in time, where the cheerful gurgling of rushing water accompanies each step.
For further information:
\r\n\r\nwww.rasigliaelesuesorgenti.com
","Foligno | Lakes, rivers and waterfalls","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384",42.9596338,12.858276599999954,"Foligno",54018,"","","","[ ]",""], [13,"Attrattore","en_US",3237393,"90590","https://www.umbriatourism.it/web/umbria/-/abbazia-di-santa-croce-di-sassovivo","Abbazia di Santa Croce di Sassovivo","The Abbazia di Sassovivo is located only a few kilometres from Foligno, towards Camerino; it has an imposing appearance, perched on the slopes of Monte Aguzzo, its limestone structure stands out against the dark oak wood which covers the slopes of the surrounding mountains. It is one of the oldest examples of the Benedictine presence in the Spoletina valley.","Sassovivo, Foligno, Benedettini, Umbria spiritualità ,","Abbazia di Santa Croce di Sassovivo","Abbazia di Santa Croce di Sassovivo
\r\n\r\nGeographical Context: mountains
\r\n\r\nDating: 11th Century
\r\nThe Abbazia di Sassovivo is located only a few kilometres from Foligno, towards Camerino; it has an imposing appearance, perched on the slopes of Monte Aguzzo, its limestone structure stands out against the dark oak wood which covers the slopes of the surrounding mountains. It is one of the oldest examples of the Benedictine presence in the Spoletina valley.The abbey complex is enclosed by defence walls and is built around two courtyards (cloisters) surrounded by buildings that have been added over the years.
\r\nThe first of the cloisters is on the hill is surrounded by the church, two dormitories and by a building which holds the kitchen; the other is in the valley and has a long rectangular shape. It is framed by the abbot's residence and by buildings thought to have been the infirmary.
\r\nThe cloister on the hill is a highly rare example of Romanesque architecture and sculpture (1229). It has a rectangular layout and comprises a courtyard surrounded by an elegant portico made up of 128 paired smooth and spiral colonnettes, with capitals with lily decoration, supporting 58 round arches resting on a low wall. Above the arches is a beautiful classical entablature with coloured marble and two mosaic frames.
\r\nThe individual parts of the arcades were made in Rome by the Vassalletto stone masons, and later transported and mounted on site, whilst the mosaic frames were made on site by Nicola Vassalletto.
\r\nOn the cloister walls there are traces of painted plaster which lead us to believe that they were decorated. Specifically, in the north wing you can see a frescoed lunette depicting the Virgin enthroned with Child (1280).
\r\nAt the centre of the courtyard is a well-curb from 1623 covered by a delicate metal structure, placed on site after the restoration of the cistern (1340).
\r\nFrom the cloister you can reach the Monastery and the large refectory with its back wall decorated with a fresco dated 1595, depicting the Last Supper; further fragments of monochrome frescoes from the early 1400s can be seen on the walls of the \"Loggia del Paradiso\", a passageway between the interior and exterior of the monastery.
\r\nThe first structure was built in 1082 by the hermit Mainardo, starting from a pre-existing building located within an incomplete fortified enclosure. The hermit completed it giving it an almost perfectly square shape, built the church and created a kitchen and refectory in the original building; moreover he built a new structure to be used as a dormitory, which was originally rectangular.
\r\nIn the early 1200s, the abbot Niccolò had the church extended and built a dormitory on the south-eastern side, redefining the space for the construction of the first cloister, built by the Roman master Pietro de Maria. The building thought to have been the infirmary was built along with the abbot's residence adjacent to pre-existing perimeter walls, creating a second cloister located between these rooms and the new construction where there were also facilities for pilgrims and the sick. The original church was probably extended towards the presbytery which even today is lit by an immense, tall, gothic window.
Between 1229 and 1232 the cloister was built and in 1314, the abbot Filippo XXIV had its east wing raised, along the right-hand wall of the church, closing the windows which previously let light into the latter.
\r\nThe monastic community set up a centre of learning and scriptorium and thanks to donations from the Counts of Foligno and private individuals, acquired huge holdings which at the beginning of the 1200s included 92 monasteries, 41 churches and 7 hospitals.
\r\nIt had a huge social and economic influence in the local area and the religious community provided welfare assistance.
\r\nThe extensive archives (7500 pieces) made up of well-preserved parchments and documents dating back to the beginning of the 11th century, and currently housed at the Diocesan Archives of Spoleto, bear witness to its importance.
\r\nThe beginning of the fifteenth century marked a period of decline for the abbey. When in 1467 Pope Paul II established the Commandry of the abbey, it had already partially lost control of its properties; in a short time all of the properties were lost, despite the efforts of the Benedictine Olivetan monks. In 1814 the abbey was closed and in 1834 the monks were forced to cede control of the property, which had been badly damaged by the 1832 earthquake,to the bishops of Foligno; in 1860 the properties passed to the State, to the \"Bishop's Trust\" (mensa vescovile) and to a private individual.
\r\nIn 1979, the \"Brothers and Sisters\" of the Jesus Caritas Community settled there.
\r\nOf the original structure, unfortunately only the perimeter walls, the foundations of the monastery in the valley, and the splendid Romanesque cloister, remain.
\r\n
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.
\r\n\r\nThe life of the sculptor Gino De Dominicis remains shrouded in mystery.
\r\n\r\nThe 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).
\r\n\r\nBefore 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.
\r\n\r\n","Foligno | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9579592,12.707891000000018,"Foligno",54018,"","","","[ ]",""], [15,"Attrattore","en_US",28967947,"90590 | 43534959","https://www.umbriatourism.it/web/umbria/-/villa-dei-mosaici-di-spello","Villa of Mosaics in Spello","
An exceptional archaeological treasure in the heart of Umbria
","Spello, mosaici romani, Unesco fascia olivata Assisi Spoleto, trekking Umbria,","Villa of Mosaics in Spello","The Villa of Mosaics in Spello, of which almost 500 square metres have been uncovered, is one of the most important archaeological discoveries made in recent years in Umbria.
\r\n\r\nIt offers ten rooms with beautiful mosaic floors that have extraordinary polychrome decorations, such as geometrical elements, human figures, wild and fantastic animals.
The Villa of Mosaics in Spello was discovered in July 2005, just outside Spelloâs walls, in the area of St. Anna, during the works for the construction of a public car park.
\r\n\r\nRemains of an ancient mosaic were found, which led to excavations and careful restoration, under the scientific direction of the then Archaeological Heritage Office of Umbria, which brought to light a villa of large dimensions.
\r\n\r\nTwenty rooms have been revealed, from the central section of the villa, covering a total surface of about 500 square metres. Ten of these rooms preserve very beautiful floors with polychrome mosaics, featuring geometrical and figurative motifs. The entrance has been lost.
\r\n\r\nAround the peristyle, the arcaded courtyard surrounding the internal garden, there are several rooms, whose names derive from the figures and the decorative motifs of the mosaics: the Hall of Birds, the Hall of Amphoras, the Triclinium, the Hall of Radiant Sun, the Hall of Geometrical Mosaics, the Peristyle, the Hall of Shields and the Heated Room.
\r\n\r\nAmong the rooms, worthy of note are the wide triclinium and the Hall of Banquets whose floor has at its centre a scene of wine being poured. Other characters, who are arranged symmetrically, represent the Seasons, associated with figures of Satyrs of the Dionysian procession (Bacchus) meaning an allusion to well-being, a good harvest and pleasure.
\r\n\r\nThe excavation highlighted two constructive phases: the first stage in the Augustan age (27 BCâ14 AD) and the following one in the height of the imperial age, around the end of 2nd century AD.
\r\n\r\nThe Villa of Mosaics in Spello, also thanks to the educational devices and to the multimedia system, will allow you to plunge into the past and to live a virtuous dialogue between old and modern city. The past and future have never been so close.
For further information:
\r\n\r\nwww.villadeimosaicidispello.it
","Spello | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",42.987653,12.67118979999998,"Spello",54050,"","","","[ ]",""], [16,"Attrattore","en_US",24361955,"90518","https://www.umbriatourism.it/web/umbria/-/fonti-di-valcasana","Fonti di Valcasana","The park of Valcasana is located at the entry of the village of Scheggino.","Valnerina, bike umbria, via di Francesco, Norcia, Scheggiono, pesca sportiva","Fonti di Valcasana","The park of Valcasana is located at the entry of the village of Scheggino. This large green area is equipped with reception and leisure facilities and with abundant water due to the freshwater springs that have been used since ancient times for trout breeding, and which flow into the Nera River in Scheggino.It is made up of three sectons: the one on the middle of the front is higher than the other two lateral ones and elegantly decorated with mythological representations depicting scenes of Achillesâ life: Tethys delivers his weapons to his son; Achilles and Memnon fight on the corpse of Antilochos; the apotheosis of Achilles.
\r\n\r\nThe carriage possiblly dates to the mid-6th century B.C., because of its style and of the large tomb decoration it contained, also made up of two Attic kylixes with black-figures miniature carvings dating back at around 560-550.
\r\n\r\nFor decades its origin and the hypothesis of an Etruscan manufacture has been debated, but thanks to recent and deeper study itâs possible to attribute, with more certainty, the work of engraving and bronze decoration to a Greek-Ionic artist, immigrant in Etruria. Indeed stylistically the scuptures belong to the culture we also find in similar products (Loeb tripods, bronzes of Castel S. Mariano) where the Ionic experience combines with foreign Etruscan motifs.
\r\n\r\nThe precious archaeological artefact was found accidentally in 1902 by Isidoro Vannozzi in a necropolis few kilometres from the village in the area of Colle del Capitano, where it was placed in an imposing tumulus grave. This location has brought to light over the years an important necropolis belonging to the transition period between the Bronze and Iron Ages, made up of at least 44 cremation caskets, tombs with cylindrical manholes, of different sizes with cylindrical, globular and biconical funeral urns. The prestigious biga is today preserved in the New Yorkâs Metropolitan Museum which bought it in 1903 from a trafficker in antiquities, who managed to steal it and to bring it abroad.
\r\n\r\nThe artefact has been at the centre of fierce battles between the New York museum and the Municipal Administration of Monteleone, that has been reclaiming it for some time now.
\r\n\r\nIn the premises underlying the monumental complex of St. Francis in Monteleone itâs possible to see a good life-size copy made by the Art School of the Master Manzù following the 1985 celebrations on the occasion of the Etruscansâ year.
\r\n\r\nThe bigaâs permanent exhibition allows through explanatory panels to get to know not only the artefact, but also the historical and archaeological context of its discovery. Indeed the two halls document both the events of its finding as well as daring stealing and the finds from the burial chamber. Lastly, the wealth and occupation of the Monteleone di Spoleto area is certified by an archaeological map showing sites of prehistoric, proto-historic and Roman-republican times.
\r\n\r\n\r\n\r\n
[Source: www.monteleonedispoletoeventi.it]
","Monteleone di Spoleto | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=1454334467742",42.6504391,12.951629300000036,"Monteleone di Spoleto",54031,"","","","[ ]",""], [19,"Attrattore","en_US",40743452,"","https://www.umbriatourism.it/web/umbria/-/pagina-parco-di-sculture-di-beverly-pepper","Beverly Pepper Park","At the conclusion of the celebrations dedicated to the great American artist Beverly Pepper, from 15th September 2019 in Todi will be open to the public the Beverly Pepper Park. This is the first contemporary sculpture theme park in the Umbria region and the first one designed by the artist in the world.","Beverly Pepper, Todi, Umbria, Arte, sculture, arte contemporanea, parco","","At the conclusion of the celebrations dedicated to the great American artist Beverly Pepper, from 15th September 2019 in Todi will be open to the public the Beverly Pepper Park. This is the first contemporary sculpture theme park in the Umbria region and the first one designed by the artist in the world.A park featuring 20 sculptures designed, restored for the occasion and donated to the town by the artist, a natural-urban itinerary in green surroundings located within the medieval walls of the town and connecting the church of Santa Maria della Consolazione to the old town.
\r\nConnecting two main points of the town, the Park will allow visitors to fully enjoy the interaction between artworks, landscape, monumentality and an urban framework.
\r\nThese are monumental works created with different materials (iron, stainless steel, stone) that tell the story of the American artist's career from 1960 to the 2000s.
\r\n âIt is with great satisfaction â emphasises Pepper â that I look on this new project for Todi, bringing new energy to the town whose history is intimately linked with my artistic career. I have always been committed to Land Art projects and to creating a vital connection between my sculptures and the natural landscape. Art and nature that encourage people to engage in an inner quest which extends to the infiniteâ.
\r\nBeverly Pepper has also created sculpture benches for the Park, called âlunettesâ, made with local stone from the quarries of Lake Trasimeno. The lunettes are panoramic points where you can stop to admire the artworks and the landscape.
Visitor information:
\r\nGetting there: Todi, South Entrance from Viale della Vittoria, in front of the church of Santa Maria della Consolazione; North Entrance from Piazza Pignattaria, behind the church of San Fortunato (Parco della Rocca).
Open to public: from 15th September 2019
\r\nFree admittance
Information
\r\n\r\nIAT del Tuderte, Piazza del Popolo n. 38/39
\r\nTel. +39 075 8956227 | iat.todi@coopculture.it | www.comune.todi.pg.it
\r\nFondazione Progetti Beverly Pepper:
\r\nwww.fondazioneprogettibeverlypepper.com
Photo Credits: Fondazione Progetti Beverly Pepper
","Todi | Art in Umbria | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.7824434,12.4062554,"Todi",54052,"","","","[ ]",""], [20,"Attrattore","en_US",5428798,"93925","https://www.umbriatourism.it/web/umbria/-/castello-di-pissignano","Castle of Pissignano","The Castle of Pissignano is a typical example of a hill castle, that dominates the valley, just above the temple and spring of Clitunno.","Campello sul Clitunno, castello medievale, fonti del Clitunno","Castle of Pissignano","The Castle of Pissignano is a typical example of a hill castle, that dominates the valley, just above the temple and spring of Clitunno.As a castle built on a hillside it has a triangular shape, with the high summit and slender tower, beneath which there is another, pentagonal one, used in the past as the tower of the parish. The houses are arranged in terraces below and still maintain the medieval imprint. Among these are the remains of a building that was once the residence of the feudal lords, which are very interesting.
\r\n\r\nThe castle was built in the 11th and 12th centuries, when a Benedictine community decided to surround the small settlement of the area with walls. The real defensive structure itself, however, arose thanks to the German Baron Sancho, who came to Italy following the Emperor Conrad II (990-1039). In July 1155 Frederick Barbarossa was in the Castle and in 1213 it belonged to the Duke Diopoldo, who donated the property to Spoleto in exchange for aid against neighboring Trevi, so it became a fief of the noble Spoleto Sansi.
\r\n\r\nLater, for a short period, the castle passed to the noble Trinci family of Foligno, and after a few months Pope Martin V assigned it to the governor of Perugia. In the middle of the fifteenth century it had about 240 inhabitants.
\r\n\r\nIn later centuries it became the property of several important historical personalities, and each of them contributed to the strengthening of the defensive castle. In 1571 the headquarters of the papal post were established in Pissignano. Unfortunately, in June of 1799 the castle was ravaged by French troops, who sacked the entire community, taking away everything was inside the church of San Sebastiano.
\r\n\r\nSince 1860 it has been part of the municipality of Campello sul Clitunno, and during the Fascist period was site of a concentration camp. Recently it has been restored and turned into a residential center, hosting international conferences.
","Campello sul clitunno | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=1423749273208",42.8374619,12.760100599999987,"Campello sul Clitunno",54005,"","","","[ ]",""], [21,"Attrattore","en_US",22172557,"90566","https://www.umbriatourism.it/web/umbria/-/concattedrale-della-santissima-annunziata-todi","Co-cathedral of the St. Annunziata - Todi","Todi Cathedral is dedicated to Mary SS. Annunziata.
\r\n\r\nIt was begun in the 12th century, continued in the 13th but completed only in the 14th century.
","","Co-cathedral of the St. Annunziata - Todi","Todi Cathedral is dedicated to Mary SS. Annunziata.
\r\n\r\nIt was begun in the 12th century, continued in the 13th but completed only in the 14th century.
Exterior
\r\n\r\nThe 13th century façade, provided with an horizontal crowning, was modified different times, most recently in the first years of the1500s.
\r\n\r\nThe wonderful central rose window stands out. Its original glass was replaced, during the 19th century renewal of the whole building, by the current ones by Francesco Moretti from drawings by Eliseo Fattorini and Giuseppe Francisci.
\r\n\r\nThe main portal is decorated with a band decorated with ornamental acanthus leaves, culminating at the centre with the figure of a Blessing Christ.
\r\n\r\nIt should be noted that the sculpted wooden door has the four upper panels in walnut wood produced by Antonio Bencivenni da Mercatello, who portrayed there the VIrgin, the Archangel Gabriel, St. Peter and St. Paul.
\r\n\r\nThe six bottom panels, in oak, were carved by Carlo Lorenti, commissioned by the bishop Ulderico di Carpegna, as replacement of the original ones that were damaged.
\r\n\r\nThe bell tower, maybe of the 1200s, stands out on the right side.
\r\n\r\n\r\n\r\n
Inside
\r\n\r\nThe right aisle is open by Gothic arches on octagonal columns towards a fourth aisle, divided in seven chapels, where several artworks are located: the fresco of the Nativity of a Perugia master, the window with the Baptism of Christ , copy of the Perugino executed in 1860 by Eliseo Fattorini, the panel Virgin with Child and the St. Catherine of Alexandria and Rocco, executed around the 1516 by Giannicola di Paolo.
\r\n\r\nThe Gothic altar has been documented since 1343, has been modified and enriched with marble columns in 1574; above the chandelier is made up of a double eagle in silver plates, executed by Giovanni Giardini.
\r\n\r\nThe Cesi Chapel is located on the left of the chancel, and its vault has been frescoed by Faenzone.
\r\n\r\nThe crypt preserves three sculptures coming from the façade, depicting a Virgin with the Child, an Angel leading the Bishop and the Saint, the first two ones attributed to Giovanni Pisano, the third one to the sculptor Rubeus.
","Todi | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.7819352,12.406568600000014,"Todi",54052,"","","","[ ]",""], [23,"Attrattore","en_US",3035422,"","https://www.umbriatourism.it/web/umbria/-/rocca-flea","Flea fortress","The ancient Flea fortress stands in the medieval town center of Gualdo Tadino, overlooking the entire village from the top of the hill. It's also called \"Flebea\" because of the proximity of the river Flebeo, and it's one of the most important examples of Umbrian military defensive architecture.","Gualdo tadino, rocca Flea, Umbria, architettura militare,","Flea fortress","The ancient Flea fortress stands in the medieval town center of Gualdo Tadino, overlooking the entire village from the top of the hill. It's also called \"Flebea\" because of the proximity of the river Flebeo, and it's one of the most important examples of Umbrian military defensive architecture.The fortress is built around a courtyard, with an old fountain.
\r\n\r\nA lot of elements overlook the courtyard: leaning against the keep is the building dedicated to cardinal Del Monte features spacious halls (formerly a service building); the entrance to the small chapel dedicated to St. John the Baptist and the majestic stairs to access to over forty rooms of the building. There are also four towers with as many internal courtyards and walkways.
\r\n\r\nThe structure rises on several floors: a basement on various levels, a ground floor and a first floor variously articulated, the main floor and a raised floor with the large hall. It is enclosed by a sturdy wall, partly crowned by corbels, with a corner buttress, formerly surrounded by a moat and with a drawbridge on the southern side. It was thus a high, compact and massive complex dominating the plain of Gualdo Tadino.
\r\n\r\nFounded around the tenth century, as evidenced by ancient documents that origin from the Counts of Nocera, the castle was owned by the Atti, Lords of Foligno, who held it until 1198 when it passed under the jurisdiction of Pope Innocent III. At the beginning of the thirteenth century was the center of disputes between Gubbio and Perugia. In 1240, Frederick II, who stayed there for a long time, undertook the expansion and restoration of the fortress as well as the construction of the city walls, with four gates and seventeen towers.
\r\n\r\nA plaque affixed on one of the towers testifies the stay by Biordo Michelotti in 1394. Since then it was also called \"Arx Maior Terre Gualdi\" to distinguish it from the captain of the palace of the people called \"Arx Minor\". In 1434 the castle was given in vicariate to Count Francesco Sforza by Pope Eugenius IV; at the end of the same century it was transformed into a clandestine mint by the castellan of that period, Philip of Arcioni from Rome.
\r\n\r\nFrom 1513 up to 1587 the fortress housed the Autonomous League of Cardinals that held the fate of the city, giving it a period of great splendor.
\r\n\r\nIn order to fulfill the role of residence, the interior was modified and decorated with frescoes, of which, however, only a small part remains; during the mandate of the first cardinal legate, Antonio Ciocchi of Monte San Savino (1513-1533), the new aqueduct was built crossing the Flea fortress.
\r\n\r\nAfter 1587, with the entry of Gualdo Tadino in the District government of Perugia, the fortress became the official residence of the apostolic official until 1798.
\r\n\r\nIn the nineteenth century it was destined to be women's prison for women of \"immorality\". From the unification of Italy until 1985 it was a mens' prison.
\r\n\r\nIn the early '90s, the works of consolidation and restoration began, and they permitted the discovery of the primitive chapel of Sant'Angelo de Flea, at the base of the keep. They were also highlighted beautiful frescoes of the fourteenth and fifteenth century.
\r\n\r\nIn 1996 the restoration was finished and the fortress was finally returned to the city and tourists. Since 1999 it has housee the Civic Museum, a multimedia center, while inside the church there is the Antiquarium with archaeological finds documenting the population of the Gualdo territory from prehistoric times to the Middle Ages.
","Gualdo Tadino | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=1454334685707",43.2322581,12.787587799999983,"Gualdo Tadino",54023,"","","","[ ]",""], [24,"Attrattore","en_US",2735128,"93925","https://www.umbriatourism.it/web/umbria/-/museo-archeologico-nazionale-di-spoleto","National archeological museum of Spoleto","The National archeological museum of Spoleto conserves items from the town and the surrounding area, especially the Valnerina, which historically had close cultural ties with Spoleto.","Spoleto, archeologia umbria, Festival spoleto, Longobardi, trekking urbano","National archeological museum of Spoleto","The National archeological museum of Spoleto conserves items from the town and the surrounding area, especially the Valnerina, which historically had close cultural ties with Spoleto.The museum has been located since 1985 in the former convent of Sant'Agata, a medieval complex built over the Roman theatre (1st century B.C.) that preserved the cavea (the seats for the spectators) but changed the scena (the stage area).
\r\n\r\nOne entire floor now is entirely dedicated to recent excavations in Spoleto, starting with the earliest settlement that rose on the hill of Sant'Elia during the Bronze Age, through to the Latin colony of Spoletium, which became municipium in 241 B.C.
\r\n\r\nAll exhibits have critical and explanatory information about meaning and social function. There are also some items from the excavation of the theatre, such as honorary portraits (used as tools for political propaganda) and decorative sculptures, which are planned to be shown in a specific section in the near future.
Organized in terms of subject matter over the three floors of the complex, the exhibition is the result of an integral reorganization of the archaeological, historical and artistic records of the territory. The archaeological section, consisting of manufactured goods mainly from excavations in the area, provides a complete chronological view of Amelia's history, from pre-Roman period to the full Romanization of the center and up to the early medieval period. The bronze statue of the Roman general Nero Claudius Drusus, called \"Germanicus\", is remarkable; he is depicted armed and wearing richly decorated armor, and stands over 2.15 meters tall. Several epigraphs contribute to the reconstruction of the prosperous Romanization of the central area, testimony of illustrious Amerine families including the Gens Roscia. The picture gallery, located on the second floor, contains works from local churches and palaces. In addition to the panel showing Sant'Antonio Abbate, a masterpiece of Pier Matteo d'Amelia, the collection includes a number of other works dating from the sixteenth and seventeenth centuries, which was a very prosperous period for the town. This prosperity is evidenced by rich town mansions, including Palazzo Petrignani, owned by the Municipality and visitable on request, whose decorations are traditionally attributed to the school of the Mastro Zuccari.
\r\n\r\nThe Archaeology Museum also hosts a section wholly devoted to education and entertainment: it is the Archeospazio, a real permanent educational centre focused on history and archaeology, presenting different aspects of the daily life of ancient Romans and obviously with a particular attention to the town of Ameliaâs history.
\r\n\r\nThe exhbits allow visitors to understand and experience first hand the cyclopean walls, the clothes of the period, ancient hobbies and games, the sky and the pagan divinities, as well as coins, measurement units for weight and measures and the numerical system of the Roman world.
\r\n\r\nThe space is for all visitors of the Museum, particularly kids and teenagers, families, schools and teachers.
\r\n\r\nVisitors can enjoy a break in order to play, experiment and get to know the history at every level of learning.
\r\n\r\nFurthermore, with the support of a docent, itâs possible to participate in laboratories and group games, as well as experiment, do practical exercises, analyse the Ameliaâs particular historical monuments and the Museumâs finds, explore the artistic/craft techniques and much more.
","Amelia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [27,"Attrattore","en_US",20441222,"93935","https://www.umbriatourism.it/web/umbria/-/cattedrale-di-amelia","Cathedral of Amelia","The Cathedral of Amelia is the town's most important religious building and it was erected on the sacred summit of the town in the year 872. In 1629 a huge fire destroyed the cathedral, which was rebuilt in Baroque style. ","","Cathedral of Amelia","The Cathedral of Amelia is the town's most important religious building and it was erected on the sacred summit of the town in the year 872. In 1629 a huge fire destroyed the cathedral, which was rebuilt in Baroque style.The pink brick facade was completed in the nineteenth century. The awesome interior holds important art works such as paintings by F. Zuccari, G.F. Perini, Niccolò Pomarancio, one spire table of the Sienese school long attributed to Duccio da Buoninsegna (later to a local painter), a tablet depicting the Madonna e il Bambino attributed to Antoniazzo Romano.
\r\n\r\nThe chapel of SS. Sacramento of the 16th century is remarkable. It has an octagonal shape and it preserves an interesting painting attributed to Taddeo Zuccari and the marble monument of Bishop Bartolomeo and beautiful marble monument of the Bishop Baldo Farrattini by the artist Ippolito Scalza of Orvieto. The walls were painted by Luigi Fontana.
\r\n\r\nThe cathedral also has sculptures by Agostino di Duccio, Scalza and Dosio. The baptismal font in the Renaissance style, with a small marble statue of St. John the Baptist referring perhaps to the Donatello school, is notable.
\r\n\r\nUnder the altar the bodies of the patron saints of Amelia, Santa Fermina and Sant'Olimpiade, are preserved. The copy of the Cross of Evangelization is hung on the left of the wall. In 1514 this copy was blessed and raised by Mons. Alessandro Geraldini, first bishop who arrived on the island of HIspanola (Dominican Republic and Haiti). Pope John Paul II gave in to the Diocese of Amelia in 1986.
\r\n\r\nFinally, the Cathedral holds two important organs: the great organ built in 1904 by the Rieger company of Jaegerndorf in Austrian Silesia, in an eighteenth-century case placed on the right in the presbytery, and a rare 1600 wing organ, recently restored.
","Amelia | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [28,"Attrattore","en_US",20441662,"93935","https://www.umbriatourism.it/web/umbria/-/palazzo-petrignani-amelia","Palazzo Petrignani - Amelia","Palazzo Petrignani is located in the charming Piazza Marconi and is a remarkable example of a Renaissance style noble building from 1500. The unfinished building was made built by Fantino Petrigani who become very important in the Papal Curia, under the protection of Pope Gregory XIII.","","Palazzo Petrignani - Amelia","Palazzo Petrignani is located in the charming Piazza Marconi and is a remarkable example of a Renaissance style noble building from 1500. The unfinished building was made built by Fantino Petrigani who become very important in the Papal Curia, under the protection of Pope Gregory XIII.The history of the building is closely linked to that of the Petrignani family, especially Fantino and Bartolomeo. The side that overlooks the ancient main street is an imposing facade built in brick curtain wall and divided into four horizontal levels divided into five vertical rooms with windows of various sizes. On the central axis is the large door which constitutes an unfinished entrance since the main staircase to access the upper floors was never built. The main door has a travertine embouchure, where the coat of arms of Bartolomeo Petrignani was placed, removed in the early 1900s. The corners of the building are highlighted by travertine rustication, which starts from the ground and reaches the attic.
\r\nThe stylistic features of the frescoes in the rooms denote the succession of decorations by different workers that have been attributed mainly to the Zuccari school (Taddeo and Federico) for the similarity of the Amelia cycle with the more important and famous one in Palazzo Caprarola, executed by the two brothers. Attributions also to Livio Agresti and his pupil Littardo Piccioli, in addition of course to the Flemish painters, who certainly made the grotesques that are the protagonists in the decoration of the rooms of the palace. ","Amelia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [29,"Attrattore","en_US",20441543,"93935","https://www.umbriatourism.it/web/umbria/-/palazzo-nacci-amelia","Palazzo Nacci - Amelia","Palazzo Nacci shows different phases of construction; it was begun in the fourteenth century and completed in the following century, and it was made up of three buildings.","","Palazzo Nacci - Amelia","Palazzo Nacci shows different phases of construction; it was begun in the fourteenth century and completed in the following century, and it was made up of three buildings.The facade is divided by two string-course lines, one with motifs of ova of Roman origin, the other dentate.
\r\nOn the upper floors there are traces of Guelph-style windows with the coat of arms of the Nacci family on the bas-relief architrave.
\r\nThe entrance, on the side of Via Pellegrino Carleni, has a beautiful portal in travertine with bas-relief decoration, and in the courtyard is an elegant staircase and a loggia decorated with Corinthian columns.
\r\nThe palace is privately owned.
This monumental work is exceptional for its size, age and condition. The most antique of the pre-Roman walls are in the town center between the theater Sociale and the gate of the valley where there was an inner perimeter dated to the 7th - 6th centuries BC.
\r\n\r\nThe walls are formed of large blocks of limestone and they are still rough, unlike the others in the area. The part of the walls that is most scenic and interesting to visitors is the second outermost circle, which dates back to the 4th - 3rd century BC, built as a result of the considerable urban expansion and the threat of Rome. It extendd on either side of the central Porta Romana for about 800 meters and consists of megalithic blocks called polygonal because of their irregular geometric shapes. At the top, and in other sections of the wall, work dates to late Roman and medieval periods.
\r\n\r\nThis masonry is certainly less interesting than the pre-Roman, even though it helps to give continuity to the development of the imposing defensive Amelia perimeter unique in its kind. One of the original entrances to the city walls, is very interesting; the so-called Gate of the Sun, it is raised above street level on the north-east side of town. European travelers of the 18th century were impressed by the mass of the blocks and the imposing walls, said that they were the work of a legendary people, the Pelasgians.
","Amelia | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [32,"Attrattore","en_US",20441364,"93935","https://www.umbriatourism.it/web/umbria/-/cisterne-romane-amelia","Roman Cisterns - Amelia","The Cisterns are located beneath Piazza Matteotti, corresponding to the public square (forum) of the Roman period, at the northern end of the town of Amelia.","","Roman Cisterns - Amelia","The Cisterns are located beneath Piazza Matteotti, corresponding to the public square (forum) of the Roman period, at the northern end of the town of Amelia.This is the main monument of hydraulic engineering designed in Roman times, which visitors can explore through a fascinating journey to look into the cultural Amelia underground. The big building was built between the second and first centuries BC, when Amelia was elevated to the rank of municipality and equipped with a series of functional infrastructure (walls, terracing, roads).
\r\n\r\nIt consists of a large rectangular room (57,50 x 19,60 meters) divided into ten parallel compartments covered with barrel vaults (highest on average 5.70 meters) carved into the limestone rock and then lined by masonry, it has a cement core and a vestment of rough stones set in the core. The state of conservation is exceptional, with all the fundamental components still in place for the operation of the entire complex, including the water supply system, the internal device for regulating the maximum water level and the tank emptying system.
","Amelia | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [34,"Attrattore","en_US",20441700,"93935","https://www.umbriatourism.it/web/umbria/-/porta-romana-amelia","Porta Romana - Amelia","The Porta Romana is the most central and majestic of the four gates into the town center and is also the most recent of the four.","","Porta Romana - Amelia","The Porta Romana is the most central and majestic of the four gates into the town center and is also the most recent of the four. Its current appearance dates back to the 16th century when it was modified and built in travertine. In medieval times, the gate was called Busolina because the bussolo (ballot box) for municipal elections was kept there. In 1703 the Amerini, who emerged unscathed from a major earthquake, dedicated their city to the Madonna Assunta, placing a commemorative plaque in the pediment of the gate. Above the gate is a Renaissance brick machiolation. The ancient wooden door on its hinges is visible, while the barrel vault is frescoed with the arms of the city - A.P.C.A. on a silver white band against a blue field - \"Antiani Populi Civitatis Ameriae\", which means \"The Elders of the People of the City of Amelia\", which in the 14th century, in the time of the Statutes, was the most important elective body of the Free City States. ","Amelia | Ancient history","","",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [37,"Attrattore","en_US",24847855,"93935","https://www.umbriatourism.it/web/umbria/-/presepe-di-penna-in-teverina","Penna's Christmas crib","The nativity scene (crib) is located in Piazza San Valentino 31, near the Parish church, its entrance presents a wonderful door, with the Three Kings and the Nativity visible on its shutters.","","Presepe di Penna in Teverina","The nativity scene (crib) is located in Piazza San Valentino 31, near the Parish church, its entrance presents a wonderful door, with the Three Kings and the Nativity visible on its shutters.If you descend some stairs covered with old bricks produced by ancient kilns and surrounded by walls of limestone rock, you get the idea of entering an ancient and evocative environment. During the whole visit, a melodious soundtrack written by Riccardo Cocciante (songwriter and director) and a narration by Alberto Lori accompanies the visitors.
\r\nHere are some details about the special features of the crib:
\r\nThe nativity scene covers 30 square metres and a walkway for observing the artwork is of about 40 square metres; there are about 140 small moving statues. The Three Kings on camels are seen from two different points; there are three itineraries of water and sea with 300 litres of water including a wonderful fog scene; there is real snow on the mountains; rain; special lighting effects; 512 stars in the constellation set for the 25th December with the southern star and the little and big dippers visible.
\r\nThe Penna Crib has won prizes, in the International Crib Festival of Verona in 2007 and in Città di Castello in 2011 and 2012.
Source: www.presepepenna.it
","Penna in Teverina | Art in Umbria","","https://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640",42.4933212,12.354819399999997,"Penna in Teverina",55026,"","","","[ ]",""], [40,"Attrattore","en_US",24420823,"93915","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-sebastiano-valfabbrica","Chiesa di San Sebastiano - Valfabbrica","The Church of San Sebastiano was built in the 14th century within the castle of Valfabbrica, near the perimeter wall.","","Chiesa di San Sebastiano - Valfabbrica","The Church of San Sebastiano was built in the 14th century within the castle of Valfabbrica, near the perimeter wall. Since the 16th century it has housed the confraternity of the Blessed Sacrament and the Good Death, which helped to renew the interior. The church has five remarkable Baroque altars and behind the central one is a seventeenth-century Crucifixion flanked by San Sebastiano and San Francesco. To visit the church, which also has social and cultural activities, itâs necessary to contact the Municipality. ","Valfabbrica | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=1454335181497",43.1588812,12.601164400000016,"Valfabbrica",54057,"","","","[ ]",""], [47,"Attrattore","en_US",124702,"","https://www.umbriatourism.it/web/umbria/-/patata-rossa-di-colfiorito","Patata rossa di Colfiorito","","","","Introduced to Umbria in the first half of the 18th century, potato cultivation gradually spread across the region. It was only in 1960 that a Dutch potato variety became well-established on the Colfiorito plain and in the surrounding area, where it found particularly hospitable conditions. The Colfiorito red potato has a long, oval, irregular shape with red skin and clear yellow flesh. It is particularly good for making gnocchi, filled potato skins, and baked potatoes. The Colfiorito potato has also been accredited by the European Union, which granted it Protected Geographical Indication status in 1998.
","Flavours of Umbria","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=1423749272488",43.0262107,12.889644999999973,"Foligno",54018,"","","","[ ]",""], [49,"Attrattore","en_US",4435068,"","https://www.umbriatourism.it/web/umbria/-/tris-di-bruschette-umbre","Tris di bruschette umbre","","","","Ingredients
\r\n\r\n3 slices of bread
\r\nExtra-virgin olive oil
\r\nGarlic
\r\nSalt
\r\nOregano
\r\nBlack pepper
\r\nBlack truffle
\r\nBlack olives
An appetizer recipe that is a \"must\" for your table: choose your favourite version and you'll surely please all your guests!
Preparation
\r\n\r\nCut the bread into slices about 2cm thick. Toast it on both sides in the oven or on the grill until it is nice and crispy. While still warm, rub the slices with garlic. In the meantime, you will have already prepared the three kinds of condiment: the first bruschetta is with a black truffle pate; the second with a sauce made from black or green olives; the third â and simplest â with extra-virgin olive oil, oregano, salt and black pepper. Place the bruschette on a plate and serve them up.
","Traditional recipes","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.0873343,12.37394,"perugia",54039,"","perugia","","[ ]",""], [53,"Attrattore","en_US",3035342,"","https://www.umbriatourism.it/web/umbria/-/eremo-del-buon-riposo","Eremo del Buon Riposo","An old hermitage made up of ancient natural caves was already here on Mt Citerone in the times of Francis. ","","Eremo del Buon Riposo","An old hermitage made up of ancient natural caves was already here on Mt Citerone in the times of Francis.The place seems to have gotten its name, Buon Riposo (or Place of Rest), from words Francis himself said, as he often stopped here on his way to or from the La Verna sanctuary. The hermitage has seen the passage of many important religious figures over the centuries, including St. Anthony of Padua, St. Bonaventure, St. Bernard of Siena and the Blessed Francis of Pavia. Visits are possible when the accommodating owners are present.
\r\n\r\nSource: \"La via di Francesco\" â Edizioni San Paolo S.r.l.
","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi31.png/fd1b61cd-6cf7-4e09-8219-3a8f24d252bf?t=1423749276046",43.4474327,12.192489199999955,"Città di Castello",54013,"","","","[ ]",""], [60,"Attrattore","en_US",37236002,"","https://www.umbriatourism.it/web/umbria/-/fagiolina-del-la-1","La Roveja di Civita di Cascia","","La Roveja di Civita di Cascia, Presidi slow food, cascia, valnerina, fiume nera, prodotti tipici, legumi, zuppe, ricette, cucina umbra, umbria, celiachia, gluten free, vegetariani, piatti vegetariani, alimentazione sana, sport, cibi per sportivi, cosa mangiare,","La Roveja di Civita di Cascia","A sud di Perugia, lungo le rive del fiume Nera, cresce un legume antico, riscoperto nel corso degli anni e divenuto Presidio Slow Food nel 2006. à la Roveja di Civita di Cascia, detta anche âroveggiaâ, ârovegliaâ, ârubiglioâ, âcorbelloâ o âpisello dei campiâ.
\r\nProprio perché cresce da sempre, anche selvatica, alcuni ricercatori sostengono che si tratti di un progenitore del pisello comune; secondo altri invece è una vera e propria specie (Pisum arvense) differente da quella del pisello (Pisum sativum). Sebbene la classificazione botanica resti ancora indefinita, esiste totale accordo sulla valenza nutritiva di questo legume che, a Cascia, rappresenta una vera e propria tradizione, legata imprescindibilmente al territorio, ai suoi abitanti e alla loro cultura.
\r\nTradizione, caratteristiche e produzione
\r\nCibo per eccellenza e fonte di sostentamento per le famiglie di pastori e contadini che vivevano in alta quota e che la utilizzavano per preparare gustose zuppe assieme a lenticchie, cicerchie, fave e fagioli, oppure assieme al farro, la Roveja è un piccolo legume simile al pisello.
\r\nInizialmente il baccello è verde, poi, con la maturazione diventa viola-scuro: il colore dei semi freschi può variare dal verde al grigio, mentre una volta seccati i semi tendono al marrone scuro; i fiori sono purpurei. Per la sua capacità di resistere alle basse temperature, è soprattutto sulle alte cime dei Monti Sibillini che si trovavano campi sterminati di Roveja: nei secoli passati era coltivata su tutta la dorsale appenninica umbro-marchigiana, dallâAltopiano di Colfiorito al Gran Sasso passando per Cascia e Castelluccio.
\r\nNonostante lâestrema facilità con cui cresce, la coltivazione di questo legume è assai impegnativa. Come accade per la produzione di lenticchie a quote elevate infatti, anche nel caso della Roveja la raccolta è molto ardua: superando di molto il metro di altezza, i suoi steli tendono a curvarsi sul terreno, rendendo impossibile il passaggio della mietitrebbia meccanica. La Roveja è perciò ancor oggi falciata a mano e per questo motivo restano solo alcuni agricoltori dediti a questa coltura, la maggior parte dei quali in val Nerina e nei pressi di Cascia, in una località chiamata Preci, dove si trova una fonte che viene chiamata âdei rovegliariâ. In questâarea, la Roveja si coltiva in primavera-estate: si semina a marzo a unâaltitudine che va dai 600 ai 1200 metri, non ha bisogno di molta acqua e si raccoglie tra la fine di luglio e lâinizio di agosto. La battitura è simile a quella della lenticchia: quando la metà delle foglie è ingiallita e i semi sono diventati cerosi, si sfalciano gli steli e si lasciano sul prato ad essiccare. Quando lâessicamento è completato si portano sullâaia, si trebbiano e infine la granella si libera dalle impurità con una ventilazione che avviene con setacci.
In cucina
\r\nProteica, ad alto contenuto di carboidrati, fosforo, potassio, priva di grassi e di glutine, la Roveja è un legume ricco di proprietà benefiche per lâorganismo: gustoso e dalle proprietà nutritive davvero notevoli, è infatti un alimento ideale per celiaci, sportivi e vegetariani. Buona e versatile, la Roveja si può mangiare fresca oppure essiccata. Compagna ideale di cicerchie, fave, farro, in cucina si può utilizzare per preparare delle gustose zuppe o minestre o macinata a pietra: la sua farina infatti, dal lieve retrogusto amarognolo, serve per fare la âfarecchiataâ o âpesataâ, una polenta tradizionalmente condita con un battuto di acciughe, aglio e olio extravergine di oliva, buona anche il giorno successivo, affettata e abbrustolita in padella.
Urvinum Hortense was a small town occupying a modest ridge (526 meters above the sea level) stretched out above the Umbrian Valley, on the north eastern edge of the Martani mountain group. It was included in the \"regio VI Augustea\", with the residents enrolled in Stellatina tribe, it underwent urban development between the late first century BC and the beginning of the second century AD
\r\n\r\nThe village's significant archaeological site is being turned into a museum; it includes lesser-known environmental and natural resources. A visit to the archaeological area finds essential complement in the Antiquarium of Collemancio and the Museum of the City and the Territory of Cannara, opened in 2008. The museum displays archaeological finds and art from the territory, including the well-preserved mosaic floor recovered during excavations of the Urvinum site.
\r\n\r\nSince 1995, the University of Perugia has conducted regular excavations in the ancient center of Urvinum Hortense, a small settlement planned during the second century BC, which became Roman Municipality in 90 BC. The excavations have brought to light a village enclosed by walls, partially visible in the western sector of the plain, with a structured urban plan on the axis road linking Urvinum Hortense with Mevania (Bevagna) and Vettona (Bettona). Along the paved section, a temple re-emerged at the center of the plain, of which the rectangular podium is visible (23.80 x 17.80 m). The building, dated to the second century BC, was built using as a unit the Roman foot, corresponding to 29.64 cm (11.67 inches).
\r\n\r\nOn the northern side you can see the imposing ruins of a cistern and the vast thermal baths covering an area of over 400 square meters, from which the rich polychrome mosaic floor with Nile scenes comes. The impressive mosaic is preserved in the museum in Cannara. With the abandonment of the settlement in the Upper Middle Ages, between the sixth and ninth centuries, there was built a Roman church, the church of Santa Maria de Orbinum (Urbino), built using materials taken from the nearby temple.
","Cannara | Ancient history","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384",42.9806266,12.520472100000006,"Cannara",54006,"","","","[ ]",""], [63,"Attrattore","en_US",5429761,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-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.","","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. ","Cannara | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384",42.9919438,12.58235400000001,"Cannara",54006,"","","","[ ]",""], [65,"Attrattore","en_US",24789642,"90518","https://www.umbriatourism.it/web/umbria/-/collegiata-di-santa-maria-cascia","Collegiata di Santa Maria - Cascia","The collegiate church of Santa Maria is situated in Cascia within the walled perimeter, next to the Leonine gate.","","Collegiata di Santa Maria - Cascia","The collegiate church of Santa Maria is situated in Cascia within the walled perimeter, next to the Leonine gate. Built in the twelfth century (in the north wall contains the remains of the original Romanesque structure) was rebuilt in the Gothic style (even this makeover is lost) and again in 1532.Sanctuary of Santa Rita
\r\nContext: urban
\r\nDating: 20th CENTURY
The sanctuary of Santa Rita is situated in the highest part of the town of Cascia, where its size and style are in contrast to the traditional village setting.
It is reached through an external road that encircles the city, or internally, where the steep climbs are attenuated by escalator systems.
\r\n\r\nThe Basilica, dedicated to the Saint, is a modern building of the twentieth century, built overnine years, important from point of view both artistically and architecturall. Inside the church, in the chapel of Santa Rita, the crystal urn of 1930 contains the body of the saint. The marble stand was decorated by Eros Pellini. Above the altar some candlesticks and a seventeenth century embossed silver cross create a mystical atmosphere. On the left, through a very narrow door, you can enter the Church of the Blessed Rita where the body of the saint was venerated from 1577 to 1947. The church was largely demolished to make space for the new sanctuary space. Only the portal and some altars remains.
\r\n\r\nThe sanctuary was built in 1937-47 on the site of the Augustinian church, attached to the monastery where St. Rita died in 1457. The project was designed by the Vatican engineer Monsignor Spirito Maria Chiapetta; the building was modified during the construction by Giuseppe Martinenghi.
\r\n\r\nTo the sides of the portal there are ten embossed panels with Stories of St. Clare's life by Eros Pellini. On the lintel the inscription comes from the ancient sarcophagus of the saint Salve Rita vas amoris, sponsa Christi dolorosa / tu de spinis Salvatoris nasceris pulchra ut rosa. Hail Rita, vessel of love, the bride of Christ, sorrowfully / you from the thorns of the Saviour are born beautiful as a rose.
\r\n\r\nThe interior is of Byzantine style in a Greek cross shape with apsidal arms. All around the perimeter of the structure are open loggias of the women's gallery.
\r\n\r\nThe main apse was renovated in 1981 by architects Caproni, Genco, Srimieri. The high altar, designed by Giuseppe Martinenghi, is decorated with reliefs with the Last Supper by Eros Pellini and preserves the \"Corpus Christi\", the cult recognized by Boniface IX. The furnishings are the work of the great contemporary sculptor Giacomo Manzù. The oval tabernacle is remarkable, with a rose in the middle ears of corn and vines and a crucifix shaped of olive fronds.
\r\n\r\nThe fresco of the Last Supper is by Luigi Filocamo, the stained glass of Eucharistic Miracles by Armando Marrocco. The central area of the sanctuary is covered by a dome where the painter Luigi Montanarini has depicted the dove and the glory of the Augustinian saints.
\r\n\r\nThe entrance apse was frescoed by Silvio Consadori in 1956, showing a procession of faithful coming to adore the cross, includes on the left a self-portrait of the artist, with a green cloak and a red book in hand. On the sides are the altars to Saint Lucia and Saint Joseph.
\r\n\r\nThe apse Assumption of Mary into Heaven was painted by Gisberto Ceracchini in 1950, just after the proclamation of the dogma by Pope Pius XII. The design of the windows, Stories of the Life of Mary is by Consadori. In the apse of St. Rita there is a small painting of the Madonna of Good Counsel of the 18th century and the parchment in which Pope Pius XII elevated the church to shrine on August 1 1955. The paintings are by Ferruccio Ferrazzi.
\r\n\r\nThe chapel of Santa Rita, which houses her body, opens behind a large wrought iron gate. Under the altar of the chapel of Consolation is the body of Blessed Augustinian Simone Fidati (1295-1348), the great writer and preacher who brought the \"Corpus Christi\" to Cascia, which is now housed in the main altar. The miracle happened in 1330 in Siena: a priest, as he went to take communion to a sick man, put the host in the breviary. At the house of the invalid he saw that the host had become blood, the blood stains were in the shape of a human face profile.
\r\n\r\nIn the night between 21 and 22 May every year Cascia dedicates to St. Rita a great feast, the Celebrations of St Rita, where purely celebratory moments alternate with moments for reflection and liturgy.
\r\nInformation and tipsIn 2000 Assisi with its Historic Centre was declared a World Heritage Site.
","","","In 2000 Assisi with its Historic Centre (including the Rocca Maggiore and the Rocca Minore), the Basilica of San Francesco and Other Franciscan sites (the Cathedral of San Rufino, the Basilica of Santa Chiara, the Convento della Chiesa Nuova, the Tempio di Minerva (Temple of Minerva), the Church of Santa Maria Maggiore, the Abbazia di San Pietro (the Abbey of Saint Peter), the Basilica of Santa Maria degli Angeli and the Porziuncola, the Santuario di Rivotorto (Sanctuary of Rivotorto), the Eremo delle Carceri and the Church and Monastery of San Damiano), together with almost the entire municipal territory, have been declared a World Heritage Site.
There are many reasons for this recognition. Assisi, with its Basilica and the importance of the artists who worked on it, is a cultural and spiritual inspiration to the world: the spread of the artistic and spiritual message of the Franciscan Order have influenced the art of other towns and cities. Assisi represents a unique example of a \"city-sanctuary\" within its environmental setting, from its Umbro-Roman and medieval origins to the present day. The Basilica of San Francesco is also considered to be an exceptional example of an architectural ensemble which has significantly influenced the development of art and architecture. Lastly, according to UNESCO, Assisi, as birthplace of the Franciscan Order, \"has from the Middle Ages been associated with the cult and diffusion of the Franciscan movement in the world, focusing on the universal message of peace and tolerance\".
\r\n\r\nAssisi, the town of Saint Francis, stretches out along the slopes of Monte Subasio. The long roads which sit at a reasonably high-altitude, cross the town, open onto the large piazzas in front of the Cathedrals of San Rufino, Santa Chiara and the Comune (the Town hall). A visit to Assisi is clearly intertwined with its Franciscan heritage. The sacred nature of the place has influenced the planning and architecture of the town, where the celebration of Franciscan ideology has contributed to the creation of monuments that are of outstanding architectural and artistic interest. This is a characterising and unusual phenomenon which suggests a way to approach and better understand Assisi itself.
\r\n\r\nWith its medieval art masterpieces like the Basilica of San Francesco and frescoes by Giotto, Cimabue, Simone Martini and Pietro Lorenzetti, Assisi has become a fundamental reference point for the development of Italian and European art and architecture.
","","","",43.0707017,12.619596600000023,"Assisi",54001,"","","","[ ]",""], [86,"Attrattore","en_US",8281298,"90470","https://www.umbriatourism.it/web/umbria/-/unesco-eremo-delle-carceri","The Eremo delle Carceri","The Eremo delle Carceri is a fascinating place that can be found partway up Mount Subasio, starting from Assisi. The hermitage is built around a cave where St. Francisco used to take refuge for praying.
","","","The Eremo delle Carceri is a fascinating place that can be found partway up Mount Subasio, starting from Assisi. The hermitage is built around a cave where St. Francisco used to take refuge for praying.
\r\nIn 1215 the Benedictines donated this place to him. The hermitage was enlarged from its original architecture by Bernardino da Siena in 1400.
You enter in a small triangular courtyard with a well in its center. The legend narrates that water flowed thanks to a miracle of St. Francis. From the parapet behind you can observe a beautiful view through a gorge that opens onto the plain of Spoleto.
\r\n\r\nThe fifteenth century church rises in front of the courtyard; it preserves above the altar a fresco of the Umbrian-Senese school of the mid-15th century (Crucifixion); in the altar stone, another fresco of the 1500s with the coat of arms of the Monti di Pietà ; on the back wall is a small fourteenth-century stained-glass window of French production. Through an iron gate you enter the very small Primitive Church, dedicated to Santa Maria delle Carceri, heart of the Sanctuary, probably a cave adapted as a chapel: at the altar, there is a beautiful fresco, the Madonna with Child and St. Francis, of the sixteenth century, above a thirteenth-century Crucifixion.
\r\n\r\nDescending to the right through a staircase and tiny doors you enter the Cave of St. Francis, currently divided into two rooms: one contains the bed of stone on which the saint slept; in the other, on the right wall you can see a stone on which probably St. Francis sat to meditate and pray. On the wall that closes the cave, a faded fourteenth-century fresco depicts the traditional episode of the sermon of the birds: legend has it that the birds sat to listen to the saint on the ancient holm oak visible at the bridge thrown over the ditch. A wall covers a crevasse known as the \"devil's hole\", into which the devil is said to have fallen, defeated by the prayers of St. Francis. Next to it there is also the \"dry ditch\", to whose waters the saint asked not to disturb with their gurgling the prayers of the friars.
\r\n\r\nFollowing the path you reach a bridge, at the end of which there is a bronze with St. Francis releasing the turtledoves, by Vincenzo Rosignoli. The \"viale di San Francesco\" begins, an evocative woodland walk where there are various places of devotion. Among these, the Cave of the Blessed Leo, which is accessed by a stepped path, the caves of Blessed Bernard of Quintavalle, Blessed Egidio, the Blessed Sylvester and, a little further away, the Blessed Andrea da Spello. Following the bridge, you can climb to the chapel of Santa Maria Maddalena, where the blessed Barnaba Manassei, creator and founder of the Monti di Pietà , has been buried since 1477.
","Assisi","","",43.0663383,12.64211649999993,"Assisi",54001,"","","","[ ]",""], [87,"Attrattore","en_US",8281286,"90470","https://www.umbriatourism.it/web/umbria/-/unesco-la-chiesa-di-san-damiano","The Church of San Damiano","Along with other Franciscan sites, the church of San Damiano has been a UNESCO World Heritage Site since 2000.
","","","Along with other Franciscan sites, the church of San Damiano has been a UNESCO World Heritage Site since 2000.
\r\n\r\nIt is the site of Saint Francis's conversion, where he obeyed the orders given to him by the Crucifix, which told him \"Go forth Francis, and re-build my crumbling house\", as well as where Saint Clare lived for 42 years and where she died.
\r\n\r\nThe church and convent of San Damiano are just outside of the centre of Assisi. The complex was originally a Benedictine priory, records of which date back to 1030.
You reach the church through a chapel: to the right you will find Madonna and Child, with Ss. Francis, Clare, Bernardino and Jerome, a fresco by a local painter from the mid-Fourteenth century.
\r\n\r\nThe church has a single nave, with ogival barrel vaults and a deep choir. Immediately to the right of the entrance is the window from which Saint Francis threw the money refused by the priest of San Damiano for the restoration of the church. Along the walls you can see the remains of plasterwork, bordered with polychrome frames, prepared for frescoes which were never made. In the chapel which was added in 1535 is a wooden Crucifix (the expression on Christ's face changes depending on the vantage point), carved by Fra Innocenzo da Palermo in 1637. At the main altar is a copy of the Crucifix that spoke to Saint Francis (the original is kept in the Basilica of Santa Chiara). The wooden choir of 1504 partly covers a small window through which the Poor Clares communicated and in front of which the body of Saint Francis was carried from the Porziuncola to Assisi.
\r\n\r\nEntering into the vestibule to the right, under which four of Saint Clare's companions were buried, you reach the sacristy. To the left is a simple choir where you will also find Saint Clare's lectern. At the altar is Crucifixion, a fresco by Pier Antonio Mezzastris from 1482. To the left you can see a small chamber where, tradition states, Francis took refuge from his father.
\r\n\r\nReturning to the vestibule, you climb some steps, leaving to the right through the Giardinetto di Santa Chiara (Saint Clare's garden), a small terrace with views over the plain below.
\r\n\r\nInstead, going down into the cloister, you can admire on the two corner walls, frescoes by Eusebio da San Giorgio (1507), St. Francis receiving the Stigmata and the Annunciation. You then reach the rectangular refectory, with low ceilings, similar to a crypt, with its original benches and tables: a cross and a vase of flowers mark the place once occupied by Saint Clare.
","Assisi","","",43.0615671,12.618184100000008,"Assisi",54001,"","","","[ ]",""], [89,"Attrattore","en_US",20836703,"90542","https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-della-maesta","Chiesa della Madonna della Maestà ","The oldest certain information about the church dates back to the reports of the pastoral visits at the beginning of 1600. At that time the church was already a center of great devotion and, in the document of 1616, was nominated for the first time with the name of Majesty \"sub title Majestatisâ. ","","Chiesa della Madonna della Maestà ","The oldest certain information about the church date back to the reports of the pastoral visits at the beginning of 1600. At that time the church was already a center of great devotion and, in the document of 1616, was nominated for the first time with the name of Majesty \"sub title Majestatisâ.The title is undoubtedly linked to the depiction of the Madonna and Child on a throne of clouds, between Angels and Saints, painted on the back wall. The current appearance is the result of various and successive interventions: the small chapel of origin, enlarged in 1848, underwent a radical transformation in 1890 with the construction of a sister church. In 1926, the dividing wall was broken down, the the two buildings were unified, and in 1980 it became necessary to detach the fresco for restoration and conservation. The crown encircling the head of the Virgin - the visible one is a copy of the original gold - was donated by the people of the town, in gratitude for having escaped destruction in World War II. Near the sacristy there is a painting depicting Madonna Addolorata, placed here in 1799. The citizens of Ficulle have a very intense and particular devotion for the Madonna of Majesty celebrated every year on November 21, when crowds of devotees from neighboring towns flock to the liturgical celebrations that take place continuously throughout the day.
","Ficulle | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.836976,12.06561099999999,"Ficulle",55013,"","","","[ ]",""], [90,"Attrattore","en_US",20836594,"90542","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-vecchia-ficulle","Church of Santa Maria Vecchia - Ficulle","The remarkable church of Santa Maria Vecchia is situated just outside the walls of Ficulle. Until the end of the 16th century it was the parish church.","","Church of Santa Maria Vecchia - Ficulle","The remarkable church of Santa Maria Vecchia is situated just outside the walls of Ficulle. Until the end of the 16th century it was the parish church. The typical Gothic façade shows a beautiful 13th century portal. The entrance is raised and accessible via a double staircase. The church has been restored. Inside are frescos of the 14th and 15th centuries, two wooden statues of Santa Cristina and an Assumption of the sixteenth century and an interesting Roman memorial stone which has the representation of the god Mithras. The columns have remarkable capitals with High Middle Ages reliefs. ","Ficulle | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.836976,12.06561099999999,"Ficulle",55013,"","","","[ ]",""], [91,"Attrattore","en_US",24187993,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giuseppe-da-leonessa","The Church of St. Giuseppe from Leonessa","The Oratory of San Giuseppe from Leonessa was erected at Otricoli in 1761. ","","The Church of St. Giuseppe from Leonessa","The Oratory of San Giuseppe from Leonessa was erected at Otricoli in 1761.It is an remarkable example of the eighteenth-century architecture in the historical center of Otricoli. The facade, which ends at the top with a wavy line, is dominated at the center by an iron cross on shaped base and at the sides by two decorative elements in the shape of a vase. Inside itâs completely decorated in white stucco and in the vault there is a canvas depicting the Saint in glory. On the altar, inside a niche, a wooden statue of the Saint is kept. On the walls there are eighteenth century paintings on the life of the Saint and on his miracles.
","Otricoli | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.4220319,12.477659499999959,"Otricoli",55024,"","","","[ ]",""], [93,"Attrattore","en_US",3208881,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-margherita-narni","Church of St. Margaret in Narni","This church was built together with an adjacent Benedictine monastery, which no longer exits. It was finished in 1602, as attested by the inscriptions found on the vaulted ceiling.
","","Church of St. Margaret in Narni","This church was built together with an adjacent Benedictine monastery, which no longer exits. It was finished in 1602, as attested by the inscriptions found on the vaulted ceiling.The façade dates to the late 1500s. The travertine doors topped by garlands and other adornments are gracious and the upper part features two lovely windows and an oval higher up.
\r\n\r\nAn elegant gable completes this church, worthy of note for the harmony of its lines and proportions. The interior is harmonious and solemn, with an evident early Baroque flair, full of nobility and light.
\r\n\r\nThe vaulted ceiling boasts some enchanting stuccos. The largest one in the centre depicts St. Margaret and the boldness of the frieze is remarkable.
\r\n\r\nOn the walls, the brushes of one of the Zuccari (perhaps Federico) depict a sequence of episodes from the life of the Saint, her capture, flogging, being boiled in oil and decapitation, the terrifying realism mitigated by the gentle Mannerist expression with which it was made.
\r\n\r\nOther frescoes around the side altars portray images of other saints, while a very flowing ornate grotesque enlivens the lines of the small apse.
","","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi20.png/24b896a7-7453-4e0b-85bc-c474b32f17bc?t=1423749274264",42.5170865,12.517556600000034,"Narni",55022,"","","","",""], [94,"Attrattore","en_US",27868400,"93915","https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-gubbio","Priori Palace â Gubbio","The Priori Palace (or Praetorium or of the Podestà ), current seat of the Municipality, occupies the eastern side of Piazza della Signoria because it is located in front of the known Palace of Consuls.","","","The Priori Palace (or Praetorium or of the Podestà ), current seat of the Municipality, occupies the eastern side of Piazza della Signoria because it is located in front of the known Palace of Consuls. Designed probably by M. Gattapone in 1349, it was originally intended as seat of the Podestà , head of the executive power, as opposed to the Palace of Consuls (its original twin) that was seat of the legislative power.The Palazzo Municipale of Corciano is found on Corso Cardinale Luigi Rotelli.
","","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.
\r\n\r\nThe 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.
\r\n\r\nOrganised 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.
\r\n\r\nThe building, which was completely renovated in 1980, houses paleontology and archaeology collections on its ground floor.
","Corciano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=1423749271341",43.1237872,12.289259600000037,"Corciano",54015,"","","","[ ]",""], [99,"Attrattore","en_US",20441298,"93935","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-amelia","Church of San Francesco - Amelia","In 1287 Brother Bartolomeo of Amelia founded the church of San Francesco, initially dedicated to Saints Filippo and Giacomo, according to the chronicles of the time. Its construction, between 1401 and 1406, was overseen by the Umbrian Masters Menucci of Amelia and Giovanni Di Nicola of Castel dell'Aquila. ","","Church of San Francesco - Amelia","In 1287 Brother Bartolomeo of Amelia founded the church of San Francesco, initially dedicated to Saints Filippo and Giacomo, according to the chronicles of the time. Its construction, between 1401 and 1406, was overseen by the Umbrian Masters Menucci of Amelia and Giovanni Di Nicola of Castel dell'Aquila.In 1447 the masters Francesco and Guglielmo di Lombardia erected the bell tower. The square stone masonry is visible inside the bell tower, while outside it shows a masonry facing over a rubble core, probably from the eighteenth century. Between 1500 and 1600 the church was renovated to build the chancel; arches were erected that blocked a chapel, now deconsecrated. The light sources in the apse and in the hall were remade at that time. In the 18th century the church underwent rebuilding and the windows were raised higher than the eaves-line of the original crowning. In 1942 the Salesians ordered further renovation, when the convent was transformed into a boarding school.
\r\n\r\nThe exterior of the church maintains its late Romanesque appearance, with Gothic influences, especially along the sides and in the apse wall. The façade, the work of the local master stonemasons, is of simple and harmonious workmanship in finely worked travertine ashlars, dating back to 1401. It is divided into two sections by a serrated frame; in the upper part there is a double concentric rose window and attic frame with a lobed arches motif, which form the cusp. In the lower part there is the portal composed of elements inserted in successive reworkings (both the rose window and the portal would belong to the original thirteenth-century building). The bell tower, which collapsed after the 1915 earthquake, was rebuilt in 1932 to a design by engineer Gioacchino Santori.
\r\n\r\nThe interior, in the shape of a Latin cross, with its vaguely Baroque lines, was renovated in 1767. Of note, on the right hand side, is the chapel dedicated to Saint Anthony (bythe Lombard Antonio Pini), which has maintained its original 15th century appearance and the six sepulchres of the noble Geraldini family, including the Sepulchre of Matteo and Elisabetta, a monumental work by Agostino di Duccio (1477).
\r\n\r\nNote the beautiful eighteenth-century facade of the organ placed in the choir, above the entrance portal; the original mechanics were replaced in the fifties. In the entrance, on the left, within the staircase leading to the choir, a beautiful portion of a medieval fresco has recently emerged.
","Amelia | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.5567718,12.414636100000052,"Amelia",55004,"","","","[ ]",""], [101,"Attrattore","en_US",3035093,"","https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-felice","Abbey of San Felice - Church of San Felice","The church of San Felice stands in an isolated and dominant position, not far from the hamlet of Giano dell'Umbria.
\r\n\r\nThe historian Iacobilli dated the founding of the complex to 950, whilst construction of the church with the annexed monastery dates back to the beginning of the 12th century. The church was built on an oratory from the 4th century which held the tomb of the martyred bishop Felice.
","Giano dell'Umbria, borghi umbria, benedettini","Abbazia di San Felice - Church of San Felice","The church of San Felice stands in an isolated and dominant position, not far from the hamlet of Giano dell'Umbria.
\r\n\r\nThe historian Iacobilli dated the founding of the complex to 950, whilst construction of the church with the annexed monastery dates back to the beginning of the 12th century. The church was built on an oratory from the 4th century which held the tomb of the martyred bishop Felice.
In 1373 the abbey passed into the jurisdiction of the abbey of Sassovivo, until 1450, when it was granted to the Order of the Hermits of St. Augustine of Perugia.
\r\n\r\nThe state of disrepair it had fallen into required restoration work which began in 1452, ending in 1481. Further modifications inside were carried out in the 16th century and in the 18th century. The abbey was completely changed with the removal of the staircase in the presbytery and the complete rendering of the walls and of the apse area. The cloister and the abbey buildings were also constructed at that time, which were built on the right-hand side of the church.
\r\n\r\nIn 1957 a particularly complex and thorough restoration returned the interior to its original, more austere form, \"freeing\" the structure from the elaborate eighteenth-century decoration.
\r\n\r\nThe church has a very narrow nave and side aisles without a transept and ending with a triconch apse.
\r\n\r\nThere is a raised presbytery with the staircase restored during the renovation works in the 20th century.
\r\n\r\nThe central nave is covered with a lowered barrel vaulted ceiling, whilst the side aisles have a cross vaulted ceilings. The three spaces are separated by two rows of traditionally Longobard circular pillars.
\r\n\r\nA triumphal arch which divides the nave from the presbytery has a mullioned window at its centre.
\r\n\r\nThere is currently a gabled façade, a transformation brought about by adding ashlar masonry in the 16th century, although originally, as you can still see, it had a four-sided pitched roof, corresponding to the different heights of the naves.
\r\n\r\nIt frames an elegant three-mullioned window with salvaged columns and capitals and a door with simple insets.
\r\n\r\nThe three apses are decoratively clad externally, separated by thin pillars resting on a high base and culminating in small hanging arches.
\r\n\r\nThe crypt is subdivided into three apsidal naves, with cross vault ceilings and the central nave which is in turn divided into three parts by six columns.
\r\n\r\nThe crypt is characterised by capitals depicting stylized animals and plant motifs, which can be dated to the end of the 11th century.
\r\n\r\nAn ancient sarcophagus containing the remains of the martyr San Felice is located behind the altar.
\r\n\r\nThe portico in the rectangular cloister is supported by solid square brick pillars; above each pillar are frescoes of saints and the blessed. The frescoes on the walls depict stories from the life of San Felice.
\r\n\r\nAt the centre of the cloister is a cistern which collects rainwater.
\r\n\r\nSince 1815 the abbey has been headquarters of the Missionaries of the Precious Blood, founded by San Gaspare del Bufalo.
\r\n\r\n","Giano dell'Umbria | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.8436671,12.568350399999986,"Giano dell'Umbria",54021,"","","","[ ]",""], [105,"Attrattore","en_US",3580938,"90494","https://www.umbriatourism.it/web/umbria/-/rocca-del-leone","Lion Fortress (Rocca del Leone)","
The Lion Fortress (Rocca del Leone) dominates the eastern part of the town of Castiglione del Lago, which juts out into Lake Trasimeno.
","","Lion Rock (Rocca del Leone)","The Lion Fortress (Rocca del Leone) dominates the eastern part of the town of Castiglione del Lago, which juts out into Lake Trasimeno.
The fortress's construction probably determined the town's name, through a process of fusion of sounds from the original name of the castle, the Lion Castle, Castillonem, then Castiglione. The current structure of the fortress has the shape of an irregular pentagon with crenelated Guelph-style walls, with the main angles defended by four towers; an imposing triangular keep (more than 30 meters high) is located inside the city walls.
\r\nWork on its construction began in the early twelfth century, when Frederick II of Swabia was Emperor, to insert it into the central defensive system that, starting from Puglia, crossed the whole of Italy. During the war between Perugia and Arezzo that took place at the end of 1100, the existing Lion Fortress was brought to ruin by Henry IV, Holy Roman Emperor, and during 1297 the Perugia prosecutors decided to fortify the town and to build a fortress inside the castle.
\r\nThe interventions made possible the realization of the formidable fortress.
\r\nDuring the 1300s new works were taken by Brother Elia Coppi from Cortona and by the Sienese Lorenzo Maitani. Like all strategically important castles, it suffered several attacks during the fourteenth and fifteenth centuries, until Giampaolo Baglioni established his residence there in 1503, arranging for the restoration and expansion of the complex.
\r\nA further stretch of wall, currently still visible, was raised between the Palace and the Keep; It had an access system consisting of wooden stairs resting on the landings that, in case of attack, were withdrawn.
\r\nWith the additions and the internal system of the Keep, it was considered one of the most difficult European castles to conquer of the 1500s.
\r\nIn 1550, Pope Julius III promoted the site to a Marquisate and presented it to his sister and his nephew Ascanio (the First) Della Corgna.
\r\nIn 1554 Ascanio I set up a series of formal gardens within the walls and he replaced two towers with cylindrical battlements, as the round surfaces were more resistant to cannon fire; had his stately residence designed by Vignola, restoring fourteenth-century buildings.
\r\nUntil the death of Fulvio II , in 1647, the fortress was owned by the same family; then it came under the jurisdiction of the Apostolic Chamber and since 1860 has been owned by the town of Castiglione del Lago.
Bibliography
\r\nAA. VV. (1992), Guide De Agostini â UMBRIA, Novara, Istituto Geografico De Agostini
\r\nAA.VV. (2004), Umbria - Piccoli Centri della Provincia di Perugia, Cannara (PG), Arti Grafiche Antica Porziuncola
\r\nAmoni D. (2000), Castelli Fortezze e Rocche dell'Umbria, Ponte S. Giovanni (PG), Quattroemme
The Palazzo della Corgna sits on Piazza Gramsci in the historical centre of Castiglion del Lago and is connected via a covered walkway to the gorgeous medieval fortress that looks out over Lake Trasimeno.
The Palazzo della Corgna sits on Piazza Gramsci in the historical centre of Castiglion del Lago and is connected via a covered walkway to the gorgeous medieval fortress that looks out over Lake Trasimeno.
\r\n\r\nHistorical note
\r\nThe building was originally designed as a hunting lodge for the powerful Baglioni but was then altered by Ascanio della Corgna to serve as his noble family's home.
\r\nIt is now the municipal building of the City of Castiglione and home to the museum of the palazzo.
The Palazzo della Corgna is certainly worth a visit for the great XVI century façade and stairs, and for the richly decorated rooms, which make up part of the museum.
\r\nAmong the important works of art it contains are the frescoes painted by artists like Niccolò Circignani, better known as \"Il Pomarancio\".
Palazzo della Corgna was built by Ascanio della Corgna when the State of Castiglione was handed over to his powerful family by Pope Julius II.
\r\n\r\nWork on it began in 1563 and the project was executed by Galeazzo Alessi and Il Vignola.
\r\nThe palazzo is, in fact, an elegant Renaissance noble home.
\r\nDesigned with a L-shaped layout, the main façade has a raised entrance that is reached by a double staircase. Set back to the left of the main building is the lesser wing of the building, a simple structure with a sequence of rectangular windows.
Between the two buildings lies what remains of what was once a large and elegant Italianate garden.
\r\nThe interior of the palazzo is rich with pictorial decoration in keeping with the social standing the della Corgna family enjoyed in the Renaissance.
The ground floor is divided into three rooms with frescoes depicting playful scenes of leisure, it is where people gathered and engaged in social activities.
\r\n\r\nThe stairs lead to the upper floor, the ânoble floor'. It was here that della Corgna lived and where he entertained important guests. The rooms, which are part of the museum's route, are entirely decorated with frescoes by Niccolò Circignani and Antonio Pandolfi rife with important themes celebrating the family's fame and glory.
\r\nIt was here that Diomede della Penna, a nephew of Ascanio, had the walls covered in frescoes depicting the military and political prowess of his uncle, which we find in 16 faux arras on the walls and in the large one on the ceiling.
A story handed down over the years in Castiglione recounts that at midnight every 3rd of December, the anniversary of Ascanio's death, his ghost shows up at the front door and then roams about the rooms of the Palazzo.
\r\n\r\nLeave your car outside of the old walls and walk into the old centre on foot, following the lively main street all the way down to Palazzo della Corgna.
\r\nYou can visit the grand old building buying a comprehensive Sistema Museum ticket that also includes the medieval fortress and the covered walkway that connects the Palazzo to the fortress.
\r\n\r\n
Stories about the Saint are scanty and confused, and many legends exist about her. Marina was the daughter of a widower, who retired to the monastery on his wife's death and left his daughter with relatives; but Marina also joined, disguised as a man with the name of Marino. After a day of begging they stopped to sleep at an inn, where the innkeeper's daughter became pregnant by a soldier. Once this fact was discovered, the young woman blamed Marino who was driven from the monastery by the accusation. When the child was born, they brought him to Marino who raised the child near the convent. When Marino was finally readmitted to the convent, she had to submit to the hardest work; she became sick, and died. Only when she was buried, people discovered that she was actually a woman and they immediately venerated her as a saint. Her accuser also venerated her, after having been taken by a demon and then freed from it.
\r\n\r\nSince that day, the cult of Saint Marina took over. Many are the vicissitudes of the Holy corpse of Saint Marina, but no one knows how and when she became Patron of Ritaldi Castel. The fact is that devotion toward the saint is still alive. A wooden statue with very little angels still represents her in the inside of the church, in a glass case. She holds a baby and has a noble lovely and suffering face. When the parish was transferred from the Parish Church, this became the nerve center of the county associations for the sacraments and the village life.
\r\n\r\nThere were an old monastic choir in the Gothic style, and an organ in the choir loft, both since disappeared. The presbytery (although it is said it has been ruined), was raised by two steps and enclosed by an arch resting on two pillars. Under the old grid floor, there is crypt where the SS. Sacrament Society meets. To the right of a niche with a fresco by Tiberio of Assisi (a disciple of Perugino). In the Calaotta, the Eternal Blessing Christ is depicted in of golden clouds with a globe in his hand and an iridescent arc; all around nine seraphs and two little angels.
\r\n\r\nIn the center of the drum is St. Catherine the Martyr of Alexandria with Tobiolo (and Raphael the archangel) on the left and Pope St. Sylvester I (above a dead dragon) on the right. Under the basin is a band of text, not easily decipherable. To the left of the main altar is another, dedicated to the Madonna del Soccorso. On the wall is a picture of the Virgin with a large starry mantle, who frees a child possessed by a demon, driving him away with a rope. Also depicted is the Desolate Mother and the little bed, in a bright landscape with people and trees. The scroll below bears the words \"Sancta Maria populo castri Ritaldi, 1509\". Legend tells about the painting which refers to a true story in which a woman, unable to get her baby to sleep, invoked the devil, but at once regretted it and she implored the Virgin Mary. The panel is attributed to Melanzio of Montefalco. At the bottom was a crucifix of the 1300s (now in the sacristy) and an altar, which was demolished. A fourteenth-century fresco with many saints is in the apse. In the chapel dedicated to St. Anthony Abate, a fragmentary series of frescoes and an altar dedicated to Santa Marina on the wall next to the sacristy.
\r\n\r\nSource: \"A Castel Ritaldi tra storia, arte e poesia\" - Mario Tabarrini
","Castel Ritaldi | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.82863,12.656071699999984,"Castel Ritaldi",54008,"","","","[ ]",""], [109,"Attrattore","en_US",24848197,"90518","https://www.umbriatourism.it/web/umbria/-/eremo-della-madonna-della-stella-poggiodomo","Eremo della Madonna della Stella - Poggiodomo","The Hermitage of the Madonna of the Star is located in the Valley of Noce, near Roccatamburo, halfway between Poggiodomo and Cerreto.","","Eremo della Madonna della Stella - Poggiodomo","The Hermitage of the Madonna of the Star is located in the Valley of Noce, near Roccatamburo, halfway between Poggiodomo and Cerreto.It arose in the 7th century as Benedictine Monastic Cell under the supervision of the Farfa Abbey in Sabina, then it passed on to the Abbey of St. Peter in Valley near Ferentillo, always as Benedictine Hermitage. Afterwards the cell was transformed into a monastery that took the name of St. Benedict in Faucibus or Vallibus.
\r\nIn 1294 the monastery was donated to St. Giovanni in Laterano due to a lack of monks. In 1308 the Augustinians from Cascia built the hermitage of St. Croce and carved into the rock about twenty cells that are today still visible but not all accessible, and a small church also half- carved in the rock. In 1416 the church was frescoed, and these frescoes belong to the Umbrian school influenced by Siena.
\r\nIn the second half of the 15th century the Augustinians from Cascia complained about the bad conditions of the church, and the same church was restored by the Municipality of Cascia in 1525, then in 1630 it was no longer easy to keep a certain balance with the inhabitants of the neighbouring castles, therefore the hermits started to leave this place. The hermitage underwent several disputes. With the Kingdom of Italy many ecclesiastic privileges were abolished and the community goods of the hamlet of Roccatamburo were administered by the Municipality of Poggiodromo (1809).
\r\nIn the April 1809 two young men of Roccatamburo discovered the remains of the church and in front of them they saw the picture of the Madonna. The news of the miraculous apparitions spread and Monsignor Ignazio Cadolini confirmed that it was instead the discovery of ancient frescoes. The Augustinians from Cascia started to collect money to renovate the church. The hermitage of St. Croce was called âOur Lady of the Starâ because the painting of the Ladyâs robe on the wall presented star-shaped crosses. The inhabitants of the neighbouring countries claimed possession of the hermitage, all with different motivations.
\r\nIn 1970, with a court judgement, the hermitage passed on definitely to the Separate Administration of the Goods of Public Use in Rocchetta. The last hermit was Friar Luigi Crescenzi from Poggiodomo, fallen from the top of the cliff because he felt sick. The processions coming from the neighbouring countries were a lot and always increased, so to create the need to split the flow to the sanctuary starting from the month of May. The first Sunday was and is still reserved to Roccatamburo, the second one to Poggiodomo, the third one to Mucciafora together with the Municipality of Cerreto di Spoleto. The devotees during the pilgrimage used to soak a cloth with the oil of the lamp that was lighted in front of the picture, an oil that was then used to grease the sick. Many heart-shaped former votes still hang on the wall for grace received.
\r\nSource: www.comune.poggiodomo.pg.it
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.
","","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 church, built between the 11th and 12th centuries, was connected to a Benedictine monastery under the jurisdiction of the Bishop of Assisi. In 1212, at the request of San Francesco of Assisi, he received Santa Chiara of Assisi for a few weeks, to defend her from her family that repeatedly, even by force, tried to bring her home.
\r\nThe Romanesque church has a gabled façade with a single entrance portal surmounted by a lancet window and a belfry with a single bell. The semicircular apse, externally decorated with half-columns, corbels and arches, has at its center a mullioned window surmounted by a relief with two doves. The church has a single nave with exposed wooden roof beams. In the apse there are fresco fragments of the Perugia school depicting a Madonna and Child with San Paolo and San Benedetto. On the walls trace remains of walled doors are visible, which perhaps once connected the church with the monastery that was destroyed in 1389.
\r\nThe apse contains a column to which Santa Chiara clung when her family tried to take her away.
Where it is
\r\nThe 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
\r\nThe 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
\r\nThe 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
\r\nThe 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.
\r\nThe façade, a real masterpiece of Romanesque sculpture, is divided horizontally into three sections.
\r\nIn 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.
\r\nThe middle part is decorated with three splendid rose windows; symbols of the four Evangelists surround the central rose window.
\r\nThe upper part, with a gable roof, was added at the end of the 13th century.
\r\nSaint Clare's house was in the vicinity of the bell tower.
\r\nThe 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.
\r\nAt 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.
\r\nIn 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.
\r\nIn 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.
\r\nFrom the sacristy you reach the oratorio di San Francesco, where Saint Francis retreated before preaching.
\r\nThe crypt is divided into three naves and contains fragmentary frescoes from the 11th century showing Symbols of the Evangelists.
\r\nThe Roman sarcophagus from the 3rd century A.D. holds the relics of Saint Rufinus.
\r\nNext to the cathedral, you will find the diocesan museum and crypt of San Rufinus.
\r\nAdjacent to the museum is the Capitolare Archive, containing many illuminated codes and documents dated as early as 963.
Trivia
\r\nAccording 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.
Even from the Early Middle Ages, the cella of the temple was used as a little church dedicated to San Donato. After it had passed to the Benedictines, the whole complex underwent a further period of degradation, when it was used for humble living quarters and workshops. During the 13th century, it was taken over by the Comune, which divided the structure into two floors, assigning the lower floor for use a prison and the one above as a Council hall.
\r\nThe current appearance of the interior dates back to the 17th-18th centuries; in 1634 the church, which has been called Santa Maria sopra Minerva since 1539, was raised and lengthened, following designs by Giacomo Giorgetti.
\r\nThe vault was entirely frescoed mid-18th century by Francesco Appiani with the Glory of Saint Philip and the Cardinal and Theological virtues.
\r\nThe two side altars, the choir and the back choir are from the same period, designed by Pietro Carattoli. The altar on the right is decorated with a painting of the Death of Saint Andrew of Avellino by Anton Maria Garbi whilst the one on the left, is the Death of Saint Joseph painted by Martin Knoeller. These artists also worked on other paintings, which today are found in the sacristy.
\r\nThe high altar is decorated by exquisite seventeenth-century stuccos.
\r\nRecently restoration works have been carried out which brought to light some ruins from Roman times including the ancient temple floor and a solid support wall.
\r\n
The miraculous event that gave rise to the veneration dates to around 1659, and in 1660 the bishop of Città della Pieve, to which the diocese then belonged, Monsignor Lucarini Reginaldo, granted permission to build the church on the site where there was a sacred shrine with the image of the Virgin. The building, which has a Greek cross plan, with brick pillars and stone tympanums with a nineteenth-century dome and fan-shaped bell tower, was completed in 1835 by Giovanni Caproni.
","Castiglione del Lago | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.1264498,12.047839899999985,"Castiglione del Lago",54009,"","","","[ ]",""], [129,"Attrattore","en_US",24876865,"90494","https://www.umbriatourism.it/web/umbria/-/palazzo-del-capra-tuoro-sul-trasimeno","Palazzo del Capra - Tuoro sul Trasimeno","The Palace of Capra, also called Palace of Nardo, stands within the village of Tuoro, just outside the urban centre towards Sanguineto.","Lago trasimeno, Tuoro sul Trasimeno,","Palazzo del Capra - Tuoro sul Trasimeno","The Palace of Capra, also called Palace of Nardo, stands within the village of Tuoro, just outside the urban centre towards Sanguineto. Surrounded by a dense and luxuriant vegetation and by a high walled enclosure that preserve its majesty, the palace is particularly interesting because according to the tradition it has been built over the mausoleum devoted to the consul Caio Flaminio. Always according to the tradition, the towers of the palace would have been rebuilt over the remains of Roman ruins, particularly a small temple and an ustrinum (place associated with funerary rituals).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.
\r\n\r\nInside 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.
\r\n\r\nIn the sacristy there is a remarkable fresco of 1606 by Antonio Circignani, unfortunately very damaged, depicting The Presentation of Mary in the Temple.
\r\n\r\nIn 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.
\r\nThe church is one of the three parishes of the city.
Campo del Sole a Tuoro sul Trasimeno è un originale museo all'aperto, unico nel suo genere, che sorge a Punta Navaccia, zona di grande interesse naturalistico.
","","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.
\r\n\r\nThe 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 âSerena stoneâ. Each column - sculpture is about 4.5 metres high and has a diameter between 70 and 80 centimetres.
\r\n\r\nItâs a âplace of the memoryâ 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.
\r\n\r\nThe topic of the column ensures to the whole a widespread verticality, that makes Campo del Sole something like a Stonehenge of our time.
\r\n\r\nIn 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.
","Tuoro sul Trasimeno | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.2079079,12.070589299999938,"Tuoro sul Trasimeno",54055,"","","","[ ]",""], [132,"Attrattore","en_US",24420076,"90438","https://www.umbriatourism.it/web/umbria/-/lago-di-piediluco","Lake Piediluco","Lake Piediluco, located in the south-eastern foothills of Umbria, with a branch bordering into the Lazio Region, is Umbria's second-largest natural lake after Lake Trasimeno.","Lago Piedilugo, Canottaggio, Cascata delle Marmore, Vacanze Umbria, outdoor","Lago di Piediluco","Lake Piediluco, located in the south-eastern foothills of Umbria, with a branch bordering into the Lazio Region, is Umbria's second-largest natural lake after Lake Trasimeno.The facade of the complex is dominated by the two lateral cylindrical towers and is characterized, as well as other parts of the Castle, by slender brackets that enclose a walkway once used for patrols. Instead the square keep is in the northeastern side .
\r\nBehind the castle is the courtyard which is accessed through three doors on the back of the building. The central door is embellished with a stair with a fan form and an arch of sandstone blocks. The buildings that overlook the other sides of the courtyard almost form a single body with the form as C and they are the result of successive additions, as well as the eighteenth-century church located on the corner the northwest. A park almost completely embraces the complex starting from the south side (where perhaps once there was another garden), until the larger area to the north in which there is a dense forest. The straight road that climbs the hill to the castle reaches the exterior surrounding wall the mighty entrance tower opened in an arch at its centre. From the arch there are two divergent paths that cross the simple garden-court of honor square, entirely surrounded by service buildings. Little remains of the ancient fortress of the eleventh century, only the entrance side of the outer wall. What you see today is in fact the Renaissance military structure, completely rebuilt in the 15th century. In 1492 the previous building had been destroyed during the struggles for suprenacy in the Perugia area between the Oddi and Baglioni families. Some changes were made in the following centuries, as the addition of the eighteenth-century church dedicated to St. Christopher, replacing the oldest front of the castle.
The Abbey of San Salvatore di Montecorona is one the most important Benedictine abbeys in Umbria. It is not far from the town of Umbertide, in a solitary setting.
","Umbertide, Benedettini, Abbazia Montecorona, Camaldolesi, San Romualdo","Abbazia di San Salvatore di MontecoÂrona","The Abbey of San Salvatore di Montecorona is one the most important Benedictine abbeys in Umbria. It is not far from the town of Umbertide, in a solitary setting.
Historically linked to the Camaldolese order, it was probably founded by San Romualdo in 1008-1009, and in 1050 San Pier Damiani (Saint Peter Damian), worked there as a reformer.
\r\n\r\nOver time, it became an important economic centre and a large estate. It has remained intact and is still one of the biggest farms in the region.
\r\n\r\nThe upper church, of Romanesque origin, was consecrated in 1105 and later modified in 16th and 17th centuries.
\r\n\r\nThe interior has three naves; the central one has fourteenth-century frescoes of the Umbrian School.
\r\n\r\nIn the raised presbytery with a Gothic apse, is a ciborium from the 8th century decorated with bas-reliefs, and a choir from the 16th century.
\r\n\r\nOf significant interest is also the octagonal campanile, perhaps adapted from a pre-existing defensive tower in the 14th century.
\r\n\r\nUnder the church is the crypt of Santa Maria delle Grazie (Our Lady of Graces), which can perhaps be dated to the 11th century.
","Umbertide | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi31.png/fd1b61cd-6cf7-4e09-8219-3a8f24d252bf?t=1423749276046",43.2837153,12.355046700000003,"Umbertide",54056,"","","","[ ]",""], [150,"Attrattore","en_US",21464946,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-e-cappella-bourbon","St. Mary Church and Bourbon Chapel","Built at the beginning of the 11th century, the church presents a very simple stone façade that reveals its Romanesque origins.
","","St. Mary Church and Bourbon Chapel","Built at the beginning of the 11th century, the church presents a very simple stone façade that reveals its Romanesque origins.The bell tower, although of a Romanesque design, is an addition of the 19th century following the collapse of the original bell tower.
\r\n\r\nThe church presents a Latin cross plan with five trusses supporting the roof.
\r\n\r\nFrom the entrance, proceeding towards the altar, it is possible to observe:
\r\n\r\nLEFT WALL
\r\n\r\nThe Baptismal font, octagonal in shape and built of sandstone, dating back to the 16th century, by an unknown sculptor. Among the various symbols carved on it, it is possible to see the emblem of the marquis Bourbon of Monte Santa Maria, derived from the pedestal of the font, in the shape of a lionâs paw.
\r\n\r\nRIGHT WALL
\r\n\r\nA stone slab dating back to the 12th century is preserved Inside a small chapel, with symbols related to the Old and New Testaments. Along the right wall, a valuable wrought-iron railing, dating back to the 16th century, gives access to the BOUBON NOBLE CHAPEL, erected in 1613 from the marquis Gianbattista Bourbon del Monte.
\r\n\r\nTHE MAIN ALTAR
\r\n\r\nDescribed for the first time in the pastoral visit of 1784, it is in the Baroque style and each decoration has been derived from the processing of the Serena stone. The central reliquary hosts a valuable wooden reproduction of the Madonna and Child, artwork of an unknown sculptor of the 14th century. Considered since the Middle Ages not just as the protector, but also the first castellan of Monte Santa Maria, the statue has on its arm the silver keys of the village, which are traditionally given to the Virgin in the occasion of the Ascension festival, the main celebration of the village, during which the statue is carried in a solemn procession around the walls of the village.
\r\n\r\nLEFT CHAPEL OF THE ALTAR
\r\n\r\nIt holds the external part of a sarcophagus in sandstone dating back to the 16th century, embedded in the wall. Another sarcophagus, from the Early Christian era, now serves as the base for the modern altar.
\r\n\r\nOn the right side of the main altar and in front of the modern organ, a big wooden hatch allows the access to the churchâs crypt, equipped for burials, as it was common until the Napoleonic Age.
\r\n\r\nThis surrounding area - not open to the public - has tombs and gravesites.
[Source: http://www.turismo.montesantamariatiberina.org/] ","Monte Santa Maria Tiberina | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4213873,12.128971500000034,"Monte Santa Maria Tiberina",54032,"","","","[ ]",""], [151,"Attrattore","en_US",21465007,"90454","https://www.umbriatourism.it/web/umbria/-/palazzo-museo-bourbon-del-monte","Palazzo Museo Bourbon del Monte","The Museo del Monte Santa Maria is situated at Palazzo Bourbon del Monte at Piazza Castello 1, in the village of Monte Santa Maria Tiberina.
","","Palazzo Museo Bourbon del Monte","The Museo del Monte Santa Maria is situated at Palazzo Bourbon del Monte at Piazza Castello 1, in the village of Monte Santa Maria Tiberina.The museum itinerary illustrates the familiar history of the Bourbon del Monte and their Marquis, who was imperial fiefdom from 1250 to 1815, and its relationship with the town and the territory of the Tiber Valley. Recently it was enriched by an archaeological section documenting the finds of the territory.
","Monte Santa Maria Tiberina | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4213873,12.128971500000034,"Monte Santa Maria Tiberina",54032,"","","","[ ]",""], [152,"Attrattore","en_US",22143818,"93935","https://www.umbriatourism.it/web/umbria/-/porta-amerina-montecastrilli","Porta Amerina - Montecastrilli","The Porta Amerina is characterized by two arches. Itâs known as Torre del Belvedere. ","","Porta Amerina - Montecastrilli","The Porta Amerina is characterized by two arches. Itâs known as Torre del Belvedere.The Medieval Gate is a remains of the ancient fortified complex of Montecastrill.
\r\n\r\nThe city walls are still visible framed by a series of crenellated towers.
","Montecastrilli | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.6460124,12.482361399999945,"Montecastrilli",55017,"","","","[ ]",""], [153,"Attrattore","en_US",24818949,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-croce-umbertide","Chiesa di Santa Croce - Umbertide","On the site where the church of Santa Chiara stands today, there was a small church dedicated to Saints Peter and Paul in the 13th century, which was to serve as an oratory for the brotherhood of the Disciplined of Santa Maria.","","Chiesa di Santa Croce - Umbertide","On the site where the church of Santa Chiara stands today, there was a small church dedicated to Saints Peter and Paul in the 13th century, which was to serve as an oratory for the brotherhood of the Disciplined of Santa Maria.In 1340 this brotherhood had the name of Santa Maria and Santa Croce, and in the fifteenth century just with the title of Santa Croce. Various additions were made in the course of the fifteenth century and in the mid sixteenth century. Between 1634 and 1645 with the definitive restructuring of the building by Filippo Fracassini, the evolution of the church of Santa Croce was finished, except for the brick facade, from the late-Baroque style, built in the early eighteenth century.
\r\n\r\nThe church interior features rich stucco decoration by Giovanni Fontana of Foligno (1676). There is a single nave, altars dating back to the eighteenth century, first of all the richly carved (1711) designed to contain the beautiful Deposition of the Cross by Luca Signorelli, commissioned by brotherhood of Santa Maria in 1516. In 1998 the church, after careful restoration by the Municipality of Umbertide, was transformed in the Museum of Santa Croce. Among the most interesting works, in addition to the Signorelli altarpiece, are a painting by Pomarancio depicting the Madonna and Child in Glory with Angels and Saints (1577) and a 1528 wooden sculpture of St. Roch attributed to Romano Alberti, called Il Nero, from the nearby church of San Francesco. The former church of Santa Croce is also used for recordings of classical works, with the participation of internationally renowned masters, and it is the stage of prestigious music festivals.
\r\n\r\n\r\n\r\n
\r\n\r\n
MUSEUM OF SANTA CROCE IN UMBERTIDE
\r\n\r\nUNIQUE TICKET FOR UMBRIA TERRE E MUSEI
\r\nFULL PRICE: ⬠7
\r\nREDUCED A for groups of at least 15 people and affiliated: ⬠5
\r\nREDUCED B for children from 6 to 14 years old: ⬠2
\r\nFREE (children up to 5 years old, disabled with accompanying person, Icom members, qualified tourist guides, accredited journalists)
\r\nFREE FOR RESIDENTS: free entrance in the museum of their own city and reduced ticket for the other museums of the circuit.
VALIDITY
\r\nGeneral ticket valid for 15 days
\r\nPersonal ticket (with the person's name on it) valid for 3 months (after registration of the visitor's personal data)
Info:
\r\nTel.: 075-9420147
\r\nmail: umbertide@sistemamuseo.it
Opening hours:
\r\n\r\nOctober to April- on Fridays, Saturdays and Sundays from 10.30 am to 1 pm and from 3 to 5.30 pm
\r\nFrom May to September - on Fridays, Saturdays and Sundays from 10.30 a.m. to 1 pm and from 4 to 6.30 pm
\r\nclosed on 25th December and 1st January.
","Umbertide | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","","","[ ]",""], [154,"Attrattore","en_US",24760586,"90590","https://www.umbriatourism.it/web/umbria/-/castello-di-poggio-valtopina","Castello di Poggio - Valtopina","Castello di Poggio (11th century), was once the seat of the Viscount of Topino valley and then town hall until 1867.","","Castello di Poggio - Valtopina","Castello di Poggio (11th century), was once the seat of the Viscount of Topino valley and then town hall until 1867.
From the year 1000 we start to know something about the Poggio castle, although reliable records only go back to the second half of the thirteenth century when it was subject to Perugia. Since the first centuries of the second millennium, it was the seat of the viscounty, county, and comune, and it included a vast territory including several castles, churches, monasteries, and all the small towns in the area. The imposing tower, still in a very good state of preservation, housed the local municipal administration, the warehouse of Monte Frumentario as well as the \"guard\" and the prison. The underlying Casa Coccia built-up area constituted the village.
\r\n\r\nIn the early fourteenth century, the fortress came under the domination of the Trinci nobles of Foligno. In 1338 Conrad was Lord, while we are told that in 1383, Conrad II confirmed Ser Bartolomeo of Ser Angelo da Giano, as vicar of Valtopina, Stazzano and Balciano. In 1392 Ugolino III became aspostolic vicar, and in 1395 Pope Boniface De granted the castle with the title of Count Giacomo Paolo Boscari from Foligno, who continued to hold domain until 1435 even if in the meantime, Pope Eugene IV reconfirmed the apostolic vicariate of Corrado III Trinci for the symbolic tribute (it was said) of a falcon, a net and a hunting dog. It was under Corrado Trinci, on 15 August 1434, that the 'Universitas Vallis Tupini et Villae Balciani', gave the Statutes.
\r\n\r\nAfter 1439, with the fall of the Trinci, Poggio began to elect its directors. This behavior gave rise to violent reactions caming from Foligno inhabitants who claimed possession, so that the same board was forced to seek the protection of the neighboring communities. On this occasion Perugia citizens also joined in, and taking advantage of the situation, they tried by all means to take control, but succeedied only in 1495. That same year, in addition to Poggio, Serra and Pasano were also subject to Perugia, as well as Gallano castles. In 1560 upon the appointment of Pope Pius IV, the castle was given to Caesar and Octavian Bentivoglio, counts of Gubbio, who were its lords until 1616.
\r\n\r\nAfter that date they were replaced by a mayor. In the following years, there are only fragmentary reports about the castle, but itâs known that it was used as the municipal building until 1867, when the administration was moved permanently to Valtopina, with the opening of the railway station.
","Valtopina | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=1423749272488",43.05875,12.754369699999984,"Valtopina",54059,"","","","[ ]",""], [155,"Attrattore","en_US",24760666,"90590","https://www.umbriatourism.it/web/umbria/-/museo-del-ricamo-valtopina","Museo del Ricamo - Valtopina","The Museum of Embroidery and Textiles is located in Valtopina on the ground floor of the town hall, a mansion of the early twentieth century.","","Museo del Ricamo - Valtopina","The Museum of Embroidery and Textiles is located in Valtopina on the ground floor of the town hall, a mansion of the early twentieth century.The Museum of embroidery and textiles definitely worth visiting for its importance as a font of knowledge about the art of embroidery. This art is very important in Valtopina also for the presence of the Embroidery School, organized by the Pro Loco. The collection consists of about four hundred pieces divided into three sections: the first for women's fashion, the second for underwear and the third for household linen. It illustrates the fundamental changes and simplifications regarding fashion between the late nineteenth century and early twentieth century.
\r\n\r\nThe inauguration of the Museum of Embroidery and Textiles in 2007 was made possible thanks to the many donations that have taken place since 2000 and have gone into collecting artifacts belonging to historical families of Foligno, Spello and Perugia. Then it was extended to other regions such as Tuscany and Liguria. The Embroidery School in Valtopina, organized by the Pro Loco, is also important for the start of the collection and to help to keep the tradition of the minor arts alive, which is very important in small towns in Umbria.
\r\n\r\nThe museum has three sections that gather about four hundred pieces divided between women's fashion, underwear and household linen. The section on women's fashion highlights, through the precious dresses on display, the simplification of fashion that happened between the late nineteenth century and early twentieth century. During this time the clothes are characterized by the increasing use of lace, material in which are often packed the strategic parts of garments like coats, blouses and flouncy skirts. In the second section, dedicated to the underwear, it is evident that the nineteenth and twentieth century focused on new and refined capabilities that enhance petticoats, corsets and camisole, other vests, dressing gowns, bonnets, knickers, stockings and handkerchiefs with lashings of lace, white embroidery on white or pastel colors. Particular attention is paid to layettes and baptism gowns made by specialized laboratories for the new emerging middle classes who wanted to flaunt opulence and wealth and compete well in luxury with the old nobility.
\r\n\r\nFinally, the third section, devoted to household linens, shows how the girls collected the âimparaticciâ, samplers on which they demonstrated all the embroidery techniques learned.
\r\n\r\nHowever, from the end of the 19th century onwards, young women no longer made their own trousseaus personally, but preferred to turn to specialist shops, seamstresses or convent workshops, where refined and lengthy embroidery work was carried out. The exhibition of the linen shows how, despite the introduction of colour into the sheets during the Second Empire, white embroidery and white fabric continued to be preferred for the trousseau for a long time to come. The decorative motifs are mainly floral and symbolize happiness and eternal love like the bow or the \"love knot\".
","Valtopina | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi38.png/0033f7a1-a292-4547-b7c7-56677ac46cbe?t=1423749277226",43.05875,12.754369699999984,"Valtopina",54059,"","","","[ ]",""], [156,"Attrattore","en_US",126591,"","https://www.umbriatourism.it/web/umbria/-/santuario-dell-amore-misericordioso-ed-eucaristico","The Sanctuary of Merciful and Eucharistic Love","The Sanctuary of Merciful and Eucharistic Love is located in Collevalenza a few kilometres from Todi.","Todi, Umbria, Amore Misericordioso, Madre Speranza","","The Sanctuary of Merciful and Eucharistic Love is located in Collevalenza a few kilometres from Todi.There are major complex of caves carved by water in the limestone rocks of the walls, including the Cave of the Plain which extends for 2500 m in a travertine bench and where artifacts dating from the Neolithic and the Bronze Ages have been found, and the cave of Vorgozzino, in the formation of red stone, which reaches a depth of 123 m.
","Baschi | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.7358685,12.316608200000019,"Baschi",55007,"","","","[ ]",""], [160,"Attrattore","en_US",24819234,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-della-pieta-umbertide","Chiesa di Santa Maria della Pietà - Umbertide","The church of Santa Maria della Pieta is located on the northern outskirts of Umbertide, at the neoclassical Civil Hospital.","","Chiesa di Santa Maria della Pietà - Umbertide","The church of Santa Maria della Pieta is located on the northern outskirts of Umbertide, at the neoclassical Civil Hospital. Built in 1481, enlarged in the sixteenth century, the church has a Renaissance structure with a single nave. Above the main entrance is a lunette attributed to Giovan Battista Caporali; It was placed in the Coronation of the Virgin realized by Pinturicchio in 1502 and now preserved in the Vatican Museums in Rome. ","Umbertide | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","","","[ ]",""], [161,"Attrattore","en_US",5429931,"90590","https://www.umbriatourism.it/web/umbria/-/edicola-pian-d-arca","Pian d'Arca 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.","San Francesco, predica algli uccelli, Cannara, via di Francesco","Edicola Pian d'Arca","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.\"
\r\n\r\nCrossing a gate and descending a few steps it is possible to reach a small altar.
\r\n\r\nThe 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.
\r\n\r\nSource: Turrioni, O., (2010). Cannara. Piandarca della \"Predica agli Uccelli\". Letteratura e tradizione.
","Cannara | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384",42.975585,12.568647599999963,"Cannara",54006,"","","","[ ]",""], [162,"Attrattore","en_US",24818747,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-ottagonale-santa-maria-della-reggia-umbertide","Octagonal church of Santa Maria della Reggia - Umbertide","The church of Santa Maria della Reggia is in Umbertide at Piazza Mazzini, past the bridge over the river Reggia.","","Chiesa Ottagonale Santa Maria della Reggia - Umbertide","The church of Santa Maria della Reggia is in Umbertide at Piazza Mazzini, past the bridge over the river Reggia. This majestic building with an octagonal exterior and circular interior was begun in 1559 on a plan by Galeazzo Alessi and Giulio Danti, continued by Bino Sozi and concluded by Bernardino Sermigni in 1663. Sixteen columns support the entablature on which the 40-metre high dome rests. Behind the high altar is a fifteenth-century fresco of the Madonna with Child and two Saints, showing the influence of Gubbio; above the organ gallery is the Transfiguration by Nicholas Circignani, signed and dated (1578). ","Umbertide | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","","","[ ]",""], [163,"Attrattore","en_US",24819011,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-bernardino-umbertide","Chiesa di San Bernardino - Umbertide","The church of San Bernardino is situated to the right of the cloister of the church of San Francesco, in Piazza San Francesco, in the historic center of Umbertide.","","Chiesa di San Bernardino - Umbertide","The church of San Bernardino is situated to the right of the cloister of the church of San Francesco, in Piazza San Francesco, in the historic center of Umbertide. Begun as an oratory in 1426, the church underwent several changes until 1768 when it was totally rebuilt. Recently the church was restored; the façade is dominated on one side, by a small bell tower. Inside is a Cena degli Apostoli by Muzio Flori (1602) and a wooden statue of San Bernardino dating back to the 16th century. ","Umbertide | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","","","[ ]",""], [164,"Attrattore","en_US",22229382,"90590","https://www.umbriatourism.it/web/umbria/-/palazzo-comunale-montefalco","Town Hall - Montefalco","The Town Hall, an almost exactly circular building called in old times People Palace, is located in the Town Square. ","","Town Hall - Montefalco","The Town Hall, an almost exactly circular building called in old times People Palace, is located in the Town Square.Built in 1270 in a much small size, was later enlarged on the whole left side during the 15th century, when a porch with octagonal pillars, finished off with capitals decorated with large Acanthus leaves, was added: a big terrace dominating the square rises above the Renaissance loggia.
\r\n\r\nThe façade along Corso Mameli preserves a beautiful recording of the 1200 building: the elegant twin window with a spiral pillar. The bell tower raises above the Town Hall and after the renovation and safety works, itâs possible to access to it to enjoy a breathtaking view. On the first floor of the palace there is the Municipal Library with beyond 10.000 volumes including several sixteenth-century editions, 76 incunabula and about 100 manuscripts.
\r\n\r\nA fresco of the âMadonna of Majestyâ, attributable to Giovanni di Corraduccio, is located within the second hall of the Library. The current Council Hall, on the last floor of the Palace, was the headquarters in 1700 of the Theatre of Eagle that remained active until the end of 1800. The Council Hall presents elegant 1800 decorations and is furnished with tables, chairs and benches with the municipal emblem engraved on their back.
\r\n\r\nThe Town Square, which brings together all the main roads of the respective entrance gates to the city, opens in front of the Town Hall. The same square is overlooked by the S. Filippo Neri Theatre, the Oratory of St. Maria del Popolo or di Piazza and private palaces such as Palazzo Bontadosi, Palazzo Santi â Gentili, Palazzo Senili (now Andreani), Palazzo de Cuppis (now Camilli) and Palazzo Pieroni (now Beddini â Meffetti).
\r\n\r\n
\r\n[Source: www.montefalcodoc.it]
It was built in the 10th - 11th centuries and in 1964 it was completely restored, especially in the facade and bell tower.
\r\n\r\nInside the church is divided into six chapels, of which three are in the Baroque style and it retains painted decorations created by Zuccari, an icon of the Madonna Refugium Peccatorum of the 16th century, a wooden crucifix of the 15th century and two important paintings of the 16th century by Bartolomeo Poliziano and Archiatra Ricci.
\r\n\r\n[Source: http://www.montecastrilliturismo.it]
","Montecastrilli | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.6460124,12.482361399999945,"Montecastrilli",55017,"","","","[ ]",""], [166,"Attrattore","en_US",27981840,"90454","https://www.umbriatourism.it/web/umbria/-/eremo-di-monte-corona-umbertide","Eremo di Monte Corona - Umbertide","The hermitage of Montecorona is situated in an isolated location near the town of Umbertide.","","","The hermitage of Montecorona is situated in an isolated location near the town of Umbertide.Founded in the 16th century, on the top of the 700-metre-high mount in a forest of fir and chestnut trees, it had always a close and deep connection with the abbey of San Salvatore with which it was connected by a brick road. The hermitage was the center of religious life, while the Abbey was the seat of economic activity and shelter for the old and sick monks, no longer able to comply with the strict rules of a hermit's life.
\r\n\r\nConstruction started in 1530. It was dedicated to house the Camaldolese branch (the hermits of St. Romuald) that aimed to embrace the hermetic spirit. The complex, which consists of the eighteenth-century church with stucco decoration and housing for the monks, became lay properties by the suppression of religious orders and were a safe haven in times of war.
\r\n\r\nThen it passed through a period of total abandonment until 1981, when four nuns of the Monastic Family of Bethlehem came to this place and began rennovation work. Nine years later, in November 1990, the nuns founded a new monastery to which they moved near Mocaiana, a hamlet of Gubbio. The monks of the same order have been at Montecorona since 1990.
","Umbertide | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","Umbertide","","[ ]",""], [167,"Attrattore","en_US",27981929,"90454","https://www.umbriatourism.it/web/umbria/-/preggio-umbertide","Preggio - Umbertide","The picturesque village of Preggio is located near the border with the territory of Passignano.","","","The picturesque village of Preggio is located near the border with the territory of Passignano. In the area there are many traces of an Etruscan past: on Mount Murlo, just north of Preggio, there are remains of Etruscan walls dating to the 4th century BC. The location is indicated by the name of Bellona or Bellonia, and it was an important road junction, whereas it was along the shortest route that linked Cortona to Perugia, and on the road connecting the Upper Tiber Valley to Lake Trasimeno. On 25 June 217 BC, the Carthaginian and Roman troops clashed in the valley of the Niccone River, at Bellona; the Romans, veterans who escaped from the battle of Trasimeno, were defeated. These events are remembered by a large number of local place names: Pugnano, Monte Corvino, Peggio (now Preggio), Pian di Marte. ","Umbertide | Discovering the villages of Umbria","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3055726,12.327868099999932,"Umbertide",54056,"","","","[ ]",""], [170,"Attrattore","en_US",20779230,"93925","https://www.umbriatourism.it/web/umbria/-/sculture-nella-citta-spoleto-1962","Sculpture in the city - Spoleto 1962","In 1962 houses, terraces, squares, medieval arches, alleys and slopes of the Albornoz Fortress of Spoleto enriched their beauty thanks to the presence of 104 sculptural works made by 53 among the most famous artists of the 20th century.
","Spoleto, Festival dei due Mondi, Calder, Sculture,","Sculpture in the city - Spoleto 1962","In 1962 houses, terraces, squares, medieval arches, alleys and slopes of the Albornoz Fortress of Spoleto enriched their beauty thanks to the presence of 104 sculptural works made by 53 among the most famous artists of the 20th century.
The exhibition âSculpture in the cityâ, conceived and curated by Giovanni Carandente for the 5th Festival of the Two Worlds, turned Spoleto in an open-air museum and attracted much attention from the international press, becoming one of the main historical festivals of international sculpture in the last century.
\r\n\r\nFor the first time ancient architecture and modern sculptures were placed together where they could share the spaces where everyday life takes place.
\r\n\r\nThe artists with works installed around town include: Arp, Colla, Fontana, Lorenzetti, Manzù, Marini, Moore and David Smith, 20 of whose artworks were exhibited at the Roman Theatre (several of these ones can be admired today in a wing of the Washington National Gallery, in a hall devoted to the artist, whose structure is inspired by the Spoleto Arena, and the exhibition of 1962 is documented on its walls).
\r\n\r\nIn 2012, 50 years after the big exhibition of 1962, the District of Spoleto celebrated the contemporary sculpture with the exhibition â+50: Sculpture in the city in memory (1962) and present (2012)â: the artworks of about 50 Italian artists were exhibited in the Collicola Visual Arts Palace and at different locations in the town.
\r\n\r\nAmong them there were Giovanni Albanese, Robert Gligorov, Michelangelo Galliani, Michele Ciribifera, Alex Pinna, Andrea Pinchi, Mario Consiglio, Peppe Perone, Mario Cuppone, Franco Menicagli, Alessandra Pierelli, Gehard Demetz and Raul Gabriel.
\r\n\r\nToday the following sculptures remain:
\r\n\r\nAlexander Calder â Teodelapio
\r\n\r\nLynn Chadwick â Stranger III
\r\n\r\nPietro Consagra â Colloquio Spoletino (Interview in Spoleto)
\r\n\r\nNino Franchina â Spoleto 1962
\r\n\r\nBeverly Pepper â Il dono di Icaro (The gift of Icarus)
\r\n\r\nArnaldo Pomodoro â Colonna del Viaggiatore (Column of the Traveller)
","Spoleto | Art in Umbria","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.7404881,12.737800300000004,"Spoleto",54051,"","","","[ ]",""], [175,"Attrattore","en_US",3351161,"93925","https://www.umbriatourism.it/web/umbria/-/teodelapio","Teodelapio","The Teodelapio is located outside the historic center, in front of the Spoleto train station.
","Alexander Calder, Spoleto, arte contemporanea, Longobardi, Bike spoleto norcia, festival di Spoleto","Teodelapio","The Teodelapio is located outside the historic center, in front of the Spoleto train station.
The sculpture of painted steel is 18 meters high. It consists of an assemblage of different forms cut and bolted into the metal, has zoomorphic appearance and that may also suggest parts of a crown. Calder had not yet decided the name of the sculpture when, during his stay in Spoleto (spring 1962),he saw in his hotel a print depicting the Duke Teodelapio (early seventh century) with a pointed crown, and so he decided on that name for his work.
\r\nThe sketch, some letters and preparatory drawings are kept inside the Galleria Civica d'Arte Moderna in Spoleto. The sketch was enlarged 27 times by the Italsider factories of Savona and the steel sheets made there were directly mounted and welded in situ in Spoleto.
","Spoleto | Places of culture","","",42.748121,12.736141999999973,"Spoleto",54051,"","","","[ ]",""], [176,"Attrattore","en_US",27756151,"93925","https://www.umbriatourism.it/web/umbria/-/casa-romana","Roman House","The Roman House is an example of a noble residence from the early imperial age; the style of the frescoes, mosaics and the type of masonry place the Roman House in the first century AD. ","umbria, umbria tourism, umbria itineraries, umbria journey, umbria history, spoleto, spoleto tourism","The Roman House is an example of a noble residence from the early imperial age; the style of the frescoes, mosaics and the type of masonry place the Roman House in the first century AD.","The Roman House is an example of a noble residence from the early imperial age; the style of the frescoes, mosaics and the type of masonry place the Roman House in the first century AD. The first excavation campaign aimed at its discovery was carried out by Spoleto archaeologist Giuseppe Sordini between 1885-86 and excavations continued until 1914, the year of Sordini's death.
For further information:
\r\n\r\nVia di Visiale
\r\ntel. e fax 0743 40255
\r\ne-mail: info@iat.spoleto.pg.it; spoleto@sistemamuseo.it
The lush vegetation of the âsacred wood' covers Monteluco (800 m high), the hill connected to the city of Spoleto by the spectacular Ponte delle Torri.
","Spoleto, bosco sacro, Monteluco, Ponte delle Torri, Giove, lex spoletina","The Sacred Wood","The lush vegetation of the âsacred wood' covers Monteluco (800 m high), the hill connected to the city of Spoleto by the spectacular Ponte delle Torri.
The timeless importance of the woods is proven by its very name (lucus = sacred wood) and the ancient and strict laws of Lex Spoletina: the first example of forest management, if you will, was carved in stone in archaic Latin in the 3rd century B.C.E. and established punishments for anyone desecrating the sacred woods then dedicated to Jove.
\r\n\r\nThe Scared Wood of Monteluco is full of evergreen oaks, a rarity in areas so far from lakes or the seashore, and they provide an ideal habitat for coleoptera beetles, green woodpeckers, great spotted woodpeckers, creepers and nuthatches.
\r\n\r\nThere are plenty of hermitages and caves, including the one of Saint Anthony of Padua; they are easy to reach on foot over trails that wind through the woods behind the Sanctuary of Saint Francis (or the Franciscan Hermitage).
\r\n\r\nAs you climb up Monteluco you'll find the church of Saint Peter, built in the early 5th century over an ancient villa, a fine example of Umbrian Romanesque architecture, and the Romanesque church of Saint Julian, which was constructed in the 12th century to replace a 6th-century building and then renamed after the saint. Further up is the Sanctuary of Monteluco, a Franciscan settlement they say Saint Francis himself founded in a place donated to him by the Benedictines along with a small church they had dedicated to Saint Catherine of Alexandria.
\r\n\r\nFrench occupation brought the congregation of friars and monks to an end and, in the early 1800s, the hermitages themselves were sold to private individuals who transformed them into summer vacation homes.
\r\n\r\nThe Sacred Woods of Monteluco was recently recognised as a European Commission Habitats Directive Site of Community Importance.
\r\n\r\n","Spoleto | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=1423749274409",42.7412223,12.738521300000002,"Spoleto",54051,"","","","[ ]",""], [180,"Attrattore","en_US",22342889,"93925","https://www.umbriatourism.it/web/umbria/-/museo-nazionale-del-ducato-di-spoleto","National Museum of the Duchy of Spoleto","
The museum is located within the Fortress, in the upper part of Spoletoâs historical centre.
","Spoleto, ducato Longobardo, Rocca albornoziana, trekking urbano, Festival Spoleto","National Museum of the Duchy of Spoleto","The museum is located within the Fortress, in the upper part of Spoletoâs historical centre.
The museum was founded to document the history of the Duchy, established thanks to he Lombards, a Germanic population which broke the political unity of the Italian peninsula in the 6th century AD.
\r\n\r\nThe Fortress was built by order of the Spanish Cardinal Egidio Albornoz starting in 1360. It was home to papal legates and to Popes.
\r\n\r\nToday, with the gradual restoration of its spaces and mural paintings that still decorate its walls, the complex has finally regained its old primitive charm after having been used for a long time as prison.
\r\n\r\nThe museum offers an interesting document of knowledge of the Spoleto territory from the 4th to the 15th century and at the same time illustrates, through panels, the beauty of the frescoed rooms displaying the artworks.
\r\n\r\nOpened in 2007, the museum was created thanks to a project collecting artworks and materials already partially housed in the premises of the Civic Museum and of the Art Gallery, useful to document the origin, development and the several historical as well as cultural effects of the Lombard Duchy of Spoleto.
\r\n\r\nThe Museum has 15 halls on two floors around the courtyard of honour.
\r\n\r\nThe artwork collection covers a period from the 4th century AD, with pieces from the first Christian communities, to the 15th century.
\r\n\r\nConceived as an appropriate tool to conserve and present the knowledge of the city and the territory, the museum aims to help visitors understand the complexity of historical events and at the same time its cultural vitality even after the fall of the Duchy.
\r\n\r\nThe itinerary begins with the fourth century, illustrating the first Christian communities with materials from the funerary areas and the nearby buildings of worship, with an emphasis on the phenomenon of monasticism. It continues with works ranging from the sixth to the ninth centuries, showing the artistic evolution of the territory, and ends with sculptures and paintings from the twelfth to the fifteenth century that well document the extraordinary artistic flourishing of the city and territory as the Triptych of Santa Maria delle Grazie by Niccolò di Liberatore.
\r\nThe itinerary is completed by illustrative panels that give an account of the historical function of each environment crossed.Accessibility
The Albornoz Fortress is located in the highest point of the city, on top of St. Elia hill, and is not served by public transport. For those interested to visit the beautiful town, there are three practical mechanized itineraries connecting the newest and lowest part of the city to the highest and most ancient one. One itinerary leaves from the Ponzianina car park and through escalators reaches the Cathedral. Another one leaves from the Posterna car park and brings visitors to Piazza Campello through travelators and elevators, through an underground itinerary with exits located at the New Theatre, Piazza Pianciani and Piazza del Mercato. A third itinerary connects, through underground travelators, the SpoletoSfera car park to Piazza della Libertà .
\r\n\r\nFrom here, walking through Corso Mazzini until the end you can reach Piazza Pianciani, where itâs possible to resume the above-mentioned itinerary.
\r\nIn order to reach the Fortress,the Posterna itinerary is the most direct one and it is all indoors until the Fortress exit.
\r\nTherefore, once arrived at the terminal of Piazza Campello, you can go up through one of the two available lifts, provided with an external and internal Braille as well as a raised button panel, and with light and vocal signals of floors.
From there you exit on the pedestrian asphalt road of the âFortress Tourâ that is a looping path around the fortress; if you go right, you will find the opening hallway to the lifts going up to the Fortress in Largo Luigi Antonini, always equipped with an external and internal Braille as well as a raised button panel, and with light and vocal signals of floors.
\r\n\r\nFor those willing to reach the Fortress with their own transport, you must bear in mind that the facility is located within the ZTL (LIMITED TRAFFIC ZONE), therefore itâs necessary to send by fax to the number 0743-218074 the two-sided copy of the disabled coupon, by also mentioning the plate of the car and the transit day. All must be done in advance or within 72 hours of the transit. Alternatively, you can also go personally to the Municipal Police command centre, located in Piazza Garibaldi 42, in the lower part of the city, under the two entrance arches.
\r\n\r\nAfter having parked in the Piazza Campello area, you can take the pedestrian walkway that turns around the Fortress. You can pass by the entrance to the lifts leading to the underground itinerary of the treadmills and go on for about 150 metres, until reaching the lifts going up to the Fortress, as already described above.
\r\n\r\nFor disabled people itâs possible to reach the Fortress by car, in proximity of the Museumâs entrance and park there for the duration of the visit. Itâs necessary to call the number 0743-224952 (Ticket Office) or the number 0743- 223055 (guardians) to notify them of the arrival and get directions.
\r\n\r\nThe museum can be visited by people with motor difficulties and who need aids such as the wheelchair. Guide dogs are allowed. You can receive information about a possible personalized visit by calling the âSystem Museumâ cooperative at the number 0743- 46434 or directly the ticket office at the number 0743-224952.
\r\nAudio guides are not available in the facility.
Built between 1322 and 1338, the architrave bezel bears an inscription, now worn, with the name of the architect Angelo from Orvieto, in addition to the emblem of the municipality. The entry hall features octagonal pillars and a large vault. A sixteenth-century staircase leads to the large Council Chamber which houses numerous Roman inscriptions on marble and stone as well as the brick stamps coming from that area and, on the wall, fragments of frescoes of the Sienese school; a fine imposing statue representing Umbria region by the local sculptor Elmo Palazzi.
\r\nIts construction began in 1322 and stopped after the completion of the first order of mullioned windows in 1338. On the lunette of the main door the coat of arms is carved and an inscription on the lintel shows the name of the architect, Angelo from Orvieto. He simultaneously worked on the construction of two other public buildings: the building of Podestà (chief magistrate) in the city and another one of the Consuls in Gubbio. Looking at the exterior decoration, the typical motifs of Citta di Castello,in various points, can be noticed which are the fortress and the cross with three towers.
\r\nOn the bezel of the lower door, the figure of Justice is carved. The facade has a surface with bosses, rustications, made of blocks of sandstone, ductile and soft stone present in upper Tiber hills, which easily lends itself to the realization not only of rustications, but also of the doors and windows.
\r\nThe atrium is imposing and severe, with two massive octagonal pillars supporting the large covering. From the capitals depart rectangular and round cross-ribs. From the top of the large sixteenth century staircase, on the right, is the spacious Council hall, where some fresco fragments came to light during restoration work. There are many Roman inscriptions on marble and stone as well as brick stamps from the area on display, and a fine impositng statue of the Umbria Region by the local sculptor Elmo Palazzi. In the adjoining \" Executive Room\", in addition to Garibaldi memorabilia, there is a large painting by Vincenzo Barboni, The Martyrdom of St. Lawrence, painted in 1832.
The bell tower, destroyed by an earthquake, was rebuilt in 1452.
\r\nThe interior of the church has a single nave and it was completely rebuilt in the Baroque style between 1707 and 1727. The stucchi are by Antonio Milli, while the ceiling medallions, representing St. Francis, St. Anthony and St. Joseph of Cupertino, are by Lucantonio Angiolucci from Città di Castello.
Entering the church, at the end on the left it is the Vitelli Chapel built towards the middle of 1500 by Giorgio Vasari on commission of the Marquise Gentilina Della Staffa Vitelli, mother of Paolo and Chiappino, buried here with Nicholas Vitelli the \"Father of the Nation \", who died on January 6 1486. The large panel depicting the Coronation of the Virgin is also by Vasari.
\r\n\r\nOn the sides of the chapel are finely carved choir stalls with fine inlay and ink drawings attribute to local artists of the 16th century following drawings left by Raphael. The wrought iron gate is the work of master Pietro Ercolano of Città di Castello in 1567. Also on the left is a terracotta of St. Francis receiving the stigmata by the school of Della Robbia; in front is the painting of the Martyrdom of Saint Bartholomew, by Giovan Battista Pacetti, known as \"The Sguazzino\", born in Città di Castello in 1593.
\r\n\r\nOn the altar of St. Joseph, belonging to Albizzini family, there was the Marriage of the Virgin by Raphael painted in 1504, now replaced by a copy. In 1798 it was taken by General Lechi, the commander of Napoleon's troops. Since 1805 it has been in the Pinacoteca di Brera in Milan. The church also Luca Signorelli's painting The Adoration of the Shepherds, now at the National Gallery in London.
\r\n\r\nThe monolithic 14th centuray high altar is attributed to the Blessed Giacomo, a friar and skilled marble worker. The apse houses a beautiful walnut choir of the eighteenth century. Above the choir stalls is a large mechanical organ in 1763, still used for concerts.
Fonte: IAT Città di Castello ","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=1423749271901",43.45849,12.24037999999996,"Città di Castello",54013,"","","","[ ]",""], [193,"Attrattore","en_US",24419770,"90438","https://www.umbriatourism.it/web/umbria/-/convento-di-san-francesco","Convent of St. Francis","The Convent of St. Francis, founded according to tradition by St. Francis in 1213, became an important centre of theological, historical and scholarly study in the 17th century.","","Convento di San Francesco","The Convent of St. Francis, founded according to tradition by St. Francis in 1213, became an important centre of theological, historical and scholarly study in the 17th century.Among the learned who worked there, we still remember the theologian Friar Costanzo Malvetani, Friar Arcangelo Contessa and Friar Agostino Mattielli, the latter of whom can be considered one of the main Umbrian scholars and reporters of the 1600, thanks to his Umbria Serafica and the Discorso sopra la terra di Stroncone.
\r\n\r\nThe Industrial Archaeological Park of Campacci di Marmore is a real open-air museum: it is located near the Upper Belvedere of the Marmore Waterfall, along path number 5.
","","The Industrial Archaeological Park of Campacci di Marmore","The Industrial Archaeological Park of Campacci di Marmore is a real open-air museum: it is located near the Upper Belvedere of the Marmore Waterfall, along path number 5.
The Park, set in a particularly lovely and evocative landscape, hosts some big artefacts from the hydroelectric plants of Galleto and Narni, such as Kaplan and Francis turbines as well as flow distributors for turbines, kept for different years at the Bosco works in the Maratta district.
\r\n\r\nThe project enhances the educational itinerary on the local hydroelectric plants that is already partially present at the Campacci, among the tanks used for collecting water that then, through the penstocks, flowed down to the valley in order to produce the electricity necessary to operate the many plants in the Terni area, primarily the steel manufacturing company.
\r\n\r\nWater tanks that look like imposing walled structures have been abandoned, overgrown and hidden by vegetation, taking on the appearance of ruins nostalgically recalling an industrial past.
For further information:
\r\n\r\nhttp://www.umbriaexperience.it/
","Terni | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.5501271,12.718768599999976,"Terni",55032,"","","","[ ]",""], [197,"Attrattore","en_US",116963,"90438","https://www.umbriatourism.it/web/umbria/-/parco-archeologico-di-carsulae-terni","Carsulae Archaeological Park","The Parco Archeologico di Carsulae includes the ruins of the Roman Municipiumâ town in Latinâof Carsulae, which sprang up on the sides of the ancient road Via Flaminia, near the small town of San Gemini, a locality that has been well known for its mineral water springs since antiquity.
","Parco Archeologico di Carsulae, Terni, umbria, via flaminia","Carsulae Archaeological Park","In this rich and active old center, designed during the Augustan ages, the remnants of the main public, civil and religious monuments are still visible: the Curia and the Gemini Templesâoverlooking the Forumâthe Basilica, the Theater and the Amphitheater. The latter is positioned along the Via Flaminia, which entered into the town through the monumental Arch of San Damiano.Località Carsoli
\r\n05100 - Terni (TR)
\r\nemail: info@carsulae.it
\r\nsito web: carsulae.site
\r\n\r\n
Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari
","San Gemini | Terni | Ancient history","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=1423749273208",42.6331432,12.560780300000033,"San Gemini",55029,"","","","[ ]",""], [198,"Attrattore","en_US",5428683,"93925","https://www.umbriatourism.it/web/umbria/-/campello-alta","Campello Alta","Overlooking the valley of Spoleto, the village of Campello Alta is a fortified highland settlement situated on a hilltop 514 meters above sea level. The setting is particularly beautiful, between the hills and the mountain that still preserves the characteristics of a medieval landscape, with the castle, the village, the tower houses enclosed by walls, small fields surrounded by hedges, unpaved roads and terraces full of olive trees.","Campello, Unesco, Castello","Campello Alta","Overlooking the valley of Spoleto, the village of Campello Alta is a fortified highland settlement situated on a hilltop 514 meters above sea level. The setting is particularly beautiful, between the hills and the mountain that still preserves the characteristics of a medieval landscape, with the castle, the village, the tower houses enclosed by walls, small fields surrounded by hedges, unpaved roads and terraces full of olive trees. The castle retains its fourteenth-century structure both in the well preserved long stretches of the circular walls and towers both in the internal and external architecture of the fortified center. The small village grew up along the access road to the side of the plain. The only gateway with defensive features and the public building next to the church are well preserved, with a charming cobblestoned square. The Church of St. Donatus, of Romanesque origin, was renovated several times in the Baroque period, especially in its interior, where, as a result of recent renovations, votive frescoes from the fifteenth century were discovered.It was built in the centre of the village, in Piazza Gramsci, in front of the Cathedral church, mirroring the political and economic fortunes linked to the family. Construction work on the palace began around the mid-16th century directed by the Perugian architect Galeazzo Alessi on commission from Ascanio della Corgna. It incorporates the hunting lodge that belonged to the Baglioni family, in turn obtained from ancient medieval tower houses.
\r\n\r\nAscanio, in 1550, had been appointed by his uncle Pope Julius II as perpetual governor of Castel della Pieve, the ancient name of Città della Pieve, and managed to keep the palace until 1571, the year of his death. From the sources we know that it was also had a beautiful garden, of which little remains today.
\r\n\r\nCurrently owned by the municipality, both the building structure and its decoration have been restored. All the relief decorations on the facade are made of pietra serena stone and show clear signs of degradation, as this material is not very resistant to external agents. Inside, both the vaults of the rooms and those of the stairs are covered with frescoes. On the first floor, where there are the reception halls and the apartment of Ascanio della Corgna, the vaults are frescoed by Niccolò Circignani, known as Pomarancio, representing the Concert of Muses and dated to 1564.
\r\n\r\nThe ground floor, which served as the \"secret\" part of the building, usually used as a place of intellectual recreation, is thought to have been frescoed by Salvio Savini who painted a banquet of the gods. Currently the palace together with the oratory of Santa Maria dei Bianchi, the church of San Pietro and the church of Santa Maria dei Servi is part of the Open City Museum Circuit. Inside the palace is the \"Francesco Melosio\" municipal library.
","Città della Pieve | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",42.9477738,12.003295699999967,"Città della Pieve",54012,"","","","[ ]",""], [206,"Attrattore","en_US",28207860,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-impensole","The Church of Santa Maria Impensole","The church of Santa Maria Impensole is named âImpensoleâ for its sloped building site. The current church is built atop the ruins of an older structure, dated to the 8th century, which remains the backbone.","","","The church of Santa Maria Impensole is named âImpensoleâ for its sloped building site. The current church is built atop the ruins of an older structure, dated to the 8th century, which remains the backbone.History
\r\n\r\nThe severe lines and care shown in its construction suggest that the artists who built the church wanted to treat it in a special way, because almost presaged the charm that this building would have exercised on the minds of Narni and visitors of all ages. The date of construction or reconstruction is 1175, as stated in the architrave of the main door.
\r\n\r\nReturning to the entrance at the end, on the left, there is a small opening that leads into a small room, where there is a window and from it you can admire an original well, built right under the main wall of the church, which is supported by a pillar, consisting of a monolithic cubic block and a trunk of a cylindrical column, on which rests a rustic capital and an architrave. A stone vault covers the entire cylindrical well and is thought to be a Roman cistern with original plaster. The window well is about 8 meters deep and has a diameter of about 5 meters, contains water with a depth of about 2.50 meters. Other traces of arches suggest other rooms communicating with it, some still usable, others filled with rubble, which are the remains of an ancient Benedictine monastery.
\r\nThe underground rooms are visible only during the period of the town's Corsa all'Anello festival.[Source: www.turismonarni.it]
\r\n\r\n\r\n\r\n
","Narni","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.5176022,12.515629900000022,"Narni",55022,"","","","[ ]",""], [207,"Attrattore","en_US",19907601,"90438","https://www.umbriatourism.it/web/umbria/-/eremo-sacro-speco-di-san-francesco","St. Francisâ Sacred Cave Hermitage","
The cave in Narni, immersed in a green forest, has a dominant position over the valley and is the most ancient Franciscan place of the Valnerina.
","Narni, umbria, San Francesco, Via di Francesco, Francescos' way, trekking,","St. Francisâ Sacred Cave Hermitage","The cave in Narni, immersed in a green forest, has a dominant position over the valley and is the most ancient Franciscan place of the Valnerina.
Francis of Assisi reached it in 1213: here he listened to the sound of the angel's viola and turned water into wine.
\r\n\r\nIn this place one can feel the typical spirit of the Saint of Assisi: mysticism, poetry, love, peace. Francis of Assisi often withdrew in solitude in the small church and higher in the wood in the fissure of a rock. He also spent a period of sickness here, during which friars built for him, next to the cave, a small cell in stone with a wood roof.
\r\n\r\nThe small cloister dates back to the 1400s, when St. Bernardino of Siena arranged for a dormitory to be built, whose windows overlook on the central part of the building, as well as the refectory, which can be visited.
\r\n\r\nIn the cloister it's possible to admire the chapel of St. Sylvester, brought to light with the latest restoration and where frescoes of the 1300s are preserved. From the chapel, through a narrow corridor, one reaches the room enclosing the pit, mentioned by Fioretti and Tommaso da Celano, where the water that the ailing St. Francis turned into wine was drawn.
\r\n\r\nThe convent church dates back to the end of the 1500s, the chapel is very simple and preserves a beautiful mother-of-pearl marquetry cross, executed by a Franciscan friar, and an original chalice. Just uphill is the cell of St. Francis where his \"bed\" made by four uneven boards is preserved. Next to the cell there is the chapel with walls decorated with frescoes reproducing the episodes that happened in this place. On the left, coming out, it's possible to see the big fissure in the rock.
\r\n\r\nToday the hermitage is a house for prayer.
","Narni | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.5176022,12.515629900000022,"Narni",55022,"","","","[ ]",""], [211,"Attrattore","en_US",20671428,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-cascia","Church of San Francesco - Cascia","The first church dedicated to the Saint of Assisi in Cascia was founded in 1247, twenty years after his death.","","Chiesa di San Francesco - Cascia","The first church dedicated to the Saint of Assisi in Cascia was founded in 1247, twenty years after his death.In 1270, Beato Pace Francescano was buried there. In 1291, Pope Nicholas IV granted indulgences to the early Romanesque church of St. Francis, of which only the ragged walls, an elegant mullioned window and the portal remain. The current church was built by Antonio Elemosina of Cascia, a Franciscan, Bishop of Nebia in Corsica. Work began in 1339 and ended in 1424.
\r\n\r\nThe rose window of the facade is remarkable. It's a work of masters from Como, and has 18 trefoil arches and 18 columns from central quatrefoil, where Mary and Child appear in glory. The portal opens splayed, with four columns on each side that support the pointed arch. The interior of the church is a Latin cross, with a trussed roof in place of the cross vaults that were damaged by the earthquake of 1703. On the sides three altars: the first one on the left is dedicated to the Immaculate Conception, the second to Santa Rita, and on the third there is a canvas depicting St. Bartholomew, St. Peter and St. Paul. On the left, in the transept, there is a large exhibition altar that was a background to the central altar, painted in the late sixteenth century, the central painting of the Ascension by Pomarancio by Pomarancio, while the side paintings were attributed to Guido Reni and Perino Cesarei. On the right side of the transept there is a large painting of Christ with the Virgin and the Angels as they appeared to St. Francis in the Pornizucola (Assisi).
","Cascia | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=1454334384712",42.7169499,13.011882600000035,"Cascia",54007,"","","","[ ]",""], [214,"Attrattore","en_US",3208951,"90438","https://www.umbriatourism.it/web/umbria/-/rocca-albornoziana","Rocca Albornoziana","The Rocca Albornoziana, or Albornoz Fortress, dominates Narni and the Nera River gorge from above.
","","Rocca Albornoziana","The Rocca Albornoziana, or Albornoz Fortress, dominates Narni and the Nera River gorge 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.
\r\n\r\nWe suggest you stop in to enjoy the spectacular views over the vast countryside, and to visit its museums and multimedia centre.
\r\n\r\nThe 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.
\r\n\r\nConstruction 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.
\r\n\r\nBetween 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.
\r\n\r\nThe 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.
\r\n\r\nIn 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.
\r\n\r\nCardinal 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.
\r\n\r\nYou can walk up Via del Monte to the complex, or drive up over the Flaminia towards Rome and then turn left.
\r\n\r\nThe 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.
\r\n\r\nOn 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.
\r\n\r\nYou 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.
\r\n\r\n(For further information: 0744.717117 - narni@sistemamuseo.it)
","Narni | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.5132908,12.520449299999996,"Narni",55022,"","","","[ ]",""], [216,"Attrattore","en_US",20751184,"90422","https://www.umbriatourism.it/web/umbria/-/parco-delle-sculture-a-brufa","Park of sculptures in Brufa","The project âSculptors in Brufa. The Street of Wine and Artâ was started in 1987 to create an original and modern artistic experience: the establishment of a real open-air museum.
","","Park of sculptures in Brufa","The project âSculptors in Brufa. The Street of Wine and Artâ 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.
\r\n\r\nThe 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.
\r\n\r\nThe 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.
\r\n\r\n\r\n\r\n
Displayed Artworks
1987 Massimo Pierucci - Brufa
\r\n\r\n1988 Marcello Sforna - LâEquilibrista (The Tightrope Walker)
\r\n\r\n1989 Mario Pizzoni - La Serena di Tuoro (The Serene of Tuoro)
\r\n\r\n1990 Agapito Miniucchi - Thaun
\r\n\r\n1991 Giuliano Giuman - Ianuae
\r\n\r\n1992 Aurelio De Felice- La montanara (The highlander)
\r\n\r\n1993 Bruno Liberatore - Torri (Towers)
\r\n\r\n1994 Nino Caruso - La porta di Dioniso (Dionisoâs Door)
\r\n\r\n1995 Loreno Sguanci - Il grande segno (The big sign)
\r\n\r\n1996 Umberto Mastroianni - Primavera per Brufa (Spring for Brufa)
\r\n\r\n1997 Mirta Carroli - Il tempio delle voci (The temple of voices)
\r\n\r\n1998 Carlo Lorenzetti - Arc-en-ciel (Arch in the sky)
\r\n\r\n1999 Joaquin Roca Rey - Sursum corda
\r\n\r\n2000 Nicola Carrino - Progetto Brufa Costruttivo modulo L (Brufa Building project - Module L)
\r\n\r\n2001 Giuliano Giuliani - Tronco (Trunk)
\r\n\r\n2002 Gino Marotta - Grande Alone (Big aura)
\r\n\r\n2003 Eliseo Mattiacc i- Porta di Castelgrifone (Door of Castelgrifone)
\r\n\r\n2004 Mauro Staccioli - Brufa 04
\r\n\r\n2005 Valeriano Trubbiani - Volo frenato (Hampered Flight)
\r\n\r\n2006 Pietro Cascella - Fontanina (Small fountain)
\r\n\r\n2007 Teodosio Magnoni - Ara (Altar)
\r\n\r\n2008 Federico Brook - Le nuvole di Brufa (Clouds of Brufa)
\r\n\r\n2009 Umberto Corsucci - Vitalità (Vitality)
\r\n\r\n2010 Ettore Consolazione - Contro tutti i terrorismi (Against all forms of terrorism)
\r\n\r\n2011 Beverly Pepper - Broken Circle
\r\n\r\n2012 Federica Marangoni - Un volo impossibile (An impossible flight)
\r\n\r\n2013 Marco Mariucci - Lâuomo di Brufa (The man of Brufa)
\r\n\r\n2014 Tito Amodei - Vibrazioni (Vibrations)
\r\n\r\n2015 Paolo Pasticci - Macina umana (Human millstone)
\r\n\r\n\r\n\r\n
\r\n\r\n
Source: http://www.scultoriabrufa.it/
","Torgiano | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.0588811,12.473302099999955,"Torgiano",54053,"","","","[ ]",""], [219,"Attrattore","en_US",8281322,"90470","https://www.umbriatourism.it/web/umbria/-/unesco-la-basilica-di-santa-maria-degli-angeli-e-palazzo-del-capitano","The Basilica of Santa Maria degli Angeli and Palazzo del Capitano","The Basilica of Santa Maria degli Angeli was built between 1569 and 1679 incorporating the group of structures that had been built around the Porziuncola (a small chapel that was particularly dear to St. Francis)","","","The Basilica of Santa Maria degli Angeli
The Basilica of Santa Maria degli Angeli was built between 1569 and 1679 incorporating the group of structures that had been built around the Porziuncola (a small chapel that was particularly dear to St. Francis): the name indicated the ancient chapel of Santa Maria degli Angeli which, as Bonaventura da Bagnoregio recalled, Francis chose as his home because, \"celestial spirits often visited the site\".
\r\n\r\nThe real early centre of Franciscanism, the Porziuncola became one of the most important pilgrim sites, so much so that Pope Pius V, at the end of the Council of Trento, decided to have this grandiose Basilica built with the aim of giving new life to the Order of the Friars Minor and an adequate reception to the many faithful who were already visiting the Porziuncola.
\r\n\r\nThe church has three aisles, with a non-protruding transept, crossed-dome plan and a semi-circular apse, were designed by Galeazzo Alessi; it was completed 1679 with the construction of the bell-tower on the right, which should have matched the one on the left, that ends just above the church's roof.
\r\n\r\nThe 1832 earthquakes caused the collapse of the central nave as far as the cross vault, sections of the side ones and the upper part of the façade, whilst the dome and apse were saved.
\r\n\r\nThe focus of the Basilica, that is, the Chapel of the Porziuncola appears as a small church, directly under the dome. At the beginning of the 13th century the church had been abandoned among the oaks belonging to the Benedictine monks of Subasio. In around 1205, Francis established his home there, restored the church and founded the Franciscan Order. The first huts for the monks made of clay and reeds were built around the Porziuncola. This was the place where Saint Francis lived most often, where he gave Saint Clare her religious habit (1212) and where he held the Chapter of Mats (1221), which was attended by more than 5000 friars. Tradition states that here Saint Francis obtained plenary indulgence from the Virgin Mary.
\r\n\r\nThe Porziuncola is a very simple rectangular construction, made of polychrome stone from Subasio. The upper part of the façade is covered by a fresco (The Pardon of Assisi), by Friedrich Overbeck from Lübeck (1829). On the right-hand side are the remains of two fifteenth-century frescoes with a Sienese influence: Madonna and Child between Saint Francis and Saint Bernardine. At the rear, is a fresco by Perugino, Calvary (the upper-part of which has been lost). The interior (the door-knockers are from the fifteenth century) has a cross-ribbed vault, a little blackened by the smoke from the lamps; at the altar, the Annunciation and stories of Forgiveness, a large panel by Ilario da Viterbo (1393), who also made the frescoed strip on the vault with the Evangelists; on the left-hand wall is a fresco of the Imago Pietatis.
Palazzo del Popolo
The Palazzo del Capitano is found in Assisi's main square, Piazza del Comune. It stands to the left of the Temple of Minerva, and was built in the mid-thirteenth century and completed in 1282. It was restored and given Guelph battlements in 1927, together with the nearby Torre del Popolo (Municipal Tower), which was completed in 1305. At the base of the tower are are profiles of official measurements were used for measuring bricks and tiles in use in 1348. The tower has a square layout and is 47 metres high.
\r\n\r\nIn 1282, Capitano Guido de' Rossi from Florence ordered his own coat-of-arms be bricked in between two shields with the cross, the symbol of the comune.
\r\n\r\nThe rooms on the ground floor contain walls painted by Adalberto Migliorati, depicting medieval trades.
\r\n\r\nThe first floor of the building is home to the headquarters and library of the Società Internazionale di Studi Francescani (International Society of Franciscan Studies).
","Assisi","","",43.0563268,12.580265800000006,"Assisi",54001,"","","","[ ]",""], [220,"Attrattore","en_US",95582,"","https://www.umbriatourism.it/web/umbria/-/citta-di-castello-tra-arte-eventi-storia-e-artigianato","Città di Castello - art, events, history and handicrafts","| \r\n\t\t\t Città di Castello is also the birthplace of the important contemporary artist Alberto Burri (1915-1995), who left most of his artwork here, now displayed in the palazzo Albizzini and former Tobacco Drying Barns museums. Palazzo Albizzini has around 130 paintings, sculptures, graphic design pieces and set design drafts arranged in chronological order, displayed in twenty rooms. The former Tobacco Drying Barns house large format pieces made between 1974 and 1993 - with 128 works in all, arranged according to cycles. Savour local products such as the fine truffles in the trattorias and numerous restaurants of the area, as well as in the town fairs and markets. \r\n\t\t\t | \r\n\t\t
Of fortified matrix, with a characteristic almond shape, it was founded around the year 1000 and restored in the fifteenth century and again in the sixteenth century. The sixteenth-century design is the work of Antonio da Sangallo the Younger (Florence 1484 - Terni 1564).
\r\n\r\nThe complex, now privately owned, shows a structure still largely intact with powerful and compact walls and large cylindrical tower.
\r\nThe castle was a feud of the Filippeschi family from its foundation until 1313; it then passed to the Monaldeschi family and in 1488 to Cesario Bandini of Città della Pieve, whose heirs were forced to leave in 1494 due to power struggles with the city of Orvieto.
Later it became a stronghold of great importance for the Papal State.
\r\n\r\nIn the 17th century the town became a municipality with its own Statutes and in 1817 it belonged to the Antinori marquises. Due to the destruction of the municipal archives, kept in the town's Town Hall, most of the historical records of the castle have been lost.
","Fabro | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.8725104,12.016545400000041,"Fabro",55011,"","","","[ ]",""], [223,"Attrattore","en_US",3580456,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-domeni-2","Church of San Domenico","The church, built at the behest of the Dominican fathers, has a large one-nave structure with choir cross. It was consecrated only in 1426.","","Church of San Domenico","The church, built at the behest of the Dominican fathers, has a large one-nave structure, roof, with chorus cross. It was consecrated only in 1426.The façade is unfinished. On the left side is the raised and square bell tower. Despite subsequent work, the portal remains an example of the technique of the local artisans of the fourteenth century
\r\nThe apse shows simple and severe architectural lines, with three chapels in the crossing, under a Gothic-arched vault. On the walls are frescoes of the Siena, Marche and Umbria Schools including a Crucifixion, an Annunciation and Saints and San Antonio Abate.
Two works formerly hung over the Renaisance side altars; Raphael's Crucifixion, painted around 1503 for the Gavari family, is now in the National Gallery in London, and the Martyrdom of St. Sebastian by Luca Signorelli, painted in 1498 for the Brozzi family, is now in the Municipal Art Gallery in Città di Castello. The main altar holds the body of the Dominican tertiary Blessed Margaret (1287-1320), called the Blind Woman of Metola for the city where she was born. In the apse is the wooden choir, made up of 26 stalls with beautiful inlays, precious work by Manno of Cori. The portal, restored in 1939, is the work of the master stonemason Pietro Pazzaglia. Above the portal is a fresco by painter Aldo Riguccini of Città di Castello.
","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi36.png/c9583b6e-59bd-4b7b-98e6-5cf9b73f52b1?t=1423749276954",43.45555,12.239469999999983,"Città di Castello",54013,"","","","[ ]",""], [224,"Attrattore","en_US",24276527,"90454","https://www.umbriatourism.it/web/umbria/-/palazzo-margherini-graziani","Palazzo Margherini Graziani","Context: ruralIt is possible to reconstruct its history since 969, when Pope John XIII ordered Abbot Peter to restructure the monastery and restore monastic life under the rule of St. Benedict. In the 11th-12th centuries the monastery reached the peak of its power, which was based on vast land holdings and on the authority of the lordly type exercised over large territories: it reached Lake Trasimeno to the west, the city of Perugia to the south, extended to the east towards the diocese of Gubbio and to the north up to the present Umbertide.
\r\n\r\nIn the late fifteenth century, the abbey underwent a new restoration, as evidenced by the frescoes by Fiorenzo di Lorenzo and Bartolomeno Caporali.
\r\n\r\nThe monastery was then closed between 1859 and 1860 and the huge archive was housed in the Biblioteca Augusta in Perugia, while the works of art were placed in the National Gallery of Umbria.
\r\n\r\nWith the unification of Italy, the complex became the property of the State, and then passed to several private individuals until 1956, when the Gaslini Foundation of Genoa bought the entire estate (1824 hectares). It still owns the property today.
\r\n\r\nWHAT TO SEE
\r\n\r\nThe cloister consists of two levels. The first, as written in one of the capitals, was finished under the abbot Oratore (1205-1222), while the second was added in the last decades of the thirteenth century. However, the existence of a cloister was already documented since 1195, and because parts of recovered columns dating back to the 9th â 10th century were used for the construction of the current cloister, it is conceivable that an older cloister might have been present previously.
\r\n\r\nThe crypt is the oldest part of the present abbey structure and probably dates back to the first half of the 11th century. In a niche of the crypt there are some fragments of a fresco dating from the early fourteenth century that probably depicted a Virgin and Child.
\r\n\r\nThe chapter hall was where the monks gathered to settle important questions concerning abbatial life. The room still preserves important frescoes attributed to the painter called the Master of Montelabate, protagonist of Perugia painting of the late thirteenth century. The frescoes show St. Benedict, a Virgin and Child, the patron kneeling, the Crucifixion with the Virgin and St. John.
\r\n\r\nBetween the second half of the 13th century and the beginning of the 14th century, the present church was built, larger and in a higher position than the previous one. With a single nave, divided into three bays and with a polygonal apse, it follows the model of the Upper Basilica of Assisi. The portal and the rose window on the façade are attributed to the workshop of the âMaster Embroiderer\", so called because of his strong propensity for decorative richness, and who worked on the portal of the lower basilica of Assisi. Fom the 14th century, the church housed important paintings by Meo da Siena and his followers, now preserved in the National Gallery of Umbria. The two side altars, one painted in 1488 by Bartolomeo Caporali, the other attributed to Fiorenzo di Lorenzo in 1492, show a Virgin with Child and Saints and a Crucifixion. The saints depicted, including St. Sebastian and St. Roch, were those usually invoked against the plague.
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [226,"Attrattore","en_US",2772862,"","https://www.umbriatourism.it/web/umbria/-/eremo-di-san-francesco","The Hermitage of Saint Francis","The sanctuary of Saint Francis, or the Franciscan Hermitage, is located on Monteluco at an altitude of 800 m not far from the ancient sacred wood and some natural caves that were already inhabited by hermits in the early Christian era. ","","Eremo di San Francesco","The sanctuary of Saint Francis, or the Franciscan Hermitage, is located on Monteluco at an altitude of 800 m not far from the ancient sacred wood and some natural caves that were already inhabited by hermits in the early Christian era.In the 5th century a community of hermits fleeing Syria settled here. Although sources are unclear, there could be some truth to the legend according to which in 1218 Francis received the small chapel of St Catherine, the oldest part of the present-day hermitage, from the Benedictine monks.
\r\n\r\nThe old oratory of Saint Francis is inside the convent and the rock that holds up the stone altar seems to have been used by the âpoor man of Assisi' as a headrest.
\r\n\r\nThe well of Saint Francis, located in the courtyard, is the centre of the hermitage. Tradition has it that, to fill it with water, the saint told his followers to dig at the highest point and, much to the surprise of his doubting companions â who thought it a wrong spot â water began to rise in the well.
\r\n\r\nInside the cloistered enclosure is the chapel of St. Catherine of Alexandria. The chapel is sometimes called the Porziuncola di Monteluco; it is an ancient hermitage, dedicated for centuries to the eastern saint who evokes the Syrian hermit movement of the sixth century and marks the beginning of the Franciscan hermitage.
\r\n\r\nTo the left in the small courtyard is the chapel of Saint Bernardino, built ten years after the saint's death, and transformed various times over the centuries.
\r\n\r\nIn the 1950s, what was once a room where firewood was stored became the Oratory of Saint Anthony of Padua to give the parish faithful more space during pastoral functions. In 1994 it was entirely renovated.
\r\n\r\nThe tiny Church of Saints Francis of Assisi and Catherine of Alexandria is home to several important works of art: the chapel to the right is dedicated to the Blessed Leopoldo da Gaiche, depicted in the altar painting done by Giuseppe Moscatelli and his body lies in the transparent coffin under the altar.
\r\n\r\nThe main altar boasts a Madonna and Child with Saints Catherine, Francis, Anthony of Padua, and Joseph painted by Lazzaro Baldi. High up, to the side, are a Madonna delle Grazie, a 12th century work by Carlo Dolci, and a Decapitation of Saint Catherine, a copy done by Ercole Gennari dal Guercino. The altar and the precious engraved wooden tabernacle are works of friar Bernardino di Collelungo and date to the late 17th century, the same period as the walnut cabinets to the side of the altar built at the behest of wealthy Spoletino Francesco Martorelli. They contain a collection of Murano glass and relics donated by the Barberini and Cibo families. There is a small walnut choir in the apse.
\r\n\r\nOne can still see the old cells of the monks at the sanctuary. The seven little cells are what remain of the old dormitory and are those, they say, built by Saint Francis and his companions. The poor materials they used and their small size bear powerful witness to a more heartfelt, yet stricter, meaning of Franciscan poverty.
","Spoleto | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=1423749274409",42.72278790000001,12.754034300000058,"Spoleto",54051,"","","","[ ]",""], [227,"Attrattore","en_US",23447235,"90542","https://www.umbriatourism.it/web/umbria/-/l-acqua-termale-di-parrano","The Parrano thermal water","Parrano, immersed in the Umbrian hills, is an appreciated tourist destination because it has several water sources used in the hydroponic cures.
","Parrano, Terme, Tane del Diavolo, Umbria, benessere","The Parrano thermal water","\r\n\r\n
Located in the western Umbria, Parrano is a small village with a wonderful panoramic view overlooking the Chiani valley until Città della Pieve.
Immersed in the Umbrian hills, it is an appreciated tourist destination because it has several water sources used in the hydroponic cures.
\r\n\r\nAt the foot of the village there is the Thermal park âBagno del Diavoloâ (Devilâs Bath) that, surrounded by greenery, is the ideal place to have a rest characterized by relaxation and well-being.
\r\n\r\nIndeed the Torrente Bagno (Bath Stream) has been always known for the presence of thermal water sources (as confirmed by the same toponym of the area âBagnoâ - Bath), whose therapeutic qualities have been known since ancient times, for example in the reduction of digestive disturbs or in the treatment of hepatic diseases, as explained also by Andrea Bacci in his âDe Thermisâ (âAbout spasâ - 1571), where he defines them âArgenteae Aquae Sub Parrano Castro\" (âSilvery waters under the Parrano Castroâ).
\r\n\r\nThe Parrano thermal water is a bicarbonate, alkaline, earthy and hypothermal water rich in carbon.
\r\n\r\nAt the present state the temperature of 30 degrees, together with the significant productivity of the aquifer, make this carbonate complex one of the most interesting ones in Umbria.
\r\n\r\nCurrently it is just used in the cold season in open-air environments, but it is sometimes used in closed facilities or facilities that can be closed seasonally and for the usual thermal activities (such as mud-therapy, baths, hydro massages or hydroponic cures).
\r\n\r\nFurthermore the area is characterized by the inspiring gorge called âTane del Diavoloâ (Devilâs Nests), an organized complex of caves of Karst origin.
\r\n\r\nParrano, hidden in the greenery of Umbria in a naturalistic context of rare beauty, thanks to its intact and pure water, can only be described as a real âWell-being Villageâ.
For further information:
\r\n\r\n ","Monteleone d'Orvieto | Orvieto | Montegabbione | Parrano | Lakes, rivers and waterfalls","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.863716,12.106103200000007,"Parrano",55025,"","","","[ ]",""], [230,"Attrattore","en_US",42662988,"","https://www.umbriatourism.it/web/umbria/-/proposta-la-rocca-di-alviano","La Rocca di Alviano","Rivivete lâappassionante storia dellâantico castello che domina su unâaltura alla sinistra del Tevere, tra Orvieto e Amelia. ","Castello, rocca, Alviano, Tevere, Orvieto, Amelia, borgo, Umbria, capitano di ventura, Offredo, Chiaravalle, Bartolomeo, cose da fare, cose da vedere","La Rocca di Alviano","Rivivete lâappassionante storia dellâantico castello che domina su unâaltura alla sinistra del Tevere, tra Orvieto e Amelia.Il maniero, perfettamente restaurato, vi accoglie allâingresso del borgo a cui ha dato origine e da qualsiasi punto lo ammirate, appare possente come un macigno e imbattibile come un capitano di ventura. Il suo principale artefice fu Bartolomeo dâAlviano, grande guerriero, ma anche brillante architetto e uomo di cultura, conosciuto a quei tempi in tutta Europa.
\r\nSe volete conoscere la sua vita, visitate la fortezza e il centro di documentazione a lui dedicato. Ne scoprirete delle belle.
Sulle orme di conflitti, arte e capitani di ventura
\r\nIl borgo di Alviano, situato dentro una cerchia di colli erosi da calanchi, vive del suo castello, una pietra dellâuno ha creato nel tempo una pietra dellâaltro. La prima, fra tutte, la pose il capostipite della casata: il conte Offredo, amico dellâimperatore del Sacro romano impero, Ottone III. Correva lâanno 996. Quel primo fortilizio segnò lâinizio della ânostraâ storia.
\r\nPrima di entrare nel castello, fate attenzione allo stemma posto al suo ingresso, raffigurante il leone della gogna e la testa di medusa: è il simbolo della potente famiglia che tenne la fortezza fino al 1308, anno in cui fu cacciata dai ghibellini amerini.
\r\nMa gli Alviano, proprio come leoni, rientrarono in possesso della proprietà grazie a un altro combattente della loro genia, Francesco, il quale ne fece la propria residenza, che però non ebbe lunga vita: i Chiaravalle, potente famiglia ghibellina di Todi, ne decretarono la sua distruzione.
\r\nIl poderoso maniero che vedete oggi si deve al figlio di Francesco dâAlviano, Bartolomeo, il ânostroâ capitano di ventura, esperto architetto militare.
\r\nIl grandioso castello a pianta quadrata con torri angolari venne da lui edificato nel 1495 come una sontuosa ed elegante residenza baronale, equipaggiata nei punti strategici di corpi di difesa, secondo le regole dellâarchitettura militare ideata da Leon Battista Alberti.
\r\nRimarrete piacevolmente sorpresi dal bel cortile rinascimentale della fortezza, che si presenta con doppio loggiato e su cui affacciano ambienti di pregio con alcune sale decorate da Giovanni Antonio deâ Sacchis detto il Pordenone (dalla città dove il pittore nacque verosimilmente nel 1483-84).
\r\nNon perdete la visita alla cappella di San Francesco con una serie di affreschi del Seicento, tra cui il Miracolo di San Francesco e le rondini, avvenuto nel 1212 proprio ad Alviano. Secondo i Fioretti, infatti, il Santo fece tacere il garrire delle rondini, che disturbava la predica.
\r\nTra le figure dipinte, spunta anche il volto di una donna, la committente di quegli affreschi. à Olimpia Pamphili Maidalchini, cognata di papa Innocenzo X, che nel 1654 acquistò allâasta il castello. Era infatti accaduto che - dopo un passaggio secolare in cui nel 1500 il figlio di Bartolomeo, Bernardino, esperto fonditore, trasformò la fortezza in una fonderia di cannoni tra le più importanti dellâUmbria â la famiglia degli Alviano si estinse per mancanza di eredi maschi perdendo il feudo.
\r\nIn seguito, per discendenza, la fortezza fu ereditata nel 1816 dal principe don Andrea II Doria Pamphilj Landi. Oggi è di proprietà del Comune.
\r\nSono pagine e pagine di storia che trasudano dalle mura del maniero, ancora oggi fulcro pulsante della comunità . Ve ne accorgerete esplorando le sue sale.
\r\nIl piano nobile della struttura ospita il municipio dove, nella sala consiliare, troneggia il quadro con il volto di Bartolomeo, opera contemporanea che riproduce le reali fattezze del nostro capitano di ventura, tratte da una moneta del Cinquecento coniata dalla Repubblica di Venezia di cui il condottiero era al soldo.
\r\nNel piano seminterrato potete visitare due esposizioni: il Museo della Civiltà Contadina, la terra e lo strumento, che racconta attraverso oltre mille oggetti appartenuti a famiglie locali tra la fine del XIX secolo e il dopoguerra, la produzione del vino e dellâolio, la lavorazione della canapa e del frumento, lâattività della pesca, la cura degli animali da cortile e lâallevamento dei bovini e suini; il Centro di Documentazione Bartolomeo d'Alviano e Capitani di Ventura Umbri dove grazie a strumenti multimediali potrete ripercorrere le imprese del grande condottiero tra cui tre importanti battaglie tra la fine del â400 e l'inizio del â500: Marignano, Agnadello e Garigliano.
\r\nDi notevole rilievo, lâequipaggiamento tipico del Capitano di ventura, con la ricostruzione di armi e armature dellâepoca.
Per informazioni:
\r\nwww.castellodialviano.com
\r\nSocietà cooperativa Lympha, tel. + 39 333 7576283
The Church of the Holy Saviour is located in Usigni, in the municipality of Poggiodomo. It was commissioned in 1631 by Cardinal Fausto Poli, who was born in the small Umbrian village and became the private secretary of Pope Urban VIII. The architecture of the complex echoes the style of late 16th-century Roman churches and some think its design is attributable to Bernini.
","","Church of the Holy Saviour, Usigni","The Church of the Holy Saviour is located in Usigni, in the municipality of Poggiodomo. It was commissioned in 1631 by Cardinal Fausto Poli, who was born in the small Umbrian village and became the private secretary of Pope Urban VIII. The architecture of the complex echoes the style of late 16th-century Roman churches and some think its design is attributable to Bernini.
The facade is vertically divided by four smooth stone pilasters and horizontally by three rows of frames of which the last ones connect to the sides by spirals. The lower tier has a rectangular door topped with a small arched pediment. The middle tier features a faux rectangular window of polished stone. The top has a triangular gable of polished stone with the coat of arms of Pope Urbano in stone at the centre. The interior is a single nave with side chapels, in keeping with Roman tradition. The floor is also made of polished stone, as is the pulpit. All five altarpieces of the chapels were commissioned by Fausto Poli from Salvi Castellucci di Arezzo, a pupil of Pietro da Cortona, and his collaborators.
\r\n\r\nIn the first chapel just to the left as you enter is a painting of Saint Rita of Cascia by an unknown artist. On the first altar you can see a fresco depicting the encounter between Saints Peter and Paul. On the second altar is a Madonna with Rosary and Saints Domenico and Caterina da Siena painted by Salvi Castellucci. The same artist also painted the Holy Trinity and Saints Artemio, Candida and Anthony of Padua on the altar to the right. Historians believe that it is here that relics of the martyrs Artemio, Candida and her daughter Paolina are kept, after they had been removed from the cemetery of Saint Callisto in Rome and given to Poli by Pope Urban VIII for the new Church.
\r\n\r\nOn the main altar, adorned with a Transfiguration by Giovanni Maria Colombi and his co-workers, are candlesticks donated by Fausto Poli. His noble heraldic shield is engraved on the pedestal. On the last altar is a Bernini-school wooden crucifix with Saint Sebastian and Saint Anthony the Great on either side.
\r\n\r\nThe Madonna with Saint Francis done by Salvi Castellucci hangs in the chapel to the right as you enter and is well worth noting, while a painting done by the same artist depicting Saint Francis receiving the stigmata has been lost.
\r\n\r\nThe holy water fonts set on pillars are made of stone and have the shape of an acorn, the symbol of Cardinal Poli. Various altar paraments and liturgical vestments donated to his birthplace by the Cardinal are kept in the sacristy, including a silver chalice, two monstrances, reliquaries and other precious silver objects.
","Poggiodomo | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=1454334467742",42.7113092,12.935060000000021,"Poggiodomo",54042,"","","","[ ]",""], [232,"Attrattore","en_US",5395314,"90422","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-croce","Collegiata church of Santa Croce","In 1295 the Collegiata church of Santa Croce, situated in Piazza Mazzini, was built, together with a convent, by the order of Friars Minor. The convent was home for some time the Beato Corrado of Offida, a famous Franciscan preacher who died at Bastia in 1306, while he was announcing Advent. Following the Papal intention to close the small convents, the Friars Minor left the Church in 1653.
","","Collegiata church of Santa Croce","In 1295 the Collegiata church of Santa Croce, situated in Piazza Mazzini, was built, together with a convent, by the order of Friars Minor. The convent was home for some time the Beato Corrado of Offida, a famous Franciscan preacher who died at Bastia in 1306, while he was announcing Advent. Following the Papal intention to close the small convents, the Friars Minor left the Church in 1653.In 1788 the Collegiata Church of Santa Croce assumed the title of collegiate and parish church: in 1962 the seat of the parish was transferred to the church of San Michele Arcangelo.
\r\n\r\nThe building has a facade covered in two colors of stone characteristic of Mount Subasio, with a gabled roof, central rose window and central portal with painted lunette by Domenico Bruschi (St. Helena between San Sebastiano and St. Michael, 1886). The church has a single nave, holding many works including the Altarpiece of Sant'Angelo (1499), by Nicholas Alunno; Madonna and Child with Angels (early sixteenth century) in the Umbria and Tuscany style; Madonna and Child with St. Luke the Evangelist (1510) by Tiberio of Assisi; Miracles of St. Anthony Abbot (17th century) by Cesare Sermei.
\r\n\r\nDomenico Bruschi was responsable for the decoration of the nave, the side chapels, the chancel and apse, executed in 1886; the stained glass windows (1903, 1923) are the work of the Moretti-Caselli family of Perugia.
\r\n\r\nBetween 1835 and 1839 the bell tower, which rises to the right of the church, was built by architect Dominic Antonelli; this tower is not very high as its original height was later reduced by a third. It was damaged by the earthquake that struck Bastia in 1854. It preserves 5 electrified bells by Sini foundry of Acquapendente (VT) in 1847.
\r\n\r\nThe mizzen bell, that is the second largest bell, was later recast by the foundry De Poli Vittorio Veneto (TV) in 1935; later even the smallest bell was recast in 2004, by the foundry of Castelnovo ne Monti (RE). They are used for the Angelus and for calling the masses of the church of San Rocco and St. Michael the Archangel parish. After the earthquake of 1997 the church had to undergo a lengthy restoration and the building officially opened for worship in 2012.
","Bastia Umbra | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",43.06773450000001,12.550305600000002,"Bastia Umbra",54002,"","","","[ ]",""], [233,"Attrattore","en_US",19682533,"90454","https://www.umbriatourism.it/web/umbria/-/museo-malacologico-malakos-di-citta-di-castello","Malakos Malacological Museum of Città di Castello","From the Pacific to the Indian Ocean, from the Red Sea to the Mediterranean: Malakos,with about 600,000 catalogued specimens, is the most extensive private collection of shells in Europe.
","","Malakos Malacological Museum of Città di Castello","From the Pacific to the Indian Ocean, from the Red Sea to the Mediterranean: Malakos,with about 600,000 catalogued specimens, is the most extensive private collection of shells in Europe.
The collection, displayed in Villa Cappelletti in Città di Castello, is a real exploratory journey through the shells of the seven seas.
\r\n\r\nThe museum is the result of years of work of the biologist Gianluigi Bini, Florentine by birth but of Città di Castello by adoption, who collected and studied about 15,000 different species, from every corner of the planet.
\r\n\r\nThe biology section introduces us to the world of molluscs with their incredible curiosities, while the Paleontology Hall helps us to understand how the Earth was formed, introducing some invertebrates of the distant past.
\r\n\r\nIn the bio-geographical halls, each showcase reconstructs the fauna and life habits of each sea, and more: it is possible to discover unusual environments such as dangerous mangroves and areas in the furthest depths of the ocean, and get to know nice land snails of decidedly extra-large size and marine predators with deadly venom.
\r\n\r\nMalakos also hosts the reconstruction of a barrier reef, made up of materials coming from seizures by the State Forestry Corps, with species most visitors have never seen before.
\r\n\r\n\r\n\r\n
Times
\r\n\r\nFrom 1st April to 31st October: 10 am - 12.30 pm/3 pm - 6.30 pm (Monday closed).
For further information:
\r\n\r\n ","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4577876,12.231904799999938,"Città di Castello",54013,"","","","[ ]",""], [235,"Attrattore","en_US",3580556,"","https://www.umbriatourism.it/web/umbria/-/palazzo-del-podesta","Palace of the Mayor - Città di Castello","This public building was built by Angelo da Orvieto some years after the Municipality building, apparently commissioned by Tarlati of Pietramala and concluded in 1368.
","","Palace of the Mayor - Città di Castello","This public building was built by Angelo da Orvieto some years after the Municipality building, apparently commissioned by Tarlati of Pietramala and concluded in 1368.In this Palace the architect adopted different stylistic solutions by using smooth and squared Serena stones, as in the Gubbio buildings. You can see worn ornaments and emblems of Mayors who ruled the city on the lunettes, above the portal of the ancient workshops. A small round window is placed above each door. The palace preserves intact just a façade looking towards Corso Cavour and a series of wonderful mullioned windows with a wide semicircular arch, on the noble floor. The façade looking onto piazza Matteotti was completely remade by Nicola Barbioni in 1687 and the loggia looking towards Piazza Fanti was built in 1620. This palace has a distinctive double clock with hours and minutes, as well as the quadrant of the compass rose located above them.
\r\n
Source: Città di Castello Tourist Information Office ","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=1423749271901",43.4573415,12.239344699999947,"Città di Castello",54013,"","","","[ ]",""], [236,"Attrattore","en_US",15873762,"90454","https://www.umbriatourism.it/web/umbria/-/pinacoteca-comunale-citta-di-castello","Municipal Picture Gallery - Città di Castello","
Vitelli Palace, housing the Municipal Picture Gallery, that has been reopened to the public in 1995, is located at the centre of Città di Castello, next to the urban walls, in via della Cannoniera.
","Vitelli Palace at the Cannoniera, Città di Castello, Umbria, Città di Castello Municipal Picture Gallery","Municipal Picture Gallery - Città di Castello","Vitelli Palace, housing the Municipal Picture Gallery, that has been reopened to the public in 1995, is located at the centre of Città di Castello, next to the urban walls, in via della Cannoniera.
The sober Renaissance architecture of the building is enriched on its side facing the garden by elegant monochrome walls by Cristoforo Gherardi, probably based on the design of Giorgio Vasari, and by a porch with an overlying lodge, hosting the collection of sculptures, including a core of terracotta by Andrea della Robbia. Gherardi himself executed part of the internal hallsâ decorations, together with Cola dellâAmatrice.
\r\n\r\nThe art gallery, divided in 26 halls, plus further exhibition spaces devoted to temporary exhibitions, includes artworks ranging from the 14th to the 20th century, the majority of which became of public property following the post-Unitarian expropriations. Artworks of mainly foreign artists demonstrate the artistic vitality of the area, in the centre of important communication channels and cultural exchanges among different areas: Raphael, Luca Signorelli, Domenico Ghirlandaio, Andrea Della Robbia, Lorenzo Ghiberti, Antonio Vivarini, Raffaellino del Colle, Pomarancio and Santi di Tito.
\r\n\r\nSpaces inaugurated in 2006 host three important donations: the plaster casts gallery of the sculptor Elmo Palazzi (1871-1915), a collection of bronzes made by Bruno Bartoccini and the collection Ruggeri that includes about 20 paintings of 20th century Italian artists. A wide malacological collection will be free in the halls of the basement area.
\r\n\r\nThe furniture exhibited in the different halls of the picture gallery didnât belong to the original furnishings of the palace, but is part of the donation that Elia Volpi, responsible of the last restoration of the building as well as its owner, did to the District of Città di Castello in 1912. There are 16th century tables typically made in Umbria or coming from convents, as well as series of 17th - 18th century chairs and high-chairs.
\r\n\r\nThe most valuable and interesting pieces are furnishings coming from churches and castles monasteries. Interesting is the group of Gothic stalls, carved and decorated with inlays attributed to the workshop of the most famous Florentine carpenter of the first 15th century, Manno di Benincasa Mannucci. The choir, the sacristyâs wardrobe, signed and dated 1501 as well as the big carved and gold sarcophagus preserving the body of the Blessed Margherita, are among the documents of the highly quality Umbrian manufacturing tradition of the last 16th century.
","Città di Castello | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.46397830000001,12.24048689999995,"Città di Castello",54013,"","","","[ ]",""], [237,"Attrattore","en_US",2735062,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-domeni-1","Chiesa di San Domenico","The church of San Domenico in Narni, located along via Mazzini, is reputed to have been built on the site of an ancient temple dedicated to Minerva. ","","","The church of San Domenico in Narni, located along via Mazzini, is reputed to have been built on the site of an ancient temple dedicated to Minerva. Built in the 12th century, the church was originally the town's ancient cathedral dedicated to Santa Maria Assunta.Although its construction began in the 1275 from the incorporation of the three bodies of preexisting buildings, the Palazzo dates back to the mid-fourteenth century.
\r\nIn the 1442 the troops of Niccolò Piccinino almost entirely dismantled it. In 1493 the palace was restored according the order of Pope Sixtus IV and the desire of the Cardinals Orsini and Savelli. They further expanded it including the pawnshop and the residence of the Apostolic Governor. Documents from the 1330s show that the Priors inhabited the upper floor while there were shops below.
\r\nThe Palazzo dei Priori houses the offices of the City of Assisi; it's possible to visit the fully decorated Conciliation Room and Council Room during events and conferences.
The architectural ensemble of San Francesco a Montone is a former franciscan settlement dating from the 14th century. It is formed of a gothic-style church, a picture gallery housed in the nearby convent, and by a cloister dating from between the 16th and 17th centuries.
","The San Francesco a Montone architectural ensemble","","The church
\r\n\r\nThe church was built in the 14th century and later became the favourite place of worship for the powerful Fortebracci family, who were the lords of the area.
\r\n\r\nThe church's style is the one typical of the âmendicant orders', characterized by a sombre simplicity and by large spaces, so as to let the faithful concentrate on the sermons and follow the rites without visual distractions.
\r\n\r\nAccordingly, the church has a single nave, with a trussed roof.
\r\n\r\nThe light comes in through the single-lancet windows on the side walls and from the three windows, including a central mullioned window, which open on the poligonally-shaped apse.
\r\n\r\nThe latter is decorated with frescoes, sadly damaged, which were commissioned by Braccio da Montone to the Ferrarese painter Antonio Alberti, who between 1422 and 1424 painted episodes of the life of St. Francis and scenes from the Book of Apocalypse. Highly noteworthy is also the wooden choir dating from the end of the 15th century.
\r\n\r\nBehind the façade and along the left-hand side wall it is possible to observe the remains of frescoes dating from the 14th and 15th centuries, including a visage of St. John the Baptist (attributed to a Berto di Giovanni, an apprentice of Perugino), a martyrdom of St. Sebastian and a scene from the supper in the home of the Pharisee.
\r\n\r\nA stone altar is laid against that same wall. It was constructed in the 15th century by will of count Carlo Fortebracci as an ex voto to celebrate the birth of his son Bernardino, and was later decorated by the Perugian artist Bartolomeo Caporali with a fresco depicting St. Anthony of Padua between the Baptist and Archangel Gabriel holding the hand of Tobias.
\r\n\r\nAgain along the left wall we find the Bancone dei Magistrati (the âMagistrates' Pews'), made of carved wood and inlaid with grotesque-like motifs by an anonymous 16th century artist.
\r\n\r\nThe then abbot of the convent, Stefano Cambi, commissioned the Bancone to host the priors who took part in the church's functions.
\r\n\r\nAlong the right-hand side wall we find another altar, probably erected thanks to the contribution of Margherita Malatesta, wife of Carlo Fortebracci. This altar used to feature a banner painted by Bartolomeo Caporali, which is held today in the town's museo comunale.
\r\n\r\nThere are then other damaged votive frescoes, including a Madonna of Mercy, a Saint Catherine of Alexandria probably to be attributed to a Perugian painter from the end of the 14th century, and an episode of the birth of the Virgin Mary, probably part of a larger decorative cycle dedicated to the theme of the life of Mary.
\r\n\r\nJust before the apse, we find two niches bearing frescoes by an anonymous Umbrian painter from the 15th century, one depicting the Virgin Mary on the Throne with Child and Angels, and the other depicting Saint Anthony of Padua, Saint Bernardino of Siena and the fresco's commissioner.
\r\n\r\nLastly, worthy of mention is also the 15th century carved wooden gate by Antonio Bencivenni da Mercatello, native of the Marche, positioned on the church's exterior portico.
\r\n\r\nAs well as offering a refined example of medieval and modern Umbrian art, today San Francesco hosts a number of contemporary art and photography exhibitions, which merge beautifully with the church's environment.
\r\n\r\nThe Pinacoteca (Picture Gallery)
\r\n\r\nSince 1995, the convent connected to the church hosts the museum of San Francesco, featuring pictures, silverware, and sacred vestments of great artistic value, coming from the church of San Francesco itself and from other churches of the surrounding area.
\r\n\r\nAmongst the works that one can admire inside the gallery, worthy of mention are Bartolomeo Caporali's gonfalone (âbanner') depicting the Madonna of Mercy, a wooden ensemble dating from the 13th century and depicting the laying of the Cross, which used to be in the church of San Gregorio Magno outside the town walls, and furthermore the Annunciation by Tommaso di Arcangelo, also known as Papacello (who belonged to the school of Luca Signorelli), which was originally made for the church of San Fedele.
\r\n\r\nThere is a finally a small ethnographic section dedicated to East African culture, titled ll Tamburo Parlante (âThe Talking Drum'), curated by the anthropologist Enrico Castello.
\r\n\r\n\r\n\r\n
\r\n\r\n
MUSEUM OF ST. FRANCIS IN MONTONE
\r\n\r\nUNIQUE TICKET FOR UMBRIA TERRE E MUSEI
\r\nFULL PRICE: ⬠7
\r\nREDUCED A for groups of at least 15 people and affiliated: ⬠5
\r\nREDUCED B for children from 6 to 14 years old: ⬠2
\r\nFREE (children up to 5 years old, disabled with accompanying person, Icom members, qualified tourist guides, accredited journalists)
\r\nFREE FOR RESIDENTS: free entrance in the museum of their own city and reduced ticket for the other museums of the circuit.
VALIDITY
\r\nGeneral ticket valid for 15 days
\r\nPersonal ticket (with the person's name on it) valid for 3 months (after registration of the visitor's personal data)
Opening hours:
\r\nOctober to March - on Saturdays and Sundays from 10.30 am to 1 pm and from 3 to 5.30 pm
\r\nApril to May - on Fridays, Saturdays and Sundays from 10.30 am to 1 pm and from 3.30 to 6 pm
\r\nJune to September - on Fridays, Saturdays and Sundays from 10.30 a.m. to 1 pm and from 4 to 6.30 pm
\r\nclosed on 25th December and 1st January.
","Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.3623228,12.32368729999996,"Montone",54033,"","","","[ ]",""], [243,"Attrattore","en_US",5429221,"93925","https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-bianca","Santuario della Madonna Bianca","It was bult with ecclesiastical authorization of the Bishop of Spoleto Francesco Eroli, dated in Bevagna 1516.","","Santuario della Madonna Bianca","It was erected with ecclesiastical authorization of the Bishop of Spoleto Francesco Eroli, dated in Bevagna 1516. The church initially was called Madonna del Soccorso, Our Lady of Mercy and then finally Madonna Bianca, to distinguish it from La Bruna (in Castel Ritaldi) and La Rossa (in Pietrarossa). The magnificent stone portal of the facade was painted in 1521 by master Cione of Master Taddeo from Como. The church had a Latin cross, surmounted by a dome. The bell tower was added in 1617. In 1797 the architect Giuseppe Valadier designed the main and lateral altars, and the stuccos that adorn the inside, overlapping Neoclassical and Renaissance elements.
The church is located in one of the most characteristic areas of the city, near the Etruscan Trasimena Gate, so named because it is in the direction of Lake Trasimeno and the town of Cortona. The church with the adjoining Renaissance oratory, work of the sculptor Agostino di Duccio, is well worth a visit, as a is the Santa Susanna neighborhood, with its important noble residences and narrow winding streets.
\r\n\r\nThe church was founded by Franciscan minors in the 13th century, in the shape of the upper basilica of St. Francis in Assisi. Since its creation the church was patronised by the most important families in the city, who built their tombs here and turned it into the real âpantheon of Perugiaâ. During the 14th century the monastery was famous for its Studium where the popes Sixtus IV and Julius II received their training. The church has a single nave ending with a polygonal apse. The oratory of the Immaculate Conception of the Holy Brotherhood was built between the left side and the transept, in the middle of the 15th century. It was covered with inlaid white and pink marble which retained a banner of the Virgin of Misericordia, made by Mariano of Anthony and Benedict Bonfigli during the plague of 1464. The banner is now in San Bernardino Oratory.
\r\n\r\nWith the internal division of Franciscan friars into Grey friars and Observants, San Francesco al Prato became the seat of the Grey friars, while the Observants had their headquarters in San Francesco in Monteripido. This church, so famous and rich of masterpieces, however, was the victim of numerous stability problems because the ground beneath it was soft. Starting in the 15th century, consolidation and restoration works were necessary until the church was fully restored and designed by Pietro Carattoli in the 18th century. But the high weight of the new buttresses, instead of helping the old Gothic structure, accelerated the collapse of the hill. Less than a century after Carattoli's rebuillding, it became necessary to demolish the dome, the vaults of the nave and transept and part of the apse walls.
\r\n\r\nIn 1926 Pietro Angelini rebuilt the facade. It was made on the model of the ancient one and we have evidence of this in the Gonfalone of San Bernardino di Benedetto Bonfigli, now in the National Gallery. Ending with a tympanum and enclosed between two buttresses, the façade has white and pink geomentrical lining and colored inlays. The church is now deconsecrated and uncovered and together with the Convent houseing the Academy of Fine Arts in Perugia, is undergoing restoration works. Once restored, it will become the Auditorium of the city.
\r\n\r\nThe church held masterpieces of extraordinary importance, among the most important: the great cross of the Master of San Francesco now in the National Gallery; the Baglioni Deposition and the Coronation of the Virgin by Raphael, today preserved preserved in the Galleria Borghese and the Vatican Pinacoteca in Rome. The Resurrection by Pietro Vannucci, known as Perugino, is also now in
\r\nthe Vatican Pinacoteca.
For a great view of the Church and the San Bernardino Oratory it is strongly recommended to take the stairs of Via del Poggio and to reach the panoramic square of the same name.
","Perugia | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [247,"Attrattore","en_US",5365457,"90470","https://www.umbriatourism.it/web/umbria/-/palazzo-del-capitano-del-popolo","The Palazzo del Capitano del Popolo - Assisi","The Palazzo del Capitano del Popolo is located in Piazza del Comune, to the left of the church of Santa Maria Sopra Minerva.","","The Palazzo del Capitano del Popolo - Assisi","The Palazzo del Capitano del Popolo is located in Piazza del Comune, to the left of the church of Santa Maria Sopra Minerva. Built between the mid-13th century and 1282, it was widely restored in 1927, when the original roof was replaced by Guelph battlements which also crown the nearby bell tower.The Basilica of S. Maria degli Angeli was built between 1569 and 1679. It incorporates the structures of the Franciscan monastery built near the Porziuncola.
","basilica di santa maria degli angeli, assisi, san francesco, spiritualità , umbria, umbria turismo, assisi turismo","Basilica of S. Maria degli Angeli","The Basilica of S. Maria degli Angeli was built between 1569 and 1679. It incorporates the structures of the Franciscan monastery built near the Porziuncola.At the conclusion of the Council of Trent, Pius V wanted the construction of the basilica for two reasons: to recognize the importance of the order of Franciscan Minorite and to welcome pilgrims who still flock there on the occasion of the Indulgence of the Pardon (July 31-August 2) established by St. Francis.
\r\nThe church was completed in 1679 with the construction of the bell tower of the right side. It has a nave and two side aisles and was designed by Galeazzo Alessi; Giacomo Martelli Giacomo Giorgetti and maybe even Vignola helped with its construction.
\r\nAfter the damage of the 1832 earthquake, the church was partially rebuilt by Luigi Poletti (1836-40) in the same manner. The façade was raised in 1925-30. In 1930 the statue of \"Our Lady of the Angels\" by the sculptor Colasanti was placed at the top of the façade, and the present layout of the square was designed by the architect Nicolosi in1950.
\r\nThe interior has a nave with side aisles and lateral chapels whose wall decorations represent the most complete collection of the Umbrian painting of the late sixteenth and early seventeenth century. The Porziuncola Chapel and the Chapel of the Transit have artistic and religious links to the life of St. Francis.
\r\nThe chapel of the Porziuncula dates back to the tenth or eleventh century. It is dedicated to St. Mary of the Angels or St. Mary of the Portiuncula. Around 1205, St. Francis established his residence, restoring it and founded the Franciscan Order there (1208). The top of the façade is decorated with a fresco by Friedrich Overbeck from Lubeck (1829) depicting The Pardon of Assisi. On the right side fragments of frescoes (with their Sienese influence) dating back to the fifteenth century are visible. Over the Altar is a large altarpiece by Ilario da Viterbo depicting Annunciation and stories of Forgiveness.
\r\nThe Chapel of the Transit is the infirmary cell where St. Francis died on October 3, 1226. Outside are frescoes by Domenico Bruschi (1886), Death and funeral of a Franciscan Saint. Frescoes in the interior are by Lo Spagna. Inside the chapel is the niche containing the statue of St. Francis, in glazed terracotta by Andrea della Robbia.
\r\nFrom the sacristy, a hallway leads to the Rose garden linked to a legend about the life of St. Francis, the small garden planted exclusively with roses without thorns. Rose Garden is adjacent to the chapel of the Rose Garden (1518) with three rooms frescoed by Tiberio d'Assisi, who also designed the wall frescoes of the Oratory of St. Bonaventure (1506). Along the exit route the fifteenth-century cloister is visible on the left, as well as what remains of the convent at the time of St. Bernardino of Siena (15th c.).
The church and convent of St. Damiano are not far from the historical centre of Assisi.
The church, which was constructed between the 8th and 9th centuries to honour the physician-saint Damiano, was an important Benedictine Priory in 1030, after which it was very gradually abandoned.
\r\n\r\nIt was here that St. Francis first heard Christ speak to him from the Cross. The Cross, which is now housed in the Basilica of St. Clare, told Francis to \"go and repair my house which, as you can see, is in ruins\" (alluding to the crisis of the Catholic Church itself). Francis's vocation was strengthened and reconfirmed by this episode.
\r\nFrancis himself was the first to renovate this church, and it was here that, in 1212, he received Clare and her companions and wrote the Canticle of the Creatures.
\r\nThe Poor Clares built a small dormitory here and remained in residence until 1260, not long after Clare passed away.
The simple façade of the church is preceded by a wide portico. On the upper wall is the door from which Clare chased away the Saracens by showing them the monstrance.
\r\n\r\nBelow the portico, to the right, is the Chapel of St. James graced with frescoes by Tiberio d'Assisi (1517) depicting the Madonna with Child with St. Francis, St. Clare, St. James and St. Bernard. On the back wall are St. Sebastian and St. Rocco (1522).
\r\n\r\nThere is only one nave and as you enter, to the right, you can see the window from which Francis threw the money he had refused for the restoration of the church. The episode was painted by an unknown 14th century painter.
\r\nA bit further on is the 16th century chapel that houses the wooden cross, inlaid by Innocenzo da Palermo in 1637. On one side you can see two painted glass panels depicting the Canticle of the Creatures.
\r\nThe relics altar is home to the ivory box in which Clare kept the Holy Sacrament.
\r\nThe conch of the church's apse is embellished with frescoes done by an unknown 14th century Umbrian painter and features St. Damiano, St. Rufino and a Madonna with Child. Below it is a wooden choir dating to 1504.
\r\nAbove the main altar is the Crucifix that spoke to Francis.
The Sacristy is located next to the church and inside is the small room in which Francis hid when his father chased him.
\r\nA stairway leads to an oratory with a small apse where Clare stayed when she was unwell. The frescoes that adorn it date to the 14th century.
A few steps further up and you'll reach the dormitory where a cross marks the place where she died on 11 August 1253.
\r\n\r\nOne of the scenes painted by Giotto on the wall of the Upper Basilica of St. Francis depicts the moment the Christ spoke to Francis from the cross inside the Church of St. Damiano when it was still in ruins.
\r\n\r\nJust about a kilometre on foot from the historical centre of Assisi, over the Nuova bridge, you walk along Viale Vittorio Emanuele for a bit and then turn left at Santuraggio. A short while later you'll reach the square that leads to the convent of St. Damiano.
\r\nFrom the historical centre and the train station you can take a taxi or a public bus.
\r\nOnly a few vehicles can park on the small square in front of the church.
\r\nThe convent has visiting hours. For more information, please contact the IAT office in Assisi.
The Sanctuary of Spoliation is located in the church of St. Mary Major, next to the bishopric, the ancient Assisi Cathedral where St. Francis was baptised.
","","Sanctuary of Spoliation","The Sanctuary of Spoliation is located in the church of St. Mary Major, next to the bishopric, the ancient Assisi Cathedral where St. Francis was baptised.
The Sanctuary was built on the site where the Poor Man of Assisi took off his rich clothes in front of his father Pietro di Bernardone in order to wear the habit of the poor (even if itâs not clear whether this happened in front of the church or inside the bishopric, where the hall of Spoliation is precisely situated, or even in the palaceâs cloister).
","Assisi | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",43.0707017,12.619596600000023,"Assisi",54001,"","","","[ ]",""], [254,"Attrattore","en_US",24361730,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicola-scheggino","Chiesa di San Nicola - Scheggino","The Church of St. Nicholas. Context: urban. Dating: 13th Century. The church of San Nicola, or Nicolò, patron saint of the village, is situated in the historic center of Scheggino.","Scheggino, Valnerina, rafting nera, Via di Francesco, Bike spoleto norcia,","Chiesa di San Nicola - Scheggino","The Church of St. Nicholas. Context: urban. Dating: 13th Century. The church of San Nicola, or Nicolò, patron saint of the village, is situated in the historic center of SchegginoThe title and the cult of San Nicola of Myra was brought from the East by Syrian hermits, and the earliest oratory was Paleo-Christian. In the 12th century it was enlarged in the Romanesque style with the expansion of the castle walls to the river. In the 1210 the church was under the authority of the Benedictines of Sassovivo Abbey. The church became a parish church in 1446. It was enlarged and restored by the Lonbard guild of master masons between 1509-1521. The entrance to the church is preceded by a large portico; on the architrave is an inscription reading \"Leave behind every worry when you enter to pray\".
\r\n\r\nInside, there are three naves, with the frescoes of the apse attribuible to the circle of Giovanni Lo Spagna, the Coronation of Mary with Saints and a nativity scen are in need of restoration. The choice to paint the Coronation in Scheggino, as in Spoleto Cathedral, was intended as an homage to Spoleto and proof of the village's loyalty. In the Chapel of the Rosary, on the left of the high altarn there is a canvas signed and dated, Guidobaldo Abbatini 1664, representing the Madonna of the Rosary and Saints.
","Scheggino | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.7121431,12.829464199999961,"Scheggino",54047,"","","","[ ]",""], [255,"Attrattore","en_US",2734917,"90470","https://www.umbriatourism.it/web/umbria/-/anfiteatro-romano","The Roman Amphitheatre","Built in the first half of the 1st century, only a few walls of the cavea remain, which were used to make homes during the Middle Ages. The amphitheatre has kept its original typical elliptical shape. ","","Roman Amphitheatre","Built in the first half of the 1st century, only a few walls of the cavea remain, which were used to make homes during the Middle Ages. The amphitheatre has kept its original typical elliptical shape. ","Assisi | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384",43.0707017,12.619596600000023,"Assisi",54001,"","","","[ ]",""], [256,"Attrattore","en_US",95669,"90470","https://www.umbriatourism.it/web/umbria/-/basilica-san-francesco-ad-assisi","Basilica of Saint Francis of Assisi","The Basilica of Saint Francis of Assisi is a World Heritage site that contains the Saint's tomb and the masterpieces of Giotto and Cimabue.","Basilica of Saint Francis of Assisi, Assisi, higher basilica, lower basilica, saint Francis's tomb, Giotto frescoes","In the basilica of Saint Francis of Assisi, contemplating spirituality and arts","Recognised as a UNESCO World Heritage site, the basilica of St. Francis was built under the direction of Brother Elias, vicar general and architect of the order, starting in 1228, just two years after the saint's death, as a place designed to receive his remains.The building presents a single aisle preserving a series of important frescoes including, starting from the left, the one by Domenico Alfani representing the Madonna with the Child between St. Francis and St. Bernardino of Siena; and frescoes depicting St. Sebastiano, Sts. Peter and Paul, Martyrdom of a saint, Two stories of St. Catherine from Alexandriaâs life.
\r\nContinuing the visit of the church you will find the Chapel of the Rosary, dating back to 1846, preserving the statue of the Virgin of Rosary. A fresco of the 14th century representing the Christâs Resurrection is visible in the apse.
The churchâs windows are instead a modern artwork: the central one has been made in the 1950s and the lateral ones in the 1980s. The frescoes continue on the right along the aisle: the Madonna with the Child among the saints Peter Apostle, Paul of Tarsus, San Ludovico of Toulouse, Catherine of Alexandria and Francis of Assisi; the fresco with Christ at the house of Martha and Mary and a niche with a fresco of St. Anthony of Padua.
\r\nThe wonderful ceramic floor that characterises the church dates back to 1700 and was originally located in the Church of St. Angel. Today it is preserved in the Regional Museum of the Ceramics. The church was damaged by the earthquake of 30 October 2016 and reopened to the public on 21st May 2017.
The monument stands on the same place where once there were two older churches, one dedicated to Saint Anthony and the second to the Good Death. The Church of San Michele Arcangelo was built at the behest of Don Luis Toppetti, then parish priest in the town and designed by architect Antonio Bindelli. The consecration of the monument took place in 1962.
\r\n\r\nThe central bronze door by Umbro Travaglini, and two wooden statues representing the Virgin and the Archangel Michael are noteworthy, as is The Nativity by Flavio Pancheri. The side altarpieces depicting the Sacred Heart and Our Lady of the Rosary, both made by Edgardo Sketch, are of artistic interest. The faithful can see, in the Baptistery, Our Lady of Sorrows by Vincenzo Rosignoli and Christ Crucified.
","Bastia Umbra | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",43.0675667,12.549718799999937,"Bastia Umbra",54002,"","","","[ ]",""], [260,"Attrattore","en_US",5395742,"90590","https://www.umbriatourism.it/web/umbria/-/fonta-1","Fountain - Bevagna","The fountain was inaugurated on August 23, 1896; it was built over a medieval well that was used to provide water to the city's historic center.","Bevagna, Medioevo, vino","Fountain - Bevagna","The fountain was inaugurated on August 23, 1896; it was built over a medieval well that was used to provide water to the city's historic center. By the will of the population and with the consent of the municipal administration, the installation of a new water supply system was voted by the citizens in 1889 as well as the construction of the \"Monumental Piazza Fontana\" in place of the old well. So it was that May 6, 1894 the City Council then decided to abandon the project for the pipeline called \"del Monte\", deemed too onerous for the municipal coffers and insufficient to meet the water needs of the city. ","Bevagna | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9328708,12.608240000000023,"Bevagna",54004,"","","","[ ]",""], [261,"Attrattore","en_US",5395684,"90590","https://www.umbriatourism.it/web/umbria/-/palazzo-dei-conso-1","Palazzo dei Consoli - Bevagna","In the second half of the 13th century, Master Prode (who also built the Town Hall of Spello) probably built the Palazzo dei Consoli.","","Palazzo dei Consoli","In the second half of the 13th century, Master Prode (who also built the Town Hall of Spello) probably built the Palazzo dei Consoli. A wide staircase and a door surmounted by the crest of the Trinci and the old one of Bevagna (four pots of honey) leads directly to the first floor. It is formed by a ground-floor arcade of pointed arches, covered by ribbed vaults, and a large vault, built in 1560 to allow consuls to move directly into the San Silvestro church for church services. The mighty wall structure is lightened in the upper floors by a double row of mullioned windows, partly restored. Since 1886 the palace is the location of the Teatro Torti.The chapel contains the artistâs self-portrait, a provocation to the self-portrait by Pietro Vannucci, called Perugino, another great artist from Perugia: Bernardino figures with the face of three quarters, hollow features nearly suffering, but proud.
\r\n\r\nThe frescoes of the chapel recount episodes from the life of Mary according to a technique and a descriptive efficacy able to combine the strictness of space and the perspective of the 15th century with the taste and attention to detail, to anecdotal detail and to shades of colours which always surround the main theme: episodes of everyday life, clothes, hairstyles, decorations, floral and vegetal items. So, the Annunciation is on the left, whose edges are scenes of daily life; to the bottom, the Adoration of the shepherds suggests the Magi; Christ among the Doctors is located to the right. The Sibyls Tiburtina, Eritrea, Europea and Samia are painted on the vault.
\r\n\r\nThe Church of St. Maria Maggiore will be enhanced by installations of floating floors, lighting and audiovisual supports to create a guided visit âwithinâ the frescoes of the famous Baglioni Chapel. The result is a new perception of the genius loci and of the deep religious and spiritual meaning of artworks that have been recognized not only as the masterpieces of Pinturicchio, but also among the greatest masterpieces of the entire Italian Renaissance.
\r\n\r\nA sophisticated lighting system and the audio support will allow the visitor to observe the fresco so to perceive the artworkâs styles and symbology, many precious details until almost an idea of movement in the artificial light.
\r\n\r\nFurthermore, the viewer could be accompanied by a background music and by a recorded tale in order to take a virtual tour into the fresco, so to identify its details, its minor characters, its scenes and its small features. Audio equipment will be available for each group of visitors-viewers in a guided itinerary that will be simulaneously theatrical, tactile, visual, olfactory and epistemological.
\r\n\r\n[Source: http://turismo.comune.spello.pg.it]
","Spello | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",42.987653,12.67118979999998,"Spello",54050,"","","","[ ]",""], [266,"Attrattore","en_US",5428950,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-3","Church of San Francesco - Foligno","The church of San Francesco is situated in Piazza San Francesco in Foligno. ","","Church of San Francesco","The church of San Francesco is situated in Piazza San Francesco in Foligno.Over the centuries the church underwent many changes: in the fifteenth century the roof was restored by the will of prior Bernard Eroli, in the seventeenth century the interior and the facade were adapted to Baroque style. A new rose window was opened, demolishing the original and parts of the corbelled arches; inside both the Church and the crypt were entirely covered with stucco and vaulted with reeds and plaster; the bell tower built in the late twelfth century was changed at the top, reusing pieces of the existing bell tower. In 1666 the new church was consecrated by the Bishop of Spoleto. Further restorations date to 1741 and 1834. Between 1951 and 1957 the church was restored to its original form, demolishing baroque elements and restoring the missing parts.
\r\n\r\nToday the restorations are seen in the floor, the staircase leading to the presbytery, the wooden pitched roof, the great oculus of the facade with the reconstruction of the central arches. The current structure is a basilica layout with a raised presbytery and naves separated by columns with arches crossing characterized by rincassate rings resting on abraded capitals for baroque interventions. The facade dates back to the early thirteenth century. It is built in travertine blocks; below there are three doors, with the central one richly adorned; higher up is divided into five parts by four shaped pilaster strips; those on the right are extended to the belfry; between the pilaster strips there are three lights; row of blind arches resting on molded brackets human and animal heads runs above that. By the pilasters are four projecting busts, two animalistic ones and the third one in the shape of a crowned man's head.
\r\n\r\nThe central door of the facade uses partially reworked Roman jambs; at the impost are, on the left, the winged bust of St. Michael with spear in one hand and open book in the other one; next to him a dragon tries to bite the spear of the archangel; under is the inscription Rodolfo and Binello made these works; Christ always bless them; St. Michael keep them.
\r\nThe other side is an angel with a processional cross and title block. The crypt consists of twelve spans divided by six slender columns.
Along Corso Matteotti, in the centre of Bevagna, is the town hall, Palazzo Lepri. Built in the late 18th century, by the architect Andrea Vici, following the wishes of the Lepri family, it has a neo-classical façade and the main door is embellished by an elegant and decorative wrought iron transom.
","","Palazzo Lepri","Along Corso Matteotti, in the centre of Bevagna, is the town hall, Palazzo Lepri. Built in the late 18th century, by the architect Andrea Vici, following the wishes of the Lepri family, it has a neo-classical façade and the main door is embellished by an elegant and decorative wrought iron transom.The atrium has Doric columns with a balcony above. The whole building will be increasingly used as a museum venue.
\r\n\r\nAlong the stairway to the building is part of the archaeological collection, gathered together and catalogued in 1787 by the abbot Fabio Alberti.
\r\n\r\nIn the Sala della Giunta there are three paintings by local artist Paolo Spetta from the mid- 19th century.
\r\n\r\nThe Sala Consiliare is adorned with allegorical decorations and portraits of famous men from Bevagna, which were completed between 1867 and 1868 by the painter, Mariano Piervittori of Tolentino and restored by the painter Matteo Tassi.
\r\n\r\nOn the first floor are the library, the historical archives, as well as the Pinacoteca (picture gallery). The latter is organised into rooms and brings together archaeological finds and works of historical and cultural interest. The silver coins from the Republican age, found in a treasure trove discovered in 1931, near to a City gate during maintenance work on a sports field, are particularly noteworthy.
\r\n\r\nOver the years, the collection has been added to, and now includes funeral and honorary inscriptions, tombstones, locally made cinerary urns, sculpture fragments, architectural decorations, bronzes and ceramics.
\r\n\r\nThe paintings by Dono Doni, Ascensidonio Spacca and Andrea Camassei are equally interesting.
","Bevagna | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9336308,12.608965200000057,"Bevagna",54004,"","","","[ ]",""], [273,"Attrattore","en_US",26603862,"90454","https://www.umbriatourism.it/web/umbria/-/il-vinosanto-affumicato-dell-alta-valle-del-tevere","Smoked Vinosanto wine of the upper Tiber valley","This fortified wine, a Slow Food presidium, is produced with Trebbiano grapes, blended with Malvasia and Grechetto.
","","Smoked Vinosanto wine of the upper Tiber valley","This fortified wine, a Slow Food presidium, is produced with Trebbiano grapes, blended with Malvasia and Grechetto.
In the nineteenth century it was the exclusive task of women to select the best bunches of grapes in the vineyard or from the vines \"trained to the maple tree\" and then put them to dry, in pairs tied with string, in the large kitchen of the farmhouse where the grapes absorbed the odors and the fireplace, lit day and night, dried the grapes. This tradition was strongly linked to another typical local product, tobacco: the bunches of grapes were placed in the same rooms where tobacco leaves were dried.
\r\n\r\nIn the first days of January the grapes were pressed and the must was put to rest in wooden barrels where the \"mothers\", naturally selected yeasts, were able to ferment the must at a very high sugar content. Only after three, four and sometimes more years was it racked into bottles, demijohns or kegs made from juniper wood.
\r\n\r\nVinosanto is often amber in colour, tending towards brown, with an unmistakably sweet taste, marked acidity and great persistence. The bouquet is very intense, spicy, with hints of leather and liquorice, but the thing that makes it unique is the aroma of Kentucky tobacco. Not a wine to drink but to taste, according to tradition, accompanied by the typical sweet of the territory: the Torcolo.
\r\n\r\nThe Smoked Vinosanto of the Upper Tiber Valley is not commercially available because of its limited production, but a Slow Food a Consortium is being created to protect it, to keep it available for use by chefs and restaurants and perhaps bring it to market.
\r\n\r\nMeanwhile, take the opportunity to taste it in the cellars of the producers (consortium of Vinosanto Affumicato dell'Alta Valle del Tevere) who have joined the project and who will be happy to introduce you to this excellent and delicious product, with an unmistakable smoked aftertaste, accompanied by the torcolo or the \"crostini briachi\" that are a feature of celebrations of the people of upper Tiber valley.
","Città di Castello | Wine and oil","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4577876,12.231904799999938,"Città di Castello",54013,"","","","[ ]",""], [275,"Attrattore","en_US",9938909,"90454 | 20526633 | 15726642","https://www.umbriatourism.it/web/umbria/-/parco-di-archeologia-arborea-di-san-lorenzo-di-lerchi","Parco di Archeologia Arborea di San Lorenzo di Lerchi","The mission of the Fondazione Archeologia Arborea Onlus (Arboreal Archaeology Foundation) is to research, save and reproduce fruit tree species in danger of extinction.","Archeologia, alberi da frutto, parco, museo, tutela biodiversità , patrimonio, archivio, adozione","The park of forgotten fruit and flavours","An ancient hermitage immersed in the green countryside of the upper Tiber valley, and a very special nursery focused on the history of our countryside and kinds of trees that, not many years ago, characterized the land of Umbrian farmers: is this the Parco di Archeologia Arborea (Arboreal Archaeology Park) in the countryside between Umbria and Tuscany. Its creator and curator is Isabella Dalla Ragione, agronomist and landscape researcher, who since the death of her father Livio, has carried forward this project, first as an Association and now as the Foundation of Archaeology Arborea based in San Lorenzo di Lerchi, in the municipality of Città di Castello.
Searching through abandoned fields, in the gardens of ancient convents, orchards, forests, and listening to stories of older farmers, Isabella has managed to recover and plant about 400 varieties of fruit trees while maintaining traditions, customs and cultivation systems. And so these fruits with original and forgotten names: briaca pear, curate's pear, donkey's ass apple, lemongrass apple, convent apple, green plum, irritable fig, raisin grape and many other varieties of plants have come back to life, reproducing tastes and perfumes of the past.
\r\n\r\nThe Foundation has members from Italy, all over Europe, and beyond; by paying a small contribution it is possible to adopt one of the plants in the collection, thus being able to consume its fruit, except for three pieces: one for the sun, one for the earth and one for the plants, according to a local tradition. Among the members are notables such as the actor Gérard Depardieu, who adopted a briaca pear, with flesh is sweet and red as if it were soaked in wine; the journalist John Seabrook of The New Yorker has a roggia apple, and actor Bill Pullman, who actively collaborates with Archeologia Arborea, has adopted a Florentine apple.
\r\nThe park is open by appointment and is visited by people with a professional intersest, associations, individual citizens as well as school groups of all levels. At the end of the visit Isabella shares tastes of honey and delicious jams prepared with the fruits of the park, all accompanied by the unparalleled flavour of smoked Vinosanto, a Slow Food presidio of Umbria, produced with the best grapes from the vineyard of the Archeologia Arborea park.
For more information
Isabella Dalla Ragione
\r\n\r\n\r\n\r\ninfo@archeologiaarborea.org
\r\n\r\ntel.+39 335 6128439
","Città di Castello | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4745058,12.190394200000014,"Città di Castello",54013,"","","","[ ]",""], [276,"Attrattore","en_US",9854227,"90454","https://www.umbriatourism.it/web/umbria/-/laboratorio-e-collezione-tessile-tela-umbra","Umbrian canvas Umbrian Laboratory and Textile Canvas Collection","Handicraft manufacturing of handmade products in pure linen, on manual looms of the late 1800, according to original medieval and renaissance drawings.
","mbrian canvas, umbrian artistic handicraft, umbria, umbria tourism","Laboratory of Umbrian canvas â the Umbrian artistic handicraft","The creaking of the wooden pulleys and the rhythmic dry blows of the comb are still scanning the time of a hard and laborious job made by tenacious and hard-working women that produce rare and precious fabrics. The continuous research of rigor and formal beauty, combined with first-quality yarns, represent the distinctive sign of the Umbrian Canvas Laboratory and of its products: tablecloths, towels, carpets, tents and centerpieces, made according to the old techniques of the spolinato, the Umbrian quadruccio and the partridge eye. Such highly precious canvasses can not rise from a mass-production: each one of them is the fruit of the personal knowledge and of the experience of weavers, who ensure a unique quality homemade production of this kind in Italy, with handmade products that represent all the best it could exist today on the global market. Today the Umbrian Canvas Laboratory is still located in the Alberti Tomassini historical palace, in the city center, few steps from the principal square, and everything is still working like at the beginning of the last century, with the aim of protecting an exclusively handmade production. From the rough and slightly approximate fabrics of the first years of activity, they moved to thin and delicate canvasses produced with pure linen yarns coming from Flanders and Ireland, always through handmade procedures. Once visited the laboratory and the museum, in the show-room you will have the possibility of purchasing a souvenir to bring home or to give to your friends; even a simple doily or a perfume for linen will remind you of a touching and unforgettable visit.For further information:
Città di Castello, Via S'Antonio, 3
\r\n\r\nOpen every day from Tuesday to Saturday from 9 am to 1 pm and from 3.30 pm to 7.30 pm â Monday 9 am -12 pm. Sunday and festivities 10.30 am â 1 pm/ 3.30 pm â 6.30 pm â Monday closed
\r\n\r\nPhone number: 075 855 4337
\r\n\r\nFax number: 075 852 4042 â email address: telaumbra@aruba.it
\r\n\r\nFor tourist information : Ufficio IAT di Città di Castello, phone number: 075.8554922â
\r\n\r\ninfo@iat.citta-di-castello.pg.it
\r\n\r\n ","Città di Castello | Weaving, lace and embroidery","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4575412,12.240657800000008,"Città di Castello",54013,"","","","[ ]",""], [277,"Attrattore","en_US",9854328,"90454","https://www.umbriatourism.it/web/umbria/-/tipografia-grifani-donati","Grifani â Donati printeres in Città di Castello","Historic printing company founded in 1799 that uses antique equipment employed in the past and the traditional techniques in its production.
","Ancient typography, Chalcography, xylography, lithography, graphic museum","Ancient typography (from 1799) â Museum of the Graphic arts.","The Città di Castello Grifani-Donati printing company is situated along Corso Cavour, in the historic city center, in the premises above the former Saint Paul church dating back to 1237. The printing company, halfway between a museum and a cultural institution, is also a place where visitors can admire perfectly working antique machinery, view thematic exhibitions and cultural initiatives, and learn techniques that woud otherwise be lost.
The Grifani Donati printing company, founded in 1799, is unique among so many historic companies to be still active today. It has become in recent years a compulsory reference point for to promote the typographical heritage of Città di Castello.
\r\n\r\nThe Graphic Arts Museum satisfies the demand of protecting the immense collected cultural heritage, not by an exhibition of obsolete machinery in a museum, but by keeping active and productive the only company that still uses today the productive processes that made the city famous in the last century.
\r\n\r\nGianni Ottaviani, the present owner and descendant of the Donati family, share his enthusiasm and welcomes yout to visit \"his\" museum. He shows visitors several printing processes following ancient procedures: the traditional letterpress, lithography, xylography, etchings and engravings, combining graphic work with education. At the end Gianni will deliver to visitors the works created during the visit.
\r\n\r\nAlong Corso Cavour, few meters from where the printing company is located, you can purchase local gastronomy products. First of all truffles, available in all seasons as fresh or preserved and available in different sauces and then the \"Mazzafegato\", poor relative of the sausage, extracted from the so called \"cleaning of the work bench\", recently become a \"Slow Food\" Presidium.
\r\nCooked ofver the embers or dried, it maintains all its taste with the unmistakable perfume of spices and above all of the fennel flower. Enjoy your meal !!Grifani-Donati typography
Città di Castello (Perugia), Corso Cavour 4, 06012
\r\n\r\nOpened on Tuesday and Friday 9 am â 12.30 pm/ 3 pm â 7 pm, Saturday 9 am â 1 pm
\r\n\r\nSunday, guided visits by prior booking only
\r\n\r\nClosed Mondays
\r\n\r\nwww.tipografiagrifanidonati.it
","Città di Castello | Typography","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.45731,12.238859999999931,"Città di Castello",54013,"","","","[ ]",""], [278,"Attrattore","en_US",24390901,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-maggiore-spello","Church of Santa Maria Maggiore - Spello","Founded in the 11th-12th centuries, the church of S. Maria Maggiore was probably built on the remains of a pagan temple dedicated to Juno and Vesta, the church, later dedicated to the Nativity and then to the Madonna, in 1025 belonged to the Camaldolese abbey of S. Silvestro di Collepino.
","Spello, Umbria, Pinturicchio","Chiesa di Santa Maria Maggiore - Spello","Founded in the 11th-12th centuries, the church of S. Maria Maggiore has a facade dating back to 1644, which was built when the building was extended. Note the lintel, the jambs with a beautiful frieze and the acanthus volutes of the portal, the work of stone carvers active around Foligno and Bevagna in the twelfth and thirteenth centuries and in part attributable to workers from Spoleto.
The church has a Latin cross shape with ribbed vaulting in the nave. In the second half of the seventeenth century it was furnished with seven altars and a rich stucco decoration. On the altars, there are numerous works from the 17th century. To the right of the entrance, a marble altar by Gaio Titieno Flacco (now used as a stoup), which has been in Santa Maria Maggiore since the 15th century, next to a marble baptistery, in the shape of a pyx, by Gasparino da Val di Lugano (1509-1511).
\r\n\r\nAlong the left wall, after the second altar on the left, is the Baglioni Chapel, commissioned in 1500 by Troilo Baglioni to the artist Bernardino di Betto known as Pinturicchio (Perugia, 1452 circa - Siena, 11 December 1513). The floor is richly decorated with Deruta majolica tiles from 1566. The chapel is entirely decorated with frescoes by the artist, starting with the sections of the vault, which depict the sibyls Tiburtina, Eritrea, Europea and Samia seated on thrones; on the left wall, the Annunciation with self-portrait and signature of the artist. On the back wall, Adoration of the shepherds and arrival of the Magi, on the right wall, Christ among the doctors.
\r\n\r\nAlso along the left wall, note the Renaissance pulpit in sandstone by Simone da Campione (1545). The high altar is covered by a ciborium (or tribune) in caciolfa stone by Rocco di Tommaso da Vicenza (1515). The eight terracotta heads are by Giandomenico da Carrara: Prophets (1562). On the pillars that flank the apse are two works by Perugino, on the left Pietà , St. John the Evangelist, and Mary Magdalene, removed from an unknown seat (work dated 1521) and on the right Madonna and Child with St. Catherine of Alexandria and St. Blaise, removed from an unknown seat (work dated 1521).
","Spello | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813",42.987653,12.67118979999998,"Spello",54050,"","","","[ ]",""], [279,"Attrattore","en_US",3035292,"","https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-andrea-apostolo","church of Sant'Andrea Apostolo","Along via Cavour, just past the Church of Santa Maria Maggiore, you'll find the church dedicated to St. Andrew.
","","Chiesa di Sant'Andrea Apostolo","Along via Cavour, just past the Church of Santa Maria Maggiore, you'll find the church dedicated to St. Andrew.In 1253, the Blessed Andrea Caccioli (1194-1254) who, tradition has it, got his frock from St. Francis himself, founded one of the first communities of Friars Minor here. The façade still boasts its Romanesque doorway, while the rose window was destroyed to make way for a window in the 16th century. The layout of the church is a Latin Cross with a single nave.
\r\nInside you'll find a large painting on wood depicting the Madonna and Child with Saints (1508) by Pinturicchio and commissioned by Gentile Baglioni. The crucifix on wood behind the 14th-century main altar is by an unknown local pupil of Giotto (14th century).
Free and fantastic ornaments such as masks, winged putti, canephoras, marine creatures, imaginary fauna anthologies and weapon trophies make up the varied and refined decoration of Deruta majolica.
","Raffaello, grottesche, deruta, umbria, ceramica, decoro, maiolica, arte, raffaellesco","Il âRaffaellescoâ a Deruta","Free and fantastic ornaments such as masks, winged putti, canephoras, marine creatures, imaginary fauna anthologies and weapon trophies make up the varied and refined decoration of Deruta majolica.The result is a decorative motif that has become an emblem of Deruta art, recognized all over the world: the so called âRaphaelesque\". It was introduced in this area in the first half of the 1600s, drawing inspiration from the frescoes realized by Raphael Sanzio in the Vatican Rooms, starting from 1508 until his death, in the year 1520.
\r\n\r\nThe master from Urbino, in turn, had been inspired for his wonderful work by the so-called \"grotesque\" decorations, a term coined by the men of art in the fifteenth century to define the decorative systems found on walls and vaults of the Domus Aurea - the Roman emperor Nerone palace - built in Rome between 64 and 68 AD, which marked and influenced, with its discovery, the Renaissance iconography.
\r\nThe decorations of the building were defined as \"grotesque\" precisely because they were found inside the caves of the imperial domus (from the Italian word âgrottaâ which means âcaveâ)
\r\nWe can describe the wonder of Raphael and his collaborator Giovanni from Udine when they explored the Domus aurea, with the words of the historian and art historian Giorgio Vasari: \"Both were amazed at the freshness, beauty and goodness of those works, amazed that they had been preserved for so longâ.
\r\nRaphael himself fully understood the logic of these decorative systems and thanks to his profound knowledge of the literary and artistic sources of classicism he managed to recreate the ancient without having to resort to a passive imitation.
\r\n Even today, the Deruta production, famous for its orange, blue and yellow colors, tells of that time and of that decorative, so versatile, fresh, \"Raphaelesque\" style.
The structure, a remarkable example of 18th century Italian architecture, is the result of joining the 16th century Ferrini Palace with two churches, unified by a monumental façade designed starting from 1739 by Ferdinando Fuga. The famous architect is also responsible for the portion of the building specifically built for the use of the monastery.
\r\n\r\nThe collection is made up of works that can be dated between the 16th and 18th centuries from the post-unification demanations and the monastery itself. Influences of Roman and Abruzzese art can be read here, confirming the particular location of Calvi on the border between Umbria, upper Lazio and Abruzzo.
\r\n\r\nYou can also visit the historical rooms of the monastery such as the kitchens, the washhouse, the apothecary's shop, the cemetery area, the crypt, the vegetable garden and the garden. In 2012 the Museum was rearranged to house a prestigious collection of works donated by the Roman Chiomenti-Vassalli family. The collection consists of over 100 works, both pictorial and sculptural, by artists such as P. Bruegel the Younger, Guido Reni, Furini, Batoni, Magnasco, Voet, Petruccio Perugino.
\r\n\r\nLocal artists are seen, with paintings by Mannerist Rinaldo da Calvi, Calisto Calisti and Nerocci di San Gemini. The works by Agostino Masucci (one of the most important representatives of the new artistic course started by Carlo Maratta), show Roman infuence, as well as the main altarpiece of the church of Santa Brigida, attributed to Francesco Appiani.
\r\n\r\nAn integral part of the museum itinerary is also the church of Sant'Antonio Abate which houses a monumental nativity scene composed of thirty polychrome terracotta sculptures made in 1546 by the Abruzzese brothers Giovanni and Raffaele da Montereale.
","Calvi dell'Umbria | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=1423749273355",42.4038614,12.569369400000028,"Calvi dell'Umbria",55008,"","","","[ ]",""], [288,"Attrattore","en_US",4752435,"","https://www.umbriatourism.it/web/umbria/-/chiesa-della-santissima-trini-1","Church of the Santa Trinità - Calvi dell'Umbria","In 1523, Maestro Rinaldo Iacovetti da Calvi was entrusted by the community of Calvi with the building of the church which was initially dedicated to Madonna delle Grazie. ","","Chiesa della Santissima Trinità - Calvi dell'Umbria","In 1523, Maestro Rinaldo Iacovetti da Calvi was entrusted by the community of Calvi with the building of the church which was initially dedicated to Madonna delle Grazie.Its location is on the site of a miracle: an image of the Madonna painted on the wall of a home had mysteriously wept. It was also known as \"Madonna dello Sportello\" because it was near an ancient gate, known as \"lo sportello\", in the ancient walls that enclosed the town, before the expansion of the built up area towards the valley.
\r\n\r\nThe building is spread over various levels, \"climbing\" up the rock on which the town is built. Its layout is of an octagonal presbytery with a rectangle inside for the congregation: these two parts, the former covered by a cupola and the latter by a cross-vaulted ceiling, are connected by a large triumphal arch which gives a certain unity to the space.
\r\n\r\nInside, there is a fresco depicting the Madonna and child, dated to the mid-15th century.
\r\n\r\nOutside, note the carved limestone portal with the architrave that bears the writing AVE REGINA CELORUM, the decorated tiles in the eaves and the octagonal lantern characterised by pilasters with terracotta cornices and capitals and covered with brick shingles.
","Calvi dell'Umbria | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.4038614,12.569369400000028,"Calvi dell'Umbria",55008,"","","","[ ]",""], [289,"Attrattore","en_US",5428302,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-2","Church of San Francesco - Calvi dell'Umbria","The church of San Francesco and the convent of San Berardo are placed approximately 500 meters far from the walls of Calvi, on a hilly crest between the valleys of Otricoli and Magliano Sabina at the intersection of the old road to Narni.","","Church of San Francesco","The church of San Francesco and the convent of San Berardo are placed approximately 500 meters far from the walls of Calvi, on a hilly crest between the valleys of Otricoli and Magliano Sabina at the intersection of the old road to Narni.According to the tradition, they were built on land owned by San Berardo's family. In 1213 San Berardo was a young Calvese won over by the preaching of San Francesco, the \"Poor man of Assisi\". Berardo followed him and was sent to bring the Gospel to Morocco, where he was martyred with five other Brothers.
\r\n\r\nThere is documentary evidence from 1291 about the early church, originally dedicated to St. Victoria, and about the adjoining small oratory.
\r\n\r\nThe north wall, the façade of the church and the small oratory are preserved from the original architectural complex. The oratory is contains two rooms, one of which is raised. It was incorporated into the rear building after being looted and set fire by Landsknechte mercenary soldiers in 1527.
\r\n\r\nThe church, built of local limestone and oriented in the canonical way, was restored several times during the seventeenth and eighteenth centuries. It has a square-shaped facade topped by a tympanum with the unusual presence of a single hall with a barrel vault with 10 side chapels, and it holds some valuable paintings.
\r\n\r\nThe little piazza in front of the church leads to the square cloister, with a thirteenth century well at its centre. On the walls there are the remains of frescoes depicting scenes from the life of San Francesco from the second half of the seventeenth century.
","Calvi dell'Umbria | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=1423749273355",42.4038614,12.569369400000028,"Calvi dell'Umbria",55008,"","","","[ ]",""], [290,"Attrattore","en_US",4752526,"","https://www.umbriatourism.it/web/umbria/-/chiesa-di-s-maria-assunta","St. Mary of the Assumption Church","St. Mary of the Assumption Church was the mother church, the main one of the village. It's located near the Ternana gate along Sabina Road, today called Roma Road, once the main route crossing Calvi town centre.
","","St. Mary of the Assumption Church","St. Mary of the Assumption Church was the mother church, the main one of the village. It's located near the Ternana gate along Sabina Road, today called Roma Road, once the main route crossing Calvi town centre.
Its construction date back to the second half of the 13th century and its initial structure consisted of a smaller building than the current one with the side facing the entrance of the village. The elevation along Roma Road with single lancet windows, the original side door, today walled up, and the portal with three recessed orders and acanthus leaf decorations in the archivolt supported by small columns, placed on this side of the church in the first half of the 17th century, but originally located on the facade, belong to this first stage of construction. The bell tower, originally isolated and then incorporated in the current building, was built in the 1580s.
\r\n\r\nThe present form of the church is the result of an extension carried out between 1620 and 1650 and represents one of several local examples of Counter-reformation and Late Mannerism architecture. It has a longitudinal layout with a single nave covered by a ribbed barrel vault and it has a rectangular plan with five chapels along both long sides; at the bottom of the church, below the wooden choir and the 18th century organ, there are two compartments located inside the bell tower, one of which is now walled up.
\r\n\r\nIt has no transept and a straight end, without apse: at the centre is the presbyterial chapel with the major altar and the canvas depicting Our Lady of Assumption and St. Pancrazio by Salvatore Pierella, dated 1737; on its sides there are two aristocratic chapels that are bigger than the other ones: the left one is the Sernicoli Chapel, the most richly decorated one in the church, and on its altar is the Madonna Enthroned with Child among SS. Biagio and Berardo by Giuseppe Cesari, called the Knight from Arpino, painted around the 1630s; the chapel on the right, instead, belonged to the Fioretti Family and hosts the canvas of Jesus' Circumcision by Calisto Calisti from Bagnaia, signed and dated 1640.
\r\n\r\nThe side chapels belonged to private families or brotherhoods residing in this church. The chapels including the most significant artworks are the Chapel of the Society of the Holy Rosary including the big canvas of the Lady Mary of the Rosary by a Flemish painter and executed at the end of the 1560s; the St. Joseph Chapel with the canvas of the Virgin's Marriage by Vincenzo Manenti and the Chapel today called of the Baptism with the Baptismal Font made of finely carved marble, bearing the emblems of Calvi's community and of the Ceri-Anguillara family as well as showing the date 1559.
","Calvi dell'Umbria | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.40075909999999,12.566573199999993,"Calvi dell'Umbria",55008,"","","","[ ]",""], [291,"Attrattore","en_US",2734729,"90422","https://www.umbriatourism.it/web/umbria/-/pieve-del-vescovo","Pieve del Vescovo","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. ","","Pieve del Vescovo","Setting: rural
\r\nDating: 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.Setting: Urban
\r\nDating: 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.Over time, the collection has been enriched with further donations, thus preventing the loss of a heritage that recalls Corciano's agricultural past which like many other towns in the region, has been affected by significant industrial development. While basing itself on the living conditions of a family who lived inside the town's walls, the Museum documents the wider rural context in which the farmer's work was carried out and the subsistence economy connected to it. Indeed, the rooms in which the household objects and utensils as well as the agricultural tools are kept and displayed recreate those of a traditional farmhouse: a basement-stable, a barn, a kitchen and a bedroom. In the basement, together with objects which were usually found in a traditional rural winery (a barrel, a \"bigoncio\"-a type of wooden bucket, and flasks), is the collection's most important artefact, a wooden loom equipped with accessories for spinning and weaving activities (spindles, reels, a distaff and spools). In the kitchen, dominated by the fireplace around which the main household chores were carried out, and which was also at the heart of the social life of the home, a pitcher, an \"ascina\"- a washtub and a \"madia\"- a rustic piece of wood furniture used for bread making, are displayed. The bedroom is furnished with an iron bed on which you'll see a traditional sack of leaves which was used as a mattress. Also on display are a \"prete\"- a traditional bed warmer, a \"girello\" â an antique baby walker, a hand basin, as well as embroidered bed linen and towels. A series of period photographs and sacred images contribute to recreating the social and religious context of Nineteenth century Corciano's agrarian society.
","Corciano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=1423749271341",43.1237872,12.289259600000037,"Corciano",54015,"","","","[ ]",""], [295,"Attrattore","en_US",5429651,"90422","https://www.umbriatourism.it/web/umbria/-/palazzo-dei-prio-1","Palazzo dei Priori - Corciano","The Palazzo dei Priori and della Mercanzia is found on the main street of Corciano, Corso Rotelli, where all the public buildings testify the political and economic significance of the town in the Middle Ages.","Corciano, Umbria, Palazzo medievale Priori, borgo umbria, Perugia","Palazzo dei Priori - Corciano","The Palazzo dei Priori and della Mercanzia is found on the main street of Corciano, Corso Rotelli, where all the public buildings testify the political and economic significance of the town in the Middle Ages. Externally there are four arches, of which three are closed up. They characterize the portico where the market used to be held. Upstairs there is the great hall where public meetings took place. ","Corciano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=1423749271341",43.1245184,12.288374900000008,"Corciano",54015,"","","","[ ]",""], [296,"Attrattore","en_US",5429611,"90422","https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-agostino","Church of Sant'Agostino","The monastery church of Sant'Agostino rises up on top of a hill covered with olive trees, just south of the hill of Corciano.","","Church of Sant'Agostino","The monastery church of Sant'Agostino rises up on top of a hill covered with olive trees, just south of the hill of Corciano.The Benedictine abbey of San Lorenzo is located on what is known as \"San Giovanni's hill\" not far from the village of the same name.
","Collazzone, Umbria, todi, abbazia benedettina, Templari","Abbey of San Lorenzo","The Benedictine abbey of San Lorenzo is located on what is known as \"San Giovanni's hill\" not far from the village of the same name.
The hill, on which an ancient church once stood, took its name from the famous order of the knights of San Giovanni (St. John) who were the owners of the whole locality, which once belonged to the Templar knights.
\r\n\r\nToday it is difficult to guess the layout of the ancient convent, which has been significantly changed following restoration works that have been made over the course of the centuries.
\r\n\r\nThe church is the most easily identifiable of the buildings: a simple structure divided into a nave with side aisles with rounded arches and characterised by wooden trusses.
\r\n\r\nEven older is the Romanesque crypt, which, in spite of some modifications in the 17th century, has kept its original layout.
\r\n\r\nInside is the tomb of Matilde Marzia who died in 1240, the mother of Beato Simone di Colazzone (Blessed Simon of Colazzone).
\r\n\r\nThe San Lorenzo complex began as a Benedictine Abbey and is first mentioned in documents in 1227, the year when a certain Oddone di Pietro donated some land to the abbot Gugliemo.
\r\n\r\nJudging by the Romanesque crypt, however, we can hypothesize that construction of the building dates back to the 11th century.
\r\n\r\nThe historical events of the complex are connected to the life of Beato Simone (Blessed Simon), a follower of Saint Francis.
\r\n\r\nIn 1259, the abbey was donated by to Bishop of Todi to the Franciscans and it was specifically following the wishes of Beato Simone that the Clarisse settled there.
\r\n\r\nOver the course of the 13th century, the convent increased its holdings. In 1306, Jacopone di Todi, looking for an isolated place to spend the last years of his life, took refuge there.
\r\n\r\nAfter this period of relative peace, the convent became prey to raids until the second half of the 14th century. The Clarisse were moved, some to the monastery of Montecristo in Todi, others to inside the safety of Collazone's city walls.
\r\n\r\nAfter the relocation of the Clarisse, the convent underwent a period of decline, until it was completely abandoned.
\r\n\r\nIn 1844, the Bishop of Todi conceded it to Fra Carlo di Neustria and it was later sold to private owners.
","Collazzone | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.90390540000001,12.437470899999994,"Collazzone",54014,"","","","[ ]",""], [300,"Attrattore","en_US",5429919,"90566","https://www.umbriatourism.it/web/umbria/-/chiesa-parrocchiale-di-san-lorenzo","Parish church of San Lorenzo","The parish church of San Lorenzo is situated at the center of Collazzone, in front of the main square dedicated to Umberto I, recently paved in brick.
","","Parish church of San Lorenzo","The parish church of San Lorenzo is situated at the center of Collazzone, in front of the main square dedicated to Umberto I, recently paved in brick.
The Church of St Gregory is along the road between Castel Ritaldi and Colle del Marchese. The façade, which was restored after the earthquake of 1997, features horizontal strips of white and red stone, into which a recessed door opens.
","","The Church of St Gregory","The Church of St Gregory is along the road between Castel Ritaldi and Colle del Marchese. The façade, which was restored after the earthquake of 1997, features horizontal strips of white and red stone, into which a recessed door opens.The entrance archway, above which the date of the competition of the façade (1141) is inscribed, is decorated with a sequence of scenes and figures: in the lower left is a lion in whose mouth is a spray of raceme that continues along the entire lunette all the way to the mouth of another lion at the other end. Next the lion is a man eating a bunch of grapes, Samson on the back of the lion, a lion and a gryphon holding a flowering raceme in their mouths, there is a female figure at the top of the archway, perhaps Hope and then there is a winged beast and wrestling animals, followed by a peacock trying to break the raceme with his beak.
\r\n\r\nAbove the doorway is an arched window with two small side niches decorated with two columns set on a ledge and crowned with an ionic capital. The rose window is graced on either side by the symbols of the evangelists and two demons alongside figures of prophets.
\r\n\r\nThe star of the original rose window was incomprehensibly mounted on the bell gable.
\r\n\r\nThe church has one nave under a ceiling of wooden trusses and has been completely restored.
\r\n\r\nThe first documents mentioning it date to 1066. The primitive building was partially restored in 1141, probably because its structure was compromised by settling. It served as the parish church of Castel Ritaldi until 1828, when the parish headquarters was moved to within the town's confines.
","Castel Ritaldi | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=1423749274409",42.8278858,12.651155099999983,"Castel Ritaldi",54008,"","","","[ ]",""], [304,"Attrattore","en_US",20671490,"90542","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-pancrazio","San Pancrazio Church","Dating from the seventeenth century, the San Pancrazio Church is situated in the center of the city, at Piazza Giorgio della Rovere.","","San Pancrazio Church","Dating from the seventeenth century, the San Pancrazio Church is situated in the center of the city, at Piazza Giorgio della Rovere. The red facade is divided by four dark pilasters placed in groups of two, in support of the tympanum overhanging with function of crowning. Below, it is a simple portal with architrave and in the center there's a small square window, both adorned with a dark frame stucco. Inside there is a single nave with side chapels and a semicircular apse, a triumphal arch separates the apse area from the rest of the church. Recently the apse has been frescoed. ","Castel Giorgio | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.7078199,11.979396899999983,"Castel Giorgio",55009,"","","","[ ]",""], [305,"Attrattore","en_US",24962055,"90518","https://www.umbriatourism.it/web/umbria/-/santuario-madonna-della-stella-cerreto-di-spoleto","Santuario Madonna della Stella - Cerreto di Spoleto","The church of Santa Croce (now the Sanctuary of the Madonna della Stella) is located in the Walnut Valley, isolated in an agricultural setting, and not far from the village of Cerreto of Spoleto. The current building, built on a primitive chapel of the eighth century, dates back to 1308.","","Santuario Madonna della Stella - Cerreto di Spoleto","The church of Santa Croce (now the Sanctuary of the Madonna della Stella) is located in the Walnut Valley, isolated in an agricultural setting, and not far from the village of Cerreto of Spoleto. The current building, built on a primitive chapel of the eighth century, dates back to 1308.According to tradition, the chapel originally belonged to the Farfa Abbey, later transferred to the San Pietro in Valle Abbey; the monks settled there and they dedicated the oratory to St Benedict. In 1294 the oratory and the monastery passed to the Lateran Chapter.
\r\n\r\nThe fourteenth century church began as a hermitage for monks of St. Augustine. The construction of the church as well as the refectory and monastic cells were made by excavating into the rock. The interior has a single nave, fourteenth century frescoes, one of them depicting the Blessed Simone Fidati.
\r\n\r\nThe entire complex was abandoned in 1652 and fell into very bad condition until 1833, when, restored following some miraculous episodes, it became known as the Sanctuary of the Madonna della Stella. The sanctuary was opened to worship the first Sunday of May to the first Sunday in June (during the Marian month). In this period the processions from neighboring countries flocked there. An element of veneration was the bloodied stone; according to the oral tradition, the stone broke away from the vault of the cave and struck a pilgrim who remained unscathed. In the sanctuary the clothes of miraculous survivors were displayed as a sign of grace received.
","Cerreto di Spoleto | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.8215544,12.918199100000038,"Cerreto di Spoleto",54010,"","","","[ ]",""], [306,"Attrattore","en_US",20671648,"93925","https://www.umbriatourism.it/web/umbria/-/santuario-madonna-bruna","Sanctuary of Madonna della Bruna","It's a spectacular example of Renaissance architecture of Bramante. It was built after a miracle that happened right on the bank of the stream Tatarena.","Castel ritaldi, vacanze in umbria, miracolo santuario, architettura rinascimentale,","Sanctuary of Madonna della Bruna","It's a spectacular example of Renaissance architecture of Bramante. It was built after a miracle that happened right on the bank of the stream Tatarena. The church has an unique nave shaped as a cross surrounded by three equally sized apses. The main altar is decorated by a large fresco depicting the Madonna della Bruna attributed to Tiberio Diotallevi. The frescoes of the apse are by Pier Matteo Piergili The legend tells of a group of pilgrims who went to Montefalco, in June 1706, to venerate the Blessed Chiara. They stopped in the shade of old oak trees along the creek. When they got up to return to the path they were unable to raise the banner. They succeeded only after painting the image represented on the banner itself on the wall of the church. The next day when the painter returned there to finish the job, he saw that \"it had been completed\" by a divine hand. ","Castel Ritaldi | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.82863,12.656071699999984,"Castel Ritaldi",54008,"","","","[ ]",""], [308,"Attrattore","en_US",20709223,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-citerna","Church of San Francesco - Citerna","The church of San Francesco di Citerna, located on Corso Garibaldi, was built, along with the adjoining Franciscan convent of Santa Elisabetta (now the seat of the City of Citerna), in the second half of the fifteenth century on the foundations of a pre-existing building visible in the lower part of the facade.","","Chiesa di San Francesco - Citerna","The church of San Francesco di Citerna, located on Corso Garibaldi, was built, along with the adjoining Franciscan convent of Santa Elisabetta (now the seat of the City of Citerna), in the second half of the fifteenth century on the foundations of a pre-existing building visible in the lower part of the facade.It has a Renaissance facade and a Latin cross plan. Along the nave there are four altars in sandstone and wood, painted and gilded, enriched with valuable paintings.
\r\n\r\nAbove the first altar on the left is an Annunciation, an oil painting from the 17th century (by an anonymous artist); in the second there is a painting, from the same century, representing a Franciscan supporting St. John, the Immaculata and the prophet Isaiah.
\r\n\r\nAbove the first altar on the right is a panel of the Madonna with Saints and on the second altar a representation of St. Anthony of Padua (the painting also shows a panorama of Citerna around 1500 seen from the plain of Sansepolcro), both of the artist Simone Ciburri, a pupil of Bandiera.
\r\n\r\nOn the same right wall is a niche with a valuable fresco of the Virgin and Child, flanked by St. Michael the Archangel and St. Bernardino of Siena, attributable to the school of Luca Signorelli (perhaps Tommaso Bernabei, called Palpacelo).
\r\n\r\nIn the back wall of the left side of the transept there is a majestic wooden altar dedicated to the Holy Crucifix, on which is placed a wooden crucifix of Byzantine style. On the same altar there is the panel of the Madonna and San Giovanni and two other paintings, all attributed to Raffaellino del Colle. Also in the left transept, note the altar dedicated to Mary Magdalene, with a panel of the Deposition painted by Nicolò Circignani called the Pomarancio, in 1570.
\r\n\r\nOn the right side of the transept there are two other altars: above the first there is a panel of Christ in Glory by Raffaellino del Colle; on the second there is a 16th c. painting of the Madonna Enthroned.
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Source: Umbria. Vol. 1. La biblioteca di Repubblica - L'Italia, 1. Milano: Gruppo Editoriale L'Espresso SpA - Divisione la Repubblica (© Touring Editore s.r.l.), 2005.
","Citerna | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4980125,12.11784590000002,"Citerna",54011,"","","","[ ]",""], [309,"Attrattore","en_US",20709137,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcangelo-citerna","Church of St. Michael the Archangel - Citerna","The church of St. Michael the Archangel is situated at the historical center of Citerna and it is dedicated to the Saint Patron of the small village.","","Church of St. Michael the Archangel - Citerna","The church of St. Michael the Archangel is situated at the historical center of Citerna and it is dedicated to the Saint Patron of the small village. It has a very simple architecture provided with a thin façade with rose window and a Latin cross plan with a single nave with six chapels; the church choir is square and surmounted by a barrel vault. Inside thereâs a large panel on the Crucifixion painted in 1570 by Niccolò Pomarancio and a valuable terracotta depicting the Virgin Mary and Child of the school of Giovanni della Robbia. ","Citerna | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4980125,12.11784590000002,"Citerna",54011,"","","","[ ]",""], [310,"Attrattore","en_US",24961976,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-cerreto-di-spoleto","Chiesa di Santa Maria Assunta - Cerreto di Spoleto","The Church of St. Mary of the Assumption is an example of Romanesque sacred building with an architectural layout unusual for Umbria, with a unique apsidal aisle with a protruding transept, the dome cladding and the dome at the junction of the arms. A small aisle along the right wall is annexed to this main core.","Cerreto di Spoleto, Valnerina, bike umbria, via di Francesco, rafting, Bagni triponzo","Chiesa di Santa Maria Assunta - Cerreto di Spoleto","The Church of St. Mary of the Assumption is an example of Romanesque sacred building with an architectural layout unusual for Umbria, with a unique apsidal aisle with a protruding transept, the dome cladding and the dome at the junction of the arms. A small aisle along the right wall is annexed to this main core. The facade, on a non-original horizontal end, is embellished with a rose window sculpted and decorated with mosaic elements, evangelical symbols and, in the bottom, two telamons. The portal, provided with concentric recesses and a ring, preserves in the lunette remains of a Madonna and Angels, a fresco of the 14th century. The apse is decorated externally with hanging archlets supported by pro-thrones, columns and semi columns.Inside, on the left wall, is a Visitation of 1573, painted by Camillo Angelucci from Mevale, belonging to one of the most important dynasties of painters of Valnerina; there are remarkable canvases from the 17th c. depicting Saints Benedict and Scholastica and Saints Michael, James and Philip Neri. Three walls retain much of the fresco decoration of the 15th century, damaged and restored. Among all the most remarkable are the frescoes of the Annunciation, Crucifiction and Saints and fragmentary figures in the upper wall. Some, dating to around the mid-15th century, show similarities to frescoes of the Church of Santa Maria Assunta in Vallo di Nera, connected to the Maestro di Eggi. On the same wall, to the right of the door leading into a small adjoining room are Christ in glory with angels bearing symbols of the passion and the Archangel St. Michael and praying figures of the 15th century. In the small room on the right, frescoes from the end of the 14th century: Scenes of the passion; a good quality St. Catherine and holy martyr by the same hand. In the monastery, in a downstairs room is a Universal Judgement with Christ as judge in a mandorla; Mary, the apostles, the damned and the donor, a fresco of the first half of the 15th century.
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Source: http://www.cerretodispoletoturismo.it
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","Cerreto di Spoleto | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.8215544,12.918199100000038,"Cerreto di Spoleto",54010,"","","","[ ]",""], [312,"Attrattore","en_US",20709286,"90454","https://www.umbriatourism.it/web/umbria/-/camminamento-medievale","Medieval walkway","At the center of Citerna, near the building Prosperi-Vitelli, a small arch leads into the path of the charming medieval walkway that runs along the perimeter of the walls with perfectly preserved arch openings creating a series of loggias that offer a truly impressive sight.","","Medieval walkway","At the center of Citerna, near the building Prosperi-Vitelli, a small arch leads into the path of the charming medieval walkway that runs along the perimeter of the walls with perfectly preserved arch openings creating a series of loggias that offer a truly impressive sight. Beyond the walls of this walkway there is an ancient well called Pozzo Vecchio, above the Great Cistern. ","Citerna | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4980125,12.11784590000002,"Citerna",54011,"","","","[ ]",""], [313,"Attrattore","en_US",8281346,"93925","https://www.umbriatourism.it/web/umbria/-/unesco-tempietto-del-clitunno","Tempietto del Clitunno (Temple of Clitumnus)","
The Tempietto del Clitunno is an elegant early-Christian building dedicated to S. Salvatore which is found at the foot of Campello sul Clitunno.
","","","The Tempietto del Clitunno is an elegant early-Christian building dedicated to S. Salvatore which is found at the foot of Campello sul Clitunno. Some believe it was built in the 4th century or at the beginning of the 5th, whilst others believe it was between the 7th-9th centuries. It uses architectural elements from pagan shrines as recalled by Pliny the Younger, which were found in the nearby springs at the source of the river. Unlike other works of Longobard origin, the majority of the sculpted elements are original and not elements from the Roman age that have been re-used.
The building, located on top of a rise overlooking the Clitunno, has the shape of an \"in antis\" temple with four columns (flanked by two square pillars at either side with two leaf columns at the centre) at its front, over which is a tympanum. The temple was reached via two side stairways which ended under two small prothyra. The frieze on the façade carries an inscription dedicated to the God of Angels, whilst the two side ones, now lost, recall the God of Prophets and Apostles; the pediments, both the front one and the back one, are adorned with a monogrammed cross between vines and bunches of grapes. Inside the temple is an apsidiole over which is an arch pediment: there are elegant decorations on the cornices and the rear apse, whilst the remains of a fresco from the 8th century, with the Redeemer between Saints Peter and Paul, angels and crux gemmata (jewelled cross) are also of great interest.
\r\n\r\nThe Tempietto sul Clitunno became famous in Renaissance times, when it inspired artists like Francesco di Giorgio Martini, Benozzo Gozzoli, Palladio and Vanvitelli and was later cited by Lord Byron in his work Childe Harold's Pilgrimage.
Opening timeTuesday - Saturday: 8.15 am - 7.15 pm (last entrance)
\r\n\r\nSunday: 2.15 pm - 7.15 pm
\r\n\r\nMonday closed
\r\n\r\nMonday 14th August: open
","Campello sul clitunno","","",42.8345715,12.765554000000066,"Campello sul Clitunno",54005,"","","","[ ]",""], [314,"Attrattore","en_US",8281310,"90470","https://www.umbriatourism.it/web/umbria/-/unesco-il-santuario-di-rivotorto-e-paesaggio-storico","The Sanctuary of Rivotorto and the historical landscape","The church of Santa Maria di Rivotorto stands a few kilometres from Santa Maria degli Angeli, and was built, in a neo-Gothic style following the earthquake of 1854, on the site of a previous building built to protect the \"Tugurio francescano\" which is now kept inside the church.","","","The church of Santa Maria di Rivotorto stands a few kilometres from Santa Maria degli Angeli, and was built, in a neo-Gothic style following the earthquake of 1854, on the site of a previous building built to protect the \"Tugurio francescano\" which is now kept inside the church.
This is the ruins of a place where, tradition states, the Saint and his companions took refuge to pray and meditate.
\r\n\r\nOn the façade of the church are the crests of the Basilica of Saint Francis (which the sanctuary depended upon) and, above the main door, the phrase: \"Hic primordia Fratrum Minorum\" (Here the beginnings of the Friars Minor), which recalls the tradition, according to which Saint Francis drew up the foundations of Franciscan Rule.
\r\n\r\nThe inside of the church has three aisles, separated by polygonal columns. Here you will find the humble hovel, \"tugurio di somma umilitate\", on the site where it was discovered, the place the saint took refuge with Bernardo da Quintavalle and Pietro di Catanio. It is formed of three small rooms, the second of which is used as a chapel, with a fifteenth-century communion altar on an octagonal cippus. In the church, on the counter-façade, is a painting of Saint Michael Archangel by Domenico Mattei. On the walls are paintings by Cesare Sermei alluding to Franciscan history.
","Assisi","","",43.0501338,12.618349899999998,"Assisi",54001,"","","","[ ]",""], [316,"Attrattore","en_US",23589400,"90518","https://www.umbriatourism.it/web/umbria/-/torre-dell-orologio-monteleone-di-spoleto","Clock Tower- Monteleone di Spoleto","Built arund the 13th century, the Clock Tower of Monteleone di Spoleto is one of three gates of the second curtain wall.","","Torre of the Clock - Monteleone di Spoleto","The Clock Tower of Monteleone di Spoleto dates back to about the 13th century. The tower is one of three gates of the second curtain wall. It is an imposing marker at the entrance of the village and allows access to the Church of San Francesco and to the oldest part of the center. From the Tower, above the Market Square, you can enjoy a beautiful view over the valley. ","Monteleone di Spoleto | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=1454334467742",42.6504391,12.951629300000036,"Monteleone di Spoleto",54031,"","","","[ ]",""], [317,"Attrattore","en_US",25079289,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-caterina-monteleone-di-spoleto","Former Convent and Church of Santa Caterina - Monteleone di Spoleto","Its origins are known from some authentic documents kept in the archives of the Community and the Monastery from which it was deduced that in 1310, at the time of Clement V, ten Augustinian nuns gathered to profess the rule of Clare of Norcia to propagate the Order.
","Valnerina, Monastero, Agostiniani, Santa Chiara , outdoor,","Ex Convento e Chiesa di Santa Caterina - Monteleone di Spoleto","Its origins are known from some authentic documents kept in the archives of the Community and the Monastery from which it was deduced that in 1310, at the time of Clement V, ten Augustinian nuns gathered to profess the rule of Clare of Norcia to propagate the Order.
From the community they obtained not only the consent but also the place near the castle walls, adjacent to the chapel of St. Agnes outside the walls belonging to the parish church of St. Nicholas; what they built was more of a shelter than a monastery, with a church dedicated to St. Catherine V. M. After five years they moved to the church of San Giovanni al Borgo, with a monastery built there at the expense of the illustrious D. Napoleone Gilberti (de Tiberti?), and this was called the Monastery San Giovanni. Later, the year is unknown, they returned to the primitive Monastery. The present church of Santa Caterina, now reduced to ruins, was damaged in the earthquake of 1703, but the nuns repaired it immediately, and they were using it in 1715. The shape of the church is an ovoid generated by four equilateral triangles intersecting each other. With the laws of 1866 the convent was suppressed, the property confiscated by the State and the Nuns moved to Cascia. The Italian State sold the land to private individuals, while the building was entrusted to the Consortium of Landowners of Monteleone.
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\r\n[Source: www.comune.monteleonedispoleto.pg.it]
The monumental complex of San Francesco di Monteleone di Spoleto is an extremely significant and evocative sites, considering its complexity of history, development, art and faith. It is a book of stories, saints and symbols to be read with care.
","Monteleone di Spoleto, biga, Valnerina, bike umbria, via di Francesco, sentieri umbria, outdoor","Church and convent of San Francesco - Monteleone di Spoleto","The monumental complex of San Francesco di Monteleone di Spoleto is extremely significant and evocative, considering its complex history, development, art and faith. It is a book of stories, saints and symbols to be read with care.
The church was built during the fourteenth century on a previous Benedictine oratory of the twelfth century. It is actually dedicated to Our Lady of the Assumption, but is commonly known by the name of San Francesco, since the first Franciscans settled there around 1280. Until the suppression of the convent, the Franciscan order of Monteleone used in every official act a seal bearing the emblem of the order surmounted by the image of Our Lady of the Assumption taken up heaven, with the initials S(anctae) M(ariae).
\r\n\r\nThe church was restored for the first time in the fifteenth century. Following the earthquake of January 1703, a new restoration was necessary, during which radical changes were made to the structure. The fourteenth-century church was in fact of more slender proportions than the current, as you can see by observing the outer wall at the apse area. The floor was raised between 1395 and 1398, with a lower round vault, reducing by one third the height of the original church which was accessed from the ogival door on the right side. A new place of worship in the lower part of the structure was also created. The effects of this division are clearly visible in the floor inside the church, which cuts the fresco of the Crucifixion on the left wall, then further mutilated it by the subsequent opening of a modern door that leads into the upper order of the cloister.
\r\n\r\nThe main façade (north-facing) is in the upper part: it is decorated with an ogival portal of clear Romanesque-Gothic style, enriched with three ranks of twisted columns and reliefs of a lively naturalistic flavour with animals, human figures and angels, a certain work of Lombard masters, it is, however, partially truncated from the original crowning. In the upper lunette you can see a fresco depicting Mary between St. Francis and St. Nicholas. On the sides of the external face, traces of devotional graffiti and a cross are visible in particular light conditions. On the right side, the mighty buttresses with sculpted endings make the building similar to a fortified place: the sensation is further accentuated by its position and by the proximity to the door of the castle, along the walls.
\r\n\r\nThe interior is divided by stone pillars into two naves; the main nave is decorated with a beautiful wooden ceiling painted by Giuseppe Frigerio da Norcia (1760), while the smaller one is covered with cross vaults and ribs. Many cycles of frescoes from the fourteenth through sixteenth centuries remain of the internal wall decoration, often juxtaposed and unfortunately partly damaged by the numerous work that has taken place over the centuries. Among the stoups is a Longobard one that shows the Greek letter Tau, symbol of the fulfilment of the word revealed by God.
\r\n\r\nThe door that cuts the fresco of the Crucifixion leads to the upper cloister, once covered by cross vaults (of which the imposts remain) now has a single sloping roof, and has 9 tempera lunettes made in the first half of the eighteenth century, depicting (except the first) the life of St. Francis. At the foot of these lunettes and along the entire wall of the corridor is a small antiquarium, a collection set up by the parish priest Don Angelo Corona with fragments of Roman, medieval and modern epigraphs and sculpture. Part of the medieval architectural material comes from the church of San Nicola, while the headless statue of a female figure was recovered from nearby Trivio. There is also the Roman funerary inscription of Sesto Vettuleno, found decades ago in Forca di Usigni (in the municipality of Poggiodomo) and bearing the following inscription: SEX VETTVLENVS. P.F. GRAGVS / VETTVLENA. SEX.F. VXOR.
\r\n\r\nIn the lower church, later used for burials, the old choir preserves lively frescoes of Franciscan subjects that, although heavily repainted several times, are an interesting testament of southern Umbrian painting of the early fifteenth century. In the room, used as a theatre, some arches have been brought to light on the right wall, that show the uncommon appearance of the lower church. The sacristy houses a small but remarkable collection of sacred art that includes a wooden sculpture of the thirteenth century depicting a Madonna and Child, from Castevecchio.
\r\nThe Church of SS.Assunta Maria in Cielo is the present parish church of Montegabbione.
","","Church of SS.Assunta Maria in Cielo - Montegabbione","The Church of SS.Assunta Maria in Cielo is the present parish church of Montegabbione.Since 1873 the church was built as progression of the stone ancient circular chapel and the annexed stone bell tower (perhaps once part of the castle complex). The church is partly based on the ancient cemetery (which was brought outside the walls in 1864).
\r\n\r\nThe church is characterized by Byzantine style and it was decorated by the artists from Perugia Francesco Biscarini and Raffaele Angeletti.
\r\n\r\nInside there are three terracotta altars, with stone tables: the main altar dedicated to SS.Assunta Maria in Cielo; the altar of St. Giuseppe, patron of the town of Montegabbione and the altar of Maria SS.ma.
\r\n\r\nIn back of the church is the elevated choir, with a pipe organ, a work of Nicomedes Agati of Pistoia. Next to the parish church there is the chapel of SS.mo Sacramento (formerly dedicated to St. Rita) and the sacristy.
\r\n\r\nNext to the church is the reinforced concrete bell tower, built in the fifties.
\r\n\r\n[Source: www.comune.montegabbione.tr.it]
","Montegabbione | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=1454334554962",42.9224411,12.091175099999987,"Montegabbione",55020,"","","","[ ]",""], [324,"Attrattore","en_US",22655272,"90542","https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-delle-grazie-montegabbione","Church of Maria SS. delle Grazie - Montegabbione","The church of Maria SS. delle Grazie is situated under the hill of Montegabbione: the typical Renaissance name of this church clearly testifies its character of votive temple; also the external architectural style, in the shape of a Latin cross and the cylindrical dome are considered Renaissance while, inside, altar and stucco are characterized by Baroque style.","","Church of Maria SS. delle Grazie - Montegabbione","The church of Maria SS. delle Grazie is situated under the hill of Montegabbione: the typical Renaissance name of this church clearly testifies its character of votive temple; also the external architectural style, in the shape of a Latin cross and the cylindrical dome are considered Renaissance while, inside, altar and stucco are characterized by Baroque style.The sacristy and house were added later to the original building: sign that began to acquire some importance as a \"local\" sanctuary. Remarkable the fresco placed above the altar, representing a \"Madonna del Latte\", perhaps the school of Perugino. The landowner benefit of the Collegiate associated this church disappeared in the last century as a result of the forfeiture laws of church property.
\r\n\r\n[Source: www.comune.montegabbione.tr.it]
","Montegabbione | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=1454334554962",42.9224411,12.091175099999987,"Montegabbione",55020,"","","","[ ]",""], [325,"Attrattore","en_US",41404825,"","https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-farro-di-monteleone-di-spoleto-dop","Farro di Monteleone di Spoleto DOP","Una varietà di farro molto antica, le cui prime tracce risalgono allâEtà del Bronzo, che nel 2010 ha ottenuto la Denominazione di Origine Protetta.","farro, monteleone, spoleto, dop, norcia, umbria, prodotti tipici, legumi, cereali, zuppe, ricette, cucina umbra, umbria, celiachia, gluten free, vegetariani, piatti vegetariani, alimentazione sana, sport, cibi per sportivi, cosa mangiare","Farro di Monteleone di Spoleto DOP","Una varietà di farro molto antica, le cui prime tracce risalgono allâEtà del Bronzo, che nel 2010 ha ottenuto la Denominazione di Origine Protetta. Il Farro di Monteleone di Spoleto DOP è una varietà di farro particolarmente adatta alla semina in zone montane: amante dei terreni poveri e resistente al freddo, sembra fatta apposta per il territorio montuoso dello Spoletino. E in effetti è proprio così: a partire dal Cinquecento, generazioni di agricoltori si sono succedute e hanno selezionato le caratteristiche fisiche di questo cereale, in perfetto connubio con lâambiente e con il clima della regione.The ancient village exudes medieval charm, even today, although not much remains of the ancient castle, only stretches of walls, six towers and the 15th century entrance portal, recently restored. Originally, the castle was surrounded by a moat and accessible only by a drawbridge.
\r\n\r\nOver the centuries the ownership of the property passed into the hands of many prominent families. The oldest records, from 1130, reports that Bonconte of Alviano was the master, after him, the property passed to the first mayor of Todi, then to the church of Rome.
\r\n\r\nIn the early years of the sixteenth century, we know from documents that it was one of the strongholds of Bartolomeo d'Alviano, who, being also a talented military architect, brought improvements to the defensive apparatus. He did not last long, because in 1527 it was devastated by Landsknechte mercenary soldiers.
\r\n\r\nAfter a long period of property transfers, the fief of Attigliano, together with those of Alviano and Guardea, went to enlarge the duchy of Castro, of which Pierluigi Farnese, the Pope's son, was the master. Next to the castle, where there already was a small housing cluster, the Farnese built the baronial building, which was unfortunately knocked down a few centuries later.
","Attigliano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.5168389,12.292241999999987,"Attigliano",55006,"","","","[ ]",""], [327,"Attrattore","en_US",5393708,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-lorenzo","Chiesa di San Lorenzo","Dating back to 1983, the Church, characterized by a modern concept, has got stained glass materialized through the use of mosaic. Slender and imposing in its modern structure, it shows in the facade large multicolored glass windows \"Dalles\" that illustrate the truths of faith and a large mosaic depicting San Lorenzo who distributes the wealth of the Church to the poor.","","Chiesa di San Lorenzo","Dating back to 1983, the Church, designed with a modern concept, has mosaic stained glass. The building has a slender and imposing modern structure, and on the facade are a large multicolored Dalles glass windows that illustrate the truths of faith and a large mosaic depicting San Lorenzo who distributes the wealth of the Church to the poor. Inside are a \"Via Crucis\" designed by the painter Sassu and two Carrara marble statues, one representing Jesus carrying the cross, and the other depicting the Madonna of the Eucharist. The monumental bronze door, by sculptress Nadia Rognoni, is remarkable; its central theme is the light radiated by the host, to which two angels converge from opposite directions. ","Attigliano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.515661,12.292450599999938,"Attigliano",55006,"","","","[ ]",""], [328,"Attrattore","en_US",5393796,"90438","https://www.umbriatourism.it/web/umbria/-/fontana-dei-delfini","Fountain of the Dolphins","The Fountain of the Dolphins and the Tritons is in the main square of the ancient village of Pitigliano and remains, with the castle, one of the main symbols of the place. It was built in 1885 and it had a dual function: to be street furniture and water supply which was guaranteed by two public sources.","","Fountain of the Dolphins","The Fountain of the Dolphins and the Tritons is in the main square of the ancient village of Pitigliano and remains, with the castle, one of the main symbols of the place. It was built in 1885 and it had a dual function: to be street furniture and water supply which was guaranteed by two public sources. ","Attigliano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.514409,12.289209300000039,"Attigliano",55006,"","","","[ ]",""], [329,"Attrattore","en_US",5365268,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-cecilia","Church of Santa Cecilia","The Church of Santa Cecilia (the Patron Saint of Acquasparta) dates from the 12th century, as visible in the apse.","","Church of Santa Cecilia","The Church of Santa Cecilia (the Patron Saint of Acquasparta) dates from the 12th century, as visible in the apse. The Cesi chapel inside the church, built in 1581 is remarkable. Its construction was ordered by Isabella Liviani Cesi, great-grandmother of Frederick II, founder of the Lincean Academy.
In the chapels of the famous collegiate of St. Cecilia are displayed seven canvases dating from the late16th century to the second half of the 18th century, painted by different artists. ","Acquasparta | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.6904699,12.546306500000014,"Acquasparta",55001,"","","","[ ]",""], [330,"Attrattore","en_US",5365168,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-del-sacramento","Church of the Sacrament","The Church of the Sacrament was built in 1684, in the district of the Piazza Vecchia of the Società del Santissimo Sacramento, in the village of Acquasparta.","","Church of the Sacramento","The Church of the Sacrament was built in 1684, in the district of the Piazza Vecchia of the Società del Santissimo Sacramento, in the village of Acquasparta. Its form is squared and with wooden trussed roof of the mid-19th century. Inside, there is a remarkable a piece of Roman mosaic from the ancient town of Carsulae, which can be visited nearby. ","Acquasparta | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.6904699,12.546306500000014,"Acquasparta",55001,"","","","[ ]",""], [331,"Attrattore","en_US",5365349,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-giglio","Church of the Madonna del Giglio","The church of the Madonna del Giglio dates back to the 1600s. It's situated in front of the \"old gate\" which, in the past, allowed access to the village.
","","Church of the Madonna del Giglio","The church of the Madonna del Giglio dates back to the 1600s. It's situated in front of the \"old gate\" which, in the past, allowed access to the village.
\r\n\r\nThere are numerous frescoes visible inside, some of which are well preserved.
","Acquasparta | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.6891425,12.547414600000025,"Acquasparta",55001,"","","","[ ]",""], [332,"Attrattore","en_US",3581012,"90438","https://www.umbriatourism.it/web/umbria/-/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.","Acquasparta, Famiglia Cesi, Galileo Galiei, accademia dei Lincei","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 Givan Domenico Bianchi.
\r\nAround 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.
\r\nOnce 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.
\r\nThe 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.
\r\nThe 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.
\r\nAmong 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.
\r\nOn 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.
\r\nBibliography
\r\nMartinelli Imbriani A. (1982), Contributo alla storia di Acquasparta, Roma, Edizioni Oddo.
\r\nT.C.I. (2004), Umbria, Milano, Touring Editore.
","Acquasparta | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi34.png/952587c2-7882-4bd3-8f9f-fa1d4a480ad3?t=1423749276634",42.6912008,12.546165299999984,"Acquasparta",55001,"","","","[ ]",""], [333,"Attrattore","en_US",5365403,"90438","https://www.umbriatourism.it/web/umbria/-/monti-martani","Monti Martani","The Monti Martani massif is located at the center of Umbria and runs north-south for about 45 Km. ","Monti Martani, umbria","Monti Martani","The Monti Martani massif is located at the center of Umbria and runs north-south for about 45 Km.
The Martani slopes have mainly gentle, with deep furrowed valleys, due to the presence of torrential streams that are dry for much of the year.
\r\nThe high degree of permeability of the limestone rocks and the presence of the fault system have allowed the establishment of a deep and complex groundwater flow. In some cases, water erosion has produced very deep ravines, with sinkholes due the dissolution of limestone; there are also cavities and caves.
\r\nThe tops of Martani are mostly rounded and grassy. The evergreen forests have primarily Holm, and also arbutus, terebinth, lentisk, mastic trees, heather, wild olives and the beautiful Aleppo pine.
\r\nAs for the fauna, its diversification is linked to the variety of plant environments examined above.
\r\nAmong the invertebrates are to remember two splendid insects: the two-tailed pasha butterfly (Charaxes jasius) a beautiful large diurnal butterfly characterized by typically tropical colors, unfortunately more and more rare, closely related to the strawberry tree (Arbutus unedo), a plant by which the caterpillar can survive; and the Rosalia longicorn (Rosalia alpina), a rare beetle, marked by a blue livery light with ash-dotted elytra by velvety black spots, which survives and blends into beech woods. The hills are home to beautiful and rare salamander and the small spectacled salamander, the non-venomous four-lined snake and the venomous common viper.
\r\nBirdwatchers can look for buzzards, sparrowhawks and other diurnal and nocturnal birds of prey. There are also rare species like the green woodpecker, the great spotted woodpecker, the kingfisher and the blue rock thrush. Many mammal species are present but they can be difficult to spot and only noticed by careful analysis of the soil.
\r\nThese include hedgehogs, squirrels, foxes, weasels, polecats, deer and badgers.
\r\nIn the mid-eighties, thanks to some initiatives of the Umbria Region, Martani Trekking was ceated.
\r\nIt is a \"double-loop\" or \"figure eight\" path which covers different terrains: on the grassy ridges and on ridges cloaked forests, among the small medieval villages of historical roads and paths, a path suited to the three types of hiking on foot, horseback and mountain biking.
","Acquasparta | Giano dell'Umbria | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.573353,12.668104500000027,"Acquasparta",55001,"","","","[ ]",""], [334,"Attrattore","en_US",5365122,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-san-francesco","Church of San Francesco - Acquasparta","
In 1294 the church of San Francesco was built in accordance with the wish of the Venerable Brother Cardinal Matteo Bentivenga of Acquasparta.
","","Church of San Francesco - Acquasparta","In 1294 the church of San Francesco was built in accordance with the wish of the Venerable Brother Cardinal Matteo Bentivenga of Acquasparta.
Situated just outside the walls of Acquasparta, the church is built in the Franciscan \"poor\" architecture style. It's a very interesting example of the transition from the Romanesque style. Behind the apse of the church is a pretty little Franciscan cloister, the refectory and a part of the dormitories. Recently the cloister was restored by the Municipality of Acquasparta.
\r\n\r\nInside there is a remarkable icon representing the Virgin and Child of the first half of the 14th century. It has always been invoked by the residents of Acquasparta as the Madonna della Stella. The image of this Madonna appears in the history of Acquasparta, especially during plagues, earthquakes, wars.
\r\n\r\nA copy of the famous Franciscan canvas painting depicting San Francesco and flanked by known episodes of his life by Margheritone of Arezzo is also found in the church. The original Franciscan canvas is kept at the Uffizi Gallery, in Florence. The ancient wooden Crucifix (14th c.), brought to this church from San Giovanni di Butris, is noteworthy.
","Acquasparta | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640",42.69289550000001,12.545620900000017,"Acquasparta",55001,"","","","[ ]",""], [336,"Attrattore","en_US",18524932,"90542","https://www.umbriatourism.it/web/umbria/-/parco-di-villalba","Villalba Park","The Villalba Park is a wooded area of over 20 ha.","","Villaba Park","The Villalba Park is a wooded area of over 20 ha.The park is situated at an altitude between 600 and 700 meters and it was designed by the Mountain Communities as park facilities. The area, situated at the edge of the Monte Rufeno Nature Reserve, inside the vast state-owned forest of Selva di Meana, is remarkable from an environmental point of view.
\r\n\r\nThe Park is included in the ample Interregional Park. The woods of tall trees include species of oak, with some other rarer but important varieties such as maple, ash, beech and chestnut trees. Among the shrubs there are the rare fraxinella.
\r\n\r\nJust inside the park there are numerous wild orchids, of which more than thirty different species have been recorded. There is also a rich fauna with the presence of ungulates, predominantly wild boar, but also fallow and roe deer, and many birds of prey.
","Allerona | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",42.81255590000001,11.973852999999963,"Allerona",55002,"","","","[ ]",""], [337,"Attrattore","en_US",24761297,"90542","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-allerona","Chiesa di Santa Maria Assunta - Allerona","The parish church of St. Mary of the Assumption (15th century) is in the village.","","Chiesa di Santa Maria Assunta - Allerona","The parish church of St. Mary of the Assumption (15th century) is in the village. Documented as a Collegiate church since 1275, at the beginning of the 16th century it was decorated with a precious panel by Nicolò Alunno, representing our Lady of the Assumption surrounded by glorifying angels. Originally it had two side doors with the figures of St. John Baptist and St. Sebastian, that are now located in the National Museum of Castel SantâAngelo in Rome.Quarantamila ettari di boschi, racchiusa tra il fiume Paglia e il Tevere, tra le colline che vanno dall'orvietano al ternano, si estende la Riserva Naturale del Monte Peglia un piccolo \"polmone verde\" che dal 2018 è Riserva Mondiale della Biosfera Mab Unesco.
","Monte Peglia, Riserva, Biosfera, Unesco, San Venanzo, Orvieto, Parrano, Ficulle, Terni, bacino fluviale, Tevere, Peglia, Montegiove, natura, bosco, ambiente, fauna, flora, vegetazione, lecci, querce, olmi","Riserva Mondiale della Biosfera Unesco del Monte Peglia","La Riserva Naturale del Monte Peglia si trova nel ternano, racchiusa tra i bacini fluviali del fiume Tevere, che lo delimita ad est, e del fiume Peglia, a ovest.A nord, le colline su cui crescono i boschi rigogliosi che caratterizzano la Riserva si estendono in direzione dellâarea del Lago Trasimeno, mentre a sud si possono trovare rilievi di altezza maggiore, tra i quali spicca il Monte Peglia.
\r\n\r\nLâintera Riserva, compresa nei quattro comuni di San Venanzo, Orvieto, Parrano e Ficulle, non ha mai conosciuto il forte incremento demografico di altri centri della Regione: le località e i piccoli borghi che ne punteggiano i 40 mila ettari non hanno mai sfruttato intensamente le risorse del territorio, conservando la grande varietà di flora che abita i boschi della zona, da secoli rimasta pressoché intatta. Lecci, cerri, querce e aceri, insieme a molte altre specie arboree, come il cerro e il carpino nero, che si consociano a specie arbustive, quali lâerica arborea e il corbezzolo, costituiscono un piccolo polmone verde nel âcuore verde dâItaliaâ. Nel comprensorio si osservano attualmente 44 specie di mammiferi selvatici.
\r\n\r\nSul Monte Peglia si trovano giacimenti preistorici risalenti a più di 700.000 anni fa, e i vulcani spenti di San Venanzo, sorto sul crinale di uno di essi, dove è possibile osservare lâassociazione di rocce rarissime, presenti solo a Quing Ling in Cina, a Bunyaruguru, Katwe Kykorongo in Uganda e a Mata de Corda in Brasile.
\r\nNon che lâattività umana sia stata completamente assente: di particolare interesse per chiunque voglia esplorare la zona, oltre ai percorsi aperti e segnati più recentemente, è lâantico sentiero che dal piccolo borgo di Poggio Aquilone si inoltra nella Riserva per raggiungere Parrano e le sorgenti termali delle âTane del Diavoloâ. Poco più a nord, gli appassionati di arte possono invece visitare la Scarzuola, dove a partire da un convento duecentesco lâartista milanese Tommaso Buzzi ideò e costruì la sua visionaria âCittà Idealeâ.
\r\nLa percezione che si ha camminando tra questi boschi, o esplorando lo stile di vita âlentoâ dei centri più o meno grandi della zona, come Ficulle, Montegiove col suo castello o Orvieto, âcittà slowâ per eccellenza, è quella di un equilibrio unico tra uomo e natura. Proprio questo rapporto virtuoso ha fatto guadagnare a questo territorio il suo status di Riserva della Biosfera Unesco, nellâambito del Programma âMAB-Man and Biosphereâ.
Per informazioni:
\r\nwww.montepegliaperunesco.it
It takes its name from Congiuntoli (conjunction). The Apennine scenery accompanies the path linking the interesting Sitria Abbey and that of Fonte Avellana. The complex, in white stone, looks like an elegant building made up of the church and the monastery. The church has a rectangular plan with two aisles of different widths, separated by a row of massive octagonal columns supporting round arches. The presbytery is slightly raised above the nave, giving the church the appearance of a hall, very common in buildings of preaching orders; this made visible both the officiating of sacred rites and the figure of the preacher, who, with his voice and gestures, was to guide the faithful.
\r\n\r\nThe gabled façade has the eaves decorated with a series of stone corbels. Lancet windows illuminate the naves.
\r\n\r\nOf the building remains, in addition to the church, there are a series of monastic rooms with vaulted ceilings currently used as dwellings and rural outbuildings, part of the cloister with a porch covered by cross vaults and a tower that was probably used to defend the complex.
\r\n\r\nThe church was probably built in 1286, a date carved on a plaque inside the church, transforming a previous chapel (1201): the apse was demolished and put in communication with the present church.
\r\n\r\nThe separation into two naves of different sizes is probably motivated by the desire to reserve the larger one for the monks living in the abbey, through a door that leads to the internal rooms of the abbey complex; the smaller one, which is accessed from the outside, to the few inhabitants of the area.
","Scheggia e Pascelupo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=1454334685707",43.4153882,12.702021800000011,"Scheggia e Pascelupo",54046,"","Scheggia e Pascelupo","6027","[ ]",""], [352,"Attrattore","en_US",27980930,"93915","https://www.umbriatourism.it/web/umbria/-/abbazia-di-santa-maria-di-sitria","Abbazia di Santa Maria di Sitria","Context: mountainsCurrently the building has a Latin immissa crux plan (\"T\"), with a single nave. The presbytery is strongly raised and the semicircular apse completes the building. At the right side of the transept, raised to make room for the crypt below, opens a space for the sacristy and a hall with a barrel vault. The church was built entirely of hewn stone. The nave roof consists of an arched barrel vault, resting on a shelf that runs along the outer walls; the apse, with a small central slot, has a bowl-shaped cover (there are traces of an eighteenth-century fresco). Inside is an admirable 13th c. altar made of travertine, shaped as a stone supported by 14 slender columns connected by arches. The crypt, which is accessible by a narrow staircase at the base of the transept, is composed of a small room with an apse. The vaulted roof rests on single monolithic columns with Corinthian capitals (sixth century), probably coming from nearby buildings. The old hermitage, of which no trace remains, consisted of small stone and wooden cells.
\r\n\r\nAccording to historian Iacobilli, the abbey was founded in 1017 by San Romualdo who spent the last years of his life in complete seclusion. Over time, the abbey grew by absorbing many churches, but in the fourteenth century it began a slow decline until (1450) was given commendation by Pope Nicholas V. The abbots carried out restoration in the 16th century and were there until 1810 when Pope Gregory XVI gave them to the nearby monastery of Fonte Avellana. In 1861 the abbey's assets were suppressed by the Italian government that committed them to private parties; the church became a farmhouse and the baptismal font was transferred to the church in Isola Fossara. Then the Abbey was returned to the monks of Fonte Avellana who proceeded to restore it in 1972.
","Scheggia e Pascelupo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=1454334685707",43.4153882,12.702021800000011,"Scheggia e Pascelupo",54046,"","Scheggia e Pascelupo","6027","[ ]",""], [353,"Attrattore","en_US",27981200,"93915","https://www.umbriatourism.it/web/umbria/-/eremo-di-san-girolamo-di-monte-cucco","Eremo di San Girolamo","The hermitage of San Girolamo is situated on the eastern side of Mount Cucco and is accessible along the scenic road that connects Scheggia with Sassoferrato, crossing the Corno Gorge.","","","The hermitage of San Girolamo is situated on the eastern side of Mount Cucco and is accessible along the scenic road that connects Scheggia with Sassoferrato, crossing the Corno Gorge. The hermitage appears at the end of an ascending road, gainst a backdrop of a beautiful natural landscape with a steep rock face. The primitive Church, dating back the 11th century, is formed of three large stone constructions with vaulted ceilings and a high central tower; the internal elements and windows, made of stone, clearly reveal the Romanesque style. Small caves at the base of the steep wall were the old cells. A narrow path connects the monastery, built around the fourteenth century on a spur overlooking the valley of the Rio Freddo. Tradition says that St. Jerome took refuge here around the year 1000, to escape persecution. San Domenico Loricato probably retired here in prayer, until his death in 1060. At the end of the thirteenth century it was chosen as a retreat by Blessed Thomas of Costacciaro, who lived in solitude, perhaps for more than 40 years. In 1521 this was officially designated as a hermitage, thanks to the work of the Blessed Paolo Giustiniani with the permission of Leo X. It grew to become one of the first monasteries of the Camaldolese Congregation of Monte Corona. From then until the early nineteenth century, it was an important cultural center, with a pharmacy, garden and library, and then began to decay slowly until its final closure in 1925 by order of Pope Pius XI. The state of neglect persisted until 1981, when restoration work began. In 1992 the hermitage was reopened by the Camaldolesi hermits. ","Scheggia e Pascelupo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=1454334685707",43.4153882,12.702021800000011,"Scheggia e Pascelupo",54046,"06027","Scheggia e Pascelupo","","[ ]",""], [357,"Attrattore","en_US",2734807,"90422","https://www.umbriatourism.it/web/umbria/-/rocca-monaldi","Rocca Monaldi","Rocca Monaldi stands secluded in the vicinity of Magione, surrounded by thick vegetation.Setting: Isolated in an agricultural setting
\r\nDating: 14th Century
\r\nOwnership: Private
Rocca Monaldi stands secluded in the vicinity of Magione, surrounded by thick vegetation.
\r\nIt was probably built in the 14th Century and over time, underwent some changes to make it more suitable for residential use.
\r\n
The museum is housed in the former residence of the Podesta: today it retains the massive Civic tower of the thirteenth-century to which the Baroque lantern was added at the top. The museum was created to recover the migratory experience memory and to tell the story of people leaving very distant lands to provide the world with their youth, labor, trade and culture. The exhibits include voices, sounds, images, documents and objects.
\r\n\r\nThe Museum of Emigration of Gualdo Tadino, named in honor of Pietro Conti, the first president of the Umbria Region, is also the first in Italy entirely devoted to this subject. It has a unique collection providing documentary materials on Italian emigration from the end of the nineteenth century up to the 1960s and issues many publications.
\r\n\r\nThe museum is also a research center that deals with Umbrian emigration research. It plays the role as a teaching laboratory and many schools partecipate in this project. The documentation center also includes a multimedia library with videos, documents and news reports, ordered and catalogued; the Italian national broadcast network RAI has contributed to the implementation of this by providing duplicated materials and donating everything it has about the topic to the museum. Some other foreign television channels have also made similar donations, helping the museum to gather as much material as possible to build it into a national audiovisual reference center. The library collects all the texts and volumes related to migration, with particular regard for Italian migration abroad.
\r\n\r\nThe museum is arranged in reverse: arrival, journey and departure. The first section takes the visitor immediately into the lives of immigrants abroad: the community, food, religion, employment, with particular regard to the reconstruction of work in the iron mines and coal. The protagonist of the second section is the theme of travel: rare and moving images of transatlantic crossings, objects emerging from old cardboard suitcases and antique chests, bell sounds that tell valuable evidence of travel difficult and dangerous aboard slow and overcrowded vessels. And, finally, the third area, dedicated to the departure and the reasons that motivated millions of Italians to emigrate to foreign lands: the difficulties of integration, the production of many documents to prevent rejection at the border: identity cards with fingerprints, passports, certificates of good health.
\r\nThe extensive Scoppieto archaeology site just outside of Baschi is situated on a plateau overlooking the Tiber Valley, an area rich with clay deposits, blessed with water and fertile farmland.
","","Scoppieto Archaeological Area","The extensive Scoppieto archaeology site just outside of Baschi is situated on a plateau overlooking the Tiber Valley, an area rich with clay deposits, blessed with water and fertile farmland.
The site is at the entrance to an archaeological nature trail in the Tiber River Park and offers an overview of the settlements that grew up around the river, which served as a vital means of communication and, of course, transportation. A tour of the area complements a visit to Baschi's own Antiquarium (museum of antiquities), where relics uncovered during excavation are on display.
\r\n\r\nThe University of Perugia, which has been conducting excavations here since 1995, has uncovered the remains of a 4th century B.C.E. sanctuary where a ceramics factory was built in the late first century B.C.E. The factory was operative for about a century and made crockery known as terra sigillata (or sealed earth) after the name of the seal â sigillum â used to imprint decorative motifs on the ceramic objects. Aside from chalices, cups, plates and bowls with a smooth coral-red surface, they also manufactured lamps and bricks. The 2,000 m2 area that has been uncovered to date has revealed some potters' stations, each one with a basin for clay, a wheel and a brazier. Other processes were also done here, like purifying the clay and firing the finished items. The ceramics made by the craftsmen from Scoppieto bear their signatures and this has allowed scientists to trace a map of their distribution: they could be carried at very little cost by the Tiber River and then across the entire nearby Mediterranean basin. After the ceramics manufacturing activity ceased, the area became a residential zone until the 4th century C.E.
","Baschi | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=1423734069410",42.7234679,12.292881999999963,"Baschi",55007,"","","","[ ]",""], [363,"Attrattore","en_US",5393962,"90542","https://www.umbriatourism.it/web/umbria/-/antiquarium","Antiquarium - Baschi","The Antiquarium of Baschi preserves archaeological finds of the first century AD Roman kiln that was found in Scoppieto. The visit itinerary is organized in sections.","","Antiquarium - Baschi","The Antiquarium of Baschi preserves archaeological finds of the first century AD Roman kiln that was found in Scoppieto. The visit itinerary is organized in sections. With the aim of setting a stimulating environment full of ideas for educational activities, there are illustrated panels explaining the clay processing steps, maps with points of light to identify the location and scale models of the furnace and transport ships.Three festivals a year are celebrated there: Epiphany, the Sunday after Easter, and the last Sunday of May. The construction of the hermitage dates back to the eleventh century.
\r\n\r\nThe name Pasquarella comes from \"piccolo Pasqua\" (small Easter) or \"prima Pasqua\" (First Easter ) of the year, Epiphany. There are different legends about its origin: the most common one deals with the fact that some residents of Acqualoreto found the image of the Virgin Mary and carried it to the parish church. They had to do this several times because the image always returned on the gravel bed of the ditch.
\r\n\r\nOnly in 1873 Don Giuseppe Bernardi managed to reignite the devotion to Our Lady of Pasquarella. In 1880 he rebuilt the sacred building. In his book on the history of M. Virgin Pasquarella, Don Bernardi tells about a miraculous phenomenon: the sweat of the Madonna and Child. This kind of phenomenon repeated several times between 1890 and 1900, always on Epiphany, regardless of climate, rainfall, or who might be present to witness it.
\r\n\r\n[Fonte http://www.turismobaschi.it]
","Baschi | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=1423749275705",42.7276897,12.30756359999998,"Baschi",55007,"","","","[ ]",""], [365,"Attrattore","en_US",29006213,"90542 | 28208065","https://www.umbriatourism.it/web/umbria/-/museo-dell-ovo-pinto-a-civitella-del-lago","Museum of the Painted Egg in Civitella del Lago","An unusual museum exhibiting thousands of painted and sculpted eggs from the âPainted Egg National Exhibition-Competitionâ; founded in 1982 in Civitella del Lago from the bright idea of Anacleto Bernardini, president of a Youth Cultural Association.An unusual museum exhibiting thousands of painted and sculpted eggs from the âPainted Egg National Exhibition-Competitionâ; founded in 1982 in Civitella del Lago from the bright idea of Anacleto Bernardini, president of a Youth Cultural Association.
","Painted egg, Painted egg exhibition-contest, Baschi, Umbria, Umbria holiday, Umbria itineraries, Umbria travel","Museum of the Painted Egg in Civitella del Lago","An unusual museum exhibiting thousands of painted and sculpted eggs from the âPainted Egg National Exhibition-Competitionâ; founded in 1982 in Civitella del Lago from the bright idea of Anacleto Bernardini, president of a Youth Cultural Association.
Painting eggs during Eastertime is an ancient practice, widespread in Europe and also in central Italy. Eggs used to be painted using natural colours derived by infusions of flowers, herbs, onions and more.
\r\n\r\nThe Painted Egg National Exhibition-Competition has been organized every year from Easter to 1st May, since 1982. It is open to all, amaterur or professional, wishing express their creativity. Each year many artists try, during the different contests, to find new surprising and creative forms and techniques.
\r\n\r\nIn 2005 this original museum opened in Civitella del Lago, that exhibits thousands of painted or carved eggs from many different species.
For further information:
\r\n\r\nhttp://www.turismobaschi.it/
\r\nhttp://www.ovopinto.it/
","Baschi | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=1423734069410",42.7118251,12.281919199999948,"Baschi",55007,"","","","[ ]",""], [366,"Attrattore","en_US",3721050,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-della-santissima-trinita","Church of the Santissima Trinità - Avigliano Umbro","Situated in Avigliano Umbro, the Church of the Santissima Trinità is the parish church of the village. In the 17th century it was built as an integral part of the castle of the Vici family. The bishop of Todi Rodolfo consecrated the altar, as stated in a document.","","Church of the Santissima Trinità - Avigliano Umbro","Situated in Avigliano Umbro, the Church of the Santissima Trinità is the parish church of the village. In the 17th century it was built as an integral part of the castle of the Vici family. The bishop of Todi Rodolfo consecrated the altar, as stated in a document.
In the following centuries it was completely restored and unfortunately this restoration impoverished the pictorial decoration of the building. In fact, during the restoration many walls were whitewashed, and this caused the loss of many frescoes inside the church.
\r\n\r\nHowever, some works remained like the precious Madonna of the Rosary between St. John the Evangelist, St. Dominic, St. Catherine and St. Cecilia by Andrea Polinori. Some other frescoes remained depicting saints including Sant'Antonio Abate and a Conversion of St. Paul attributed to Bartholomeo Barbiani of Montepulciano and a 17th-century Madonna with Saints between Sant'Anthony of Padua and Santa Barbara.
\r\n\r\nAlso worth noting inside the church are a 14th-century silver and enamel cross and two paintings, also by Polinori, depicting the Deposition and San Lorenzo.
\r\n
After a brief period in which it belonged to the Casali family of Cortona, in 1479 it returned under the papal government, where it remained until, in 1861, it was joined to the Kingdom of Italy. It was also belonged to the Marquis of Sorbello. Today there remain a few ruins of the old castle that give evidence of its imposing size. The town was located here, before being transferred downstream. In Val di Rose, near the village of Crocicchie, is the St. Nicholas Church which houses an altarpiece by the School of Raphael from around 1515, painted by Eusebio di San Giorgio.
[www.lisciano.org] ","Lisciano Niccone | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.2472265,12.142029800000046,"Lisciano Niccone",54025,"","","","[ ]",""], [369,"Attrattore","en_US",21351196,"90454","https://www.umbriatourism.it/web/umbria/-/castello-di-reschio","The Castle of Reschio","It is located on the border of the territory of Perugia with Tuscany, in the town of Lisciano Niccone, on a hill about 3 km from the State of the Niccone Valley. It was built before 1000 and in 1200 it belonged to the Marquis del Monte.","","The Castle of Reschio","It is located on the border of the territory of Perugia with Tuscany, in the town of Lisciano Niccone, on a hill about 3 km from the State of the Niccone Valley. It was built before 1000 and in 1200 it belonged to the Marquis del Monte. It is told, in fact, that in 1202 Uguccione and Guido, sons of Marquis Raniero, granted and subjugated to Perugia, among others, the area of Reschio. In the Middle Ages it was long disputed by the lords of Perugia, Florence and Città di Castello for its strategic position. It is in a good state of conservation and still, after the repeated renovations it has been subjected to, maintains its Renaissance characteristics. Inside is the parish church of Reschio dedicated to St. Michael the Archangel, which since the fourteenth century depends on the priority church of Preggio.\r\n[www.lisciano.org] ","Lisciano Niccone | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.2472265,12.142029800000046,"Lisciano Niccone",54025,"","","","[ ]",""], [370,"Attrattore","en_US",21351275,"90454","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicolo-lisciano-niccone","Church of St. Nicholas - Lisciano Niccone","The Church of St. Nicholas is located in Val di Rose, of the hamlet of Crocicchie near the town of Lisciano Niccone.","","Church of St. Nicholas - Lisciano Niccone","The Church of St. Nicholas is located in Val di Rose, of the hamlet of Crocicchie near the town of Lisciano Niccone. With masonry walls, plastered interior and with exposed stone externally, the church has a rectangular plan, with two side entrances that lead into the sacristy. Inside it houses an altarpiece painted around 1515 by Eusebius di Jacopo di Cristoforo, called Sangiorgio, a pupil of Raphael, depicting the Madonna and Child enthroned between St. Nicholas of Bari, St. Romuald, the Bucarello blessed and St Francesca Romana. ","Lisciano Niccone | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.2472265,12.142029800000046,"Lisciano Niccone",54025,"","","","[ ]",""], [371,"Attrattore","en_US",3237613,"93915","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-nuova","Church of Santa Maria Nuova","The Church of Santa Maria Nuova is located in the historical centre of Gubbio in the Sant'Andrea quarter, at the juncture of Via Savelli della Porta and Via Nelli.","","Chiesa di Santa Maria Nuova","The Church of Santa Maria Nuova is located in the historical centre of Gubbio in the Sant'Andrea quarter, at the juncture of Via Savelli della Porta and Via Nelli.
The church is well worth a visit for the utter simplicity of its exterior, a stone façade in which there is an asymmetric trefoil entranceway, and for such fine works of art it houses, such as the Madonna del Belvedere by Ottaviano Nelli.
\r\n\r\nConstructed between 1270 and 1280, this church boasts a simple stone façade with an asymmetrical trefoil doorway.
\r\nThe single-nave church was drastically altered in the 17th century when all of the art decorating the walls was plastered over.
The only bit that remained exposed was the Madonna del Bevedere by Ottaviano Nelli (15th century), an image much venerated by the local inhabitants and enclosed in a niche.
\r\nFrescoes depicting the Annunciation, Crucifixion, Saints and two majesties were eventually uncovered on the counter-façade. Along the right wall is a fresco portraying Christ on the Cross, a Blessing Christ, and a Madonna Enthroned with Child.
\r\nSanta Maria Nuova is also interesting for its fine wooden furnishings. There is, for example a 16th century gilded altar from the Church of Sant'Agostino. Another noteworthy piece is the coffin containing the body of St. Ubaldo, which was entirely embellished with images of Saints James and Mariano by Maestro Espressionista di Santa Chiara (16th century).
You can easily reach the historical centre of town leaving your car at the Piazza 40 Martiri parking lot, using the elevators and the daily shuttle service.
","Gubbio | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=1454334869586",43.3503009,12.582640900000001,"Gubbio",54024,"","","","[ ]",""], [375,"Attrattore","en_US",19630,"93915","https://www.umbriatourism.it/web/umbria/-/festa-dei-ceri","The Festa dei Ceri in Gubbio","The Festa dei Ceri - a folk, secular and religious event that involves all of Umbria
","Race, ceri, feast, ceraioli, sant'Ubaldo, San Giorgio, Sant'Andrea, Gubbio, lift, May","","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.For tourist information
\r\n
The abbey of Vallingegno lies atop a hill a few miles from Gubbio, enshrined in the beautiful nature of the Umbrian countryside.
","","","The abbey of Vallingegno lies atop a hill a few miles from Gubbio, enshrined in the beautiful nature of the Umbrian countryside.
\r\n\r\nThe exact date of its founding is unknown, but the abbey is mentioned in the Legenda Sancti Verecundi which dates from the 7th century and tells of the martyrdom of a young knight who converted to the Christian faith.
\r\n\r\nThe abbey, which possibly originated as a temple to the Pagan god Genio â hence the Latin name Vallis Genii â was occupied by Benedictine monks for nearly four centuries, and remained a flourishing centre until the time of its suppression, around 1442.
\r\n\r\nThe current complex is composed of the church, the monastery, and a brickwork bell-gable.
\r\n\r\nThe interior of the single-nave church still preserves traces of the preceding structures, particularly in the square-plan crypt which holds some column capitals sculpted in styles which date from before the 11th century. The crypt's groin-vault ceiling is reinforced by a central pillar.
\r\n\r\nMany episodes from the life of Saint Francis are connected to the abbey. The saint's biographers tell of how Francis sought refuge here after having been attacked near Caprignone; the prior, however, did not receive him well, and the saint was charged with lowly housekeeping tasks. Years later, the abbey's prior went back to Francis to beg for his forgiveness; from then on, during his frequent pilgrimages to La Verna, Francis was often hosted at Vallingegno.
\r\n\r\nIt is also said that in the monastery's stables, Saint Francis was moved by the death of a small lamb who'd been killed by the bite of a cruel sow, and cursed the animal, who died after three days of agony.
","Places of culture","","https://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=1423733539459",43.3513193,12.575316599999951,"Gubbio",54024,"","Vallingegno","6024","[ ]",""], [380,"Attrattore","en_US",10537457,"","https://www.umbriatourism.it/web/umbria/-/basilica-di-sant-ubaldo","Basilica di Sant'Ubaldo â Basilica of Sant'Ubaldo","Built at the top of steep Monte Ingino, at whose foot is the town of Gubbio, the building holds the bronze urn containing the ashes of the town's patron saint, Sant'Ubaldo. ","","Basilica di Sant'Ubaldo â Basilica of Sant'Ubaldo","Built at the top of steep Monte Ingino, at whose foot is the town of Gubbio, the building holds the bronze urn containing the ashes of the town's patron saint, Sant'Ubaldo.The basilica is also famous for being the finishing-point of the famous \"Corsa dei Ceri\", a celebration which has ancient origins, which takes place every year (on 15th May) and involves all of the town's inhabitants, for the glorification of Sant'Ubaldo.
\r\n\r\nBuilt on pre-existing medieval structures, the basilica was enlarged at the beginning of the 16th century, the period when the convent and cloister were also built. The simplicity of the exterior is in stark contrast to the richly decorated interior, which has five naves and a semi-circular apse.The church, decorated with frescoes from between the 16th and 18th centuries, is entered from the cloister, which itself has sixteenth-century frescoes attributed to Pier Angelo Basili, depicting scenes from the life of Sant'Ubaldo.
","Gubbio | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=1423733539459",43.3513193,12.575316599999951,"Gubbio",54024,"","","","[ ]",""], [381,"Attrattore","en_US",5429195,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-infraportas","Church of St. Mary Infraportas","The Church of St. Mary Infraportas overlooks the western side of St. Domenico square in Foligno´s historic centre. ","","Church of St. Mary Infraportas","The Church of St. Mary Infraportas overlooks the western side of St. Domenico square in Foligno´s historic centre.The church, around which rose the city cemetery, was placed along the route of the Via Flaminia and it was one of four religious structures built in a square at a mile distant from the tomb of St. Feliciano, within the Duomo of Foligno.
\r\nOf early Christian origin, it was largely rebuilt after the earthquake of 1832. The interior, with a nave and side aisles, presents a rich votive decoration and some family chapels of the 15th century entirely decorated with wall paintings such as, for example, the Trinci Chapel of the Crucifixion and stories of St. Thomas, considered the oldest art work by Niccolò di Liberatore, known as L'Alunno (1456).
Piazza Grande in Gubbio, among the most enchanting medieval urban designs, was built starting from 1321: it was executed in the cityâs epicentre, through imposing renovation works of the structures supporting the balcony space and the buildings, which appear slightly oversized compared to their setting.
","","Piazza Grande - Gubbio","Piazza Grande in Gubbio, among the most enchanting medieval urban designs, was built starting from 1321: it was executed in the cityâs epicentre, through imposing renovation works of the structures supporting the balcony space and the buildings, which appear slightly oversized compared to their setting.
The bulk of Consoli Palace, the only completed building, rises and dominates the skyline from any point of view and relates with the âPlatea Communis\" housing the Cathedral.
\r\n\r\nThe space is highly scenic and is oriented towards the countryside thanks to the panoramic terrace.
\r\n\r\nThe end of communal autonomyi with the arrival of the Gabrielli Dominion (1350) also marks the interruption of building works: the Pretorio Palace remains incomplete whereas the squareâs buildings were completed only in 1482.
\r\n\r\nConsuls Palace and the Civic Museum
\r\n\r\nThe Consuls Palace was built between 1332 and 1349 according to a design by Angelo from Orvieto with the contribution of Matteo di Giovannello, called the Gattapone.
\r\n\r\nThis rectangular shaped building has a high Gothic momentum accentuated with vertical pilasters dividing the front in three distinct parts.
\r\n\r\nIts halls have been hosting the Civic Museum collections since 1909.
\r\n\r\nThe Museum collection has been set up on different floors and illustrates local history and culture, from the prehistory to the 20th century. The Iguvine Tablets are of absolute importance; these seven bronze slabs record the main existing text written in the ancient Umbrian language and the longest description of ancient religious rites ever given by the Western World.
\r\n\r\nThe Tablets represent the heart of one of the richest Umbrian archaeological collections with finds dating back to the Umbrian and Roman age.
\r\n\r\nThe so-called Hall of Loggetta hosts the ceramics section, ranging from the archaic majolica (14th century) to 19th century artefacts.
\r\n\r\nOn the upper floor houses the Municipal Picture Gallery that illustrates the local artistic culture from Middle Ages to Baroque.
\r\n\r\nPalazzo Pretorio
\r\n\r\nIn front of the Consuls Palace is the incomplete Gothic architecture of Palazzo Pretorio (1349), modified in 1475 and again in 1600, originally made up of three wide overlapped halls, each of whom covered with cross vaults resting on a single central pillar; it was enlarged in 1800 and is now the municipal seat.
\r\n\r\nTo the left, the square is closed on the North-East side by the neoclassical Ranghiasci-Brancaleoni palace combining pre-existing buildings according to English models.
","Gubbio | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=1454334869586",43.3513193,12.575316599999951,"Gubbio",54024,"","","","[ ]",""], [389,"Attrattore","en_US",5429457,"90422","https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-dei-bagni","Santuario della Madonna dei Bagni","Not far from the center of Deruta is this shrine, built in 1687 on the site of a miraculous event. It is so named because it stands stands on Colle del Bagno (Bath Hill).
","","Santuario della Madonna dei Bagni","Not far from the center of Deruta is this shrine, built in 1687 on the site of a miraculous event. It is so named because it stands stands on Colle del Bagno (Bath Hill).According to tradition an earthenware fragment with the image of the Virgin and Child was found here. Fixed on the trunk of an oak tree, the image became an object of veneration, and after the first miracle, became an important destination for many sufferers who flocked here to ask for help, and leaving their votive on the tree.
\r\nBy building the sanctuary, which incorporated the oak with the miraculous effigy, Deruta potters gave start to the production of votive offerings for the use by the faithful.
\r\nOver three centuries, more than seven hundred tiles have accumulated, representing significant evidence of religious and local customs, as well as technical and stylistic evolution of majolica of Deruta.
Different locations between Umbria and Lazio claim its exact location, nevertheless according to a series of tests carried out by Giuseppe Angeletti, scholar and passionate geographer of Perugia, and the Military Geographic Institute of Florence, the Geographical Centre of Mainland Italy would be placed along the itinerary of the Formina Roman aqueduct, next to the Cardona bridge, one of the most enchanting Roman bridges of Narni.
","The Geographical Centre of Mainland Italy - Cardona Bridge","","Where is the centre of Italy located?
Different locations among Umbria and Lazio claim its exact location, nevertheless according to a series of tests carried out by Giuseppe Angeletti, scholar and passionate geographer of Perugia, and the Military Geographic Institute of Florence, the Geographical Centre of Mainland Italy would be placed along the itinerary of the Formina Roman aqueduct, next to the Cardona bridge, one of the most enchanting Roman bridges of Narni.
\r\n\r\nThe place is currently marked by a memorial stone with a spiral-shaped relief ending in a steel element, allowing the visitor to physically touch this ideal and highly symbolic point.
\r\n\r\nCardona Bridge
\r\n\r\nThe Bridge is located in the Montello area, reached by a pathway flanked by great oaks and holm oaks.
\r\n\r\nThis is a Roman bridge built as a square with travertine ashlars.
\r\n\r\nIt is a slightly elevated single round arch and it preserves the piers and part of the shoulders of the original structure.
\r\n\r\nA 2000-year old architecture emerges from a thicket of spontaneous and strong vegetation, in order to remind us that man and nature can perfectly agree.
For further information:
\r\n\r\n ","Narni | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.5176022,12.515629900000022,"Narni",55022,"","","","[ ]",""], [393,"Attrattore","en_US",124816,"","https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-cassiano","The Abbey of San Cassiano","The abbey is located near to the town of Narni, on the steep slopes of Monte Santa Croce. ","Narni, Umbria, benedettini, San benedetto","The Abbey of San Cassiano","The abbey is located near to the town of Narni, on the steep slopes of Monte Santa Croce. It is in an unusual position for this type of building.
\r\n\r\nThe church is in the shape of a Greek cross. The inside is divided into three naves by arches resting on columns, which are crowned by capitals that become cruciform pillars where they meet the arms of the building. The roof is made from wooden trusses and is a reproduction of the original one.
\r\n\r\nThe facade is located at the top of a steep flight of steps and is set across four slopes, with a round and splayed portal (oblique-cut wall) which has a frescoed lunette and a large ring made of local stone. In the top of the building there is a mullioned window with elegant columns and three small oculi.
\r\n\r\nThe square-shaped bell tower was rebuilt on top of an ancient tower placed at the side of the church and is lightened by a series of elegant windows with stone columns. There is a partially walled monastery in the area surrounding the church (probably dating back to the 15th century).
\r\n\r\nThe abbey was founded by Benedictine monks and the first records relating to the monastery date back to 1091 and are referenced in the historical work known as Chronicon farfense. The date 1334 can be seen written on the walls of the monastery, the year in which structural work was carried out on the church, which culminated in the creation of the portal and the monastery bell tower.
\r\n\r\nThese structural works are proof of the abbey's importance during the 14th century up until 1532 when it became an ecclesiastical benefice. However, the neglect by those who had taken over the property led to the abbey's subsequent decline and its later abandonment by the monks. The property was eventually sold in 1849 to private individuals.
\r\n\r\nThe profound state of neglect in which the abbey found itself, which had led to both furniture and documents found inside the building being ruined, was brought to an end in the 1970s thanks to restoration work paid for by the Italian government. During the work restorers were able to see the primitive Greek cross plan which had been transformed into a basilica plan with three naves during structural work carried out in the 14th century. Today the abbey is once again a residence for Benedictine monks.
\r\n\r\n\r\n\r\n
Bibliography
\r\n\r\nSantini L. (1998), Guida di Terni e del ternano, Ponte S. Giovanni (PG), Quattroemme
\r\nSperandio B. (2001), Chiese romaniche in Umbria, Ponte S. Giovanni (PG), Quattroemme
The Roman aqueduct known as Formina is an extensive network of narrow tunnels and galleries built at the behest of Emperor Tiberius in the first century C.E. and carried water to the town of Narni and all of the surrounding area for many centuries.
","","THE FORMINA AQUEDUCT","The Roman aqueduct known as Formina is an extensive network of narrow tunnels and galleries built at the behest of Emperor Tiberius in the first century C.E. and which carried water to the town of Narni and all of the surrounding area for many centuries.
It was still in use until 1924, and is some 13 km long with a perfectly constant slope. Part of it was made of brick while other parts are tunnels carved into the mountains. It follows the slope of the hills, goes through three mountains with as many tunnels and then over bridges to cross to the other side of various rivers. It is fed by six sources and goes from Sant'Urbano, through the old city and then into a large basin from which it is distributed where needed.
\r\n\r\nThe Cardona Bridge, which is along its path, has been declared the Centre of Italy by the Military Geographical Institute as it is equidistant from the north and south, and the east and west of the country.
\r\n\r\nThe Formina aqueduct can be explored along a 700 m long tunnel with an average width of from 45 to 50 cm and height of from 170 to 120 cm. Its ceiling is graced with snow-white stalactites and it ends in an 18 m deep well carved into the stone earth from where, via a steep spiral staircase, one resurfaces.
","Narni | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.5176022,12.515629900000022,"Narni",55022,"","","","[ ]",""], [395,"Attrattore","en_US",27868501,"93915","https://www.umbriatourism.it/web/umbria/-/cattedrale-dei-santi-mariano-e-giacomo-gubbio","The Cathedral of St. Mariano and Giacomo â Gubbio","The Cathedral, devoted to St. Mariano and Giacomo, was built at the foot of Mount Ingino over a Romanesque church, whose remains can be seen on the right side of the façade, and dates back to the 13th and 14th centuries.","","","The Cathedral, devoted to St. Mariano and Giacomo, was built at the foot of Mount Ingino over a Romanesque church, whose remains can be seen on the right side of the façade, and dates back to the 13th and 14th centuries.The pointed portal is surmounted by a large circular window decorated by an elegant band with foliage and surrounded by the symbols of Evangelists and by the mystical Lamb. The interior, mainly in Gothic style, has an single nave in a Latin cross shape, supported by ten big ogival traverse arches. The church is rich with paintings made by artists from Gubbio of the 16th century (Nucci, Basili) but also some from further away (Sinibaldi Ibi, Giuliano Presutti, Dono Doni).
\r\n\r\nThere is a very significant Baroque chapel that opens up in the middle of the right wall: it contains frescoes by Allegrini and a canvas (the Birth of the Virgin) by Gherardi.
\r\nTo the left of the main altar there is the Seat of Magistrates, with false inlays by Benedetto Nucci. The choir hosts the Episcopal seat, carved at around the middle of 16th century. The late antique sarcophagus below the major altar contains the relics of St. Giacomo and Mariano, titulars of the Church. The walls still bear traces of frescoes from the 14th and 15th centuries. The wall paintings of the apse, of the triumphal arch and of the left-side chapels are artworks by Augusto Stoppoloni (1916-18).
\r\nSource: http://gubbio.infoaltaumbria.it
Seat of the highest political authority of the town, the Palace was decorated over the years by the best artists.
","palazzo dei priori, perugia, umbria, vacanze perugia, centro storico, vacanze umbria, monumenti, galleria nazionale dell'umbria","Palazzo dei Priori - Perugia","Seat of the highest political authority of the town, the Palace was decorated over the years by the best artists.The first construction nucleus was built in the 1370s. Starting from the last decade of the 1200, the palatium novum populi, new palace of the people, developed around an architectural complex of private property. Its execution would have occurred in subsequent phases, resulting in an architecture with an irregular plan, rich with asymmetries and movement. A first nucleus of the palace, executed between 1293 and 1297, is made up of the three three-light windows on the second floor and the portal on the side overlooking the square, beyond the ten three-light windows opening in corso Vannucci.
\r\n\r\nDuring a first extension (1333-1337) two three-lights windows were added on the piazza-side façade, flanking the portal and the stairway (originally not fan-shaped), the work of Ambrogio Maitani (the semicircular stairway dates back to 1902) .
\r\n\r\nSubsequently the volume on the right was built embedding the pre-existing church of St. Severo in the square, by putting in front of it a porch with irregular arches. In 1353 the palace reached the current via dei Priori. In the following century it was further extended and, bypassing via dei Priori with an arch, also encompassed a medieval tower. A further extension was executed between 1429 and 1443.
\r\n\r\nIf you climb the stairway from the piazza, then bypass the ogival portal, surmounted by two copies of the 1200 bronze Griffon and Lion, symbols of the city (the originals are preserved inside the Palace), you can enter into the Notari Hall. Originally hall of the popular assemblies, the rectangular space, with a vault supported by eight Romanesque arches, is entirely decorated with frescoes depicting legends, tales and biblical stories dating back to the last decade of 1200, maybe artwork of the Master of Farneto and of the Expressionist Master of St. Claire, beyond that with emblems of podestà and Captains of the People who ruled the town.
\r\n\r\nThe façade on the main street presents, beyond the series of three-light and four-light windows, that lighten the horizontal sense of the wall mass, a richly carved portal, dating from the 14th century, flanked with pillars supported by lions: the allegories of Magnanimity, Fertility and Pride are depicted on the left pillar. On the right pillar are Avarice, Abundance and Humility. The pillars are surmounted by two griffons subduing some calves, symbol of the art of butchers, who commissioned the artwork, whereas in the arch there are scenes of the lfe of man.
\r\n\r\nIn the bezel there are copies (the originals are in the Umbria National Gallery) of statues depicting St. Ludovico from Tolosa, St. Lawrence and St. Ercolano. On the first floor of the Palace, seat of the municipal administration, there are different mural paintings including those worthy of note of Bernardino Pinturicchio in the Council Room. On the third floor, seat of the Umbrian National Gallery, there is the Priori Chapel, frescoed by Benedetto Bonfigli with Stories of the Life of St. Ludovico from Tolosa and St. Ercolano (1454-1480).
\r\n\r\nIn the same building, along corso Vannucci, are the College of Cambio, seat of the exchange corporation, preserving precious frescoes executed among 1498 and 1500 by Pietro Vannucci, called Perugino, one of the highest examples of the Italian Renaissance Art, and the College of Mercanzia, that is of merchants, with elegant fittings in carved walnut and poplar probably made by artists from beyond the Alps.
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [402,"Attrattore","en_US",23960096,"90422 | 15726642 | 43534959","https://www.umbriatourism.it/web/umbria/-/post-perugia-officina-scienza-tecnologia","POST - Perugia Science and Technology Workshop","The POST Science Centre is the interactive scientific museum of the Perugia Municipality and Province and it is the Region's main popular science museum.
","","POST - Perugia Science and Technology Workshop","The POST Science Centre is the interactive scientific museum of the Perugia Municipality and Province and it is the Region's main popular science museum.
It is located in Perugia, in the immediate vicinity of the Etruscan Arch and of the Grimana Square, where the University for Foreigners has its main building.
\r\n\r\nIt represents the reference point in Umbria to explore the universe of scientific culture, installed in pleasant and lively exhibition spaces where people of all ages can approach the methods and objects of science.
\r\n\r\nThe staff includes a group experienced in Teaching of Science to provide ongoing support during visits, inspiring and facilitating the understanding of scientific subjects.
\r\n\r\nThe museum, launched in 2003, is divided into three main sections.
\r\n\r\nThe first one (Exhibit Area) hosts 17 interactive installations. Here visitors can experience first hand some natural phenomena (sound, light, colours and many other phenomena connected with waves) and develop experiences linked to optical and acoustic illusions.
\r\n\r\nAnother section (Photo Gallery) is devoted to temporary exhibitions on highly current themes so to inform adults and kids on the new frontiers of science, through interactive exhibitions, supporting texts and spectacular images.
\r\n\r\nLastly, the classroom for activities invites visitors to explore the different aspects presented in the other museum sections, autonomously with the help of various tools.
\r\n\r\nThe POST informs, educates and provides a guide for visitors of all ages interested in scientific and technological topics, with a rich schedule of activities: interactive exhibitions and laboratories, educational activities, classes and experimental meetings about current scientific developments for an adult audience who loves science, exhibitions and events, such as the Scientific Aperitifs and the summer appointments, addressed to people interested in science and technological applications.
\r\n\r\nOn Sunday afternoons (consult the schedule) the \"workshop of young scientists\" are waiting for children from 3 to 11 years old.
\r\n\r\nAnd apart from that, children from 3 to 11 years old who are curious about science can have their Birthday parties here, with expert edu-tainers and fun workshops! Older children, aged 6 to 11, can choose among stellar birthdays, pirate raids, smoke signals, horrible junk, Jurassic Post, phantasmagorical insects, Detective Holmes and Science Magic. Children from 3 to 5 years old can celebrate with dragons and princesses or dogs versus cats.
For further information:
\r\n\r\n\r\n\r\n+39 075 5736501
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [404,"Attrattore","en_US",3180933,"90422","https://www.umbriatourism.it/web/umbria/-/rocca-paolina","The Rocca Paolina","The Rocca Paolina, or Paolina Fortress, is right in the historical centre of Perugia and one can enter via a door at Porta Marzia or the escalator system that connects Piazza Italia with Piazza Partigiani.
","architettura ; underground ; Perugia storia; papato; architettura militare","The Rocca Paolina","The Rocca Paolina, or Paolina Fortress, is right in the historical centre of Perugia and one can enter via a door at Porta Marzia or the escalator system that connects Piazza Italia with Piazza Partigiani.
A symbol of Papal power, it was built at the behest of Pope Paul III Farnese (1540 -1543) who was victorious in the Salt War that the Perugini had waged against him. The fortress was designed by Antonio da Sangallo the Younger, the most celebrated military architect of his times, and called for the destruction of what was then a quarter of the city that included the homes of the powerful Baglioni family. The fortresses was composed of two separate forts: an upper one on Landone hill, and a lower one on the plains known as Tenaglia, connected to the former via three fortified footpaths.
\r\n\r\nThe Perugini always hated them and right after the annexation of Perugia to the Kingdom of Italy in 1860, the above-ground parts of the structures were razed.
\r\n\r\nThe underground Rocca Paolina is open to the public during the same hours as the escalators that connect Piazza Partigiani to Piazza Italia, that is, every day from 6:15 a.m. to 1:45 a.m. Some of the rooms within the fortress are now home to exhibition centres (like the CERP, the Rocca Paolina Exhibition Centre), used during exhibits and events, and the Rocca Paolina Museum, which traces some of the history of this magnificent old landmark.
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.10862909999999,12.38766510000005,"Perugia",54039,"","","","[ ]",""], [405,"Attrattore","en_US",3237467,"90422","https://www.umbriatourism.it/web/umbria/-/acquedotto-duecentesco","Thirteenth-century Aqueduct","The acqueduct runs about 5 km, from Mount Pacciano to the Maggiore fountain in the historic centre of Perugia.","Perugia, Fontana Maggiore, Acquedotto medievale, Cultura, vacanze in Umbria","","The acqueduct runs about 5 km, from Mount Pacciano to the Maggiore fountain in the historic centre of Perugia.As it wasâ¦
\r\n\r\nBuilt between 1254 and 1277 to supply the historic centre of Perugia with water, it fell into disuse after a long series of maintenance and structural problems at the end of the 19th century.
\r\n\r\nWhy visit it
\r\n\r\nTogether with the Maggiore fountain it is one of Perugiaâs most significant monuments.
\r\n\r\nThere are essentially two parts that can be visited and seen: the beginning, near Monte Pacciano and the end, near the University for Foreigners, Porta Conca area.
\r\n\r\nDescription
\r\n\r\nIn the historical centre, the characteristic via dellâAcquedotto takes advantage of the upper part of the monument which, with the addition of parapets, became a pedestrian path; the road has linked the Borgo Sant'Angelo neighbourhood to the historic centre of Perugia since the first half of the 19th century.
\r\n\r\nNear Mount Pacciano, there are the conservoni, ancient cisterns where water was collected, the caretaker's house and a small church.
\r\n\r\nThe problem of the preservation of the entire work had already arisen during its construction, so the guardians were appointed to prevent similar thefts. Once the work was completed, near the cistern of Mount Pacciano, a small house was built with an adjacent church, where hermits settled and became, in fact, the real guardians.
\r\n\r\nStarting in the second half of the 14th century, the supervision of the fountain and the aqueduct, initially handled only by the municipality of Perugia, was occasionally contracted out to private citizens who very often did not have the important task at heart.
\r\n\r\nCuriosity
\r\n\r\nThe main cause of the damage was the hand of man; many people plundered the aqueduct to take the lead from the pipes or even diverted its course to ensure sufficient water to irrigate their land. In 1641 it was discovered that the normal flow of water was prevented by three different cloistered convents in the city, and especially by the nuns of the convent of St. Anthony of Padua. It was decided, as a remedy, to divert the pipes from the land included in the monasteries, building the new route at the edge of the public road.
\r\n\r\nUseful information and advice
\r\n\r\nVia dell'Acquedotto is easily reachable on foot, so leave your vehicle in one of the car parks in the historic centre.
\r\n\r\nFrom the train station you can reach the historic centre by Minimetrò, bus or taxi.
\r\n\r\nThe Monte Pacciano cisterns are located outside the historic centre in the San Marco area.
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1145667,12.388365300000032,"Perugia",54039,"","","","[ ]",""], [406,"Attrattore","en_US",3524040,"90422","https://www.umbriatourism.it/web/umbria/-/palazzo-della-penna","Palazzo della Penna","The Palazzo della Penna, formerly known as the Palazzo dei Vibi, located in Perugia between Viale Indipendenza and the Tre Archi, has its entrance in Via Podiani, a side street of Corso Cavour.
","","Palazzo della Penna","The Palazzo della Penna, formerly known as the Palazzo dei Vibi, located in Perugia between Viale Indipendenza and the Tre Archi, has its entrance in Via Podiani, a side street of Corso Cavour.
The Palazzo della Penna was the prestigious residence of Ascanio della Penna, who kept the famous collection of works of art of Baron Fabrizio della Penna.
\r\n\r\nA visit to the palace is recommended both to admire the buiding, with interesting stratification of different historical periods, but also to see the collections of Baroque and contemporary art preserved in it.
\r\n\r\nThe sixteenth-century building is set on the remains of the Roman amphitheatre. Along Via Marconi you can see the tower and the medieval walls absorbed into the complex as well as the old farmhouses. The windows on the first floor, with their partially recessed position, declare the succession of the construction phases of the masonry. The building was renovated in the early nineteenth century.
\r\n\r\nOn the first floor are some paintings of the nineteenth century inspired by the Myth of Paris, signed by Antonio Castelletti. Of the same period are the pleasant ideal views inside the room of Landscapes, perhaps the work of Pasquale Angelici. Today the building, used as a museum, houses four important art collections: on the first floor are works of the Academy of Fine Arts of Perugia as well as the painter air-futurist Gerardo Dottori. Use the spiral staircase designed by the famous architect Franco Minissi, to descend to the collection Valentino Martinelli and the large vaulted room that houses the six blackboards made by Joseph Beuys during his visit to Perugia in 1980.
\r\n\r\nDuring the year the palace also hosts temporary exhibitions of famous contemporary artists of various nationalities.
\r\n\r\nThe collection of Baron Fabrizio della Penna, sold in 1899, included paintings by Barocci, Bassano, Bellini, Bronzino, Canaletto, Caravaggio, Carracci, Pietro da Cortona, Giorgione, Guercino, Michelangelo, Perugino, Poussin, Raffaello, Reni, Rosa and Signorelli.
\r\n
The Ranieri di Sorbello Foundation is located in Palazzo Sorbello, in Piazza Piccinino, in the historic centre of Perugia, a stone's throw from Palazzo dei Priori and the Cathedral of San Lorenzo, between the Etruscan well and the church of San Severo.
","Umbria, Umbria events, Umbria itineraries, Umbria travel, Umbria holiday, palazzo Sorbello, Perugia","House Museum of Palazzo Sorbello","The Ranieri di Sorbello Foundation is located in Palazzo Sorbello, in Piazza Piccinino, in the historic centre of Perugia, a stone's throw from Palazzo dei Priori and the Cathedral of San Lorenzo, between the Etruscan well and the church of San Severo.
The Bourbon di Sorbello palace, where the Museum House is located, dates back to the 16th century and belonged over time to various families (including the Montemelini and the Degli Oddi) until in 1780 Giuseppe I Bourbon di Sorbello settled there with his family.
\r\n\r\nThe visit allows to discover the intellectual life and the artistic taste of the aristocracy from the 18th and 19th centuries in Umbria.
\r\n\r\nThe collection includes landscape paintings, family portraits and paintings, including the Portrait of Vittorio Alfieri by François-Xavier Fabre.
\r\n\r\nThe rich library contains rare editions such as the Encyclopedie Française by Diderot and D'Alembert (1770) and the original edition of Alfieri's Tragedies.
\r\n\r\nA 19th century Ginori tableware and figurines from German manufacturers in Meissen and Dresden stand out in the porcelain collection.
\r\n\r\nYou can also admire the precious fabrics of the Pischiello School of Embroidery founded by Romeyne Robert Ranieri in 1904.
\r\n\r\nEvery day, without reservation, you can participate in \"A journey through time at Palazzo Sorbello\", a guided tour with a playbook for children and families.
For further information:
\r\n\r\n ","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.0873343,12.37394,"Perugia",54039,"","","","[ ]",""], [409,"Attrattore","en_US",22399928,"90422","https://www.umbriatourism.it/web/umbria/-/nobile-collegio-del-cambio-perugia","Nobile Collegio del Cambio - Perugia","Built between 1452 and 1457 within the new wing of the Priori Palace, it was home for the guild of the currency changers.
","","Nobile Collegio del Cambio - Perugia","Built between 1452 and 1457 within the new wing of the Priori Palace, it was home for the guild of the currency changers.
From the Legisti Hall, with a court on the end wall and side wooden stalls carved and inlaid by Gian Pietro Zuccari, leads into the Audience Hall, designed for meetings and reception of the public.
\r\n\r\nOn half of the right wall there are the courts and counters executed by Domenico Tasso, whereas the walls host a fresco cycle painted by Pietro Vannucci, called Perugino, between 1498 and 1500.
\r\n\r\nInspired by the iconographic programme of Francesco Maturanzio, a humanist from Perugia, it represents mythological figures (on the vault), famous characters of the Greek and Roman history, liberal Arts, Sibyls and prophets (on the right and left walls), the Transfiguration of Christ and the Nativity (end wall).
\r\n\r\nFrom here one goes to the chapel of St. John the Baptist, with frescoes by Giannicola di Paolo.
\r\n\r\n","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [411,"Attrattore","en_US",29003681,"90422 | 15726642","https://www.umbriatourism.it/web/umbria/-/museo-del-giocattolo-di-perugia","The Toy Museum in Perugia","
A large room housing the Museum of Toys is located in the St. Marco area of Perugia, below the old chimney of an historical furnace: in about 300 square metres itâs possible to admire the collection including about 2000 period toys, from 1700 to the present.
","","The Toys Museum in Perugia","A large room housing the Museum of Toys is located in the St. Marco area of Perugia, below the old chimney of an historical furnace: in about 300 square metres itâs possible to admire the collection including about 2000 period toys, from 1700 to the present.
The exhibition itinerary takes us through different themes: ancient school, games, food, games of work, games of space, city and countryside, theatre, circus and pre-cinema.
\r\n\r\nThe Museum is a space open to game and creativity in the various proposals that it offers: theme exhibitions, events, laboratories and guided visits.
\r\n\r\nThe peculiarities of the Museum lie in the fact that not all toys are located in display cases but find themselves in big tables where real and proper âscenesâ are set up and where itâs possible to admire toys from close up and see their functioning with the help of a staff member.
\r\n\r\n\r\n\r\n
The Museum is open, upon booking, every day.
\r\n\r\nOpening day: Sunday from 4 to 6.30 pm
\r\n\r\nIn order to book the guided visits within the museum of toy, contact:
\r\n\r\nGiulia Zeetti +39 3407936887
\r\n\r\n
For further information:
\r\n\r\nwww.museodelgiocattoloperugia.com
","Perugia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [413,"Attrattore","en_US",3237543,"90422","https://www.umbriatourism.it/web/umbria/-/cattedrale-di-san-lorenzo","Cathedral of St. Lawrence","The Cathedral of St. Lawrence is located in the historical centre of Perugia on Piazza IV Novembre, its southern façade facing the square.
","cattedrale di san lorenzo, perugia, centro storico, perugia vacanze, perugia arte, perugia spiritualità , umbria, umbria viaggi, umbria spiritualità , umbria arte","Cattedrale di San Lorenzo","The Cathedral of St. Lawrence is located in the historical centre of Perugia on Piazza IV Novembre, its southern façade facing the square.
An early church dedicated to the proto-martyr Lawrence, who died in Rome in 258, was built here in the 9th century on top of the old Etruscan-Roman forum of the city. There is no trace of the first building.
\r\n\r\nThe Cathedral of St. Lawrence is one of the city's most representative religious buildings. Inside is the Deposition of the Cross by Federico Barocci and a precious relic, the Virgin's wedding ring.
\r\nThe altarpiece Madonna enthroned between St. John the Baptist, Onofrio, Lawrence and Ercolano by Luca Signorelli was once located here, but it is now on display at the Museo Capitolare (which you can access via the courtyard of the cathedral).
The church was designed in the 14th century as an enlargement of an earlier church and it has appeared as you see it today since the 15th century.
\r\nThe incomplete exterior features red and white marble.
\r\nThe front of the church, far less majestic than the side that faces Piazza IV Novembre, looks out on Piazza Danti and is embellished with a Baroque entranceway designed by Pietro Carattoli in 1729.
\r\nThe larger and more dramatic side features an entrance designed by Alessi in 1538, below a niche with a wooden crucifix put there by the town's citizens in 1540, during the Salt Wars against Pope Paul III. To the right along the side is a pulpit from which, they say, St. Bernard of Siena preached to Perugians between 1425 and 1427. The bronze statue of Pope Giulio III made by Vincenzo Danti in the 16th century is also worth your attention.
\r\nThe interior, which has three naves of five spans each separated by massive pillars, is in the shape of the cross with transepts and five chapels in the apse.
\r\nThe ceiling is embellished with complex decorations that offer the visitor a true anthology of 18th century painting.
\r\nAmong the works that grace the Church walls are the counter-facade featuring the sarcophagus of Bishop Giovanni Andrea Baglioni, a work by Urbano da Cortona (1451), and the large Virgin among the Patron Saints of the City and Saints Augustine, Domenico and Francis by Giovanni Antonio Scaramuccia. For especially important devotions there is the chapel of the Holy Ring, with a painting by Jean-Baptiste Wicar on the main altar in replacement of one by Perugino depicting the same scene and now housed in the museum of Caen. At the start of the right nave, behind the wrought iron grill dating to the 15th century, is a Deposition of the Cross by Federico Barocci (1569).
\r\nAn elegant doorway from the 15th century on the right of the transept leads to the Sacristy, home to one of Perugia's most beautiful Mannerist fresco cycles. The bright colours of the windows and the inlaid wooden choir â made in 1486 by Giuliano da Maiano and Domenico del Tasso â emerge from the darkness of the hexagonal apse.
\r\nThe left nave houses what is left of the Pietà altar sculpted by Agostino of Antonio di Duccio in 1473 and the Gonfalone altar is home to a banner painted by Berto di Giovanni in 1526 during a disastrous plague. The banner is a very important and detailed historical portrayal of what Perugia looked like before the construction of the Rocca Paolina and the consequent changes to the urban landscape.
\r\nThe cloister of the Cathedral is home to the Museum of the Cathedral of St. Lawrence.
The church safeguards a highly venerated relic, the wedding ring of the Virgin, which was taken from the inhabitants of Chiusi in 1473. It is held in a reliquary inside a safe with seven locks which was then set at 8 meters above the ground inside a large niche closed in by a gilded grate with another four locks. The ring is brought out to be seen only twice a year, on the 29th and 30th of July and the penultimate Sunday of January, during the celebration of the holy Marriage when all wedding rings are blessed.
\r\n\r\nTo visit the church, we suggest you leave your car in one of the parking garages around the historical centre of Perugia.
\r\nThe St. Lawrence Museum, like many others in Perugia, is part of the Perugia Città Museo circuit.
Excavations carried out in 2004 have brought to light, under its left side, a section of walls in block work belonging to a very ancient building of worship. Of the early centuries of its history testifies the technique of the Roman opus mixtum visible both on the external and internal walls; the building, changed and restored in different periods (in the 9th-12th-14th-16th and 19th centuries), in its present appearance, has a rectangular plan divided into three naves.
\r\nThe central nave, which is accessed through an entrance above which are the chancel and the organ of Renaissance origin, is characterized by the presence of the Crypt of San Medico (a very ancient underground, formerly a monks' retreat, which has an original Baroque altar) and a particular area of the presbytery.
\r\nAbove, in the centre of the apse wall, there is an artistic and imposing stained-glass window (the work of the contemporary Otricolan painter Roberto Maurini) under which there is a valuable horseshoe-shaped wooden choir decorated with inlays dating back to the 1400s.
\r\nThe high altar of the Umbrian school (12th-13th century) is characterized by a beautiful marble ciborium of the 1500s whose columns are made of recovered material of Roman origin; at the foot of the altar is the Fenestrella Confessiones.
\r\nOn either side of the central nave there are two minor aisles with four Baroque chapels and a minor chapel, in the left aisle.
\r\nThe right aisle has two recently restored Baroque chapels (dedicated respectively to St. Fulgenzio and St. Domenico) and a baptistery. Of particular artistic importance is a wooden wardrobe with embossed emblems, in fake gilded marble of 1717 (present in the chapel of St. Fulgenzio) and a fresco (depicting St. Fulgenzio bishop distributing bread to the poor of Otricoli) in the nearby chapel of St. Domenico.
\r\nOpposite the right aisle there is the marble baptismal font of the 16th century, and on the right wall of which there is a gothic marble Eucharistic tabernacle with wooden door.
\r\nThe left aisle has two Baroque chapels, a small chapel dedicated to St. Anthony the Abbot and a \"passage chapel\" of Our Lady of Sorrows; in the Chapel of Our Lady of Sorrows, formerly of St. Lucia then of the Holy Crucifix, of particular importance are the frescoes, of the first half of the sixteenth century, and the dove of the Holy Spirit in polychrome stucco, recently brought to light.
\r\nThe Chapel of the Blessed Sacrament, of Gothic origin, is a small copy of the ancient chapel of the Blessed Sacrament in the Vatican by Carlo Maderno; the dome vault with skylight is frescoed with the Vision of St. John in Patos, the Angel of Fire. The second main chapel, instead, decorated in the 17th century, has a reliquary altar and 16 frescoes finely decorated with stucco and pure gold frames depicting the mysteries of the Holy Rosary and some episodes from the life of the Virgin.
[Source: www.otricoliturismo.it]
","Otricoli | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.4220319,12.477659499999959,"Otricoli",55024,"","","","[ ]",""], [419,"Attrattore","en_US",24188064,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-salvatore","The Church of San Salvatore","In a notary deed of 1235 the Church was called Chapel S. Salvatoris. It has a rectangular plan with a belfry above the facade.","","The Church of San Salvatore","In a notary deed of 1235 the Church was called Chapel S. Salvatoris. It has a rectangular plan with a belfry above the facade.The church isnât considered remarkable architecturally, but it has been the subject of numerous studies. Thanks to a recent restoration, a rare fourteenth-century fresco of the Umbrian school has been brought to light. The votive frescoes on the side walls, including three images depicting the Madonna del Latte, are of historic and artistic significnce.
","Otricoli | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.4220319,12.477659499999959,"Otricoli",55024,"","","","[ (42.4220319@12.477659499999959) ]",""], [421,"Attrattore","en_US",24963716,"90422","https://www.umbriatourism.it/web/umbria/-/museo-della-ceramica-deruta","Museo della Ceramica - Deruta","Established in 1898 by a group of local notables, the museum the oldest of its kind in Italy. Since 1998 it has been housed in the fourteenth-century convent of San Francesco, completely restored.","","Museo della Ceramica - Deruta","Established in 1898 by a group of local notables, the museum the oldest of its kind in Italy. Since 1998 it has been housed in the fourteenth-century convent of San Francesco, completely restored.The museum covers a total area of 1700 square meters of which 1200 are exhibition space and 500 for storage. On the ground floor there are temporary exhibition halls and a library on the history of ceramics, which contains more than 1400 volumes. The displays are arranged over fourteen rooms on three levels, and the areas for storage of ceramic materials are equipped for study activities.
\r\n\r\nThe museum documents systematically local production from the Middle Ages to the twentieth century, in addition to an archaeological section, which provides an illustrative overview of the main production of antiquity in Italy and Greece. The section covering majolica luster is particularly interesting; this is a technique that made Deruta workshops particularly famous in the sixteenth century. The collection on the \"compendiaria\" production of the seventeenth century, characterized by decorative complexity and color, is noteworthy. Thematic sections are devoted to pharmacy ceramics, reassembled original furniture an old grocery, the sixteenth-century majolica flooring and the nucleus of votive plaques, often inspired by those of the nearby sanctuary of the Madonna dei Bagni.
\r\n\r\nWhat makes the museum unique is the storage collection housed in a metal tower of four floors communicating on all levels with the building of the former convent; it is a stately building, publicly accessible and properly equipped for study.
","Deruta | Art in Umbria | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9808942,12.421785,"Deruta",54017,"","","","[ ]",""], [422,"Attrattore","en_US",24963823,"90422","https://www.umbriatourism.it/web/umbria/-/pinacoteca-comunale-deruta","Pinacoteca comunale- Deruta","Since 1999 the Municipal Art Gallery has been housed in the Consuls palace. The fourteenth century building is of Gothic style below, with eighteenth-century restoration above.","","Pinacoteca comunale- Deruta","Since 1999 the Municipal Art Gallery has been housed in the Consuls palace. The fourteenth century building is of Gothic style below, with eighteenth-century restoration above.The building has been entirely dedicated to preserve the art history collection; previously the building housed the Regional Museum of Ceramics, which was transferred in the new seat of the convent of San Francesco in 1998. Since the beginning of the twentieth century the collection was formed with works from churches that had passed to the hands of the state, and during the century it was gradually enriched. In 1931 Consilia Pascoli, descendent and heir of the collector and art writer Lione Pascoli, who lived in the seventeenth century, donated about forty works to the town.
\r\n\r\nOn the first floor it preserves paintings from the church of San Francesco and the surrounding area, among which are the Madonna dei Consoli and the Banner of Saint Anthony by Niccolò di Liberatore, called L'Alunno, and the Lord and Saints Romano and Rocco by Pietro Vannucci, known as Perugino. The Pascoli collection is found on the second floor; the collection includes works by artists active between the seventeenth and eighteenth century, such as as Giovanni Battista Gaulli, Sebastiano Conca, Francesco Trevisani, Antonio Amorosi, Francesco Graziani and Pietro Van Blomen and are important representatives of Roman collections of the early eighteenth century.
","Deruta | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9808942,12.421785,"Deruta",54017,"","","","[ ]",""], [423,"Attrattore","en_US",4064934,"90590","https://www.umbriatourism.it/web/umbria/-/fontana-in-memoria-dei-caduti-di-ivan-theimer","Fountain in memory of the fallen, by Ivan Theimer","The Fountain in memory of the Fallen by Ivan Theimer is located in Don Minzoni Square in Foligno. It is a contemporary artwork nicknamed the âfountain of turtlesâ by Foligno inhabitants because of the bronze tortoises located around the base.
","","Fountain in memory of the fallen, by Ivan Theimer","The fountain in memory of the Fallen by Ivan Theimer is located in Don Minzoni Square in Foligno. It is a contemporary artwork nicknamed the âfountain of turtlesâ by Foligno inhabitants because of the bronze tortoises located around the base.
The fountain is located on the site of the 17th century Rodati Palace, destroyed by the bombardment in March 1944, and combines in a hourglass-shaped travertine block elements of bronze, Guatemala stone and water.
\r\n\r\nAt its base there is the engraving âEveryone builds the victory of peaceâ.
\r\n\r\nThe artwork is the showpiece of the Czech sculptor Ivan Theimer who specializes in using bronze and generally produces sculptures with a solid classical impact.
\r\n\r\nOther important works by Theimer include the three obelisks in the Elysée Palace garden and a bronze high-relief for the façade of Parisâ National Archives. In addition to this fountain, Foligno has another artwork by Theimer: the monument devoted to Giuseppe Piermarini.
\r\n\r\n","Foligno | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9559732,12.702066699999932,"Foligno",54018,"","","","[ ]",""], [426,"Attrattore","en_US",24276256,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-san-gemini","Chiesa di San Francesco - San Gemini","Context: urban
Piazza San Benedetto, the fulcrum of the regular urban layout already in the early Middle Ages, is a space cleverly articulated according to the monumental buildings that delimit it, in a stratification of functions, styles and eras from the fourteenth century Gothic to the nineteenth century renewal.
","","Piazza San Benedetto - Norcia","Piazza San Benedetto, the fulcrum of the regular urban layout already in the early Middle Ages, is a space cleverly articulated according to the monumental buildings that delimit it, in a stratification of functions, styles and eras from the fourteenth century Gothic to the nineteenth century renewal.
The square is overlooked by the Palazzo Comunale, the basilica of San Benedetto, the Cathedral of Santa Maria Argentea, the Castellina and the Civic and Diocesan Museum \"La Castellina\".
\r\n\r\nPalazzo Comunale
\r\n\r\nThe north-eastern side of the square is bordered by a portico and loggia, the first dating back to the Middle Ages, the second rebuilt (1876) after the earthquake of 1859 on a project by Domenico Mollaioli, who sculpted the two lions at the base of the staircase. The bell tower on the right was rebuilt after the earthquake of 1703.
\r\n\r\nInside, in the Council Room, the wooden stalls of the Prior and the Consuls (16th century) are preserved, while in the Chapel of the Prior there is the rich reliquary of St. Benedict (1450), in gilded silver, in Gothic-Renaissance style
\r\n\r\nCathedral of Santa Maria Argentea
\r\n\r\nOn the southern side of the square, it was built after 1560, while the bell tower is from 1869.
\r\n\r\nThe interior preserves numerous works of art. Among these, the fresco attributed to the Sparapane workshop (Francesco Sparapane) stands out. It portrays the Saints Benedict and Scholastica with the Madonna and Child in the centre. Another precious work is the crucifix by Giovanni Teutonico of 1494, a splendid example of Christus Patiens, object of recent restorations that have highlighted the potential use of the crucifix during the sacred representations.
\r\n\r\nCivic and Diocesan Museum \"La Castellina\"
\r\n\r\nThe civic and diocesan museum \"La Castellina\" occupies the entire western side of Piazza San Benedetto, the heart of the historic center of Norcia.
\r\n\r\nThe building, built in 1554 on a design by Jacopo Barozzi da Vignola at the behest of Pope Julius III, started as a fortified residence for the apostolic governors and was used from the beginning for the control of the peripheral territories by the State of the Church. When in 1569 the Prefecture of the mountain was instituted, the Castellina became its natural seat. Restored in the eighteenth century following the frequent earthquakes, from 1860 it became the seat of the offices of the municipality until 1967 when it became the seat of the museum.
\r\n\r\nIn addition to the interesting museum that houses, the Castellina is important from an architectural point of view. Visiting the museum also means admiring its container, a powerful and compact fortress with a quadrilateral shape.
\r\n\r\nToday it houses the Civic and Diocesan Museum, the Massenzi collection and the permanent archaeological exhibition Leaving for the Afterlife.
\r\n\r\nThe collection brings together works of art from the local area (sacred furnishings, frescoes, paintings on canvas or wood, polychrome wood or stone sculptures, glazed terracottas), ecclesiastical or municipal property, dating from between the twelfth and eighteenth centuries, including the thirteenth century wooden cross by Petrus Pictor, from the village of Campi, or the large altarpiece by Antonio da Faenza of the Madonna and Child with Franciscan Saints (1519), originally in the church of Santissima Annunziata. Giovanni Dalmata is responsible for the stone sculptures (Madonna and Child with Saints John the Baptist and Evangelist, 1469) from the church of San Giovanni, while Luca Della Robbia is attributed the refined group of the Annunciation in glazed terracotta from the early sixteenth century.
\r\n\r\nDonated in 2002, the Massenzi collection, one of the largest private collections in Umbria, consists mainly of bronze finds and Etruscan, Greek and, to a lesser extent, Magno-Greek vases, dating from the ninth century B.C. to the Roman era. The donation also includes a polychrome terracotta statue attributed to Jacopo della Quercia.
\r\n\r\nSince 2003, the permanent archaeological exhibition Leaving for the afterlife has been set up. It consists of recent discoveries of rich grave goods, datable between the end of the third and the first centuries B.C., in the Hellenistic necropolises of Colle dell'Annunziata, Popoli and the plan of Santa Scolastica.
\r\nNote that these structures sustained damage in the 2016 earthquake and are awaiting restoration. ","Norcia | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=1454334384712",42.7916746,13.094733499999961,"Norcia",54035,"","","","[ ]",""], [432,"Attrattore","en_US",24876725,"90438","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcangelo-polino","Chiesa di San Michele Arcangelo - Polino","The Church of St. Michael Archangel in Polino is the monument around which the central urban core of the village grew.","","Chiesa di San Michele Arcangelo - Polino","The Church of St. Michael Archangel in Polino is the monument around which the central urban core of the village grew. Although it dates back to the 16th century, we can find records of it at the Registry Office of the Polino Municipality that certifying its activity as parish church since 1792.Tradition has it that this was the site of the house where the twin saints Benedict and Scholastica were born.
\r\n\r\nDedicated to St. Benedict, the Patron Saint of Europe and the father of western monasticism (5th-6th century), the basilica is one of the region's most spiritually important sites. The façade is typically medieval and differs from the interior, which was entirely redone in the 18th century.
\r\n\r\nConstructed over the saint's crypt between 1290 and 1338, the first enlargement project â by the monks of Sant'Eutizio in Valcastoriana â dates to just a few years later. The bell tower was erected in the 14th century but an earthquake in 1703 destroyed the upper section, soon replaced by a smaller version. After the 1859 earthquake, the upper part of the façade underwent restoration.
\r\nThe last work done on the church took place in the 1950s and revealed a 14th-century triumphal arch.
\r\nIn 1570 a portico originally used as a roof over the cereals market was added to the right of the church.
\r\nThe soft pink façade is bell-shaped and framed by two pilasters that end in pinnacles. It is divided in two parts by a frame that was originally decorated with multi-coloured inlays. The lower part is graced with a massive doorway under a lunette embellished with a group of sculptures depicting the Madonna with Child and two adoring angels. One of the niches beside the lunette houses a statue of St. Benedict and the other a statue of St. Scholastica.
\r\nA large rose window encircled by the symbols of the four Evangelists adorns the upper part of the façade.
\r\nThe church has a Latin cross layout with a single nave and polygonal apse and was entirely redone in the 18th century. In the left wing of the transept is a large painting, St. Benedict and Totila, by Filippo Napoletano (1621), while over the altar in the right wing there is a Madonna and Norcia Saints done in the mid-1600s by the Roman painter Vincenzo Manetti. The apse is home to an impressive wooden choir from the 16th century that was taken from the church of the Annunziata.
\r\nThe old crypt is under the nave and has three naves formed by pilasters crowned with rough capitals. The central nave has a lowered round vaulted ceiling and the more narrow side naves have cross vaulted ceilings. The left one ends in an absidiola which once belonged to a Roman public building dating to the first century C.E. that was eventually transformed into the primitive Oratory of St. Benedict. Some parts of the crypt walls are graced with opus reticulatum brickwork, while others show traces of 14th century frescoes (left apse) where, according to tradition, the twins, Saints Benedict and Scholastica, were born. A small door leads to the adjacent archaeological site that encompasses the remains of two more rooms of the Roman building.
Note that the church sustained significant damage in the 2016 earthquake and is awaiting restoration.
","Norcia | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=1423749271901",42.7924619,13.093242700000019,"Norcia",54035,"","","","[ ]",""], [434,"Attrattore","en_US",29007020,"90422","https://www.umbriatourism.it/web/umbria/-/oratorio-di-san-bernardino","Oratory of San Bernardino","The Oratory of San Bernardino is the greatest example of Renaissance art in Perugia.
","umbria, arte in umbria, san francesco al prato perugia, oratorio di san bernardino perugia, agostino di duccio","Oratorio di San Bernardino","The Oratory of San Bernardino is the greatest example of Renaissance art in Perugia.
Built in 1452 to the left of San Francesco al Prato in honour of the saint, who often visited Perugia to preach to the people right on the lawn in front of the Franciscan church.
\r\n\r\nThe elegant polychrome facade with fine reliefs, sculpted between 1457 and 1461, is a masterpiece by Agostino di Duccio.
\r\n\r\nTwo lateral pillars, each with two tabernacles, support a pediment and close the middle space, which has a twin portal surmounted by a large lunette.
\r\n\r\nStarting from these architectural elements, the sculptural decoration of Agostino di Duccio is arranged, with the predominance of bas-reliefs and the windswept drapery of the figures.
\r\n\r\nIn the tympanum you can see Jesus blessing among angels and seraphim, above the inscription AVGVSTA PERVSIA MCCCCLXI. The upper tabernacles have the statues of the Archangel Gabriel and Mary, while the lower shows the patrons of Perugia, St. Herculaneum and St. Constantius. The lunette shows the Ascension of Saint Bernardino in a mandorla, among angels, musicians and cherubs. On the lintel of the portal and under the two upper niches are five stories from the life of the saint. In the jambs of the portal are six Franciscan virtues and six groups of angel musicians.
\r\n\r\nThe interior
\r\n\r\nOn the right wall is the Standard of San Francesco al prato byBenedetto Bonfigli.
\r\n\r\nThe high altar is built with a Christian sarcophagus (mid-4th century), in which the blessed Egidio was buried from the end of the 13th century to 1887. It is of the column type with Christ enthroned in the centre, between the personification of the Ecclesia and the Apostles; the lid is decorated with scenes from the Old Testament, with the Ark of Noah and Jonah.
\r\n\r\nOn the left is the tombstone of Fra' Angelo, responsible for building the oratory; not far away is a copy of Raphael's Deposition by Orazio Alfani.
\r\n\r\nBehind the altar, two doors lead to the oratory of Saints Andrew and Bernardino, with its splendid carved and decorated coffered ceiling (1558). Seats, stuccoes and paintings date back to the 18th and 19th centuries, with works by Gaetano Lapis, Marcello Leopardi and Vincenzo Ferreri.
\r\n\r\nIn the sacristy of the oratory is the Baldeschi Chapel, which houses the tomb of the jurisconsult Bartolo di Sassoferrato, who died in 1357.
\r\n\r\nSource: AA.VV., Umbria (\"Guida rossa\"), Touring Club editore
","Perugia | Art in Umbria","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [435,"Attrattore","en_US",34837560,"90438 | 15726642","https://www.umbriatourism.it/web/umbria/-/geolab-museo-laboratorio-di-scienze-della-terra","GEOLAB - Museum laboratory of Earth sciences","The Geolab is a permanent exhibition space dedicated to the dissemination of Earth Sciences.","Geolab, San Gemini, Umbria, Umbria museums, Umbria for families","GEOLAB - Museum laboratory of Earth sciences","The Geolab is a permanent exhibition space dedicated to the dissemination of Earth Sciences.
At the Geolab it is forbidden not to touch. Indeed, the Geolab is more than a museum, almost a laboratory, and it houses a series of interactive machines that guide the visitor to the observation and scientific experimentation.
\r\n\r\nThe visit passes through five rooms, along a path that, like a sort of progressive zoom, accompanies the visitor from the discovery of the structure of the earth, to the reading of the landscape and the main geological emergencies of Umbria.
\r\n\r\nThe exhibition was designed by Mizar di Paco Lanciano and the video presentation by Piero Angela introduces the topics that will be covered.
\r\n\r\nThe first room opens with the discovery, thanks to a special lens, of the division of the earth into large plates. We then enter the centre of the earth, to see how our planet is made inside.
\r\n\r\nIn the second room the visitor, with the help of an interactive model, discovers how mountain ranges are created, why earthquakes are caused and where volcanoes are formed...
\r\n\r\nThe third room leads to the geodynamic events of the Mediterranean area and Italy.
\r\n\r\nThe fourth room is dedicated to the birth of Umbria, fossils and microscopic examination of the rocksâ secrets.
\r\n\r\nIn the fifth room you can learn about the main phenomena and places of geological interest in Umbria.
\r\n\r\nThe Geolab is a great adventure, an environment rich in stimuli and emotions where you can participate actively through original and funny experiments.
\r\n\r\n
For information and reservations
\r\n\r\nToll-free number for schools 800 96 19 93 - from mobile phone 0744 422848
\r\n\r\nMonday to Friday from 9 a.m. to 5 p.m. and Saturday from 9 a.m. to 1 p.m. excluding public holidays.
\r\n\r\n ","San Gemini | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.6116752,12.547853000000032,"San Gemini",55029,"","","","[ ]",""], [437,"Attrattore","en_US",24158951,"90438","https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-narni","Palazzo dei Priori - Narni","The Priori Palace is a building rich in magnificent elements that make it a beautiful centrepiece of this picturesque village.","Narni, Umbria, Gattapone, borgo umbro","Palazzo dei Priori - Narni","The Priori Palace is a building rich in magnificent elements that make it a beautiful centrepiece of this picturesque village: the restrained portal, the small loggia of the town crier and the magnificent loggia attributed to Gattapone, artwork of daring architecture with a solid central pillar, beveled external corners and two strong arcades forming the facade, while another central octagonal pillar supports the arches of the vaults divided into four transepts.The Civic Museum is situated in Narni's old town centre, behind the Town Hall.
","","Civic Museum in Palazzo Eroli - 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.
\r\nAs 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.
\r\nPalazzo Eroli, rich noble residence in Narni, is also a perfect setting for temporary exhibitions and for the Museum collection.
\r\nThe 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.
\r\nAmong 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.
\r\nThe whole is supported by state-of-the-art equipment like large screens and lighting systems.
\r\nThe \"CaffEroli\" coffee bar inside the Museum invites visitors to read, relax and refresh themselves.
\r\nA large indoor room is stocked with an extensive bookshop, a reading section and a children's corner.
\r\nThere 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.
\r\n\r\n
A child-friendly Museum!
\r\n\r\nNew educational path devoted to families.
\r\n\r\nThe 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!
\r\n\r\n\r\n\r\n
Services and workshop:
\r\n\r\nOPENING TIMES*
\r\n\r\n
From October to March
\r\n10.30 - 13.00 / 15.00 - 17.30
\r\nFriday, Saturday, Sunday, Holiday and Holiday eves
\r\n\r\n
From April to June and September
\r\n10.30 - 13.00 / 15.30 - 18.00
\r\nfrom Tuesday to Sunday, Holiday and Holiday eves _ closed on Monday
\r\n\r\n
During the Ring Race called âCorsa allâAnelloâ
\r\nFrom last Friday in April to the second Sunday in May
\r\n10.30 - 13.00/15.30 - 21.00
\r\n\r\n
From Monday to Thursday
\r\n10.30-13.00/15.30-23.00
\r\nFrom Friday to Sunday, Holiday and Holiday eves
\r\n\r\n
July and August
\r\n10.30-13.00/15.30-18.30
\r\nTuesday to Sunday, Holiday and Holiday eves _ closed on Monday
\r\nClosed on 25/12. The 01/01 only afternoon timetable.
\r\n\r\n
Everyday on reservation
\r\n\r\n\r\n\r\n
*opening times may vary, please visit www.sistemamuseo.it or contact the number 0744.717117 â narni@sistemamuseo.it
","Narni | Art in Umbria | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.5176022,12.515629900000022,"Narni",55022,"","","","[ ]",""], [439,"Attrattore","en_US",24159529,"90518","https://www.umbriatourism.it/web/umbria/-/pian-grande","The Plains of Castelluccio di Norcia","The Plains of Castelluccio are a karstic and alluvial plateau of the Umbro-Marchigiano Apennines.
","Plains of Castelluccio, Valnerina, bike umbria, Castelluccio, Norcia, umbria trekking, Flowering Castelluccio","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).
\r\n\r\nThey 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.
\r\n\r\nThe 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.
\r\n\r\nWhat 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).
\r\n\r\nThe plateau takes on splashes of colour from the spontaneous flowering: the whole area of the Mergani and beyond is filled with many kinds of wildflowers. Nature is the artist here, every year renewing the existing species.
\r\n\r\nThen the flowering of the cultivated fields or of the hills begins according to the sowing period: the plants that live in symbiosis with the lentil develop with their own distinct times and change continuously their colours.
\r\n\r\nThe Pian Perduto as well as part of the high and low hills are also sown every year: just continue past the village of Castelluccio in the direction of Visso and you will enter another world of incredible colours. Given the many paths that wind through this area you can really enjoy the beauty of this incredible natural show, a perfect setting for a walk, a picnic or a photo shoot.
\r\n\r\nCastelluccio 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.
","Norcia | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=1454334384712",42.7916746,13.094733499999961,"Norcia",54035,"","","","[ ]",""], [441,"Attrattore","en_US",13082130,"12648926","https://www.umbriatourism.it/web/umbria/-/la-storia-di-manuela-e-luca","Manuela and Luca's story","Working along the St. Francis way, with an \"itinerary spirit\"
","via di francesco, assisi, san francesco, umbriatourism, umbria, citerna,","Manuela and Luca's story","In our journey to discover the faces and people making the St. Francis Way a unique itinerary, we tell the stories of people walking aong the route, of those who actively and voluntarily commit themselves to improving the welcome to visitors, and of the deep meaning of Assisi's Statio Peregrinorum.
Along the St. Francis Way you meet many people who work along it, who offer services and a warm welcom, some in a humble way, but always with deep empathy towards pilgrims and the land. Here is the story of Manuela and Luca, who opened a B&B suitable for pilgrims at the foot of Citerna. But along the route you will meet many people like them, working to meet pilgrims' spirit and needs.
\r\n\r\nManuela was born in Chieti, and at the young age of 15 she left her hometown to tour Italy chasing her sports dream as a professional volley ball player, moving from one team to another, until a few years ago. Luca was born in Anghiari, a few kilometers from Citerna, and now is a physiotherapist. They met thanks to their passions, since they knew each other within the national volleyball team, where Luca was a physiotherapist and Manuela a player.
\r\n\r\nThey married in 2013 and have two young children. This beautiful story has apparently little to do with the St. Francis Way. But Manuela explains everything better:
\r\n\r\n\"Luca had a building plot right here, so 7 years ago we built the house where we now live and that is also a B&B along the St. Francis Way. It has been a life choice, since Luca continues to do his job whereas I decided to stay at home with my children and at the same time to open and manage this B&B, located just a few meters from Francis' route.
\r\n\r\n\"Our philosophy, in running a business, has been to create a facility suitable for pilgrims, focused on hospitality, sharing, and the desire to listen to stories. Indeed pilgrims are not like other travelers, they bring along a wide range of experiences as well as particular and interesting stories. It often happens that we chat as if we have known each other for years, because pilgrims are very open and keen to talk if you want to listen to them. So you will discover the different motivations for their journeys, ranging from the wish to rediscover themselves, the need to forget life's disappointments, or simply re-establishing a close bond with nature and escaping from a too-hectic life. Certainly meeting people who stop by here has enriched us a lot\".
\r\n\r\nManuela tells us that people of every kind come to their B&B: independent travelers, couples, and often pilgrims who meet each other along the route and who maybe will continue together. Manuela and Luca share their life stories with these guests, enjoying different \"spaces\" they created around the main house. \"Here â Manuela tells us as she accompanies us outside the B&B - we created some areas for social interaction, especially the pilgrim's hammock and a spot where, on summer evenings, we light the \"pilgrim's fire\": a campfire around which we gather to talk with our guests and maybe with our neighbors too. We create empathy, we share experiences, that is exactly the spirit we started this activity with.\"
\r\n\r\nThis sense of friendship and welcome represents what you can find within small communities and villages you meet along Francis' itinerary, such as in Citerna, where all inhabitants know each other and pilgrims are welcomed with open arms, and they have the chance to discover the authenticity of these places. \"In Citerna â Manuela tells us â pilgrims often meet the villagers and stop to chat, maybe at the coffee bar, whose owner is a hobbyist-producer of walking sticks. He knows stories of St. Francis's miracles with ants and witches around Citerna and is happy to tell them to visitors. There is also the young and enthusiastic parish priest who really knows how to address pilgrims and parishioners\".
\r\n\r\nManuela and Luca, as well as many others who happen to work or live along Francis' route, are also invaluable for maintaining the route and for information they can give to their guests.
\r\n\r\nManuela walked the itinerary from Sansepolcro to Gubbio to know it better. She periodically walks some parts of their area to check if everything is all right, or if there is work that needs to be carried out, reporting it promptly to people in charge of maintenance.
\r\n\r\nThis is an example, one of many along the St. Francis Way, of the pilgrim spirit, welcoming and sharing among people who live and work along the route. The community along the Way is one reason why Francis' route is a unique and extraordinary path.
\r\n\r\nFor information about the St. Francis way: www.francescosways.com
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","Citerna","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4980125,12.11784590000002,"Citerna",54011,"","","","[ ]",""], [445,"Attrattore","en_US",24818234,"93935","https://www.umbriatourism.it/web/umbria/-/eremo-di-santa-illuminata-guardea","Eremo di Santa Illuminata - Guardea","A few miles south of Guardea, not far from the state road 205 Amerina, surrounded by oak trees and large boulders, are the remains of the church and convent of St. Illuminata.","","Eremo di Santa Illuminata - Guardea","A few miles south of Guardea, not far from the state road 205 Amerina, surrounded by oak trees and large boulders, are the remains of the church and convent of St. Illuminata.
The complex covers an area of about 8000 square meters, with a perimeter wall preserved in the elevation for about 1/3, but detectable in the whole its perimeter. The curtain wall has many loopholes, but it can still be seen much of the system of eight towers (six square and two semi-circular) in addition to the large central tower. Itâs undoubtedly a place full of charm and memories, and those who go there get fascinated by a magical and unreal atmosphere emanated from every wall, evoking noises and sounds of ancient battles and feasts, smoke and odors of everyday life in the past.
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Source: www.turismoguardea.it
","Guardea | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640",42.62764,12.296278799999982,"Guardea",55015,"","","","[ ]",""], [447,"Attrattore","en_US",24790039,"93935","https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-guardea","Castello del Poggio - Guardea","On top of a hill, almost opposite from Guardea Vecchia, is the castle of Poggiorimasto, unchanged for over a thousand years. It was probably built at the beginning of the 11th century, incorporating existing structures.","","Castello del Poggio - Guardea","On top of a hill, almost opposite from Guardea Vecchia, is the castle of Poggiorimasto, unchanged for over a thousand years. It was probably built at the beginning of the 11th century, incorporating existing structures. It has always been home of celebrities: Lucrezia Borgia, who received the castle as a present from her brother Cesare, Filiberto of Savoy, Princess Olimpia Maidalchini Pamphili, and the famous Italian-American vaudeville comedian Jimmy Savo. Currently, after a thorough restoration by the current owner, it is the Italian branch of the Club of Budapest, aimed at the development of universal consciousness. ","Guardea | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640",42.62764,12.296278799999982,"Guardea",55015,"","","","[ ]",""], [448,"Attrattore","en_US",5395623,"90422","https://www.umbriatourism.it/web/umbria/-/villa-del-boccaglione","Villa of Boccaglione","The Villa of Boccaglione is in an Etruscan area at south-east of Perugia. In the 18th c. the Penna family commissioned the architect Piermarinito to build the Villa, according to some art experts.","","Villa of Boccaglione","The Villa of Boccaglione is in an Etruscan area at south-east of Perugia. In the 18th c. the Penna family commissioned the architect Piermarinito to build the Villa, according to some art experts. The neoclassical Villa was built on the remains of a pre-existing building dating back to the 16th century. It is situated on the plain under the hill of Bettona and is one of the most important examples of a lowland villa in Umbria. The Villa is made up of one main building with three floors full of interior and exterior decorations, and several annexes such as a Church, a hothouse, stables and service farmhouses. The exterior of the Villa features a long driveway reaching the courtyard in front of the Villa. There is a horseshoe-shaped park behind the villa, adjoining a wooded area and a small open-air theater. ","Bettona | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.0115722,12.485378099999934,"Bettona",54003,"","","","[ ]",""], [449,"Attrattore","en_US",5395500,"90422","https://www.umbriatourism.it/web/umbria/-/cinta-muraria","The city wall of Bettona","Bettona was a small Etruscan center to the left of the Tiber river, controlled by the neighboring and powerful Perusia (Perugia). The town protected itself through a mighty wall which enclosed the town on a hilltop, lalter occupied by the medieval town and today by Bettona's historical center.","","Cinta Muraria - Bettona","Bettona was a small Etruscan center to the left of the Tiber river, controlled by the neighboring and powerful Perusia (Perugia). The town protected itself through a mighty wall which enclosed the town on a hilltop, lalter occupied by the medieval town and today by Bettona's historical center.The walls have an original circuit length of about 1 km, and present visitors with a pleasant and interesting opportunity to visit with several points of relax and enjoy a remarkable panorama.
\r\n\r\nThe currently visible wall is the result of a reconstruction made by Cardinal Albornoz after the destruction of Bettona carried out in 1352 by forces of Siena, Florence and Perugia who occupied it \"breaking down walls and all the buildings, sparing only the churches \". The walls were rebuilt in part by tracing the route of the Etruscan walls,which are preserved for various stretches almost all of them incorporated into the medieval walls. In the visible stretches the use of an irregular square blockwork can be seen, with the use of large square blocks of various sizes, made of local sandstone. The blocks, arranged in horizontal rows, have variable heights and a parallelepiped or trapezoidal shape; the best preserved ones show the signs of the work and in rare cases traces of rusticated rusticated simple walls. In several points you can see the lower blocks of the Etruscan wall resting directly on the rocky bank of the hill, suitably levelled for the installation of the rows.
\r\n\r\nThe visit to the town wall could begin leaving the Vittorio Emanuele II gate (called Santa Caterina), located at the northern end of the wall, and heading left towards Viale Roma, where it meets a sudden right-angle which runs to a length of 26.30 meters and rests directly on the rocky bank of the hill. In this area the twelve visible rows have varying heights and a different state of conservation, some with perfectly fitting joints, others with obvious signs of the erosion of the sandstone caused by the elements, who left in some cases unusual shapes, one in particular known as \"the nun's bottom\". In correspondence to the Vittorio Emanuele II gate, after which the stretch formed a right angle, the wall is interrupted by a modern reinforcement.
\r\n\r\nStaying on the west side and continuing in the direction of the the 1 Maggio gate, or Arch of San Giacomo overlooked by the monastery complex suppressed in the Napoleonic era, it meets at the sides of a stretch of Etruscan wall consists of a line emerging from the ground to a length of respectively 5.40 m and 10 m; the blocks have the worn surface and the profiles of rounded joints. Going a few steps you leave the ring road of Viale Roma to cross the long, narrow Market Square documented from 1378, where it meets on the left the fourteenth-century St Peter's gate with drawbridge. At the Romana gate, the southern entrance to the city, you can see a further section along approximately 10 meters. The wall, in part reconstructed, is formed by three rows, incorporated in the lateral structure of the door. In the same area, along Via del Pericolo a stretch of wall is visible that describes an angle at the intersection with Via Tirio, which rests directly on the rocky bank of the hill. A length of about 10 meters and on three rows, the stretch has been interpreted by some as a terrace wall of the southern slopes of the hill, by others as part of a temple building.
\r\nOn the north side, at the convent of San Crispolto, the Etruscan defensive circuit instead followed a path very different from that medieval one, whose construction made a widening perimeter wall, enclosing the ancient one. In the cellars below the former convent the visible section reaches a thickness of about 2 meters.
\r\nTo the north of the former convent there is a stretch of four rows protruding from the ground, 20 meters long. Before reaching Vittorio Emanuele gate, starting point of the tour, you can see some blocks embedded in the wall structure redone in recent times. The similarities with the walls of other Etruscan centers indicates the date of the walls of Bettona around the second half of the fourth century BC.
San Nicolò is the first religious building designed by Scalza. The church is characterized by Tuscan Style both inside and outside.
\r\nThe interior of San Nicolò is composed by a single axis with two chapels; the walls feature an order of pilasters framing arches, surmounted by an attic window. The gray basalt stone and the plaster are in Tuscan style, characteristic of Brunelleschi's works. The windows have carved framed internally, and the outer walls that are rustic. The great arch before the choir is inspired by Bramante. In the chapel of SS. Sacramento, on the right, is a precious triptych by Giovanni di Paolo, Siena (1440) of the Madonna, St. Nicholas and another saint.
\r\nThe body of San Longino, patron saint of the town, rests under the altar. The paneled ceiling was restored by Paolo Zampi, engineer of Orvieto, in the early 1900s; it was previously covered with a large canvas painted with the Virgin and Angels above a large cloud and St. Nicholas below it. In 1700 a beautiful organ was placed above the central door.
\r\nThe architect Renato Bonelli, Orvieto praised the façade: \"... harmony in the lower zone; purity of lines, composition and purity of design: a façade design that slowly fades at the top in a different form. Below the entablature runs straight... has only one projection corner, but above the entablature is broken several times at the secondary and upper pediment pilasters. So the façade as it marches upwards frays, divides, it has variations that contribute to give her momentum. Doors have an air of Florence, they seem drawn from a Tuscan. \"
The dam blocking the Tiber at about 3 km from the confluence with the Paglia river, determines the accumulation of 207 million cubic meters in the reservoir of Lake Corbara, which reaches a maximum depth of 51 m covering an area of about 10, 5 km. The lake is in a beautiful valley that opens from the Forello gorges.
\r\nCorbara Lake is part of the protected area of the Tiber River Park, where you can spot beautiful specimens of herons and other species of small and rare birds rare to find shelter in the lush vegetation in the park river. Deer and mouflon are among the mammal species found there. In the southern sector there are olive groves and vineyards of great interest.
\r\nThe most upstream part is full of tall forests, the flora has a large number of precoius species.
\r\nFor lovers of nature you can stroll along the banks of the lake, visit the Forello Gorge, karst bays carved by the Tiber and the beautiful caves which open on the sides of the lake where you can go caving, such as the Grotta Bella and the Cave of the Plain. Corbara Lake, besides its great beauty, is considered by anglers one of the most attractive lakes of central Italy particularly for carp fishing.
The façade of the basilica cathedral of St.Benedict dominates the main square of Gualdo Tadino by visually closing its eastern side.
","","Cathedral of St. Benedict","The façade of the basilica cathedral of St.Benedict dominates the main square of Gualdo Tadino by visually closing its eastern side.The late Romanesque - Gothic style façade is divided in two parts by a stringcourse ledge. Three portals open below this.
\r\n\r\nA big rose window, among the most beautiful in the region, opens above the ledge, flanked by smaller oculi. It is made up of a double row of small twisting columns and trefoil arches converging towards the central knot decorated with plant motifs.
\r\n\r\nThe neo-Romanesque style bell tower rises next ot the apse, and a 16th-century fountain is set alongside the right side of the building.
\r\n\r\nThe interior of the church, rebuilt in the 19th century, is divided in a nave with side aisles and loggias opening above them. The ceiling is made up of cross vaults alternating with arches and finishes in the big raised semicircular apse, overlooking the 19th century crypt.
\r\n\r\nThe main altar, dating back to the end of the 14th century and reconstructed in 1965, is located in the apse and presents bas reliefs depicting stories of St. Benedict, executed by Guglielmo Ciani.
\r\n\r\nThe walls of the basilica are decorated with paintings executed by Ulisse Ribustini dating from between 1907 and 1924.
\r\n\r\nThe basilica, as it appears today, was built around the half of the 13th century, but in the ancient times it raised outside the current walls of Gualdo Tadino, in a place today called indeed âof Old St. Benedictâ.
\r\n\r\nIt was an important Benedictine abbey founded in 1006 by the count Offredo on the ruins of an ancient hermitage.
\r\n\r\nThe count became a monk and then the abbey started to grow in importance, by becoming one of the most influential ones in the area. Nevertheless, since it was located outside the town, it was often prey of raids; therefore, in 1215 monks asked Pope Innocent III if they could relocate to a more defensible place.
\r\n\r\nAs we can read in the wall plaque on the left side of the church, in 1256 the abbey was transferred inside Gualdo Tadino. It was fundamentally rebuilt, with the help of Lombard workers, in the late-Romanesque and Gothic style as we can see that today.
\r\n\r\nThroughout the intervening centuries, it has undergone other restorations, especially between the 18th and the 19th centuries: the construction of the bell tower in neo-Romanesque style and the internal reconstruction of the church in 1875, executed according the project of Virginio Vespignani.
\r\n\r\nIn 1915 the church of St. Benedict was elevated to the status of cathedral by Pope Benedict XV and, as it can be seen, has recently had further restoration.
\r\nThe Collegiate Church of St. Mary of the Assumption, harmoniously located in the village of Lugnano, can be considered the most mature expression of the Romanesque churches in the southern Umbria territory. Note that \"collegiate\" indicates a category designated by the Vatican, not an academic affiliation.
\r\n\r\nBoth for its artistic and architectural merits and for its high symbolic value, it is the village's most important church, and is an expression of extraordinary richness and vitality of the religious culture of a small medieval community. Some consider it a by someone âa totally local productâ, arising from the idea and culture of the inhabitants of Lugnano, a place that has always been a centre attracting people from all over Italy.
\r\n\r\nThe Church façade overlooks the ancient medieval square called âPlatea of St. Maryâ, which represented a point of reference and unification of all districts in the Lugano territory. In 1500, but certainly also before and after that time, it was the centre of the social life as well as the ideal and practical heart of all the village, where people gathered for public assemblies in important and extraordinary circumstances. It was also the setting for all medieval festivities and games. Its perimeter was made up of the Palace of Podestà with the Chancellery and the prisons, the Church of St. Peter, the Graveyard, the Church of St. Eutizio and the Church of St. Mary. On the right side there was also a characteristic well, which disappeared around 1950 during works that resized the square, narrowing it somewhat.
\r\n\r\nSetting: Isolated in an agricultural setting
\r\nDating: 13th Century
\r\nOwnership: Palombaro Family
Built in the surroundings of Magione, the Castello di Zocco overlooks Lake Trasimeno. Over the centuries, it represented the most powerful military settlements in the area, having seven towers, of which five remain today, three gates and imposing fortified walls.
It was built in 1274, next to a Franciscan convent and was probably given the name Zocco because of its shape, which is very similar to a zoccolo di cavallo- a horse's hoof.The Museum's halls illustrate the origin and evolution of Trasimeno which originated about 1.7 million years ago when, as a result of tectonic movements, a depression in the ground was created and gathered water. Over the centuries the line of the bank suffered significant changes. In the fifteenth century Braccio of Montone thus made an artificial outlet to avoid further changes. In the twentieth century further draining was made by the overexploitation of which caused a significant lowering of the lake level in recent years.
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\r\nThe exhibit is divided into four large rooms (dawn, noon, afternoon, evening) dedicated to the fishing techniques from prehistory to the present period; interesting terracotta weights for gill nets and trawling (from the Bronze Age and the Etruscan-Roman period) or the stone lures of prehistoric times. A watercolour by Elio Pasquali shows the fishing technique called \"gorro\" performed with a large trawl and the other one which reproduces the processing of marsh plants. These one were used to weave nets, baskets and ropes for fishing, until a few decades ago, as well as for certain types of crafts such as woven chairseats and the covering of demijohns and flasks.
The development of lake fishing followed the spread of Christianity. From this time new fishing techniques were in fact experienced with fixed installations to meet the higher demand for fish that came from the city of Perugia, in particular during the period of Lent.
\r\nThe museum displays fishing tools, has a multimedia room in the shape of boat and two large aquariums that document the type of fish that populate the lake today.
The Fishing Museum also houses the Water Library: over 200 publications and games for children and young people on the theme of water and water environments, with particular attention to flora, fauna and prehistory.
\r\n\r\nThe Museum is interactive: visitors can in fact wander around the rooms with a small kit of information, discover in real time all the treasures collected here and receive a prize by answering a short quiz.
\r\n\r\nAnd outside there is a large square with two small boats on which children can play as fishermen.
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Open from Tuesday to Sunday.
\r\n\r\nFor information: tel. + 39 075 8479261.
","Magione | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.1421257,12.203915000000052,"Magione",54026,"","","","[ ]",""], [458,"Attrattore","en_US",24818592,"93935","https://www.umbriatourism.it/web/umbria/-/chiesa-e-convento-di-san-francesco-lugnano-in-teverina","Church and Convent of San Francesco - Lugnano in Teverina","The church and Convent of St. Francis was built in 1229 where the Saint preached and performed a miracle in 1212.","","Chiesa e Convento di San Francesco - Lugnano in Teverina","The church and Convent of St. Francis was built in 1229 where the Saint preached and performed a miracle in 1212.Even if some people believe that the facility belonged originally to the Knights Templar, later passed to the Knights of St John of Jerusalem, there are no documents attesting this proposal. On the contrary, all documents of the 12th century tend to show that the castle has always belonged to the current owners.
\r\n\r\nIn March 1261, this hospital was almost totally destroyed by the militias of the Perugia municipality; the only remains of the original structure are parti of the church, the base of the bell tower and some parts of the current western wing. Already renovated in the second half of 13th century, in 1367 the structure was extended in its eastern side, whereas an arcade over the church and probably the circular tower on the left of the current entrance were built in 1471.
\r\n\r\nThe 16th century saw the construction of other arcades, which incorporate some parts of the 14th century arcades and are still visible on the three sides of the inner courtyard. It was probably on the occasion of these new works, or right before them, that two frescoes representing the Nativity and a composition with the Virgin Mary, St. John Baptist and St. James have been made. Other minor works occurred in 1644, when the sandstone puteal has been built on a pre-existing tank.
\r\n\r\nThe name Badia, used by the Magione inhabitants for his structure, established itself in modern times, when the term Magione was no longer indicated the castle (something that was already happening in the 16th century), but referred to the village in place of the more ancient Pian di Carpine. The documentation from the late 15th century refers to the abbatia (abbey) Mansionis Plani Carpinis.
\r\n\r\nCurrently the buildings are used as the operational centre of a large farm and vineyard. Local wines were praised by the humanist Giannantonio Campano who, in the mid-15th century, stated that there were few districts producing better wines than those from around Lake Trasimeno.
For further information:
\r\n\r\n ","Magione | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=1454334635186",43.1421257,12.203915000000052,"Magione",54026,"","","","[ ]",""], [461,"Attrattore","en_US",2735036,"90422","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-bevignate","Chiesa di San Bevignate","The church of San Bevignate is just outside Perugia, in via E. Dal Pozzo, opposite the Monumental cemetery.","","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.
\r\nAfter 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.
\r\nOutside, 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 13th and 14th 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.
\r\n\r\n
Bibliography
\r\nMancini F. F. & Casagrande G. (1982), Perugia. Guida storico-artistica, Bologna, Fotometalgrafica Emiliana.
\r\nRoncetti M., Scalpellini P. et al. (1997), Templari e ospitalieri in Italia. La chiesa di S.Bevignate a Perugia, Milano.
\r\nMontella M. (1993) (a cura di), Perugia, Perugia, Electa Editori Umbri.
\r\nT.C.I. (2004), Umbria, Milano, Touring Editore.
The tomb is located in Molinella, Castel Rubella, within the municipality of Porano, dug into the rock of a small hillside whose base gets flow from the Montacchione River.
\r\nIt belonged to the aristocratic Hescanas family, who were around at the end of the fourth century, and who commissioned the decoration of the tomb centred on the popular style at that time: the funeral banquet celebrated in the presence of the deceased.
\r\nVisiting the Hescanas tomb is an opportunity to discover the traditions of the Etruscan people, which can be seen through the aspects of daily life and religious beliefs, depicted in wall paintings that have been preserved on site. In the same area of Porano, there are two Golini tombs (named after the discoverer), which, along with those of the Hescanas, are the only painted tombs that have been discovered in Orvieto.
\r\n\r\n
Description
\r\n\r\nDiscovered having already been pillaged in the late nineteenth century, during the tufa rock extraction works, the Tomba degi Hescanas tomb - named after its owners - is an underground room carved into stone. It has a square layout and is preceded by a walkway of about 16 metres in length, with a gentle slope towards the entrance of the tomb, which is entered into through a double door. The walls of the small entrance hall were plastered and a snake was painted onto both of them, a common funerary emblem. You can still see a few traces of colour to this day. The gabled ceiling reproduces the linear system of the half-timbered roof using fake beams obtained from the tufa rock. There are benches along the walls, on which there are two sarcophaguses made of peperino stone made to look like wooden boxes, the lid of an urn and an urn with its lid. The urn with lid bares the inscription: vel hescnas composed of the Etruscan, male given name vel and the family name hescnas (Hescanas), the owners of the tomb, which is repeated in the inscriptions painted on the wall that, today, have almost completely disappeared.
\r\n\r\n
\r\nA mural, consisting of a wave pattern at its base, covered all the walls, but large areas of plaster have fallen resulting in loss of the pictorial decoration. To the right of the entrance, the deceased is represented on a red chariot horse as he heads to beyond the grave; but perhaps the most representative figure of the tomb is one dressed in yellow, with red, flame motif edges, and is facing the left hand side, lifting his robe slightly and heading towards two young people embracing: next to one of these young people there was a painted epigraph that displayed the word zil (zilath), which indicated an important Etruscan magistrate, corresponding to the Latin praetor. A procession of three characters preceded the deceased to his entry into the underworld. Other characters and scenes of purification were on the back wall, but today they can hardly be made out. The left side was occupied by a painted representation that is commonly seen in Etruscan tombs: that of the banquet, which finished at the left side of the entrance, where the table was depicted along with drinking vessels for the banquet. The Hescanas tomb has been dated back to the late fourth century, although some materials found inside provide evidence of usage in later periods.
Curiosity
\r\n\r\n
\r\nThe Hescanas tomb, together with the various cemeteries and graves scattered around Orvieto, reflects the will of the new, aristocratic social class, which, from the early fourth century, began to opt for the countryside instead of the city, and preferred areas that were further away from the urban centres as burial places. It is no coincidence that, following this, the large urban necropolises of Cannicella and Crocefisso del Tufo, circumventing Orvieto on its tufa rock, were no longer frequented by the most eminent families.
These catacombs are located in an area called Grotta Traiana, in Villa San Faustino, a suburb of Massa Martana, not far from the ancient Via Flaminia and Fonnaia Bridge.
","","Catacomb in Villa San Faustino","These catacombs are located in an area called Grotta Traiana, in Villa San Faustino, a suburb of Massa Martana, not far from the ancient Via Flaminia and Fonnaia Bridge.It is the only known catacomb in Umbria and bears witness to the spread of early Christianity, which arrived here in about the 4th century along the Via Flaminia, the road which continued to connect Rome with various parts of Italy even though, by then, there had been a steep decline in its use. Visiting the daunting underground burial place was made easier after the entrance was fixed up and the long gallery cleared so that the loculi, burial niches in the walls that reflect the sense of community shared by these early Christians, could be seen.
\r\n\r\nAlthough it had been called Grotte di Traiano, or Trajan Caves, by the more erudite inhabitants of the area, the catacomb wasn't rediscovered until 1900. And it wasn't until the 1940s that archaeologists excavated most of the galleries, which were also used as bomb shelters during the Second World War. In 1996 and 1997, while work began to make the catacombs accessible to the general public, a small funerary basilica used mostly for worship was discovered in the immediate area.
\r\n\r\nThe catacomb spreads out along a straight 22 m-long corridor that penetrates the hillside and runs 7 metres lower than the surrounding countryside. Two galleries branch off from either side of it, one of which is semi-circular, and they are about 1.5 m wide with low, flat ceilings. Loculi of various sizes were carved into the walls. Some were covered with large tiles and many contained simple little terracotta lamps as burial effects. Formae, or graves, were also dug into the floor and covered with large tiles bearing circular marks carved into them before they were fired. There are no inscriptions bearing the name of the deceased and this has lead scholars to believe the catacomb may have belonged to an illiterate sect. The lamps and other material would indicate the area was frequented between the 4th and 5th centuries.
\r\n\r\nThe ancient name for these places is coemeterium, from the Greek word for dormitory. The word catacomb, which was at one time used only in connection with the large Complex of St. Sebastian along the Via Appia, was later used to describe all underground Christian burial places.
","Massa Martana | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.7346311,12.532765799999993,"Massa Martana",54028,"","","","[ ]",""], [468,"Attrattore","en_US",5218628,"","https://www.umbriatourism.it/web/umbria/-/ponte-fonnaia","Ponte Fonnaia","","Massa Martana, Ponte romano, via Flaminia, età augustea, umbria","Ponte Fonnaia","Il ponte Fonnaia, costruito dai romani nel 220 a.C., è una poderosa costruzione viaria, ad una sola arcata a tutto sesto obliqua rispetto alla direttrice del ponte, costruita in grossi blocchi di travertino perfettamente squadrati e dotati di bugnatura. L'arco sormonta una cornice, che sporge leggermente e si prolunga sia dentro il cunicolo, sia sulle spallette laterali. Il ponte ha una larghezza di 20 metri ed è alto circa 10 metri. Ben conservati sono anche i fianchi del ponte, con grossi blocchi di travertino che rivestono una struttura interna a sacco.
\r\nIn molti blocchi si riscontra la sigla P II o soltanto II, pertinente alla cava di provenienza del materiale o alla maniera di disposizione dei blocchi durante la costruzione. Il ponte si presenta ora nella veste assunta dopo i restauri di età augustea (27 d.C.).
\r\nLa struttura permetteva alla via Flaminia, il cui tracciato è ancora ben conservato attraverso i campi, di valicare il piccolo affluente del Naia.
Why should you visit it?
\r\n\r\nMonte Castello ofers âweekend theatreâ, a tourist and cultural proposal for Umbria and especially Monte Castello di Vibio visitors.
\r\n\r\nThe rich schedule of the theatre season offers the opportunity to spend a cultural weekend in the historical atmosphere of the theatre and in the calm of the Monte Castello village. The package includes a dinner with typical dishes of Umbrian cuisine, an overnight stay with breakfast in a farm or in hotel and, obviously, a theatre ticket.
\r\n\r\nThe programming ranges from prose, to opera, operetta, concerts of classical and jazz music.
\r\n\r\nDescription
\r\n\r\nThe theatre of Montecastello di Vibio, with its 99 seats divided between the stalls and boxes, is called the âsmallest theatre in the worldâ. A historic document says that âit was built so small to suit the villageâs sizeâ.
\r\n\r\nIt was planned in a full post-French Revolution climate, 1789, and then named after that âharmony among peoplesâ that was created in Europe at the beginning of 1800. Its construction was financed by nine eminent families of the village who got involved in order to turn it into a place of amusement and meetings. There was also a coffee - lounge, and it was launched in 1808.
\r\n\r\nIn 1892 Luigi Agretti, just 14 years old, who was on holiday in Monte Castello visiting from La Spezia, frescoed the halls. His father Cesare was a Perugia native and had decorated the stage curtain and theatre backdrops. Luigi Agretti released his first artistic expressions. The young man left in the colours of his paintings the sensations of his youthful vitality, so contributing to make this spot, through the dedication addressed to the village, an oasis of peace. .
\r\n\r\nUnfortunately the theatre closed down in 1951 and in the 1960s the building suffered a roof collapse. the inhabitants of Monte Castello resorted to self-taxation to finance the first repair work. The Region later continued the restoration with some European Community funding. The building today maintains the same original wooden structure supporting the theatre boxes, finished in 1993; in 1914 the stalls had 36 seats, and there are 37 today. In 1997 the âsmallest theatre in the worldâ was twinned with the Farnese Theatre in Parma, the âbiggest in the worldâ, with 4000 seats.
\r\n\r\nCuriosities
\r\n\r\nThe young soprano Antonietta Stella from Todi performed in the theatre in 1929 and she went on to become one of the best performers of the Verdi repertoire. In 1945 the theatre hosted an early appearance by another future celebrity, the then very young Gina Lollobrigida. She came to in Monte Castello to act in âSantarellinaâ by Scarpetta, a comedy staged by the director and stage director Tenneroni of Todi.
","Monte Castello di Vibio | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.8379472,12.348275400000034,"Monte Castello di Vibio",54029,"","","","[ ]",""], [472,"Attrattore","en_US",24276615,"90454","https://www.umbriatourism.it/web/umbria/-/museo-storico-del-tabacco","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.","","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.
\r\n\r\nThe Museum presents the legislation on the subject, and reconstructs the various processing stages, divided into the three main ones of farming stageâgrowing and cultivation; raw-material treatment stageâsorting of the leaves, selection of quality and treatment; manufacturing stageâthe actual production of the final productsâsnuff, 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.
","San Giustino | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.5517952,12.172451799999976,"San Giustino",54044,"","","","[ ]",""], [473,"Attrattore","en_US",24247392,"90542","https://www.umbriatourism.it/web/umbria/-/villa-paolina-porano","Villa Paolina - Porano","Villa Paolina, also called of the Corniolo because of the abundance of these wild bushes in the surrounding bush, is a wide complex developing on a narrow hilly terrace among steep tufa crags, along the way that from Porano heads towards Bagnoregio in the Orvieto area.","","Villa Paolina - Porano","Villa Paolina, also called of the Corniolo because of the abundance of these wild bushes in the surrounding bush, is a wide complex developing on a narrow hilly terrace among steep tufa crags, along the way that from Porano heads towards Bagnoregio in the Orvieto area.The castle of Montegiove stands on a hill on the border between Orvieto and Perugia, in the municipality of Montegabbione, not far from the Convent of Scarzuola and the Ideal City of Tommaso Buzzi.
The town of Montegiove owes its name to the existence of a Roman temple dedicated to \"Iuppiter elicius\", confirmed by the discovery of two terracotta votive heads of the deity. However, the castle was only built in the 13th century by the Longobard Bulgari or Bulgarelli family, counts of Parrano and Marsciano, whose coat of arms (three lilies surmounted by an imperial eagle) is still visible on the original entrance door of the castle. The first references to the fortification date back to 1282, with a request for a licence to the bishop of Orvieto to build an oratory in the estate of Monte Giove, \"near the castle\": it is therefore deduced that at that date the construction was already completed.
\r\n\r\nThe original shape of the castle saw an oval wall, in which there was a low entrance tower, open on one side and with an entrance equipped with a portcullis. The tower surmounted a lowered arch of the Orvieto style, which still exists. The buildings were set against this wall, while in the inner courtyard there was a high bell tower and a cistern.
\r\n\r\nIn the fifteenth century the castle was disputed between the various captains of fortune of the territory: among the most famous ones were Fortebraccio and Gattamelata, whose wife carried out important works of structural reconstruction between 1455 and 1466. Further improvements were made following the introduction of gunpowder: a new entrance door accessible with a drawbridge and protected by a ravelin, two new towers (one round and one square), a general thickening of the existing walls and the construction ex novo of a new wall. The dominion of the Gattamelata family is still testified by the \"braid\", symbol of the family, engraved both on the new portal and on the fireplace of the hall of the new part of the building.
\r\n\r\nNew enlargements were made following the reconciliation of the local lords: as it lost its defensive function, the castle was restored to make it more similar to an aristocratic palace, with embellishments and pictorial decorations, while the adjacent spaces were enlarged to leave room for the gardens.
\r\n\r\nToday the castle is partly used as a hotel but can be visited (by appointment) throughout the year: the visit begins in the park and a part of the rooms of the castle, then moves on to the ancient cellar of 1500 and concludes with the tasting of wines produced on the estate.
For information and reservations:website: www.castellomontegiove.com
\r\n\r\ne-mail: info@castellomontegiove.com
\r\n\r\ntelephone number: (+39) 0763837473
","Montegabbione | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=1423749275145",42.9174691,12.143521400000054,"Montegabbione",55020,"","","","[ ]",""], [477,"Attrattore","en_US",21379688,"90566","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-marsciano","Church of Santa Maria Assunta - Marsciano","The construction of the Church of Santa Maria Assunta dates back to a period prior to 1163: this is the first date for which there are certain mention of the building. ","","Church of Santa Maria Assunta - Marsciano","The construction of the Church of Santa Maria Assunta dates back to a period prior to 1163: this is the first date for which there is certain mention of the building. The Church is situated at the center of the village with the main facade and the entrance facing piazza Beato Giacomo and the bell tower of Piazza XXV April. Inside the bell tower there is a bell made in 1394. The main facade is flat with great portal in molded bricks with mosaic in the lunette dated 1984. Above an arched window with brick decoration. The Church is known for the richness of the art works kept inside; the most important is the fresco of San Sebastian of 1478, situated on the right wall of the presbytery. Itâs the oldest authentic work of Pietro Vannucci, known as Perugino, from the Chapel of Mary Magdalene destroyed in 1779. [www.cerqueto.com] ","Marsciano | Places of worship","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=1423749275145",42.9517217,12.323481600000036,"Marsciano",54027,"","","","[ ]",""], [478,"Attrattore","en_US",20836459,"90542","https://www.umbriatourism.it/web/umbria/-/castello-di-carnaiola","Castle of Carnaiola","The Castrum was built around the year 1000 AD by Orvieto to guard the ford of the Chiani. ","","Castle of Carnaiola","The Castrum was built around the year 1000 AD by Orvieto to guard the ford of the Chiani. It was built on the place where in Roman times the \"big wall\" had been erected as a walkable barrier. In the sixteenth century the wall was transformed into a mighty castle with corner bastions. Inside were frescoes of the 16th - 17th centuries. It previously belonged to the Filippeschi family and after to the noble family of the Conti of Marsciano, and it has given rise to Carnaiola village, from the linear form. ","Fabro | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=1454334789860",42.8725104,12.016545400000041,"Fabro",55011,"","","","[ ]",""], [479,"Attrattore","en_US",5218716,"","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-in-pantano","Church of St. Mary in Pantano","The church of St. Mary in Pantano is one of the most ancient and interesting ones in Umbria.
","Massa Martana,borghi umbria, spiritualità ,","Church of St. Mary in Pantano","The church of St. Mary in Pantano is one of the most ancient and interesting ones in Umbria.It was built as a unique grand apsidal hall between the 7th and 8th century above a pre-existing building of the Roman age. Between the 10th and 11th century the hall was divided in three aisles, maybe to reduce the length of the roof truss. The dividing walls of the aisles, lightened above by fake womenâs galleries, sit on four great arches supported by travertine columns and by capitals whose trunk has the shape of an inverted pyramid of the same epoch. This division wasnât completed in the presbyterial area, leaving intact the ancient apse that is still today wider than the central aisle. Later a monastery was built annexed to the church and was held by Benedictine friars who drained and fertilized the area that is frequently flooded by the stream Tribbio, as the toponym in Pantano (\"in the marsh\") clearly suggests.
\r\n\r\nFrom a document of 1115 we learn that the church was annexed to the monastery of Farfa, to whom it was donated in 1104 by the count Rapizzone together with some lands and castles. Another document of the emperor Henry V confirmed in Farfa the ownership of the church in 1118.
\r\n\r\nThe façade, of the 14th or 15th century, is not well connected with the side walls, and characteristically leans forward; a pointed arch portal, with alternating white and red ashlars and a marble frame, as well as a beautiful rose window, adorn its simple rectangular structure.
\r\n\r\nIn the church, divided in three aisles, there are funeral urns, Roman decorative fragments and several engravings. Notable is the big Corinthian capital reused as support of the last arch on the right side; the fragments of the ancient mosaic floor and the ad opus spicatum one, found during recent restoration works; the big stone with the engraving recalling the Vicani Vici Martis, reused as base for the major altar.
\r\n\r\nThe frescoes on the walls are also interesting. On the left wall there are some fragments and a nice wooden Crucifix of the 13th century; on the first column on the right there is a Sinopia with a Saint holding a papyrus; on the altar of the right aisle there is a Madonna with a Child between St. Barbara and St. Anthony Abbot of the 15th century, artwork of Niccolò di Vannuccio; on the rear wall there is a fresco depicting St. Anthony Abbot, St. Peter, St. Fortunato and St. Onofrio of the 14th century; at the centre of the apse there is a Madonna with Child (14th, 15th centuries), to whom St. Felice and St. Benedict were later added. On the left there is a Crucifixion with St. Severo and St. Francis (17th century).
\r\n\r\nA squared tower crowned with medieval arches of the 14th century rises on the right of the façade. A Roman funerary urn with bas-relief depicting the Sacrifice of Iphigenia is walled on the left side of the church, on the external wall of the former monastery: on the left side it is possible to see a male nude pulling out a figure with a himation on his head (maybe Agamemnon), then a stylised tree, a man holding a fleeing small figure for her hair (maybe Iphigenia), an altar with some symbols and three warriors with a spear.
","Massa Martana | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi34.png/952587c2-7882-4bd3-8f9f-fa1d4a480ad3?t=1423749276634",42.7766489,12.523263100000008,"Massa Martana",54028,"","","","[ ]",""], [480,"Attrattore","en_US",3035079,"","https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-faustino","Abbazia di San Faustino â San Faustino Abbey","Standing in an isolated position near Villa San Faustino, a hamlet in the Massa Martana municipality, the abbey was built on a Roman settlement, as can be seen by some ruins still present near the religious complex.
","","Abbazia di San Faustino â San Faustino Abbey","Standing in an isolated position near Villa San Faustino, a hamlet in the Massa Martana municipality, the abbey was built on a Roman settlement, as can be seen by some ruins still present near the religious complex.
In Roman times, on the site of the abbey there had been a villa which was a summer residence of Giulio Marciano (Lucius Julius Marcianus), the administrator of the Roman colony Todi, and his wife Onesta. The couple were admired and respected by the locals, as can be seen from the plaque, which is today to the right of the mullioned window on the façade, reporting the positive opinions of the local inhabitants about the Roman official.
\r\n\r\nThe villa fell into disrepair and it was thanks to the intervention of the Benedictines, in around the year 1000, that reconstruction of a building re-using material from the Roman house began. First of all, the monks dedicated themselves to the reclamation of the area so they began constructing the abbey, building the church with the apse, presbytery, portico and lastly the convent.
\r\n\r\nUse of Roman materials can also be seen in the three metopes which can be found on the façade as well as in the apse area.
\r\n\r\nThe first documentation mentioning the abbey of San Faustino dates back to 1104.
\r\n\r\nThe layout of the abbey is very simple; it has a single nave with a wooden truss ceiling and a semi-circular apse. In front of the façade, which was restored in 1956, is an airy portico. In the upper part of the façade is a mullioned window with three sections, next to which is a fragment of a Roman Doric frieze depicting ox skulls and rosettes, which was also re-used from the pre-existing villa.
\r\n\r\nExternally the apse is supported by pillars and there is a low a rectangular window which gives light to the crypt.
\r\n\r\nThe interior has been modified various times over the centuries, which also saw the demolition of the raised presbytery to cover the crypt, which was probably demolished or collapsed at the beginning of the 1700s.
\r\n\r\nAfter this, the sarcophagi were buried, the floor was levelled out and the main altar was raised.
\r\n\r\nWith the restoration works carried out in the 1950s, the altar was knocked down and two sarcophagi were discovered, in one of which were the relics of San Faustino.
\r\n\r\nToday, on the right-hand wall, is a door through which passing via the choir, you could reach the convent. Indeed, as previously mentioned, the Benedictines also built a convent next to the abbey church, which has today been transformed into homes.
","Massa Martana | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",43.4429522,12.44858929999998,"Massa Martana",54028,"","","","[ ]",""], [481,"Attrattore","en_US",3034975,"","https://www.umbriatourism.it/web/umbria/-/abbazia-dei-santi-fidenzio-e-terenzio","Abbazia dei Santi Fidenzio e Terenzio - Massa Martana","The ancient Abbey of Saints Fidenzio and Terenzio dates back to the 9th century, when a community of Benedictine monks settled in the nearby monastery. They ran the complex until the end of the 14th century.
","","Abbazia dei Santi Fidenzio e Terenzio - Massa Martana","The ancient Abbey of Saints Fidenzio and Terenzio dates back to the 9th century, when a community of Benedictine monks settled in the nearby monastery. They ran the complex until the end of the 14th century.
Before its construction, there was a small oratory built on the burial site of two martyrs, Fidenzio and Terenzio, whose holy remains, re-exhumed in 1629, were moved to the nearby town of Bassano di Orte. The simple gabled façade presents the portal under a round arch and an elegant mullioned window with two lights, adding a finishing touch.
\r\n\r\nFollowing a radical renovation in the 13th century, the interior has a single chamber, with a raised presbytery and ends with a deep apse where you will notice numerous fragments of sculptures from the middle ages, re-used in its building. The ceiling is particularly interesting, with wooden beams and painted bricks, and is reinforced by transverse gothic arches. Above the narrow passage that leads to the crypt, to the left of the flight of steps, is an ambo decorated with reliefs. The ambo is made of two big marble slabs that are entirely covered with sculpted bas-reliefs. The resulting effect is particularly notable in the inner slab of the ambo, where the traditional pattern with interwoven ribbons forms large, irregular knots. On the outer slab, which faces onto the nave, the usual iconographic repertoire of Lombardic art, is enriched with flowers, bunches of grapes and other symbolic elements inspired by classical art.
\r\n\r\nThe crypt, datable to the end of the 9th century, is dominated by a large grey marble central column, with an ionic pillar that supports the vault, reinforced with arches during its renovation in the thirteenth century. Along the left-hand side of the church, is the impressive bell tower which rests on a large structure with a large-domed vault of the late Imperial age.
","Massa Martana | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.78364639999999,12.509375699999964,"Massa Martana",54028,"","","","[ ]",""], [482,"Attrattore","en_US",21408108,"90566","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-felice-massa-martana","Church of San Felice - Massa Martana","In the main square of Massa Martana, which still retains the characteristics of a fortified center, is the San Felice church, dedicated to the patron saint. The legend tells about the bishop and martyr of the ancient Civitas Martana.","Massa Martana, Umbria, Romani, Borgo","Church of San Felice - Massa Martana","In the main square of Massa Martana, which still retains the characteristics of a fortified center, is the San Felice church, dedicated to the patron saint. The legend tells about the bishop and martyr of the ancient Civitas Martana.The current building, dating from the fifteenth and sixteenth century, is the result of numerous renovations and restorations. The last one was necessary after the destruction caused by bombing during the Second World War. The bell tower was built in 1637. The façade, made up of stone blocks, is divided into four large panes and topped, by a cornice and a fake balustrade. From the balustrade rises the Baroque bell tower, built due to a competition organized by Cardinal Barberini.
\r\n\r\nA simple and elegant portal leads into the vast interior; it has a single nave covered by a barrel vault, supported by pillars against the walls. At the Baroque main altar, with architectural and wooden sculptures, is a valuable painting by Giacinto Boccanera Leonessa, dated 1723 and depicting the Madonna holding a monstrance of the Blessed Ruggero, St. Felix, St. Rita and St. Pius V.
\r\n\r\nTwo large niches on the left wall preserve sixteenth century frescoes, one a Crucifixion, and the other a Madonna and Child Enthroned with St. Roch and St. Ambrose. There is also an interesting series of fifteenth century frescoes of the Foligno school, depicting with excellent workmanship the Madonna and Child and another Madonna and Child with Saints. Also preserved there is a large cross inlaid with mother of pearl, some modest eighteenth-century paintings and a painting of the Baptism of Christ from 1957.
\r\n\r\nThe church is named after the patron Felice, who lived and preached in his hometown at the time of the emperors Diocletian and Maximian. In order to crack down on the spread of Christianity, they sent the prefect to Martana Tarquinio, who found Felice and invited him to apostasy. Failing to convince him, he condemned him to be burned on the grill. But Felice came out unscathed from this ordeal and then was beheaded in the forum by the executioner Sevibo. At night the Christians stole the body of the martyr and buried him in the place where the church dedicated to him was built.
","Massa Martana | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.7766489,12.523263100000008,"Massa Martana",54028,"","","","[ ]",""], [483,"Attrattore","en_US",21379712,"90566","https://www.umbriatourism.it/web/umbria/-/teatro-della-concordia-marsciano","Theatre of Concordia - Marsciano","The Theatre of Concordia was built in 1873 by the company \"Della Concordiaâ. The aim of the company is to \"offer the pleasure and education by giving moral entertainments both public and privateâ. The building was planned and designed by Nazarene Biscarini.","","Theatre of Concordia - Marsciano","The Theatre of Concordia was built in 1873 by the company \"Della Concordiaâ. The aim of the company is to \"offer the pleasure and education by giving moral entertainments both public and privateâ. The building was planned and designed by Nazarene Biscarini.The beautiful facade is made up of brick and it is the only surviving part of the original body.
\r\n\r\nIn 1986 the owner, the Municipality of Marsciano, was able to finance and start renovations which were completed in 1990. In that year the structure was presented to the citizens in its new form, a theater for movies and live performances. It has 366 seats divided between parterre and gallery, a great cinema system and an enlarged and modernized stage.
\r\n\r\nIn 2012 the digital shift was realized in addition to other intervention of structural modernization and restyling. Currently the Concordia has 323 comfortable seats divided between parterre and gallery.
[www.cineconcordia.it] ","Marsciano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=1423749275145",42.9517217,12.323481600000036,"Marsciano",54027,"","","","[ ]",""], [484,"Attrattore","en_US",21379591,"90566 | 32784555","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giovanni-battista-marsciano","Church of San Giovanni Battista - Marsciano","The church of St. John the Baptist is located in the square, the center of Marsciano.","","Church of San Giovanni Battista - Marsciano","The church of St. John the Baptist is located in the square, the center of Marsciano. Rebuilt around 1896, the building has a stone and brick facade with a large rose window. Artworks inside include a Madonna and Child by the Perugia School of the sixteenth century, a 1831 painting by Vincenzo Chialli depicting the Incredulity of St. Thomas and a wooden crucifix of the 13th century. ","Marsciano | Places of worship","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=1423749275145",42.9517217,12.323481600000036,"Marsciano",54027,"","","","[ ]",""], [485,"Attrattore","en_US",21379476,"90566","https://www.umbriatourism.it/web/umbria/-/museo-dinamico-del-laterizio-e-delle-terrecotte","Dynamic Museum of Brick and Terracotta","The museum is housed in the fourteenth-century Pietromarchi palace in Marsciano, Umbria's main center of production of bricks. Marsciano is built entirely of brick.","","Dynamic Museum of Brick and Terracotta","The museum is housed in the fourteenth-century Pietromarchi palace in Marsciano, Umbria's main center of production of bricks. Marsciano is built entirely of brick.The building was built in the fourteenth century by the Bulgarelli family, counts of Marsciano. Today it houses the \"Enzo Briziarelli\" Dynamic Museum of Brick and Terracotta. The museum is configured as a starting point of a tour that extends to the entire municipal area, including the production sites of Compignano and San Fortunato, ancient kilns documenting the pre-industrial production of bricks, and Compignano and Spina museum annexes, exhibition centers that serve as documentation centers on local traditions.
\r\n\r\nSince 2004 the rooms of the restored Pietromarchi building have displayed many bricks, roof tiles, and building materials in general, as well as decorative and everyday pottery that feature in the area's documented production from Roman times to today.
\r\n\r\nThe exhibition also illustrates the social and demographic changes related to this activity with particular regard to the processing stages that characterized the area's pre-industrial and industrial production. The museum's permanent exhibitions include those dedicated to the Marscianese artist Antonio Ranocchia (1915-1989), and terracotta whistles in whimsical shapes.
","Marsciano | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=1423749275145",42.9517217,12.323481600000036,"Marsciano",54027,"","","","[ ]",""], [486,"Attrattore","en_US",2735011,"90518","https://www.umbriatourism.it/web/umbria/-/usigni","Usigni","The small medieval village of Usigni rises up on a steep rocky outcrop that rises above the valley of the Tissino. The picturesque village of Poggiodomo, a few km away, also overlooks the valley.","","Usigni","The small medieval village of Usigni rises up on a steep rocky outcrop that rises above the valley of the Tissino. The picturesque village of Poggiodomo, a few km away, also overlooks the valley.The name of Usigni is a deformation of usina, a word used to indicate factory.
\r\nThe settlement consists of buildings of two or three stories in a compact village. Around the middle of the seventeenth century, Cardinal Fausto Poli supported the construction of the church of San Salvatore and the Cardinal's Palace (Palazzo Poli). Cardinal Fausto Poli was a native of the village and very influential in the court of Pope Urban VIII.
\r\nThe there are a few houses scattered uphill from the village. Especially during the summer, the village is repopulated when families with local roots come back to relax in close contact with the atmospheric natural setting. This happens in many other small villages of the Nera Valley.
The small village, located in southern Umbria, stands proudly between the Petano mountain and the Pelosa mountain on the border with the province of Rieti. The Polino fortress was founded in the twelfth century by Polini family. From the original double-wall defensive system, only the structure with a polygonal plant enriched by two groups of diametrically opposed cylindrical towers remains.
\r\n\r\nThe workshop-museum offers an opportunity to learn, through models and other interactive multimedia systems, the evolutionary history of the Umbria.
\r\n\r\nThe visit to the workshop museum of Polino is a journey of discovery in the \"under\" (geology) and \"above\" (vegetation, fauna and landscape) of Umbria. This trip is also reflected in the physical structure of the museum. Its two levels house topics related to geology / paleontology and natural sciences. A series of correlated themes can be found on the first floor of the Castelli Palace, where together with the reception and the bookshop, there are a large aerial photo of the area and a contour model to help the visitor orient and familiarize himself with the structure of this real science park. The palace also hosts an educational workshop for the study and classification of ammonites.
\r\n\r\nNot far from the village of Polino a small stone quarry extends the museum experience with a practical activity. The museum has been recently expanded and an info point (called La finestra sul Nera - The window on the Nera) has been opened. With the help of dedicated staff, visitors can learn to look for and to extract from the rock ammonite fossils that can be separated from the rock matrix using tools similar to those used by paleontologists.
\r\n\r\nAfter seeing the museum, visit the small medieval village and the surrounding area: leaving the town, admire a vast panorama that stretches to the southeast towards Greccio, Lake Piediluco, Rieti and Leonessa, in the north-east to Monteleone di Spoleto, in the north to the Salto del Ciedo with the magnificent mountain and Mount Aspra Coscerno dominating the view of the Nera Valley.
","Polino | Places of culture | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=1454334467742",42.5834384,12.844417600000043,"Polino",55027,"","","","[ ]",""], [488,"Attrattore","en_US",24848537,"90438","https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-otricoli","Castello del Poggio - Otricoli","Poggio di Otricoli, located on a hill 387 metres above sea level, below the Mount St. Pancrazio (1027 metres), is a small but delicious village of the southern Umbria, overlooking the Tiber valley and the upper Sabina.","Otricoli, Umbria, borgo umbria, vacanze slow","Castello del Poggio - Otricoli","Poggio di Otricoli, placed on a hill 387 metres above the sea level, below the Mount St. Pancrazio (1027 metres), is a small but delicious village of the southern Umbria, overlooking the Tiber valley and the upper Sabina.From the top of the village you can dominate with your eyes the entire valley below, so to go over the geographical boundaries with the neighbouring Lazio region. The toponym âPoggioâ (hill) is very common in this part of Italy, as seen in other place names both in the Lazio region, such as Poggio Bustone and Poggio Fidoni, and in the rest of Umbria such as Poggiodomo. To avoid confusion, in the past it was called Poggio di Narni and also Poggio di Mezzo, to distinguish it from several other towns. The village represents a typical example of fortification with a compact core, crossed by two main roads; the entire settlement developed around it. These are the via Maestra descending from the fortress to San Nicola square and the via della Rocca where the so-called Loggia of lovers is found.
\r\n\r\n","Otricoli | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.4220319,12.477659499999959,"Otricoli",55024,"","","","[ ]",""], [490,"Attrattore","en_US",24246751,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-carlo","Chiesa di San Carlo Borromeo","This parish church was built in 1635 to replace the now-gone Church of St. Anthony of Padua, located within the castle walls.","","Chiesa di San Carlo Borromeo","This parish church was built in 1635 to replace the now-gone Church of St. Anthony of Padua, located within the castle walls.
The fortress is certainly the most important monument of Gualdo Cattaneo.
","Gualdo Cattaneo, Umbria villages, Castles and fortifications, Borgia, Umbria tourism, Umbria itineraries, Umbria travel, Umbria holiday, Umbria castles","The fortress of Gualdo Cattaneo","The fortress is certainly the most important monument of Gualdo Cattaneo.
Its construction started in 1494, it was designed according to the military standards of the time, when the advent of artillery was radically changing the aspect of all defence structures.
\r\n\r\nThe fortress, called âOf the Borgiasâ in honour of Pope Alexander VI, was completed in 1500 and different skilled workers contributed to its construction.
\r\n\r\nThe fortress has a triangular shape with rounded and truncated cone-shaped towers at each corner, that correspond to others through underground walkways.
\r\n\r\nThe highest tower has a base with a circumference of 80 metres and a height of 20 metres. It dominates all the village and is made up of 5 floors hosting all the living facilities necessary to defend and reside in the garrison.
\r\n\r\nThe Fortress of Gualdo Cattaneo was the last one of a âborderâ fortified defensive system, because continuously contested between Spoleto, Todi, Foligno and Perugia, today scattered with towers, manors, fortresses and castles (such as St. Terenziano, Grutti, Torri, Barattano and Cisterna).
\r\n\r\nIn 1624 Galileo Galilei stayed here and wrote âItâs a small compendium of the universeâ.
","Gualdo Cattaneo | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9120496,12.556193399999984,"Gualdo Cattaneo",54022,"","","","[ ]",""], [493,"Attrattore","en_US",24217809,"90422","https://www.umbriatourism.it/web/umbria/-/porta-marzia","Porta Marzia","The Marzia Gate is inserted as blind arch in the masonry of the Paolina fortress, a majestic 16th century architectural work extended on the broad neighbourhood of the Landone hill, on which Perugia rises.","","Porta Marzia","The Marzia Gate is inserted as blind arch in the masonry of the Paolina fortress, a majestic 16th century architectural work extended on the broad neighbourhood of the Landone hill, on which Perugia rises.It was the monumental gate located at the southern extremity of the Etruscan town walls, where the Amerina road entered, which had been extended to Perugia around the mid-3rd century B.C., in order to strengthen the relationships between the city and Rome.
\r\nAn attractive architectural solution was implemented by the great architect Antonio da Sangallo the Younger who preserved a monument of unparalleled historic and archaeological value, by setting the travertine pediment into the brick of the fortress, by turning it into a decorative element at the entrance of the fortress.
From here the visitor can access the underground portion of the city through via Bagliona with its surviving medieval district, a point of greater picturesque atmosphere. Finally recovered in 1965, the rooms are today used as exhibition space and seat of the Fortressâ museum.
\r\n\r\nThe original gate was destroyed when the Paolina Fortress was built (1540-43) and was partially re-assembled by Sangallo with the same orientation approximately 4 metres away, inserted as blind arch into the new masonry. Instead the doorjambs have been kept in their original position, incorporated into an highly militarised access area to the fortress. The travertine arch, about 4.40 metres wide, is traced by ashlars arranged radially, framed with two pilasters which give support to a jutting frame that carries the inscription Colonia Vibia / Augusta Perusia, similar to the one that appears on the Etruscan arch.
\r\n\r\nBetween the arch and the frame there is a balustrade-shaped frieze overlooked by five figures separated by fluted pilasters surmounted by capitals with a âwater leavesâ pattern. In the centre there is a male bust depicting Tinia/Jupiter accompanied by two characters that are traditionally identified with the Dioscuri. Recently it has been proposed to identify them with the Lares Praestites, the heroic ancestors that in the Etruscan-Italic and Roman tradition protected the city walls. Two equine protomes are depicted at the ends. Three heads sculpted of peperino stone are set on the sides and above the arch. The Marzia Gate didnât have defensive purposes but it represented the monumental entrance to the town, equipped with decorations of guardians ideally pointing towards Rome, peaceably welcoming the new powerful ally.
","Perugia | Ancient history","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [494,"Attrattore","en_US",22229367,"90494","https://www.umbriatourism.it/web/umbria/-/santuario-della-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.
","","Santuario della 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.
\r\n\r\nThe sandstone sanctuary has a Greek cross plan and an octagonal cupola supported at its interior by four pillars.
\r\n\r\nThe 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.
\r\n\r\nThe interior presents a square plan with four chapels on its corners and the main chapel preserving the miraculous painting.
\r\n\r\nAmong 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.
\r\n\r\nBeyond 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.
","Panicale | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",43.0286281,12.097475300000042,"Panicale",54037,"","","","[ ]",""], [496,"Attrattore","en_US",3350875,"90494","https://www.umbriatourism.it/web/umbria/-/museo-del-vetro","Glass Museum","The Museo del Vetro, or Glass Museum, in Piegaro is set within an old glass factory dating to the early 1800s and is located in the centre of town.","","Glass Museum","The Museo del Vetro, or Glass Museum, in Piegaro is set within an old glass factory dating to the early 1800s and is located in the centre of town.The building is a faithful reconstruction of the ancient factory and was purchased by the town in 1989. It recently underwent considerable renovation which left the architecture and the layout of the rooms unaltered and safeguarded the special characteristics of the building, bringing to light and enhancing the architectural structure and that which it still held: the chimney, the furnace with solidified glass in it from the last fusion, the ventilation shafts and the airing and cooling ducts.
\r\n
\r\nIt is one of the few remaining examples of a pre-industrial era glassworks in Italy. The museum displays an array of glass objects made here over the centuries: from beautifully handcrafted glasses, bottles and carafes (some with pure gold decorations) to the demijohns and straw-encased flasks that were once the factory's main product.
A tour of the museum takes the visitor through a succession of fascinating rooms on both storeys that trace the ancient production cycle â from the arrival of the raw material to the final product, including the fusion of the glass and its processing, first manual (for blown items) and then, later on, semi-automatic.
\r\n
\r\nThe two rooms on the main floor, whose walls are still black from centuries of smoke, are home to what remains of the furnace. The lower floor, which served as storage space for raw materials and finished products, still boasts a intricate network of shafts and ducts, some of which can be identified as those that circulated the heat under the furnace. At the centre is a massive basin of molten glass left there when the old factory was finally shut down in 1968.
\r\n
\r\nAn illustrational multi-media system gives visitors an in-depth notion of the technical aspects of working glass, tracing its history from ancient times to today, as well as the history of Piegaro and its environs, which has always been closely linked to the glassworks. Some interesting documents from the 13th-14th centuries offer proof that the factory made sheets of glass and mosaic tiles for the windows and mosaics in the cathedral in Orvieto. This tradition has never been interrupted and, after market demand increased and the need for some serious technological innovation became evident, a modern plant was built in the valley below and is, still today, the driving force of the local economy.
Via Garibaldi, 20 06066 PIEGARO Tel. 075 835 8525
\r\n\r\nE-mail: museodelvetro@comune.piegaro.pg.it
\r\n\r\nWebsite: Visit the website
\r\n\r\n","Piegaro | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",42.9700537,12.086352600000055,"Piegaro",54040,"","","","[ ]",""], [499,"Attrattore","en_US",22457264,"90494","https://www.umbriatourism.it/web/umbria/-/santuario-della-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.
","","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.
\r\n\r\nThe word âgrondiciâ, meaning âunder-eavesâ identifies the part of the roof protruding from the external wall of a building, the eaves.
\r\n\r\nThe 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 didnât happen, the child was buried under the eaves; the name of Madonna delle Grondici developed over time from here.
\r\n\r\nThe temple, totally renovated in recent years, was guided by hermits until the beginning of the 20th century. Inside itâs possible to admire âVirgin on the Throne between the Saints Sebastiano and Roccoâ, artwork of Gregorio Gregori, the Teutonic (1295), who resided in Castel della Pieve.
","Panicale | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",43.00303040000001,12.148123800000008,"Panicale",54037,"","","","[ ]",""], [500,"Attrattore","en_US",22257907,"90494","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-sebastiano-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.","","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.
\r\n\r\nInside the church you can see the fresco of The martyrdom of St. Sebastian, by Pietro Perugino.
\r\n\r\nOutside the Church in the upper left part there are two terracotta panels bearing the dates 1690 and 1725, and itâs possible to find the date 1692 in the external part of the garden.
\r\n\r\nItâs 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.
\r\n\r\nVery probably the date 1725 could refer to another legacy to the College.
\r\n\r\nThe last date, 1692, certainly refers to the building of the surrounding wall at the initiative of the Collegeâs Nuns.
\r\n\r\n\r\n\r\n
[Source: www.comune.panicale.pg.it]
","Panicale | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",43.0286281,12.097475300000042,"Panicale",54037,"","","","[ ]",""], [502,"Attrattore","en_US",24246652,"90494","https://www.umbriatourism.it/web/umbria/-/museo-paleontologico-luigi-boldrini-","\"Luigi Boldrini\" Paleontological Museum","Since its opening on July 14, 2011, the Paleontological Museum of Pietrafitta has displayed the fossil remains found in the area surrounding the upper valley of the Nestore River.","","\"Luigi Boldrini\" Paleontological Museum","Since its opening on July 14, 2011, the Paleontological Museum of Pietrafitta has displayed the fossil remains found in the area surrounding the upper valley of the Nestore River.The museum is called the \"Luigi Boldrini\" Paleontological Museum in honour of Luigi Boldrini, who began to form the first paleontological collection in the sixties. In his role as an assistant supervisor of a mine, he systematically and continually inspected the digs. Currently the collection of fossil of quaternary lignite remains numberes several thousand specimens of its kind and it has become one of today's most important collections in Europe.
\r\n\r\nThe mining activity developed in the Pietrafitta Basin, with its related \"industrial archaeology\", understood not only as the history of the works and machinery used by industry, but above all as the history of those who worked in the mine and therefore the social history of a particular industrial and geographical area, is a further element to reconfirm the cultural importance of the area.
","Piegaro | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",42.9627001,12.084799800000042,"Piegaro",54040,"","","","[ ]",""], [504,"Attrattore","en_US",27981480,"90454","https://www.umbriatourism.it/web/umbria/-/pieve-di-santa-maria-pietralun-1","Parish church of Santa Maria - PIetralunga","The parish church of Santa Maria rises majestically in Pietralungaâs Piazza Fiorucci.
","","","The parish church of Santa Maria rises majestically in Pietralungaâs Piazza Fiorucci.
The church façade today is the result of a substantial modification carried out at the beginning of the 20th century, which involved the demolition of the apse to make room for this new main entrance and the closure of the original one. Inside, the church has an irregular rectangular plan with a single nave, simple and unadorned, interrupted only by large ridges that support the ogive vaults.
\r\n\r\nThe original apse was circular in shape, raised above the floor level and reached by a series of steps; it was demolished to make way for the new entrance.
\r\n\r\nThe present flat and square presbytery was built in the area of the ancient entrance.
\r\n\r\nOn the right wall of the nave there is a fresco, an interesting work attributed to Raffaellino del Colle, depicting the martyrdom of St. Sebastian, while inside the presbytery there is a copy of the Polyptych by Ottaviano Nelli, an illustrious painter from Gubbio active in the 15th century, a work coming from the Church of Sant'Agostino and transferred to the National Gallery of Umbria.
\r\nIl nome di questo fagiolo ne spiega da sé le particolarità : il âPiano di Orvietoâ è la pianura alluvionale che si stende lungo il corso del fiume Paglia, nel comune di Orvieto. Si tratta di un terreno permeabile e perciò ideale per la semina di questa varietà di fagioli âsecondiâ perché di âseconda seminaâ, ovvero seminati a inizio estate immediatamente dopo la mietitura del grano, seguendo il ciclo delle coltivazioni, senza bisogno di trattamenti o di fertilizzanti.
\r\nLa pianta del fagiolo produce velocemente i suoi baccelli, che entro ottobre iniziano a ingiallirsi. Ã il segnale che possono essere colti, lasciati ad essiccare e infine sgranati per ottenere quattro o cinque semi di piccole e medie dimensioni. Il colore di questo fagiolo lo ha reso famoso negli anni â50 come lââoro bianco del Pagliaâ: per i contadini era una vera ricchezza, dato che era poteva essere facilmente barattato in cambio di olio, non prodotto nellâarea del Piano.
\r\nCon il Secondo Dopoguerra la coltivazione del Fagiolo secondo di Orvieto ha rischiato di scomparire: solo la buona volontà di alcuni coltivatori, che hanno conservato le sementi utilizzate nelle passate generazioni, ha permesso di salvare questo legume e renderlo una delle ricchezze gastronomiche del territorio, scelto come Presidio Slowfood.
In cucina
\r\nDiversamente da altre varietà di legumi, non câè bisogno di lasciare il fagiolo in ammollo prima di bollirlo e di utilizzarlo in cucina. Il gusto, molto delicato, lo rende adatto a consumarlo da solo o come contorno, ma può essere utilizzato anche per preparare specialità a base di fagioli come i âfagioli allâuccellettoâ, piatto tipico del centro Italia.
The gorges of the River Nera, where nature, culture and history have been meeting for two thousand years in a unique atmosphere, are a worthy continuation of the Valnerina after the river Nera crosses the Terni Valley.
","Valnerina, Umbria, Narni, trekking","The Gorges of the River Nera","The gorges of the River Nera, where nature, culture and history have been meeting for two thousand years in a unique atmosphere, are a worthy continuation of the Valnerina after the river Nera crosses the Terni Valley.
The gorges of the River Nera, where nature, culture and history have been meeting for two thousand years in a unique atmosphere, are a worthy continuation of the Valnerina after the Nera river crosses the Terni Valley.
\r\n\r\nItâs an interesting bit of territory because of its landscape, naturalistic and historic value.
\r\n\r\nParticularly inspiring is the path that follows the ex railway bed, running along the Nera river for about 5 kilometres. Itâs an itinerary suitable for everyone: lovers of trekking, running, mountain bike and horseback rides, but also canoeing enthusiasts who can follow the River Nera with its artificial marinas created along the river from the area of Funara until the mill in the territory of Nera Montoro.
\r\n\r\nAt the southernmost tip of the Gorges there are remains of the Ancient and strategic Roman harbour and of the shipyard that demonstrate the old navigability of the rivers Tiber and Nera; up on the mountain of St. Croce, you can see the caves, once inhabited by hermits, and the abbey of St. Cassiano and below the remains of the imposing Bridge of Augustus (27 BC).
\r\n\r\nThe Superba Narnia, seal and symbol of the medieval historical atmosphere pervading the whole valley, stands on the other side, lying on a spur of rock of the Mount Maggiore.
\r\n\r\nThe area upstream the ecological oasis of the San Liberato Lake is particularly interesting for ornithological reasons: the rugged rock walls host a vital population of blue rock thrushes also living in Narniâs towers and offer shelter to some species of nocturnal and diurnal birds of prey.
\r\n\r\nThe forests of holm oaks and manna-ashes, in many points almost impenetrable, host a long list of migratory species: from Wood Pigeons, that sometimes stop there for nesting, to Thrushes, Blackbirds, Jays, and to the multitude of other Passerines, that in autumn and spring fly over our peninsula in their long migratory flights.
\r\n\r\n\r\n\r\n
[Source: www.turismonarni.it]
\r\n\r\n","Narni | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=1454335121724",42.50922120000001,12.56002890000002,"Narni",55022,"","","","[ ]",""], [519,"Attrattore","en_US",24390552,"93915","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assun-2","Chiesa di Santa Maria Assunta - Sigillo","The Sanctuary of Our Lady's Assumption into Heaven (12th century), in the Romanesque style, has a bell dating back to 1250.","","Chiesa di Santa Maria Assunta - Sigillo","The Sanctuary of Our Lady's Assumption into Heaven (12th century), in the Romanesque style, has a bell dating back to 1250. It was restored in the 1980s. It contains a fresco of the painter Matteo da Gualdo, dated 1484, and another painting perhaps executed by his son Gerolamo. Other artworks are attributed to Ottaviano Nelli, a fresco painter from Gubbio. The church is also known as St. Mary of Scirca or St. Mary of Montecupo. ","Sigillo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=1454334685707",43.3314119,12.730749699999933,"Sigillo",54049,"","","","[ ]",""], [520,"Attrattore","en_US",24188173,"90494","https://www.umbriatourism.it/web/umbria/-/palazzo-baldeschi-museo-banca-della-memoria-del-trasimeno","Palazzo Baldeschi","Palazzo Baldeschi is situated within the small village of Paciano.","","Palazzo Baldeschi","Palazzo Baldeschi is situated within the small village of Paciano.
It was built in the 17th century by integrating together the numerous tower-houses of the neighborhood. It was restored in 1461 and in 1477. The structure is simple and composed, with a prevalence of terracotta and sandstone. On the main door stands a travertine coat of arms, while inside there is a noteworthy large staircase attributed to Vignola.
\r\n\r\nThe Palazzo houses a specific space for \"TrasiMemo\", the Bank of the Trasimeno Memory. This is a project that seeks to protect the cultural heritage of the lake area and its communities, a space to build and preserve the memory and the knowledge of craftsmanship, agriculture, food and wine, documenting the cultural processes, practices and social contexts. It is a museum with workshops and events, wood-, iron- and metalworking, textiles and the cotto tile of the Trasimeno area.
","Paciano | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",43.0279889,12.060402999999951,"Paciano",54036,"","","","[ (43.0279889@12.060402999999951) ]",""], [521,"Attrattore","en_US",24847758,"90542","https://www.umbriatourism.it/web/umbria/-/tane-del-diavolo-parrano","Tane del Diavolo - Parrano","An articulated complex of caves of karstic origin opens up on the slopes of the hill where the village of Parrano (just north of Orvieto) arises, on the walls of a gorge and along the ditch of Bagno. These caves are called with the charming toponym of Nests of the Devil.","Parrano, terme, Umbria, benessere, Tane del Diavolo,","Tane del Diavolo - Parrano","An articulated complex of caves of karstic origin opens up on the slopes of the hill where the village of Parrano (just north of Orvieto) arises, on the walls of a gorge and along the ditch of Bagno. These caves are called with the charming toponym of Nests of the Devil.Important archaeological materials of different epochs come from these cavities and range from the Neolithic age (the moment of transition from the Stone Age to the Age of Metals, at the beginning of the third millennium B.C.) until the late Bronze Age. At the beginning of the gorge there is a source whose waters are characterized by a rather accentuated process of thermal springs, since they gush at the temperature of about 28 degrees Celsius. Here you can find a thermal lake, where you could take a refreshing bath once left the caves!
\r\nThe Centre of Territorial documentation
\r\nThe Centre of Territorial documentation or Museum of the Territory is a small exhibition complex located at the entrance of the Parrano village, in the same building hosting the primary school Sante De Sanctis, downstairs. It consists of four sections: the first one on the geology of the territory and the canyonâs formation where the Devilâs Nests are located; the second section about the history of the archaeological excavations of the Nests and their results, accompanied by the exhibition of materials dating back to the early Palaeolithic and the late Bronze Age; the third section refers to the discovery and the excavation of the Etruscan tomb in Soriano, with some pieces of the kit, including important pots of the Orvieto Group (6th century B.C.); the fourth section refers to the history of Parranoâs castrum from the Middle Ages to our times, with the reproduction of an extensive range of archive documents, including some papers of the Statute of the Parranoâs castrum, dating back to 1559.
\r\nThe visit to the Centre can be combined with the excursion to the Devilâs Nests or can be made independently.
\r\nSource: www.comune.parrano.tr.it
It was built in 1136 by order of Benedictine monks who also built a small convent beside it. This convent was suppressed in 1652 by Pope Innocent X and no longer exists. Now there is the parish house and a housing complex belonging to the Diocesan Institute clergy sustenance leased to the Carabinieri Corps.
\r\n\r\nThe church, originally dedicated to the Annunciation and to St. Benedict, passed in 1258 to the Augustinian hermits: they restored it and named it after the holy bishop of Hippo; the prior of the community was the blessed Ugolino da Gualdo Cattaneo. Restored in 1926, and more recently around the beginning of the 1990s, it was indicated as a parish church in 1988. Today, however, the parish church is that of Saints Anthony and Antoninus, located in the central square of Gualdo.
\r\n\r\nThe original facade features an ogival portal in pink stone and the structure of sandstone blocks. In the middle of the door, on the keystone of the arch, is carved the figure of the protector of the town of Gualdo Cattaneo, St. Michael the Archangel. The interior, with a splendid wooden trussed ceiling, houses a large fresco of 1482 by the School of Foligno painter Nicolò Alunno depicting the Crucifixion; there is also a painting of the fifteenth century and a panel of the fourteenth century by Maestro Bastiano.
\r\n\r\n","Gualdo Cattaneo | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275",42.9120496,12.556193399999984,"Gualdo Cattaneo",54022,"","","","[ ]",""], [526,"Attrattore","en_US",27981577,"90454","https://www.umbriatourism.it/web/umbria/-/museo-ornitologico-naturalistico-silvio-bambini-pietralunga","Museo ornitologico - naturalistico \"Silvio Bambini\"- Pietralunga","Located on the northeast side of the Tiber Valley, Pietralunga occupies the end of a hilly ridge near the Umbria-Marche Apennines.","","","Located on the northeast side of the Tiber Valley, Pietralunga occupies the end of a hilly ridge near the Umbria-Marche Apennines.
It is surrounded by wooded hills that slope in wide green valleys. Despite the typically medieval character of the old town, with its narrow alleys converging towards a single square on which the palazzi, churches, convents and the former hospital, Pietralunga has prehistoric origins, as evidenced by numerous archaeological finds preserved the Archaeological Museum of Perugia, including the human tibia flute and some \"forts\" scattered in the territory.
\r\n\r\nThe first urban settlement, called Tufi, however, leads back to the Umbrian people, in the period in which they held the rituals described in the third century BC Tables of Gubbio that retain the longest text written in the Umbrian language and the most detailed description for religious rites belonging to the ancient Western world.
\r\n\r\nIn the Roman period there were ancient villae, or complexes of buildings forming a sort of agricultural settlement, aqueducts and roads, including a branch of the Flaminia consular road that connected it to the Tiber Valley. Some tracts are still visible completely covered with thick limestone slabs called basoli.
\r\n\r\nIn the territory of Pietralunga the spread of Christianity is tied to the vicissitudes of St. Crescenziano, a Roman legionnaire who brought the new doctrine to these territories. Crescenziano, according to the sacred legend, killed a dragon that was raging on the outskirts of Città di Castello. During the Christian persecution made by Diocletian, Crescenziano was beheaded and buried in the place where the church de Saddi stands; it is the oldest church in the area, built in the fifth century A.D. on the ruins of a Roman temple, to preserve the body of the martyr. Inside the church, an eighth-century bas-relief depicts the saint slaying the dragon.
\r\n\r\nThe Roman settlement, built in the valley, was abandoned following the barbarian invasions and the city was rebuilt in the 6th-7th century on the hill known as Plebs Tuphiae. In the same historical period, construction started on the church of Santa Maria and the pentagonal Lombard fortress.
\r\n\r\nOver time the territory of Pietralunga became very prosperous and populous, and its rich pastures took on the the name Pratalonga, becoming a free Commune from 11th to the 14th centuries and were thus provided with the Statutes and the Land Registry. At the end of the fourteenth century Pietralunga allied itself and submitted to Citta di Castello, becoming an integral part of the territory. From then on its history proceeded in parallel with that of the major cities that provided to send, periodically, a captain with full powers in the administration of public affairs.
\r\n\r\nThis situation lasted until 1817, when Pietralunga was elevated to the rank of municipality, and in 1860 it was brought into the Kingdom of Italy. Pietralunga lost more than 100 of its sons in the First World War and in the second, after September 8, 1943, with the establishment of the Proletarian Shock Brigade San Faustino, which became the resistance operations center in upper Umbria: for this reason it is the only Umbrian municipality decorated with medal for bravery.
\r\n\r\nThe medieval town is built around the Lombard fortress, dating from the eighth century, with the surrounding walls that still characterize the village today. The fortress, despite the subsequent changes, has lost none of the characteristic pentagonal base. Of the three ancient gates the only one still intact is the Cassino gate, bearing on its left side a plaque of the sixteenth century, commemorating the restoration along with the castle walls. Of particular interest are the urban parish church of Santa Maria, dating from the eighth-ninth century, which has a valuable Romanesque portal and suburban parish church, today the sanctuary of Our Lady of Remedies.
","Pietralunga","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=1454334891718",43.4650147,12.426595200000065,"Pietralunga",54041,"","Pietralunga","","[ ]",""], [527,"Attrattore","en_US",27981272,"90454","https://www.umbriatourism.it/web/umbria/-/la-roca-longobarda-pietralunga","La Rocca Longobarda - Pietralunga","Da qui possiamo ammirare i resti della porta d'accesso all'antico maniero, costruito in epoca longobarda.","","","Da qui possiamo ammirare i resti della porta d'accesso all'antico maniero, costruito in epoca longobarda.A single nave has a rectangular hall topped with a barrel vault, embellished by typical Altieri-style stars in the middle and the sides, which are broken by the side windows. The whole conveys an upwards movement, giving a great sense of spaciousness. There are four arches on each side, holding up very overhanging eaves, and two arches on each wall housing the chapels. The simple façade is by Giovanni Antonio Fratini from Forlì, portal and windows perhaps by Maestro Marcello Rainaldi and the concrete tympanum above the door dating to1944.
\r\n\r\nThe decorative form of the four chapels is the same, even if partly differentiated. The first chapel on the right, known as the Madonna del Carmine or Saint Anthony chapel, belonged to the Confraternity of the Blessed Sacrament and of Mercy. The painting depicts the Madonna del Carmine with Saints Anthony of Padua, Vito, Anthony Abbot and Filippo Neri. The artist is unknown, as well as the exact date of its execution, but it could be placed in the mid-17th century. The group of the Madonna and Child is slightly to the left in order to give harmony to the group of figures. Leading the eye up through a winding path, this composition ends at the left with two cherubs and a cloud covering the scene. The statue of St. Michael the Archangel is in the upper part of the chapel. This is a copy of a work by Andrea Sansovino, and one of the works coming from the religious situations preceding this church.
\r\n\r\nThe second chapel on the right, currently known as the Madonna chapel, was originally the altar dedicated to St. Bernardino of Siena, brought here with its benefits from another church.
\r\n\r\nThe first chapel on the left was of a noble family of Todi, the Gentiloni, and dedicated to St. Ursula. It is certainly the most baroque of all: the unique one without a rigid composition like the others, following the vertical development of the church.
\r\n\r\nThe last chapel, the second left, was run by the Confraternity of the Holy Rosary. It is the altar of Our Lady of the Rosary, and the name derives from the valuable altarpiece decorating it, mature work by the most important painter of the early Baroque in Todi, Andrea Polinori, depicting the Madonna of the Rosary and saints. Among them itâs possible to recognize St. Dominic and St. Catherine of Siena in the foreground, while those in the background are not recognizable.
","Fratta Todina | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.8579325,12.363445500000012,"Fratta Todina",54020,"","","","[ ]",""], [530,"Attrattore","en_US",5395116,"93915","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-pietro","Church of San Pietro","The Church of San Pietro is the oldest church of Fossato, built originally as a Monastery of Camaldolesi.","","Church of San Pietro","The Church of San Pietro is the oldest church of Fossato, built originally as a Monastery of Camaldolesi.It was built by Bishop Angelo Cesi In the second half of the sixteenth century. From 1643 to 1654, cardinal Altieri exalted its beauty by expanding and enriching the gardens with magnificent and imaginative water features, buildings and fountains designed by the architect Ludwig Gattelli with daring works of hydraulic engineering. The courtyard has porches on two sides, a loggia with stucco decorations and a magnificent balcony on large corbels, which opens onto the garden. Under the balcony stands the fountain of the episcopal palace. The palace houses a gallery with Roman school frescoes depicting biblical scenes.
\r\n\r\nCurrently the Palazzo is the seat of the congregation âAncelle dellâAmore Misericordioso\" and it can be visited on request. The congregation hosts the Hope Center, a rehabilitation service for children, teenagers and adults with neuropsychological disabilities. Over the last twenty years, the Palazzo has undergone structural changes in order to make it suitable, in accordance with applicable laws.
","Fratta Todina | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=1454334767441",42.8579325,12.363445500000012,"Fratta Todina",54020,"","","","[ ]",""], [532,"Attrattore","en_US",5394974,"93915","https://www.umbriatourism.it/web/umbria/-/cappella-della-piaggiola","Cappella della Piaggiola","The little church of Santa Maria della Piaggiola is also the ancient seat of the Monte di Pietà , a charitable lending institution. It's a unique thirteenth-century space with a barrel vault, characterized by well-preserved frescoes from the 1400s by Ottaviano Nelli of Gubbio.","","Cappella della Piaggiola","The little church of Santa Maria della Piaggiola is also the ancient seat of the Monte di Pietà , a charitable lending institution. It's a unique thirteenth-century space with a barrel vault, characterized by well-preserved frescoes from the 1400s by Ottaviano Nelli of Gubbio. ","Fossato di Vico | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=1454334869586",43.2982491,12.762584699999934,"Fossato di Vico",54019,"","","","[ ]",""], [533,"Attrattore","en_US",5395416,"93915","https://www.umbriatourism.it/web/umbria/-/vecchio-palazzo-comunale-e-torre","Old Town Hall and tower - Fossato di Vico","In the Middle Ages the old Town Hall and the tower were respectively the gatehouse of the castle (which allows defense of the walls and of the town, as desired by the statutes) and its adjoining house, integrated with lodging for guards. To increase the defensive armament, every outgoing Vicar, after six months in office, left the City with a crossbow and a rotella worth two gold florins.","","Vecchio Palazzo comunale e torre","In the Middle Ages the old Town Hall and the tower were respectively the gatehouse of the castle (which allows defense of the walls and of the town, as desired by the statutes) and its adjoining house, integrated with lodging for guards. To increase the defensive armament, every outgoing Vicar, after six months in office, left the City with a crossbow and a rotella worth two gold florins.The brick battlements appear after the fourteenth century, while the last sturdy door is dated 1536, of which one door is preserved, the Gothic entrance arch, under which you can still see the hinges; this gate, of which the key is preserved, like the other gates of Fossato, was guarded day and night (wax, armor, straw and wood were provided by the town tax payers, who also were required to provide bread, wine and such) still in the sixteenth century until (and shortly after) the submission to the Papal States in 1540. These years were severely scarred by aggressions, betrayal, plagues and hardships of all kinds. As on other occasions in the past, Fossato reacted with its legendary capacity for survival and defense.
\r\nThe transformation from fortress to the Palazzo Ducale was executed following the indications of Ippolito Scalza, architect of Orvieto. The building consists of two parts: one to the north, which is spread over six floors high and in which is the main entrance, and the other one, to the south, older. This part is characterized by three floors and a circular tower plan.
\r\n\r\nThe entrance consists of a travertine ashlar portal through which you enter a large hall decorated with Doric columns. On the right, a spiral ramp lead carriages to the loggia of the building, from which to admire the beautiful landscape of the Tiber Valley. A corridor under a porch leads to the apartments. To the east, the castle is characterized by the presence of a large, high fortified tower, topped by a penthouse with a crenelated Ghibelline-type frame and overhanging corbels. The third floor hosts luxurious rooms, whose ceilings are decorated with mythological frescoes of the Bologna and Ferrara School, while the paintings are attributed to Domenico Zampieri Domenichino (1581-1641), Paolo Caliari, called Veronese (1528 -88) and Orazio Alfani (1510-83). On the fourth floor are some rooms once used as a prison, with isolation cells and a trap where the prisoners were pushed down. The facades have a total of 365 windows, one for each day of the year.
\r\n
On the entrance door there is the municipal coat of arms and a plaque bearing the words Gratia Dei Nicolaus Cardinalis de Flisco, that recalls the name of Stronconeâs governor when the door was built around 1500. A stone staircase, on whose walls you can admire plaques and fragments of Roman and early Medieval origin, leads to the upper floor where you can access the ancient Priori hall, today the city council chambers. The top of the walls all around the hall are decorated with emblems of the local aristocratic families, although Costanzi claims they are coats of arms belonging to the cardinals who hold the position of Stronconeâs Governors.
\r\nThe same hall also houses the polychromatic wooden statue dated between the late 15th century and the early 16th century devoted to St. Sebastian and that represents the young and vigorous Narbonensis soldier calmly accepting calmly his terrible martyrdom.
\r\nPrecious artworks are kept into the mayorâs office: the ancient cartridge case to vote for the Priori dates back to the 16th century and used to contain some slips of paper for the extraction of magistrates; a 16th century ballot box; the oil canvas depicting a Madonna with Child, coins and the medals, the council seal, the illuminated music books and other historical documents, such as the Municipal Statutes of the 18th century and the manuscript of the lawyer Teodor Costanzi about the history of Stroncone.
\r\nSource: Stroncone Tourism.
Alla fine del Duecento Orvieto ebbe un nuovo assetto urbano e collocò in posizione strategicamente centrale il palazzo dei Sette con la torre detta del Papa, alta 47 metri e orientata quasi perfettamente secondo i quattro punti cardinali. Le sue imponenti dimensioni consentivano, infatti, la dominazione visiva dell'allora vasto territorio dello stato orvietano. Nel XVI secolo la torre venne così chiamata da Raffaele di Sante, detto il Moro, che diede il suo nome anche al sottostante palazzo Gualtiero, di sua proprietà , e all'intera contrada. Nel 1865, all'altezza di diciotto metri, fu sistemata nella torre del Moro la vasca distributrice del nuovo acquedotto e, a seguito dei restauri del 1866, venne installato l'orologio meccanico e due campane civiche. La campana più piccola proveniva dalla torre di Sant'Andrea e quella più grande dal palazzo del Popolo.
\r\n\r\nIl palazzo dei Sette con la torre del Moro, recentemente restaurato e adibito a centro culturale, appartenne all'antica famiglia dei Della Terza, poi fu di proprietà del Papato, sede dei Sette, del pontefice e sembra che vi abitò anche Antonio da Sangallo.
","Orvieto | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",42.7185068,12.110744599999975,"Orvieto",55023,"","","","[ ]",""], [546,"Attrattore","en_US",24847580,"90542","https://www.umbriatourism.it/web/umbria/-/museo-emilio-greco-orvieto","Museo Emilio Greco - Orvieto","Placed on the Orvietoâs Cathedralâs Square, on the right side of the Cathedral and in its immediate proximity, Palace Soliano is the widest and most imposing papal residence in Orvieto.","","Museo Emilio Greco - Orvieto","Placed on the Orvietoâs Cathedralâs Square, on the right side of the Cathedral and in its immediate proximity, Palace Soliano is the widest and most imposing papal residence in Orvieto. Bonifacio VIII Caetani (1294-1303).A visit to the complex of Santa Giuliana is advisable to see the beautiful cloister, attributed to Matteo Gattaponi (1376). It is one of the finest examples of Cistercian architecture in Italy. The monastery of Santa Giuliana, founded in 1253 by Cardinal Giovanni of Toledo, a great promoter of the Cistercian reform, was one of the richest religious building of the city; it was protected by Pope Innocent IV, who granted a special indulgence to anyone who visited it.
\r\n\r\nThe church has a fourteenth-century facade with geometric facing in white and pink marble and a beautiful portal with a rose window. It houses several traces of ancient decorations in the single nave interior with wooden trusses. Two 13th century frescoes, detached from the refectory, were placed on the left wall (Last Supper), and in the apse (Coronation of the Virgin by Marzolini, Master of the Triptych). Still visible on the triumphal arch are remains of frescoes dating from the end of the 13th and the early 14th centuries.
\r\n\r\nThe former monastery, now housing the Italian Army's Foreign Language School, is located to the right of the church. Inside the monastery there is a beautiful cloister, characterized by wide white arches on octagonal pillars with red and white stripes of narrative capitals. Attributed to Matthew Gattaponi (1376) it is one of the finest examples of Cistercian architecture in Italy. In 1567 this monastery was considered one of the most dissolute cloistered complex in Umbria and it was transferred to the Bishop's jurisdiction. It a period of decline - the complex was renovated several times (16th and 18th centuries) and with the Napoleonic requisitions, after the loss of all furnishings, it was reduced to a granary.
","Perugia | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718",43.1107168,12.390827899999977,"Perugia",54039,"","","","[ ]",""], [559,"Attrattore","en_US",22598576,"90590","https://www.umbriatourism.it/web/umbria/-/le-sorgenti-di-nocera-umbra","The Nocera Umbra springs","The abundant water, mostly with unique organoleptic properties, represents a main asset of the Nocera territory. ","","The Nocera Umbra springs","The abundant water, mostly with unique organoleptic properties, represents a main asset of the Nocera territory.Suffice it to say that there are countless springs, some of which serve other municipalities. The main springs, whether for historical importance or use, are the Angelica, the Flaminia and the Cacciatore, which represent the past, the present and the future of Nocera with respect to water.
\r\n\r\nAngelica Spring
\r\n\r\nIt arises in Bagni di Nocera and is the oldest of the three springs in terms of commercial exploitation. Consider that drinking mineral water as therapy was already known and practised in the Nocera area with water from this spring in 1500; it was then developed with the opening of a thermal centre in the vicinity of the spring itself. This place came to be one of the most popular centres for in central Italy for \"taking the waters\" for a time. This success gradually abated between the late 19th century and the early 20th century.
\r\n\r\nThe reasons for this declne are linked to the evolution of spa-tourism and especially to the development of new ways to spend holidays. If tourism linked to Nocera water experienced a serious crisis then, the same cannot be said about the commercial success of the water. At its height, it was exported to Germany, Portugal and even Constantinople. Starting from the late 19th century, thanks to the entrepreneurial skills of Felice Bisleri, a Milanese industrialist, the Nocera water was exported to countries such as North America, Latin America and India.
\r\n\r\nOver the centuries many scientific essays have been written concerning the features of this water and all authors agree about its high quality, to the extent that in the 18th century it was taken as sample, both for its physical and chemical characteristics, to assess the quality of other waters. In September 1805 the professors Alessandro Humbolt and Gay-Lussac, both famous scholars, , came specifically to Nocera to analyse this spring water.
\r\n\r\nIn the tourism and thermal sector Nocera was a very popular destination for noblemen and bourgeois, so that several famous people came to Nocera for treatment. Among the others, we note Vincenzo Monti, Luigi Pirandello and Giacomo Leopardi. The range of pathologies treated with this water was very broad. Today the spring has lost its ancient glory and the old spa is reduced to the complex of buildings that are being totally renovated.
\r\n\r\n\r\n\r\n
The Flaminia Spring
\r\n\r\nArising in âLe Caseâ, itâs currently the most exploited source because its waters flow to the Nocera Scalo plant for bottling, and is sold as the brand âNocera Umbra Flaminia Springâ.
\r\n\r\n\r\n\r\n
The Cacciatore Spring
\r\n\r\nThe Cacciatore Spring, also called of Centino, arises in the vicinity of Schiagni and has particular mineral properties that make it suitable for therapeutic uses. In the past, thanks to its lightness, it was used to treat specific pathologies. The District of Nocera Umbra aims at exploiting the features of this water by implementing an ambitious project: opening a spa centre. The therapeutic features of this water have been recognized through highly scientific experiments carried out by different doctors and scholars who are luminaries of the sector.
\r\n\r\nLaboratory analysis has been followed by practical studies on patients suffering particular pathologies and on healthy subjects. The conclusion reached after different examinations led to claim that this water plays a role in several factors: it promotes diuresis, increases the urinary excretion of urates, reduces the urinary excretion of calcium, improves the function of liver and of the exocrine pancreas, is an adjuvant in the diabetes treatment and doesnât provoke any side effects.
\r\n\r\nThe Italian Health Superior Council authorized the use of this water for the following therapies: hepatic and pancreatic functionality, diuresis, calciuria and uricosuria, adjuvant in the treatment of diabetes. Currently, despite the ongoing works on the principal project, itâs possible to access the spring to enjoy its water and relax.
\r\n\r\n\r\n\r\n
[Source: http://www.nocerainumbria.it/]
","Nocera Umbra | Lakes, rivers and waterfalls","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=1423749272488",43.1134952,12.787561399999959,"Nocera Umbra",54034,"","","","[ ]",""], [560,"Attrattore","en_US",24159400,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-filippo-nocera-umbra","The Church of San Filippo - Nocera Umbra","The church of St. Philip is situated along a charming street with seventeenth-century arcades, at the top of Nocera Umbra.","Nocera umbra, Umbria, acque minerali,","The Church of San Filippo - Nocera Umbra","The church of St. Philip is situated along a charming street with seventeenth-century arcades, at the top of Nocera Umbra. Constructed between 1864 and 1868 in neo-Gothic style, the church was designed by the architect Luigi Poletti and financed thanks to Monsignor Francesco Amoni. The porticoed facade is decorated by a large rose window flanked by the symbols of the four evangelists (Eagle, Angel, Lion and Bull). The interior retains, on the high altar, a painting depicting the Death of St. Philip with an apparition of the Madonna by Francesco Grandi. In the sacristy there is an eighteenth-century Beheading of John the Baptist. ","Nocera Umbra | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=1454335181497",43.1134952,12.787561399999959,"Nocera Umbra",54034,"","","","[ ]",""], [561,"Attrattore","en_US",24159195,"90590","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-nocera-umbria","Church of St. Francis","The fifteenth-century Church of St. Francis overlooks Caprera square, in the upper part of the ancient town of Nocera Umbra, and houses the Art Gallery and Museum.","","Church of St. Francis - Nocera Umbra","The fifteenth-century Church of St. Francis overlooks Caprera square, in the upper part of the ancient town of Nocera Umbra, and houses the Art Gallery and Museum.Currently the Church has a single nave, with five robust, slightly ogival arches that mark the bays and a polygonal apse. The sloped roof of the nave is supported by large arches; the apse is covered with a vault with a grooved surface. The Church entrance is on the side wall, so the main facade of the Church is on the side. The sober facade is made of rectangular stone blocks with two doors. The main one is in the Gothic style with a marble architrave and an arched fanlight above; at about two-thirds up its height, the simple stone frame opens into an elegant lancet. The secondary door and Romanesque frame were probably part of the primitive church.
\r\n\r\nThe interior contains a series of frescoes by Matteo da Gualdo and local painters, more frescos dating back to the fourteenth to the sixteenth century are the remaining walls of the Church. There are many art works from a variety of Umbrian Churches and numerous archaeological finds. The original layout of the Church of San Francis dates back to the fourteenth century, when Pope John XXII granted the Franciscans permission to build a convent in the city. They chose to occupy and expand later a small oratory located in Piazza del Comune (as it was called at that time).
\r\n\r\nThe first extension works were definitely made by the end of the century, as evidenced by a plaque placed on the left of the Gothic portal. The work probably led to a different orientation of the church (with the altar to the north) and it was expanded to about twice the size of the previous structure. Throughout the fifteenth century works inside the ecclesiastical building was carried out, thanks to many donations by the inhabitants of Nocera Umbra.
\r\n\r\nIn 1494 a further major restructuring began, including the raising of the wall towards the square and the construction of the interior arches. In 1500 the square bell tower with four windows was built to the left of the apse. The Church was the site of the Franciscan order until the Napoleonic suppression (1809) and the public concession of property belonging to the Papal State. In 1914 the Superintendent of Umbria Monuments launched a project to transform the building, which had fallen into poor condition, into a picture gallery. The beginning of the war put an end to the initiative and the Church continued its decline through the first half of the century. Finally, in the 50s the Art Gallery was built and became accessible, but by1979 it already needed to be reinforced and so was closed. The necessary work began in 1981 and in 1996 it was finally reopened, allowing the public to admire significant works of art of Umbrian cultural heritage.
","Nocera Umbra | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=1454335181497",43.1134952,12.787561399999959,"Nocera Umbra",54034,"","","","[ ]",""], [562,"Attrattore","en_US",24159298,"90590","https://www.umbriatourism.it/web/umbria/-/duomo-nocera-umbra","Duomo - Nocera Umbra","Itâs the main church of Nocera and Mother Church of the former Dioceses of Nocera and Gualdo, until 1986.","","Duomo - Nocera Umbra","Itâs the main church of Nocera and until 1986 was the Mother Church of the former Dioceses of Nocera and Gualdo.The Caporali theatre rises in the heart of Panicale's historical centre and deserves a visit both for the elegance of its richly decorated internal structure and for its theatre performances.
","Panicale, lago trasimeno, Umbria, vacanze relax, teatro gioiello,","Cesare Caporali Theatre - Panicale","The Caporali theatre rises in the heart of Panicale's historical centre and deserves a visit both for the elegance of its richly decorated internal structure and for its theatre performances.Indeed the theatre hosts the prose season (TSU circuit), the concerts of Panicale Music Together, the Baroque Opera, dance recitals and conferences.
\r\n\r\nThe theatreâs history is rooted in the âDramatic Societyâ founded in 1694 by a group of young Panicale inhabitants.
\r\n\r\nIn 1786 the âDramatic Societyâ converged in a new company called âDrama Schoolâ. The Drama School commissioned F. Tarducci to build a small wooden theatre that, because of its position, was called the Sun Theatre.
\r\n\r\nIn 1856, due to progressive deterioration, the theatre was restored, extended and modified and acquired a new shape. The project was assigned to the architect Giovanni Caproni who modified the structure broadening the stage, increasing the number of boxes and building over them a big gallery with a cast-iron railing.
\r\n\r\nThe decorative project was assigned to Alceste Ricci from Perugia and consisted in painting the wooden structure with a bright varnish enriched by gold stucco and festoons. The painter Mariano Piervittori painted the main curtain, which portrays the Captain of Fortune Boldrino Paneri from Panicale receiving the keys of Perugia. The hall became so elegant and harmonious and was open to the public in the Carnival of 1858 with the new name of Cesare Caporali Theatre.
\r\n\r\nRestored in the 1980s, today the theatre is frequently used.
","Panicale | Places of culture","","https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240",43.0286281,12.097475300000042,"Panicale",54037,"","","","[ ]",""], [567,"Attrattore","en_US",28011426,"93915","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-valfabbrica","Chiesa di Santa Maria Assunta - Valfabbrica","The church belonged to the Benedictine Abbey of Santa Maria in Vado Fabrice, which some art critics indicate as the place where Francis was hosted after leaving his town, on the way to Gubbio.","","","The church belonged to the Benedictine Abbey of Santa Maria in Vado Fabrice, which some art critics indicate as the place where Francis was hosted after leaving his town, on the way to Gubbio. Documented in some chronicles of the year 820, when Emperor Ludovico il Pio granted him the autonomy, it is considered one of the oldest monasteries of Umbria. In 1200, during the war between Perugia and Assisi, it was subject to frequent depredations and undefended as a result of the destruction of the castle of Valfabbrica operated by Perugini. In 1359, after the suppression of the monastery , for centuries it was used as the parish church of Valfabbrica. The restoration succeeded over time have maintained the original layout of the structure, which preserves inside frescoes votive of the '300 Umbrian school, that some art critics attribute to Cimabue. The abbey was transformed into a private residence, while the church is used during various religious celebrations (Corpus Christi, confirmations, weddings). ","Valfabbrica | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=1454335181497",43.1588812,12.601164400000016,"Valfabbrica",54057,"","","","[ ]",""], [569,"Attrattore","en_US",112059,"","https://www.umbriatourism.it/web/umbria/-/cimitero-museo-le-mummie-di-ferentillo-","Mummy Museum of Ferentillo","Some mummies are preserved in the Romanesque crypt. They were discovered in 1805, when an edict from Napoleon ordered the exhumation of the corpses contained in churches. ","Mummy Museum of Ferentillo","","The very simple façade is characterized by a central rose window decorated with small sculptures, below which stands the white stone entrance portal, sided by two orders of lesene, showing the Coat of Arms of Lorenzo Cybo and of the Lateran Chapter at the base of the pilasters. The inner part of the church has a three-nave structure, and in the apse, which is circular and in Baroque style, two small loggias open with their Rococo wooden balustrade. A large canvas depicting the martyrdom of St Stephen, by the painter Giuseppe Rosi (1759), is at the center. Also worth noting are the fresco byPierino Cesarei, dated 1595, depicting the Nativity, and the splendid baptismal font. A tabernacleâto preserve the consecrated oilsâdating from the 16th century is set on the presbytery, on the pillar to the right.Precetto - Via della Torre
\r\n05034 - Ferentillo (TR)
\r\nemail: mummie@libero.it
\r\n\r\n
Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari
","Ferentillo | Places of culture","","https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=1423749273208",42.6204432,12.784383100000014,"Ferentillo",55012,"","","","[ ]",""], [570,"Attrattore","en_US",5394748,"93925","https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-1","Church of San Francesco - Giano dell'Umbria","The Church of San Francesco dates back to the second half of the 13th century.","","Church of San Francesco - Giano dell'Umbria","The Church of San Francesco dates back to the second half of the 13th century.It is part of the Assisi-Gubbio Franciscan Path of Peace, walked in 1207 by St. Francis after he famously abandoned his possessions, clothing and money in the square of Assisi. It is also a stop on the Via di Francesco.
\r\n\r\nFor more information: ilsentierofrancescano.it
\r\n\r\n","Valfabbrica","","https://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=1454335181497",43.1588812,12.601164400000016,"Valfabbrica",54057,"","","","[ ]",""], [574,"Attrattore","en_US",24760242,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-cateri-1","Chiesa di Santa Caterina","The church and the monastery had been erected in 1354, according to the report of the pastoral visit of the Lascaris. The oldest parts of the church of Santa Caterina, in Vallo di Nera, dates back to the 14th century or the beginning of the 15th century (bell tower, the back wall of the monastery entrance).","","Chiesa di Santa Caterina","The church and the monastery had been erected in 1354, according to the report of the pastoral visit of the Lascaris. The oldest parts of the church of Santa Caterina, in Vallo di Nera, dates back to the 14th century or the beginning of the 15th century (bell tower, the back wall of the monastery entrance). The monastic building, which housed the Augustinian nuns, is almost entirely ruined, due to neglect after the suppression of the Monastery decreed in 1615 by Cardinal Barberini, when it was inhabited by one nun. Later it became a private property and it collapsed until the recent renovation, which it has transformed the complex into a small auditorium. The current façade is a reconstruction of the sixteenth century, adorned with a Renaissance portal, an oculus, a bell tower situated on the right, with two overlapping bells. The interior has a single nave, with a trussed roof. The altar is separated from the wall with a rich frame with botanical motifs. Above the altar there is a canvas of the Roman school of the seventeenth century, surrounded by a rich frame carved and polychrome local craft. A canvas depicts the Mystic Marriage of Saint Catherine with Saints Peter, Paul, John the Baptist and Nicholas of Tolentino. ","Vallo di Nera | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566",42.8016159,12.863551599999937,"Vallo di Nera",54058,"","","","[ ]",""], [575,"Attrattore","en_US",5395232,"93915","https://www.umbriatourism.it/web/umbria/-/le-rughe-di-fossato-di-vico","Le Rughe di Fossato di Vico","A unique example of medieval architecture castle which solves in a single solution the problems of viability and defense along the inside perimeter of the west wall, on which the portam castri is opened.","","Le Rughe di Fossato di Vico","A unique example of medieval architecture castle which solves in a single solution the problems of viability and defense along the inside perimeter of the west wall, on which the portam castri is opened.
The classical façade is very simple, its interior has a single nave whose walls are framed into blind arcades, and a semicircular apse. The last altar on the right preserves, behind a wooden protection painted with a symbol referring to the Madonna, an unexposed canvas depicting the mother of Jesus. The apse basin is decorated with a 17th century painting, The Madonna of the Snow and Saint Valentine, patron saint of Penna in Teverina.
\r\n\r\nThe Church of St. Maria della Neve of Penne in Teverina was mentioned at least in 1476, when it was still a small countryside parish, which became the nucleus of the first inhabited centre that would later have been fortified. The structure was enlarged and completely renovated in the 16th and 17th centuries.
\r\n\r\nThe original structure was probably located in the same spot of the current one, but it must have been a very simple structure, certainly smaller than the current one. It was transformed during the 1600s; there were many payments made in 1639.
\r\n\r\nOn the main altar there must have been, at least since the 15th century, a painting depicting the Lady Mary and the saints Valentine and Sebastian, replaced in 1700 by the current painting.
\r\n\r\nToday the church features 17th century shapes that are extremely simple and linear: a very simple façade and a gable roof on which stands a little bell tower with two small arches.
","Penna in Teverina | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640",42.4933212,12.354819399999997,"Penna in Teverina",55026,"","","","[ ]",""], [577,"Attrattore","en_US",24963318,"90454","https://www.umbriatourism.it/web/umbria/-/piazza-fortebraccio-montone","Piazza Fortebraccio - Montone","The enchanting piazza di Fortebraccio takes the name from the captain of fortune Andrea Fortebracci, so called Braccio da Montone, who was lord of the manor starting from the 13th century.","","Piazza Fortebraccio - Montone","The enchanting piazza di Fortebraccio takes the name from the captain of fortune Andrea Fortebracci, so called Braccio da Montone, who was lord of the manor starting from the 13th century. Itâs the seat of the Montoneâs town hall, and is located at the centre of the medieval village, from which several alleys flanked by houses with a curtain masonry depart.The donation is marked by a wall plaque to the left of the door, engraved in rough Latin curial: \"Nos consulibus stronconiensis cum omni populo facimus donationemin ecclesia S. Benedicti de ista ecclesia S. Nicolai pro redemptione anime nostri tempore Jacinti Abbatis 1185\". The disagreement between the two dates could be attributed to the fact that the plaque was placed four years after the donation. Over the centuries, the church underwent restorations that completely altered the original architectural lines. Only the main entrance, decorated with Byzantine bas-reliefs and a panel of the Coronation of the Virgin, by Rinaldo di Calvi, one of the best students of Lo Spagna, is still original. In the bas-relief, note the elegant frieze which, starting from the mouth of an animal at the bottom of the right jamb, runs along the entire lintel and ends in a group of leaves at the bottom of the left jamb, supported by an Attic base.
\r\n\r\nThe door is surmounted by a stone archivolt with a raised arch and in the centre of the architrave is carved the mystical lamb with eagles at the two corners that together with the lamb repeat the development of the frieze in smaller dimensions. Inside you can admire paintings and frescoes of the seventeenth and eighteenth centuries, a tabernacle of holy oils, marble and good workmanship and, in the sacristy, a beautiful polyptych, depicting the coronation of the Virgin by Rinaldo da Calvi (1520-1521).
\r\n\r\n
\r\nSource: Turismo Stroncone
A dreamlike destination about 1000 metres above sea level, near Stroncone, a medieval village perched on a hill covered with olive groves and well protected by the robust town walls.
","","Prati di Stroncone, that will open before your eyes after a succession of curves and slopes, are located at the foot of the Macchialunga Mount. You will be able to see wide and green flat plains with few huge trees when the mountains sides almost start to move away from the roadside. Along these splendid and wide plains one can rest and relax with friends or have fun with kids: itâs a jewel within walking distance from Terni, maybe little known but that you will love at first sight.","A dreamlike destination about 1000 metres above sea level, near Stroncone, a medieval village perched on a hill covered with olive groves and well protected by the robust town walls.
The Prati di Stroncone (Stroncone Meadows) open before you after a succession of curves and slopes, and located at the foot of Mount Macchialunga.
\r\n\r\nWide green plains with a few huge trees appear when the mountains side almost begins to retreat from the roadside.
\r\n\r\nAlong these splendid and wide plains one can rest and relax with friends or have fun with kids: itâs a jewel within easy distance of Terni, maybe little known but that you will love at first sight.
","Stroncone | Nature parks and theme parks","","https://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=1454335089554",42.4997405,12.663681999999994,"Stroncone",55031,"","","","[ ]",""], [585,"Attrattore","en_US",21577827,"90518","https://www.umbriatourism.it/web/umbria/-/gli-antichi-bagni-di-triponzo","The Ancient Baths of Triponzo","It is the only spa complex in Umbria supplied with sulphurous water rich in calcium that, regardless of the season, keeps a constant temperature of 30 degrees centigrade, with considerable therapeutic qualities.
","","The Ancient Baths of Triponzo","âIts therapeutic efficacy has already been proven by a sufficient amount of clinical data to deserve the trust of lovers of this healthy artâ.
This is how some historic publications attest to the ancient origins and benefits of the thermal water of Triponzo.
\r\n\r\nThe hot springs of Cerreto di Spoleto, known probably since the Roman era (its most famous reference is in Virgilâs Aeneid), were mentioned in 1488, when, already functioning, they were transferred to the Norcia Municipality for 151 gold florins and thereafter to Pasquale Forti and to the Bishop of Norcia Bucchi - Accica, who donated them to the Cerreto District.
\r\n\r\nToday, the Ancient Baths of Triponzo have been recently restored to use after over 30 years. Visitors can enjoy those those same waters, containing sulphur and other elements including magnesium, whose health effects on the body and the mind have been enjoyed for centuries.
\r\n\r\nIt is the only spa complex in Umbria supplied with sulphurous water rich in calcium that, regardless of the season, maintains a constant temperature of 30 degrees C (86 degrees F) with considerable therapeutic qualities.
\r\n\r\nThe hot springs are entirely immersed in the green Umbrian woods: 18 sources of sulphurous thermal water, emerald green in colour, flow out in this place.
\r\n\r\nThe water starts in the Park of Sibillini Mountains: drops gather after each rainfall, some of them flow into rivers and creeks, others follow a route that takes them deep, into contact with porous rocks, which absorb the water.
\r\n\r\nThis causes the water to acquire dissolved solids of the rock, and warming to the temperatuer of hte depths of the Earth.
\r\n\r\nAfter a long rest in the dark depths of the Valnerina, the sulphurous water emerges into the light, with a colour suggesting shades of green and blue, result its enriched content of calcium and sulphates.
\r\n\r\nThe sulphurous water of the Triponzo Baths is indicated for osteoarticular inflammations and for its anti-inflammatory effect on skin diseases such as eczemas, acne, dermatitis, because sulphur is a bacteriostatic and the natural peeling derived from bathing purifies and renews the dermis. The health effects of the sulphurous thermal waters of the Ancient Baths of Triponzo have been traditionally recognized and are still today very much appreciated.
\r\n\r\nSurrounded by centuries-old oaks, nestled in the Valnerina mountains, you can enjoy the pleasure of a warm sulphurous soak, relaxing in the murmur of the waters.
\r\n\r\n
For further information:
\r\n\r\n ","Cerreto di Spoleto | Lakes, rivers and waterfalls | Discovering the Valnerina","","https://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=1454334384712",42.827667,12.937994200000048,"Cerreto di Spoleto",54010,"","","","[ ]",""], [586,"Attrattore","en_US",24275782,"90518","https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-caterina","Church of St. Catherine","The Church of St. Catherine is one of the oldest churches in Preci: it dates back to the 10th century. ","","Church of St. Catherine","The Church of St. Catherine is one of the oldest churches in Preci: it dates back to the 10th century.Over the years it has been modified almost completely from its original appearance because of drastic restorations. Now it houses the museum of Preci Surgery: thanks to the restoration work to prepare the museum, the Romanesque portal that had been walled-up for years was reopened and the belfry was reinforced.
\r\n\r\nThe Municipality of Preci, in collaboration with the University of Perugia and the University of Rome, supported the opening of The Museum of Preci Surgery in May 2009. It houses an exhibition of portraits of distinguished doctors, famous patients and some prints of anatomical illustrations. Display cases contain tools and surgical instruments used by the surgeons.
\r\n\r\nThe story of the surgery of Preci is also described in the Diocesan Museum of Sant'Eutizio. The two museums display medical instruments and iconographic documentation. For the inhabitants of this area, practicing surgery was a logical progression from their experience in pork processing, because human and pig anatomy aren't enormously different.
","Preci | Places of culture | Places of worship","","https://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=1454334384712",42.8806639,13.039638500000024,"Preci",54043,"","","","[ ]",""] ]}