Attrattoreen_US95775https://www.umbriatourism.it/web/umbria/-/basilica-di-san-salvatore-a-spoletoBasilica of San Salvatore, SpoletoThe Early Christian Basilica of San Salvatore: the greatest ancient monument in SpoletoSpoleto, San Salvatore, San Concordio, cemetery, Crucifix, early Christian artThe Basilica of San Salvatore, on Ciciano hill, is incorporated inside Spoleto cemetery, outside the medieval city walls.  <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The facade originally had a crowning triangular pediment and was preceded by a portico. Today it is divided into two levels: on the bottom there are three elegant stone portals, and Roman-themed friezes on the lintels; at the top there are three windows. The sides are topped by a pediment with a triangular gable, while the centre has two pillars supporting a rounded arch with the ring decorated with classical motifs. Traces of plaster on the front suggest that it was covered for the entire higher order. The interior of the basilica has a nave and two side aisles, concluding with a semicircular apse and two square apses. The aisles, with a higher central aisle, are divided by Doric columns, supporting an entablature. The presbytery, framed by a triumphal arch and delimited by Corinthian columns, is covered by a dome with eight segments resting on four tall corner columns. In the middle of the apse, in a niche, there is a frescoed monogrammed cross which, along with traces of faux marble decoration, are examples of the oldest painted decorations. On top there is a Madonna with child and saint, a fragmentary fresco from the thirteenth century, and next to this a fifteenth century Crucifixion. The origins of the church, initially dedicated to St. Concordio, probably date from sometime between the fourth and fifth centuries. After the Longobard restructuring in the eighth century, the church took the name of San Salvatore due to the image representing Jesus Christ, placed above the main altar. In the eleventh century the church regained the primitive name that lasted until the seventh century; again in the eighteenth century renovation work was carried out and the lantern on the dome was added. </td> </tr> </tbody> </table> <div style="clear:both;">The church's current appearance is a result of the restorations made during the twentieth century, which eliminated the alterations made over the centuries and allowed the church to readopt the name of San Salvatore.</div> <div style="clear:both;"> </div> <div style="clear:both;">In 2011 the Basilica of San Salvatore became a UNESCO World Heritage Site as part of the serial site "The Longobards in Italy. The places of power (568-774 A.D.)", which includes the most important Longobard monuments existing on Italian territory.</div> Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.7413088000000112.743014700000003[ ] Attrattoreen_US1380900312907185 | 22371268https://www.umbriatourism.it/web/umbria/-/umbria-per-gli-sposi-scoprire-camera-pinta-spoletoUmbria for sweethearts: discover the Camera Pinta in SpoletoA dive into courtly loveWedding in Umbria, getting married in Umbria, wedding in Umbria, Umbria for spousesUmbria for spouses: discover the Camera Pinta in SpoletoUmbria for sweethearts: discover the Camera Pinta in Spoleto Located within the Albornoz Fortress, on the top of the hill overlooking Spoleto, the Camera Pinta is decorated with frescoes narrating Breton or Provencal poems. These poems recounting stories of courtly love were much admired starting in the Medieval period. Lovers who visit Spoleto must visit the Rocca Albernoziana and the Camera Pinta, which was the lordâs bedroom. Standing before the colourful painted pictures on the walls, they may be inspired by the scenes of courtly love, knights and ladies. A wedding in Umbria or a romantic weekend devoted to art and history will delight culture enthusiasts who wish to have this setting as frame of their love. Getting married in Umbria: art, history, culture Umbria is often the destination for lovers who decide to get married surrounded by culture and history. This region boasts several art cities, many small medieval villages and beauties that will win the hearts of those who chose these locations for their special day. Getting married in inspiring places, immersed in tradition and art, couples can select historical buildings such as castles, villas or palaces, with elegant, picturesque and unique settings. Wedding in Umbria: Norcineria Your wedding banquet will certainly feature traditional products like prosciutto and cured meats, essential products of every self-respecting Umbrian occasion. With a key position in Umbrian tradition, salamis, sausages and other pork products are not just food but an art, develped and practiced in a small district of the Region, Norcia. Norcineria, indeed, is the word in Italian for the ancient art of preparing hams and cold cuts and the art was already practiced in Norcia in the Middle Ages. Tastes, traditions and ancient trades turned into excellent products to savour in your wedding banquet: an unforgettable and unique taste of traditional Umbria.   For further information:  <a href="http://lovemeinumbria.com/" target="_blank">Wedding in Umbria</a> [ ] Attrattoreen_US2439151293925https://www.umbriatourism.it/web/umbria/-/teatro-romano-spoletoTeatro Romano - SpoletoThe Roman Theatre (1st century B.C.), an eloquent trace of Roman Spoleto, was brought back to light between 1954 and 1960.Spoleto, Umbria, Romani, teatro, storiaTeatro Romano - SpoletoThe Roman Theatre (1st century B.C.), an eloquent trace of Roman Spoleto, was brought back to light between 1954 and 1960. It was identified in 1891 by Giuseppe Sordini through a 16th century drawing that placed it in the area of St. Agataâs Convent. Today it is included into the complex hosting the State Archaeological Museum and it is still used for performances and plays. It is accessed from via St. Agata but itâs possible to view it from the outside, from the overlook on piazza della LibertÃ , through the arcades placed on the West side. Spoleto | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.740488112.737800300000004Spoleto54051[ ] Attrattoreen_US303541290542https://www.umbriatourism.it/web/umbria/-/pozzo-di-san-patrizioSt. Patrick's WellThe 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 WellThe 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. The 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. The 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. The 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. Each 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. The 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. The 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. The 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. Over 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. Unfortunately, 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. The 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. The 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.    Orvieto | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi27.png/640a50e9-cdc3-468d-ba5d-44bd5bd16db0?t=142374927533742.721740112.118025399999965Orvieto55023[ ] Attrattoreen_US95835https://www.umbriatourism.it/web/umbria/-/duomo-di-san-feliciano-a-folignoDuomo di San Feliciano, FolignoThe Cathedral of San Feliciano, patron saint of Foligno, is an important example of Umbrian Romanesque, with a neo-Classical interior.Cathedral of San Feliciano, Duomo di San Feliciano, San Feliciano, Foligno Museum, RomanesqueDuomo di San Feliciano a FolignoThe Cathedral of San Feliciano is located in Piazza della Repubblica, the ancient Roman forum and beating heart of the city of Foligno It stands on the place where San Feliciano, the bringer of religion to the city, was martyred and buried in 251 AD. According to legend, after lengthy torture, Feliciano was chained to a chariot and dragged by galloping horses to his death. Built in 1113 by Master Atto, as documented by an inscription on the main faÃ§ade, in 1201 works began to enlarge the building with a second  facade; in the 16th and 17th centuries, it was restored many more times, radically changing the structure of the Cathedral. Little remains of the main facade with its pale pink and white bands. The mosaic depicting Christ enthroned between San Feliciano and Santa Messalina, the city's protectors, together with Pope Leo XIII, who commissioned the work, is a recent work, dating to 1904. The second faÃ§ade, which opens onto Piazza della Repubblica, is better-preserved and more ornate. An inscription on the outside of the portal mentions Masters Rodolfo and Binello and the year 1201.  It is characterised by the beautiful Romanesque portal decorated with classical bas-reliefs, including the Holy Roman Emperor Frederick I, Bishop Anselm, the symbols of the Evangelists and the signs of the zodiac. Over the portal is a cornice on corbels with animal protomes and a small loggia. The 2-light mullioned windows above were added in the 15th century by the Trinci family. The elegant dome is a 16th-century addition, by Giuliano di Baccio d'Agnolo. The single-nave interior denotes a neo-Classical restoration completed in the second half of the 19th century by Giuseppe Piermarini, to the greatly modified plans of Luigi Vanvitelli. The canopy above the high altar is a faithful reproduction of Bernini's structure in St Peter's Basilica, Rome. Near the transept and left aisle in the Palazzo delle Canoniche, there is the Diocesan Chapter Museum, which houses around fifty works from the Cathedral and the diocese. A visit to the Museum also includes the recently-restored Crypt of San Feliciano (7th to 9th centuries). Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.948524912.714124900000002[ ] Attrattoreen_US125998https://www.umbriatourism.it/web/umbria/-/duomo-di-santa-maria-assunta-in-cieloDuomo di Santa Maria Assunta in cieloOrvieto's Duomo cathedral fits in perfectly with the surrounding urban context, dominating the entire medieval village with its mass. duomo, orvieto, cappella di san brizio, cappella del corporaleDuomo di Santa Maria Assunta in cieloOrvieto's Duomo cathedral fits in perfectly with the surrounding urban context, dominating the entire medieval village with its mass. It is located on the eponymous square, which has been widened and reshaped over the centuries to give more room to the space surrounding the cathedral.  Next to it are the Canons' lodges and the Torre di Maurizio tower. The Cathedral represents the main attraction for the town of Orvieto, visited every year by many foreign and Italian tourists. Its beauty arises not only from the works of art it contains, but also from its secular history, which has witnessed a multitude of important craftsmen, each of whom has left their mark in the building of the church.  A wonderful synthesis of architecture, sculpture, decorative arts and painting, it is today considered to be a jewel of Romanesque and Gothic architecture. Description The cathedral of Saint Mary of the Assumption is in the centre of Orvieto.  All the city's main streets converge towards the cathedral, the edification of which was seen by all as a token of divine protection. Orvieto has embodied itself and its identity in this very important, yet familiar building.  Indeed, in the medieval era, the city was characterised not only by its great economic and urban life, but also by a deep thrust of spiritual renewal, which found one of its most concrete manifestations in the building of the cathedral. Pope Nicholas IV laid the first stone of the cathedral on 14 November 1290. The author of the original design is unknown, but believed by some to be Arnolfo di Cambio, and by others to be friar Bevignate of Perugia; what is known is that from 1310 onwards work was carried out under the direction of Lorenzo Maitani, who decisively shaped the evolution of the structure.  After reaching piazza Duomo, you will be struck by the richness of the facade; the spires reaching to the heavens, the gold used to make the mosaics, the series of sculptures on the pillars, the elaborate rose window and the bronzed doors are awe inspiring.  Such beauty is achieved through harmonious and balanced lines which tend to make the structure all the more fascinating.  One is struck by a number of things when entering the cathedral.  First of all is the two-tone marble which emphasises the entirety of the walls' and columns' mass. The space is solemn and grandiose, marked by the succession of high pillars which create an exceptional perspective aspect.  The numerous pictorial and sculptural works which one can admire along its walls and in its chapels makes the cathedral a veritable treasure trove of art. The cathedral has a basilica layout with ten chapels decorated with windows made with alabaster slabs.  The roof was entirely redone in the 19th century by Paolo Zampi and Paolo Cocchieri, both from Orvieto. The right transept harbours the Cappella Nuova o di San Brizio chapel, a true masterpiece. Its walls are covered in frescoes by the painter Luca Signorelli, started in 1499 after Saint Angelico let the works go unfinished.  The frescoes, on the walls and the vaults, have Judgement Day as their central theme.  All the characters and episodes from this theme are present in the paintings here. The apse also presents interesting frescoes decorating its walls, painted by Ugolino di Prete Ilario and Pietro Di Puccio with their Stories of the Virgin.  Of particular beauty is the high window with its refined Gothic-type styling.  Another exceptional masterpiece is the choir, decorated with precious carvings and sculptures. The left transept features the cappella del Corporale chapel. Here the splendid Reliquary is kept, inside of which one can admire the Holy Linen, which was covered in Christ's blood during the miracle of Bolsena. On the entrance walls to the chapel is the splendid organ, considered one of the greatest in Italy. Alongside the baptismal fonts, on the left wall, a Madonna with Child, painted by Gentile da Fabriano in 1425, is still clearly visible. Interesting fact Tradition has it that the church was erected to celebrate the Miracle of Bolsena. In 1263, a Bohemian priest, Peter of Prague, doubting the presence of Christ's body in the consecrated Host, saw drops of blood dripping from the Host onto the Corporale while celebrating the mass in the church of Santa Cristina in Bolsena.  The Holy Linen, following the Pope's will, was taken to the city and exhibited to the people. Shortly after, the decision to build the cathedral dedicated to Mary was taken, to exhibit the miraculous artefact. Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.716805612.112986099999944[ ] Attrattoreen_US95755https://www.umbriatourism.it/web/umbria/-/rocca-albornoziana-di-spoletoRocca Albornoziana fortress, SpoletoThe Fortress of Spoleto: museum of art and historyRocca, Spoleto, Albornoz, painted room, jail, Lucrezia Borgia, museum, Monteluco, Umbrian valleyThe fortress of Spoleto stands on top of Sant'Elia hill. Once home to important figures of the time, the fortress was designed by Matteo Gattapone, a distinguished fourteenth-century architect, and is still considered a jewel of the city. It was built by order of Cardinal Egidio Albornoz with work starting in 1359. The site plan is rectangular with six towers bearing corbels; internally it consists of two courtyards separated by a section of the building. To the north is the Cortile delle Armi, a courtyard allocated to military functions, to the south the Cortile d'onore courtyard, which had residential and representation functions. Until the middle of the eighteenth century the fortress housed the papal governors and the most important figures of the time. In 1499 it was also home to Lucrezia Borgia, who was governor of the Duchy. The fortress suffered a steady decline during the sixteenth and seventeenth centuries. From 1764, when the governors decided to move to the centre of the city, the first modifications were made to the original structure. In 1817 it was turned into a prison and the large influx of prisoners led to the construction of an additional building structure. The fortress was used as a prison until 1983, after which, fortunately, it was the subject of a major restoration that brought it back to its former glory. The restoration has highlighted numerous pictorial works from the late fourteenth to the eighteenth century. Inside the main tower is the Camera pinta (Painted Room), frescoed between 1392 and 1416 with courteous and chivalrous scenes. Around the Cortile d'onore courtyard there is a portico made entirely in brick, with a two-floor porch, which houses numerous frescoes from the fifteenth to sixteenth century with themes of celebration, as well as the Salone d'Onore hall. At the centre of the courtyard there is a Renaissance fountain flanked by two pillars with shelves; carved on the lintel is the coat of arms of Pope Nicholas V. From the adjacent streets there are splendid views of Spoleto, the southern part of the Umbra Valley and Monteluco. In addition to its historical value the fortress also has cultural merits. In fact it is the <a href="/-/museo-nazionale-del-ducato-di-spoleto">national museum of the Duchy of Spoleto</a>, consisting of material from public collections. Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.73524212.741680999999971[ ] Attrattoreen_US320892190422https://www.umbriatourism.it/web/umbria/-/ipogeo-di-villa-sperandioThe Villa dello Sperandio NecropolisThe 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 NecropolisThe 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. The 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. The 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. Excavation 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. Other 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. The 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 historyhttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.121372212.386574600000017Perugia54039[ ] Attrattoreen_US116953https://www.umbriatourism.it/web/umbria/-/palazzo-trinci-folignoTrinci Palace - FolignoPalazzo Trinci stands on the northern side of Piazza della Repubblica, which is the ancient Platea Magnaâgreat arenaâand the beating heart of the town of Foligno. Trinci Palace, Palazzo Trinci - FolignoPalazzo Trinci stands on the northern side of Piazza della Repubblica, which is the ancient Platea Magnaâgreat arenaâand the beating heart of the town of Foligno.  This is the most representative edifice of the town. It was built by the Trinci family and decorated by one of the greatest interpreters of the Italian Late Gothic, Gentile da Fabriano. It is almost an obligation to visit its premises to admire the marvelous rooms, the chapel of the palace and the important archaeological and historic-artistic collections it has hosted since 2000. Having already been the seat of the Signoriaâlordshipâof the Trinci familyâwho ruled the town from 1305 to 1439âthis palace was built and richly decorated by restructuring a number of pre-existing medieval edifices, between the end of the 14th and the beginning of the 15th century as desired by Ugolino Trinci. With the end of the rule of the Trinci and the annexing of Foligno to the Papal State, the palace became the See of Papal Legates, maintaining this function until the Unification of Italy, when it was designated for offices. With the loss of its original function, the palace was adapted in various ways, and also modified as a consequence of the damages it suffered after the earthquake and the Second World War bombings. The edification of the neoclassical faÃ§ade dates from the 19th century. The passageway on the right, which connected the palace with the houses built above the minor nave of the cathedral, preserves a masonry facing and a mullion window that dates from the beginning of the 15th century. Other architectural bodies from the same period are visible in the court, which has a brickwork porch with cross vaults. The staircase on the right leads into the palace, now seat of the Museum of the town. On the first floor there is the Gothic Staircase that once was uncovered, in the open air, which is all decorated with geometrical designs. On the second floor there is the Sixtus IV Hall, a vast hallway decorated with frescoes and ornamental motifs, with a wooden ceiling with the Coat of Arms of the Pope inlayed at its center. At the end of the room there is the chapel frescoed by Ottaviano Nelli, with the Scenes from the life of the Virgin, which can be dated from 1424. In the nearby Loggia there are frescoes with the Scenes from the foundation of Romeâthese are not all complete, in fact, in some areas they remain partially designed as a Sinopiaâallusively comparing Roman power with that of Foligno. From the Loggia there is access to the Liberal Arts and the Planets Room, where the Trivium and Quadrivium Arts, Philosophy and The Seven Planets, to which The Ages of Man and The Hours of the Day, are connected. These personifications illustrate the elaborated allegorical concept in which life is divided into seven stages, each one influenced by a planet; and a learning discipline corresponds to every age. Furthermore, the frescoes in the passageway, connecting the palace with the Duomo, return to the theme of The Ages of Man. On the front wall The Heroes of Antiquity and The Brave Men of the Medieval Tradition are depicted. The Room of the Giants, to which access is secured through the room behind the Liberal Arts and the Planets Room, is instead frescoed with the colossal figures of The Heroes from the History of Rome, from Romulus to Trajan, all dressedâas per Renaissance customsâin medieval clothes. Their names are written, together with poems by Francesco da Fiano in Latin, below the figures. From a recent discovery of an 18th century pocketbook, a transcription of an ancient document of 1411, it clearly shows that the frescoes of the Loggia, the Room of the Liberal Arts and the Planets and the Room of the Giants were commissioned to Gentile da Fabriano, who executed them with the cooperation of some of his pupils. Accessibility  The Palace is located within the LTZ, but for those provided with the disabled permit, itâs possible to reach the facility with oneâs own vehicle that can be parked in front of the entrance. Itâs necessary to verify if gates properly work and the times when the car transit is forbidden, as well as the methods to access the LTZ without incurring sanctions, by calling the institutional website of the Foligno Municipality or the Municipal Police command centre at the number 0742-330666.  The vehicle will be allowed to stand near the entrance of the Palace for the duration of the visit. The structure can be visited by people with motor difficulties and needing aids such as wheelchairs, by using lifts, stairlifts and ramps that make usable most of the museum complex, although the Chapel on the second floor and the tank under the well in proximity of the start of the Gothic Staircase on the first floor remain still inaccessible. Furthermore, the visit to the âRoman Domusâ is particularly difficult.  In order to access the exhibition rooms, once entered the courtyard of the palace, itâs necessary to climb the big staircase on the right and the ticket office is located on the top of it. For those using wheelchairs itâs necessary, before entering the courtyard, to ring the bell with an intercom, located on the right of the main entrance doorway. The entrance to guide dogs is allowed to facilitate the visit by people with impaired sight and blind. Audio-guides are not available and along the exhibition itinerary there are no braille or raised captions.  Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Piazza della Repubblica <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06034 - Foligno (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: museotrinci@comune.foligno.pg.it <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">sito web: www.comune.foligno.pg.it   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.9557426999999912.703712300000007[ ] Attrattoreen_US2900423193925https://www.umbriatourism.it/web/umbria/-/fonti-del-clitunnoSources of ClitunnoThe 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, UmbriaSources of ClitunnoThe 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. The 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. Their rare beauty has inspired painters, poets and writers since ancient times. Virgil 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.   This 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. The 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: <a href="http://www.comune.campello.pg.it/Mediacenter/FE/CategoriaMedia.aspx?idc=183&explicit=SI" target="_blank">www.comune.campello.pg.it</a> Campello sul clitunno | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.833535612.767791699999975Campello sul Clitunno54005[ ] Attrattoreen_US2100879690590https://www.umbriatourism.it/web/umbria/-/chiesa-di-s-andreaChurch of Sant' AndreaThe 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 UmbriaChurch of Sant' AndreaThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.912049612.556193399999984Gualdo Cattaneo54022[ ] Attrattoreen_US2775612790590 | 43534959https://www.umbriatourism.it/web/umbria/-/rasiglia-e-le-sue-sorgentiRasiglia and its springsRasiglia 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 viaggioRasiglia 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  Marco from Rasiglia, poet Rasiglia is a little mountain village located at above 600 metres of altitude, along the Sellano State Road 319, approximately 18 km from Foligno, its municipality . It maintains the typical characteristics of the medieval village with its amphitheatre structure, and is especially famous for its springs: while you walk along Rasiglia's charming alleys, you can't resist the enchantment of the watercourses that cross it and make it unique and fascinating. The main spring that waters Rasiglia is Capovena: it is located in the high part of the village, at the foot of the palace occupied by the Trinci, who were lords of Foligno between 1305 and 1439, and crosses the village through rivulets and small waterfalls that flow together into a big tank called âPeschieraâ, and then into the river Menotre. The other springs are: â¢ Alzabove, rising below the mountain Carosale and flowing into the aqueduct of the southern Umbrian Valley.  â¢ Venarella, in front of the sports field of Rasiglia, feeding into  the Verchiano aqueduct â¢ Le Vene, at Chieve. â¢ La Vena Pidocchiosa, at Pallailla. â¢ Le Vene di Campolungo, in the pit of Volperino. The origins of Rasiglia can be traced back to the 12th century, as recorded in some ancient documents. Its location on the border between the territory of Sellano and the diocese of Spoleto meant that the Trinci family built a defence structure here to secure and control its boundaries, the Castrum et Roccha Rasilia. The Fortress of Rasiglia originally occupied the summit of the hill with a rectangular walls, and today some stretches of the town walls and the ruins of a tower remain visible. A mill, a fulling mill, some houses in the village were property of the Trinci family who, by exploiting the precious presence of water, started those activities that for centuries guaranteed the survival of all the community (mills and factories) thanks to the hydropower coming from the river Menotre. Today the life of this splendid village still continues to be marked by water, an element used in the weaving, the wool making and dyeing that is constantly re-proposed through a very ancient tradition, dating back to 1200. Worth visiting nearby are the Ancient Sanctuary of Our Lady of Graces and the Park of Altolina, with a landscape rich in biodiversity: the Waterfalls of Menotre and the Caves of the Abbess, of karstic origin, with inspiring stalactite and stalagmite formations. Furthermore, each year two important events takes place: the living crib at Christmas time and âPenelope in Rasigliaâ, in June, devoted to the ancient weaving trades. Donât miss this highly irresistible spot far away in time, where the cheerful gurgling of rushing water accompanies each step.  For further information: <a href="http://www.rasigliaelesuesorgenti.com/" target="_blank">www.rasigliaelesuesorgenti.com</a> Foligno | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.959633812.858276599999954Foligno54018[ ] Attrattoreen_US323739390590https://www.umbriatourism.it/web/umbria/-/abbazia-di-santa-croce-di-sassovivoAbbazia di Santa Croce di SassovivoThe 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 spiritualitÃ ,Abbazia di Santa Croce di SassovivoAbbazia di Santa Croce di Sassovivo Geographical Context: mountains Dating: 11th Century 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. 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. The 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. The 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. The 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. On 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). At 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). From 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. The 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. In the early 1200s, the abbot NiccolÃ² 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. The 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. It had a huge social and economic influence in the local area and the religious community provided welfare assistance. The 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. The 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. In 1979, the "Brothers and Sisters" of the Jesus Caritas Community settled there. Of the original structure, unfortunately only the perimeter walls, the foundations of the monastery in the valley, and the splendid Romanesque cloister, remain.   Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.9553612.72383000000002Foligno54018[ ] Attrattoreen_US403695590590https://www.umbriatourism.it/web/umbria/-/la-calamita-cosmicaLa Calamita Cosmica (The Cosmic Magnet)The "Cosmic Magnet" is a contemporary artwork by Gino de Dominicis.Foligno, arte conemporanea, Gino de Dominicis,La Calamita Cosmica (The Cosmic Magnet)The "Cosmic Magnet" is a contemporary artwork by Gino de Dominicis. It's housed at the Italian Center of Contemporary Art inside the ancient Church of the Holy Trinity. It is a sculpture representing a monumental anthropomorphic skeleton, with the exception of a bird's beak in place of the nose. The Cosmic Magnet is made of fiberglass, iron and polystyrene, is 24 meters long, 9 wide and nearly four high. The origins of the work are unknown but it is assumed that its name derives from the relationship between the skeleton and the golden rod in his hand, which is a magnet, and marks time. The life of the sculptor Gino De Dominicis remains shrouded in mystery. The Cosmic Magnet is exhibited at the ancient Church of the Holy Trinity, neoclassical architectural jewel by the genius Carlo Murena, a student of the Roman School of Luigi Vanvitelli. The church was restorated in 2011.Today the church is part of the museum of Italian Contemporary Art Center of Foligno (CIAC). Before arriving in this, his final home, the Cosmic Magnet was displayed at MAC of Grenoble, the Capodimonte Museum in Naples, the Mole Vanvitelli in Ancona, the Piazzetta Duomo in Milan, the Palace of Versailles, the Grand Hornu Mons - MAC in Belgium and the MAXXI in Rome.   Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.957959212.707891000000018Foligno54018[ ] Attrattoreen_US2896794790590 | 43534959https://www.umbriatourism.it/web/umbria/-/villa-dei-mosaici-di-spelloVilla of Mosaics in SpelloAn exceptional archaeological treasure in the heart of UmbriaSpello, mosaici romani, Unesco fascia olivata Assisi Spoleto, trekking Umbria,Villa of Mosaics in SpelloThe 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. It 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. Remains 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. Twenty 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. Around 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. Among 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. The 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. The 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: <a href="http://www.villadeimosaicidispello.it">www.villadeimosaicidispello.it</a> Spello | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US2436195590518https://www.umbriatourism.it/web/umbria/-/fonti-di-valcasanaFonti di ValcasanaThe park of Valcasana is located at the entry of the village of Scheggino.Valnerina, bike umbria, via di Francesco, Norcia, Scheggiono, pesca sportivaFonti di ValcasanaThe 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. Inside the park there is still evidence of an ancient fish pond used for trout, eels and shrimp, where today there are a small lake for sport fishing and other ponds for fish breeding. The Park has a forest of hornbeam, flowering ash, oak, sycamore and beech; in the more inaccessible areas of hte park, the vegetation is dense, with tall trees. Scheggino | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.712143112.829464199999961Scheggino54047[ ] Attrattoreen_US2476008290518https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-vallo-di-neraChiesa di Santa Maria Assunta - Vallo di NeraThe church of St. Mary dates back to 1176. At the beginning of the 14th century, the church passed to the Friars Minor Conventual. A convent, of which we have evidence since 1336, was built next to it.Chiesa di Santa Maria Assunta - Vallo di NeraThe church of St. Mary dates back to 1176. At the beginning of the 14th century, the church passed to the Friars Minor Conventual. A convent, of which we have evidence since 1336, was built next to it. <div>Franciscans enlarged the original church, dedicated it to St. Francis and turned one of the defence towers into a bell tower. In 1652, under the pontificate of Innocent X, the church was dedicated to St. Mary of the Assumption. The Franciscan church has a faÃ§ade of ashlar stones in line with the Romanesque style of Spoleto, with a central peak, and has  a beautiful Gothic ogival portal decorated with capitals and friezes, surmounted by a rose window partitioned by 12 small columns. A mighty bell tower overlooks the presbytery and hosts in its wide belfry a major bell of the 14th century. The niche housing a clock with weights is visible on the left wall. There aer several frescoes enriching the walls, the work of artists belonging to the Giotto school, particularly Giovanni Boccati, Girolamo di Giovanni and of Peterâs dynasty, of the son Cola and his descendants Arcangelo di Cola and Giacomo di Cola. The apse was frescoed in 1383 by Cola di Pietro from Camerino together with Francesco di Antonio. Eleven saints are frescoed on the right wall, including St. Giuliano dressed with military garments, St. Anthony Abbot, St. Peter, St. Paul, St. John Baptist, St. Giacomo Maggiore, St. Michael Archangel, a mural painting of the late 14th century attributed to Cola di Pietro from Camerino. Below there is a large fresco of 1415 depicting the Procession of Whites, of the same author. The fresco is one of the most complete sources of the Whites penitentiary movement that landed in Italy in 1399. Always on the same side but on the right of the second window there are: Anthony Abbot; Gregory Magnus, crowned by a heraldry, shows a painting with the Saints Peter and Paul. Continuing on we find: an austere Madonna enthroned, dating back to the second half of the 15th century, holding the Child with a sparrow on her knee. Next to it there are the paintings of St. Claire and St. Mary from Egypt. The penultimate group of frescoes is split into three registers: above, there is a Virgin enthroned breastfeeding her Child; on her right, the saints Rocco and Sebastian, painted in 1486 as protection against the cyclic plague of the Black Death. Below there is a blessing St. Gregorio Magno. On the right side a St. Peter martyr, stabbed by executioner heretics, also appears in the following group together with St. Sebastian. The sacristy houses, beyond a 15th century decoration with floral and geometric motifs, St. Anthony Abbot, St. Leonard, the Crucifixion of Christ, the Annunciation, St. Claire, all of whom are attributed to the Master of Eggi, of the 15th century. The church used to have a blue Cross (early 13th century), an artwork of a Spoleto master, today at the Diocesan Museum of Spoleto, that owes its name to its very characteristic range of colours, particularly lilac and blue.</div> Vallo di Nera | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.801615912.863551599999937Vallo di Nera54058[ ] Attrattoreen_US2358938590518https://www.umbriatourism.it/web/umbria/-/la-biga-monteleone-di-spoletoThe Biga - Monteleone di SpoletoMonteleoneâs treasure is the so called âEtruscan Bigaâ, an ancient walnut parade cart completely covered by sheets of embossed gold bronze with attached ivory plates. La Biga - Monteleone di Spoleto, Valnerina, Norcia, Cascia, bike umbria, etruschi, trekkingThe Biga - Monteleone di SpoletoMonteleoneâs treasure is the so called âEtruscan Bigaâ, an ancient walnut parade chariot completely covered by sheets of embossed gold bronze with attached ivory plates. 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. The 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. For 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. The 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. The 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. In 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 ManzÃ¹ following the 1985 celebrations on the occasion of the Etruscansâ year. The 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.    [Source: www.monteleonedispoletoeventi.it] Monteleone di Spoleto | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.650439112.951629300000036Monteleone di Spoleto54031[ ] Attrattoreen_US40743452https://www.umbriatourism.it/web/umbria/-/pagina-parco-di-sculture-di-beverly-pepperBeverly Pepper ParkAt 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, parcoAt the conclusion of the celebrations dedicated  to the great American artist Beverly Pepper, from 15th September 2019 in <a href="https://www.umbriatourism.it/en_US/-/todi" target="_blank">Todi </a>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<a href="https://www.umbriatourism.it/en_US/-/chiesa-di-santa-maria-della-consolazione" target="_blank"> Santa Maria della Consolazione </a>to the old town. Connecting two main points of the town, the Park will allow visitors to fully enjoy the interaction between artworks, landscape, monumentality and an urban framework.  These 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.  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. Beverly 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: Getting 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 Free admittance Information IAT del Tuderte, Piazza del Popolo n. 38/39 Tel. +39 075 8956227 | iat.todi@coopculture.it | <a href="https://www.comune.todi.pg.it/it" target="_blank">www.comune.todi.pg.it </a> Fondazione Progetti Beverly Pepper:  <a href="https://fondazioneprogettibeverlypepper.com/" target="_blank">www.fondazioneprogettibeverlypepper.com</a> Photo Credits: Fondazione Progetti Beverly Pepper Todi | Art in Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.782443412.4062554Todi54052[ ] Attrattoreen_US542879893925https://www.umbriatourism.it/web/umbria/-/castello-di-pissignanoCastle of PissignanoThe 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 ClitunnoCastle of PissignanoThe 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. The 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. Later, 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.   In 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. Since 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.837461912.760100599999987Campello sul Clitunno54005[ ] Attrattoreen_US2217255790566https://www.umbriatourism.it/web/umbria/-/concattedrale-della-santissima-annunziata-todiCo-cathedral of the St. Annunziata - TodiTodi Cathedral is dedicated to Mary SS. Annunziata. It was begun in the 12th century, continued in the 13th but completed only in the 14th century. Co-cathedral of the St. Annunziata - TodiTodi Cathedral is dedicated to Mary SS. Annunziata. It was begun in the 12th century, continued in the 13th but completed only in the 14th century.  Exterior The 13th century faÃ§ade, provided with an horizontal crowning, was modified different times, most recently in the first years of the1500s. The 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. The main portal is decorated with a band decorated with ornamental acanthus leaves, culminating at the centre with the figure of a Blessing Christ. It 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. The 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. The bell tower, maybe of the 1200s, stands out on the right side.    Inside The 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. The 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. The Cesi Chapel is located on the left of the chancel, and its vault has been frescoed by Faenzone. The crypt preserves three sculptures coming from the faÃ§ade, 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.781935212.406568600000014Todi54052[ ] Attrattoreen_US40893346https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-cicotto-di-gruttiCicotto di GruttiNei forni a legna di questo piccolo borgo medievale nel comune di Gualdo Cattaneo non si cuoce solo la porchetta: nello stesso momento si prepara un altro piatto tipico, secondo una ricetta tramandata di generazione in generazione.cicotto, grutti, umbria, slow food, presidio, prodotti tipici, maiale, zampa di maiale, cosciotto di maiale, orecchie, lingua, trippa, carne, ricette, cucina umbra, alimentazione, cibo, porchetta, ricetta, cosa mangiare, cose da mangiareCicotto di GruttiNei forni a legna di questo piccolo borgo medievale nel comune di Gualdo Cattaneo non si cuoce solo la porchetta: nello stesso momento si prepara un altro piatto tipico, secondo una ricetta tramandata di generazione in generazione. I primi cenni storici al cicotto di Grutti, piccolo borgo nel comune di <a href="https://www.umbriatourism.it/it_IT/-/gualdo-cattaneo" target="_blank">Gualdo Cattaneo</a>, risalgono al Cinquecento, quando col termine si indicava la zampa del maiale. Ancora oggi il cosciotto Ã¨ ingrediente principale della preparazione di piatti simili in tutta lâUmbria, ma a Grutti vengono utilizzate anche altre parti dellâanimale, rigorosamente proveniente dalla Media Valle del Tevere e alimentato a cereali. Sta qui una delle particolaritÃ del cicotto: dagli zampetti alle orecchie, dalla trippa alla lingua, tutti i tagli vengono lavati e sezionati per prepararli alla cottura. Le carni, poste in un recipiente, vengono a questo punto messe in forno a 200 gradi, dove rimarranno per 9-12 ore. La cottura del cicotto avviene nello stesso forno in cui Ã¨ stata messa a cuocere la <a href="https://www.umbriatourism.it/it_IT/-/porchetta" target="_blank">porchetta</a>: saranno proprio il grasso e i liquidi di cottura che coleranno durante la preparazione della porchetta, sotto la quale la vasca per il cicotto Ã¨ stata opportunamente posizionata, a cuocere le carni della specialitÃ di Grutti. Questa particolare preparazione dona alle carni succose che compongono il cicotto un sapore speziato e una nota vagamente affumicata. Scolati il grasso e il liquido di cottura, e dopo averlo lasciato raffreddare, il cicotto Ã¨ pronto per essere portato a tavola, per essere usato per preparare sughi o altri piatti locali (accompagnati a lumache, fagioli o ceci), oppure per essere conservato. Gualdo Cattaneo | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.847595512.4770197Grutti, Gualdo Cattaneo[ ] Attrattoreen_US3035422https://www.umbriatourism.it/web/umbria/-/rocca-fleaFlea fortressThe 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 fortressThe 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. A 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. The 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. Founded 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. A 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. From 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. In 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. After 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. In 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. In 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. In 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 culturehttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.232258112.787587799999983Gualdo Tadino54023[ ] Attrattoreen_US273512893925https://www.umbriatourism.it/web/umbria/-/museo-archeologico-nazionale-di-spoletoNational archeological museum of SpoletoThe 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 urbanoNational archeological museum of SpoletoThe 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). One 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. All 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.<o:p></o:p> Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.733534512.735031800000002Spoleto54051[ ] Attrattoreen_US95815https://www.umbriatourism.it/web/umbria/-/arrone-tra-arte-cultura-e-sport-avventuraArrone: a mix of art, culture and adventure sportsArrone, a village immersed in the pristine natural surroundings of the Valnerina valley and the Nera River ParkArrochar, Nera River Park, Valnerina, UmbriaArrone, set on the left bank of the Nera river, strategically situated along ancient paths between the Valnerina valley and Rieti, is a municipality consisting of two residential centres. The older, called Terra, corresponds to the feudal castle of Arroni, which between the eleventh and twelfth centuries extended its control over a wide area of the lower Valnerina valley, until the thirteenth century, when it was finally put under control of the city of Spoleto. Built on top of the hill, the castle is surrounded by a mighty city wall, articulated by circular bastions and crossed by a main road leading to the square where the church of San Giovanni Battista stands. The church has Gothic features and is decorated inside with a series of fifth-century frescoes. Through the San Giovanni gate you enter a neighbourhood with more recent origins, called Santa Maria because it was built around the sixteenth-century Collegiate of Santa Maria Assunta. This second urban centre is characterized by the presence of noble renaissance buildings of some architectural significance. The pristine natural surroundings of the Nera River Park offers visitors a permanent educational workshop thanks to the many guided activities on offer, with hiking trails of different levels of difficulty. Arrone boasts highly developed sports tourism, thanks to the water sports (canoeing, rafting, and canyoning) and free-climbing on natural rock walls. Arrone | Valnerina | Art in Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.584025412.768178000000034[ ] Attrattoreen_US2044150593935https://www.umbriatourism.it/web/umbria/-/museo-archeologico-di-ameliaArcheology museum - AmeliaThe collection is housed in the ex College Boccarini, originally a Franciscan convent from the 13th-14th centuries, with double loggia built in the sixteenth century.Archeologic museum - AmeliaThe collection is housed in the ex College Boccarini, originally a Franciscan convent from the 13th-14th centuries, with double loggia built in the sixteenth century. 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. The 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. The 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. The space is for all visitors of the Museum, particularly kids and teenagers, families, schools and teachers.  Visitors can enjoy a break in order to play, experiment and get to know the history at every level of learning. Furthermore, 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 culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US2044122293935https://www.umbriatourism.it/web/umbria/-/cattedrale-di-ameliaCathedral of AmeliaThe 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 AmeliaThe 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, NiccolÃ² 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. The 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. The 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. Under 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. Finally, 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US2044166293935https://www.umbriatourism.it/web/umbria/-/palazzo-petrignani-ameliaPalazzo Petrignani - AmeliaPalazzo 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 - AmeliaPalazzo 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US2044154393935https://www.umbriatourism.it/web/umbria/-/palazzo-nacci-ameliaPalazzo Nacci - AmeliaPalazzo 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 - AmeliaPalazzo 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. On the upper floors there are traces of Guelph-style windows with the coat of arms of the Nacci family on the bas-relief architrave. The 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. The palace is privately owned. Amelia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US117033https://www.umbriatourism.it/web/umbria/-/tempietto-sul-clitunno-campello-sul-clitunnoThe Small Temple of the Clitunno - Campello sul ClitunnoThe Tempietto del Clitunnoâin the shape of a small Temple of the kind the Romans called sacellumâis located in Pissignano, under Campello sul Clitunno Municipality, along the slope of Colle San Benedetto, which dominates the Spoleto Valley.Tempietto sul Clitunno, Patrimonio Uneco, Campello sul ClitunnoThe Tempietto del Clitunnoâin the shape of a small Temple of the kind the Romans called sacellumâis located in Pissignano, under Campello sul Clitunno Municipality, along the slope of Colle San Benedetto, which dominates the Spoleto Valley. Considered one of the most interesting early-medieval monuments of Umbria, it is one of the seven jewels of Longobard art and architecture in Italy, which were recently included in the prestigious UNESCO World Heritage list. Among the most attractive elements of the visit to this place is its evocative location, already described by Pliny the Younger as a place covered by "old cypress trees, a spring gushes out, which, breaking up into different and unequal streams, forms itself, after several windings, into a large, broad basin of water". The construction, which was built with re-used architectural elements of ancient Roman times, and probably with remnants of a pre-existing Sanctuary structure dedicated to a deity called Clitumnus (identified with Jupiter), has the form of a small Classical Temple: it stands on a high podium with a frontal Corinthian colonnade of four columnsâpronao tetrastiloâsupporting the entablature where there is an inscription dedicating the church to the "God of the Angels". Inside, entered by climbing two sets of stairs, there is the apse with a complex decoration where a relief sculptureâoriginally with polychrome decorationâand frescosâwith Christian themes depicting Christ Pantocrator, Saints Peter and Paul and the Angels with the gem decorated crossâdated from the 8th century A.D. join together.  The small aedicule-tabernacle circumscribed by the apse is made of re-used sculptured elements of the 1st century A.D. Believed to have long been a Roman sacellum, the Temple has been the subject of a number of interpretations concerning its phases of construction. A first dating theory sees it built as a church, between the 4th and 5th century A.D., dedicated to San Salvatore. Recent studies, however, have enabled scholars to attribute the building to the Longobard era, dating it to between the early 7th and well into the 8th century. Opening time  Tuesday - Saturday: 8.15 am  - 7.15 pm (last entrance) Sunday: 2.15 pm - 7.15 pm Monday closed Monday 14th August: open Information <span style="font-size: 9pt; line-height: 13.8px; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Strada Provinciale Flaminia, Km 139 <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06042 - Campello sul Clitunno (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: sba-umb@beniculturali.it   <span style="font-size: 9pt; line-height: 13.8px; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Campello sul clitunno | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.834571512.765554000000066[ ] Attrattoreen_US2044141693935https://www.umbriatourism.it/web/umbria/-/mura-poligonali-ameliaWalls of AmeliaThe town of Amelia, defended on the north by a rocky outcrop, is almost entirely ringed by powerful and antique Polygonal Walls (6th and 4th centuries BC).Walls of AmeliaThe town of Amelia, defended on the north by a rocky outcrop, is almost entirely ringed by powerful and antique Polygonal Walls (6th and 4th centuries BC). 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. The 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. This 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 historyhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US2044136493935https://www.umbriatourism.it/web/umbria/-/cisterne-romane-ameliaRoman Cisterns - AmeliaThe 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 - AmeliaThe 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). It 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 historyhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US10132923675192https://www.umbriatourism.it/web/umbria/-/il-tartufo-nero-in-umbriaBlack truffles in UmbriaThe black truffle in Umbria: varieties, characteristics and where they are found. A land for food lovers.Il tartufo nero in UmbriaUmbria and black truffles, inseparable. The main varieties and where to find them.PRIZED UMBRIAN BLACK TRUFFLES The prized black truffle of Umbria (Tuber Melanosporum Vittadini) is the most common variety of the region and is known as the Norcia and Spoleto Truffle, found in the areas of Cascia, Preci, Monteleone di Spoleto, Poggiodomo, Scheggino, Sant'Anatolia di Narco, Vallo di Nera, Cerreto di Spoleto, Sellano, Campello sul Clitunno, Castel Ritaldi, Giano dell'Umbria and Stroncone. They are found in all of the areas that run along the Nera River and, in the Province of Perugia, mainly on Mount Subasio. They thrive in clayey-limestone earth and live in symbiosis with oak, holm-oak, beech and chestnut trees. Its size varies from that of a walnut to that of an apple. Round, often irregular in shape, it has a rough but not spiky exterior. Its aroma is unforgettable, the pulp a dark red-black with thin white veins. SCORZONE The scorzone variety is less prized than the black truffle. Depending on the season, it is called summer (tuber aestivum) or autumn scorzone (forma uncinatum): similar in shape although they ripen at different times. The summer version can grow to become quite large, its aroma is not strong and certainly less intense than the prized black truffle. It grows in sandy-clayey ground in woods of broad-leafed trees, and sometimes even in pine stands. It is gathered from May to December and is very often used to make sauces and flavour cured meats like salami. It has a smooth exterior, a burnt-brown colour and very evident veins. BLACK WINTER TRUFFLES AND MOSCATO TRUFFLES These two varieties (tuber brumale and muschatum) are very common in Umbria as they are less choosy, if you will, about where they grow. They are black on the outside and dry to the touch. Inside they are dark grey with very evident white veining. The moscato variety is black on the inside with very wide veining. The former has a strong penetrating aroma, while the latter less so. They both ripen in the winter months. Flavours of Umbria42.817156812.919323500000019[ ] Attrattoreen_US2044170093935https://www.umbriatourism.it/web/umbria/-/porta-romana-ameliaPorta Romana - AmeliaThe 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 - AmeliaThe 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 history42.556771812.414636100000052Amelia55004[ ] Attrattoreen_US95659https://www.umbriatourism.it/web/umbria/-/il-borgo-di-poretaThe village of PoretaA hillside 12th century castle, immersed in a landscape of olive trees between Spoleto, Campello and the Springs of Clitunno, this is a waypoint on the St Francis Way. Poreta, Spoleto, hillside castles, St Francis wayIn the heart of Umbria, between Spoleto, Campello and the Springs of Clitunno, ensconced in the silver of the olive tree hills, is the settlement of Poreta, formerly a villa, which only became a fortified village in the last years of the 13th century.  Around the second half of the 15th century, due to frequent raids by bands of brigands, a wall was erected around the ancient village.  Then, following the typical traditions of central Italy, a true urban agglomeration began to develop, consisting of a few dozen dwellings one on top of the other.  The village became the focal point of a larger settlement scattered along the slopes and the plain of Spoleto. Around the second half of the 18th century, after an extremely violent earthquake, the castle was gradually abandoned. Indeed, the population built their dwellings outside the walls, using the same stones of those which had been previously destroyed. The San Cristoforo church, built after the castle, was later dedicated to Santa Maria della Misericordia in honour of a miraculous representation of the Virgin Mary that was inside the church that survived the earthquake without a scratch.  Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.808953612.78332439999997[ ] Attrattoreen_US1360587812907185 | 22371268https://www.umbriatourism.it/web/umbria/-/umbria-cuore-verde-d-ital-2Umbria, the green heart of ItalyUmbria, land of natural beauty and stunning landscapesWedding in Umbria, getting married in Umbria, natural Umbria, natural landscapes, Italian Green HeartUmbria, land of natural beauty and stunning landscapesThe green heart of Italy, with its rich variety of landscapes, is the ideal destination for memorable weddings and romantic weekends immersed in the most scenic natural setting.  The rugged Apennines are interspersed with the mountain ranges of the Valnerina and the numerous regional nature parks, until they plunge back into the wide lake basins of Lake Trasimeno and Piediluco and along the banks of numerous rivers, first and foremost the Tiber. But Umbria is not just a place of wild nature, it is also full of hidden treasures within the enchanted natural places: the chromatic illusions of the Castelluccio Plain in the centre of the Monti Sibillini Park, the stagmites of the Montecucco Cave, powerful Marmore Waterfalls. Created by the ancient Romans, the waterfalls are a highlight of Umbria's natural heritage, and are set in a park with trails to discover the flora and fauna of the area, and even a hidden tunnel dug into the travertine, that opens onto the famous âlovers' balconyâ. The sound of the rushing waters accompanies the romantic legend of Velino and Nera, the humble shepherd and the beautiful nymph united by an overwhelming love, separated by the wrath of the jealous Juno, who turned the young nymph into the crystalline river now flowing from the top of the Velino and still bearing its name. Another enthralling legend about a lovely nature spot concerns Trasimeno Lake, renownd for its romantic sunsets. According to legend, the fearless prince Trasimeno, son of the wise Etruscan King Tirreno di Lidia, fell hopelessly in love with the graceful nymph Agilla, and then they got married on the lakeshore. Somehow the young prince drowned in the lake that now bears his name, and they say itâs still possible to hear, in the gentle breeze rippling the lake, the distant the moaning of the nymph Agilla, searching for her love who was swallowed by the waves. The enchanting local landscape serves as a backdrop to the typical products, marking the timeless bond of the Umbrian people with their land. The abundant and flourishing lake hosts delicious kinds of fish, cooked in the âtegamaccioâ, or porchetta-style, or simply grilled over embers, is the ideal product for lovers of the good cuisine. Seasoned with the excellent local oil and accompanied by an exquisite Umbrian wine, fresh-caught lake fish will be perfect for a romantic candle-lit dinner surrounded by the inspiring Umbrian hills.   For further information:  <a href="http://Per maggiori informazioni: Wedding in Umbria" target="_blank">Wedding in Umbria</a> [ ] Attrattoreen_US2484785593935https://www.umbriatourism.it/web/umbria/-/presepe-di-penna-in-teverinaPenna's Christmas cribThe 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 TeverinaThe 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. Here are some details about the special features of the crib: The 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. The Penna Crib has won prizes, in the International Crib Festival of Verona in 2007 and in CittÃ di Castello in 2011 and 2012. Source: <a href="http://www.presepepenna.it">www.presepepenna.it</a> Penna in Teverina | Art in Umbriahttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.493321212.354819399999997Penna in Teverina55026[ ] Attrattoreen_US123525https://www.umbriatourism.it/web/umbria/-/ricottaRicottaRicotta has a delicate flavour and is particularly common in areas with a strong tradition of raising sheep. Once the milk has been used to make Pecorino, the remaining liquid is heated to 90-92Â° until flakes of ricotta begin to form. The flakes are then removed and placed into cane baskets which allows the remaining liquid to drain off. There are several types of ricotta - sheep's milk, mixed, pasteurised - and also a range of artisanal varieties made with the addition of herbs, chilli pepper or truffles. Aged ricotta (matured under ash, made with bran or liqueur) can also be found, evoking the ancient flavours and traditions of Umbria.    Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US123590https://www.umbriatourism.it/web/umbria/-/capocolloCapocolloCapocollo is typical of the Norcia tradition, and is appreciated for its particularly rich flavour. The preparation process involves the addition of salt, pepper and coriander, after which the meat is tied. It is bound either with greased butcher's casings, or with part of the large intestine.  In Umbrian tradition, capocollo is served as an antipasto, or more frequently as a filling for flatbread, or Easter cheese bread. In the past, capocollo was made at Christmas time, after the pigs were slaughtered. It was then matured until the spring, in time for the Easter celebrations.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi22.png/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=142374927457442.93800412.62162109999997 Attrattoreen_US2442082393915https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-sebastiano-valfabbricaChiesa di San Sebastiano - ValfabbricaThe Church of San Sebastiano was built in the 14th century within the castle of Valfabbrica, near the perimeter wall.Chiesa di San Sebastiano - ValfabbricaThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.158881212.601164400000016Valfabbrica54057[ ] Attrattoreen_US4463263https://www.umbriatourism.it/web/umbria/-/gamberi-di-fiumeGamberi di fiumeHere is what you need to prepare a simple but tasty appetizer from the Umbrian tradition.    Gamberi di fiume (River shrimp) Ingredients: River shrimp Extra-virgin olive oil Salt Garlic Parsley Chili   Preparation In a small pan, slightly fry two garlic segments with some chili, until brown. At the same time, clean and rinse the shrimp, then add them to the garlic when the latter is gaining colour. SautÃ© them and add some dry white wine for flavour. Mix them up from now and them and let them cook covering the pan with a lid. Usually, once the shrimp are ready, they are served with a dash of finely chopped parsley, or alternatively, with a green mint-based sauce.   Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US5015742https://www.umbriatourism.it/web/umbria/-/palomba-alla-ghiottaA delicious wild pigeon recipe: palomba alla ghiottaRecipe for a typical Umbrian delicacy  A delicious wild pigeon recipe: palomba alla ghiottaIngredients Wild pigeon, or palomba Red wine Dried black olives Garlic Vinegar Sage leaves A dash of salt Lemon juice Extra-virgin olive oil Black pepper Rosemary   Preparation   After cleaning the meat and putting the innards to a side, roast the palomba on the spit or in the oven. Pour some oil and salt over it whilst placing a container underneath so as to collect the fat and juices that will drip from the meat. In the meantime, cook the innards in an earthenware skillet and douse with red wine and vinegar, and add garlic and olive oil. You can add to the flavour by also adding half a lemon, rosemary, sage, and black olives. Let the innards cook on a low flame for about three hours so as to let the liquids coagulate. Once it's ready, immerge the roasted palomba in the resulting thick sauce. Slice it up and leave it to cook for another then minutes. Serve in bowl plates and accompanying the dish with toasted bread.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US123767https://www.umbriatourism.it/web/umbria/-/lombettoLombettonorcineria, valnerina, umbria, enogastronomia umbra, vacanze slowMade from the finest part of the pig (the loins), some believe that lombetto is even more delicious than capocollo. It is almost entirely free of fat, and the lean meat has a distinctive dark colour that increases with age. Lombetto is sometimes preserved in oil: the meat is cut into slices several millimetres thick, then arranged in layers in glass jars and covered with extra-virgin olive oil, juniper berries and bay leaves.  This process keeps the meat tender, and it can be preserved for several months.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US123730https://www.umbriatourism.it/web/umbria/-/guanciale-o-barbozzoguanciale o BarbozzoThis speciality, made by preserving pork cheek in salt and pepper, is mainly used in the preparation of rich sauces and to add flavour to other dishes. The best guanciale comes from pigs reared in pastures, as the natural process of foraging for food in woods and fields develops stronger jaw muscles in the animals. The finished product is thus leaner and has a more refined taste.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi22.png/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=142374927457442.93800412.62162109999997 Attrattoreen_US123870https://www.umbriatourism.it/web/umbria/-/sanguinaccioSanguinaccioAlso known as "miacetto", this blood sausage is made with the addition of white wine, spices, pine nuts and chopped orange peel.  It is made from the blood collected at slaughter time, and boiled gently until it partially solidifies. The sausage can be eaten while still warm or heated in a pan, although it is often cut into slices similar to black pudding. Today, blood sausage has been all but forgotten, although it perfectly represents the skill of the local butchers in using every part of the slaughtered animal.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi22.png/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=142374927457442.93800412.62162109999997 Attrattoreen_US124656https://www.umbriatourism.it/web/umbria/-/cicerchiaCicerchiaChick peas and chickling vetch, both stalwarts of the kitchen garden, are rich in protein, fibre and potassium. Thanks to these properties these crops have always been grown on Umbrian farms, also because they help to alternate the crop cycle and improve the quality of soil impoverished by wheat or barley.  Chickling vetch is now being rediscovered thanks to the many organic farms which have re-introduced this crop. Traditionally, chickling vetch is used in soups or as an accompaniment to sausages or pigs' feet.  Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi38.png/0033f7a1-a292-4547-b7c7-56677ac46cbe?t=142374927722642.82888913.205832999999984 Attrattoreen_US124702https://www.umbriatourism.it/web/umbria/-/patata-rossa-di-colfioritoPatata rossa di ColfioritoIntroduced 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 Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248843.026210712.889644999999973Foligno54018[ ] Attrattoreen_US125484https://www.umbriatourism.it/web/umbria/-/il-piccolo-borgo-di-aviglianoThe small village of AviglianoAvigliano Umbro is a small village of Roman origin on the summit of a hill, halfway between Todi and AmeliaAvigliano umbro, borghiDuring mediaeval times, Avigliano Umbro and its territory experienced long disputes between Todi and Amelia and this is indicated by the marble eagle, the symbol of Todi, on the main doorway to the city. The Chiesa della Santissima TrinitÃ [Church of the Holy Trinity], is of note as it holds the painting of the Madonna del Rosario attributed to Andrea Polinori, a famous painter from Todi. There are nevertheless traces of the urban mediaeval fabric on the walls, on the entrance door and on the large tower with a cylindrical base where the public clock juts out. The communal theatre is also worth mentioning. This was built at the start of the 20th Century and is well conserved inside. As you leave Avigliano Umbro, you can find interesting religious buildings such as the Chiesa di Santa Vittorina, the Chiesa di Sant'Egidio and Chiesa di <a href="http://www.paesaggi.regioneumbria.eu/default.aspx?IDCont=200280" title="vai alla scheda della Chiesa di Sant'Angelo">Sant'Angelo</a> churches, and a visit to some castles and fortresses nearby is also worthwhile. First and foremost, the Castello di Santa Restituta castle, which stands alongside an important archaeological area, the Grotta Bella, where many statuettes of protohistoric and Roman history have been found, the Castello di Toscolano castle alongside the Cappella della MaestÃ di Toscolano chapel containing frescoes which can be attributed to Pier Matteo d'Amelia and the Castello di Sismano castle with its two impressive side towers. Finally in Dunarobba, we find an impressive quadrangular fortress dominated on its four sides by large cylindrical towers. This is located near the famous Fossil Forest, an impressive prehistoric natural park formed around a million and a half years ago and made up of grand sequoia trees.   Avigliano Umbro | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi18.png/a3332bd7-6b1b-432f-8d61-905fbc40ab33?t=142374927398142.651603612.429611000000023[ ] Attrattoreen_US4435068https://www.umbriatourism.it/web/umbria/-/tris-di-bruschette-umbreTris di bruschette umbreIngredients 3 slices of bread Extra-virgin olive oil Garlic Salt Oregano Black pepper Black truffle Black olives   An appetizer recipe that is a "must" for your table: choose your favourite version and you'll surely please all your guests! Preparation Cut 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 recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394perugia54039perugia[ ] Attrattoreen_US440662536816512 | 47006051https://www.umbriatourism.it/web/umbria/-/trota-al-tartufo-neroTrota al tartufo neroIngredients and recipe of one of Umbria's most typical dishes.  Trota al tartufo nero (Trout with black truffles) Ingredients 2 trout 3 black truffles Lemon juice Red wine vinegar 2 cloves of garlic Extra-virgin olive oil     Preparation   The first thing you need to do is clean the trout and wash them. Once you've dried them, boil them in hot water. Carefully remove the scales, bones and fins. Place the fish fillets one next to the other on a serving plate. In the meantime, crush the truffles â once you've cleaned them â in a mortar and add the vinegar, garlic, and lemon juice. Mix the ingredients together until you obtain a well-amalgamated sauce. Heat it with some extra-virgin olive oil. Then pour it onto the trout and serve up.   Traditional recipeshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi33.png/7e7aeec4-b9f1-4e58-b1ec-89b78102df5d?t=142374927642143.142125712.203915000000052[ ] Attrattoreen_US40893318https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-ricotta-salata-della-valnerinaRicotta salata della ValnerinaTra i prodotti principi della tradizione pastorale della Valnerina, dal 2019 Ã¨ Presidio Slowfood.ricotta, ricotta salata, valnerina, umbria, slow food, presidio, prodotti tipici, latticini, acquacotta, ricette, cucina umbra, alimentazione sana, sport, cibi per sportivi, cosa mangiare, cose da mangiareRicotta salata della ValnerinaTra i prodotti principi della tradizione pastorale della Valnerina, dal 2019 Ã¨ Presidio Slowfood. La ricotta salata della Valnerina presenta una pasta bianca e compatta e senza crosta, ed Ã¨ ancora oggi prodotta, come da tradizione, con solo latte ovino ottenuto da greggi pascolate nella zona della <a href="https://www.umbriatourism.it/it_IT/-/la-valnerina-viaggio-tra-norcini-casari-e-tartufari" target="_blank">Valnerina </a>e senza utilizzare mangimi. Le origini di questo prodotto caseario si rifanno ai ritmi della transumanza, ai tempi in cui lâallevamento di ovini e caprini era ancora tra le maggiori attivitÃ economiche per le popolazioni dellâAlta Valle del Nera. Alla fine dellâestate, in vista del ritorno verso i pascoli invernali nel Lazio, i pastori avevano lâesigenza di conservare e trasportare i prodotti della lavorazione del latte.  Tra questi, la ricotta, che veniva sistemata in un sacco di canapa, strizzata per eliminare la parte liquida, salata (e coperta con erbe spontanee o crusca in alcune varianti) e lasciata asciugare appesa, nelle cantine o nei locali di stagionatura del formaggio, per un periodo che va dai 15 giorni ai 5 mesi. Ed Ã¨ proprio durante il periodo di stagionatura che la <a href="https://www.museodellacanapa.it/" target="_blank">tela di canapa</a>, sformata dal peso del suo prezioso contenuto, dÃ alla ricotta la sua caratteristica forma âa peraâ, stretta ad una estremitÃ e piÃ¹ larga allâopposta. In cucina A seconda del grado di stagionatura, la ricotta salata della Valnerina puÃ² essere consumata in vari modi: se Ã¨ ottima condita con olio e pepe dopo pochi giorni di stagionatura, il piÃ¹ duro prodotto stagionato puÃ² essere grattugiato, perfetto per un piatto di pasta o per la variante umbra di una ricetta tradizionale dellâItalia centrale, lâ<a href="https://www.umbriatourism.it/it_IT/-/acquacotta" target="_blank">acquacotta</a>.  Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.556544812.6927778[ ] Attrattoreen_US294510131883295https://www.umbriatourism.it/web/umbria/-/panpepato-di-terniPanpepato (Terni)The Panpepato - or "Peppered bread"-  is a round and sweet cake, typical of the Province of Terni. Panpepato, TerniIngredienti Ingredients 75 g of nuts 75 g  of almonds 75 g of hazelnuts 75 g of raisins 150 g of honey 75 g of dark chocolate 1 teaspoon of cinnamon 60 g of candied fruits Black pepper 175 g flour 00 Nutmeg The Panpepato is a round and sweet cake, typical of the Province of Terni.  This specialty is made with walnuts, hazelnuts, almonds, cinnamon, nutmeg, chocolate, honey and raisins. It's a real "energy cake", which makes it a very appreciated dessert during the Christmas season. The origin of this specialty dates back to ancient times. Currently, each family follows its own reviewed recipe that might differ slightly from the traditional one. Difficulty: low Preparation time: 30 minutes Cooking time: 20 minutes Servings: 4 people Preparation Soak the raisins in water. Grate the chocolate and chop the walnuts, almonds and hazelnuts, but not too finely. In a medium-large container, collect the nuts that you have previously chopped and add the chocolate and the candied fruit. Drain the raisins and add them to the other ingredients, along with cinnamon, nutmeg and pepper q.s. Heat the honey and add it to the dried fruit and the other ingredients, stirring well with a wooden spoon. At this point, add the sifted flour and mix the content. When the mixture has assumed a homogeneous "form", made two loaves of the same size and bake them for 20 minutes at 170Â° degrees Celsius. We recommend that you wait at least 24 hours before serving. Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.563442212.64589090000004[ ] Attrattoreen_US3035342https://www.umbriatourism.it/web/umbria/-/eremo-del-buon-riposoEremo del Buon RiposoAn old hermitage made up of ancient natural caves was already here on Mt Citerone in the times of Francis. Eremo del Buon RiposoAn 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. Source: "La via di Francesco" â Edizioni San Paolo S.r.l. CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi31.png/fd1b61cd-6cf7-4e09-8219-3a8f24d252bf?t=142374927604643.447432712.192489199999955CittÃ di Castello54013[ ] Attrattoreen_US123786https://www.umbriatourism.it/web/umbria/-/mazzafegatiMazzafegatiThis flavourful sausage is made from pork liver, and is made in mild or semi-cured versions. It can be cooked fresh or semi-mature. The traditional recipe includes fresh pork cheek and offal, including a large quantity of liver. There are two explanations for its name: some believe it is "mezzo fegato" (half liver), in reference to the ingredients, while others say that the name is "ammazza fegato" (liver killer), in reference to its rather powerful flavours. It is popular with those who enjoy strong flavours and should be enjoyed with homemade bread and a glass of good red wine. The mazzafegato made in the Upper Tiber Valley is one of the six Slow Food specialities from Umbria.    Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi3.png/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=142374927176843.4639783000000112.24048689999995 Attrattoreen_US124614https://www.umbriatourism.it/web/umbria/-/anguilla-del-trasimenoAnguilla del TrasimenoThe long, snake-like body of the Trasimeno eel can take on various colours, ranging from brownish green, brownish grey or black on the dorsal surface, to yellowish-white on the belly. Male eels are 35-50 cm in length, while the females can be as long as 100-150 cm. The best time to catch the eels is in summer or autumn. The rich, flavourful flesh is excellent either freshly-cooked or smoked. It can be spit-roasted, grilled or stewed, but in Umbria one of the preferred ways to serve eel is "tegamaccio", when it is cooked with extra-virgin olive oil, tomato sauce, white wine and aromatic herbs. Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi2.png/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=142374927158243.129591112.09468179999999 Attrattoreen_US124642https://www.umbriatourism.it/web/umbria/-/tinca-del-trasimenoTinca del TrasimenoWith a solid, rounded body, the Trasimeno tench has a brown or dark green dorsal surface, browny-yellow flanks with flashes of silver, and the belly is yellowish in colour. The average length is 25 cm, but it can grow as long as 35-40 cm. The best time to catch tench is in spring or autumn. The rich, tender, well-flavoured flesh is excellent either freshly-cooked or smoked. Normally cut into fillets, tench can also be baked, served in stews, roast or fried.  Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi2.png/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=142374927158243.129591112.09468179999999 Attrattoreen_US124628https://www.umbriatourism.it/web/umbria/-/persico-reale-del-trasimenoPersico Reale del TrasimenoTrasimeno royal perch is oval-shaped with a lateral compression and a greenish-brown dorsal surface, yellow-green sides and a silver belly. It is medium-sized, ranging from 18-20 cm up to a maximum of 40-45 cm. Perch is best caught in spring. The flesh is lean, delicate yet flavourful, and is used with excellent results in pasta and rice dishes, although it can often be served in fillets, boiled, fried or grilled. Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cartina_sm_umbria_150dpi2.png/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=142374927158243.129591112.09468179999999 Attrattoreen_US124688https://www.umbriatourism.it/web/umbria/-/fagiolina-del-lagoFagiolina del lagoFagiolina del TrasimenoThe wide area of the Trasimeno Lake has always been characterized by the production of vegetables thanks to the mild climate and to the "loose" soil of this area. However, these products have gradually disappeared over time. Thanks in part to the recent award of the Slow Food Presidium, Fagiolina is enjoying a second youth. This is an ancient local variety of grain legume botanically called "vigne unguiculata" and its origins are to be found in Africa. The Egyptians used it as a traded commodity with other populations; thus, crossing Asia up to Greece, the Fagiolina was also exported to the countries of the Mediterranean basin and found its ideal habitat on the shores of the Trasimeno Lake. Fagiolina was one of the major legumes consumed in the classical age; therefore, its revaluation is to be considered as the rediscovery of one of the typical dishes of the ancient Mediterranean diet. Currently, Fagiolina is produced in a few companies along the Trasimeno Lake according to a method that uses techniques handed down by tradition and that involves a series of procedures carried out strictly by hand: sowing, hoeing, harvesting, drying and threshing. Also known as the lake's rice because of its small size and predominantly whitish colour, or bean from the eye because of a black dot reminiscent of a pupil, the Fagiolina del Lago cooked and seasoned with a drizzle of extra virgin olive oil is the ideal solution to season the pasta or make delicious bruschetta. Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.129591112.09468179999999[ ] Attrattoreen_US125338https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-domenicoChiesa di San DomenicoThe church of San Domenico overlooks the small and irregular small square, the piazzetta Giordano Bruno along Corso Cavour in Perugia.Chiesa di San Domenico - PerugiaThe church of San Domenico overlooks the small and irregular small square, the piazzetta Giordano Bruno along Corso Cavour in Perugia. It is one of the city's most religious buildings. We recommend visiting its majestic bell-tower which is one of the most famous monuments with set the city of Perugia apart and for its monumento funebre del Papa Benedetto XI, recently attributed to Lorenzo Maitani on the model of that of cardinal Guglielmo De Braye, the work of Arnolfo di Cambio, conserved in San Domenico ad Orvieto. For those who are passionate about archaeology, we also recommend a visit to the National Archaeological Museum in the two large prehistoric and Etruscan-Roman sections. Description Between 1231 and 1260, the Dominicans, who arrived in Perugia around 1230, built a primitive church in the area where the larger cloister stands today. In 1304, as the order had taken on a very important role in the city, both from a religious and a political point of view, the building works began in order to construct a new majestic basilica. According to tradition, the first architect to guide the site was Giovanni Pisano; more probably the architects of the project were those very same Dominicans who operated under the protection of Pope Benedetto XI, also a Dominican and resident in the city during those years.  Consecrated by Pope Pio II Piccolomini in 1459, the new church, with three naves and a covered vault supported by pillars, already had its first problems of stability by the mid-16th century. At the start of the 17th century, after the nave collapsed (1614-1615) the church was entirely rebuilt following Carlo Maderno's design (1629-1632).  The impressive facade, which opens at the top to a stairway with a double ramp, is decorated with a portal of the 16th century era whereas the flank and apse conserve the buttresses and pointed windows of the 14th century era. Inside, with the layout of a Latin cross, it is characterised by simplicity. The austerity of the nave contrasts the flowery Gothic style of the renowned apse glass windows, dated from 1411 and signed by the Perugian Bartolomeo di Pietro and by the Florentine Mariotto di Nardo. The top window, 23m high, is the largest of the era after those of the Duomo of Milan. In its structure and in its frescoes on the walls and votive, the apse is testimony of the early architectonic and decorative wealth of the basilica. What remains of the nave and chapels in fact is just a small part of the very rich heritage conserved over time. The spreading of assets, which culminated with the Neapolitan acquisition of religious collections, the demaniazioni, began at the start of the 17th century when, after the nave collapsed and the chapels were demolished, various polyptychs were taken out of the church. Amongst the works which are still conserved in the church, many of the paintings in the chapels are by Umbrian artists from the 18th century; on the counter-facade wall there is a large fresco by Anton Maria Fabrizi depicting the Madonna con il Bambino tra Santi (1644). Of particular interest in the chapel of San Lorenzo is the dossale in stone and terracotta, varnished in white by Agostino di Duccio (1459) and in the chapel dedicated to Benedetto XI, the monumento funebre del Papa Benedetto XI who died in Perugia in 1304, recently indicated as a work by Lorenzo Maitani, inspired in the structural lines to the funeral monument of Cardinal Guglielmo De Braye, the work of di Arnolfo di Cambio, conserved in San Domenico in Orvieto. Also worth mentioning is the chapel of San Tommaso, decorated with various votive frescoes, including the Uccisione di San Pietro Martire attributed to Cola Petruccioli (end of the 16th century), the chapel of the Resurrection or the Rosary which contains a Madonna con Bambino tra i Santi Domenico e Caterina attributed to Giovanni Lanfranco and the chapel of la Beata Colomba da Rieti whose altar contains a copy from the 19th century of a painting by Lo Spagna, now in Umbria's National Gallery. The bell-tower, the work of Gasparino Antonimi from the end of the fifteenth century, was topped by a very high pyramid cusp which supported a ball and cross. The total height must have reached 126m. In the 16th century maybe for reasons of stability, it was severed above the two Gothic top windows. The entire Dominican Covent, with a left-hand entrance from the church, has been in the National Archaeological Museum since 1948. Curiosities The following were some of the most famous works conserved in the building: a Madonna con il Bambino by Duccio di Buoninsegna; a Madonna con il Bambino by Gentile da Fabriano; the Guidalotti Polyptych by Beato Angelico; the Domenicani Polyptych and the Adorazione del Magi by Benedetto Bonfigli and the Pala di Ognissanti by Giannicola di Paolo. Information and useful advice The church is located in the southern side of the city and is easy to get to on foot, leaving your car in the car parks around the city centre.  https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.106852612.391273500000011[ ] Attrattoreen_US37236002https://www.umbriatourism.it/web/umbria/-/fagiolina-del-la-1La Roveja di Civita di CasciaLa 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 CasciaA 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. Ã la Roveja di Civita di Cascia, detta anche âroveggiaâ, ârovegliaâ, ârubiglioâ, âcorbelloâ o âpisello dei campiâ. Proprio perchÃ© cresce da sempre, anche selvatica, alcuni ricercatori sostengono che si tratti di un progenitore del pisello comune; secondo altri invece Ã¨ 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. Tradizione, caratteristiche e produzione Cibo 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 Ã¨ un piccolo legume simile al pisello.  Inizialmente il baccello Ã¨ verde, poi, con la maturazione diventa viola-scuro: il colore dei semi freschi puÃ² variare dal verde al grigio, mentre una volta seccati i semi tendono al marrone scuro; i fiori sono purpurei.  Per la sua capacitÃ di resistere alle basse temperature, Ã¨ 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.  Nonostante lâestrema facilitÃ con cui cresce, la coltivazione di questo legume Ã¨ assai impegnativa. Come accade per la produzione di lenticchie a quote elevate infatti, anche nel caso della Roveja la raccolta Ã¨ 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 Ã¨ perciÃ² 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 localitÃ 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 Ã¨ simile a quella della lenticchia: quando la metÃ delle foglie Ã¨ ingiallita e i semi sono diventati cerosi, si sfalciano gli steli e si lasciano sul prato ad essiccare. Quando lâessicamento Ã¨ completato si portano sullâaia, si trebbiano e infine la granella si libera dalle impuritÃ con una ventilazione che avviene con setacci.  In cucina  Proteica, ad alto contenuto di carboidrati, fosforo, potassio, priva di grassi e di glutine, la Roveja Ã¨ un legume ricco di proprietÃ benefiche per lâorganismo: gustoso e dalle proprietÃ nutritive davvero notevoli, Ã¨ infatti un alimento ideale per celiaci, sportivi e vegetariani. Buona e versatile, la Roveja si puÃ² mangiare fresca oppure essiccata. Compagna ideale di cicerchie, fave, farro, in cucina si puÃ² 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. Cascia | Preci | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.717008213.0135022Cascia54007[ ] Attrattoreen_US123429https://www.umbriatourism.it/web/umbria/-/caciottaCaciottaValnerina, enogastronomia umbria, Cascia, Santa rita, caciotta, fior di cacio,Made from the very best milk taken from grazing cows in spring, caciotta (also known as cacio fiore) is one of Italy's most traditional cow's milk cheeses. Cacio fiore is a delicately-flavoured aromatic fresh cheese made from fresh milk. It can be consumed in many different ways: as part of an antipasto, as a main course, in salads, or even as a dessert. Another popular combination is caciotta served with traditional Umbrian flatbread and wild herbs. In the local gastronomic tradition, the finest cacio fiore is the variety produced in the area of Pian di Chiavano, near Cascia, because of the intense aroma deriving from the local pastures.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US543005990590https://www.umbriatourism.it/web/umbria/-/urvinum-hortenseUrvinum HortenseExtending to the peak over La Pieve plain, a few hundred meters to the northeast of the village of Collemancio (506 m.), the site is part of the municipality of Cannara.Urvinum HortenseExtending to the peak over La Pieve plain, a few hundred meters to the northeast of the village of Collemancio (506 m.), the site is part of the municipality of Cannara. 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 The 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. Since 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). On 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 historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.980626612.520472100000006Cannara54006[ ] Attrattoreen_US542976190590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-biagioChurch of San BiagioThe 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 BiagioThe 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.991943812.58235400000001Cannara54006[ ] Attrattoreen_US124674https://www.umbriatourism.it/web/umbria/-/cipolla-di-cannaraCipolla di CannaraCannara, Umbria, Cipolla di cannara, superfood,Cannara, close to Assisi, has a history of onion growing and even today there are still customs and traditions closely related to the cultivation of this crop. This is demonstrated by the local onion festival held during the annual harvest, when visitors can taste a wide assortment of foods made using onions, and watch how  onions are braided for easier to store and use There is evidence of the therapeutic and gastronomic uses of onions dating from the 17th century, when they were used to prepare soups of turnip, chard or peas. All these uses live on today in Umbria, which is full of recipes celebrating the Cannara onion.  Cannara | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384[ ] Attrattoreen_US2478964290518https://www.umbriatourism.it/web/umbria/-/collegiata-di-santa-maria-casciaCollegiata di Santa Maria - CasciaThe collegiate church of Santa Maria is situated in Cascia within the walled perimeter, next to the Leonine gate.Collegiata di Santa Maria - CasciaThe 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. The facade, topped by a gable, has two portals (1535 and 1621), a niche with a sixteenth century fresco depicting Saint Sebastian and the Madonna della Quercia, and in addition to a stone lion, part of the ancient portico (the other, removed from the faÃ§ade in 1621, when the second door was opened, is now in the square). The interior, a central nave and two side aisles, is covered by a cross-vault and a sixteenth-century layout, with wooden altars and polychrome stucco of the sixteenth and eighteenth centuries. In the counterfaÃ§ade is a Deposition by Nicola da Siena, and a fifteenth-century Nativity. In the right aisle, the first altar presents the Peace of Casciani, a panel in the Mannerist style with wooden frame, and the dais by Gaspare and Camillo Angelucci. There are others altars to St. Anne, St. Leonard and St. Nicola and the Madonna del Soccorso (seventeenth century). There are frescoes with Stories of St. Charles and the Madonna and Child, at the bottom of the nave. In the left aisle are the Mysteries of the Rosary by Nicholas Frangipani (1538). According to legend, St. Rita was baptized in the church's baptismal font in 1381. Cascia | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.716922513.011907299999962Cascia54007[ ] Attrattoreen_US335093390518https://www.umbriatourism.it/web/umbria/-/santuario-di-santa-ritaSanctuary of Santa RitaThe 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.Sanctuary of Santa RitaSanctuary of Santa Rita Context: urban Dating: 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. The 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.  The 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. To 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. The 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. The 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 ManzÃ¹. The oval tabernacle is remarkable, with a rose in the middle ears of corn and vines and a crucifix shaped of olive fronds. The 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. The 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. The 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. The 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.  In 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.  Information and tips At the entrance of Cascia there is a large parking lot linked by lifts and escalators to the historic center and the Sanctuary of St. Rita. Nearby Roccaporena, birthplace of the saint, is worth visiting, where you can still admire her house, now converted into a chapel, the rock of prayer where she meditated, and the rose garden and vegetable garden of the miracle, where in a cold winter of 1457, days before her death, a rose blossomed and a fig ripened. Cascia | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.716922513.011907299999962Cascia54007[ ] Attrattoreen_US24361444https://www.umbriatourism.it/web/umbria/-/castel-san-feliceCastel San FeliceAltitude: 334 metres Context: mountain Centre: small Castel San Felice, a locality of the municipality of St. Anatolia di Narco, is a small fortified borough located on the right bank of the river Nera, crossed by ancient itineraries that are partly still viable and used to connect the different fortresses of the valley with the main town of Spoleto.Castel San FeliceAltitude: 334 metres Context: mountain Centre: small Castel San Felice, a locality of the municipality of St. Anatolia di Narco, is a small fortified borough located on the right bank of the river Nera, crossed by ancient itineraries that are partly still viable and used to connect the different fortresses of the valley with the main town of Spoleto. <div>Perched on a small hill included in the territory dominated by the massif of mount Coscerno (1685 metres), it seems that the settlement of Castel San Felice arose in connection with the reclamation works started by the Benedictine friars who already in the 6th century founded there a monastery identified with the current church of St. Felice di Narco. The town developed in a second settlement on the hill overlooking the church on the north and it is organized according to a pattern typical of hilltop fortreses, completely surrounded by walls that are almost intact. The urban plan is characterized by concentric circular streets intersected with steep radial streets built for the most part with steps. The village develops along this road layout and it is made up of typical houses on two levels and accessible through steep external staircases. The lower level of the house hosts the warehouse that is often carved out in the walls of the overpass used to link the various houses. Today many of the buildings are in a state of decay or neglect, whereas other ones have been transformed for other uses, like the churches located within the village and dedicated to St. Paul and St. Sebastian. The churches, with a small size and structure, gradually ceded their sacred function to the more important church of St. Felice di Narco, the only religious building that is still in use in the small town.  The current aspect of the church dates back to 1190, when an integral renovation of a previous monastery was carried out. It has one of the best facades of the Romanesque architecture in Spoleto, executed according criteria borrowed by the Basilica of St. Salvador in Spoleto. The quality of the Umbrian Romanesque sculpture is revealed by the ornaments carved on the faÃ§ade: the mullioned windows, the rose window and the frieze in low relief with stories of St. Felice and Mauro who came from Syria and founded, according to the early medieval tradition, a monastery. Legend has it that they reclaimed land in order to help the few inhabitants of the area, and this represented through the usual symbolism below the rose window of the church. The crypt of the church with just one aisle houses the stone sarcophagus of the titular saint, protected by bars.</div> Sant'Anatolia di Narco | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.733038212.83600100000001Sant'Anatolia di Narco54045[ ] Attrattoreen_US26151922https://www.umbriatourism.it/web/umbria/-/acquacottaAcquacottaAcquacotta is a recipe shared by Umbria and Tuscany, but with some variations. Umbria food and wine, Umbrian typical recipes, Umbria Christmas, Umbria cakes, Umbria acquacottaIngredients (for six people)  Oil  Water Salt  Pepper  Minced lard 1 kg of onions  500 gr. of ripe tomatoes  Mint or basil Bread  Pecorino or parmesan  Acquacotta is a recipe shared by Umbria and Tuscany, but with some variations. Itâs a dish with a particularly genuine taste.  Preparation Let 1 kg of sliced onions fry with a little oil and 1 spoon of minced lard, then add salt and pepper. Once onions have been softened (yet without getting brown), add 500 grams of ripe peeled and seedless tomatoes, and some mint leaves (that you can replace, if you want, with basil). After about 10 minutes add about one litre and a half of water and let it cook for 1 hour. Check the salt, therefore pour the soup directly into the bowls, where there will be already some slices of stale or toasted homemade bread. Dress the whole with a rivulet of fresh olive oil, plentiful pecorino or grated parmesan and a little grinding of pepper. Wait some minutes before eating, so that the bread can well absorb the broth.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US2603920931883295https://www.umbriatourism.it/web/umbria/-/torciglioneTorciglioneAmong the typical cakes of the Umbrian Christmas there is one with a very particular shape: the âtorciglioneâ. torciglione, Umbria food and wine, Umbrian typical recipes, Umbria Christmas, Umbria cakesIngredients (For the preparation of four or five âtorciglioniâ) 1 kg sweet almonds 200 gr. bitter almonds 8 egg whites beaten to a firm froth 800 gr. sugar Grated skin of a lemon 2 tablespoons of flour  Among the typical cakes of the Umbrian Christmas there is one with a very particular shape: the âtorciglioneâ.  Its origins are still uncertain: someone claims it has a shape of a lakeâs eel, others that of a snake. Independently from its history, itâs a very famous cake all over the region, and there are different versions that can differ according to the amount, the presence or absence of some ingredients, but especially for the final decorations that leave much room to creativity.  Preparation Chop the sweet and bitter almonds, previously shelled and cleaned.  Then mix them with sugar, the grated lemon and the eggâs whites (beaten to a firm froth with a pinch of salt to improve its consistency). Amalgamate and whisk the mixture until obtaining a homogeneous dough.  At this point shape a part of the dough, by stretching it with hands, until shaping it into a snake.  Put the resulting shape into a baking tray with some baking paper and finish at your convenience by carrying out small cuts so to achieve the âscalesâ effect.  Use some coffee beans to carve the eyes, a whole almond for the tongue and some almondsâ slivers for the ears.  Bake for about 30/40 minutes at 170 degrees, until the dough will get slightly golden.        Source: <a href="http://fairblogtravel.it/2016/12/23/torciglione-dolce-del-natale/" target="_blank">http://fairblogtravel.it/</a>   Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US26151984https://www.umbriatourism.it/web/umbria/-/mostaccioliMostaccioliMostaccioli are dry biscuits with grape must, of which different versions exist and are usually prepared during the months of October/November (the period of production of must). Umbria food and wine, Umbrian typical recipes, Umbria Christmas, Umbria cakes, Umbria mostaccioliIngredients 700 grams of flour  Half a glass of extra-virgin olive oil  250 grams of sugar One and a half glass of unfermented grape must  200 grams of sultanas Aniseed at your discretion 50 grams of brewerâs yeast    Mostaccioli are dry biscuits with grape must, of which different versions exist and are usually prepared during the months of October/November (the period of production of must).  Preparation Sift the flour, make a well in it, add oil, sugar, sultana and aniseed. Knead the whole and, once dissolved the brewerâs yeast in the must, add it to the dough. Give biscuits the wished shape and bake them at 180Â° for about 30 minutes.   Before serving them, dust them with icing sugar.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US26011106https://www.umbriatourism.it/web/umbria/-/il-pangialloPangialloThe "pangiallo" is a traditional cake of the Roman cuisine, but is also produced with a similar recipe in Umbria. Umbria, Umbria yellow bread, Food and wine in Umbria, Umbria typical recipes, Umbria Christmas dishesIngredients 200 gr. peeled almonds 200 gr. walnuts 200 gr. peeled hazelnuts  100 gr. pine nuts 100 gr. candied fruits  300 gr. raisin 200 gr. flour  200 gr. honey 150 gr. chocolate The grated peel of an orange and of a lemon    The "pangiallo" is a traditional cake of the Roman cuisine, but is also produced with a similar recipe in Umbria.  Itâs a typical cake of the Christmas period and has very ancient origins: indeed, it seems that it derives from the Imperial Roman period when it used to be distributed during the Winter Solstice.  Preparation Pour the honey into a pot and heat it in a boiling water bath until it gets liquid, then mix the orange and the lemon peel.  In the meantime, chop the nuts and mix them in a bowl with candied fruits, the squeezed raisin (previously softened up in some water for about 30 minutes) and the chopped chocolate.  Add the honey and mix.  Then add the flour little by little and mix well until the whole gets compact.  Shape medium-sized loaves and let them rest for a couple of hours.  Prepare the icing by heating in a small pot the flour, the oil and the saffron dissolved in some water. Then add some other water to form a fluid batter which you can use to brush the small loaves.  Bake for about 40 minutes at 180 degrees.       Source:<a href="http://http://www.bloglavalnerina.it/il-pangiallo-della-valnerina/" target="_blank"> www.bloglavalnerina.it</a> Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=1454335070640[ ] Attrattoreen_US2603915231883295https://www.umbriatourism.it/web/umbria/-/maccheroni-dolci-con-le-nociSweet Macaroni with walnutsThe Christmas Dinner has everywhere some precise rules: in Umbria one of the most traditional dishes is something between a cake and a pasta dish. Sweet macaroni, Umbria food and wine, Umbrian typical recipes, Umbria Christmas, Umbria cakesIngredients Water Flour  Sugar Cinnamon Walnuts Peel of a lemon Cocoa Preparation The Christmas Dinner has everywhere some precise rules: in Umbria one of the most traditional dishes is something between a cake and a pasta dish. Here is the recipe for the sweet macaroni with walnuts.  Prepare normal noodles, by mixing water and flour without eggs.  As soon as the noodles have been drained, boil and dress them with sugar, cinnamon to taste, crashed walnuts kernels, the grated peel of a lemon and if desired cocoa to taste.  There are no precise doses for the seasoning: itâs possible to adjust according to oneâs own tastes, for example by exaggerating with one ingredient rather than with another one.  At this point stir up and serve the cold dish!  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US2733587127167101https://www.umbriatourism.it/web/umbria/-/frappeFrappeTypical sweets of Carnival: fried pieces of sweet rolled pastry sprinkled with some honey and packed with powder sugar. Umbria food and wine, Umbrian typical recipes, Christmas in Umbria, Umbrian sweets, Frappe, Umbria Frappe, Carnival Sweets in Umbria, Carnival in Umbria.Ingredients 500 gr. of flour A teaspoon of baking powder 3 eggs  The grated skin of a lemon A pinch of salt 125 gr. of butter 100 gr. of sugar Honey or icing sugar and Alchermes as decoration 1 litre of peanut oil to fry  Typical sweets of Carnival: fried pieces of sweet rolled pastry sprinkled with some honey and packed with powder sugar.  If you like, you can also add a few drops of Alchermes.    Preparation  Make a well in the centre of the flour mixed with yeast, add the eggs, the lemonâs grated skin and a pinch of salt. Add sugar and the butter flakes. Amalgamate all until the dough gets smooth and homogeneous.  Spread a bit of flour on the pastry board and roll out the dough into a sheet of pastry. Use the pasta cutter to cut some rectangular stripes. At the centre of each stripe make a cut shorter than their length, slide an extremity of the stripe into this cut, pull gently so to create a sort of little knot.  In the meantime, heat the oil in a pan, when itâs ready dip the frappe in it and brown them for about 5 minutes. Let them drain on blotting paper and once cooled sprinkle them with a bit of Alchermes and honey or icing sugar.      Source: <a href="http://www.tipicamenteumbria.it/index.php?option=com_content&view=article&id=258:frappe-di-carnevale&catid=57:dolci&Itemid=118" target="_blank">www.tipicamenteumbria.it</a> Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US2733576827167101https://www.umbriatourism.it/web/umbria/-/cicerchiataCicerchiata<span style="letter-spacing:-0.3pt;background-image:initial;background-position:initial;background-size:initial;background-repeat:initial;background-attachment:initial;background-origin:initial;background-clip:initial;">The origin of âCicerchiataâ is disputed between Umbria and Abruzzo; however, itâs a sweet with a bright and colourful aspect, typical of the Carnivalâs celebrations. Umbria food and wine, Umbrian typical recipes, , Umbrian sweets, Umbria CicerchiataIngredients 300 gr. of flour 3 eggs Half a lemon Alchermes 30 gr. of butter 150 gr. of almonds 400 gr. of honey 100 gr. of candied fruits  The origin of âCicerchiataâ is disputed between Umbria and Abruzzo; however, itâs a sweet with a bright and colourful aspect, typical of the Carnivalâs celebrations.  Preparation Umbria food and wine, Umbrian typical recipes, Christmas in Umbria, Umbrian sweets, Umbria Cicerchiata Preparation Mix 300 gr. of flour with 3 eggs, the grated skin of half a lemon, a few tablespoons of liquor such as Alchermes and 30 gr. of butter.  Shape the mixture into small balls and fry them gradually in abundant hot oil.  Drain the balls and set them aside.  Then cut 150 gr. of peeled almonds into stripes.  Heat 400 gr. of honey, until it gets gilded.  Then in a bowl mix honey with the small balls, add almonds and 100 gr. of candied fruits that were previously cut into cubes.  Grease with butter a mould with a central hole, place the dough there to let it cool down so that it could take the shape of a donut.    Source: âLa cucina delle regioni dâItalia â Umbriaâ, Edizioni Mida - Bologna (italy)   Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US2733579827167101https://www.umbriatourism.it/web/umbria/-/strufoliStrufoliTypical Carnivalâs sweet spread in various parts of UmbriaUmbrina food and wine, Umbrian typical recipes, Christmas in Umbria, Umbrian sweets, Strufoli, Umbria strufoli, Umbria Carnival sweets, Carnival in UmbriaIngredients 8 eggs 8 tablespoons of extra virgin olive oil  8 tablespoons of sugar  16 tablespoons of flour 1 small glass of MistrÃ and/or rum  The grated skin of a lemon 1 teaspoon of baking powder Aroma of vanilla (optional) Honey and Alchermes to garnish Oil to fry   Typical Carnivalâs sweet spread in various parts of Umbria Preparation  Mix flour, baking powder, seed oil, the lemonâs peel, sugar, aromas and liquors. Knead all thoroughly for some minutes, so to create a smooth and dimple dough.  Add, if needed, a bit of flour and milk. Let the dough rest for about one hour. Heat the seed oil into a large pan.  Take a spoonful of the dough and dip it into the hot oil. When the strufoli get puffy and gilded, remove them from the oil and put them on some blotting paper. Spray strufoli with Alchermes and pour over them the honey previously melted in a Bain-Marie.        Source: <a href="http://www.tipicamenteumbria.it/index.php?option=com_content&view=article&id=259:strufoli-di-carnevale&catid=57:dolci&Itemid=118" target="_blank">www.tipicamenteumbria.it</a> Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US101027https://www.umbriatourism.it/web/umbria/-/tagliatella-tradizionale-con-ragu-di-chianinaTagliatella tradizionale con ragÃ¹ di chianinaChianina is an ancient breed of cattle, reared for many centuries in the Tiber Valley and the Val di Chiana from which it takes its name.  Traditional tagliatelle with Chianina ragout, umbriaTagliatella tradizionale con ragÃ¹ di chianina (Traditional tagliatelle with Chianina ragout) Ingredients For the pasta: 400 g soft wheat flour 4 eggs For the ragout: 250 g ground Chianina beef 50 g ground pork 1 minced sausage 2-3 beef bones 500 g peeled tomatoes 1 glass white wine 1 stick of celery 1 carrot 1 onion Extra-virgin olive oil Rosemary Bay leaf Salt Pepper Preparation To make the ragout, sautÃ© all the finely-chopped vegetables over a high heat with two tablespoons of oil. When the mixture begins to sizzle, add all the chopped meat and brown for a few minutes. Add a dash of wine and continue cooking, adding the herbs, bones, peeled tomatoes and a little salt and pepper. Cook over a low heat for about an hour and a half, adding a little liquid if the sauce becomes too dry. To make the pasta, mix the flour and eggs and knead for about 10 minutes, first using a wooden spoon and then by hand, until the dough is smooth and even.  Roll out with a rolling pin, and leave to rest for a few minutes. Add plenty of flour, then roll up the dough to form a tube shape. Cut into 1 cm strips using a sharp knife.  Unroll the tube and arrange the strips onto a floured surface. When the sauce is cooked, remove the bones, boil the tagliatelle in plenty of salted water, drain and sautÃ© in the pan of sauce for a few minutes, stirring frequently.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US10104731883295https://www.umbriatourism.it/web/umbria/-/zuppa-di-lenticchie-igp-di-castelluccio-di-norciaZuppa di lenticchie IGP di Castelluccio di NorciaCastelluccio lentils have an ancient tradition, and this soup is one of the most traditional recipes of all.Castelluccio lentil soupZuppa di lenticchie IGP di Castelluccio di Norcia  (Castelluccio lentil soup) Ingredients 300 g lentils (PGI Castelluccio di Norcia) 1 onion 1 carrot 1/2 stick of celery 1 clove of garlic 1 potato Half a glass of tomato sauce Extra-virgin olive oil Salt Pepper Preparation Finely chop the vegetables except the garlic, and leave to brown in a casserole dish with a drizzle of oil. Add the well-rinsed lentils and sautÃ© over a high heat. Add a little tomato sauce, remove the clove of garlic and add enough water to cover all the ingredients. As soon as the mixture starts to boil, add salt and pepper and reduce the heat. Cover and leave to cook for about 40 minutes, stirring frequently.   Norcia | Valnerina | Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.791674613.094733499999961[ ] Attrattoreen_US100887https://www.umbriatourism.it/web/umbria/-/storia-del-tartufoHistory of the truffleHistory of the truffle in UmbriatartufoThe truffle, how to find and keepIt is not cultivated, and can not be reproduced: the allure of the truffle is in its mystery.  Fruit of the earth and the dark, it grows close to the roots of the trees. The Babylonians looked for it in the sands of the eastern deserts; the Greeks and Romans were great admirers to the point of attributing divine qualities to it. Greek and Roman historians believed it was generated by thunderbolts hurled by the king of the gods in the vicinity of an oak. The tie with Jupiter created the belief that the truffle possessed aphrodisiac qualities. Umbria has always been a land of truffles: the ancient Umbrians called it tartÃ¹fro, the "scented stone". Its use and knowledge spread throughout the peninsula. The enthusiasm the ancient world had towards the truffle abated in the Middle Ages, a time when it was believed to contain deadly poisons or that it was the food of the witches. During the Renaissance, following the affirmation of the culture of taste and culinary art, it was revalued until it became the product of excellence in stately kitchens. In 1564 the Umbrian doctor Alfonso Ceccarelli wrote the first monograph on the truffle, the Opuscolum de Tuberibus, where he collected the opinions of Greeks and Romans naturalists and various historical anecdotes. The king of the table Its reputation in the meantime knew no bounds and the passing of time increased the reputation of the prince of the table, and eventually it became a cultural phenomenon. In the eighteenth century, truffle hunting became court entertainment, most likely giving rise to the custom of using an elegant animal like the dog to search for it. Its long history has the enthusiastic appreciation of famous personages, among others those of Count Camillo Benso di Cavour who used to use the truffle as a diplomatic tool in his political activity, while Lord Byron kept it on his desk because its intense aroma awakened his creativity. In 1868 Gioachino Rossini lived in Paris, but requested quality truffles from Umbria, with a letter sent to a dealer in Spoleto, signed "former music composer". Those truffles left in a hurry for the composer of The Barber of Seville and William Tell. The letter is kept in the Teatro Lirico Sperimentale di Spoleto museum. Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.93800412.62162109999997[ ] Attrattoreen_US10099331883295https://www.umbriatourism.it/web/umbria/-/torta-al-testoTorta al testoThe simplicity of this flatbread is the perfect embodiment of Umbrian cuisine. Torta al testo, umbriaTorta al testo dell'UmbriaIngredients 600 g soft wheat flour 1/2 tsp bicarbonate of soda (or brewer's yeast) 1/2 tsp salt 400 ml warm water Preparation Place the flour, bicarbonate of soda and salt into a bowl, and gradually add the water. Mix until the dough becomes smooth, and then transfer to a kneading board. Knead for about 10 minutes until the dough becomes soft and elastic with a smooth, even surface. Roll out the dough with a rolling pin, remembering to cover it with a light coating of flour, until you obtain a circular disc, 1 cm thick. Prick the dough with a fork to prevent bubbles from forming, and leave to cook on the stone griddle, heated over a low flame, for about 10 minutes each side. Cut into slices and serve while still hot.   Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US10101731883295https://www.umbriatourism.it/web/umbria/-/cappelletti-in-brodo-di-capponeCappelletti in brodo di capponeCappelletti are strongly rooted in Umbrian tradition.Cappelletti in capon broth, umbriaCappelletti in brodo di cappone (Cappelletti in capon broth) Ingredients For the pasta: 300 g soft wheat flour 3 eggs For the filling: 130 g chicken 130 g pork 30 g prosciutto 25 g grated Parmesan cheese Nutmeg Extra-virgin olive oil Salt Pepper For the capon broth: 1 capon Celery Carrot Onion Preparation To make the filling, sautÃ© the finely chopped meat in a large pan over a high heat with two tablespoons of oil, salt and pepper. Stir continuously. When cooked, add the prosciutto, Parmesan and a pinch of nutmeg. Immediately afterwards, to make the pasta, mix the flour and eggs and knead for about 10 minutes, first using a wooden spoon and then by hand, until the dough is smooth and even. Roll out with a rolling pin, and leave to rest for half an hour. Then cut the pasta using a round cutter, place a ball of the cooked filling in the centre of each shape and close into a half-moon shape, bringing the ends together in the classic cappelletti shape. For the broth, place the capon in plenty of water with the carrot, celery and onion (well rinsed) and leave to cook for two hours. Remove the foam on top, as necessary.  Cook the cappelletti in plenty of broth, and serve piping hot. Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US101107https://www.umbriatourism.it/web/umbria/-/smulicataSmulicata (Swiss chard, Umbrian-style)This recipe epitomises the simplicity of Umbrian food.Smulicata (Swiss chard, Umbrian-style), umbriaIngredients 800 g Swiss chard 2 cloves of garlic 2 tbsp stale bread, finely crumbled Extra-virgin olive oil Salt Preparation Clean and finely chop the chard. Wash thoroughly, place the chard in a flameproof casserole dish, add salt, cover with water and leave to simmer for about 10 minutes. Drain and rinse under cold water to stop the cooking process. In a large pan, gently crush the peeled garlic cloves and leave to soften in the oil. Then add the chard and leave to simmer, stirring with a wooden spoon. Sprinkle with breadcrumbs and leave to cook over a low heat for about 5 minutes. Season and serve Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997 Attrattoreen_US10106736816512 | 47006051https://www.umbriatourism.it/web/umbria/-/agnello-al-tartufo-neroAgnello al tartufo neroLamb and black truffle is a perfect combination of two of Umbria's greatest ingredientsLamb with black truffle UmbriaAgnello al tartufo nero (Lamb with black truffle) Ingredients 1.5 kg lamb 50 g Norcia black truffle 1 lemon Garlic Rosemary Salted capers Extra-virgin olive oil Wine vinegar White wine Salt Pepper Preparation Using a knife, cut the lamb into large chunks. Heat the oil in a large pan with two cloves of garlic, and add the meat. Brown for a few minutes until golden in colour, and pour over a glass of white wine. Leave to evaporate, cover the pan and cook for about twenty minutes. Crush the garlic clove in a mortar with a spoonful of well-rinsed capers and a spoonful of vinegar. Combine this mixture with the chunks of lamb, and cook through. To make the sauce, grind the truffle in a mortar, adding a little extra-virgin olive oil, a few drops of lemon, salt and pepper. Remove the lamb from the oven dish and serve hot, sprinkled with the truffle sauce. Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US101057https://www.umbriatourism.it/web/umbria/-/oca-muta-in-porchettaOca muta in porchettaThe "porchetta" in this recipe comes from the pork ingredients traditionally used in the filling. Muscovy duck in porchettaOca muta in porchetta (Muscovy duck in porchetta) Ingredients 1 Muscovy duck (about 1.3 kg), gutted 100 g pork fat 2 sprigs of rosemary 1 bunch of wild fennel 1 sprig of sage Extra-virgin olive oil Red wine vinegar Salt Pepper Preparation To remove any remaining pin feathers, use a blow torch and then wash the duck thoroughly before patting dry with kitchen paper. Then divide the duck into eight to ten pieces of equal weight. Prepare a mixture with the pork fat, a sprig of rosemary, the wild fennel, sage, 2 tablespoons of oil, 2 tablespoons of vinegar, salt and pepper. Rub the mixture generously all over the duck and then leave to rest, to allow the flavours to develop for a couple of hours. Pre-heat the oven to 180Â°C and cook the duck for about an hour, adding a dash of water if it becomes too dry. Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US101077https://www.umbriatourism.it/web/umbria/-/faraona-alla-narneseFaraona alla NarneseFaraona alla Narnese is a hen-like bird, although the meat has a flavour and consistency that is unlike game birds or chickenGuinea fowl, Narni-styleIngredients Faraona alla Narnese (Guinea fowl, Narni-style) 1 guinea fowl 100 g chicken livers 3 cloves of garlic 1/2 onion Sage Rosemary Lemon Extra-virgin olive oil White wine Salt Pepper Preparation Brown the chicken livers with a small amount of the herbs. Add a glass of white wine, allow to evaporate, and simmer until almost cooked. Remove the chicken livers from the heat, strain, season and finely chop. Split the guinea fowl in two, and place in a large flameproof dish. Add the oil and other ingredients and cook for about two hours, adding three glasses of white wine, the juice of half a lemon and a little water. Then strain the cooking juices, returning them to the pan for a few minutes to add flavour to the meat. Serve with the chicken liver sauce Narni | Traditional recipeshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.517602212.515629900000022[ ] Attrattoreen_US828127190470https://www.umbriatourism.it/web/umbria/-/unesco-la-citta-di-assisiThe town of AssisiIn 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". Assisi, 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. With 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. 43.070701712.619596600000023Assisi54001[ ] Attrattoreen_US828129890470https://www.umbriatourism.it/web/umbria/-/unesco-eremo-delle-carceriThe Eremo delle CarceriThe 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.   In 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. The 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 PietÃ ; 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. Descending 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. Following 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 PietÃ , has been buried since 1477. Assisi43.066338312.64211649999993Assisi54001[ ] Attrattoreen_US828128690470https://www.umbriatourism.it/web/umbria/-/unesco-la-chiesa-di-san-damianoThe Church of San DamianoAlong 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. It 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. The 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.  The 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. Entering 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. Returning 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. Instead, 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.  Assisi43.061567112.618184100000008Assisi54001[ ] Attrattoreen_US539505290422https://www.umbriatourism.it/web/umbria/-/porta-sant-angeloPorta Sant'Angelo (Sant'Angelo Gate)Porta Sant'Angelo (Sant'Angelo Gate) dates back to the 13th century. Above the entrance there are two slots which housed, at that time, the operating mechanisms of the drawbridge, later replaced by a stone bridge.Porta Sant'Angelo (Sant'Angelo Door)Porta Sant'Angelo (Sant'Angelo Gate) dates back to the 13th century. Above the entrance there are two slots which housed, at that time, the operating mechanisms of the drawbridge, later replaced by a stone bridge. In the first decades of the twentieth century the moat was filled in and demolished to make way for the bridge roadway. The brick battlements that crown the gate were reconstructed in the restoration work of 1931. Places of culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.0676470999999912.54855729999997Bastia[ ] Attrattoreen_US2083670390542https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-della-maestaChiesa della Madonna della MaestÃ 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 MaestÃ 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.83697612.06561099999999Ficulle55013[ ] Attrattoreen_US2083659490542https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-vecchia-ficulleChurch of Santa Maria Vecchia - FiculleThe 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 - FiculleThe 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 faÃ§ade 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.83697612.06561099999999Ficulle55013[ ] Attrattoreen_US2418799390438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giuseppe-da-leonessaThe Church of St. Giuseppe from LeonessaThe Oratory of San Giuseppe from Leonessa was erected at Otricoli in 1761. The Church of St. Giuseppe from LeonessaThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959Otricoli55024[ ] Attrattoreen_US1713245312907185 | 22371268https://www.umbriatourism.it/web/umbria/-/lo-zafferano-d-amareSaffron, love's ingredientThis aromatic spice has symbolized love in all its forms since ancient times: the Greek myth narrates Crocos and Smilace's story. The mortal Crocos, who loved the nymph Smilace, beautiful and young forever, was turned into the saffron plant and she in the rough smilax. Wedding in Umbria, getting married in Umbria, wedding in Umbria, Umbria for spousesSaffron, love's ingredientIt enriches dishes with an enveloping aroma, rich with beneficial properties for the body, and it has been used for centuries to colour Oriental-styled cloth. We are talking about saffron, a precious delight of Umbrian gastronomy.  Yellow saffron: colour and perfume of Umbria Saffron, so called red gold, has been produced in Umbria for centuries; in the famous poem "De Croci Culti", Pierfrancesco Giusto describes in detail the cultural practice of the ancient zaffarame. At that time the flowers were precious for dyeing prestigious fabrics, thanks to the typical yellowish colour, derived from the pistil.  The price is proportional not just to the raw material, but especially to the painstakin and detailed work carried out to obtain the final product. Each gram of saffron is made of about 200 stigmas, harvested in the short time of blossoming in the first hours of the day, taken at the moment that the flowers open, to avoid harming the plant. After its careful collection, the saffron is either naturally dried or heat-dried to a powdery consistency.   Saffronn an excellent traditional product of the Umbria Region In recent years in Umbria there has been renewed interest in this cultivation, and it has been added to the traditional gastronomic productive activities. There are several consortiums and associations of producers active in the region, carrying on the tradition of cultivation. Saffron to love This aromatic spice has symbolized love in all its forms since ancient times: the Greek myth narrates Crocos and Smilace's story. The mortal Crocos, who loved the nymph Smilace, beautiful and young forever, was turned into the saffron plant and she in the rough smilax. The god Hermes used this spice to reawaken the amorous desire of tired couples, thanks to its famous aphrodiasiac powers. Saffron adds perfume and colour in surprisingly versatile ways; from first courses to meat, combined with vegetables, cheese, desserts and liqueurs, it adds a golden touch to your dishes. Colorful and delicate, a small jar of saffron is a thoughtful gift for wedding guests or to take back home.  [ ] Attrattoreen_US320888190438https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-margherita-narniChurch of St. Margaret in NarniThis 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 NarniThis 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 faÃ§ade 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. An 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. The vaulted ceiling boasts some enchanting stuccos. The largest one in the centre depicts St. Margaret and the boldness of the frieze is remarkable. On 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. Other 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=142374927426442.517086512.517556600000034Narni55022 Attrattoreen_US2786840093915https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-gubbioPriori Palace â GubbioThe Priori Palace (or Praetorium or of the PodestÃ ), 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 PodestÃ ), 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 PodestÃ , head of the executive power, as opposed to the Palace of Consuls (its original twin) that was seat of the legislative power. It was not completed during the following years for different economic and social reasons because of the plagueâs spread. In the faÃ§ade overlooking the square itâs possible to see the outcomes of the brusque interruption of works happened in 1350. For that reason, the building presents itself as a big incomplete gothic artwork, yet of high architectural value. The criterion adopted to erect the building was exceptional: a unique central pillar supporting strong arches linking up with the outside walls and supporting the load of vaults and slabs. The Palace was modified and extended over time: for example, the adjoining brick building on its left dates back to the late 1600, then linked up to the original palace in 1949 through a wide external staircase. All the building underwent an important work of restoration and consolidation following the earthquake of 1997, that ended in 2003. Worthy of mention are the two canvasses by F. Allegrini of 1600 in the Hall of the Major: they represent two of the several and renowned âBattlesâ painted by the famous artists. The Palace hosts the rich library founded in 1666 by the Bishop Alessandro Sperelli and the archive Armanni, containing many manuscripts and codes, including the History of Gubbio by Greffolino. Gubbiohttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951Gubbio54024Gubbio6024[ ] Attrattoreen_US2945017https://www.umbriatourism.it/web/umbria/-/ciriole-alla-ternanaCirioleCirioleCiriole Terni-style Spaghetti Ingredients for Ciriole: 500 g flour Water   Ingredients for the sauce: 600 g of tomato sauce 2 cloves of garlic 1 bunch of parsley 1 hot pepper Extra Virgin Olive Oil Salt       "Ciriole" is a very common "poor" dish of the Umbrian cuisine. It is a variety of pasta, which is similar to the Tuscan "Pici", but with the shape of tiny "snakes".   Handmade Ciriole do not contain eggs, but flour and water only, and their name comes from the Latin word "cereus", which means "as white as wax", because of the typical color of eggless pasta.   Servings: 6 people. Difficulty: medium. Preparation time: 30 min. (+ 60 min. Rest of the dough for Ciriole)  Preparation of Ciriole Place the flour on a shelf and make a well where you will add a quantity of water enough to form a stiff ball of dough. Leave the dough to rest in a damp cloth for about an hour. One hour later you will be able to knead it in order to derive many "snakes" of about 3-4 mm thick and 10-15 cm long.    Preparation of the sauce In a pan, fry slightly the garlic, parsley and red pepper with a little extra virgin olive oil. When they have browned, paying attention not to burn the ingredients, add the tomatoes and let them cook for about 15 minutes on low heat.   Add salt at the end of cooking. At this point, you can boil the Ciriole in salted water. Once ready, pour it into the pan with the sauce and sautÃ© together for a few seconds. Traditional recipeshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi20.png/24b896a7-7453-4e0b-85bc-c474b32f17bc?t=142374927426442.562341212.645674500000041[ ] Attrattoreen_US4752281https://www.umbriatourism.it/web/umbria/-/palazzo-municipalePalazzo Municipale - CorcianoThe Palazzo Municipale of Corciano is found on Corso Cardinale Luigi Rotelli.             Palazzo Municipale - CorcianoThe 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 CittÃ della Pieve. The palazzo then passed to the Doni family, who were related to the Della Corgnas, and they sold it to Innocenzo Massini. He ceded it to Count Ungaro Oddi who used it as a holiday home; it then changed hands to the Innamorati family. The municipal authorities bought the palazzo in 1887, paying Luigi Innamorati 800 scudi. The palazzo was built over homes dating back to medieval times, traces of which can be seen along its whole outer wall. The faÃ§ade is made up of a central receding void on which two side avant-corps rest. The design and construction of the building, as well as the restoration of the Castello di Pieve del Vescovo promoted by the bishop Fulvio della Corgna, have been variously attributed to the architects Alessi and Vignola. Organised over three floors, which are linked both externally and internally, the palazzo had storerooms and stables on the lower floors; above was the piano nobile, with its rooms frescoed by Salvio Savini, a Mannerist painter in the style of Zuccaro. There was a private apartment on the top floor. The building, which was completely renovated in 1980, houses paleontology and archaeology collections on its ground floor.     Corciano | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US125512https://www.umbriatourism.it/web/umbria/-/olio-extravergine-d-oliva-dop-umbr-1Extra-virgin Protected Designation of Origin (PDO) Umbria olive oilExtra-virgin Protected Designation of Origin (PDO) Umbria olive oil: premium quality and diverse flavours to accompany every dish.olio dop umbriaThe flavours of Umbria extra-virgin olive oil: recognising quality!The olive tree stands out among the green hills of Umbria. It's a plant that in many ways represents Umbria, a land capable of preserving centuries-old traditions with love. The tasty PDO Umbria extra-virgin olive oil can best represent the regional gastronomy, based on peasant dishes in which raw olive oil, as the base for the preparation, plays a key role Umbria is the first Italian region to have obtained PDO recognition throughout the region. The PDO Umbria designation is accompanied by five geographical indications identifying five sub-areas of oil production: Assisi - Spoleto Hills, Martani Hills, Amelia Hills, Orvieto Hills and Trasimeno Hills, which must be noted on the label. Each one differs according to soil and climate conditions, varieties, geography, agronomic techniques and methods of oil production. <ul> <li>Sub-area of Trasimeno Hills</li> </ul> Extending over 17 municipalities in the north-west of the region including the main town Perugia, CittÃ di Castello and Castiglion del Lago. The allowed varieties are Dolce agogia minimum 15%, frantoio and leccino minimum 65%, other varieties maximum 10%. <ul> <li>Sub-area of Orvieto Hills</li> </ul> It takes its name from cliff-top town but also includes another sixteen municipalities including CittÃ della Pieve and Marsciano. This area has a maximum of 60% Leccino, a maximum of 30% Frantoio, a minimum of 15% Moraiolo, and a maximum of 20% other varieties. <ul> <li>Sub-area of Amelia Hills</li> </ul> This area in the south of Umbria includes nine municipalities in the central part of the Terni province, including Amelia and Narni, provides for a maximum of 85% raio, leccino and frantoio, at least 15% moraiolo, and a maximum of 10% other varieties. <ul> <li>Sub-area of Assisi Spoleto Hills</li> </ul> Covering 29 municipalities of Umbria, all located in the central east of the region  ranging from Assisi, Spello, Foligno, Trevi, Campello, Spoleto to Arrone. The varieties present in the oil must be at least 60% moraiolo, maximum 30% leccino and frantoio, maximum 10% other varieties. <ul> <li>Sub-area of Martani Hills</li> </ul> This area in central Umbria includes 15 municipalities including Massa Martana, Giano dell'Umbria, Montefalco. The varieties present in this sub-area by law must be San Felice, frantoio and leccino for at most 80%, moraiolo for at least 20%, other varieties maximum 10%. For all the sub-areas, common and strict rules apply with regard to the minimum acidity, not exceeding 0.65% (as opposed to 0.8% for normal extra virgin olive oil), while the panel test control verifies the organoleptic characteristics. To facilitate the perception of volatile components such as aromas, the oil must have a temperature of about 28Â°. It is warmed by holding the glass with one hand and covering it with the other one. Testers place the glass to their nose and inhale deeply, and then taste a few drops, without swallowing them, letting the oil and air contact their taste buds.  Here is the "flavour" (a combination of olfactory and gustatory sensations) of the main cultivars of Umbria. MORAIOLO: its aroma is fruity and vegetal, rich in scents reminiscent of fresh olives, with notes of aromatic herbs with the addition of a strong bitter and spicy sensation on the palate. FRANTOIO: its smell is characterized by a clear and elegant persistence of fresh grass with harmonious hints of unripe apple combined with the taste of a balanced feeling of bitterness and spiciness. LECCINO: its smell starts with a delicate fruity note reminiscent of flowers and ripe fruit accompanied on the palate by harmonious sensations of sweet almond, mild bitter and spicy. SAN FELICE: it presents ample and delicate sensations of field grass and artichoke, confirmed to the taste by a harmonious and light sensation of bitterness and spiciness. DOLCE AGOGIA: its smell is rich in soft tones of almond and artichoke, combined with the taste by a balanced feeling of bitterness and spiciness. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US122691https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-colli-del-trasimenoVini Doc e Docg Colli del TrasimenoThe Trasimeno Lake, the fourth largest lake in Italy, owes its name to an ancient Etruscan legend which tells of a prince and his love for a nymph. Compared by Lord Byron to a "silver veil", there are countless poets, painters, travellers who over the centuries have been bewitched by its romantic charm. As you can easily imagine, the controlled designation of origin "Trasimeno" or "Trasimeno Hills" extends mainly around the most important lake basin of peninsular Italy. It is therefore all that part of the Umbrian territory that was once settled by the Etruscans. In fact, they started the cultivation of the vine in this area. The conformation of the hills, the small flat area and above all the presence of the lake characterize a micro-climate that makes this territory particularly suitable for the cultivation of vines and olives. The Road of the Trasimeno Hills covers the municipalities of Castiglione del Lago, CittÃ della Pieve, Corciano, Magione, Paciano, Panicale, Passignano sul Trasimeno, Perugia, Piegaro and Tuoro sul Trasimeno. Here, according to the production regulations, grapes can be grown to obtain excellent white wines and great red wines. To be precise, the DOC includes four white wines (Dry, Chosen White, Sparkling and Vin Santo), five red wines (Red, Chosen Red, Reserve Red, Sparkling and Novello), one Classic Spumante and then several single-varietal wines (Grechetto, Merlot, Cabernet Sauvignon, Gamay, Reserve Merlot, Reserve Cabernet Sauvignon and Reserve Gamay). Particular attention has been paid to the Gamay: not to be confused with the French black Gamay, this variety that is genetically homologous to Alicante has been cultivated in the Trasimeno area for a long time. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.129591112.09468179999999[ ] Attrattoreen_US2044129893935https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-ameliaChurch of San Francesco - AmeliaIn 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 - AmeliaIn 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. The exterior of the church maintains its late Romanesque appearance, with Gothic influences, especially along the sides and in the apse wall. The faÃ§ade, 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. The 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). Note 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.556771812.414636100000052Amelia55004[ ] Attrattoreen_US95745https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-pietro-in-valle-a-ferentilloAbbey of San Pietro in Valle, FerentilloA trip to the Benedictine abbey of San Pietro in Valle, a treasure trove of art and historySan Pietro, Valle, Ferentillo, Benedictine, monksThe abbey of San Pietro in Valle is situated in a dense forest halfway up Mount Solenne, alongside the Valnerina road which runs from Ferentillo towards Cascia <div style="clear:both;"> <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> On this site, between the fourth and sixth centuries, there was a community of hermits who lived in a cave next to the present church for forty years. The monastery, now privately owned, has been recently renovated and now provides tourist accommodation. The Benedictine Abbey of San Pietro in Valle is among the main examples of high-medieval art in central Italy. The complex was built in the eighth century by Faroaldo II, Duke of Spoleto, who took monastic vows and adopted an eremitical life. He was buried here in 728. In 840 the monks who lived there were expelled by order of the Bishop of Spoleto and in 1016 the abbey was destroyed by the Saracens. Restored and expanded in the late twelfth century, it was subjected to further restoration and enhanced by a series of frescoes in the nave. With the rebuilding of the adjacent monastery, the Abbey increased its possessions and influence over the territory that corresponded to it until 1303. In 1477 Sixtus IV granted the abbey in commendam and in 1517 it became the property of Francesco Cybo, passing into the hands of the municipality of Ferentillo after the unification of Italy. In the fifteenth century the cloister was added and in the early years of the sixteenth century the current faÃ§ade was built, which is very sober with a Renaissance portal surmounted by a rose window. </td> </tr> </tbody> </table> </div> <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The church, in a Latin cross, has a nave that narrows towards the transept, which is slightly raised and ends with three apses. The apses and the transept date back to the original eighth century layout. The marble slab altar originates from the ancient presbytery perimeter. Preserved inside the church are some Longobard fragments and five Roman sarcophagi with pagan subjects, except one Asian type which, according to tradition, housed the body of Duke Foroaldo II. At the top of the side walls and on the triumphal arch there is an important cycle of frescoes from the twelfth century, with Stories from the Old and New Testaments that, due to the number of scenes and state of preservation, is considered among the most important example of Romanesque painting in Italy, representing one of the first reactions to the "hieratic" style of Byzantine painting. The remaining walls and the three apses are decorated with frescoes from the fifteenth and sixteenth centuries. The high altar, located at the centre of the chancel and made with marble fragments dating from the eighth century, has a frontal bearing the inscription Ursus Magister, the first example of a sculpture signed by the author. The bell tower, with a quadrangular layout, rises to five floors divided by brick cornices. The walls have numerous stone fragments from Roman times. </td> </tr> </tbody> </table> A portal from the second half of the eleventh century leads into the rectangular cloister lined with a double loggia, the lower arches of which date from the twelfth century, while the upper ones are later. In the courtyard there is a circular marble altar, probably of Greek origin, with bas-reliefs of satyrs and maenads. The remaining buildings of the abbey complex, which also probably date back to the twelfth or thirteenth century, are arranged around the cloister Ferentillo | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.645250612.821348400000034[ ] Attrattoreen_US3035093https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-feliceAbbey of San Felice - Church of San FeliceThe church of San Felice stands in an isolated and dominant position, not far from the hamlet of Giano dell'Umbria. The 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, benedettiniAbbazia di San Felice - Church of San FeliceThe church of San Felice stands in an isolated and dominant position, not far from the hamlet of Giano dell'Umbria. The 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. The 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. In 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. The church has a very narrow nave and side aisles without a transept and ending with a triconch apse. There is a raised presbytery with the staircase restored during the renovation works in the 20th century. The 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. A triumphal arch which divides the nave from the presbytery has a mullioned window at its centre. There is currently a gabled faÃ§ade, 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. It frames an elegant three-mullioned window with salvaged columns and capitals and a door with simple insets. The three apses are decoratively clad externally, separated by thin pillars resting on a high base and culminating in small hanging arches. The 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. The crypt is characterised by capitals depicting stylized animals and plant motifs, which can be dated to the end of the 11th century. An ancient sarcophagus containing the remains of the martyr San Felice is located behind the altar. The 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. At the centre of the cloister is a cistern which collects rainwater. Since 1815 the abbey has been headquarters of the Missionaries of the Precious Blood, founded by San Gaspare del Bufalo.   Giano dell'Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.843667112.568350399999986Giano dell'Umbria54021[ ] Attrattoreen_US95492https://www.umbriatourism.it/web/umbria/-/il-lago-trasimeno-tra-arte-leggenda-sport-ed-enogastronomiaLake Trasimeno - art, legend, sports and gourmet food and wineDiscover Lake Trasimeno, its islands, the scenery and the surrounding towns. Lago Trasimeno, Castiglione del Lago, CittÃ della Pieve, Magione, Paciano, Panicale, Passignano sul Trasimeno, Piegaro e Tuoro sul Trasimeno, museo della pesca, AnnibaleDiscover Lake Trasimeno, its islands, the scenery and the surrounding towns.Lake Trasimeno is a true natural paradise in the northern part of Umbria on the border with Tuscany.  It is the fourth largest lake in Italy and was named after the ancient legend of prince Trasimeno and his love for nymph Agylle. Lord Byron compared it to a "silver veil" and, over the centuries, the lake has charmed many poets, painters and travellers. It became a Regional Park in 1995 and is characterised by a marshy area where, among lush reeds, you can spot wild ducks, cormorants, kites and kingfishers. The lake has in fact always been an important area where aquatic birdlife can stop, breed and spend the winter, and it is also the perfect habitat for fish species to reproduce. To learn more about the history of this wildlife and discover the secrets of the fishermen and their tools we suggest visiting the San Feliciano Fishing Museum. If you are interested in the boats that fishermen used going back to medieval times you can pay a visit to the Boat museum in Passignano. If you are a history enthusiast, plan your holiday following in the footsteps of Hannibal's battle of Lake Trasimeno. If you wish to practice open-air sports you are spoilt for choice - there are bike and horse trails and you can enjoy acquatic sports such as kitesurfing, canoeing and sailing. Any time is perfect to be charmed by one of the towns that surround Trasimeno: Castiglione del Lago, Paciano, Panicale, Piegaro, CittÃ della Pieve, Magione, Passignano sul Trasimeno, Lisciano Niccone and Tuoro sul Trasimeno are either directly on the lakeside or overlook it from the hills.  Enjoy a trip to the Maggiore and Polvese islands, which can be easily reached by boat the whole year round. If you like good food, you can savour excellent freshwater fish dishes - eel, perch and tench in particular - and try Fagiolina del Trasimeno, Slow Food Presidium, and Saffron from CittÃ della Pieve. Among the typical local products there is also olive oil and wine, which you can enjoy along the Strada dei vini dei Colli del Trasimeno (Wine Route of the Trasimeno Hills) The Trasimeno area is famous for the Irish lace of Isola Maggiore, Panicale's Tulle creations and the art of weaving baskets with lake reed. Castiglione del Lago | CittÃ della Pieve | Lisciano Niccone | Paciano | Panicale | Passignano sul Trasimeno | Piegaro | Tuoro sul Trasimeno | Magione | Lago Trasimeno | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.129165612.04978570000003[ ] Attrattoreen_US291672915727054https://www.umbriatourism.it/web/umbria/-/fichi-girottiGirotti FigsGirotti Figs are a typical product of the town of Amelia. Stuffed with chocolate and dried fruit, they have been produced and packaged by the Girotti family since 1830.Girotti Figs are a typical product of the town of Amelia. Stuffed with chocolate and dried fruit, they are produced and packaged by the Girotti family since 1830. The town of Amelia is renowned for the production of dried figs since ancient times. It is said, in fact, that in the Middle Ages people from Amelia were required to send the Pope Centum pignatuli ficuum (one hundred measures of figs) every year, because of their extraordinary taste. The Antonio Girotti Company was founded in 1830, taking its name from the founder, Antonio Girotti, who was a patriot and a close friend of Garibaldi. The Company passed from one generation to the other, becoming very popular in the twenties, when Quirino took the reins. Prompted by the wave of renewal which the country was living through, and decided to invest in advertising, growing the company into a known and distinguished name. Managed by the same family, which is now in its fifth generation, the "Fichi Girotti" Company is still considered one of the oldest and most renowned in the industry. The uniqueness and excellence also lie in the method of production, which is wholly handmade: after a careful selection of the best figs, they are placed in molds, stuffed with almonds, walnuts, candied fruit and cocoa and then pressed, making them acquire the typical round shape.     Amelia | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.556771812.414636100000052[ ] Attrattoreen_US40260354https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-fava-cottora-dell-amerinoFava cottÃ²ra dellâAmerinoUna varietÃ di fava piccola e altamente digeribile, tipica del territorio tra Todi, Orvieto e Amelia, ancora oggi raccolta a mano e secondo metodi tradizionali. Dal 2016 questo speciale ecotipo selezionato, di generazione in generazione, dagli abitanti del posto Ã¨ âPresidio Slow Foodâ, lâunico della provincia di Terni. fava cottora, fava, todi, orvieto, amelia, terni, umbria, presidio slow food, prodotti tipici, legumi, zuppe, ricette, cucina umbra, umbria, celiachia, gluten free, vegetariani, piatti vegetariani, alimentazione sana, sport, cibi per sportivi, cosa mangiareFava cottÃ²ra dellâAmerinoUna varietÃ di fava piccola e altamente digeribile, tipica del territorio tra <a href="https://www.umbriatourism.it/it_IT/-/todi" target="_blank">Todi</a>, <a href="https://www.umbriatourism.it/it_IT/-/orvieto" target="_blank">Orvieto </a>e <a href="https://www.umbriatourism.it/it_IT/-/amelia" target="_blank">Amelia</a>, ancora oggi raccolta a mano e secondo metodi tradizionali. Dal 2016 questo speciale ecotipo selezionato, di generazione in generazione, dagli abitanti del posto Ã¨ âPresidio Slow Foodâ, lâunico della provincia di Terni.  Le tecniche di raccolta della fava cottÃ²ra Ã¨ la stessa impiegata dai contadini dellâAmerino degli anni Cinquanta e Sessanta. La semina nel freddo invernale e la raccolta sotto il sole di luglio, con le piante completamente secche, sono ancora praticate a mano, o al massimo con lâaiuto di piccoli mezzi meccanici, in modo da pulire i baccelli e selezionare i semi meglio conservati. Altrettanto laboriosa la preparazione, che ne migliora la digeribilitÃ : messe in acqua fredda, portate ad ebollizione e lasciate riposare per una notte, le fave vengono poi riposte in un contenitore in alluminio che risuonerÃ a contatto con quelle ancora dure, che vengono prontamente eliminate. Allo stesso modo, non Ã¨ cambiato il risultato di tanto lavoro: la fava cottÃ²ra (o âmezzafavaâ, per le sue piccole dimensioni) conserva le caratteristiche che la rendono un alimento altamente nutriente, specie dal punto di vista proteico, e facilmente digeribile.  Il nome âcottÃ²raâ anticipa anche unâaltra caratteristica: la rapida cottura. Il terreno in cui queste fave crescono, povero di calcare attivo, rende infatti possibile una cottura relativamente rapida, senza dover nemmeno procedere alla decorticatura. In cucina I modi per consumare questa varietÃ di fave sono svariati e vanno dal semplice condimento con olio, sale e pepe e cipolla fresca, alla riduzione in purea condita con olio extravergine e sale, ideale per condire le bruschette.  Unâaltra opzione, tradizionalmente preparata il giorno della macellazione del maiale, Ã¨ la âstriscia con le faveâ, la cui ricetta prevede che le fave siano lessate nel grasso ottenuto dalla cottura della lunga striscia di grasso della zona ventrale del suino. Fonte: <a href="https://slowfoodumbria.it/chi-siamo/i-presidi/fava-cottora-dellamerino/" target="_blank">slowfoodumbria.it</a> Amelia | Orvieto | Todi | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.718615212.1087907Todi, Orvieto, Amelia[ ] Attrattoreen_US358093890494https://www.umbriatourism.it/web/umbria/-/rocca-del-leoneLion 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. Work 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. The interventions made possible the realization of the formidable fortress. During 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. A 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. With the additions and the internal system of the Keep, it was considered one of the most difficult European castles to conquer of the 1500s. In 1550, Pope Julius III promoted the site to a Marquisate and presented it to his sister and his nephew Ascanio (the First) Della Corgna. In 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. Until 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 AA. VV. (1992), Guide De Agostini â UMBRIA, Novara, Istituto Geografico De Agostini AA.VV. (2004), Umbria - Piccoli Centri della Provincia di Perugia, Cannara (PG), Arti Grafiche Antica Porziuncola Amoni D. (2000), Castelli Fortezze e Rocche dell'Umbria, Ponte S. Giovanni (PG), Quattroemme  Castiglione del Lago | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.127723112.052688999999987Castiglione del Lago54009[ ] Attrattoreen_US335091590494https://www.umbriatourism.it/web/umbria/-/palazzo-della-corgnaPalazzo della CorgnaThe 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.castiglione del Lago, Lago trasimento, Nobili corgna, Umbria, vacanze relaxPalazzo della CorgnaThe 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. Historical note The 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. It 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 faÃ§ade and stairs, and for the richly decorated rooms, which make up part of the museum. Among the important works of art it contains are the frescoes painted by artists like NiccolÃ² 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. Work on it began in 1563 and the project was executed by Galeazzo Alessi and Il Vignola. The palazzo is, in fact, an elegant Renaissance noble home. Designed with a L-shaped layout, the main faÃ§ade 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. The 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. The 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 NiccolÃ² Circignani and Antonio Pandolfi rife with important themes celebrating the family's fame and glory. It 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. Leave 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. You 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.  Castiglione del Lago | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.12734212.053701400000023Castiglione del Lago54009[ ] Attrattoreen_US125031https://www.umbriatourism.it/web/umbria/-/abbazia-di-sant-eutizioThe Abbey of Sant'EutizioThe Abbey of Sant'Eutizio is located a short distance from Preci, on a high cliff overlooking the Castoriana Valley.The Abbey of Sant'Eutizio is located a short distance from Preci, on a high cliff overlooking the Castoriana Valley. As written by San Gregorio Magno in the Dialoghi (which date from the late 6th century), the abbey dates back to the 5th century A.D. and was founded by a Syrian hermit, San Spes, who built an oratory in honour of the Virgin Mary and formed a small group of monks. The Syrian hermit was succeeded by Eutizio who built, on top of the oratory, the primitive church which housed the remains of Spes. In the 8th century the Syrian hermits were succeeded by the Benedictine monks who built a monastery and expanded the original oratory. Immersed in the green and picturesque scenery of the Valnerina valley, the abbey is one of the first examples of hermit settlements in Umbria, and which became a powerful Benedictine abbey. Description The church has a gabled faÃ§ade with a beautiful Romanesque portal; there is a lunette on which you can read the date 1190, the year in which the construction began; the church facade is also characterised by the large rose window, with a double row of columns, framed by a box with the symbols of the four Evangelists. In the 17th century, the bell tower was built by the architect Crescenzi. The interior, which has a nave with a raised presbytery, underwent a restoration in the 1950s aimed at recovering its original form. On the windows there are some fragments of the original fresco decoration. Behind the high altar, with a Crucifixion painted by Nicola da Siena - which was active during the 15th century, even in the church of San Francesco in Cascia and San Salvatore a Campi - you can see an elegant tomb of Sant'Eutizio created by Rocco di Tommaso (1514). The fine wooden 16th century choir stalls comes from the workshop of Seneca di Piedivalle, and a wooden pulpit is housed at the church of Sant'Andrea in Campi Alto. Under the presbytery is the crypt with two columns dating from the 14th century. Curiosity Around the year 1000, the abbey became an important cultural centre with a rich library and a school of miniatures. From the library came the Formula di confessione of 1095, one of the oldest texts in the vernacular. The Abbot Giacomo Crescenzi in 1605 donated a number of the books to San Filippo Neri who transferred them to the Vallicelliana Library in Rome. From the 10th to the 13th centuries, the abbey's power increased, with it annexing many territories to its property and making itself a promoter of an important surgical school. Useful information The abbey is open to visitors; one part of it is a museum. For information about visiting hours you are advised to contact the Valnerina-Cascia tourist office or the abbey at tel no. 074 399 659. Preci | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi38.png/0033f7a1-a292-4547-b7c7-56677ac46cbe?t=142374927722642.874928713.06500230000006[ ] Attrattoreen_US2067157293925https://www.umbriatourism.it/web/umbria/-/chiesa-santa-marinaChurch Santa MarinaThe church is large and bright with a single nave, and has two niches and two high-ceilinged chapels, truss to truss. It's dedicated to the patron saint Sister Marina.Church Santa MarinaThe church is large and bright with a single nave, and has two niches and two high-ceilinged chapels, truss to truss. It's dedicated to the patron saint Sister Marina.   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. Since 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. There 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. In 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. Source: "A Castel Ritaldi tra storia, arte e poesia" - Mario Tabarrini Castel Ritaldi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.8286312.656071699999984Castel Ritaldi54008[ ] Attrattoreen_US2484819790518https://www.umbriatourism.it/web/umbria/-/eremo-della-madonna-della-stella-poggiodomoEremo della Madonna della Stella - PoggiodomoThe 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 - PoggiodomoThe 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. In 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. In 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). In 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. In 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. Source: <a href="http://www.comune.poggiodomo.pg.it">www.comune.poggiodomo.pg.it</a> Poggiodomo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.711309212.935060000000021Poggiodomo54042[ ] Attrattoreen_US112117https://www.umbriatourism.it/web/umbria/-/il-giardino-dei-lauri-citta-della-pieve"The Lauri Garden" - CittÃ della PieveThe new location dedicated to Contemporary Art created by the art collectors Angela and Massimo Lauro to exhibit part of their personal collection."The Lauri Garden" - CittÃ della Pieve"Il Giardino dei Lauri" is the new location dedicated to Contemporary Art created by the art collectors Angela and Massimo Lauro to exhibit part of their personal collection. The Lauro Collection was started in 1990 and today includes approximately 300 works of art. Collecting the work of the most representative artists, protagonists on the national and international artistic scene, the exhibit represents a narrative itinerary through the most updated research in the field of visual art. The display is hosted inside the 650 square meters of the industrial facility and in a garden. It is animated with 70 installations of new talents from a completely new generation. The artistic selection in the exhibition, which mainly includes artists from Italy, the United States, the United Kingdom, Germany, Switzerland and Poland, sees names of classical artistsâsuch as Takashi Murakami, Mariko Mori, Roxy Paine, Michael Heizer, Rudolf Stingel, Ugo Rondinone, Tim Noble & Sue Webster, Massimo Bartolini and Maurizio Cattelanâside by side to a nucleus of artists born between the end of the 1960s and the beginning of the 1980s, who more recently have appeared on the scene receiving important international appreciation such as Aaron Young, Eric Wesley, Dash Snow, Piero Golia, Matthew Monahan, Piotr Uklanski, Urs Fisher, Gary Webb, Martin Creed and Jonathan Meese. Information LocalitÃ San Litardo 06062 - CittÃ della Pieve (PG)  email: info@ilgiardinodeilauri.it sito web: <a href="http://www.ilgiardinodeilauri.it/" target="_blank">www.ilgiardinodeilauri.it</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   CittÃ della Pieve | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.979903211.985812600000031[ ] Attrattoreen_US2070940990494https://www.umbriatourism.it/web/umbria/-/chiesa-dei-santi-gervasio-e-protasioChurch of Santi Gervasio e ProtasioThe cathedral of CittÃ della Pieve is the church of Santi Gervasi e Protasio. Itâsituated at Piazza Gramsci and Plebiscito, the most central square of the city.Church of Santi Gervasio e ProtasioThe cathedral of CittÃ della Pieve is the church of Santi Gervasi e Protasio. Itâsituated at Piazza Gramsci and Plebiscito, the most central square of the city. The Church stands on the site of a primitive church dedicated to the Holy Martyrs Gervasio and Protasio. Perhaps it was erected in the eighth century and expanded in the mid-thirteenth centur. In the sixteenth century the church was completely renovated and onsecrated in 1584, then again it was modificated after the trasformation to Cathedral. Under the church there are remains of the original building dating back to the thirteenth century. There are a crypt, part of the faÃ§ade, on which itâs visible a series of Gothic arches. The lower part of the bell tower with a series of mullioned windows, three lights and four . In the sixteenth century the church was raised and built the external staircase floor; in 1574 he redid the apse. The truss roof collapsed in 1667 and was replaced with a brick vault in 1679. The interior, with a nave, a Latin cross with side chapels. In the counter frescoes by Annibale Ubertis of the late nineteenth century they are visible. In the first chapel on the right it is a beautiful wooden crucifix attributed to Peter Teutonic (XVI century); in the second chapel it is a Madonna and Child with Angels and Saints by Domenico Alfani; in the third chapel there are kept frescoes by Giacinto Boccanera dating the beginning of the eighteenth century. In the presbytery there is a Madonna with Saints John the Evangelist, John the Baptist, Peter Martyr and Blessed Giacomo Villa Giannicola of Paul and the apse a Madonna and Child with Saints Peter, Paul, Gervasio and Protasio (1514)by the Perugino, which is also the author of the San Giovanni Battista (1510)in the first chapel on the left. CittÃ della Pieve | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.947773812.003295699999967CittÃ della Pieve54012[ ] Attrattoreen_US2071299790494https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-dei-serviChurch of St. Mary of ServantsThe Gothic church of Saint Mary of Servants is located right outside the medieval city walls of CittÃ della Pieve, next to the Roman gate. Church of St. Mary of ServantsThe Gothic church of Saint Mary of Servants is located right outside the medieval city walls of CittÃ della Pieve, next to the Roman gate.  Since the 13th century we have records of a church devoted to Our Lady of the Star, located near the former Hospital of Saints Philip and James, where the Servants of Mary settled in the middle of the1200s, establishing a small parish with an annexed convent. Work continued for a century both in the church and in the convent, greatly increased between 1486 and 1487. After the ecclesiastical suppressions during the Unification of Italy the convent became city hospital. The plan of the church is typical of the monastic orders: the interior has just a nave with a square apse and a cross vault. On the faÃ§ade, Gothic details, later walled up, are still visible, with trefoil arches made of brick.  Around the mid-19th century a bell tower, designed in Neoclassical style by the architect Giovanni Santini, was built next to the church.  The interior, remade in the 17th century, houses Baroque-style stucco decorations. Particularly interesting is the wooden choir and the large wardrobe in the Sacristy, commissioned in 1628 to Giuseppe di Francesco Bendini di Montepulciano. On the first altar to the right, a fresco depicting Our Lady of the Star among Saints, with a typical Perugia style, was brought back to the light by demolishing a part of the Baroque stucco. The Baroque altar with stucco statues made by Bernini depicting the Blessed James Villa and the Blessed Matteo Lazzari on its sides has a particular theatrical effect.  The Deposition from the Cross (1517) by Pietro Vannucci, called Perugino, although incomplete, is one of the highest moments of his artistic production, few years before his death. Here the Master was also inspired by the sentimental aspect of Raphael, his former pupil, now possessing an everlasting fame. The Christ indeed shows many connections with the art of the Urbino artist. The episode of Maryâs fainting shows, echoing the similar subject depicted by Giotto in the Basilica of St. Francis of Assisi, as Perugino continued to be an interpreter of the typically Umbrian world of lauds, rooted in the medieval period. The Master represents a scene according to a very original version, with an extreme formal synthesis that is almost impressionistic, in the rapid touches of the landscapes, but at the same time stressing the drama of the event.  The fresco, hidden by a wall cavity, was rediscovered in 1834 by the German Antoine Remboux. After him, the fresco impressed several painters including Nazarenes, Purists and Pre-Raphaelites, who took him as source of inspiration for their romantic sensibility.  CittÃ della Pieve | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.947773812.003295699999967CittÃ della Pieve54012[ ] Attrattoreen_US117043https://www.umbriatourism.it/web/umbria/-/fontana-maggiore-a-perugiaThe Fontana Maggiore in PerugiaThe Fontana Maggiore is composed of a main base with three basins of diminishing size above it. At the top of the highest, above the bronze basin, is the Water Carriers group. Fontana Maggiore a PerugiaDescription The upper marble basin has twelve sides divided into twenty-four smooth panels of pink Assisi stone. Each one is separated bya white Carrara marble statuette set on ledges between the panels. Some of the figures represent personages from the history of the city and legends, while others are symbolic. The statue of Augusta Perusia depicts her sitting on the throne between Domina Clusi and Domina Laci holding a horn of plenty in her hands, the symbol of the wealth of grain and fish these two properties offered up as gifts. Near them are the two protector saints of the city, San Lorenzo and Sant'Ercolano, with their respective symbols. Next to them, San Benedetto with the disciple Mauro pays symbolic homage to the figure of Fra' Bevignate, the Benedictine monk who planned the construction of the fountain. A second group of statuettes revolves around the figure of Roma Caput Mundi seated in a throne between San Paolo and San Pietro, at whose right is the Ecclesia Romana. These statues were put there to underscore, the city's autonomous status notwithstanding, its dependence on Rome, being in part Guelph, and pays homage to the universal power of the City and the Papacy. The figures of Matteo da Correggio and Ermanno da Sassoferrato are more specifically linked to the history of Perugia as they were, respectively, podestÃ and capitano of the people in 1278 as the fountain was being built. Next to the latter is Victoria Magna clad as a simple woman of the times. And the figure of Euliste, the legendary Trojan hero to which the city traced its roots, could not but be placed between the two statues of the city's most potent men. Finally, there are figures from the Old and New Testament: San Michele, Melchisedech, San Giovanni Battista, David, Moses and Solomon. The larger lower basin features a wide-ranging figurative cycle set on a base of light red marble. Made entirely of white marble, the basin's outer wall is divided into 25 parts. Each part consists of two panels separated from one another by a column and from the others with a grouping of four slim columns. The fifty panels can be divided into categories based on the topics they represent: the twelve months by their zodiac symbols, the eight liberal arts (Philosophy, which was usually considered a real science, was added to the traditional seven arts), stories from the Old Testament (Adam and Eve with the serpent, their banishment from heaven, Samson and the Lion, Samson and Delilah, David and Goliath), the mythical story of the foundation of Rome (Rea Silvia, the wolf and the twins, Romulus and Remus as they interpret the meaning of the flight of the birds), and two tales from Aesop (the wolf and the lamb, the wolf and the crane). Very reminiscent of these tales for its moral lesson is the panel with the little lion being beaten by its owner, signifying that you must nip evil in the bud and thus prevent the enemy from becoming a menace. It can also be interpreted as a warning to parents to educate their children well from a tender age. And then there are the depictions of the political emblems of the Guelph lion and the Perugian Gryphon. The significance of one panel, however, is unclear: the eagle depicted with two faces, most likely an homage the sculptor Giovanni Pisano wanted to pay to his Saint.  Fun Fact It goes without saying that the people of Perugia were very involved in the construction of the fountain and the aqueduct that lead to the centre of town from Mt. Pacciano, and that the choice of icons was of vital importance. The people were also called upon to help finance the project by donating sums of money, each according to his trade, to help pay for a fountain whose cost seemed to be more than the city alone could bear. Contrary to their predictions, however, the money was given back as promised in the pact, between January and April of 1286.  Information and tips Piazza IV Novembre can be easily reached by foot from any of the parking lots located in the city centre. You can take a bus or taxi to it from the train station. Or take the MinimetrÃ² and get off at the Pincetto station. Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.11210212.389096999999992[ ] Attrattoreen_US539529690422https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-paoloChurch of San Paolo - Bastia UmbraThe Church of San Paolo of Abbadesse is located outside of the town centre of Bastia Umbra. It is now annexed to the municipal cemetery built in 1862 and situated near the confluence of the Tescio and Chiascio rivers.Church of San Paolo - Bastia UmbraThe Church of San Paolo of Abbadesse is located outside of the town centre of Bastia Umbra. It is now annexed to the municipal cemetery built in 1862 and situated near the confluence of the Tescio and Chiascio rivers. 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. The Romanesque church has a gabled faÃ§ade 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. The apse contains a column to which Santa Chiara clung when her family tried to take her away. Bastia Umbra | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.079510512.556050899999946Bastia Umbra54002[ ] Attrattoreen_US273485790470https://www.umbriatourism.it/web/umbria/-/cattedrale-di-san-rufinoCattedrale di San RufinoThe church, built from 1029, was given the cathedral status in 1036. In 1140 it was re-built following designs by Giovanni from Gubbio. Pope Innocent IV consecrated it in 1253. The faÃ§ade, a real masterpiece of Romanesque sculpture, is divided horizontally into three sections.Assisi, Umbria, San Rufino, romanico, spirtitualitÃ Cattedrale di San RufinoWhere it is The cathedral of San Rufino is in the historic centre of Assisi. Its wonderful Romanesque faÃ§ade rises majestically over the piazza of the same name.  Once upon a time The religious building occupies part of the Roman terracing and according to some, in the area of the forum on which the Bona Mater temple was built. Why visit it The elaborately sculpted faÃ§ade is one of the greatest examples of Romanesque art. The interior, modified in the 16th century, houses the baptismal font in which Saint Francis, Saint Clare and possibly the future Emperor Frederick II, the Duke of Swabia, were baptised. Description The church, built from 1029, was given the cathedral status in 1036. In 1140 it was re-built following designs by Giovanni from Gubbio. Pope Innocent IV consecrated it in 1253. The faÃ§ade, a real masterpiece of Romanesque sculpture, is divided horizontally into three sections. In the lower part are three portals with lions and griffins at the sides. The central portal is elaborately carved with floral motifs as well as allegorical figures and animals. In the lunette is a bas-relief of Christ enthroned, the Nursing Madonna and Saint Rufinus, by an unknown artist. The middle part is decorated with three splendid rose windows; symbols of the four Evangelists surround the central rose window. The upper part, with a gable roof, was added at the end of the 13th century. Saint Clare's house was in the vicinity of the bell tower. The interior which follows the layout of a basilica divided into a central nave and two aisles, was completely modified in 1571 by Galeazzo Alessi (architect of the nearby basilica di Santa Maria degli Angeli). The removal of the side altars in the aisle on the left, revealed part of a Roman wall and the ancient Roman cistern. At the front of the right aisle is the baptismal font where Saint Francis, Saint Clare and possibly the future Emperor Frederick II were baptised. Nearby is the Chapel of the Blessed Sacrament, decorated in a Baroque style with Eucharist-themed images painted by Giacomo Giorgetti in 1663. In the apsidal-conch are frescoes by Carlone, Giovanni Antonio Grecolini and Giorgetti. The apse is enhanced by the splendid wooden choir carved by Giovanni di Piergiacomo da San Severino, 1520. To the left of the main altar is a Crucifixion by Dono Doni. In the central nave, at the sides of the entrance are two sculptures depicting Saint Francis  by Giovanni DuprÃ¨, 1882, and Saint Clare by Amalia DuprÃ¨, 1888. From the sacristy you reach the oratorio di San Francesco, where Saint Francis retreated before preaching. The crypt is divided into three naves and contains fragmentary frescoes from the 11th century showing Symbols of the Evangelists. The Roman sarcophagus from the 3rd century A.D. holds the relics of Saint Rufinus. Next to the cathedral, you will find the diocesan museum and crypt of San Rufinus. Adjacent to the museum is the Capitolare Archive, containing many illuminated codes and documents dated as early as 963. Trivia According to San Pier Damiani (1052) the remains of Saint Rufinus, Bishop of Assisi and martyr in the 3rd century, were a matter of contention between the Bishop Ugone and the local people. The Bishop wanted to take the saint's body to the then-cathedral of Santa Maria Maggiore. The locals were firmly opposed to the idea and so a "tug of war" contest over the saint's coffin was set up, to decide what to do: seven men from Assisi managed to beat the Bishop's sixty men. After this extraordinary phenomenon, Ugone decided to radically transform the small primitive basilica where the remains of Saint Rufinus were kept from 412. Assisi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738443.070701712.619596600000023Assisi54001[ ] Attrattoreen_US1380907012907185 | 22371268https://www.umbriatourism.it/web/umbria/-/umbria-per-gli-sposi-vicolo-baciadonne-citta-della-pieve-perugiaUmbria for sweethearts: Baciadonne Alley in CIttÃ della Pieve (Perugia)Baciadonne Alley is the alley of lovers and one of the narrowest streets in Italy. Wedding in Umbria, getting married in Umbria, wedding in Umbria, Umbria for spousesUmbria for sweethearts: Baciadonne Alley in CIttÃ della Pieve (Perugia)Baciadonne Alley and the lovers' way The name, connected to a very narrow lane, arose following a dispute among neighbours. Popular tradition says that in the Middle Ages the two neighbours decided to detach their houses, so creating an alley only 50 to 70 centimetres wide. The name, which means "kiss women", comes from the fact that two people passing each other in the lane will nearly kiss as they squeeze through the narrow space. The itinerary of CittÃ della Pieve alleys, the walk along the perimeter walls and Baciadonne Alley are favourites with lovers from all over the world who choose Umbria for a romantic getaway, immersed in nature, history, food and wine. Getting married in Umbria: romantic walks The Baciadonne Alley is a romantic destination for couples choosing Umbria to seal their love, whether for those deciding to get married in Umbria or for those making a life-long promise. The romantic walk goes tp the birthplace of Pietro Vannucci, called Perugino, one of the most important painters of the Italian Renaissance and master of the great Raphael. Here lovers, between taking pictures and kisse, follow inspiring walkways, finding a hidden part of the town, an ancient and charming world that takes them back to other epochs. Umbria for sweethearts: discover the truffle The journey in CittÃ della Pieve and along Baciadonne Alley for lovers choosing Umbria is an itinerary through the sensory pleasure, along a path full of inspiring atmosphere, among culture, nature and typical products in high quality cuisine. One of the most typical products is the white or black truffle used in delicious dishes that will conquer couples who will taste them. Enjoyment for the senses, romantic truffle-based dinners and passionate kisses along Baciadonne alley are just some of the things for lovers in CittÃ della Pieve, in Umbria.   For further information:  <a href="http://lovemeinumbria.com/" target="_blank">Wedding in Umbria</a> [ ] Attrattoreen_US9573519117723https://www.umbriatourism.it/web/umbria/-/pietralunga-borgo-antico-che-domina-la-valle-del-carpinellaPietralunga, an ancient village overlooking the Carpinella ValleyThis charming Umbrian village is surrounded by hills, forests and green valleys which offer visitors beautiful colours throughout the yearPietralunga, pine forest, carpinella, fortress, church of Pieve de' SaddiPietralunga stretches across the hills in the north-eastern part of the CittÃ di Castello area, not far from Montone and overlooking the Carpinella Valley <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The first urban settlements had Umbrian origins (2nd-1st centuries BC), although the area has been inhabited since prehistoric times. Many of the artifacts found at this site are now preserved in the Archaeological Museum of Perugia. During Roman times the town was located next to the road linking the Tiber valley and the Via Flaminia. Traces of numerous villae rusticae remain from this period; one, of particular importance, with traces of mosaics. The Roman settlement in the valley was abandoned during the barbarian invasions. The new town was built in today's location and given the name Plebs Tuphiae. The 6th-7th centuries saw the construction of the church of Santa Maria and the Longobard fortress facing the central square, cornerstone of the town's terraced building structure. It was an independent municipality from the eleventh to the fourteenth century until it became part of CittÃ di Castello. The town has typical medieval features with sixteenth-century urban interventions. The oldest urban centre extends around the Fortress and the church of Santa Maria, with the walls dating back to the eighth century. Of the three original city gates accessing the town, the only one which is well-preserved is the Cassero gate. Just outside the walls is the Candeleto pine forest which houses the "Silvio Bambini" Ornithological Museum. Also interesting is the church just outside the town, currently the Sanctuary of Madonna dei Rimedi. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> To the southwest of the town do not miss out on visiting the church of de'Saddi, one of the oldest churches in the CittÃ di Castello area and the site of the martyrdom of St. Crescenziano, a Roman legionnaire killed during the Diocletianic persecutions. Pietralunga | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.442952212.44858929999998[ ] Attrattoreen_US95825https://www.umbriatourism.it/web/umbria/-/nome-attrattore-chiesa-di-san-francesco-a-piedilucoChurch of San Francesco in PiedilucoA visit to the Gothic church to commemorate St. Francis's time in PiedilucoPiediluco, Umbria, Terni, Piediluco Lake, Marmore Waterfall, Eco, St Francis, St Francis WayThe church of San Francesco, built in memory of St Francis's frequent visits to Piediluco, stands facing the lake at the top of a steep staircase at the end of Corso Salvati Construction of the building, in Gothic style, started at the end of the thirteenth century and was completed in 1338. The Romanesque-Gothic stone faÃ§ade has reliefs with scenes of fishing, boats and fish, symbols of gratitude to the wealth offered by the lake. The interior has a single nave and houses precious works of art, including a wooden crucifix from the fifteenth century and a depiction of St. Francis among the Saints Antonio da Padova, Bernardino, Ludovico and Bonaventura in the apse, dating back to the sixteenth century. Since 1999 it has housed a few relics of St. Francis, granted by the Sacred Convent of Assisi to commemorate the saint's time here.      Terni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.536306112.765276299999982[ ] Attrattoreen_US2798169390454https://www.umbriatourism.it/web/umbria/-/santuario-madonna-dei-rimediSantuario Madonna dei RimediThe present shrine of Madonna dei Rimedi was the ancient suburban parish located about 2 km south of the old town of Pietralunga.The present shrine of Madonna dei Rimedi was the ancient suburban parish located about 2 km south of the old town of Pietralunga. It was erected between the 7th and 8th centuries, at the same time when the urban parish church of Santa Maria was built. The present shrine became the center of intense Marian devotion to the miraculous apparitions of Our Lady to some girls and the nuns of the Benedictine monastery of Santa Maria del Ponte (or Soraccia). In the 17th century, it was enlarged and embellished and it assumed the present architectural features. This shrine is  situated on an important medieval route linking the Adriatic coast to the Tyrrhenian.  According to tradition, this church hosted San Francesco several times during his frequent pilgrimages to Mount Verna in Arezzo. Pietralunga | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.465014712.426595200000065Pietralunga54041Pietralunga[ ] Attrattoreen_US273489990470https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-sopra-minervaChurch of Santa Maria sopra MinervaThe church of Santa Maria sopra Minerva makes the splendid setting of piazza del Comune in the historical centre of Assisi even more enchanting.Chiesa di Santa Maria sopra MinervaThe church of Santa Maria sopra Minerva makes the splendid setting of piazza del Comune in the historical centre of Assisi even more enchanting. Used for worship since 1539, when it was built inside an ancient Roman temple in obedience to Pope Paul III's wishes . 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. The 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. The vault was entirely frescoed mid-18th century by Francesco Appiani with the Glory of Saint Philip and the Cardinal and Theological virtues. The 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. The high altar is decorated by exquisite seventeenth-century stuccos. Recently 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.   Assisi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738443.070701712.619596600000023Assisi54001[ ] Attrattoreen_US3774160190470https://www.umbriatourism.it/web/umbria/-/luoghi-della-fede-2019-abbazia-di-san-pietro-ad-assisiAbbey of San Pietro in AssisiLocated in the square of the same name on the edge of the historic centre of Assisi, the Abbey of San Pietro is a must-see for visitors. Its Benedictine origin, the striking facade, the beauty of the interior and its spiritual atmosphere make it an absolute treasure.Umbria, umbria tourism, luoghi della fede, Assisi, Abbazia di San Pietro, siti Unesco, patrimonio umanitÃ , san francesco, itinerari della fede, via di francesco, francescani, cose da vedere,Abbey of San Pietro ad AssisiLocated in the square of the same name on the edge of the historic centre of Assisi, the Abbey of San Pietro is a must-see for visitors. Its Benedictine origin, the striking facade, the beauty of the interior and its spiritual atmosphere make it an absolute treasure. Perhaps less known than the Basilicas of St. Francis and St. Clare, the Abbey of San Pietro is included, <a href="https://www.umbriatourism.it/it_IT/-/unesco-la-citta-di-assisi" target="_blank">along with other Franciscan sites and the town of Assisi itself, on the list of UNESCO World Heritage Sites. </a> The Church of San Pietro, an ancient Benedictine monastery The abbey of San Pietro di Assisi was founded by the Benedictines at the end of the tenth century in an area where there was an ancient Roman necropolis, and remodelled several times until the final reconstruction that dates back to the thirteenth century. After having lived in San Pietro for more than two centuries, the Benedictines abandoned the monastery around 1252, and the Cistercians took their place. They completed the construction of the abbey and the church, which was consecrated in 1254 by Innocent IV; on the same occasion, the Pope consecrated the cathedral of San Rufino and the basilica of San Francesco. In 1316, following the enlargement of the walls of Assisi, the abbey of San Pietro was for the first time incorporated and included within the city. After having been used for a few years as a civil hospital, the building underwent a major restoration in 1954 and is always a reference point for the monastic and spiritual life of Assisi. The buildingâs architecture The church shows a typical layout of the Romanesque-Umbrian building of the thirteenth century, with the characteristic signs of the Benedictine Order, a peculiarity that gives the building its greatest trait of identity in the panorama of other places of worship in Assisi. It is in fact one of the last examples of monastic architecture in the city after an edict issued in the thirteenth century that new buildings could only be of the Franciscan Order. Typically Romanesque and made of the characteristic pink stone of Mount Subasio, the facade is rectangular and divided horizontally by a frame of hanging arches and vertically by tripartite pilasters. In this way, it is possible to identify three upper and three lower areas respectively occupied by rose windows set in correspondence of the entrance portals. The central portal, at the base, is flanked by two roaring lions: both the jambs and the archivolt are decorated with a band of racemes; a second archivolt has heads of animals. Originally, the facade culminated in a tympanum that was demolished after the earthquake of 1832, so today the top of the facade is marked with a stringcourse frame with a long inscription. The stone interior of the church is divided into a central nave and side aisles by sturdy pillars; there are a raised presbytery, semi-circular apse and dome, which owes its shape to a structure consisting of a series of concentric steps, originally decorated with glazed terracotta. The central part of the building is opened by ogival arches supporting  the wooden-beamed roof, the side parts with barrel vaults in masonry. There are six tombs of the fourteenth-fifteenth century and remains of frescoes of the same period. The chapel of the Blessed Sacrament, in Gothic style and with a precious triptych by Matteo da Gualdo, is worth noting. Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.071195212.614666899999975[ ] Attrattoreen_US352402890494https://www.umbriatourism.it/web/umbria/-/rocca-di-isola-polveseFortress of Polvese IslandThe fortress is located on Isola Polvese which, together with Isola Maggiore and Isola Minore, are the three islands of Lake Trasimeno.Lago Trasimeno, Isola polvese, Umbria, sport acquatici, vacanza lago, vacanza bambiniFortress of Polvese IslandThe fortress is located on Isola Polvese which, together with Isola Maggiore and Isola Minore, are the three islands of Lake Trasimeno. Of the three islands, Polvese is the largest and today is characterized by its densely planted olive groves. It was already populated in the year 1000, since the lake shores were not entirely secure. In the census of 1282 the settlement was classified as "Villa", and so it will remain until 1438, when it was listed as "Castrum". At the end of the fourteenth century to the damage suffered by the various struggles for territorial supremacy, as the destruction of boats and fishing equipment, Polvese was almost totally abandoned. Only in the fifteenth century the eighty inhabitants of the island decided to erect the fortress to defend them and the small group of Olivetan monks who lived there. In 1437 because of the extreme cold and heavy snowfall, the waters of Lake Trasimeno froze. In the seventeenth century the castle became the seat of the Governor of the lake, but even before, when the monks left because of malaria and the humid climate at the monastery of St. Anthony, the fortress began to decay. After several changes of ownership through different important families in the nineteenth century, the order of Camaldolesi sold the castle to Count Vincenzo Pianciani of Spoleto, which created a hunting reserve with pheasants and hares. For over half a century the family Pianciani organized hunts with Umbrian and Roman nobility. In 1939 the new owner, Biagio Biagiotti, built new buildings and roads, planting many trees. Since 1973 it has belonged to the Provincial Administration of Perugia, and in 1974 was declared a wildlife protection oasis. Castiglione del Lago | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.116481712.138974599999983Castiglione del Lago54009[ ] Attrattoreen_US2067173490494https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-della-carraiaSanctuary of the Madonna della CarraiaThe Sanctuary of the Madonna della Carraia, located along the road connecting the towns of Panicarola and Carraia, was built in the second half of the 17th century. Sanctuary of Madonna della CarraiaThe Sanctuary of the Madonna della Carraia, located along the road connecting the towns of Panicarola and Carraia, was built in the second half of the 17th century.  The miraculous event that gave rise to the veneration dates to around 1659, and in 1660 the bishop of CittÃ 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.126449812.047839899999985Castiglione del Lago54009[ ] Attrattoreen_US2421719990494https://www.umbriatourism.it/web/umbria/-/la-rocca-passignanoLa Rocca - PassignanoThe Fortress of Passignano rises within the village, slightly raised above the town that developed later along the lake shore. Passignano means literally âPlace of the Stepâ. That probably refers to the existence of a Roman military structure that controlled the famous âStepâ, a connecting road between the North and South of the peninsula.Passignano, lago trasimeno, umbria, Sport acquatici, vacanze lagoLa Rocca - PassignanoThe Fortress of Passignano rises within the village, slightly raised above the town that developed later along the lake shore. Passignano means literally âPlace of the Stepâ. That probably refers to the existence of a Roman military structure that controlled the famous âStepâ, a connecting road between the North and South of the peninsula. <div>Currently the fortress contains the ruins of the ancient original building, including the square-shaped walls, an half-destroyed tower and the northern part of the medieval castle, with the triangular tower. In addition, a series of alleyways climb up within the old town, leading to think how the viability used to be within the castle. The fortressâs origins can be dated back to the Lombard period (5th, 6th century) but probably the square-shaped walls were built between 820 and 850 by the Marquis of Tuscany, owners of that area until the 11th century. In 1187 the fortress fell under the dominion of the St. Lawrence Cathedral (Perugia). Expansion works started shortly afterwards, in 1202, and transformed it into a true fortified castle able to protect the Perugia territories on the Tuscan side. The surrounding houses were embedded into the walls. Throughout the Middle Ages, the Passignano castle changed owners several times and suffered  plundering and raids. But especially after the war between the dukedom of Tuscany and the Papal state (1479) its aspect underwent numerous changes. Many towers were destroyed and several houses were damaged. In Renaissance times, numerous fights for the ownership of the fortress followed one another and involved some of the most important families of the area: Della Corgna, Baglioni and Degli Oddi. The stronghold was also involved in the âBarberina Warâ between the papal armies and the Tuscan troops of the Grand Duke Ferdinand II. In 1778 a part of it was remoed, in order to allow for a better transit of carriages. Between 1816 and 1817, the Pontifical Government decided to demolish of the entire complex and ordered that the materials coming from towers and walls be used to lift the road level. Indeed, the lake overflowed many times, flooding and damaging the houses on the shore.</div> <div> </div> <div>For information: Tourist Information and Welcoming Office - IAT of the Trasimeno Area P.zza Mazzini, 10 - 06061 Castiglione del Lago Phone number: 0759652484 - 0759652738 - Fax 0759652763 info@iat.castiglione-del-lago.pg.it</div> <div> </div> <div>Bibliography Gurrieri O. (1988), Il lago Trasimeno e il suo territorio : Castiglione del Lago, CittÃ della Pieve, Magione, Paciano, Panicale, Passignano, Piegaro, Tuoro, le isole, Perugia, Benucci. Amoni D. (1999), Castelli fortezze e rocche dell'Umbria, Perugia, Quattroemme. Festuccia L. (1999), Guida a Passignano sul Trasimeno, Perugia, Duca Della Corgna.</div> <div> </div> <div> </div> Passignano sul Trasimeno | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.187629612.134165400000029[ ] Attrattoreen_US101037https://www.umbriatourism.it/web/umbria/-/strangozzi-del-trasimeno-con-persico-di-lagoStrangozzi del Trasimeno con persico di lagoStrangozzi, popular throughout Umbria, are also known as strozzapreti or umbricelli depending on the areaTrasimeno Strangozzi with lake perchStrangozzi del Trasimeno con persico di lago (Trasimeno Strangozzi with lake perch) Ingredients For the strangozzi: 500 g plain flour Warm water 1 tsp salt For the sauce: 300 g perch fillets 300 g chopped tomato 3 stalks of parsley 1 clove of garlic 2 anchovy fillets 2 tbsp pitted Taggiasca olives Extra-virgin olive oil Salt Pepper  Preparation Place the flour and salt into a bowl, and gradually add the water. Mix together, and place the dough onto a kneading board. Knead for about 10 minutes until the mixture becomes smooth and even. Leave to rest for an hour and then roll out, taking care not to roll too thinly, and leave to rest for another 10 minutes. Then roll up the well-floured dough into a tube shape. Cut into thin strips just a few millimetres wide, using a sharp knife. Unroll, and arrange the strangozzi on a floured surface. Rinse the fish, and pat dry with kitchen paper. Cut the fillets into small cubes of about 1 cm each side. Wash the parsley and anchovies, and finely chop. In a large pan, sautÃ© the mixture with the garlic, tomato and olives. Cook for five minutes until the sauce has condensed, add the fish and seasoning to taste, then cook for about twenty minutes, stirring from time to time. Boil the strangozzi in plenty of salted water, drain and sautÃ© in the pan of sauce for a few minutes, stirring frequently.  Castiglione del Lago | CittÃ della Pieve | Lisciano Niccone | Paciano | Panicale | Passignano sul Trasimeno | Piegaro | Tuoro sul Trasimeno | Magione | Lago Trasimeno | Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.129591112.09468179999999[ ] Attrattoreen_US5189980https://www.umbriatourism.it/web/umbria/-/arrosto-morto-di-piccioneArrosto morto di piccioneA recipe from Umbrian traditionArrosto morto di piccione (âDead' Pigeon Roast) Ingredients Pigeons Garlic Rosemary Sage Pepper Extra-virgin olive oil White wine Olives   Preparation Put the pigeons in a pot and heat them with extra-virgin olive oil. Add as much garlic, sage and rosemary as you wish and make it brown. Pour a shade of white wine and add black olives, salt, and pepper. Cover and let simmer on a low flame for about 40 minutes. There is also a different variant of this dish, more abundant, featuring a final addition of liquid cream and rice as an accompaniment.    Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US95795https://www.umbriatourism.it/web/umbria/-/trevi-storia-arte-e-prodotti-tipiciTrevi, history, art and local productsThe village of Trevi, a medieval gem perched on a hill covered in Olive trees, rich in masterpieces of art and culinary tradition.Trevi, oil, black celery, San Francesco museum, the olive museum, Umbria, Flash Art MuseumTrevi is a small medieval village perched on a hill covered in Olive trees in the east-central part of Umbria, between Foligno and Spoleto Inside the walls, between the houses, buildings and narrow streets, you will discover the thirteenth-century town hall, restored several times, next to which stands the majestic fourteenth-century tower, symbol of the ancient municipality, crowned with corbels and four merlons at the summit. Heading along Via San Francesco we arrive at the museum complex of San Francesco, which includes the Gothic church, erected to honour the saint who had preached in the town of Trevi in 1213, and the convent, in which the museum complex is located. From here, through the characteristic medieval street dedicated to Carlo Amici, we arrive at the Romanesque church of Sant'Emiliano, built in the twelfth century and featuring three apses.  In front of the church of Sant'Emiliano stands the Renaissance Palazzo Lucarini palace, one of the most prestigious buildings in Trevi and home of the Flash Art Museum, which hosts international exhibitions of contemporary art. Outside the town walls, the Fabri Villa will amaze you with its frescoes and garden overlooking the plain of Spoleto. Trevi transmits its typical medieval charm throughout the year. In spring and summer, the mild climate offers the opportunity to enjoy numerous walks; the events and typical gatherings are concentrated in autumn: don't miss out on the Palio dei Terzieri race in October; this race between the three carts representing the terzieri, evokes the sacking and destruction of Trevi, which occurred in 1214 at the hands of the Spoleto people. For the occasion, the people of the village dress up in typical medieval clothes, creating a wonderful atmosphere. Also in October there is the "Black Celery and Sausage exhibition market" and the historic re-enactment "Scenes of medieval life". "Frantoi Aperti", in November, celebrates a typical product of excellence, olive oil, and gives you the opportunity to discover and taste it in the mill itself Trevi | Art in Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.877641212.748808199999985[ ] Attrattoreen_US95885https://www.umbriatourism.it/web/umbria/-/a-monteluco-tra-antichi-eremi-ed-edifici-religiosiMonteluco and its ancient hermitages and religious buildingsClose to Spoleto, the sacred woods of meditation and prayer also chosen by St Francismonteluco, st francis, sacred woods, spoleto, hermitageThe evergreen Monteluco is located close to the historic town of Spoleto, to which it is connected by a pedestrian footbridge, the Ponte delle Torri <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> You can reach the mountain with your own means of transport, along a road that offers a magnificent view over the Spoleto valley. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> Entirely covered with oaks, it was a "sacred wood" (in Latin, lucus) and a place of worship dedicated to Jupiter since Roman times (3rd century BC); it was also chosen by the early hermits, who came from Syria as early as the 5th century AD, as a preferred place of mystical solitude. Today the mountain, still unspoiled, is home to ancient hermitages and religious buildings of great historical and artistic value. We recommend that you visit the San Giuliano Abbey, according to tradition dating back to the 5th century, the Villa Lalli (former hermitage of Santa Maria delle Grazie), the Hermitage of Sant'Antimo and the shrine dedicated to St Francis, who, in around 1218, obtained the small Chiesa di Santa Caterina from the Benedictines, and around which he built small cells for himself and his first companions. The Monteluco Visitors' Centre is also well worth a visit: the centre is the result of an initiative by the local branch of the WWF in order to promote knowledge through historical, religious, geological, botanical and zoological evidence. Spoleto | Places of culture | Other walking pathshttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.7227879000000112.754034300000058[ ] Attrattoreen_US2487686590494https://www.umbriatourism.it/web/umbria/-/palazzo-del-capra-tuoro-sul-trasimenoPalazzo del Capra - Tuoro sul TrasimenoThe 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 TrasimenoThe 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). The Palace reached its current size between the late 15th and the early 16th century, for the love of Donna Felice or as a work made by her son-in-law Benedetto di Filippo di Benedetto (nicknamed âthe Capraâ, from which, perhaps, the name given to the building later derives), nephew of the famous lawyer Benedetto dei Benedetti. The Palace was the last residence of the count Teodorico Moretti Costanzi, professor of Theoretical Philosophy at the University of Bologra and a very famous philosopher. Its interior is noteworthy for an important fresco of the famous painter Pietro Vannucci, known as Perugino. The Roman remains found over the years below the Palace of Tuoro facilitates its association with the wish to preserve and honour some relics of the famous Battle of Trasimeno. Today the palace is, also for this reason, seat of the âDocumentation Centre of the Battle of Trasimeno and of Hannibalâ. Tuoro sul Trasimeno | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.207907912.070589299999938Tuoro sul Trasimeno54055[ ] Attrattoreen_US2071309490494https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-dei-bianchiChurch of Santa Maria dei BianchiThe church of Santa Maria dei Bianchi, former Oratory of the Disciplined, is at the center of CittÃ della Pieve.Church of Santa Maria dei BianchiThe church of Santa Maria dei Bianchi, former Oratory of the Disciplined, is at the center of CittÃ della Pieve. From some documents we know that the church already existed in the 14th century and had annexed the hospital, which later became a hospice. Starting from the 18th century a new church was built on the structure of the previous one. In 1743 the interventions inside were completed, in 1772 the facade was started, finished around 1780. The latter was influenced both by the Rococo and Neoclassical taste. Inside are remarkable frescos and paintings of the Roman painter Giovanni Miselli, 1743-1744, the Presentation at the Temple of the High Altar and the stuccoes by Stefano Cremoni. The interesting organ on the counter-faÃ§ade is by Claudio Carletti da Fabriano. In the sacristy there is a remarkable fresco of 1606 by Antonio Circignani, unfortunately very damaged, depicting The Presentation of Mary in the Temple. In 1504 the friars had master painter Pietro Vannucci, known as Perugino, painted the Adoration of the Magi scene on the whole back wall of the church. He executed the work with such solicitude that he finished it the same year. It is one of the greatest and most complex works that the master did. The nativity scene conceived and largely executed by Perugino, is certainly one of his most beautiful works: from the splendid landscape represented in the background, to the fineness of the characters, very numerous in this composition, only thirty life-size figures, more small ones. The central part is the most accurate and shows that Perugino, in the part that most attracts the observer's gaze, put all his ingenuity into action, leaving to his help the groups of lateral figures. The church is one of the three parishes of the city. CittÃ della Pieve | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.947773812.003295699999967CittÃ della Pieve54012[ ] Attrattoreen_US2080804490494https://www.umbriatourism.it/web/umbria/-/campo-del-soleCampo del SoleCampo del Sole a Tuoro sul Trasimeno Ã¨ un originale museo all'aperto, unico nel suo genere, che sorge a Punta Navaccia, zona di grande interesse naturalistico.Campo del SoleCampo del Sole in Tuoro sul Trasimeno is an original open-air museum, unique in its kind, rising on Punta Navaccia, an area of great naturalistic interest. Designed by the famous artist Pietro Cascella, with the collaboration of the sculptor Mauro Berrettini and of the Swiss sculptor Cordelia von den Steinen, has the shape of a big spiral made of 27 columns-sculptures leading to a central table (almost a board) surmounted by a solar symbol. The sculptures, that are all made in the laboratory of Giulio and Mauro Borgia di Tuoro by Italian and foreign artists, of different generations and research fields, are made of local grey sandstone called âSerena stoneâ. Each column - sculpture is about 4.5 metres high and has a diameter between 70 and 80 centimetres. Itâs 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. The topic of the column ensures to the whole a widespread verticality, that makes Campo del Sole something like a Stonehenge of our time. In the summer 1985 columns and sculptures have been designed and executed by: Kengiro Azuma, Iginio Baldieri, Mauro Berrettini, Rinaldo Bigi, Pietro Cascella, Adolfo Innocenti, Mauro Staccioli, Joe Tilson, Cordelia von den SteinenÍ¾ in the summer 1986 by: Anselmo Giardini, Pasquale Liberatore, Luigi Mainolfi, Friedrich Volker Marten, Costantino Nivola, Joshin Ogata, JoaquÃ¬n RocaRey, Francesco Somaini, AlÃ¬ TraorÃ©Í¾ between the summer 1988 and the autumn 1989: Nicola Carrino, Aurelio De Felice, Leo Lionni, Idetoshi Nagasawa, Annibale Oste, GiÃ² Pomodoro, JÃ¸rgen Haugen SÃ¸rensen, FranÃ§ois Stahly and Valentino TubbianiÍ¾ facilities at the entrance of the itinerary have been executed by KuoWei Tu. Tuoro sul Trasimeno | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.207907912.070589299999938Tuoro sul Trasimeno54055[ ] Attrattoreen_US2442007690438https://www.umbriatourism.it/web/umbria/-/lago-di-piedilucoLake PiedilucoLake 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, outdoorLago di PiedilucoLake 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. <div>The name is thought to mean âat the foot of the sacred woodâ. Together with the lakes Lungo, di Ripasottile and di Ventina located in the province of Rieti, it represents one of the remnants of the Lacus Velinus, a big basin of alluvial origin that was formed from the Quaternary period.  The lake has an irregular shape and a perimeter of about 13 kilometres, is located at an altitude of 375 metres above sea level, and has a maximum depth of 19 metres. Its natural tributary is the Rio Fuscello, with another two tributaries that are artificial channels, one connecting it to the River Velino and the other one conveying to the lake a portion of water derived from the River Nera. The River Velino flows out of hte lake and is diverted towards the town of Marmore where it forms Marmore Waterfall. The lake's incredible beauty was represented by many artists as a stop of the Grand Tour, so called in 1670 by the priest and writer Richard Lassels, author of An Italian Voyage. Its scenery is famously captured in the oil paintings made in 1826 by the French painter Jean-Baptiste Camille Corot. The lake abounds in fish: according to a 2010 study, there are 15 the fish species populating the lake and 8 of them are non-native. The lack of currents and the presence of relatively regular winds make the lake an excellent surface for national and international regattas of canoeing and boat racing.</div> <div> </div> Terni | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.563616812.642660400000068Terni55032[ ] Attrattoreen_US117003https://www.umbriatourism.it/web/umbria/-/pozzo-etrusco-perugiaThe Pozzo etrusco - PerugiaIt represents the most monumental of the water infrastructural constructions in town. Pozzo etrusco - PerugiaIt represents the most monumental of the water infrastructural constructions in town. It was built in Etruscan times and had a dual function, as a well and a cistern. Its position coincided with what was once the east-west route axis that connected the arch of Arco dei Gigli with the gate of Porta San Luca. Visiting the well is complementary to the visit to the City Gates and Walls Museum, which offers further evidence of the level of urban development attained by Perugia during the Etruscan period. Constructed with the same blocks of Travertine as the wall belt, it was excavated into the so called "tassello mandorlato"âa coarse-grained sedimentary rock composed of rounded fragmentsâthat is typical of the town. The well is composed of a cylindrical shaft more than 30 meters deep with a maximum diameter of 5,60 meters, which narrows while going downâlike a funnelâinto the lower part. It presents two trusses, "capriate", supporting its roof, each one consists of four large blocks of travertineâtwo horizontal and two obliqueâheld together by a central keystone. This system, which is technically very similar to the cistern in Via Caporali on the opposite side of the city, served to support a floor pavement made of stone slabs of travertine where an opening allowed water to be drawn from. This work of engineering, whose centrality and monumentality does not leave doubt as to its public destination of use, datesâbasing the judgment on the technical similarities found with the wall beltâfrom the 3rd century B.C. Its maximum capacity is estimated to be 424.000 liters of water and it was the largest among the wells and cisterns in town, all of which were in use until the construction of the first public aqueduct in the 13th century Information Tel. + 39 075 573 3669 â pozzoetrusco@fondazioneranieri.org  Perugia | Ancient historywww.pozzoetrusco.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.112765912.38940839999998[ ] Attrattoreen_US112183https://www.umbriatourism.it/web/umbria/-/museo-del-merletto-tuoro-sul-trasimenoThe Museo del Merletto - Tuoro sul TrasimenoThe Lace Museum The Museo del Merletto is hosted inside Palazzo delle Opere Pie, in the small village on the western side of the Isola MaggioreâTuoro sul Trasimeno MunicipalityThe Museo del Merletto - Tuoro sul TrasimenoThe Lace Museum The Museo del Merletto is hosted inside Palazzo delle Opere Pie, in the small village on the western side of the Isola MaggioreâTuoro sul Trasimeno Municipality The Museum displays a vast assortment of handmade lacework executed in the School of Embroidery instituted in the first years of the 20th century by the Marchioness Elena Guglielmi with the aim of economically emancipating the women of the island. In the school the daughters of the fishermen, residents of the island, learned the delicate work of producing crochet laceâso called Irish laceâthat was then sold in Perugia and Rome, also to the Royal Family, thanks to the Guglielmis' acquaintances. Half a century later, the precious qualities of lace manufacturing and the growing demand for lace led some women to start a real and true entrepreneurial working activity by re-opening the old school of lacework, which has even gained international recognition  Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Via Guglielmi <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06069 - Tuoro sul Trasimeno (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: info@infotuoro.com    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Tuoro sul Trasimeno | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.175803212.092539100000067[ ] Attrattoreen_US2421744990494https://www.umbriatourism.it/web/umbria/-/la-battaglia-del-trasimenoThe Battle of TrasimenoThe First Punic War had ended in 241 BC with the defeat of the Carthaginians at the Egadi islands.The Battle of TrasimenoThe First Punic War had ended in 241 BC with the defeat of the Carthaginians at the Egadi islands. The Romans sought to expand their domain on the Tyrrhenian Sea, forcing their fierce rivals out of Sicily and the surrounding islands. The outcome of the war brought particular economic consequences over Carthage. In fact, the obligation to pay an annual tribute to Rome was made more burdensome by the revenue missing from lost provinces and the stagnation of commercial activities. The Phoenician city, however, didnât give up and, under the leadership of Hamilcar and Hasdrubal took steps to achieve their recovery. The Romans at first did not hinder the expansion of the Carthaginians into Spain, planning to control it easily later, and focusing instead on the danger that came from the Gallic and Germanic hordes of the north; but then they took action by signing an alliance with the Spanish town of Sagunto, which became the excuse to unleash a new war. The young son of Hamilcar, Hannibal, started the hostilities by besieging and destroying Sagunto. The Roman ambassadors demanded that Hannibal deliver all those responsible for the destruction, which made the beginning of the second Punic war official in year 219 BC. The setting Various scholars, referring to Polybius and Livy, the main sources, have tried to reconstruct the map of the battle sites. The most likely hypothesis sets the clash within the natural amphitheatre formed by Mount Gualandro and Monteigeto on the north shore of Lake Traismeno. It is certain that the crucial phases of the battle took place in the valley of Tuoro. After the defeats suffered by the Romans in 218 BC, near the Ticino and Trebbia rivers, the defeat at Trasimeno created great alarm because it made Rome itself likely to be  Hannibal's next conquest. The Battle On the morning of 24 June 217 BC according to the unreformed calendar (corresponding to April of the Julian calendar), the consul Flaminius ordered his legions to pursue the Carthaginians who had penetrated the previous day in the northern Lake Trasimeno valley. Hannibal arrayed his men on the slopes of the hills and prepared the ambush. The Romans marched down the narrow valley under a thick blanket of fog. Suddenly Hannibal gave the signal for the attack. The Carthaginian cavalry and infantry rushed down from the surrounding hills, attacking the two legions in the direction of the lake. The Romans did not have the time to take up their familiar battle array, and were forced to fight without particular order and without possibility of escape. It was a terrible massacre: 15,000 Roman soldiers were killed and the consul Flaminius lost his life in the battle. The news of the appalling defeat brought chaos to Rome, spreading despair and distrust among the population. The city fell into a crisis which led to the appointment of a dictator, Quintus Fabius Maximus, who was entrusted with the command of the army. The wars with Hannibal, which were to last for another fifteen years, also had serious social and economic consequences. The continuing devastation of the countryside pushed many farmers to abandon their fields to take refuge in the cities; many small landowners, enrolled in the Roman army, were forced to sell their land to pay off war debts. Whereas the average agricultural class was gradually reduced, the concentration of land ownership in a few hands gave rise to large estates. This led to a widespread agrarian crisis that began in southern Italy and continues to be felt today.  The final victory against the Carthaginians pushed the Romans toward an imperialist and expansionist policy that then produced, in the second half of the second century BC, a huge expansion of their territory, creating the foundation for the Empire. The Battle sites You can visit the historical and archaeological Route of the Battle of Trasimeno in the beautiful area around Tuoro. Established in the 1980s using the approach outlined by Prof. Giancarlo Susiniâs research into the scene of the epic battle between the Romans and Carthaginians. There are currently 9 parking areas in which various issues related to the Battle and the history of the places are covered. Stations No. 1 and No. 6 are particularly interesting. The first provides a wide panoramic view of the valley battle site with a view of the chokepoint of Malpasso, where the columns of legionnaires met their death. The second one, at the top of Sanguineto valley, overlooks the theatre of the battle according to Prof. Susiniâs reconstruction. Work is ongoing to complete and enrich this open-air museum able to offer to Italian and foreign visitors with clear and complete information. Before the battle After the victory at Trebbia, Hannibal continued south, convincing the consuls and the Roman Senate that his purpose was to march on Rome. In Val di Chiana he skirted around Flaminiusâ waiting army, forcing Flaminius to follow his path of plunder. Thanks to precise information reported by his scouts, Hannibal decided to draw the Romans to the northern shores of Trasimeno Lake, an area well-suited to an ambush. He went through the narrow road called Malpasso, out of sight the enemy army, and placed his camp on the hill where Tuoro stands today. Roman Army The Roman army of 25,000 men, marched in columns through and continued into the plain at the foot of the Tuoro hills. Caius Flaminius decided to enter this valley without any reconnaissance, probably convinced that Hannibal's troops were more than a day away. Carthaginian Army Hannibalâs army had an extremely heterogeneous composition. From the beginning he had African warriors (Numidians, Libyans, Maghrebis, etc.) and Iberian (Balearics, Guasques, Asturian Framboliers, etc.). During his victorious march, these were joined by Celts and the rebellious peoples of northern Italy, especially the Ligurians and Insubrians. By the time it approached Trasimeno, the Carthaginian army was reduced to about 40,000 men, because of the epidemic that broke out after crossing through swampy areas, and had lost all its elephants. Archaeological references Many archaeological finds came to light in the area, especially during the nineteenth century, and many of them date back to the Republican or the first empire period: weapons, horse harnesses, buckles, coins, etc. Of particular note are the Etruscan-Roman statue The Orator of Trasimeno (late 2nd or early 1st century BC) and the bronze statue called the "Graziani putto", a copy of which can be seen at Tuoroâs City Hall (the original is in the Vatican Museums). The Consul Caius Flaminius Historians judge the consul Gaius Flaminius as more politically than militarily able. The most severe critics describe him as impulsive and reckless. In any case, it should be remembered that in the general confusion of the battle he managed to remain calm, trying to reorganize his men, until he was struck by the Insubre Ducariusâs spear. His body was never recovered. The battle At dawn on 24 June 217 BC, under a thick blanket of fog, most of the Roman army was already deployed in the plain. Hannibal had placed the light cavalry and the Celts at the entrance of the valley, to block any retreat, the Libyans and Iberians around his camp, the Balearic Islands and the Astati to close the pass on the slopes of the hill of Tuoro, which, according to Prof. Susini, was in close contact with the shore of the lake. (Following Nissen, the trap closed further east, between the slopes of Montigeto hill and the lake). When most of the legions had entered the valley, Hannibal gave the order of simultaneous attack: the battle lasted three hours and cost the lives of 15,000 Roman soldiers, some of whom had sought refuge in the waters of the lake. The ustrini The truncated conical sections dug into the limestone and found in the Tuoro area might, according to some scholars, be burial systems, called "ustrina", built by Hannibal to incinerate the battlefield dead to avoid epidemics. Other authors believe that these are ancient kilns for the manufacture of lime. The Orator statue This bronze statue represents an Etruscan prince, dressed in the typical toga praetexta of Magistrates and Senators, making an address. The statue, which was found in an area just south of Sanguineto, was transported to Pila di Perugia where, later, was sent to the Grand Duke Cosimo of Tuscany. Today it is found in the Archaeological Museum of Florence. Roman column The Roman column was donated by the mayor of Rome to Tuoro (Trasimeno) on the occasion of the Conference of Hannibal studies in 1961 during which Prof. Susini presented his theory. It was installed in the fall of 1965 on the site believed to be the edge of the lake in 217 BC, in what is called Via del Porto. Recent investigations have shown that the old port âCasa del Piano", where the road led, was used from the late Middle Ages when the lake reached very high average levels that were maintained until the end of the 1800s. The ancient shoreline According to studies by Prof. Susini, in 217 BC Trasimeno covered more terrain than it does today, so the ancient shore cut into the valley, making it smaller than what we see today. Recent studies place the coastline even further back than it is now. We can assume a vast battlefield, given the enormous armies involved.   Characters Hannibal Fine strategist, daring warrior and maybe a bit of a sorcerer. This is the Hannibal handed down by historians: the man of a thousand tricks, able to win even in numerical inferiority thanks to his diabolical tricks. He proved his undoubted strategic abilities when he decided to reach Italy by land, thinking he could easily stir up the populations subject to Rome. He set out in the spring of 218 BC with an army of 50,000 men, 9,000 horses and 37 elephants. On his long journey he crossed the Pyrenees and the Alps where, due to the intense cold, he lost most of his elephants. He defeated the Romans by the Ticino and Trebbia rivers and reinforced his army with the help of the Gallic tribes. He crossed the Apennines and the swampy lands of the Serchio and the Arno, where many of his men were decimated by an epidemic and he himself had a serious eye problem. In 217 BC, he reached the hilly areas north of Lake Trasimeno and decided to quickly defeat the Roman army in order to increase his prestige and incite the cities of Etruria to rebellion. In that year, the Roman legions were led by the consuls Gaius Flaminius Nepos and Gnaeus Servilius Geminus. Gaius Flaminius Nepos A member of the popular party and a courageous innovator in politics, Consul Gaius Flaminius had several detractors who pointed out his lack of military expertise. According to the most severe critics, Flaminius was reckless because he did not perform reconnaissance and so was trapped by Hannibal. This judgment must be partly correct. In fact, Flaminius was waiting to be jonied by the troops of the other consul Servilius, en route from from Rimini, so he chased the Carthaginian army for a long time, keeping his distance, without any hurry to engage in the clash. Outnumbered and in a clearly unfavourable position, his army was defeated by a military tactic that, for the Roman culture of the time, was unfair and in serious breach of the supreme value of fides (trust). The Permanent Documentation Centre of the Battle of Trasimeno and Hannibal The Centre opened to the public in January 1996, in the Il Sodo park in town. The City of Tuoro tries to serve both the scientific and general audiences, with a collection of the entire bibliography on the subject, exhibits and models to reconstruct the main theories, and popular material on videotape and CD ROM. At the Centre visitors can view a permanent display on the Hannibal epic, with the entire Second Punic War told through images. The Centre hosts occasional meetings, conferences, debates, presentations of publications and magazines on the subject: today it is the point of reference for scholars and enthusiasts. The two main theories on the Battle of Trasimeno, which refer to the studies of Nissen and Susini, are compared in the Documentation Centre of Tuoro, in two large models that capture the moment of the Carthaginian attack at dawn on 24 June 217 BC. The relative environmental reconstructions, troops and equipment were made with hundreds of lead models. The two versions differ essentially in geographical-historical assumptions of the shoreline of Lake Trasimeno. Tuoro sul Trasimeno | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.207907912.070589299999938[ ] Attrattoreen_US2421735790494https://www.umbriatourism.it/web/umbria/-/isola-maggioreIsola MaggioreIsola Maggiore is the second largest island on Lake Trasimeno and it is covered by a dense vegetation of olive trees, holm oaks and cypresses. Unlike Isola Polvese and Isola Minore, today it is still inhabited, with a small village on its western shore.Lago Trasimeno, Isola Maggiore, sport acquatici, castello Guglielmi,Isola MaggioreIsola Maggiore is the second largest island on Lake Trasimeno and it is covered by a dense vegetation of olive trees, holm oaks and cypresses. Unlike Isola Polvese and Isola Minore, today it is still inhabited, with a small village on its western shore. <div>The settlement dates back to the early Middle Ages, and a community of Friars Minor settled here starting from the end of the 13th century. They hosted St. Francis on the island throughout an entire Lenten season. The small village consists of one completely paved road overlooked by the houses of the 13th and 14th centuries, including the lovely house of the Captain of the People. At the end of the village is the Church of St. Salvatore, that houses some parts of a polyptych by Sano di Pietro, formerly in the church of the Franciscan monastery. The southernmost tip of the island houses Guglielmi Castle, that today is in an unfortunate state of abandonment. Built by the marquis Giacinto Guglielmi, its neo-gothic forms reuse the structures of the ancient monastery of Franciscans, of which only the small church of St. Francis is left. Another important building is the Church of St. Michael Archangel with frescoes made between the 13th and the 16th centuries and a Crucifix that is perhaps attributable to Bartolomeo Caporali.</div> <div> Bibliography Guerrieri O. (1988), Il lago Trasimeno e il suo territorio: Castiglione del Lago, CittÃ della Pieve, Magione, Paciano, Panicale; Passignano, Piegaro, Tuoro, Le Isole, Perugia, Benucci. Caruso P. (1999), Benvenuti in Umbria, guida ai 92 comuni, Collazzone, Grilligraf Editrice.T.C.I. (2004), Umbria, Milano, Turing Editore.</div> <div> </div> Tuoro sul Trasimeno | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.175331812.0913866Tuoro sul Trasimeno54055[ ] Attrattoreen_US372106290454https://www.umbriatourism.it/web/umbria/-/castello-di-civitella-ranieriCivitella Ranieri CastleAt Umbertide, in a panoramic position over the Assino valley, sits the castle of Civitella Ranieri. The Castle takes its name from the citadel that Umberto's son Raniero, brother of William, Duke of Monferrato, built there in 1078.Umbertide, Umbria, Castello Civitella RanieriCivitella Ranieri CastleAt Umbertide, in a panoramic position over the Assino valley, sits the castle of Civitella Ranieri. The Castle takes its name from the citadel that Umberto's son Raniero, brother of William, Duke of Monferrato, built there in 1078. 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 . Behind 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. Umbertide | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.310896612.362197199999969Umbertide54056[ ] Attrattoreen_US125830https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-della-consolazioneChiesa di Santa Maria della ConsolazioneThe church/temple of Santa Maria is set just outside the thirteenth century wall...Chiesa di Santa Maria della ConsolazioneThe church/temple of Santa Maria is located just outside the thirteenth century wall of the inhabited city centre, in the south-west part of Todi, along Viale della Consolazione. Its peripheral position gave the advantage of presenting the city with a prestigious building which was visible from afar. The church's construction with a central layout conforms to typically Renaissance ideals which saw spatial perfection, balance, and unity. We recommend a visit in September because the 8th of the month is when the town celebrates Santa Maria della Consolazione with a festival. This is an important moment, even for citizens who live outside the city and religious ceremonies in memory of the Nativity of the Virgin, games, fairs and the traditional evening fireworks display take place. Description The church of Santa Maria della Consolazione is one of the greatest examples of Renaissance art present in Umbria. The church's central layout is a Greek cross with four apses, three of which are polygonal and one, at the northern end, which is semi-circular. Each apse is made up of two orders of Corinthian pillars. Above, there are refined windows made to the design of Valentino Martelli, 1587. At the intersection, a streamlined dome sits on four angular pillars with crests and arches decorated in relief. You can access the church through three doors, the eastern one, which is Baroque dating from the seventeenth century, the southern one dating from 1713 and the western one designed by Luigi Poletti in 1846. The exterior has a double order of pilasters and small Corinthian columns, placed at the edges, joined to bases and winged cornices. The upper order, contrary to the rigid lower part, has windows with alternating triangular and curved windows. Above the cornices there are four eagles, the symbol of the city of Todi, the work of Antonio Rosignoli. The interior is bright, with the architectural elements which subdivide the spaces being of a light coloured stone. The church was built to guard a Marian icon to which the population of Todi attributed many favours and which is still conserved in the Baroque altar of the north apse. The building was constructed with stones both from the demolition of a fortress and from the travertine caves of Titignano, on a design by Bramante, although the work was started and done by others. The attribution to the Renaissance artist is still under study, although documents from the 16th and 17th centuries indicate him as the author of the project. Work began on 15 November 1508, on a pre-existing fifteenth century chapel and it took one hundred years to be completed. The construction was directed by Cola di Matteuccio da Caprarola until 1512; various master craftsmen, architects and sculptors followed until its completion in 1607. Many famous architects of that time were consulted, including Baldassarre Peruzzi and Antonio da Sangallo the Younger, pupils and collaborators of Bramante. Successively also Alessi, Vignola and Ippolito Scalza. Various artists carried out the internal decoration, including Filippo Meli to decorate the archivolts, Giovan Battista Gardona da Ligornetto and Francesco Casella for the crests. Andrea Polinori designed the upper altar which was sculpted by Angelo Pieri in 1612. In 1613, a sacristy was inserted on the northern side which was then knocked down in fury by the people in 1862, after the Unification of Italy as it was not considered to be in harmony with the solemnity and purity of the lines of the church. Interesting facts Legend says that the church was built due to the will of the people. It is said that a worker, blind in one eye, maybe a certain Iole di Cecco, carrying out the Commune's order to clear away the brambles in the area near the doors of Santa Margherita and San Giorgio, the place where the church now stands, had cleaned the dust from the face of the Virgin Mary on a roadside shrine covered by brush. By then wiping his face and eyes with this same handkerchief, he miraculously regained his sight. Thus after the event it was decided to build a church to celebrate the miraculous icon. Information and useful advice It is easy to get to Todi by car. Via the motorway del Sole, take the Valdichiana exit if you are coming from the north and the Orte exit if you are coming from the south. Continue on the E45 towards the Todi exit. Umbria's Railway, La Ferrovia Centrale Umbra has a regional train which connects Todi with various locations in Umbria including the centre of Perugia, Perugia Ponte San Giovanni and Terni. Connections from the latter are available to the rest of Italy using the National Railway, the Ferrovie dello Stato. Todi is 49 km from Umbria's International Airport of Sant'Egidio. This is connected to Milan Malpensa airport with two flights every day.  Places of worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi18.png/a3332bd7-6b1b-432f-8d61-905fbc40ab33?t=142374927398142.781180512.403694599999994[ ] Attrattoreen_US117645https://www.umbriatourism.it/web/umbria/-/palazzo-del-capitano-todiPalazzo del Capitano, TodiAn example of medieval civil architecture, Palazzo del Capitano is now home to the Pinacoteca di Todi civic museum.Palazzo del Capitano, Palazzo del Popolo, town hall, medieval architecture, museum, art gallery, oldest public buildings in Italy, civic museum, art gallery, archaeological museumPalazzo del Capitano. Discovering medieval civil architecture!In Piazza del Popolo, the heart of the city since Roman times, you'll be surrounded by the most representative historical buildings, principal seats of the civil courts and the episcopal power of the municipality. Palazzo del Capitano overlooks the eastern side of the square, next to the Palazzo del Popolo which it joins at the back. Built at the end of the 13th century to host Council meetings, it was the second public building built on the square and is therefore also called Palazzo Nuovo, to distinguish it from the older Palazzo del Popolo; it is considered one of the first municipal buildings in Italy, already present in the square at the beginning of the 13th century! The facade of the Palazzo del Capitano is characterised by the harmonious composition of Gothic decorative elements. On the ground floor, there are two round arches that lead to the so-called voltoni, a porticoed area that was originally home to the crossbowmen who guarded the Palace and the Piazza, which until the 16th century was accessed through four corner gates. There are three impressive Gothic poly-lobed 3-light mullioned windows on the first floor, surmounted by gabled motifs that allow light to flood into the large room, with remnants of frescoes dating back to the 14th century; it was originally the courtroom of the Capitano, and is now used by the Town Council. If you've already visited Perugia, you will notice stylistic similarities with the windows on the second floor of the Palazzo dei Priori! At the top of the Palazzo Comunale, the four-light mullioned windows surmounted by a round arch open onto the Pinacoteca Civic Museum, which is housed on the top floor of both the Palazzo del Capitano and the Palazzo del Popolo, linked by a 17th-century walkway. Refurbished and reopened to the public in 1997, the Todi civic museum of was established in 1871 and was initially based in the Sala del Capitano, now the Sala del Consiglio in the Palazzo del Capitano.  Accessibility â The Civic Museum of Todi The Museum is reachable with public transportation: the nearest bus stop of the line C, connecting the railway station to the historical centre, is located in Piazza Jacopone, about 120 metres from the museumâs entrance. For those using their own vehicles, Piazza del Popolo is located within the ZTL (LIMITED TRAFFIC ZONE) where you can access just if you are in possession of a disabled permit. There are parking spaces reserved for disabled in the adjacent Piazza Garibaldi; if they are occupied, itâs possible to park in those reserved for residents (white and yellow stripes).  If all spaces are full itâs also possible to park directly in Piazza del Popolo, but not when itâs pedestrian area. The Museum is accessible by people with motor difficulties or who need a wheelchair, except for the big hall hosting Sections 4 - 8 of the Civic Museum. Guide dogs assisting people with impaired vision are admitted. Audio guides are not available and there are neither captions nor braille or raised information forms. Todi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi18.png/a3332bd7-6b1b-432f-8d61-905fbc40ab33?t=142374927398142.780677812.41333229999998[ ] Attrattoreen_US95532https://www.umbriatourism.it/web/umbria/-/piazza-del-popolo-a-todiPiazza del Popolo, TodiThe Piazza del Popolo in Todi is one of the most beautiful medieval squares in ItalyPiazza, Todi, Middle Ages, place, encounter, Palazzo del Popolo, Palazzo del Capitano, Palazzo dei Priori, Duomo, Roman cisterns, underground TodiPiazza del Popolo: the centre of power in the medieval city, in the heart of the cityOne of the most beautiful squares in Italy, the Piazza del Popolo opens up at the highest point of Todi, on top of Nidoli hill (398 m above sea level) The heart of the medieval and modern city, site of the Roman Forum, surrounded by all the buildings of secular and religious power: the Palazzo del Popolo (or del PodestÃ ), the Palazzo del Capitano and the Palazzo dei Priori, built between the 13th and 14th centuries, and, at the other end, the Cathedral of Maria Santissima Annunziata, documented from the 12th century and altered several times in later periods. From whichever part of the city you are coming, surrounded as it is by steep slopes, the flatness of the square will be a surprise. Its pavement is supported by a monumental system of cisterns built in Roman times, which supported the Forum, the public square of the ancient town of Tuder, which was even larger than the medieval and current square. The Roman cisterns, a fine work of hydraulic engineering to supply water to the hill, are part of an impressive underground tour, which will take you through the network of wells, tunnels and cisterns from various eras. To fully appreciate the square and its colours, we recommend a visit around lunchtime, when the sunlight is at its strongest, enhancing the whiteness of the stone with which the public buildings are built. Admire the piazza while enjoying an aperitif, perhaps sipping a glass of DOC wine, delighting in the typical habits and rhythms of small Italian towns, which use the squares as places to walk, rest, meet and socialise. Todi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.78244812.40627399999994[ ] Attrattoreen_US3035115https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-salvatore-di-monteco-ronaAbbazia di San Salvatore di MontecoÂronaThe 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 RomualdoAbbazia di San Salvatore di MontecoÂronaThe 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. Over 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. The upper church, of Romanesque origin, was consecrated in 1105 and later modified in 16th and 17th centuries. The interior has three naves; the central one has fourteenth-century frescoes of the Umbrian School. In 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. Of significant interest is also the octagonal campanile, perhaps adapted from a pre-existing defensive tower in the 14th century. Under 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi31.png/fd1b61cd-6cf7-4e09-8219-3a8f24d252bf?t=142374927604643.283715312.355046700000003Umbertide54056[ ] Attrattoreen_US122426https://www.umbriatourism.it/web/umbria/-/grechetto-di-todiGrechetto di TodiThe Grechetto from Todi is an ancient autochthonous grape of the territory, already mentioned by Pliny the Elder in his Naturalis Historia. The author described a particular kind of grape with a characteristic bitter aftertaste, typical of Todi. Since 2003 it has been considered genetically unique and different from the Orvieto Grechetto. Although different, they share some similar identifying traits deriving from their belonging to the wide family of Greek vines. The Grechetto is produced with the Todi DOC certification that includes the municipalities of Collazzone, Massa Martana, Monte Castello di Vibio and Todi. Itâs a white wine with a brilliant straw yellow colour and golden highlights. Its perfume is slightly winey but delicate, whereas its flavour can vary from dry to slightly sweet, velvety, balanced with a characteristic slightly bitter and fruity aftertaste. It is well-suited to accompany first courses that are not very structured, white meat dishes, grilled fish and soft cheeses. Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi34.png/952587c2-7882-4bd3-8f9f-fa1d4a480ad3?t=142374927663442.781935212.406568600000014[ ] Attrattoreen_US122811https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-todiVini Doc e Docg TodiThe Etruscan town of Todi stands on two hills, and has always represented a natural boundary for travellers crossing the Tiber Valley. The name comes from the Etruscan word "tuder", meaning "frontier". The first large ring of walls around the town dates from Etruscan times. It is a beautiful little town, located in one of the most striking parts of Umbria. In the historic centre it is easy to see the mediaeval influence, with a number of sacred and public buildings of great prestige. The Grechetto grape, in this zone grown in the "Todi" variety, was recently granted protected denomination of origin status. White grapes grow well here thanks to the favourable climate, but there are also several red grape varieties such as Sangiovese and Merlot. Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi18.png/a3332bd7-6b1b-432f-8d61-905fbc40ab33?t=142374927398142.781935212.406568600000014[ ] Attrattoreen_US124716https://www.umbriatourism.it/web/umbria/-/sedano-nero-di-treviSedano nero di Trevisedano nero di treviTrevi's sedano nero (black celery) is tall, with stalks that can reach up to one meter; has dark green ribs without fibres, and a pronounced celery scent. The tradition of Trevi says that the tiny black celery seeds are planted on the eve of Easter and that left to sprout until the plant reaches the height of thirty centimeters. From this moment on, and with extreme care, the plants are progressively earthed up (work that still today is mostly done by hand) that produces, just after summer, plants having wide ribs with an intense and inviting colour and scent. The black celery of Trevi, cultivated in the area since the 17th century, is one of the six Slow Food Presidia of the region. Among the tastiest recipes to eat in Trevi in October are celery stuffed with sausage. Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.877641212.748808199999985[ ] Attrattoreen_US41734158https://www.umbriatourism.it/web/umbria/-/ricetta-2019-sedano-nero-di-trevi-ripienoSedano Nero di Trevi ripienoTra i Presidi Slow Food dellâUmbria, il <a href="https://www.umbriatourism.it/it_IT/-/sedano-nero-di-trevi" target="_blank">Sedano Nero di Trevi</a> Ã¨ lâingrediente base di numerosi piatti tipici. Non solo soffritto e in pinzimonio, questo prodotto ha grande versatilitÃ in cucina: le larghe coste dal colore verde scuro, il profumo intenso, la sua lunghezza (puÃ² misurare anche un metro), l'assenza di fili e il suo cuore tenero lo rendono ideale per ricette gustose e originali. Sedano Nero di Trevi ripieno, Trevi, ricette, tipico, enogastronomia umbra, umbria, umbriataste, black celery,Sedano Nero di Trevi ripieno <div> </div> <div>Ingredienti</div> <div>â¢ 2 cespi di sedano nero di Trevi di media grandezza</div> <div>â¢ 200 g di salsiccia</div> <div>â¢ 200 g di carne macinata</div> <div>â¢ 2 uova</div> <div>â¢ sale (q.b.) </div> <div>â¢ farina (q.b.)</div> <div>â¢ 1/2 carota </div> <div>â¢ 1/2 cipolla</div> <div>â¢ passata di pomodori</div> <div>â¢ olio extra vergine di oliva</div> <div>â¢ pepe (q.b.)</div> <div>â¢ parmigiano reggiano grattugiato (q.b.)</div> <div> </div> <div>Portata: secondo</div> <div>Porzioni: 4 persone</div> <div>Preparazione: 30 minuti</div> <div>Cottura: 1 ora circa</div> Tra le altre, una preparazione tanto antica quanto insolita Ã¨ il âSedano ripieno alla Trevanaâ, piatto tipico del periodo autunnale, magari da gustare nella seconda metÃ di ottobre direttamente a <a href="https://www.umbriatourism.it/it_IT/risultati-ricerca-semplice?ih=trevi" target="_blank">Trevi</a>  alla Mostra Mercato del Sedano Nero, oppure da preparare a casa dopo aver acquistato lâortaggio umbro per eccellenza. Un piatto unico, sostanzioso e ricco di sapore, ripieno di carne tritata e salsiccia e con una leggera crosta condita con pomodoro e parmigiano: la ricetta Ã¨ un poâ laboriosa, ma il suo gusto vi conquisterÃ .  Preparazione In un tegame preparate la salsa di pomodoro: tritate la carota e la cipolla e soffriggete per 5 minuti in un poâ dâolio. Aggiungete la passata di pomodoro, 1/2 bicchiere dâacqua, sale e pepe e fate cuocere per circa 15 minuti. Preparate il sedano. Lavate i cespi sotto lâacqua corrente allargando un pochino le coste in modo da pulire bene anche il cuore del sedano, facendo attenzione a non romperlo, Ã¨ fondamentale mantenerlo intatto per riempirlo. Con un coltellino togliete le foglie e le coste esterne piÃ¹ dure, che potrete conservare ed usare per preparare una zuppa o una vellutata a base di Sedano Nero di Trevi. Una volta pulito, in un tegame capiente tuffatelo in acqua bollente salata e fate cuocere per circa 10 minuti. Scolate e fate raffreddare, possibilmente a testa in giÃ¹ in modo che lâacqua in eccesso possa scolare bene. In una terrina, mescolate la carne macinata con la salsiccia, unite un pizzico di sale e seguendo il proprio gusto uova, parmigiano e/o pangrattato.  Procedete con la farcitura: aprite leggermente le coste e iniziate a riempirlo partendo dal fondo e continuando fino in cima. Man mano che il sedano viene riempito, provvedete a âstringerloâ, operando una leggera pressione e rotazione con la mano, in modo da far aderire perfettamente il ripieno alle coste.  Una volta riempito, legate il sedano con spago da cucina, passatelo nella farina e poi nellâuovo e friggetelo in abbondante olio bollente finchÃ© non sarÃ dorato. Fate scolare lâolio in eccesso su carta assorbente, eliminate lo spago, sistemate in una pirofila, aggiungete la salsa di pomodoro e cospargete con il parmigiano grattugiato.  Infornate a 180 gradi per circa 30/35 minuti. Sfornate, tagliate il sedano a metÃ nel senso della lunghezza e servite caldo.   Traditional recipeshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi9.png/e5ea29b5-f8c6-4e55-82d0-839989551904?t=142374927262742.877497212.7474547[ ] Attrattoreen_US95865https://www.umbriatourism.it/web/umbria/-/complesso-museale-di-san-francesco-di-treviSan Francesco Museum ComplexIn the San Francesco Museum you can discover important works of art and the secrets of olive cultivation San Francesco Museum , Trevi, Olive Oil Museum, St Francis art collectionThe museum complex can be found in the old town centre of <a href="http://www.musei.regioneumbria.eu/default.aspx?IDCont=201355" title="Trevi">Trevi</a> and it houses the art collection of San Francesco and the Olive Oil Museum.  The complex is housed inside the former convent of San Francesco, built in the 13th century and rebuilt and decorated in the first half of the 17th century, with an outer cloister frescoed by Bernardino Gagliardi with Stories from the life of St Francis.. On the ground floor, the archaeological section is presented in three rooms, showing Italic and Roman finds and grave goods from the Lombard necropolis of nearby Pietrarossa. The same floor houses a section dedicated to the city and region, with materials documenting their development. The historical-artistic section on the upper floors, exhibits works that became part of the collection following the organisation of Church property after the unification of Italy. These are mostly 14th century panels and important paintings on canvas completed between the 16th and 18th centuries. Among the most noteworthy works in the collection, there is the processional banner depicting the Madonna della Misericordia e Monogramma, completed in the second half of the 15th century by a follower of NiccolÃ² Alunno, and The Coronation of the Virgin (1522), by Giovanni di Pietro, known as Lo Spagna, designed for the high altar of the Chiesa di San Martino. The complex also includes the Olive Oil Museum, dedicated to PDO extra virgin olive oils, which is divided into four sections: "Botany"; "Getting to know olive oil and the olive tree"; "The olive tree: symbol of peace" and "History of the olive tree". Through information panels, multimedia, archaeological finds and oil machines, the museum documents the various aspects related to olive cultivation, which so strongly characterises the landscape of the surrounding hills and the economy of the entire region. A true journey, with audio guide, into the microcosm linked to olive oil production. Trevi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.877641212.748808199999985[ ] Attrattoreen_US9584520715178https://www.umbriatourism.it/web/umbria/-/itinerario-alla-scoperta-di-piedilucoPiediluco discovery itineraryPiediluco, medieval village on the lake of the same name, a short distance from Terni and the Marmore WaterfallsPiediluco, Umbria, Terni, Lago di Piediluco, Marmore Waterfalls , Eco, Saint Francis, Via di FrancescoPiediluco is a small medieval village situated on the shores of the lake of the same name An ideal destination for fans of sailing, boating and water skiing, it was chosen by the Italian Rowing Federation as the site of the National Rowing Centre; here, international rowing competitions are held and its sports facilities, in addition to housing, are used by athletes from around the world as the ideal venue for retreats and internships. Enjoy the view of the village from the centre of the lake, taking advantage of the organised boat trips, or rent a pedalo; once in front of Monte Caperno, you can shout up to two syllables and you will hear the echo phenomenon. Stroll around the lake; admire it from above while you walk along the Via di Francesco, up towards the Marmore Waterfalls. Enjoy a moment of relaxation on the small well-equipped beaches. In the picturesque fishing village, enlivened by the cheerful multi-coloured facades of the houses and magnificent remains of the Fortress built in the 11th century to control the area, make sure you visit the Church of San Francesco, built around 1338 in commemoration of the visit of St Francis. Note the bas-reliefs on the entrance doors depicting fish and tools for fishing in the lake. Between late June and early July, the Festa delle Acque is not to be missed; a festival celebrating the summer solstice and the close link between the people and the lake: dance and theatre performances, musical concerts and firework displays that culminate with the gastronomic festival based on lake fish and the parade of boats with allegorical figures. Only a few kilometres from Piediluco is Villalago, a 19th-century historic residence with a park, where you can enjoy a magnificent view over the lake; in summer, outdoor concerts and shows are staged there. Terni | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.535408512.763498199999958[ ] Attrattoreen_US3020607490438https://www.umbriatourism.it/web/umbria/-/i-plenaristi-nella-valle-del-neraPlenarists in the Valley of NeraThe Valley of Nera near Terni and Narni was one of the driving forces of the successful season of the "plenarists", European painters who painted the beauties of this geographical area between 1700 and 1800.Umbria, Umbria tourism, Valley of Nera, plenarists, grand tour, Umbria holiday, Umbria museums, Umbria itineraries, Umbria travelPlenarists in the Valley of NeraBetween the 18th and 19th centuries, Italy was invaded by artists from many parts of Europe, France, England, Germany, Switzerland, Flanders and Scandinavia: this was the period of the Grand Tour and the Journey to Italy. The artists arrived in our country to study the ancient ruins and masterpieces of the masters of the Renaissance, as an essential stage for their training. The Valley of Nera, between Terni and Narni, saw the extraordinary presence of many artists who immortalized known but also unknown places, making them famous. The project "Plenarists in the Valley of Nera" was born to enhance this area of southern Umbria. It is a museum spread with the aim of recalling and showing the paintings of open-air painters, through photographic reproductions located in the salient places of the Terni valley, exactly where the artists made them two centuries ago. <ul> <li>ITINERARY OF PLENARISTS</li> </ul> Narni and its surroundings, the ruins of the Augustus Bridge, the lake of Piediluco, the village of Papigno and its woods as well as the Marmore Waterfall (Upper and Lower Belvedere): these are the stages of the<a href="http://www.umbriatourism.it/documents/10184/0/plenaristi_itinerario.pdf/c2233e73-97b6-49c6-bef5-4fbc89003885"> itinerary</a> to discover the places where the activity of these artists took place. Information totems have been set up at each stage with photographic reproductions of the paintings and historical as well as artistic information on the places. The route, which winds along a path of about 20 km, retraces the roads that the same artists followed to reach their ideal point of observation and in some cases the visitor, by comparing painting and reality, can discover that the landscape is still the same today as hundreds of years ago.   <ul> <li>MULTIMEDIA EQUIPMENT</li> </ul> In the headquarters of the Infopoint-ticket office of the Marmore Waterfallâs Lower Belvedere, there are two rooms with scenic furnishings where you can see some films on large format monitors that illustrate the activity of the Plenary painters in the Terni valley, the work of the famous artist Jean Baptiste Camille Corot and the location of the paintings in museums around the world. Here there is also a 6D cinema where, thanks to digital editing techniques and the dynamic as well as multi-sensory effects guaranteed by the technologies present in the two rooms, it is possible to make a real virtual journey, flying over landscapes and entering the works painted by painters in the Terni basin between the end of 1700 and the beginning of 1800.   <ul> <li>ROOMS</li> </ul> These are themed rooms set up in disused buildings: former tram stations, town hall buildings no longer in use, a public washhouse from the 1500s. These rooms, located in the points of greatest interest of the itinerary, host reproductions of paintings relevant to each area, accompanied by historical, geographical and tourist information. The implementation of this part of the project will be completed during 2020.       For more information: <a href="http://www.plenaristi.it/" target="_blank">http://www.plenaristi.it/</a> Narni | Terni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.566444212.719257700000071Narni, Terni[ ] Attrattoreen_US101087https://www.umbriatourism.it/web/umbria/-/piccioni-alla-todinaPiccioni alla TodinaHistorically, the pigeon is one of the birds most commonly-used in traditional Italian cooking.Pigeon, Todi-stylePiccioni alla Todina (Pigeon, Todi-style) Ingredients 2 pigeons, gutted 60 g Parma ham 1 onion 2 cloves of garlic 1 sprig of sage 50 g black olives 1 tbsp salted capers Red wine Chicken broth Extra-virgin olive oil Salt Pepper Preparation Rinse the pigeons and pat dry with kitchen paper. Cut into four large parts and arrange in a flameproof dish. Finely chop the prosciutto and vegetables and mix well, adding half a glass of oil and the sage leaves.  Add salt and pepper, and allow the pigeons to brown for several minutes, turning frequently. Add a glass of red wine and allow to evaporate. Then add the pitted, finely-chopped olives, and the capers, well rinsed. Cover and leave to cook over a low heat for about 50 minutes, adding the chicken broth as necessary. Take off the lid, turn up the heat and allow the sauce to thicken for a few minutes. Serve the pigeons in their sauce. Todi | Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.781935212.406568600000014[ ] Attrattoreen_US2146494690454https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-e-cappella-bourbonSt. Mary Church and Bourbon ChapelBuilt at the beginning of the 11th century, the church presents a very simple stone faÃ§ade that reveals its Romanesque origins. St. Mary Church and Bourbon ChapelBuilt at the beginning of the 11th century, the church presents a very simple stone faÃ§ade 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. The church presents a Latin cross plan with five trusses supporting the roof. From the entrance, proceeding towards the altar, it is possible to observe: LEFT WALL The 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. RIGHT WALL A 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. THE MAIN ALTAR Described 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. LEFT CHAPEL OF THE ALTAR It 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. On 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. This surrounding area - not open to the public - has tombs and gravesites.  [Source: <a href="http://www.turismo.montesantamariatiberina.org/" target="_blank">http://www.turismo.montesantamariatiberina.org/</a>] Monte Santa Maria Tiberina | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.421387312.128971500000034Monte Santa Maria Tiberina54032[ ] Attrattoreen_US2146500790454https://www.umbriatourism.it/web/umbria/-/palazzo-museo-bourbon-del-montePalazzo Museo Bourbon del MonteThe 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 MonteThe 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.421387312.128971500000034Monte Santa Maria Tiberina54032[ ] Attrattoreen_US2214381893935https://www.umbriatourism.it/web/umbria/-/porta-amerina-montecastrilliPorta Amerina - MontecastrilliThe Porta Amerina is characterized by two arches. Itâs known as Torre del Belvedere. Porta Amerina - MontecastrilliThe 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. The city walls are still visible framed by a series of crenellated towers. Montecastrilli | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.646012412.482361399999945Montecastrilli55017[ ] Attrattoreen_US2481894990454https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-croce-umbertideChiesa di Santa Croce - UmbertideOn 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 - UmbertideOn 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. The 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.     MUSEUM OF SANTA CROCE IN UMBERTIDE UNIQUE TICKET FOR UMBRIA TERRE E MUSEI FULL PRICE: â¬ 7 REDUCED A for groups of at least 15 people and affiliated: â¬ 5 REDUCED B for children from 6 to 14 years old: â¬ 2 FREE (children up to 5 years old, disabled with accompanying person, Icom members, qualified tourist guides, accredited journalists) FREE FOR RESIDENTS: free entrance in the museum of their own city and reduced ticket for the other museums of the circuit. VALIDITY General ticket valid for 15 days Personal ticket (with the person's name on it) valid for 3 months (after registration of the visitor's personal data) Info: Tel.: 075-9420147 mail: <a href="mailto:umbertide@sistemamuseo.it">umbertide@sistemamuseo.it</a> Opening hours: October to April- on Fridays, Saturdays and Sundays from 10.30 am to 1 pm and from 3 to 5.30 pm From May to September - on Fridays, Saturdays and Sundays from 10.30 a.m. to 1 pm and from 4 to 6.30 pm closed on 25th December and 1st January.   Umbertide | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US2476058690590https://www.umbriatourism.it/web/umbria/-/castello-di-poggio-valtopinaCastello di Poggio - ValtopinaCastello di Poggio (11th century), was once the seat of the Viscount of Topino valley and then town hall until 1867.Castello di Poggio - ValtopinaCastello 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. In 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. After 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. After 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 historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248843.0587512.754369699999984Valtopina54059[ ] Attrattoreen_US2476066690590https://www.umbriatourism.it/web/umbria/-/museo-del-ricamo-valtopinaMuseo del Ricamo - ValtopinaThe 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 - ValtopinaThe 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. The 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. The 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. Finally, the third section, devoted to household linens, shows how the girls collected the âimparaticciâ, samplers on which they demonstrated all the embroidery techniques learned. However, 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi38.png/0033f7a1-a292-4547-b7c7-56677ac46cbe?t=142374927722643.0587512.754369699999984Valtopina54059[ ] Attrattoreen_US126591https://www.umbriatourism.it/web/umbria/-/santuario-dell-amore-misericordioso-ed-eucaristicoThe Sanctuary of Merciful and Eucharistic LoveThe Sanctuary of Merciful and Eucharistic Love is located in Collevalenza a few kilometres from Todi.Todi, Umbria, Amore Misericordioso, Madre SperanzaThe Sanctuary of Merciful and Eucharistic Love is located in Collevalenza a few kilometres from Todi. It was built by architect Julio Lafuente (1951) and sanctioned by Mother Speranza, as a place where God's merciful love for those sinners who come back to him could be proclaimed and experienced. The great temple, which is circular in shape, is formed by two large, sacred halls, the upper church and the crypt. The parts of the building are not designed separately, but rather as parts of a single architectural entity.  The inside of the Grande Chiesa church offers bright light, thanks to the space being proportionally divided by the large cylindrical walls, which open up towards the altar. The light comes from a huge concave glass window, on the faÃ§ade, and from a cross-shaped skylight which unfolds along the roof, converging into a gap that symmetrically divides the apse. Chapels were placed on the sides so that visitors could cultivate their mercy privately. The church features many confessionals, both in the temple and in the crypt. The main altars are made from Pentelic marble, while the floors are Prodo marble.   Todi | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.7447285999999912.473084100000051Todi54052[ ] Attrattoreen_US2442039690566https://www.umbriatourism.it/web/umbria/-/tempio-san-fortunatoTempio San FortunatoThe temple of St. Fortunato rises in Piazza Umberto I, at the top of a beautiful staircase, over the remains of a complex built before the year 1000.Todi, francescani, gotico, UmbriaTempio San FortunatoThe temple of St. Fortunato rises in Piazza Umberto I, at the top of a beautiful staircase, over the remains of a complex built before the year 1000. <div>The building was built by the Order of Minor Franciscans, upon a design by a still unknown architect. The works started in 1292 and continued until the second half of 1400: the church remains incomplete today. The huge Gothic bell tower, of 1460, rises on the side of the church; the ancient convent is nearby, and it also has a beautiful cloister. The faÃ§ade, in pure Italian Gothic style, started in 1415 and is incomplete: its architect was Giovanni di Santuccio who died in 1458, leaving the building as we see it today. Among the three ogival portals, that are stylistically very different, the central one is splendid, decorated with spiral columns that are executed with great accuracy and decorative richness, as showed by the tendrils and the small figures on them; the portal is flanked by two niches, with a âGabrielâ and an âAnnunciationâ in a style recalling Jacopo della Quercia. The interior of the church dates to the late 13th century: it has three aisles of the same height; it has cross-shaped vaults and a polygonal apse; the high altar has a Gothic style of the 14th century. The right aisle has seven chapels, the left one six chapels. The church, containing sacred ornaments and artistical treasures, was largely plundered in 1327 â 1328 by Lodovico the Bavarian and the antipope Piero della Corvara. Among the artworks that are still preserved the following ones stand out: a Madonna with Child and two Angels, of 1432, an artwork of Masolino da Panicale; a panel in oil by A. Polinori (1618); 14th century frescoes of the Giotto school; a beautiful wooden choir of 1590, an artwork of Antonio Maffei from Gubbio. The underlying crypt, built in 1596, hosts the relics of the five patron saints of the town (St. Fortunato, St. Callisto, St. Cassiano, St. Romana and St. Degna) as well as the sepulchre of Jacopone from Todi.</div> <div> </div> Todi | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.781935212.406568600000014Todi54052[ ] Attrattoreen_US2481932390454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-umbertideChiesa di San Francesco - UmbertideThe church of San Francesco is located at Piazza San Francesco in Umbertide, near the church of San Bernardino.Chiesa di San Francesco - UmbertideThe church of San Francesco is located at Piazza San Francesco in Umbertide, near the church of San Bernardino. The facade has ashlar adorned with a three-lobed arched portal of the 14th century, above which is a large oculus. The interior is of the Franciscan type, with a Gothic apse, and two aisles with an arched the lower part. Until a few years ago, the church contained the Madonna and Child in Glory with Angels and Saints painted by NiccolÃ² Pomarancio Circignani in 1577 and a wooden sculpture of St. Roch of 1528, attributed to Romano Alberti called il Nero. To better preserve the two works, they were recently transferred to the museum in the nearby church of Santa Croce. Currently the adjoining convent houses the Historical Municipal and City Library. Umbertide | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US539451290542https://www.umbriatourism.it/web/umbria/-/gole-del-forelloForello gorgeForello gorge is located between Todi and Orvieto and formed by the Tiber river that crosses the ridge Peglia - Monti Amerini. This very steep and scarcely populated place forms the heart of the Tiber River Park.Gole del Forello, umbria, orvietoForello gorgeForello gorge is located between Todi and Orvieto and formed by the Tiber river that crosses the ridge Peglia - Monti Amerini. This very steep and scarcely populated place forms the heart of the Tiber River Park. 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 parkshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.735868512.316608200000019Baschi55007[ ] Attrattoreen_US2481923490454https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-della-pieta-umbertideChiesa di Santa Maria della PietÃ - UmbertideThe church of Santa Maria della Pieta is located on the northern outskirts of Umbertide, at the neoclassical Civil Hospital.Chiesa di Santa Maria della PietÃ - UmbertideThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US542993190590https://www.umbriatourism.it/web/umbria/-/edicola-pian-d-arcaPian d'Arca ShrineThe 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 FrancescoEdicola Pian d'ArcaThe shrine was erected in 1926 in the locality Piandarca on the occasion of the 700th anniversary of St. Francis's death, in the spot where the Saint stood on a rock to preach to the birds. The sermon is said to have been delivered between 1212 and 1213. The shrine, protected by a wall, bears a fresco of St. Francis talking to the birds and, below, a marble slab on which is engraved: "In this place where St. Francis taught the praises of God the Creator to his little sisters, the birds, telling them you neither sow nor reap, God feeds you and gives you the rivers and springs, and God gives you the mountains and valleys for your refuge and the tall trees to make your nest and they with wonderful songs he shared out to proclaim to the world the word of renewed life in the faith of God's providence." Crossing a gate and descending a few steps it is possible to reach a small altar. The shrine is set in a beautiful landscape; from here begins a small path that according to tradition seems to coincide with the one followed by St. Francis when, after preaching in Cannara, he headed towards Bevagna. Source:  Turrioni, O., (2010). Cannara. Piandarca della "Predica agli Uccelli". Letteratura e tradizione. Cannara | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.97558512.568647599999963Cannara54006[ ] Attrattoreen_US2481874790454https://www.umbriatourism.it/web/umbria/-/chiesa-ottagonale-santa-maria-della-reggia-umbertideOctagonal church of Santa Maria della Reggia - UmbertideThe 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 - UmbertideThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US2481901190454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-bernardino-umbertideChiesa di San Bernardino - UmbertideThe 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 - UmbertideThe 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 faÃ§ade 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US2222938290590https://www.umbriatourism.it/web/umbria/-/palazzo-comunale-montefalcoTown Hall - MontefalcoThe Town Hall, an almost exactly circular building called in old times People Palace, is located in the Town Square. Town Hall - MontefalcoThe 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. The faÃ§ade 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. A 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.  The 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). [Source: www.montefalcodoc.it] Montefalco | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.8892935999999912.650284300000067Montefalco54030[ ] Attrattoreen_US2214372193935https://www.umbriatourism.it/web/umbria/-/chiesa-parrocchiale-di-san-nicolo-montecastrilliChurch of St. Nicholas - MontecastrilliThe church of St. Nicholas in Montecastrilli is the parish church of the village.Church of St. Nicholas - MontecastrilliThe church of St. Nicholas in Montecastrilli is the parish church of the village. It was built in the 10th - 11th centuries and in 1964 it was completely restored, especially in the facade and bell tower. Inside 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. [Source: http://www.montecastrilliturismo.it] Montecastrilli | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.646012412.482361399999945Montecastrilli55017[ ] Attrattoreen_US2798184090454https://www.umbriatourism.it/web/umbria/-/eremo-di-monte-corona-umbertideEremo di Monte Corona - UmbertideThe 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. Construction 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. Then 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056Umbertide[ ] Attrattoreen_US2798192990454https://www.umbriatourism.it/web/umbria/-/preggio-umbertidePreggio - UmbertideThe 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 Umbriahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.305572612.327868099999932Umbertide54056[ ] Attrattoreen_US23475773https://www.umbriatourism.it/web/umbria/-/il-parco-del-monte-tezioMount Tezio parkDiscovering a world of history, unspoilt nature, breathtaking views and small villages. Tezio Mount, Tezio Mountâs park, nature in Umbria, Umbria, Umbria itineraries, Umbria travel, Umbria holiday, sport in Umbria, trekking in Umbria, parks in UmbriaMount Tezio park: nature, history and trekkingMount Tezio and its surrounding mountain ranges have an incomparable charm because they are sweet and at the same time harsh, and their sides are enriched by the colours of the Mediterranean maquis.   Located north of <a href="/-/perugia" style="text-decoration-line: underline; outline: 0px;">Perugia</a>, Mount Tezio is a 961-metre high mountain splitting the Tiber valley to the east from the hills gently sloping towards the Trasimeno Lake, to the west. The views are so far-reaching that they stretch from the central Apennine Mountains to the peak of Gran Sasso and the expanse of the Trasimeno Lake with its peaks separating it from Tuscany. The vegetation is varied and rich: the dorsal from Mount Tezio to Mount Acuto (overlooking the town of <a href="/-/umbertide" style="text-decoration-line: underline; outline: 0px;">Umbertide</a>) is characterised by holm oaks on the lowlands, whereas on the highlands you can find hop-hornbeam, manna ash, turkey oak, downy oak and  maple. The foothills are marked by the Mediterranean maquis made up of the common and red juniper, the hawthorn, thorns, broom and  blackthorn. Descending, you will reach hills with their agricultural landscapes, arable crops and olive trees. The wild fauna, instead, includes few fallow and roe deer, but also wild boars, foxes, porcupines, badgers and squirrels. The resident and migrating birds include different species of falcons such as the goshawk and the short-toed eagle, buzzards, owls, little owls, kestrels, jays, green woodpeckers, nuthatches, serin, goldfinches, great tits and blackcaps. Distinctive features of the territory are the important historical remains throughout the area, that confirm the the presence of man in this area since ancient times: proto-historical castles, Etruscan tombs, ruins of castles, aqueducts and ancient snow cisterns integrate in perfect harmony with the surrounding landscape. These features make the Park of Mount Tezio an ideal place to go trekking and hiking, thanks to the many itineraries suitable not only for anyone who loves the outdoors, but also for all those interested in art and history. Immerse yourself in a world of old mule tracks, woods, monumental trees, striking landscapes with breathtaking sunsets over Lake Trasimeno. And you will also see birds, pastures, rocks of different shapes, creeks and waterfalls, wth the roars, noises and smells to stimulate all the senses, in the peaceful natural setting, throughout the year. Along the route are small villages, country churches, towers, castles with their history and archaeological sites of the ancient civilizations settled here, in a borderland and a meeting point between Umbrians and Etruscans. For the details on the itineraries, click <a href="http://itinerari2013.comune.perugia.it/" target="_blank">here</a>. Per further information: <a href="http://www.montideltezio.it/" target="_blank">http://www.montideltezio.it/</a> Sources Flyer of the 2012 Events organized by the Tezio Mountainsâ Association 2nd guide of Paths, castles and parishes of the Perugia area. Texts by Francesco Brozzetti Tezio MountainsâCultural Association Perugia | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.212.350000000000023[ ] Attrattoreen_US126488https://www.umbriatourism.it/web/umbria/-/rocca-di-umbertideRocca di UmbertideIn the historic centre of  UmbertidePiazza Fortebraccio 1 06019 UMBERTIDE PGIn the historic centre of  Umbertide stands the mighty tower of the medieval fortress designed in 1374 by Angeluccio of Ceccolo, also called 'Il Trucascio'.  It was completed in 1389, under the guidance of Alberto Guidalotti. The building consists of a massive square tower which is more than 30 meters high and three other smaller crenelated towers. The base is made up of thick walls and at one time there would have been gates with drawbridges. Braccio Fortebraccio was imprisoned in the fortress dungeons in 1394,  but released after payment of a ransom; he then conquered it and resided there until his death in 1424. After this event, the fortress came under the rule of the Church and in the following years saw a number of armies pass through it, until in 1478, the militias of Federico II da Montefeltro, devastated both the structure and the Fratta territory. In 1521, Pope Leo X, entrusted the custody of the fortress to the higher authorities of Fratta (the ancient name for Umbertide) for seven years and this honour was delayed by Clement VII for another ten, in order to use the salary he would have otherwise had to pay the castellan and soldiers, for the restoration of the walls. During this century, it also became the seat of a papal military garrison and its defensive equipment was expanded significantly. The Perugian grant was abolished in 1798, when the Fratta became one of the thirteen cantons of the Department of Trasimeno. With the return of Pope Pius VII as the head of the Papal States in 1814, the fortress was destined to become a public prison, and continued to be used as such until 1923. From that time until 1974, the complex was used for residential purposes, having undergone some internal changes and the re-roofing of the two circular towers. The rock is composed of an impressive keep, 7.60m long and a height of 31.60m, with three smaller crenelated towers of which two are circular and a third has a square footprint.  The walls, once equipped with gates and drawbridges, are impressively thick, measuring 2.20m at the base, giving the entire complex the feel of an indomitable fortress. It is possible to enter the building through a single door off Piazza Fortebracci; the other door, which has now been demolished, was in the direction of the Palace, called "The rescue". In 1984, the Town Council wishing to restore the structure with a long and careful restoration agreed upon the restoration of its historical identity and static consolidation, which was completed in May 1986. During the renovation, elements were discovered that have assisted in identifying parts of the complex which had been thought to have been lost: an ancient stone staircase, found in the first room of the fortress, on the first floor, and a trapdoor discovered on the ground floor, under 1.5 metres of soil, used for access to the underground areas, allowing for the vertical connection inside the tower to be re-established: from the dungeon to the battlements. Changes were made to improve the use of the interior, removing some partition walls of the cells of the tower and the pavilion roof of the same, it was then replaced by a useful floor. Finally an entrance was created at the base of the left tower, to allow access between the Piazza del Mercato (market square) and the Piazza Fortebracci. Currently, the city administration has allocated several rooms of the fortress for use as the Centre for Contemporary Art. Bibliography Amoni D. (1999), Castelli Fortezze e Rocche dell'Umbria, Ponte S. Giovanni, Perugia, Quattroemme. Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=142374927202843.306917612.33171029999994[ ] Attrattoreen_US2077923093925https://www.umbriatourism.it/web/umbria/-/sculture-nella-citta-spoleto-1962Sculpture in the city - Spoleto 1962In 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 1962In 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. For the first time ancient architecture and modern sculptures were placed together where they could share the spaces where everyday life takes place. The artists with works installed around town include: Arp, Colla, Fontana, Lorenzetti, ManzÃ¹, 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). In 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. Among 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. Today the following sculptures remain: Alexander Calder â <a href="/-/teodelapio">Teodelapio</a> Lynn Chadwick â Stranger III Pietro Consagra â Colloquio Spoletino (Interview in Spoleto) Nino Franchina â Spoleto 1962 Beverly Pepper â Il dono di Icaro (The gift of Icarus) Arnaldo Pomodoro â Colonna del Viaggiatore (Column of the Traveller)  Spoleto | Art in Umbriahttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.740488112.737800300000004Spoleto54051[ ] Attrattoreen_US26010881https://www.umbriatourism.it/web/umbria/-/l-attortaL'Attorta e la RocciataPaese che vaiâ¦nome che trovi: un dolce tipico umbro, due modi di chiamarlo, numerose varianti della ricetta in base alla localitÃ , ma sempre un gusto unico.Food and wine in Umbria, Umbria typical recipes, Umbria Christmas dishes, attorta, rocciataIngredienti Farina 250 gr Zucchero 100 gr Olio extravergine dâoliva (EVO) Â½ bicchiere Sale 1 pizzico Uova Mele 3 Gherigli di noci 10 Cacao dolce e amaro Cioccolato fondente Bucce di limone Alkermes Con eventuale aggiunta di: Mandorle 50 gr Uvetta sultanina 100 gr Fichi secchi 40 gr Pinoli Cannella Vaniglia Paese che vaiâ¦nome che trovi: un dolce tipico umbro, due modi di chiamarlo, numerose varianti della ricetta in base alla localitÃ , ma sempre un gusto unico. Se vi trovate a <a href="https://www.umbriatourism.it/it_IT/-/spoleto">Spoleto </a>o nella Valle del Nera vi proporranno lâattorta, se siete nella zona di Foligno, Assisi e Spello vi offriranno la rocciata Ã un dolce tipico che si prepara nel periodo delle festivitÃ invernali (da quelle dei Santi e dei Morti fino al Carnevale), soprattutto a Natale. Ha una forma a spirale che ricorda un serpente arrotolato, con il caratteristico colore rosso dato dallâalchermes. La base di pasta sfoglia Ã¨ preparata con farina, uova e un pizzico di sale, mentre il ripieno Ã¨ composto di mele cotte nel vino con zucchero, noci, cacao e buccia di limone. Se questa Ã¨ la ricetta base dellâattorta, nella rocciata vengono aggiunti anche fichi, marmellata, uva sultanina, pinoli, mandorle, cannella e vaniglia. E nelle diverse varianti che esistono sul territorio, câÃ¨ chi ama usare anche nocciole, canditi, amaretti tritati e prugne secche. La storia Si pensa che le origini di questo dolce risalgano alle invasioni dei popoli del Nord Europa dopo la caduta dell'Impero Romano, dal momento che gli ingredienti usati lo accomunano allo strudel â in effetti i Longobardi per quasi due secoli mantennero il Ducato nello spoletino, uno dei luoghi di cui lâattorta Ã¨ tipica. Stesse origini vengono attribuite alla rocciata, lâaltra nota versione di questo dolce, diffusa tra <a href="https://www.umbriatourism.it/it_IT/-/foligno">Foligno</a>, <a href="https://www.umbriatourism.it/it_IT/-/assisi">Assisi</a>, <a href="https://www.umbriatourism.it/it_IT/-/bastia-umbra">Bastia Umbra</a>, <a href="https://www.umbriatourism.it/it_IT/-/spello">Spello</a>, <a href="https://www.umbriatourism.it/it_IT/-/bettona">Bettona</a>, <a href="https://www.umbriatourism.it/it_IT/-/cannara">Cannara</a><a href="https://www.umbriatourism.it/it_IT/-/cannara"> </a>e <a href="https://www.umbriatourism.it/it_IT/-/bevagna">Bevagna</a>; qualcuno ritiene che possa essere vero il contrario: che i Longobardi apprezzassero cosÃ¬ tanto questo dolce umbro da importarlo nella loro cucina. Il suo nome deriva dal dialetto del folignate, da roccia o rocciu che significa âtondoâ come la forma che gli viene data. E da queste parti Ã¨ talmente apprezzato che alla Rocciata di Foligno, riconosciuta prodotto agroalimentare tradizionale umbro, da 25 anni a luglio viene dedicata una sagra nella frazione di S. Giovanni Profiamma. La ricetta Se volete cimentarvi nella preparazione di questo dolce, ecco qui la ricetta: Impastate la farina con le uova, lo zucchero, lâolio extravergine di oliva, un poâ di rhum e un pizzico di sale. Una volta che lâimpasto risulta morbido e omogeneo, stendete una sfoglia sottile e ricopritela con le mele a cubetti cotte con gli altri ingredienti:  zucchero, cacao amaro e/o cioccolato fondente grattugiato, scorza di limone grattugiata e noci tritate (se volete provarlo nella versione âattortaâ) e con lâaggiunta di fichi, marmellata, uva sultanina, pinoli, mandorle, cannella e vaniglia (se volete cimentarvi con la versione della ârocciataâ). Arrotolate la sfoglia su se stessa nel senso della lunghezza, formando un lungo serpentone attorcigliato. Mettetelo in forno a calore moderato e fatelo cuocere per circa 40 minuti. Piccola curiositÃ : un tempo la sfoglia veniva cotta nella âteggiaâ, un suolo di ferro con coperchio ingrassato con lo strutto che veniva coperto con la brace fino a cottura ultimata. N.B. Il dolce va conservato a una temperatura di circa 6Â°/8Â° C per 2 o 3 giorni. Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=1454334432566[ ] Attrattoreen_US122797https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-spoletoVini Doc e Docg SpoletoThe beautiful, atmospheric town of Spoleto overlooks the periphery of the Valley of Umbria, known as the Spoleto Valley. Its beauty comes not only from the surrounding landscape but in particular from the many historic monuments to be found here. They include the spectacular Bridge of Towers, the Albornoz Fortress, the Cathedral and the Roman Temple. The outstanding gastronomic culture of this area is dominated by the Trebbiano Spoletino denomination, a vine that has recently been rediscovered and revived. Wine production is accompanied by a long tradition in the production of extra-virgin olive oil, particularly in the nearby town of Trevi. Particularly important in this zone is the Norcia black truffle, which influences much of the cuisine in the town, but also the wider area. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.730514612.734466399999974[ ] Attrattoreen_US95765https://www.umbriatourism.it/web/umbria/-/ponte-delle-torri-di-spoletoPonte delle Torri bridge, SpoletoThe majestic Ponte delle Torri bridge, one of the symbols of Spoleto, connects Sant'Elia hill and MontelucoBridge, towers, Spoleto, MontelucoThe Ponte delle Torri bridge is an imposing structure, about 230 metres long and 80 high, made from local limestone and adjoining Sant'Elia hill and Monteluco. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> It can be reached from Piazza Campello by heading down Via del Ponte,  which runs alongside the wall of the Rocca Albornoziana fortress. There is no certain information about its construction, which most likely occurred between the thirteenth and fourteenth centuries. Its present appearance dates back to the fourteenth century, when the entire area underwent profound changes as part of the building initiatives promoted by Cardinal Albornoz and designed by architect Matteo Gattapone. The bridge had a dual purpose: to unite the fortress (on Sant'Elia hill) to the Mulini fort (Monteluco) and at the same time transport water to the city from the Cortaccione springs. The building mass is divided into nine pillars linked by pointed arches; the two highest pillars are towers and probably served as guard posts. The bases of the two pillars allude to a previous building (Roman period and 12th century). Some of the arches were already demolished by 1390 and rebuilt in stone only in 1639; two others were completely rebuilt in brick in 1845. The Ponte delle Torri bridge is one of the most important emblematic symbols of Spoleto; from which you can enjoy a splendid panoramic view over Monteluco. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.733105712.743626800000015[ ] Attrattoreen_US101127https://www.umbriatourism.it/web/umbria/-/tozzetti-di-spelloTozzetti di SpelloThese small biscuits originate from Tuscany. The Spello variant of the recipe was customarily prepared for family celebrations throughout the yearSpello almond biscuitsTozzetti di Spello (Spello almond biscuits) Ingredients 500 g flour 150 g sugar 100 g butter 3 eggs 1 lemon 1/2 sachet of yeast 1/2 glass of grappa almonds to taste aniseed, to taste sultanas, to taste Preparation Mix the flour with the sugar, eggs, butter, peeled almonds, aniseed, sultanas, grated lemon peel, grappa and yeast until the mixture has a smooth, elastic texture.  Then form it into rolls, and bake in a preheated oven at 180Â°C for about half an hour. Leave to cool and when still slightly warm, cut each roll into small obliques of equal size, and return to the oven for 10 minutes.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.98765312.67118979999998[ ] Attrattoreen_US335116193925https://www.umbriatourism.it/web/umbria/-/teodelapioTeodelapioThe 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 SpoletoTeodelapioThe 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. The 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 culture42.74812112.736141999999973Spoleto54051[ ] Attrattoreen_US2775615193925https://www.umbriatourism.it/web/umbria/-/casa-romanaRoman HouseThe 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 tourismThe 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. Its privileged position, close to the ancient Roman Forum - today's Piazza del Mercato - and the richness of its decorative elements suggest that the owner was a prominent figure of the time. During the excavations, an inscription dedicated to Emperor Caligula was found and signed by a [...] Polla; hence the hypothesis that the house belonged to Vespasia Polla, mother of Emperor Vespasian, who was from the area between Norcia and Spoleto. The rooms of the domus preserve beautiful floor mosaics and present the typical architectural scheme that characterized patrician houses between the republican and the imperial age. At the centre of the atrium is the impluvium, a square-shaped basin that allowed the rainwater to be easily collected.  Around the atrium there are two bedrooms (cubicola), two open spaces (alae) and, at the end, the tablinum, flanked on the sides by two smaller rooms. The tablinum was the main reception room, the most important and rich of the house, lined up with the entrance. It was the place where the owner received guests, dealt with his clients and managed his business activities. To the right of the tablinum is the triclinium that shows, on the right, remains of a wall decoration. During the excavations numerous finds were then recovered and are now exhibited in the Roman House: fragments of ceramics, amphorae, oil lamps, spindles, glass, objects in bone and ivory such as combs, brooches, needles, fragments of bronze statues and metal elements. For further information: Via di Visiale tel. e fax 0743 40255 e-mail: info@iat.spoleto.pg.it; spoleto@sistemamuseo.it   Spoleto | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.740488112.737800300000004Spoleto54051[ ] Attrattoreen_US95014https://www.umbriatourism.it/web/umbria/-/eggi-il-borgo-fortificato-a-due-passi-da-spoletoEggi, the fortified village a stone's throw from SpoletoEggi is a fortified village a stone's throw from the Via Flaminia and Spoleto, where you can discover precious works of artEggi, SpoletoEggi is a village set among olive groves, just 2 kilometres from the Via Flaminia, and 5 km from Spoleto going towards Foligno, almost straddling the Nera and Spoletana valleys. The village, of Roman origin, has well-defined stages of construction that enable you to understand its history. The construction of the triangular castle corresponds to a first period (the 14th century). During the 15th century, the village began to develop beyond its walls, and housing was built just outside of them. Between the mid-16th century and the end of the 18th century, the village experienced a period of splendour thanks to the presence of distinguished citizens, who, with their considerable financial means, commissioned many contemporary artists to embellish the local churches. Not to be missed is the Church of Santa Maria delle Grazie, a religious building from the late 15th century, decorated with frescoes depicting the search for protection against the plague; the Chiesa di San Giovanni Battista with an apse decorated between 1527 and 1532 by Giovanni di Pietro, known as Lo Spagna; and the Oratorio del Sacramento and hospital complex, with a gate to delimit its isolation, a vast area used as hospital wards, a kitchen and other service areas. The warehouse of Monte Frumentario is on the ground floor. The Chiesa di San Michele Arcangelo houses interesting frescoes by the Master of Eggi, an anonymous 15th-century painter who worked in the Spoletina and Valnerina valleys, and who was identified by Federico Zeri based on the frescoes in this church.. The village of Eggi is famous in Umbria for its Wild Asparagus Festival, between late April and early May, now running for 20 years. This event is well worth a visit to taste one of the traditional dishes of the Spoleto area: homemade strangozzi with asparagus sauce. Spoleto | Discovering the villages of Umbria | Places of culture | Spoletohttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.76277812.778610999999955[ ] Attrattoreen_US11694315726642https://www.umbriatourism.it/web/umbria/-/palazzo-collicola-arti-visive-museo-carandente-spoletoCollicola Palace Visual Arts Museum of Spoleto<a href="https://www.umbriatourism.it/en_US/-/spoleto">Spoleto</a>'s artistic sensibility, inclined by nature to grace and beauty of any period, bursts out in the Collicola Palace Visual Arts Museum  Palazzo Collicola Arti Visive, Spoleto<a href="https://www.umbriatourism.it/en_US/-/spoleto">Spoleto</a>'s artistic sensibility, inclined by nature to grace and beauty of any period, bursts out in the Collicola Palace Visual Arts Museum. This aristocratic building, among the most important in town, is located in the old town on the western side of Piazza Collicola. Together with the <a href="https://www.umbriatourism.it/en_US/-/collezione-burri-palazzo-albizzini-citta-di-castello">Burri Collection of CittÃ di Castello</a>, considered the most important museums of contemporary art of Umbria, Collicola Palace puts you an innovative journey starting from its permanent collection, redesigned and rethought following a new museum method, enriched with teaching displays and pieces. A trip through 20th century art To learn more about the avant-garde spirit of the city, be sure to visit to this architectural jewel, a true laboratory of culture and beauty. Built between 1717 and 1730 by the Roman architect Sebastiano Cipriani, it became the residence of the noble Collicola family until 1939 when it was purchased by the Municipality of Spoleto. With one of the most heterogeneous and advanced exhibitions in the panorama of Italian museums, it will take you on a journey through the art of the 20th century, among masterpieces by Italian and international artists such as Alexander Calder, Henry Moore, Ettore Colla, Nino Franchina, and Pietro Consagra. The heart of this Palace is the ânewâ standing collection of the Gallery of Modern Art, dedicated to the memory of the famous art critic Giovanni Carandente, who for years curated the art section of the Festival of Two Worlds and who donated his rich collection to the Museum . It is now housed on the second floor. Youâll learn about the historic great events organized in Spoleto, like the 1962 exhibition â<a href="https://www.umbriatourism.it/en_US/-/sculture-nella-citta-spoleto-1962">Sculptures in town</a>â, an initiative by Carandente, with 104 sculptures made by 54 of the best sculptors of 20th century including Alexander Calder, whose Teodolapio, the first fixed monumental sculpture by the American artist, still today in front of the railway station, and several editions of  the "Spoleto Prix" (1953-1968), with works by Pino Pascali, Mario Ceroli, Giuseppe Uncini, Mattia Moreni, Giulio Turcato, Ennio Morlotti and Sergio Vacchi. Alexander Calder and Beverley Pepper, as befits their relationship with Carandente, are well-represented in sections which symbolically open and close this exhibit. You will also discover thirty works by the artist Leonardo Leoncillo, born in Spoleto in 1915, including AffinitÃ patetiche (pathetic affinities) and PietÃ o Corpo dolente (Mercy or Aching body), hosted in the long and bright gallery on the second floor, in addition to pictures, ceramic sculptures and tiles, received by the museum starting from the 1980s. Donât miss the sections dedicated to the group Forma 1 or to the  San Lorenzo School, to abstract art (like Fausto Melotti, Claudio Verna, Vasco Bendini), to figuration (including Luigi Ontani, Stefano Di Stasio, Roberto Barni), and note works by sculptors as Anthony Caro, Lynn Chaswick, Arnaldo and GiÃ² Pomodoro, Nino Franchina, Salvatore Cuschera. Conceptual artists are represented, such as Jan Dibbets, and especially by Sol LeWitt, who had an house in Spoleto and who created in 2000 the spectacular Wall drawing Band of color n. 951 in Collicola Palace. Recent acquisitions which further improve the Collection include those by Gianni Asdrubali, Gastone Biggi, Stefano Di Stasio, Paola Gandolfi, Francesco Lo Savio, Afranio Metelli, Piero Pizzi Cannella, and Francesco Somaini. And after this time travel among colors and space, youâll be surprised of this modern Spoleto, capable of mixing modern and old with the universal language of art. Hours: From October 28th to March 30th From Wednesday to Monday 10.30AM â 01.00PM/03.00PM â 05.30PM Tuesday closed From March 31st to October 27th From Wednesday to Monday 10.30AM â 01.00PM/03.30PM â 07.00PM Tuesday closed Information Piazza Collicola, 1 Phone: +39 0743 46434 <a href="http://mailto:info@palazzocollicola.it">info@palazzocollicola.it</a> <a href="http://www.palazzocollicola.it/" target="_blank">www.palazzocollicola.it</a><span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;"> Spoleto | Art in Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.730514612.734466399999974[ ] Attrattoreen_US277287293925https://www.umbriatourism.it/web/umbria/-/bosco-sacroThe Sacred Wood of MontelucoThe 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 spoletinaThe Sacred WoodThe 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. The 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. There 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). As 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. French 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. The Sacred Woods of Monteluco was recently recognised as a European Commission Habitats Directive Site of Community Importance.   Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.741222312.738521300000002Spoleto54051[ ] Attrattoreen_US2234288993925https://www.umbriatourism.it/web/umbria/-/museo-nazionale-del-ducato-di-spoletoNational Museum of the Duchy of SpoletoThe museum is located within the Fortress, in the upper part of Spoletoâs historical centre. Spoleto, ducato Longobardo, Rocca albornoziana, trekking urbano, Festival SpoletoNational Museum of the Duchy of SpoletoThe 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. The Fortress was built by order of the Spanish Cardinal Egidio Albornoz starting in 1360. It was home to papal legates and to Popes. Today, 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. The 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. Opened 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. The Museum has 15 halls on two floors around the courtyard of honour. The artwork collection covers a period from the 4th century AD, with pieces from the first Christian communities, to the 15th century. Conceived 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. The 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 NiccolÃ² di Liberatore. The 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 LibertÃ .  From here, walking through Corso Mazzini until the end you can reach Piazza Pianciani, where itâs possible to resume the above-mentioned itinerary.  In order to reach the Fortress,the Posterna itinerary is the most direct one and it is all indoors until the Fortress exit.  Therefore, 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. For 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.  After 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.  For 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.  The 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. Audio guides are not available in the facility.  Spoleto | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.740488112.737800300000004Spoleto54051[ ] Attrattoreen_US2945067https://www.umbriatourism.it/web/umbria/-/cattedrale-di-santa-maria-assunta-a-spoletoSanta Maria Assunta Cathedral in SpoletoThe Cathedral of Spoleto, which is dedicated to Santa Maria Assunta, is located at the bottom of the outstanding Duomo Square, overlooking the Sixteenth Century Rancani Palace, (later renamed Arroni Palace), the Palazzo della Signoria, the octagonal Church of Santa Maria della Manna and the small Theater Caio Melisso.Cathedral, Spoleto, Duomo, UmbriaThe Cathedral of Spoleto, which is dedicated to Santa Maria Assunta, is located at the bottom of the outstanding Duomo Square, overlooking the Sixteenth Century Rancani Palace, (later renamed Arroni Palace), the Palazzo della Signoria, the octagonal Church of Santa Maria della Manna and the small Theater Caio Melisso. Description Built in Romanesque style in the 12th century over the ancient Church of Santa Maria in Vescovado, the Cathedral presents a majestic faÃ§ade, which is made up of stone blocks and flanked by an impressive bell tower with a square plan. The top of the faÃ§ade is divided into two sections, overlapped by a cornice with blind arches. In the upper order there are three rose windows and three large pointed niches; the central niche is adorned with a glittering Byzantine of with Christ enthroned between the Madonna and St. John the Evangelist (1207). The lower order has five rose windows. The central window, which is the largest, is rich in carvings and ornate mosaics and is flanked by the symbols of the four Evangelists. Below, the Renaissance-style Portico, which was designed by Antonio Barocci, is made of five round arches with Corinthian columns in between. At the entrance of the Cathedral, the magnificent portal (earlier than 1198) is decorated in Romanesque-style. The interior of the Church, radically transformed in the early 17th century, is in Baroque style and with a Latin cross plan with three naves of six bays each, a transept, a large semicircular apse and a dome, without tambour. The nave's mosaic floor of the Romanesque Cathedral is still preserved and it was probably built in the 12th century.  In the niche of the counter faÃ§ade there is a bronze bust of Urban VIII by Gian Lorenzo Bernini (1640). A fresco with Madonna and the Saints by Pinturicchio decorates the apse of the first chapel of the right aisle. In the right transept, within the altar, there is a painting by Annibale Carracci and, on the left wall, the sepulcher of the painter Filippo Lippi (who died in Spoleto in 1469), which was designed by his son Filippino and built by an unknown 16th century Florentine sculptor.  To the right of the presbytery, there is the 16th century chapel of the Most Holy Icon, named for the presence of a 12th century Byzantine tablet, which was donated to the city by Frederick Barbarossa as a  "symbol of peace". The apse is covered by beautiful frescoes (1467-1469) by Filippo Lippi and his assistants, depicting stories of the Madonna. At the center of the presbytery, the altar by Giuseppe Valadier (1792) is made of polychrome marble and flanked by four tall columns. Finally, on the left aisle, the Chapel of the Relics still preserves 16th century wooden sculptures and inlays, as well as one of only two extant handwritten letters by St. Francis, addressed to Brother Leone.   Information The Cathedral is closed in the middle of the day. Opening hours  Winter season: 8.30am- 6 pm;   Summer season 8.30am-7 pm. Spoleto | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.73497212.739682000000016[ ] Attrattoreen_US95895https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giovanni-battista-di-eggiChurch of San Giovanni Battista in EggiA visit to the Church of San Giovanni Battista in Eggi to admire the frescoes by Giovanni di Pietro, known as Lo SpagnaChiesa di San Giovanni Battista, Eggi, Spoleto, Umbria, Giovanni di Pietro, known as Lo SpagnaThe Chiesa di San Giovanni Battista is located in Eggi, a gracious village 2 km from the Via Flaminia and 5 km from Spoleto in the direction of Foligno, almost straddling the Nera and Spoletana valleys A visit to the Chiesa di San Giovanni Battista is a must, with its frescoes painted between 1527 and 1532 by Giovanni di Pietro, known as Lo Spagna, with scenes of the Baptism of Christ between Saints Sebastian and Roch (in the semidome), the Madonna and Child between adoring Angels and Seraphim (in the apse), the Eternal Blessing, the Annunciation, Saints Jerome and James (on the triumphal arch). Lo Spagna (15th century) was an attentive and sensitive follower of Perugino, but also an interpreter of the new techniques of Raphael. His abundant production was particularly influential on the painters of southern Umbria, as demonstrated, among others, by the innumerable works inspired by Lo Spagna that decorate the churches and sacred buildings in Spoleto and the Nera valley. The name he is usually known by, "Lo Spagna", derives from the fact that he was probably from the Iberian peninsula. A curiosity: the Marmore Waterfalls, the town of Terni and the mountains above Cesi are present in the landscape of his Baptism Spoleto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.76277812.778610999999955[ ] Attrattoreen_US122560https://www.umbriatourism.it/web/umbria/-/trebbiano-spoletinoTrebbiano SpoletinoThe Trebbiano Spoletino is a vine that belongs to the large Trebbiani family, one of the most popular white grape varieties in Italy.  Despite its name, there are no unequivocal historic records of its origins. The first description of this vine was given by Francolini in his "Bollettini Ampelografici" from 1878. What is certain, however, is that this vine is only grown in Umbria, its preferred soil.  It is grown almost exclusively in a wide area ranging from Spoleto to Foligno and Montefalco in the province of Perugia. When vinified as a pure varietal, the Trebbiano Spoletino yields a wine with a fresh, rather fruity aroma, fairly alcoholic with a distinctive acidity.  This last characteristic makes it quite a good choice for the production of sparkling wines. Also used for blending, this grape has found its natural habitat in Spoleto, where it is vinified almost exclusively as a pure varietal.  Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.730514612.734466399999974[ ] Attrattoreen_US122523https://www.umbriatourism.it/web/umbria/-/sangioveseSangiovesePerhaps Italy's best known grape variety, the Sangiovese, is rooted in the history of the peninsula, and in particular the area that now covers Umbria, Tuscany, the Marches and Romagna. From the 17th century onwards, many references can be found to a red grape vine with a similar name (Sangioveto or Sangiogheto) although we can now say with certainty that there are at least two grape varieties in this family: the Sangiovese Piccolo and the Sangiovese Grosso. Today, in Umbria, this is the wine that identifies most closely with one of the region's most important denominations: the Torgiano Rosso Riserva, which received controlled designation of origin status in 1970, followed by controlled and warranted status (DOCG) in 1990. This vine is commonly found all over Umbria, and is the backbone of the majority of red wines produced in the provinces of Perugia and Terni. When vinified as a pure varietal, the Sangiovese can produce very different wines.  If intended for fairly short-term use, vinified in steel only, it yields a wine with floral, mildly fruity aromas with excellent freshness and good acidity.  When used to produce more structured wines, maturation in wood can yield a wine with a fruity, spicy aroma and good body, well-suited to long ageing.  Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US125870https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-aloChiesa di Sant'AlÃ²The Chiesa di Sant'AlÃ² church is found on Via Sant'AlÃ², a side street off Via XI Febbraio in Terni. Chiesa di Sant'AlÃ²The Chiesa di Sant'AlÃ² church is found on Via Sant'AlÃ², a side street off Via XI Febbraio in Terni. The name of the church comes from Aloysius (Eligius), the patron saint of goldsmiths and blacksmiths. Following tradition, it was built over an ancient building devoted to Cybele, towards the end of the 11th century. The church belonged first to the Augustinians, then to the Franciscans and later to the Knights of Malta. In the 14th century, a house was built on the front of the church, completely covering the Romanesque faÃ§ade, after which point the church was accessed from the right side. The exterior, which has no faÃ§ade, displays some preserved sculpted elements such as the two lions positioned on either side of the entrance steps which date from the Roman era as well as the floral decoration dating from the Early Middle Ages.  The interior of the church has a basilica-like structure with a nave and side aisles interspersed with alternating pillars and columns made from restored materials and topped with capitals. The side aisles have barrel vaulted ceilings, while the central nave, which is more spacious with higher ceilings, has exposed beams. The semi-circular apse, which is divided into five sections by half-columns has a domed ceiling and is decorated with frescoes which were painted in the 12th and 16th centuries.  Terni | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.5618412.63667[ ] Attrattoreen_US122367https://www.umbriatourism.it/web/umbria/-/ciliegioloCiliegioloMany scholars believe that the Ciliegiolo grape is autochthonous, cultivated since the year 1200 in the regions of central Italy; another hypothesis, now somewhat discredited, holds instead that the variety arrived from Spain in the nineteenth century. It owes its name to its typical fruity cherry aroma. It is likely descended from ancient varieties of vitis vinifera, from which the Sangiovese grape also derives.It is grown here and there throughout the region, but it has found its homeland in the area of the Colli Amerini (Amelia hills), in the province of Terni. For years, these grapes were used to produce blended wines or young, fragrant wines that are ready to be enjoyed without aging. Ciliegiolo di Narni is now produced according to the IGT regulations, but the Narni Ciliegiolo Producers' Association has adhered to a more restrictive regulation, which provides for the production of pure wine and the adoption of more stringent processing standards, both in the vineyard and in the cellar. When vinified, the grape produces a wine of an intense ruby red color characterised by particularly fruity aromas, fresh and with relatively low alcohol. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.556771812.414636100000052[ ] Attrattoreen_US358052090454https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-o-del-comuneThe Palace of the Prior or the Town HallThe Palace of the Prior or the Town Hall has a solemn and elegant architecture, and it is one of the most important public buildings in Umbria. The Town Hall, also called "of the Priors", is one of the most distinguished public buildings in Umbria. The Palace of the Prior or the Town HallThe Palace of the Prior or the Town Hall has a solemn and elegant architecture, and it is one of the most important public buildings in Umbria. The Town Hall, also called "of the Priors", is one of the most distinguished public buildings in Umbria.  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. Its 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 PodestÃ (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. On 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. The 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. Fonte: IAT CittÃ di Castello CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.45719612.238232899999957CittÃ di Castello54013[ ] Attrattoreen_US2071334690454https://www.umbriatourism.it/web/umbria/-/oratorio-san-crescentinoOratorio San CrescentinoThe oratory is situated at Morra, a few kilometers from CittÃ di Castello.Oratorio San CrescentinoThe oratory is situated at Morra, a few kilometers from CittÃ di Castello. Built in 1420 and expanded in 1507, the oratory is dedicated to the Roman soldier Creswell, a witness of the Christian faith in the Upper Tiber Valley and martyedr in 303 A.D. by order of Emperor Diocletian. The interior has a single nave, with late Gothic frescoes of the original structure in the sacristy and, along the walls, decoration by the School of Luca Signorelli from Cortona (1450-1523). The unique scenes of the Flagellation and the Crucifixion are created by Luca Signorelli. CittÃ di Castello | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.457787612.231904799999938CittÃ di Castello54013[ ] Attrattoreen_US2071326790454https://www.umbriatourism.it/web/umbria/-/abbazia-badia-petroiaAbbazia Badia PetroiaThe Benedictine Abbey is situated on a hill overlooking the valley of the Nestore river, about 16 km south of CittÃ di Castello.Abbazia Badia PetroiaThe Benedictine Abbey is situated on a hill overlooking the valley of the Nestore river, about 16 km south of CittÃ di Castello. Around 960 it was founded by Marquis Ugo del Colle. During the 15th and 16th centuries it was considerablly changed. It was gradually left by the abbots as they moved to the city. The Romanesque church was deprived of a nave and the residential part degraded to other uses. In 1917 the earthquake left the central space of the early church without a roof, so today it can be confused with an interior courtyard. The crypt has its original tripartite system and presents different reuse materials in the support elements of the roof. Embedded in the facade of the church are valuable terracotta tiles made between the 10th and 11th centuries. CittÃ di Castello | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.457787612.231904799999938CittÃ di Castello54013[ ] Attrattoreen_US3035458https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-di-belvedereThe Sanctuary of the Madonna di BelvedereThe Sanctuary, which displays a venerated ancient image of the Madonna, is located at about five kilometers far from CittÃ di Castello, along the Apecchiese Road crossing the Apennines and reaching Adriatic Sea. The Sanctuary of the Madonna di BelvedereThe Sanctuary, which displays a venerated ancient image of the Madonna, is located at about five kilometers far from CittÃ di Castello, along the Apecchiese Road crossing the Apennines and reaching Adriatic Sea.  The church is on the beautiful Caprano hill, today called Belvedere hill, and it was built in Baroque style in the years 1669-84 following a design by Antonio Gabrielli and Nicola Barbioni. It has an octagonal plan with four short arms, covered by a dome. In front of the entrance it stands a semicircular portico; inside the door you is the precious compass made by a skilled craftsman in 1883. Among the most important works housed inside the shrine are the Martyrdom of St. Vincent, painted by Giovanni Ventura Borghesi in 1699, placed in the right side chapel dedicated to the saint. The main altar dominates the church interior, and the the miraculous image of the Virgin Mary is displayed here. Over time, devotion to Our Lady of the Belvedere gradually grew, and the shrine became one of the most popular Marian cities of the Central Italy, with its fame reaching Rome, so that in 1703 the sacred image was solemnly crowned with license from the Capitolo Vaticano. The square in front of the church has a wonderful view of the city, with its bell towers, and of the upper Tiber Valley too, from the Mount Verna to Mount Acuto, near Umbertide. CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.318603712.216432299999951CittÃ di Castello54013[ ] Attrattoreen_US358046890454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francescoChurch of San FrancescoThe Church of San Francesco, consecrated in 1291, has undergone considerable change and extensions over the centuries. Church of San FrancescoThe Church of San Francesco, consecrated in 1291, has undergone considerable change and extensions over the centuries.  The bell tower, destroyed by an earthquake, was rebuilt in 1452. The 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 CittÃ 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.  On 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 CittÃ 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 CittÃ di Castello in 1593. On 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. The 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 CittÃ di Castello CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.4584912.24037999999996CittÃ di Castello54013[ ] Attrattoreen_US126409https://www.umbriatourism.it/web/umbria/-/palazzo-vitelli-alla-cannonieraPalazzo Vitelli alla CannonieraPalazzo Vitelli alla Cannoniera  is one of the many palaces built by the Vitelli family in Citta di CastelloPalazzo Vitelli alla Cannoniera  is one of the many palaces built by the Vitelli family in Citta di Castello, at the behest of Paola Rossi of San Secondo of  Parma together with her husband Alessandro Vitelli, a Commander in the service of the Medici, "so that the memory of their name and their worth would not perish " and never be forgotten by the city<ins cite="mailto:Susan%20Wilson" datetime="2015-03-20T11:03">"</ins>. It was built between 1521 and 1532 in the historic centre by Antonio da Sangallo the Younger and Pier Francesco da Viterbo. The term 'cannoniera' or "gunboat" refers to the area where the palace was built, next to a cannon depository. The main faÃ§ade is decorated with engravings designed by Giorgio Vasari. The palace garden was famous throughout Europe for its collection of exotic plants in the sixteenth century. There was a succession of owners over the years, the most notable of whom was the antiquarian Elia Volpi who contributed to the restoration of the palace restoring it to its former glory.  In 1912 the last owner donated the palace to the city on the condition it was used as the municipal art gallery. The art gallery has a wealth of masterpieces, enhanced by frescoes  by  Cristofano Gherardi, also called 'il Doceno', and Cola dell'Amatrice running from the large staircase, where there are mythical and allegorical figures. In the Great Hall the exploits of  Hannibal, Scipio, Caesar and Alexander the Great are depicted, at the request of Alessandro Vitelli, Commander, to highlight his military skills.  Of the works of art preserved in the art gallery, the oldest is the Great Altarpiece dating from the early fourteenth century, depicting the Madonna and Child with Angels by the Master of CittÃ di Castello, a sensitive Sienese painter and follower of Duccio. There are also important works by Luca Signorelli, Raphael, Ghirlandaio, Antonio Vivarini, Giusto di Gand, Raffaellino del Colle and Pomarancio  all of which contribute to making the collection one of the most beautiful in Umbria. The furniture on display originates mainly from local churches and convents.   Bibliography Zangarelli M. (2000), CittÃ di Castello â Le cittÃ e i territori, Octavo Editore. Tacchini A. (1988), CittÃ di Castello, 1860-1960: la cittÃ e la sua gente, CittÃ di Castello, Petruzzi. Tagliaferri A. (1991), Romani e non romani nell'alta Val Tiberina: da una ricerca archeologica di superficie, Udine, Del Bianco. Tacchini A. (1992), L'alta valle del Tevere in cartolina, CittÃ di Castello, Petruzzi. Tacchini A. (1996), CittÃ di Castello e il suo territorio in piante e carte d'archivio, CittÃ di Castello. Tacchini A. (2000), Artigianato e industria a CittÃ di Castello tra Ottocento e Novecento, CittÃ di Castello, Petruzzi. Zangarelli M. (2000), CittÃ di Castello â Le cittÃ e i territori, Octavo Editore. T.C.I. (2004), Umbria, Milano, Touring Editore.   Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.454472112.238446199999998[ ] Attrattoreen_US2441977090438https://www.umbriatourism.it/web/umbria/-/convento-di-san-francescoConvent of St. FrancisThe 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 FrancescoThe 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. <div>The enthusiasm for study led the scholars of the Convent to build a Library, an indispensable instrument for their training and research. In the following years the Library was enriched with several legacies and donations, so creating of the richest Franciscan collections in Umbria.</div> <div> </div> <div>Despite several depletions, the isolation of the small Convent has contributed to keeping many texts here in their old location and itâs still possible to admire the Library in it original arrangement.</div> <div> Source: Stroncone Tourism</div> <div> </div> Stroncone | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.499740512.663681999999994Stroncone55031[ ] Attrattoreen_US126154https://www.umbriatourism.it/web/umbria/-/arco-etrusco-di-perug-1Etruscan arch of PerugiaThe Etruscan Arch in Perugia, monumental entrance to the city returned to its former glory after the restoration of Brunello CucinelliArco Etrusco, Arco di Augusto, Porta Pulcra, Porta Vecchia, Porta Boreale, Perugia etrusca, porta etrusca, mura etrusche, giro delle mura e porte di Perugia, Perugia centro storicoThrough the Etruscan Arch- discover the heart of Etruscan-Roman PerugiaGateways opening to roads leading to the countryside and other nearby towns can be seen today along Perugia's Etruscan walls (fourth century BC). The two most important Porte or gates were the Etruscan Arch (or of Augustus) to the north and Porta Marzia to the south, situated at the end of the main road through the city, today called Corso Vannucci and Via Rocchi. Both entrances were opened during a major construction project on the city, implemented in the middle of the third century BC, which included, among other things, the re-building and the beautification of the city walls. The development of the two monumental gates is probably due to the extension of Via Amerina all the way to Perugia, which entered the city through Porta Marzia and out through the Etruscan Arch. The project definitely cemented the alliance between the city and Rome! While Porta Marzia to the south, full of symbolic value, represented a more welcoming entrance to those arriving in the city from the Tiber, Assisi, Orvieto or Rome, the Etruscan Arch to the north, leading toward Gubbio, was the only access along the walls for military purposes. The gate, also known as the Arch of Augustus, Porta Vecchia, Porta Boreale and Porta Pulchra, is flanked by two sturdy trapezoid-shaped towers, tapering upwards and rising to a height of about 20m. The arch of the door, about 10 meters high, is formed by a double ring of wedges, with the inscription "AUGUSTA PERUSIA", placed there at the time of the restructuring of the municipality of Perugia by the future emperor in the years immediately following the Perugia war (bellum perusinum, 41-40 BC). Higher up, along the bottom bezel of the frieze, is a second inscription COLONIA VIBIA, recording the status granted to the colony by the Emperor of Perugian origin, Vibius Trebonianus Gallus (251-253 AD). On the sides of the arch two protruding blocks of granite have been inserted, today the shape has worn, but they originally may have been human heads representing protective deities at the entrances. The elegant Renaissance loggia dates back to the Renaissance period, built on top of the left bastion and now the headquarters of the Authority for Archives, Heritage and Landscape of Umbria. Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.114806312.389885899999967[ ] Attrattoreen_US125137https://www.umbriatourism.it/web/umbria/-/anfiteatro-romano-a-carsulaeThe Roman Amphitheatre in CarsulaeThe amphitheatre is located in the ancient city of Carsulae (near to San Gemini)...The Roman Amphitheatre in CarsulaeThe amphitheatre is located in the ancient city of Carsulae (near to San Gemini), on a large plateau at about 450 m above sea level, in front of the ancient theatre. The construction, which is partly sunken into the ground due to a raise in the current ground level, rested directly on the solid ground so that the weight of the tiers would be offloaded only in part on the walls and the external pillars. It was built in the 1st century A.D. with limestone and brick, using the traditional technique of the period, in small blocks with horizontal bands of two bricks. The wall is externally reinforced with small buttresses placed at regular distances between one another. Following the excavations carried out during the 18th century, the perimeter wall was almost completely uncovered and the great arena cleared of debris which had fallen from the eastern slopes of the plateau. The amphitheatre measures 86.5 m on its longest axis and 62 m on its minor axis; at the height of about one third of the two long sides, straight walls built with the same technique have developed which unfold in the east towards the theatre and on the western slope in the direction of the basilica, which was to be an access point leading to the monumental entrance to the amphitheatre. The retaining walls are not brickwork, and trace back to a period prior to the construction of the amphitheatre. They perhaps belonged to the theatre's portico (post scaenam) and were used for gladiator performances (munera gladiatoria) before the construction of the amphitheatre itself. There are currently 5 access points along the amphitheatre's perimeter, one of which is on the long side to the north and two on each of the short sides. The steps have now completely disappeared, while the wall was restored on the north side which runs towards the arena and is just a few metres away from the west entrance.   Bibliography Coarelli F. & Fratini C. (2001) (a cura di), Archeologia e arte in Umbria e nei suoi musei, Perugia, Electa, (Catalogo regionale dei beni culturali dell'Umbria, 50) Gaggiotti M. et al. (1980), Umbria Marche, Bari, Laterza, (Guide archeologiche Laterza, 4) Santini L. (1998), Guida di Terni e del ternano, Ponte San Giovanni (Pg), Quattroemme San Gemini | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.638394512.562179600000036[ ] Attrattoreen_US2347569790438https://www.umbriatourism.it/web/umbria/-/parco-archeologico-industriale-di-campacci-di-marmoreThe Industrial Archaeological Park of Campacci di MarmoreThe 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 MarmoreThe Industrial Archaeological Park of Campacci di Marmore is a real open-air museum: it is located near the Upper Belvedere of the <a href="/-/la-cascata-delle-marmore-e-i-suoi-cinque-percorsi-a-piedi">Marmore Waterfall</a>, 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. The 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. Water 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: <a href="http://www.umbriaexperience.it/parco-archeologico-industriale-di-campacci-di-marmore/">http://www.umbriaexperience.it/</a> Terni | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.550127112.718768599999976Terni55032[ ] Attrattoreen_US11696390438https://www.umbriatourism.it/web/umbria/-/parco-archeologico-di-carsulae-terniCarsulae Archaeological ParkThe 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 flaminiaCarsulae Archaeological ParkIn 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. The Via Flaminia urban stretch constituted the "Cardo Maximus"âmain axis, from north to south, in Latin. It was paved with large blocks of stone called basoli and had edge-stones on the sides functioning as sidewalks and gutters to drain water. Funerary monuments are still visible to the north of the Arch of San Damiano, while on the opposite side there are Thermal Bath facilities, where the work of excavation has not been completed yet. The water supply was provided through some Cisterns, one of themâafter having had several different functionsâhas been transformed into a Antiquarium, and destined to house the display of the architectural fragments and frescoed detached plaster and architectural terracotta, as well as a series of sculptures for a funerary destination. The medieval Church of Santi Cosma e Damiano, built on a pre-existing Roman edifice along the Via Flaminia, testifies to the spreading of Christianity. This construction has been used as a depot of archaeological materials for a long time, and in recent times has been recovered and transformed into a display structure Information LocalitÃ Carsoli 05100 - Terni (TR)  email: info@carsulae.it sito web: <a href="http://www.carsulae.site/" target="_blank">carsulae.site</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   San Gemini | Terni | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.633143212.560780300000033San Gemini55029[ ] Attrattoreen_US542868393925https://www.umbriatourism.it/web/umbria/-/campello-altaCampello AltaOverlooking 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, CastelloCampello AltaOverlooking 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. According to history, the castle was founded in the mid-tenth century by Rovero Champeaux, who had dominion. Frederick I, Henry VI and Frederick II always reaffirmed the jurisdiction of the Counts of Campello because they favored the Swabians against the Church. In 1247 the Cardinal Legate Capocci recognized possession of Campello to the City of Spoleto. The animosity of the Counts of Campello against the Church recurred in 1326, when Count Argento Campello gathered militias to take it back. The Counts of Campello ceded their feudal rights to the castle to the Confraternity only in 1390. From then until the eighteenth century the castle was joined to the city of Spoleto, when it became an independent municipality. In nearby Pian delle Rotte, the exploration of a natural cavity has revealed a core of coarse clay pottery ascribed to the early and middle Bronze Age. The vases, found crushed in the earth, would suggest a ritual use of the cave. In general, Bronze Age sites are at the edge of the alluvial plains or in the hills, sheltered from the problems caused by the marshy plains. Campello sul clitunno | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.830001412.769246599999974Campello sul Clitunno54005[ ] Attrattoreen_US86831https://www.umbriatourism.it/web/umbria/-/palazzo-del-popolo-todiPalazzo del Popolo, TodiThe Palazzo del Popolo, principal seat of the PodestÃ during the Middle Ages, is now home to the Civic Museum, the Pinacoteca di Todi. Palazzo del Capitano, Palazzo del Popolo, town hall, medieval architecture, museum, oldest public buildings in Italy, civic museum, art gallery, archaeological museumPalazzo del Popolo, a visit to the first town hall of TodiThe eastern side of Piazza del Popolo is occupied by municipal buildings: two monumental buildings known as the Palazzo del Popolo and the Palazzo del Capitano, constructed respectively at the beginning and end of the 13th century. The older Palazzo del Popolo or Palazzo del PodestÃ , which juts out further than the  adjacent Palazzo del Capitano, was designated as the principal seat of the PodestÃ , a six-month appointment for an external magistrate in Todi from 1201 The Palazzo, one of the oldest public buildings in Italy, also known as the Palazzo del Comune, is the result of several interventions carried out over the centuries. Its original structure, based on the model of the municipal buildings of Northern Italy, consisted of a colonnade on the ground floor and a first floor meeting room for the General Council of the city, in charge of electing consuls. The residence of the PodestÃ occupied several adjacent rooms, facing the nearby Piazza Garibaldi, which were connected to the main body in 1228. It soon became inadequate for the needs of the Council, and as early as the middle of the 13th century, the Palazzo was raised by one floor and the entrance was moved to its current location. In 1267, the PodestÃ Pandolfo Savelli had the majestic staircase built, which enabled access to the first floor of both buildings, where the council chambers were located.  In 1523, the belltower overlooking Piazza Garibaldi was built, while at the beginning of the 20th century, Giuseppe Sacconi and Getulio Castillo restored the whole building by adding the crown of merlons. The facade onto the main square, in Gothic style, is characterised by a low portico and two orders of lancet windows. A 17th century walkway joins the Palazzo del Popolo and the Palazzo del Capitano, the top floor of which houses the Pinacoteca Civic Museum, refurbished and reopened to the public in 1997. The civic collections, organised into into various sections, tell the thousand-year history of the city of Todi. Accessibility â The Civic Museum of Todi The Museum is reachable with public transportation: the nearest bus stop of the line C, connecting the railway station to the historical centre, is located in Piazza Jacopone, about 120 metres from the museumâs entrance. For those using their own vehicles, Piazza del Popolo is located within the ZTL (LIMITED TRAFFIC ZONE) where you can access just if you are in possession of a disabled permit. There are car parks reserved for disabled in the adjacent Piazza Garibaldi; in the event they were occupied, itâs possible to park in those reserved for residents (white and yellow stripes).  If all car parks are full itâs also possible to park directly in Piazza del Popolo, but not when itâs pedestrian area. The Museum is accessible by people with motor difficulties or who need a wheelchair, except for the big hall hosting the Sections from the 4th to the 8th of the Urban Museum. The access to guide dogs is allowed to facilitate the visit by people with impaired sight or blind. Audio guides are not available and there are neither captions nor braille or raised information forms. Todi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.78157612.404223000000002[ ] Attrattoreen_US2083655090542https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-martino-fabroChurch of San Martino - FabroThe church of San Martino, named for the Patron Saint of Knights and Travelers is situated at a beautiful panoramic position at the center of Fabro. Church of San Martino - FabroThe church of San Martino, named for the Patron Saint of Knights and Travelers is situated at a beautiful panoramic position at the center of Fabro.  It was built in the 19th century. The pleasant facade, made of brick, is crowned by a simple pediment. Two side pilasters frame the front. The church has a very simple Latin cross interior with a single nave and semicircular apse. Among the furnishings there is a wooden relief carved in Val Gardena in 1930 and depicting San Martino. Fabro | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.872510412.016545400000041Fabro55011[ ] Attrattoreen_US95905https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-delle-lacrime-di-treviSantuario della Madonna delle Lacrime, TreviThe Sanctuary of the Madonna delle Lacrime, a walk through olive groves to admire frescoes by Perugino and Lo SpagnaSantuario della Madonna delle Lacrime, Trevi, Perugino, SpagnaThe shrine was built on the site of the rural home of a certain Diotallevi di Antonio, who, in 1483, for devotional purposes, painted a Madonna and child with St Francis.  The evening of August 5th 1485, someone saw the face of the Madonna weep tears of blood. Following the miraculous event, it was decided that a shrine would be built in memory of the event, with funds given by the municipality and several Trevi families. It was finished in 1522 and became an important place of worship of the Virgin Mary. The facade includes a Renaissance portal (1495-1498), by the Venetian Giovanni di Giampietro. The interior, in the form of a single-nave Latin cross, houses numerous chapels, two of which are decorated by two of the most important Umbrian painters of the Renaissance: Perugino and Lo Spagna. The first painted the Cappella del Presepio in 1521 which depicts, in the style typical of the painter, the Adoration of the Magi with Saints Peter and Paul on either side. The Cappella di San Francesco contains the Deposition of Christ by Lo Spagna, painted between 1518 and 1520. The scene, derived from the famous panel created by Raphael in 1507 for the Cappella Baglioni of San Francesco al Prato in Perugia, is surmounted by a lunette with St Augustine with Devotees and Angels and surrounded by the figures of Saints Ubaldo and Joseph. Alternating with the chapels are fine sepulchral monuments carved in caciolfa stone, belonging to members of the Valenti family. The family was also responsible for the construction of the polychrome marble altar of the Madonna delle Lacrime, intended to accommodate the image of the Virgin in whose honour the shrine was built. The church, which is open every day of the week, is managed by the Sisters of the Holy Family of Trevi. Trevi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.8752412.738474999999994[ ] Attrattoreen_US95805https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-pietro-a-bovara-di-treviAbbey of San Pietro a Bovara, TreviThe abbey of San Pietro a Bovara, between Trevi and Pissignano, beloved by St. Francis for prayer gatherings.Abbey of San Pietro a Bovara, St. Francis, St Francis Way, Trevi, the Olive of Sant' Emiliano, UmbriaThe Abbey of San Pietro is in the village of Bovara, between the towns of Trevi and Pissignano Mentioned for the first time in a document dating back to 1177, it was a powerful independent abbey until 1258 when it came under the jurisdiction of the nearby abbey of Sassovivo, near Foligno. The original layout of the faÃ§ade and interior of the adjoining twelfth-century church, restored in the nineteen-fifties, have been preserved intact with the exception of the presbytery which was rebuilt in 1622. In the chapel of the left nave, decorated with baroque stucco, is the wooden Crucifix, in front of which, according to popular devotion, Brother Pacifico had a vision of paradise during one of his trips with St. Francis to the Rieti valley. The episode was represented by Giotto in the Basilica of San Francesco in Assisi. The crucifix that you see today actually dates from the fourteenth century, and therefore after the saint's death, but there are many sources that document his stay at the church, particularly loved by Francis due to its remote location which is well-suited to more fervent prayer. An interesting fact about the site: the name Bovara comes from pagan tradition tied to the purification of the oxen in the waters of the Clitunno, prior to sacrifice to the gods. Near the Abbey is the Olive tree of Sant'Emiliano, the oldest in Umbria and some 9 metres high; it is 1700 years old and according to tradition, in 304 the saint was tied to its trunk and killed. Trevi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.8625386999999912.749825800000053[ ] Attrattoreen_US117013https://www.umbriatourism.it/web/umbria/-/rocca-maggiore-di-assisiThe "Rocca Maggiore" Fortress - AssisiStanding on the highest hillside of the town, the Rocca Maggiore fortress of Assisi is reachable by going up Via Porta Perlici, near the Cattedrale of San Rufino, or by taking the exterior beltway that arrives right at the top of the Asio HillRocca maggiore di Assisi<div style="clear:both;">The first historical mention of this fortified structure dates back to 1173-1174, when Christian, Archbishop of Mainz, sacked Assisi on behalf of Emperor Frederick Barbarossa. In 1198, a popular uprising tore down the Fortress. Tradition says that on this occasion the townspeople kicked out Conrad I von Urslingen, the Duke of Spoleto, together with little Frederick II, who at the time was only four years old. What remained of the fortress remained neglected until 1362, when Cardinal Gil Albornoz decided to rebuild it over the ancient German fortifications. The imposing and austere Rocca Maggiore fortress overlooks the historical city center of Assisi, the Tescio River's narrow ravine below and a large part of the Umbrian Valley, which extends from Perugia to Spoleto. Visiting its structure provides the opportunity to observe a significant example of well preserved 14th century military architecture, while enjoying one of the most evocative panoramas of Umbria. The itinerary of the Tour brings the visitor inside the Albornoz style fortressâwith its square planâthat consists of a Keep and a Polygonal Tower and has been expanded over the centuries with a surrounding system of walls and towers. At the time of the Signoria of Biordo Michelottiâbetween 1394 and 1398âseveral maintenance and restoration actions were carried out; his coat of arms is sculpted in various parts of the fortress. In 1458, on its northwest side, a Polygonal Tower was raised by order of Jacopo Piccinino. The next year, Pope Pius II ordered the construction of the Corridor that connected the Rocca with the Polygonal Tower. The entrance door near the Keep was opened in 1484; three coats of arms are sculpted above it, the one at the center is that of Pope Sixtus IV. At the end of the 15th century the Rocca became the setting of vicious fights between the Fiumi and Nepis families. In 1501, first Cesare Borgia and later his sister Lucrezia lived there. The last important construction work on the Rocca fortress was carried out in 1535, when Pope Paul III ordered the building of the Circular Bastion. After its primary defensive function, the Rocca Maggiore became a residence of the castellans, custodians charged with the security of the surrounding territory. It later became a prison and then a warehouse.</div> <div style="clear:both;">Appreciated again, and enhanced by restoration work, the Rocca can be visited today. The entrance door opens near the 16th century bastion; inside there is a courtyard, all paved with bricks of the 14th century; on the side there is the donjon, where the service rooms were located. The keep was the house of the castellan; there are five rooms inside itâone above the otherâthat are reached by a spiral staircase.</div> Opening times March and October: from 10 am to 5.30 pm April, May and September: from 10 am to 7.30 pm June, July and August: from 9 am to 8 pm From November to February: from 10 am to 4.30 pm Tickets Full 6 â¬ - Reduced 4 â¬ Integrated: full 9 â¬ - Reduced 6 â¬ Discounts: university students with ID card, schools, 8 - 18 years, over 65 years old, groups of more than 20 people Free: students with guided visits, residents of Assisi, children under 8 years old, people with limited mobility Info <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: info@assisisi.com <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Assisi | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.073260112.61517779999997[ ] Attrattoreen_US2071317490494https://www.umbriatourism.it/web/umbria/-/palazzo-della-corgna-citta-della-pievePalazzo della Corgna - CittÃ della PieveThe Palazzo della Corgna is the most important CittÃ della Pieve noble home.Palazzo della Corgna - CittÃ della PieveThe Palazzo della Corgna is the most important CittÃ della Pieve noble home. 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. Ascanio, in 1550, had been appointed by his uncle Pope Julius II as perpetual governor of Castel della Pieve, the ancient name of CittÃ 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. Currently 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 NiccolÃ² Circignani, known as Pomarancio, representing the Concert of Muses and dated to 1564. The 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. CittÃ della Pieve | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.947773812.003295699999967CittÃ della Pieve54012[ ] Attrattoreen_US122612https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-ameliaVini Doc e Docg AmeliaKnown in ancient times as Ameria, named after its founder Ameroe, the town of Amelia has a very long history. The first community settled here even before the foundation of Rome.  This was the period that saw the construction of the polygonal walls, the only effective way of defending the town against attacks from the nearby Etruscans. Vines have always been grown on the hills in this area. The Latin poet Virgil, in Book I of the Georgics, dedicated several verses to the patience and care lavished on the vines by the vine dressers. Today, the vineyards and olive plantations merge to combine a harmonious landscape that is difficult to find anywhere else: the ultimate fusion between man and his territory. The Grechetto, Malvasia, Ciliegiolo and Sangiovese are the most commonly-grown vines in an area that is better-known for its long history of producing Vin Santo, a dessert wine with a vintage flavour.   Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.556771812.414636100000052[ ] Attrattoreen_US2820786090438https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-impensoleThe Church of Santa Maria ImpensoleThe 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 The 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. <div>The Architecture In the back wall the small apse with embossing, the unique altar is of rectangular stone, with a marble table of considerable size, supported by six pillars, adorned with Cosmatesque work and joined by many boxes of stones. Within their core the two sides pillars have an opening as a shape of clover from which relics are seen. The precious wooden statue of the Assumption dates from the 17th century and is placed on a shelf at the center of the apse. On the walls, traces of paintings from the the 14th and 15th centuries remain. In the church popular assemblies, or corporations are often held.  The church is located on the east side of the entrance of Via Mazzini.</div> <div> </div> <div>The exterior has a porch with a triple-arched arcade, corresponding to the three doors of the entrance, divided by four columns of travertine, of which two are full and two embedded in the side pillars, and two having a square base and two, a cylindrical base. Their Corinthian capitals are decorated with acanthus leaves  and tendrils typical of the order (on three), while the left one has many branches of flowering roses symbolizing the purity of Mary.</div> <div>The door frames are ornamented by floral tendrils and friezes, some animal figures-symbols: the lamb, the lion, the eagle, the peacock. Above the central portal is the graven image in the medallion, representing a gesture of blessing, a welcoming and encouraging gesture. Some art critics believe that it is the image of the Redeemer, while according to others it could be a symbolic figure, such as St. Benedict, because the church belonged to the Benedictines. Flanking the portal are two stone lions. To the left are two imperial eagles, overlooking a lamb of the Apocalypse. </div> <div>The austere space invites meditation and reflection, a sense of mysticism. During the turbulent age of City States, religion was the soul of each activity. </div> <div>The trussed roof and the light of the windows makes the Church even more impressive. The building takes the form of a Latin cross, with a nave and side aisles, divided by two rows of four columns that support the characteristic segmental arch, as the Cathedral of San Giovenale and two pillars that support the triumphal arch. The capitals of the columns are of the Corinthian order, except the third on the right, which has two entwined human figures each of two lions, perhaps belonged to the first founding of the church in the eighth century, or of barbaric origin.</div> <div> </div> <div>Underground Leaving the church, going down some stairs to the left, find the entrance of the underground. There are three rooms, an entrance hall, a small room adjacent to which is accessed through a makeshift step, and finally a large room with three naves, divided by pillars. The entrance is rectangular vaulting, with three niches on the right wall. The central niche built in the apse is cantilevered, this space is below the presbytery. On the left wall, made up of discontinuous masonry, made with reused materials, is the entrance to the underground of the nave of the church. The pillars, five on each side, connected with the walls by arcs represent an interesting element for finishing and for the use the use of building Narni of the typical pink and white stone, excavated from Mount Ippolito. The pillars in turn rest on the oldest pillars.  Entering to the right there is a arcosolium grave (6th c.) and across the remains of a Roman wall construction herringbone, which could be of the same era. In the bottom left, there is a well on which rest the foundations of the wall of the upper church facade.</div> <div>This church, as most of the city of Narni, has its foundations on the ruins of war and natural destruction of ancient Nequinum.</div> <div> Returning 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. The underground rooms are visible only during the period of the town's Corsa all'Anello festival.</div> <div> </div> [Source: <a href="http://www.turismonarni.it">www.turismonarni.it</a>]     Narnihttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.517602212.515629900000022Narni55022[ ] Attrattoreen_US1990760190438https://www.umbriatourism.it/web/umbria/-/eremo-sacro-speco-di-san-francescoSt. Francisâ Sacred Cave HermitageThe 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 HermitageThe 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. In 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. The 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. In 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. The 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. Today the hermitage is a house for prayer.  Narni | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.517602212.515629900000022Narni55022[ ] Attrattoreen_US8281334https://www.umbriatourism.it/web/umbria/-/unesco-chiesa-di-san-salvatoreThe Church of San Salvatore in SpoletoThe Basilica of San Salvatore is a very interesting early-Christian building built between the end of the 4th century and the beginning of the 5th. The Basilica of San Salvatore is a very interesting early-Christian building built between the end of the 4th century and the beginning of the 5th. It has an original and unusual appearance, very similar to that of the Tempietto sul Clitunno (Temple of Clitumnus), which brings together classical art with eastern influences. Of the original basilica and its oldest transformations only the apse, presbytery and the front remain, as well as the re-use of numerous elements from a Doric order Roman sanctuary which gave rise to the early-Christian basilica with a trabeated structure.  The monumental inspiration of the Longobard dukes of Spoleto can be seen here, in the restoration of the church which took place in the 8th century. This restoration carried out by the Longobards added an exceptional coherence, both to the architectural structure, marked by the aisle and presbytery columns, and in the use of Roman decorative models. The faÃ§ade (restored in 1997) is divided into two floors. On the lower one are three marble doors with architraves decorated with plant motifs, the majority of which are built with materials from the Classical age. On the upper floor are three large windows: a central arched window between two tympanum windows. The interior has three aisles, previously divided by high fluted Doric columns, which supported the immense entablature: on these was a cladding probably made of stucco, along the walls of the central nave purporting to be of another Doric order. Towards the large arch of the apse, the original elements starting from the entablature are visible, which over the centuries has been replaced by arches supported by pilasters and columns. At the end of the aisles are three apses, the two side ones are square whilst the central one is semi-circular. The square-plan presbytery is clearly distinct from the structure of the main nave in that it has kept its original trabeated appearance: at its four corners are pairs of tall Corinthian fluted columns, with sections of entablature above; higher still on the original corbels with bas-relief decoration, is a segmented dome, although its current form may not be its original one. At the centre of the apse, in a niche, is the fresco of a monogrammed and jewelled cross which, together with the traces of decorative faux marble coverings show the oldest pictorial decoration. Above is a fragmented fresco from the 13th century, Madonna with Child and Saint, and next to it is a 16th century Crucifixion of the Spanish School. On the walls and in the two votive chapels are frescoes from the 14th and 15th centuries.   [ ] Attrattoreen_US112203https://www.umbriatourism.it/web/umbria/-/museo-del-vino-torgiano-muvit-torgianoMUVIT â Torgiano Wine MuseumThe Museo del VinoâMUVITâis hosted inside Palazzo Graziani-Baglioni, along the main street of Torgiano, a renowned viniculture production centre between Perugia and AssisiMUVIT â Torgiano Wine MuseumThe Museo del VinoâMUVITâis hosted inside Palazzo Graziani-Baglioni, along the main street of Torgiano, a renowned viniculture production centre between Perugia and Assisi This Palace, built in the 17th century, represents an important example of a patrician rural estate. It was the summer residence of the Perugian Graziani family. Its name "Graziani-Baglioni" is due to the marriageâin the 19th centuryâof Anna Graziani and Pietro Baglioni. Its premises have hosted the Wine MuseumâMUVITâsince 1974, when it was conceived of and realized by the initiative of Giorgio and Maria Grazia Lungarotti. The museum is unusual  in that it is privately owned with a thematic character, and is motivated more by historical and cultural ambitions than by business interests. The collection is subdivided into thematic sections, but all of them are centered on the main subject: wine. Here the visitor can admire rare and important archaeological finds like ancient wine amphorae, ewers and symposium cups, ceramics from the Early Middle Ages to contemporary times, engravings, winemaking tools and, unique in its genre, a collection of Waffle Irons. Managed by Lungarotti Foundation, the Museum occupies the rooms of the building that were once used for the storage and processing of agricultural products. Among the most interesting items collected are some ceramicsâdated from the 16th centuryâof the Master Giorgio Andreoli, skilful master of the lusterware technique; engravings from Mantegna to Picasso and also the 18th century monumental wine press named "Catone", used until 1973. Peculiar beer steinsâof a convivial banquet kind such as "drink if you can", alluding to ironic and convivial gamesâare exhibited inside the Museum, and the visitor is invited to find the mechanism that releases the wine. Information OPENING TIMES From October to March: Tuesday to Sunday 10 am -1 pm/3 â 5 pm From April to June:  Tuesday to Sunday 10 am -1 pm/3 â 6 pm  From July to September: Monday to Sunday 10 a.m. - 6 p.m.   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Corso Vittorio Emanuele II 06089 - Torgiano (PG)  email: prenotazionimusei@lungarotti.it sito web:www.lungarotti.it/fondazione/muvit   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Torgiano | Places of cultureMuseo del Vino - MUVIThttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.0257602999999912.433590800000047[ ] Attrattoreen_US112169https://www.umbriatourism.it/web/umbria/-/caos-terniCAOS Modern and Contemporary Art Museum "Aurelio de Felice" - TerniThe Museo D'Arte Moderna e Contemporanea "Aurelio De Felice" â CAOS, Centro Arti Opificio SIRI premises were restructured by Terni Municipality to house art collections and exhibitions in the reused space of the former SIRI factoryCAOS Modern and Contemporary Art Museum "Aurelio de Felice" - TerniThe Museo D'Arte Moderna e Contemporanea "Aurelio De Felice" â CAOS, Centro Arti Opificio SIRI premises were restructured by Terni Municipality to house art collections and exhibitions in the reused space of the former SIRI factory The first industrial settling in the area was an old Papal Ironwork factoryâthe Ferriera Pontificiaâbuilt in 1793 as per the Apostolic Chamber disposition. At the time of the process of the unification of Italyâ1860sâthis plant was still the largest factory in Umbria, covering 12,000 square meters and with a labor force of about 200. Closed down in 1905, its premises, consisting of several buildingsâwarehouses, offices, mineral depots and the housing of the personnelâwere reused in 1919 for metalwork and chemical manufacturing production destined prevalently for the armament industry. In 1925, with the guiding ideas of Luigi Casale, and after a series of changes and corporate acquisitionsâlike IDROS and SISAS, acronym for SocietÃ Italiana per l'Ammoniaca Sintetica (Italian Synthetic Ammonia Company)âthe enterprise was transformed into SIRI, acronym for SocietÃ Italiana Ricerche Industriali (Italian Industrial Research Company). The main activity of this enterprise was the production of synthetic ammonia and other chemical products. Starting in the 1930s, SIRI concentrated primarily on research, abandoning large production. The activity carried on without interruption until the 1970s, with a progressive slowing down of production until its definitive closure in 1983. Today, the site hosts works of art dating from the 15th to the 19th century, in the new Museum of Modern and Contemporary Art, which is set up with innovative criteria. They had preivously been exhibited in the  "Omeore Metelli" Municipal Gallery, housed in Palazzo Gazzoli. Among these, the ones of the Italian Renaissance Masters like Piermateo d'Amelia and Benozzo Gozzoli or of local artists like NiccolÃ² Alunno, Giovanni di Pietro, known as Lo Spagna, and Pompeo Cocchi come to the fore. Collections of works such as the Naive paintings of Orneore Metelli or the sculptures of Aurelio De Felice also have their space in the museum. Visitors can also view works of graphic art by artists like Chagall, MirÃ², Leger and Kandinsky. Much space is dedicated to contemporary works of art of artists such as Turcato, Mastroianni, Pomodoro, Severini, Montanarini, Minucchi, Passalacqua, Chung Eun Mo and others. The entire property was acquired bit by bit from 1997 to 2002 by the Municipality of Terni. Together with the preservation of the access alley and central court, the whole pre-existing complex was recovered and reused for Cultural and Recreational Services, while the entire first floor returned to being living quarters. Accessibility For those arriving by car, there is some parking reserved for the disabled are located along Via Giandimartalo Di Vitalone, otherwise itâs possible to use the covered car park of the COOP supermarket, which has an exit directly into the CAOS complex.  Alternatively, by prior arrangement, itâs possible to drive in from the parkâs entrance on the corner between Viale Luigi Campofregoso and Via Giandimartalo Di Vitalone, on the roundabout. Here, within the CAOS space, you can park the car near the ticket office entrance for the duration of the visit.  The facility can also be reached with the public transportation: the nearest bus stops are located along Viale L. Campofregoso and Via G. Di Vitalone. The building interior is entirely accessible to people with motor difficulties or in a wheelchair, but the entrance of the Museumâs ticket office has a small double step that could create some problems.  Guide dogs are allowed to enter. There are not audio guides nor is there information in braille or other tactile media. Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Viale Campofregoso <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">05100 - Terni (TR)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: info@caos.museum <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">sito web: www.caos.museum    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Terni | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.559465912.652323199999955[ ] Attrattoreen_US2067142890518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-casciaChurch of San Francesco - CasciaThe first church dedicated to the Saint of Assisi in Cascia was founded in 1247, twenty years after his death.Chiesa di San Francesco - CasciaThe 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.716949913.011882600000035Cascia54007[ ] Attrattoreen_US4547282https://www.umbriatourism.it/web/umbria/-/il-pane-di-terniIl pane di TerniIngredients and recipe for an icon of Umbrian cuisine  Il pane di Terni (Bread of Terni) Ingredients: 800 g wheat flour 200g natural yeast 440g of room temperature still mineral water 8g of fresh beer yeast A pinch of salt Wheat bran   Preparation Mix the flour with some of the water until you obtain a lumpy and moist composite. Let it sit for at least 30 minutes. Then add salt, the remaining water, and the beer yeast, whilst constantly mixing. The result will be a homogenous and smooth mass which needs to ferment for 2 to 4 hours. After kneading the composite by hand, break off and smooth out portions of about 800g each. Dust these off with the wheat bran and cover them with a cloth. Put everything in the oven heated to 220 C and let it cook until brown. Terni | Traditional recipeshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=142374927335542.565778812.644896300000028[ ] Attrattoreen_US9258745297576https://www.umbriatourism.it/web/umbria/-/basilica-di-san-valentino-a-terniBasilica di San Valentino, TerniThe Basilica di San Valentino houses the tomb of the patron saint of lovers, celebrated on February 14thBasilica di San Valentino, Terni, patron saint of lovers, festa della promessa, festa di San Valentino, Valentine eventsThe Basilica di San Valentino in Terni, a place to pledge your loveThe Basilica of San Valentino stands just outside the old town centre of Terni, on the site of an ancient Christian cemetery where St Valentine was buried. He was the first bishop of the city and a martyr, who lived in the 3rd century AD.  The first church dedicated to his worship was the site of the historic meeting in 742 AD between Pope Zachary and the old King of the Lombards Liutprand, passionate upholder of the miraculous power of the martyr, whose remains were already venerated at this site. Ceded to the Benedictines between the 8th and 13th centuries, the Basilica suffered the fate of the city of Terni, which was subjected to raids, looting and destruction.  The history of the basilica is unclear up to around 1605, when the search for the body of St Valentine began. The excavations were promoted by Pope Paul V as part of the revived interest in the first martyrs of the Church, which served to authenticate their existence and increase their veneration. The state of ruin besetting the basilica and the growth in the worship of St Valentine, led to his relics being transferred to the Cathedral and the reconstruction of the church, which started in 1606, to be speeded up, with the construction of a building with a single nave, today housing the altar containing the body of St Valentine, solemnly returned to the basilica in 1618.  The stucco statues on the facade, also dating from the 17th century, were placed there during an 18th century restoration. The Saint's custom of promoting relationships among the young is associated with a number of legends.  The legend of Sabino and Serapio tells of the difficult earthly marriage between a pagan and a Christian, brought together by Valentine for eternity in a blissful sleep. That of the Rose of Reconciliation, offered by St Valentine to an arguing couple to reconcile them, seems to have given rise to the anniversary of February 14th, the day on which the Feast of Lovers has been celebrated since the discovery of the body in the basilica in Terni.       Terni | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.563616812.642660400000068[ ] Attrattoreen_US320895190438https://www.umbriatourism.it/web/umbria/-/rocca-albornozianaRocca AlbornozianaThe Rocca Albornoziana, or Albornoz Fortress, dominates Narni and the Nera River gorge from above. Rocca AlbornozianaThe 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. We suggest you stop in to enjoy the spectacular views over the vast countryside, and to visit its museums and multimedia centre. The fortress is square, its four corners fortified by towers and a moat and second wall for even further protection. The walls and the towers, crowned with corbels, embrace a courtyard that can be accessed via two elegant gates. The courtyard is square and on it are two buildings. An elegant staircase leads to the first floor, once a noble residence. The largest of the four towers is the keep and has a side that is 20 bracci wide and four storeys tall, plus a basement. Construction on the fort began in 1367 on top of what was once a military settlement built by Federico Barbarossa. Just four years later, in 1371, Pietro, or perhaps Giovanni, di Nevico moved in as the first castellano. Work was completed in 1378. Several architects worked on the project, and historians presume that Ugolino I di Montemarte and Matteo Gattapone, who worked on several buildings being built by Cardinal Albornoz, were among them. Between 1370 and 1449 the fortress was home to popes, cardinals and generals, its fate linked closely to theirs. In 1449 the plague forced NiccolÃ² V to move in and he embarked a series of projects to enlarge its defensive structures. These projects were continued under Pope Sisto IV and then Innocence VIII until the end of the 15th century. The fortress resisted numerous assaults and was governed by a long series of castellani until 1798 when, after Rome declared itself a Republic and Pius VI fled, French troops stripped the fortress of its weapons and took away its canons. In the 19th century it was used as a prison and in 1906 it was bought for pittance by the Russian prince Mestschezsy. In 1972 it was purchased by a Roman family and is now owned by the City of Narni and the Province of Terni. Cardinal Egidio De Albornoz (Cuenca, 1299 - Viterbo 1367), papal legate and vicar, worked to strengthen the power of the Church all over the papal state. He had castles and forts built everywhere he could - often designing them himself - to serve as a symbol of the power of the Church. You can walk up Via del Monte to the complex, or drive up over the Flaminia towards Rome and then turn left. The fortress still represents a royal window overlooking the Middle Ages of Narni. Through guided tours it is possible to enter one of the most evocative environments of the territory. On the main floor, the thematic layout accompanies visitors through the fascinating medieval world; here, in fact, it is possible to admire reconstructions that represent a focus on the life of the fourteenth century. You can access the two main historical emergencies of the Narni Municipality - the Albornoz fortress and the <a href="/-/Museum of the-city-and-territory-in-Palazzo-Eroli">Museum of the city and territory of Narni in Palazzo Eroli</a> - with a single ticket. (For further information: 0744.717117 - narni@sistemamuseo.it) Narni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.513290812.520449299999996Narni55022[ ] Attrattoreen_US92521https://www.umbriatourism.it/web/umbria/-/terni-la-citta-dell-amoreTerni, city of loveTerni, the city of Saint Valentine and the Marmore waterfall, offers unexpected evidence of all periods of history Terni, Saint Valentine, steel mills, industrial archaeology, marmore waterfall, city of loveIn Terni, city of love, be astonished by the riches of all periods of historyAt the southern edge of Umbria, Terni is at the centre of a large plain within the catchment area of the rivers Nera and Velino The city of Saint Valentine and the Marmore waterfall, and noted for its industry, offers unexpected evidence of all periods of history and excellent examples of reuse of derelict industrial facilities. The 1925 SIRI chemical factory site now hosts CAOS- Centro per le Arti Opificio Siri - a great cultural space that comprises the archaeological Museum and the 'Aurelio de Felice' museum of modern and contemporary arts. The Corso del Popolo designed by architects Mario Ridolofi and Wolfgang Frankl, is representative of the great urban transformations that occurred after the second world war, and features the 'Lancia di Luce', a 30 metre high steel artwork by Arnaldo Pomodoro (1993). The centrally located piazza della Repubblica, where the forum of the Roman city of Interamna was located, features  palazzo Spada, seat of the municipality, designed by Antonio da Sangallo, who died in Terni in 1546.  Nearby is the older church of San Salvatore, of early Christian origin, expanded in the 12th century and also featuring important 13th century frescoes. Also of note are the Cathedral of Romanesque origin, renovated in the 17th century, the Sant'Alo church (12th century) and the Saint Francis church, with its famous cycle of Judgment Day (1450) by Bartolomeo di Tommaso. In the 14th century San Pietro church the Gothic panel of the Dormitio Virginis can be admired. Of note are the stately residences that embellish the plazas, squares and historical streets of the city, among which the medieval palazzo Mazzancolli, and the 17th-18th century residences of Carrara, Manassei, and Gazzoli.  In the southwest area of the city you can find the 1st century amphitheatre.   Leaving the historical town centre, beyond the Nera river, is the basilica of Saint Valentine, renovated in 1618 and dedicated to the first bishop and patron of the city. The town's boundaries are within the Nera river park, which is ideal for all water sports. In the immediate surrounding area you can also enjoy the fascinating beauty of the Marmore waterfall, Piediluco lake and the <a href="https://www.umbriatourism.it/en_US/-/parco-archeologico-di-carsulae-terni?p=/ancient-history&t=Storia%20antica">archaeological park of Carsuale</a>, which preserves the remains of the Roman city along the via Flaminia Terni | Art in Umbria | Urban trekkinghttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.563616812.642660400000068[ ] Attrattoreen_US2075118490422https://www.umbriatourism.it/web/umbria/-/parco-delle-sculture-a-brufaPark of sculptures in BrufaThe 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 BrufaThe 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. The result, in continual evolution, is an itinerary of contemporary sculptures made by artists of national and international reputation in an harmonious combination of nature, urban and rural landscape as well as contemporary sculpture, stretching along the crest of the hill of Brufa, in the Torgiano district. The position devoted to the permanent installation of an artwork is identified by the artist, who lives and studies the territory to get to know it in each form, so that sculptures can always be an authentic enrichment of the surrounding environment and, without affecting its key elements, can create a new natural and cultural itinerary.    <style type="text/css">.rwd-video { height: 0; overflow: hidden; padding-bottom: 56.25%; padding-top: 30px; position: relative; } .rwd-video iframe, .rwd-video object, .rwd-video embed { height: 100%; left: 0; position: absolute; top: 0; width: 100%; } </style> <div class="rwd-video"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="411" src="https://www.youtube.com/embed/YljktkeiW2A" width="730"></iframe></div> Displayed Artworks 1987 Massimo Pierucci - Brufa 1988 Marcello Sforna - LâEquilibrista (The Tightrope Walker) 1989 Mario Pizzoni - La Serena di Tuoro (The Serene of Tuoro) 1990 Agapito Miniucchi - Thaun 1991 Giuliano Giuman - Ianuae 1992 Aurelio De Felice- La montanara (The highlander) 1993 Bruno Liberatore - Torri (Towers) 1994 Nino Caruso - La porta di Dioniso (Dionisoâs Door) 1995 Loreno Sguanci - Il grande segno (The big sign) 1996 Umberto Mastroianni - Primavera per Brufa (Spring for Brufa) 1997 Mirta Carroli - Il tempio delle voci  (The temple of voices) 1998 Carlo Lorenzetti - Arc-en-ciel (Arch in the sky) 1999 Joaquin Roca Rey - Sursum corda 2000 Nicola Carrino - Progetto Brufa Costruttivo modulo L (Brufa Building project - Module L) 2001 Giuliano Giuliani - Tronco (Trunk) 2002 Gino Marotta - Grande Alone (Big aura) 2003 Eliseo Mattiacc i- Porta di Castelgrifone (Door of Castelgrifone) 2004 Mauro Staccioli - Brufa 04 2005 Valeriano Trubbiani - Volo frenato (Hampered Flight) 2006 Pietro Cascella - Fontanina (Small fountain) 2007 Teodosio Magnoni - Ara (Altar) 2008 Federico Brook - Le nuvole di Brufa (Clouds of Brufa) 2009 Umberto Corsucci - VitalitÃ (Vitality) 2010 Ettore Consolazione - Contro tutti i terrorismi  (Against all forms of terrorism) 2011 Beverly Pepper - Broken Circle 2012 Federica Marangoni - Un volo impossibile (An impossible flight) 2013 Marco Mariucci - Lâuomo di Brufa (The man of Brufa) 2014 Tito Amodei - Vibrazioni (Vibrations) 2015 Paolo Pasticci - Macina umana (Human millstone)     Source: <a href="http://www.scultoriabrufa.it/" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0);" target="_blank">http://www.scultoriabrufa.it/</a> Torgiano | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.058881112.473302099999955Torgiano54053[ ] Attrattoreen_US95943https://www.umbriatourism.it/web/umbria/-/parco-del-monte-subasioMonte Subasio ParkVisit Monte Subasio Park and explore the places of Franciscan spiritualityParco del Monte Subasio, Eremo delle Carceri, Assisi, San Francesco, Umbria, via di FrancescoVisit Monte Subasio Park and explore the places of Franciscan spiritualityMonte Subasio Park is steeped in the history of St. Francis, not just because it encompasses the historical centre of his native town, <a href="/-/assisi">Assisi</a>, but also because of the nature from which the Saint drew inspiration for his love of all creation: the olive groves that thrive on its lower slopes lead visitors upwards through dense woods of oak to the wide open fields and pasture land that characterise its summit.  It is here, on a slope, nestled in a wood of centuries-old trees, that you'll find the <a href="/-/eremo-delle-carceri-ad-assisi">Eremo delle Carceri</a>, one of the most sacred of Franciscan destinations. The pink stone used since ancient times to build abbeys, churches and small fortified hamlets, not to mention the Eremo and the old centre of Assisi, comes from Mt. Subasio, the mountain most closely tied in with the history of St. Francis. As the sun sets, the stone takes on a remarkable amber hue that envelopes the entire city, countryside and the surrounding landscape, exalting its ascetic dimension. The Park also encompasses the towns of <a href="/-/spello-uno-dei-borghi-piu-belli-d-italia">Spello</a>, <a href="/-/nocera-umbra">Nocera Umbra </a>and the <a href="/-/valtopina">Valtopina </a>valley. Of the many landmarks in the two cities, the Church of Santa Maria Maggiore, with its magnificent frescoes by Pinturicchio, and the church of San Francesco are especially worthy of note. The latter bears witness to the cult surrounding the saint, who often sojourned in Nocera Umbra during his frequent peregrinations and is where, according to reliable biographical sources, he performed several miracles. Hiking is facilitated here by a well-planned network of trails. The mule tracks and dirt roads are ideal for horseback riding and outings on mountain bikes. If you are interested in exploring places tied to the cult of the saint, we suggest you walk along the <a href="http://www.umbriatourism.it/it/la-via-di-francesco">Via di Francesco</a>. The special geo-morphological characteristics and currents make Monte Subasio the ideal place for paragliding and gliding, and it is also very popular with kite enthusiasts.  Assisi | Spello | Valtopina | Nocera Umbra | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.0669780000000112.652438999999958Assisi - Valtopina- Nocera Umbra - Spello[ ] Attrattoreen_US1299235712648926https://www.umbriatourism.it/web/umbria/-/fra-jorge-e-la-statio-peregrinorum-luogo-di-arrivo-della-via-di-francescoBrother Jorge and the Statio Peregrinorum, arrival place of Francis' route...and sharing point of many travel-stories. via di francesco, san francesco, umbriatourism, tursmo, umbria, statio peregrinorum, sacro convento di assisi, umbria, assisiBrother Jorge and the Statio Peregrinorum, arrival place of Francis' routeThe Statio Peregrinorum is located a few meters from the entrance to the Sacred Convent in Assisi. It's a small but very important office for pilgrims since it issues the Testimonium at the end of one's own pilgrimage journey.  The coordinator of the Statio Peregrinorum activity is Brother Jorge Fernandez, a polite and calm friar from the North of Argentina, came to Assisi a few years ago, after having spent 6 years in Rome and travelled in 16 Southern American countries. Brother Jorge speaks Italian, English, Spanish and Portuguese and within the Sacred Convent, beyond the many other duties, he deals with all the activity revolving around the Statio Peregrinorum and to its meaning for pilgrims. "The Statio Peregrinorum," Brother Jorge explains, "is open all days of the year from 10 am to 12.30 pm and from 2 to 5.30 pm and it represents a spiritual welcome point for pilgrims coming to Assisi. The principal function is issuing the "Testimonium" to those meeting the requirements to get it, that is having walked at least 100 km or having ridden by bike 250 km. Nevertheless, even who doesn't meet these requirements or arrive without credentials, won't be sent away empty-handed, but will receive a Blessing postcard. "Furthermore, the Testimonium is also issued to mascots who accompanied pilgrims in their journey, such as dogs and every kind of animal. Beyond the Testimonium," Brother Jorge continues, "we provide information to all pilgrims, both on Assisi and on walks, listening to their requests, issuing some 'emergency' credentials to those about to start off on the route from Assisi and who didn't know to request it in advance. Furthermore, all the pilgrims receiving Testimonium are invited to the Pigrim's Mass, taking place from Monday to Saturday at 6 pm and where participating pilgrims receive a special blessing addressed to them". Brother Jorge also deals with registering all the pilgrims receiving the Testimonium or the Blessing postcard, asking them to fill out a short questionnaire that is very important also from a statistical point of view. "About half of pilgrims are Italian," Brother Jorge notes, "and we have German, Austrian, French and Dutch people. The latest period saw an increase in English-speaking pilgrims, from Australia and the US. In 2015, starting from April 18, the inauguration day, we registered 1600 pilgrims; at the end of August 2016 we had already counted about 2300".  Beyond issuing the Testimonium, registering and welcoming pilgrims, the Statio Peregrinorum is also a place for sharing, telling one's own experiences and stories, that reveal the thousand different aspects of Francis' Route and of people walking through it. "The pilgrim is usually a person who talks gladly," Brother Jorge continues, speaking in a direct and quiet way,"and when the queue to get the Testimonium is too long it's beautiful to start a conversation and share the deep reasons of one's own pilgrimage to Assisi. "Motivations why a person starts a pilgrimage are very different, from faith and spiritual motivation, to existential reasons of various kinds, to the friendship with someone who is walking and with whom sharing the itinerary, or to pay homage to some close people". Obviously, Brother Jorge listens every day to many travel-stories and tells us some extraordinary ones that make us understand what is for people the value of pilgrimage and arrival to Assisi. "There are a lot of beautiful stories, but some of them, certainly, stayed most in my mind. I remember a woman who left for Belgium on foot and that got hurt halfway, so she had to come home. As soon as she recovered, she asked to be brought back to the place where she stopped and from there she continued on foot until Assisi. Or a group of Polish ex-prisoners, who made a vow in prison and walked from Poland to Rome, via Assisi, pulling a wagon the entire way, with something to eat, to drink and what was needed for the pilgrimage. Another beautiful story concerns an English man who walked from England to the Holy Land and during the journey collected peace messages. There are a lot of similar fascinating stories, all different one from the other but equally important." Brother Jorge, who walked the St. Francis Way route in the winter 2015 from La Verna to Assisi and was fascinated by it too, ends our meeting with an advice and a recommendation: "The pilgrim starts a journey on foot for different reasons, but in any case he shouldn't be considered as a 'normal' tourist. I sometimes see an exaggerated urge to promote the walk, following too much the commercial goals and too less the spiritual values. Instead the pilgrimage's promotion happens thanks to the word of mouth amongst pilgrims, through the exchange of nice experiences lived during the journey, particularly linked to the welcoming spirit, to love and to the open mentality of people met along the road and who live on the road". Brother Jorge, together with all the friars of Assisi, through their kindness and willingness, are exactly some of these people; we learnt that there are many similar people and they are exactly why the St. Francis Way is unique. For information about the St. Francis Way:  <a href="http://www.francescosways.com">www.francescosways.com</a> Assisi | The way of Saint Francishttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.087334312.37394[ ] Attrattoreen_US828132290470https://www.umbriatourism.it/web/umbria/-/unesco-la-basilica-di-santa-maria-degli-angeli-e-palazzo-del-capitanoThe Basilica of Santa Maria degli Angeli and Palazzo del CapitanoThe 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". The 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. The 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. The 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 faÃ§ade, whilst the dome and apse were saved. The 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. The Porziuncola is a very simple rectangular construction, made of polychrome stone from Subasio. The upper part of the faÃ§ade is covered by a fresco (The Pardon of Assisi), by Friedrich Overbeck from LÃ¼beck (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. In 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. The rooms on the ground floor contain walls painted by Adalberto Migliorati, depicting medieval trades. The first floor of the building is home to the headquarters and library of the SocietÃ Internazionale di Studi Francescani (International Society of Franciscan Studies).  Assisi43.056326812.580265800000006Assisi54001[ ] Attrattoreen_US95582https://www.umbriatourism.it/web/umbria/-/citta-di-castello-tra-arte-eventi-storia-e-artigianatoCittÃ di Castello - art, events, history and handicrafts<div style="clear:both;">CittÃ di Castello - a territory rich in events, art, history, handicrafts and important traditions</div>CittÃ di Castello, truffle, saint francis, burri, tobacco, spa, eventsCharacterised by its "measured taste for beauty" (TCI, 2008), CittÃ di Castello has a rich history - from Umbrian and Roman settlements to its annexation to the Kingdom of Italy via the Signoria of the Vitelli family (15th-16th centuries), who contributed to the creation of a great historic-artistic heritage.  Surrounded by long stretches of 16th century walls, you can find art along all of the streets of the historic town centre: in the Renaissance architecture, in the courtyards and open galleries of the noble palaces and in the cloisters and aisles of churches. Start your visit from the central piazza Gabriotti, home to the cathedral dedicated to Saints Florido and Amanzio with an unfinished faÃ§ade, the Cathedral museum with artworks by Pinturicchio and Rosso Fiorentino, and the 16th century Town Hall, built from a design by Angelo da Orvieto. Opposite, there is the 14th century Civic Tower and the tall Byzantine-Ravenna style cylindrical bell tower. Palazzo Vitelli alla Cannoniera, luxurious 15th century home to the family with the same name, is now the location of the Town Art Gallery and its prestigious collection of works by Luca Signorelli, Raphael, Raffaellino del Colle and Pomarancio. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> CittÃ 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. In the town, museums like the Grifani-Donati Graphic Art Documentation Centre or the Tela Umbra Fabric collection are a testimony to the importance of manufacturing activities in the territory. Throughout the year, CittÃ di Castello organises numerous art, music and theatre events as well as those dedicated to handicrafts, gourmet food and wine and folk tradition. 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. </td> </tr> </tbody> </table> <div style="clear:both;">Relax in the nearby Terme di Fontecchio, ancient Roman thermal baths dating back to Pliny the Younger, which today is a modern state-of-the art facility where you can pamper yourself</div> CittÃ di Castello | Urban trekkinghttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=142374927202843.4637912.240578000000028CittÃ di Castello54013[ ] Attrattoreen_US2358912890542https://www.umbriatourism.it/web/umbria/-/chiesa-parrocchiale-dei-ss-apostoli-pietro-e-paoloThe Parish Church of SS. Apostoli Pietro e PaoloThis was the center of life of the first nucleus of the village of Monteleone di Orvieto; there were front and side porches, of which traces are still visible on the north wal. Next to the wall was the cemetery.The Parish Church of SS. Apostoli Pietro e PaoloThis was the center of life of the first nucleus of the village of Monteleone di Orvieto; there were front and side porches, of which traces are still visible on the north wal. Next to the wall was the cemetery. Originally the church had a single nave with four chapels; behind the main altar was a choir. Over the centuries the church has undergone successive extensions and various transformations until reaching the current structure; in particular between 1815 and 1821 the brick facade and bell tower were built. Local furnaces supplied the building materials. In the bell tower hang four bells: the largest, to the north, has a beautiful harmonious stamp and a majestic tone: is the "Campanone". The side chapels have been eliminated and the church has three naves today. The altarpiece is work by the school of Pietro Vannucci, known as Perugino (CittÃ della Pieve Fontignano 1445- 1523), the famous master of Umbrian Renaissance painting. The panel shows the Madonna with Child, flanked by the Apostles Pietro e Paolo, recognizable by their attributes: the keys, the sword and the book; in the lunette shows Jeus rising from the tomb with angels at the sides. Guardabassi (1872) attributes the work to Pietro Vannucci; Gnoli (1923) instead proposed the name of Giacomo di Guglielmo from CittÃ della Pieve, who collaborated in all the works Perugino carried out in his hometown after 1510. In place of the old choir is the apse with a crypt below which houses the body of St. Teodoro Martyr. The crypt was decorated during the thirties by prof. Guglielmo Ascanio. During the 50s the church acquired its present appearance: it was raised, large windows were opened at the top to provide abundant light and the interior was entirely decorated. The current flooring was made in the eighties. The altar dedicated to the Annunciation is placed to the left of the main altar, while to the right there is the Chapel of the Sacred Heart, commissioned by the Community to celebrate the longawaited end of the Second World War.     [Source: www.comune.monteleone.tr.it] Monteleone d'Orvieto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.92144312.053922599999964Monteleone di Orvieto[ ] Attrattoreen_US2083636290542https://www.umbriatourism.it/web/umbria/-/castello-di-fabroCastle of FabroThe castle of Fabro, part of the municipal territory of Fabro, rises up on a panoramic hill (364 metres above sea level) to the east of the Chiani River.Castle of FabroThe castle of Fabro, part of the municipal territory of Fabro, rises up on a panoramic hill (364 metres above sea level) to the east of the Chiani River. 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). The complex, now privately owned, shows a structure still largely intact with powerful and compact walls and large cylindrical tower. The 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 CittÃ 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. In 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 historyhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.872510412.016545400000041Fabro55011[ ] Attrattoreen_US358045690454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-domeni-2Church of San DomenicoThe 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 DomenicoThe 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 faÃ§ade 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 The 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 CittÃ 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 CittÃ di Castello. CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi36.png/c9583b6e-59bd-4b7b-98e6-5cf9b73f52b1?t=142374927695443.4555512.239469999999983CittÃ di Castello54013[ ] Attrattoreen_US2427652790454https://www.umbriatourism.it/web/umbria/-/palazzo-margherini-grazianiPalazzo Margherini GrazianiContext: rural Date: 17th century Located on the slopes of a hill rising over the upper Tiber valley, the Palace Margherini Graziani enjoys a beautiful panoramic view.Palazzo Margherini GrazianiContext: rural Date: 17th century Located on the slopes of a hill rising over the upper Tiber valley, the Palace Margherini Graziani enjoys a beautiful panoramic view. <div>The palace rises on a stronghold belonging to an earlier building, with three floors, one of which is a mezzanine. The principal faÃ§ade, in late Renaissance style, that for its richness is significantly different from the other ones, includes a three-arched arcade on the second and third floor. Thanks to its slender columns, it refers clearly to the Vasari loggia of the Bufalini castle, to whom the palace seems however stylistically linked. The front of the villa is then entirely covered with pilasters (semi-columns that are slightly protruding on the wall surface) and a string-course so to build a sort of grid bearing the pattern of square windows framed in stone serene, the slightly hollow niches and a series of walled niches on the ground floor. The elegant tower - roof terrace rises above the hipped roof and presents an alternation of pilasters and stringcourse ledges too. The most important room of the palace is the reception hall overlooking the loggia (that the restoration works tried to revive from a previous state of ruin). Instead on the ground floor there are the entrance hall and the gallery for carriages with a barrel vault, that provided access to the covered carriages and connected the farmhouse with the chapel. The green areas are included in a big pentagon that is entirely walled and accessible through a straight and tree-lined avenue on the right side of the villaâs entrance. Probably the gardens used to be located seamlessly on the inclined plane of the hill. Later three terraces were built; today they are completely reorganized and two of them are in the area in front of the faÃ§ade. This important noble villa was built on the orders of Carlo Graziani, an exponent of the famous family of CittÃ di Castello in the early 17th century. The project was entrusted to the architects Antonio Cantagallina of San Sepolcro, a pupil of Vasari and Bruni of Rome, who built the Villa on a pre-existing building whose central large tower was the only part that remained standing. The construction works of the manor house ended in 1616 and the family chapel devoted to the Lady of Loreto could be observed in 1622 on the right side of the building. Probably the complex suffered damage during the earthquake of 1789, but it experienced the highest level of degradation from the Second World War, during which it was occupied by German troops and sacked. The renovation works started in the 1980s and are still ongoing; in 1980 the complex was bought by the Municipality of St. Giustino. Currently the farmhouse of the villa is used by the Archaeological Superintendence of Umbria and by the University of Perugia as an operational basis for the excavation campaigns carried out in the near Roman villa of âColle Plinioâ, whereas the palace is hosting the exhibition and the warehouse of finds coming from the excavations carried out there.</div> <div> </div> San Giustino | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.551795212.172451799999976San Giustino54044[ ] Attrattoreen_US3442099290422https://www.umbriatourism.it/web/umbria/-/abbazia-di-santa-maria-valdiponte-a-montelabateAbbey of Santa Maria Valdiponte a MontelabateLocated in a strategically important point between the two cities of Perugia and Gubbio, the Benedictine monastery of S. Maria di Valdiponte in Corbiniano, known as Montelabate, began its history around the ninth century.Abbazia di Santa Maria Valdiponte a Montelabate, umbria, umbria tourism, umbria turismo, umbnria itinerari, umbria viaggio, umbria vacanzaAbbey of Santa Maria Valdiponte a MontelabateLocated in a strategically important point between the two cities of Perugia and Gubbio, the Benedictine monastery of Santa Maria di Valdiponte in Corbiniano, known as Montelabate, began its history around the ninth century. It 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. In the late fifteenth century, the abbey underwent a new restoration, as evidenced by the frescoes by Fiorenzo di Lorenzo and Bartolomeno Caporali. The 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. With 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. WHAT TO SEE <ul> <li>The cloister</li> </ul> The 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. <ul> <li>The crypt</li> </ul> The 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. <ul> <li>The sala del Capitolo (chapter hall)</li> </ul> The 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. <ul> <li>The church and its fifteenth-century altars</li> </ul> Between 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 faÃ§ade 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 culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US2772862https://www.umbriatourism.it/web/umbria/-/eremo-di-san-francescoThe Hermitage of Saint FrancisThe 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 FrancescoThe 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. The 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. The 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. Inside 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. To 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. In 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. The 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. The 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. One 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 worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.7227879000000112.754034300000058Spoleto54051[ ] Attrattoreen_US2344723590542https://www.umbriatourism.it/web/umbria/-/l-acqua-termale-di-parranoThe Parrano thermal waterParrano, 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, benessereThe Parrano thermal water  Located in the western Umbria, <a href="https://www.umbriatourism.it/-/parrano" style="text-decoration-line: underline; outline: 0px;">Parrano</a> is a small village with a wonderful panoramic view overlooking the Chiani valley until CittÃ della Pieve.  Immersed in the Umbrian hills, it is an appreciated tourist destination because it has several water sources used in the hydroponic cures. At 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. Indeed 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). The Parrano thermal water is a bicarbonate, alkaline, earthy and hypothermal water rich in carbon. At 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. Currently 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). Furthermore the area is characterized by the inspiring gorge called â<a href="https://www.umbriatourism.it/-/da-todi-a-orvieto-passando-per-spoleto-e-parrano-alla-scoperta-delle-grotte-naturali-dell-umbria">Tane del Diavolo</a>â (Devilâs Nests), an organized complex of caves of Karst origin. Parrano, 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: <a href="http://parrano.it/" target="_blank">http://parrano.it/</a> Monteleone d'Orvieto | Orvieto | Montegabbione | Parrano | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.86371612.106103200000007Parrano55025[ ] Attrattoreen_US95689https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-a-gubbioChurch of Saint Francis in GubbioThe Saint Francis church in Gubbio: one of the first churches dedicated to Saint Francis of AssisiChurch, Saint Francis, Gubbio, wolf, Ottaviano Nelli, habit, storehouseThe monumental church of Saint Francis is on the southern side of Quaranta Martiri square, in the lower part of the city of Gubbio It was built around 1255 inside a vast Franciscan complex built by the residents of Gubbio on the lands of the ancient Spadalonga family. This family is said to have taken in and clothed Saint Francis in 1206-1207, after he had abandoned the family home and renounced his wealth, and it was here that the saint wore a habit for the first time, which was to become the outfit of the Franciscans.   Giacomello Spadalunga of Gubbio, 'he who once was his friend' as the biographer writes, met Francis in the prison of Perugia, after the defeat of Collestrada. The construction of a great church and convent dedicated to Francis, just a few years after his death, was greatly desired by the city of Gubbio, which had taken him in and adopted him. The building features an ogival layout, with an incomplete facade that nevertheless still presents a beautiful Gothic doorway and a cornice with suspended frames topped with a small rose window. The three apses follow a polygonal structure interrupted by mullioned windows. The interior is subdivided into a nave with side aisles supported by 14 tall columns with octagonal bases. The cross vaults of the ceiling date from the transformation of the building in the 18th century. The lateral walls, which were originally covered in frescoes, have lost part of their splendour, but the apses still feature important works of the 13th-15th centuries. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The left apse features the Stories from the life of the Virgin, over 17 panels, a highly regarded cycle from the early 15th century, created by Ottaviano Nelli.   The central apse, in the top section, features a fresco of Jesus on the Throne with Saint Peter, Saint Paul, Saint Francis and Saint Anthony at his side, works created by a local follower of the Master of Saint Francis during the second half of the 13th century. The right apse, next to which stand the ancient ruins of the Storehouse, features frescoes from the 13th and 14th centuries: in the top part, two episodes of the life of Saint Francis; in the bottom centre, the Saviour; and on the sides, the Evangelists, between cornices. On the walls are frescoes of Saints.   </td> </tr> </tbody> </table> Gubbio | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351319312.575316599999951[ ] Attrattoreen_US95953https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-a-terniChurch of San Francesco, TerniChurch of  San Francesco in Terni, a Franciscan sanctuary with frescoes by Bartolomeo di Tommaso Chiesa di san francesco, terni, franciscan sanctuaries, via di francesco, journey of the first franciscan martyrsThe Chiesa di San Francesco in Terni, testimony to the Franciscan presence in the cityThe Church of San Francesco, overlooking the central square of the same name, stands on the site of an ancient chapel dedicated to San Cassiano, donated to St Francis in 1218 by Bishop Rainerio, who was charmed by the charisma of the saint who often preached in the city.  At that time, the area was outside the city centre, among gardens and fields extending to the west, where St Francis used to take refuge in meditation. The construction of the church began in 1265, about 40 years after the death of St Francis, adopting the model of the Franciscan churches of Assisi, with a single nave and a transept. Between the 14th and 16th centuries, significant changes were made to the building, to adapt the space to the new demands of the increasingly large Franciscan community, situated at an important crossroads, a strategic staging post for friars on their pilgrimages.  The gabled facade, with its central gable decorated with hanging arches, clearly shows the addition of two aisles (1437). Antonio da Orvieto constructed the elegant bell tower, decorated with multi-coloured green and blue majolica (1445). In addition to the opening of the Capella di San Bernardino da Siena, dedicated to the founder of the Observant Franciscans who visited Terni a number of times, among the most important changes of considerable artistic and cultural value was the early 15th-century construction of the Paradisi family chapel, to the right of the presbytery, decorated with frescoes of the Last Judgment, completed around 1450 by the Foligno painter Bartolomeo di Tommaso. The commissioner of the work, Monaldo Paradisi, linked to the Observant Franciscans and passionate supporter of the reforms preached by Giacomo della Marca (the successor of Bernardino da Siena), wanted an image of one of the saint's many sermons to be placed there. San Bernardino would frequently impress his audience by recounting the rewards and punishments to be expected at the end of their lives. The sanctuary is now part of the Via di Francesco itinerary and the journey of the first Franciscan martyrs, an interesting way to discover the sites and history of the first Franciscan martyrs.     Terni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.5645120999999912.645760999999993[ ] Attrattoreen_US42662988https://www.umbriatourism.it/web/umbria/-/proposta-la-rocca-di-alvianoLa Rocca di AlvianoRivivete 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 vedereLa Rocca di AlvianoRivivete lâappassionante storia dellâantico castello che domina su unâaltura alla sinistra del Tevere, tra <a href="https://www.umbriatourism.it/it_IT/-/orvieto" target="_blank">Orvieto </a>e <a href="https://www.umbriatourism.it/it_IT/-/amelia" target="_blank">Amelia</a>.    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.  Se 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 Il borgo di <a href="https://www.umbriatourism.it/it_IT/-/alviano" target="_blank">Alviano</a>, 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 segnÃ² lâinizio della ânostraâ storia. Prima di entrare nel castello, fate attenzione allo stemma posto al suo ingresso, raffigurante il leone della gogna e la testa di medusa: Ã¨ il simbolo della potente famiglia che tenne la fortezza fino al 1308, anno in cui fu cacciata dai ghibellini amerini.  Ma gli Alviano, proprio come leoni, rientrarono in possesso della proprietÃ grazie a un altro combattente della loro genia, Francesco, il quale ne fece la propria residenza, che perÃ² non ebbe lunga vita: i Chiaravalle, potente famiglia ghibellina di <a href="https://www.umbriatourism.it/it_IT/-/todi" target="_blank">Todi</a>, ne decretarono la sua distruzione.  Il poderoso maniero che vedete oggi si deve al figlio di Francesco dâAlviano, Bartolomeo, il ânostroâ capitano di ventura, esperto architetto militare.  Il 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. Rimarrete 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 cittÃ dove il pittore nacque verosimilmente nel 1483-84).  Non 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.  Tra le figure dipinte, spunta anche il volto di una donna, la committente di quegli affreschi. Ã Olimpia Pamphili Maidalchini, cognata di papa Innocenzo X, che nel 1654 acquistÃ² allâasta il castello. Era infatti accaduto che - dopo un passaggio secolare in cui nel 1500 il figlio di Bartolomeo, Bernardino, esperto fonditore, trasformÃ² la fortezza in una fonderia di cannoni tra le piÃ¹ importanti dellâUmbria â la famiglia degli Alviano si estinse per mancanza di eredi maschi perdendo il feudo. In seguito, per discendenza, la fortezza fu ereditata nel 1816 dal principe don Andrea II Doria Pamphilj Landi. Oggi Ã¨ di proprietÃ del Comune. Sono pagine e pagine di storia che trasudano dalle mura del maniero, ancora oggi fulcro pulsante della comunitÃ . Ve ne accorgerete esplorando le sue sale. Il 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. Nel piano seminterrato potete visitare due esposizioni: il Museo della CiviltÃ 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, lâattivitÃ 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.  Di notevole rilievo, lâequipaggiamento tipico del Capitano di ventura, con la ricostruzione di armi e armature dellâepoca. Per informazioni: <a href="http://www.castellodialviano.com/" target="_blank">www.castellodialviano.com </a> SocietÃ cooperativa Lympha, tel. + 39 333 7576283 Alviano | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.588207812.2959357Alviano55003[ ] Attrattoreen_US277283290518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-salvatore-usigniChurch of the Holy Saviour - UsigniThe 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, UsigniThe 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. In 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. On 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. The 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.711309212.935060000000021Poggiodomo54042[ ] Attrattoreen_US539531490422https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-croceCollegiata church of Santa CroceIn 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 CroceIn 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. The 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. Domenico 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. Between 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.0677345000000112.550305600000002Bastia Umbra54002[ ] Attrattoreen_US1968253390454https://www.umbriatourism.it/web/umbria/-/museo-malacologico-malakos-di-citta-di-castelloMalakos Malacological Museum of CittÃ di CastelloFrom 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 CittÃ di CastelloFrom 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 CittÃ di Castello, is a real exploratory journey through the shells of the seven seas. The museum is the result of years of work of the biologist Gianluigi Bini, Florentine by birth but of CittÃ di Castello by adoption, who collected and studied about 15,000 different species, from every corner of the planet. The 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. In 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. Malakos 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.   Times From 1st April to 31st October: 10 am - 12.30 pm/3 pm - 6.30 pm (Monday closed).  For further information:  <a href="http://www.malakos.it/">http://www.malakos.it/</a><a href="http://www.malakos.it/" target="_blank"> </a> CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.457787612.231904799999938CittÃ di Castello54013[ ] Attrattoreen_US95725https://www.umbriatourism.it/web/umbria/-/tesoro-di-canoscio-a-citta-di-castelloCanoscio Hoard in CittÃ di CastelloThe important discovery of the Canoscio Hoard; now on public display at the local Cathedral MuseumArchaeology, Canoscio, sanctuary, CittÃ di Castello, the Cathedral museum, Hoard, early Christian artThe Canoscio Hoard, now kept in the Cathedral Museum in CittÃ di Castello, is a rare collection of embossed silver objects, used for Eucharistic liturgies, dating back to the sixth century AD It was accidentally discovered in the spring of 1935 at the Shrine of Canoscio, near CittÃ di Castello. The find was arranged in a pile, covered by a large plate that was shattered by the blow of a plough at the time of discovery. A rare example of early Christian art, the find consists of 25 objects including plates, patens, chalices, a pyx with its cover, strainers, a small ladle and a large number of spoons. The fact that there is an absence of religious signs on certain objects that normally would have them, such as the chalice and the pyx, as well as the presence of tools not expressly designed for liturgical use, as is the case, for example, of the ladle and spoons, have led to the hypothesis that they were originally domestic instruments, later donated to a Christian community and therefore specially decorated with symbols of their nascent religion: the fish, the cross and the dove. During the first centuries of Christianity, as a result of the persecution of the faithful, the objects used for liturgy were those normally used in the home. Only from the fourth to the seventh century, with the emergence of the Eucharistic rite, were objects produced for liturgical use only. The names of Aelianus and Felicitas, probably donors, are inscribed on one of the patens. CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=142374927202843.4565812.23756000000003[ ] Attrattoreen_US3580556https://www.umbriatourism.it/web/umbria/-/palazzo-del-podestaPalace of the Mayor - CittÃ di CastelloThis 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 - CittÃ di CastelloThis 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 faÃ§ade looking towards Corso Cavour and a series of wonderful mullioned windows with a wide semicircular arch, on the noble floor. The faÃ§ade 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.      Source: CittÃ di Castello Tourist Information Office  CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.457341512.239344699999947CittÃ di Castello54013[ ] Attrattoreen_US1587376290454https://www.umbriatourism.it/web/umbria/-/pinacoteca-comunale-citta-di-castelloMunicipal Picture Gallery - CittÃ di CastelloVitelli Palace, housing the Municipal Picture Gallery, that has been reopened to the public in 1995, is located at the centre of CittÃ di Castello, next to the urban walls, in via della Cannoniera. Vitelli Palace at the Cannoniera, CittÃ di Castello, Umbria, CittÃ di Castello Municipal Picture GalleryMunicipal Picture Gallery - CittÃ di CastelloVitelli Palace, housing the Municipal Picture Gallery, that has been reopened to the public in 1995, is located at the centre of CittÃ 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. The 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. Spaces 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. The 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 CittÃ 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. The 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.  CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.4639783000000112.24048689999995CittÃ di Castello54013[ ] Attrattoreen_US273506290438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-domeni-1Chiesa di San DomenicoThe 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.   It took the name of San Domenico in 1304, when it was assigned to the monks of this order with a Papal bull. The gabled faÃ§ade has a rather heterogeneous appearance, having been changed numerous times. The splendid entrance portal with a marble frame is covered in bas-reliefs depicting plant swirl motifs enclosing clipei with busts of the apostles and under the cornice is decorated with human and animal protomes (sculptures) dating back to the Romanesque period. The main window replaced a mullioned window with mosaic decoration in the 13th century of which there are still visible traces above the portal. The interior is divided into three naves by pillars, with side chapels. On the walls you can see frescoes dating from the 13th to the end of the 16th century. Of particular significance, on the second pillar on the right is a Crucifixion attributed to Maestro della Dormitio, to whom the decorations of Saints which run vertically on the adjoining walls can also be accredited. At the bottom of the left-hand nave, the fresco Virgin and child with Saints Dominic and Thomas from the school of Pier Matteo d'Amelia from the end of the 15th century is particularly noteworthy. Leaning against the pilaster of the triumphal arch was an exquisite Renaissance marble tabernacle from the school of Agostino di Duccio, which can today be found in the Pinacoteca Civica. On the left, in the large cappella del Rosario (Rosary Chapel), frescoed in the second half of the fifteenth century by Flemish artists with stories from Genesis, are paleontological and archaeological finds from the Late Pleistocene, unearthed in the local area. In the underground area of San Domenico there is also a small proto-Romanesque church with a single nave which has traces of frescoes datable between the 12th and 14th centuries. Narni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.517602212.515629900000022Narni55022[ ] Attrattoreen_US536552990470https://www.umbriatourism.it/web/umbria/-/palazzo-dei-prioriPalazzo dei Priori - AssisiThe Palazzo dei Priori is found in the charming location of Piazza del Comune, the political and cultural hub of Assisi.Palazzo dei Priori - AssisiThe Palazzo dei Priori is found in the charming location of Piazza del Comune, the political and cultural hub of Assisi. 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. In the 1442 the troops of NiccolÃ² 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. The 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. Assisi | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.07102412.614798899999982Assisi54001[ ] Attrattoreen_US122584https://www.umbriatourism.it/web/umbria/-/trebbiano-toscano-o-procanico-Trebbiano Toscano (o Procanico)The Trebbiano Toscano is a vine that belongs to the large Trebbiano family, one of the most popular white grape varieties in Italy. It is one of the oldest known vines and is mentioned in all the great works on wine, starting with Pliny the Elder's Naturalis Historia. It is harder to trace the origins of its name, which may have come from the River Trebbia in Emilia, or from one of the various municipalities named Trebbio or Trebbo scattered around Italy. This vine is commonly found all over Umbria, and is used in the production of a large number of white wines made in the provinces of Perugia and Terni. When vinified as a pure varietal, the Trebbiano Toscano yields a wine with a characteristically light aroma. Usually, and especially in the Orvieto area, it is used in blends in order to boost the alcohol content and acidity of white wines. The natural characteristics of this grape make it well-suited for the production of the traditional Vin Santo, particularly in the areas around Amelia, the hills of Perugia and Trasimeno, and Torgiano.     Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US95715https://www.umbriatourism.it/web/umbria/-/chiesa-dei-santi-florido-e-amanzio-di-citta-di-castelloChurch of Saints Florido and Amanzio in CittÃ di CastelloA visit to the Citta di Castello Cathedral, dedicated to the city's patron saints, Florido and AmanzioCittÃ di Castello, Cathedral, saint Florido, saint Amanzio, museum, circular bell tower, piazza Gabriotti, BurriThe CittÃ di Castello Cathedral, dedicated to the city's patron saints Florido and Amanzio, stands in the heart of the city, on piazza Gabriotti <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> In the bottom section of the baroque faÃ§ade, there is a large staircase and a series of pilasters, columns and niches, which together give an impression of great plasticity. Nearby is the imposing circular Romanesque bell tower, in the Ravenna style. The inside of the church, with its Latin cross layout, is a single nave with side chapels and a panelled design redolent of the 17th century.  The side chapels, erected on the orders of the castle's most important families in the 16th and 17th centuries, feature a wealth of frescoes and paintings on canvas.  Among these, the Santissimo Sacramento, known as the 'Great Chapel', deserves particular attention; the panel depicting The Glory of Christ (1528-30) by Rosso Fiorentino was formerly hung here, and is now kept in the nearby Cathedral Museum.  Among the many works preserved inside the church are the paintings by Bernardino Gagliardi, the frescoes by Tommaso Conca, Saint Paul's fall from a Horse, painted by NiccolÃ² Circignani, known as Il Pomarancio, as well as a carved and inlaid wooden choir stall from 1540. Under the Cathedral is the Lower church, subdivided into two naves by thick pillars that support cross vaults. The relics of Saints Florido and Amanzio are kept here. According to tradition, the cathedral was founded in the 6th century by Saint Florido, although the original structure dates back to the 11th century. Over the centuries the church has undergone many important restorations:   it was enlarged in 1356; between 1466 and 1529 it was completely renovated following plans by Elia di Bartolomeo, his son Tommaso and Piero di Lombardia, who adapted the church to the new architectural forms of the Renaissance.  Lastly, in 1632, following designs by Francesco Lazzari, the facade was rebuilt, although the upper section remained incomplete. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=142374927202843.4565812.23756000000003[ ] Attrattoreen_US112083https://www.umbriatourism.it/web/umbria/-/collezione-burri-palazzo-albizzini-citta-di-castelloBurri Collection in Albizzini Palace - CittÃ di CastelloThe Collezione Burri has its premises inside Palazzo Albizzini, right in the historical city center of CittÃ di Castello. This 15 century palace has a sober Renaissance architectural look of Florentine influenceBurri Collection in Albizzini Palace - CittÃ di CastelloThe Collezione Burri has its premises inside Palazzo Albizzini, right in the historical city center of CittÃ di Castello. This 15 century palace has a sober Renaissance architectural look of Florentine influence The records of the Albizzini family remount to the 14 century; in fact members of this family have been prominent protagonists in the historical events of the town. Their altar inside the Church of San Francesco, held Raphael's Wedding of the Virgin altarpieceâtoday displayed at the Brera Art Gallery in Milan. This important museum of contemporary art has been open to the public since 1981 and collects 130 works of art of Alberto Burri (1915-1995) dating between 1948 and 1989. They are displayed in 20 rooms, and subdividedâand chronologically ordered by the artist himselfâinto four sections: paintings, sculptures, graphics and scenography. The exhibition covers two floors of the building, and entirely retraces Burri's artistic experience; from the outset up until the most complex and abstract works, where the often torn-off and "suffering-matter", becomes a work of art in itself. The attention of the artist towards the transformation of matterâboth natural or inducedâdirectly exercised on materials such as tar, sacking, woods, iron and plastics by the artist himself, recalls his scientific background-in fact Burri graduated in Medical Science in 1940. The theatrical scenographic sketches are also of great interest; in fact, the artist signed scenes and costumes for an edition of Wagner's Tristan and Iseult, staged at the Teatro Regio of Turin, La Fenice of Venice and the Opera of Rome in 1975. The works of large dimension, subdivided into cycles, are exhibited at the Former Tobacco Drying PlantâEx Seccatoi del Tabacco.   For information and tickets:  <a href="http://www.fondazioneburri.org/informazioni/biglietti.html" target="_blank">http://www.fondazioneburri.org/informazioni/biglietti.html </a> CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.458418212.240488400000004[ ] Attrattoreen_US2592642https://www.umbriatourism.it/web/umbria/-/complesso-di-san-francesco-a-montoneThe San Francesco a Montone architectural ensembleThe 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 ensembleThe church The 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. The 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. Accordingly, the church has a single nave, with a trussed roof. The 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. The 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. Behind the faÃ§ade 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. A 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. Again 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. The then abbot of the convent, Stefano Cambi, commissioned the Bancone to host the priors who took part in the church's functions. Along 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. There 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. Just 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. Lastly, 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. As 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. The Pinacoteca (Picture Gallery) Since 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. Amongst 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. There 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.     MUSEUM OF ST. FRANCIS IN MONTONE UNIQUE TICKET FOR UMBRIA TERRE E MUSEI FULL PRICE: â¬ 7 REDUCED A for groups of at least 15 people and affiliated: â¬ 5 REDUCED B for children from 6 to 14 years old: â¬ 2 FREE (children up to 5 years old, disabled with accompanying person, Icom members, qualified tourist guides, accredited journalists) FREE FOR RESIDENTS: free entrance in the museum of their own city and reduced ticket for the other museums of the circuit. VALIDITY General ticket valid for 15 days Personal ticket (with the person's name on it) valid for 3 months (after registration of the visitor's personal data) Opening hours: October to March - on Saturdays and Sundays from 10.30 am to 1 pm and from 3 to 5.30 pm April to May - on Fridays, Saturdays and Sundays from 10.30 am to 1 pm and from 3.30 to 6 pm June to September - on Fridays, Saturdays and Sundays from 10.30 a.m. to 1 pm and from 4 to 6.30 pm closed on 25th December and 1st January.                 Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.362322812.32368729999996Montone54033[ ] Attrattoreen_US542922193925https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-biancaSantuario della Madonna BiancaIt was bult with ecclesiastical authorization of the Bishop of Spoleto Francesco Eroli, dated in Bevagna 1516.Santuario della Madonna BiancaIt 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 simple structure of the facade of the church, with two slopes, is vertically divided by four slender brick pilasters ending in a serrated cornice surrounding the attic in all its extension. At the center is the portal, sober and elegant, with its symmetrical classicism reminiscent of the forms the peripheral elements of the temple facade. The portal is surmounted by a large circular window. In the apse is a large fresco by Fabio Angelucci from Mevale of Visso, dating from around 1574. On the apse, the Coronation of the Virgin by the Lord and Christ is depicted, with characters from the Old and New Testaments. Lo Spagna frescoed the side of the altar (Annunciation and Nativity), now detached and preserved in the sacristy. In the side altars there are beautiful paintings of the sixteenth and seventeenth centuries, and in the sacristy you can admire, as well as the paintings mentioned before, precious furnishings and furniture. Campello sul clitunno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.820433912.776680700000043Campello Sul Clitunno54005[ ] Attrattoreen_US112069https://www.umbriatourism.it/web/umbria/-/collezione-burri-ex-seccatoi-del-tabacco-citta-di-castelloBurri Collection at the Former Tobacco Drying BarnsThe complex of the Former Tobacco Drying Barns, launched in 1990, completes the Collection of Albizzini Palace with cycles carried out by Alberto Burri between 1979 and 1993. Burri Collection at the Former Tobacco DryersThe complex of the Former Tobacco Drying Barns, launched in 1990, completes the Collection of Albizzini Palace with cycles carried out by Alberto Burri between 1979 and 1993.  <div style="clear:both;"> The facilities of the Tobacco Autonomous Farm, built between the late 1950s and the mid-1960s for drying tropical tobacco produced in the area of CittÃ di Castello, was dismantled in the 1970s. In 1978 the artist from CittÃ di Castello obtained them to use as a studio for making large-format artworks. In 1979 the building was opened to present, to critics and to the public, the first wide painting cycle named "The journey". The acquisition of the whole complex by the Albizzini Palace Foundation, made possible in 1989, initiated the general project of restoration and adaptation of the museum. The exhibition space, launched in July 1990, hosts 128 artworks including painting cycles and monumental sculptures, also placed outside on the lawn. The "cycles" are a collection of artworks forming an inseparable unit: The journey (1979), Orsanmichele (1980), Sextant (1982), Red and Black (1983-1984), T Cellotex (1975-1984), Annottarsi (1985-1987), He doesn't love black (1988), Big blacks (1988-1990), Metamorfotex (1991) and The Black and Gold (1992-1993). The external spaces display some monumental sculptures: Big Sextant Iron, Big K Iron and U Iron. In the March 2017, on the occasion of the anniversary of Alberto Burri's birth, the Albizzini Palace Foundation launched a new section of the museum, so bringing to conclusion the long year of the Centenary. The third Museum occupies a space of over 4000 square metres, all obtained thanks to a recent re-qualifying project that concerned part of the underlying space in wide settings hosting, according to the original installation prepared by Burri, his Great Cycles of Art. An exhibition area reaching 11,500 square metres, with the three different collections, also including some open-air sculptures, make the "Burri pole" of CittÃ di Castello the world's largest Artistic Museum and one of the most important European places of the contemporary art. The section includes the whole repertoire of the Master's graphic works and multiples, consisting of over 200 artworks underscoring his extraordinary manual skills and attitude to constant experimentation.  </div> For further information Via Pierucci 06012 - CittÃ di Castello (PG)  email: museo@fondazioneburri.org sito web: <a href="http://www.fondazioneburri.org/" target="_blank">www.fondazioneburri.org</a>     CittÃ di Castello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.451574412.247662300000002[ ] Attrattoreen_US2421789790422https://www.umbriatourism.it/web/umbria/-/san-francesco-al-pratoThe church of San Francesco al PratoThe Church of san Francesco al Prato is flanked on the left by the San Bernardino Oratory, in Piazza San Francesco, at the end of Via dei Priori in Perugia. The church of San Francesco al PratoThe Church of san Francesco al Prato is flanked on the left by the <a href="/-/oratorio-di-san-bernardino">San Bernardino Oratory,</a> in Piazza San Francesco, at the end of Via dei Priori in Perugia.  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. The 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.  With 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. In 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 faÃ§ade 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. The 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 the 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US95963https://www.umbriatourism.it/web/umbria/-/basilica-san-santa-chiara-di-assisiBasilica of Santa Chiara, AssisiThe Basilica of Santa Chiara in Assisi houses the body of the St Clare of Assisi and the Crucifix that spoke to St FrancisBasilica di santa chiara, assisi, order of poor Clares, poor ladies, crucifix of St FrancisIn the 19th-century Piazza di Santa Chiara, with an impressive view over the Umbrian valley, is dominated by the striking religious building with bands of white and pink Mount Subasio stone, with the adjoining convent dedicated to St Clare, the first and most faithful disciple of St Francis. Work on the construction of the Basilica di Santa Chiara began in 1257, four years after the death of the Saint, in the area occupied by the Church of San Giorgio, which was incorporated into the new structure. In 1255, Pope Alexander IV granted the Chiesa di San Giorgio to the Poor Clares of the city, who were seeking a home for their religious community. In 1260, the Church was almost complete and welcomed the body of St Clare, which was placed under the high altar. The architecture is inspired by the Upper Basilica di San Francesco, although it also includes original elements. The facade consists of bands of white and pink stone from Mount Subasio, divided into three areas by two cornices: the first is for the portal, the second for the rose window and the last for the tympanum. In line with the portal, with an external cornice supported by two lions seizing two rams, is the elegant rose window with its two rounds of columns and arches. The lateral flying buttresses are a late 14th-century addition. The interior has a single nave with transepts and a polygonal apse. The interior was whitewashed in the 18th century and is almost devoid of frescoes. Only a few panels with stories of the life of St Clare remain above the altar, which are attributed to Expressionist Master of St Clare (a 14th-century follower of Giotto), to whom the Crucifix panel in the apse has also been attributed. In the north transept, the panel with St Clare and eight stories of her life is a particularly interesting work, attributed to the Master of St Clare (1238). The right side of the nave houses the Cappella di San Giorgio, holding the 12th-century Crucifix from San Damiano, which spoke to St Francis. The remains of St Clare lie in the crypt, built between 1850 and 1872 and refurbished in 1935 in neo-Gothic style. Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.070701712.619596600000023[ ] Attrattoreen_US536545790470https://www.umbriatourism.it/web/umbria/-/palazzo-del-capitano-del-popoloThe Palazzo del Capitano del Popolo - AssisiThe 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 - AssisiThe 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 palazzo has three levels of windows corresponding to the floors inside. On the ground floor, there are three wide round arches which even today, host shops. Take a look at the base of the adjacent Torre del Popolo, built between 1275 and 1305, where you will find the profiles of measurements which were utilised for measuring bricks and tiles used in construction at the time. Assisi | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.0711512.614799100000027Assisi54001[ ] Attrattoreen_US95636https://www.umbriatourism.it/web/umbria/-/eremo-delle-carceri-ad-assisiEremo delle Carceri, AssisiEremo delle Carceri is a Franciscan sanctuary 4 km from Assisi, where Saint Francis would go to pray in solitudeEremo delle Carceri, Assisi, franciscan sanctuaries, spiritual shelter, san Francesco, monte Subasio park, St Francis wayThe Eremo delle Carceri, an experience of mysticism and harmony with natureAn ancient hermitage set within the thick woodland of mount Subasio, 4 km from Assisi, the Eremo delle Carceri (alt. 791 m) developed over centuries around the mountain's natural caves and the chapel of Santa Maria, where Saint Francis and his first companions settled in isolation to lead of life of austerity and more intense prayer (they 'imprisoned' themselves; the Italian word for prison is carcere).    Frequented only sporadically by the Saint himself, the Eremo delle Carceri became a more permanently settled spot from 1205-1206, when it was decided to carry out one of the five annual fasts that he had the habit of practising.  According to tradition, in 1215 Saint Francis received the Hermitage of mount Subasio as a gift from the Benedictines.  Between 1217 and 1221, Saint Francis wrote the 'Rules of life in hermitages', a code of behaviour to be observed by monks wishing to retreat in silence and peace.  From 1378, first with Friar Paoluccio Trinci, who started the Osservanza movement, then with his follower Saint Bernardino of Siena (1380-1444), the first improvements of the sanctuary were made, with the construction of a humble dormitory, a refectory and the small church nearby.  The altar of the 15th century church has a Crucifixion from the 15th century Umbria-Siena school. There is an interesting small stained glass window of French origin on the back wall (14th century); opposite is a cabinet with mementos of the saint. An iron gate leads to the early church, where on the altar you can see the cross that the saint wore when he was evangelising; behind is a fresco with Madonna with Child and Saint Francis, attributed to Tiberio d'Assisi (early 16th century). An interesting walk through the woods starts with the bronze statue by Vincenzo Rosignoli, San Francis liberating the doves  (1882), and leads to an extremely old oak tree on which the birds are said to have gathered to be blessed by Francis.  The path takes you to Beato Leone grotto; the grottoes of the saint's other companions are past the stream. Further on are the grottoes of San Masseo and Beato Rufino. Today the community of monks residing in the sanctuary welcome all those who wish to join the Franciscan experience in full respect of the Rule of life in the Hermitages. Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.063416912.651841099999956[ ] Attrattoreen_US1835559990470https://www.umbriatourism.it/web/umbria/-/museo-della-memoria-assisi-1943-1944Memorial Museum, Assisi 1943 -1944Set in the halls of the Vallemani Palace's Municipal Picture Gallery first floor, the "Memorial Museum, Assisi 1943 - 1944" tells the story of 300 Hebrews rescued thanks to the Assisi's Franciscan welcoming spirit. Memorial Museum, Assisi 1943 -1944Set in the halls of the Vallemani Palace's Municipal Picture Gallery first floor, the "Memorial Museum, Assisi 1943 - 1944" tells the story of 300 Hebrews rescued thanks to the Assisi's Franciscan welcoming spirit.  The exhibition collects unpublished documents, pictures, acknoledgments, essays and objects about that terrible historical period represented by the second world war, when displaced people from all over Italy and Europe arrived to the Seraphic town to ask for help, and about the different characters who helped personally and rescued Hebrews; this and much more. The exhibition is created and supervised by Marina Rosati, with texts of Annabella DonÃ and made by the Opera Casa Pope John, foundation of Assisi's Curia. From Don Aldo Brunacci, already founder of the Opera Casa John, to the then Bishop Monsignor Giuseppe Placido Nicolini, who pulled the strings of the underground organization who raised spontaneously, from Fater Rufino Niccacci, minor friar and guardian father of St. Damiano's convent, to the PodestÃ of Assisi Arnaldo Fortini, from the German Colonel Muller to the conventual friar Father Michele Todde: these and many others who helped to rescue the life of many people, otherwise destined to be deported, are among the many characters recalled in the exhibition. One important area is also dedicated to Luigi and Trento Brizi, the Assisi's printers who printed the false documents for Hebrews and the ancient printing machine with drawers, cutter and stamps is exhibited together with pictures and acknowledgments. The exhibition, in two languages (Italian - English), develops across four halls and, beyond the writings, also includes a video section with interviews to some of the protagonists, collected before their disappearance, that tell directly about what they did to rescue Hebrews, beyond focuses on the historical period.  Opening hours The exhibition is open every day according to the opening hours of Assisi's Municipal Picture Gallery November - February 10.30 am - 1 pm/ 2 pm - 5 pm every day March - May 10 am - 1 pm/ 2.30 pm - 6 pm every day June - August 10 am - 1 pm/ 2.30 - 7 pm every day September and October 10 am  - 1 pm/ 2.30 - 6 pm every day Closed on the 25th December and 1st January   Memorial Museum Via San Francesco, 12 â Assisi (PG) Phone Number: 075 8197021 â Fax: 075 8155234 E-mail address: info@assisisi.com <a href="https://www.facebook.com/Museo-della-Memoria-675655982594479/" target="_blank">https://www.facebook.com/Museo-della-Memoria-675655982594479/ </a> Assisi | Places of culturehttps://www.facebook.com/Museo-della-Memoria-675655982594479/https://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=1454335296813Assisi54001[ ] Attrattoreen_US318082990470https://www.umbriatourism.it/web/umbria/-/basilica-di-santa-maria-degli-angeliBasilica of S. Maria degli AngeliThe 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, spiritualitÃ , umbria, umbria turismo, assisi turismoBasilica of S. Maria degli AngeliThe 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. The 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. After the damage of the 1832 earthquake, the church was partially rebuilt by Luigi Poletti (1836-40) in the same manner. The faÃ§ade 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 faÃ§ade, and the present layout of the square was designed by the architect Nicolosi in1950. The 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. The 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 faÃ§ade 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. The 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. From 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.). Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.057586312.576021999999966Assisi54001[ ] Attrattoreen_US335082990470https://www.umbriatourism.it/web/umbria/-/convento-e-chiesa-di-san-damianoConvent and Church of St. DamianoThe church and convent of St. Damiano are not far from the historical centre of Assisi.Convent and Church of St. DamianoThe 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. It 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. Francis 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. The Poor Clares built a small dormitory here and remained in residence until 1260, not long after Clare passed away. The simple faÃ§ade 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. Below 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). There 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. A 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. The relics altar is home to the ivory box in which Clare kept the Holy Sacrament. The 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. Above 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. A 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. One 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. Just 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. From the historical centre and the train station you can take a taxi or a public bus. Only a few vehicles can park on the small square in front of the church. The convent has visiting hours. For more information, please contact the IAT office in Assisi. Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.061567112.618184100000008Assisi54001[ ] Attrattoreen_US2424653590494https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-della-crocettaChurch of the Madonna della CrocettaThe small church of the Madonna della Crocetta is situated on the road leading to the village of Piegaro.Church of the Madonna della CrocettaThe small church of the Madonna della Crocetta is situated on the road leading to the village of Piegaro. It was presumably founded in the second half of the 16th century as the seat of the Brotherhood of Crocetta. In fact,  its coat of arms, consisting of a small Greek cross, is a decorative element inside the church.  In 1851 the church underwent a major renovation which did not, however, alter the original appearance. Outside, the building is very simple presenting as only decorative element the bell tower and the central rose window in the facade. The interior has a single nave covered by a barrel vault interrupted by lateral sails. The ceiling frescoes depicting the Assumption of the Virgin and dating from the 16th - 17th century are worth noting.   Unfortunately, today they are in a bad state of preservation. Piegaro | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.962700112.084799800000042Piegaro54040[ ] Attrattoreen_US2067175990470https://www.umbriatourism.it/web/umbria/-/santuario-della-spogliazioneSanctuary of SpoliationThe 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 SpoliationThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.070701712.619596600000023Assisi54001[ ] Attrattoreen_US2436173090518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicola-schegginoChiesa di San Nicola - SchegginoThe Church of St. Nicholas. Context: urban. Dating: 13th Century. The church of San Nicola, or NicolÃ², 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 - SchegginoThe Church of St. Nicholas. Context: urban. Dating: 13th Century. The church of San Nicola, or NicolÃ², patron saint of the village, is situated in the historic center of Scheggino The 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". Inside, 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.712143112.829464199999961Scheggino54047[ ] Attrattoreen_US273491790470https://www.umbriatourism.it/web/umbria/-/anfiteatro-romanoThe Roman AmphitheatreBuilt 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 AmphitheatreBuilt 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738443.070701712.619596600000023Assisi54001[ ] Attrattoreen_US9566990470https://www.umbriatourism.it/web/umbria/-/basilica-san-francesco-ad-assisiBasilica of Saint Francis of AssisiThe 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 frescoesIn the basilica of Saint Francis of Assisi, contemplating spirituality and artsRecognised 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. Pope Gregory IX laid the first stone was on July 17, 1228, the day after the canonization of St. Francis, in the place previously used for executions and burials of criminals. According to tradition, Francis himself, on his deathbed, indicated this spot to his companions as the place for his burial. Exterior The exterior of the basilica has obvious references to the French Gothic in the soaring facade and the bipartite doorway, lightened by the horizontal brackets and rose window with a typically Umbrian appearance, and with a heavy, wide-structured bell tower. The surfaces are all in stone from Mt. Subasio, which has a pink colour during the day and shines white in the moonlight. Lower church Visitors enter the lower basilica from the side, through a double 13th c. doorway surmounted by a Renaissance prothyrum. The interior has a single nave, divided into five bays by low arcades, with side chapels from the late 13th c. In the first bay, at the entrance, two large 14th c. Gothic tombs are displayed, and, between them, a pulpit with a 13th c. base, with rear additions and reworking.  Opposite the entrance is the Chapel of St. Catherine, or of the Crucifix, decorated with a cycle of frescoes of the Bolognese Andrea Bartoli (1368) and lightened by mullioned 14th c. windows. The polychrome wooden crucifix on the altar dates to the end of the fifteenth century. The walls of the nave bear the remains of frescoes with scenes from the Passion of Christ (right) and stories from the life of St. Francis (left), by the so-called Master of St. Francis (circa 1253). Near the end of the left wall, in a niche above a Gothic dais, is a fresco of the Coronation of the Virgin by Puccio Capanna (14th c.). In the middle of the nave, a staircase leads down to the crypt; behind the altar is the urn containing the remains of the saint, protected by an iron grate.  Returning to the church, the Chapel of the Magdalene preserves precious frescoes (from about 1314) depicting stories of Mary Magdalene and the Saints, attributed to the school of Giotto, and perhaps including some painting by the master's hand. The first chapel on the left displays episodes from the life of Saint Martin, by Simone Martini (1312-1320). In the vault crossing, above the Gothic altar, are other frescoes attributed to Giotto's assistants, including the Maestro delle Vele (Master of the Assisi vaults). The walls and the barrel vault of the right transept preserve frescoes by the school of Giotto and a Madonna Enthroned with Angels and St. Francis, a great composition by Cimabue, which has been partially reduced. On the neighbouring wall at the end are five figures of saints, attributed to Simone Martini. The chapel of St. Nicholas, too, is decorated with frescoes from the school of Giotto (1300 to 1310), possibly executed with assistance from the master himself, and representing stories of that saint. In a niche above the altar is the Gothic tomb of Giovanni Gaetano Orsini by an unknown Umbrian master. On the walls and on the vault of the left transept, visitors can admire the cycle of the Passion of Christ and a Madonna and Saints by Pietro Lorenzetti and his workshop (1315-20), among other paintings. Upper church If the solemn and dark lower basilica invites penance and silence, the upper church soars into the sky, airy and bright. In a Gothic style with French influences, the nave has four bays, cross vaulting, and a polygonal transept and apse. The transept is wonderfully decorated with frescoes by Cimabue, with the famous Crucifixion, scenes of the Apocalypse and Stories of St. Peter. Started in 1277, the cycle has been damaged by changes in which the colour white has taken on a dark tone, giving some images an appearance of photographic negatives. Cimabue and his assistants also painted the four Evangelists on the ceiling above the Gothic high altar and the frescoes with Stories of Mary on the walls. In the upper portion of the nave there is a cycle of frescoes with Stories of the New and Old Testament, thought to be partly the work of painters of the Roman school and partly by followers of Cimabue. The space of the narrative scenes is interspersed with windows adorned with medieval stained glass windows, which, despite the reconstruction, make up one of the most complete such sets in Italy. The bottom part of the nave walls is decorated with the famous fresco cycle designed by Giotto, who supervised its completion by other hands. The cycle contains scenes from the life of St. Francis, from his youth through death and to posthumous miracles attributed to him, framed by painted architecture depicting columns and brackets. Museum of the Treasury of the Basilica of St. Francis  From the first floor of the Renaissance Cloister of Sixtus IV, one enters the Museum of the Treasury, a collection of sacred art that includes paintings, objects in gold and textiles related to the history of the basilica.  In the adjacent room is the Perkins collection: donated to the city in 1955 by the American art historian Frederik Mason Perkins, it includes panel paintings of the 14th and 15th centuries. Hours Winter months (standard time): upper church 8:30 a.m. â 6:00 p.m. (last entrance 5:45 p.m.), lower church 6:00 a.m. â 6:00 p.m. Summer months (daylight savings/summer time): upper church 8:30 a.m. â 7:00 p.m. (last entrance 6.45 p.m.), lower church 6:00 a.m. â 7:00 p.m. Assisi | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.074970912.605400299999928Assisi54001[ ] Attrattoreen_US2496392890422https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-derutaChiesa di San Francesco - DerutaThe Church of St. Francis is the main place of Catholic worship in Deruta. Its consecration dates back to 1388, after its reconstruction following a violent earthquake.Chiesa di San Francesco - DerutaThe Church of St. Francis is the main place of Catholic worship in Deruta. Its consecration dates back to 1388, after its reconstruction following a violent earthquake. 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.  Continuing 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. The 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. Deruta | Places of worship42.980894212.421785Deruta54017[ ] Attrattoreen_US2506795https://www.umbriatourism.it/web/umbria/-/trevi-la-capitale-dell-olio-Trevi, the "Capital" of Olive Oil productionTrevi is a small medieval town which is famous throughout Italy for its ancient tradition of olive oil. Oil, Trevi, Olives, Trees, UmbriaThis small medieval town is famous throughout Italy for its ancient tradition of cultivating olives for oil. Approaching from Foligno towards Terni, we find ourselves pleasantly surrounded by a very picturesque natural setting, made of vineyards, whose grapes are used for the production of the famous Trebbiano wine, vegetable gardens, which are known for the production of Trevi's black celery, and wonderful olive groves. Trevi is crossed by the famous "Olive Trail", a path entirely dedicated to olive groves, which links the two towns of Spoleto and Assisi, reaching an altitude of 500-600 meters. Those who walk through this path can admire the beautiful views of Trevi and its unique colors, completely surrounded by peace and silence, which is why this area is also called the "land of meditation". Along this route, you can still notice old houses, dating back to the 16th century, where the olive growers used to stay during the harvesting periods. The history of Trevi has always revolved around the production of olive oil, so that in an ancient codex of the 9th century, it is said that centuries earlier, Sant'Emiliano, bishop of Trevi, was "tied to a young olive tree" and then beheaded. The olive tree was later identified with a majestic specimen in Bovara, just outside of Trevi, and nicknamed the "Olive tree of Sant'Emiliano". It was recently registered as a protected tree because it is probably the oldest one in Umbria. It has also been fenced to allow tourists to visit it while protecting it from any damage. Distinctive traits of the Extra Virgin Olive Oil of Trevi The Olive Oil of Trevi is appreciated worldwide for its quality: 80% of the olives grown are of the "Moraiolo" variety, another 15% are "Frantoio", and the remaining 5% comes from "Leccino" trees and/or other varieties. This area's olive oil is particularly delicious because the climate of Trevi is usually very cold during the winter. This type of weather helps keep away the "olive fly" which is considered a serious pest in other parts of Italy. Harvest and extraction The olive harvest is done manually. Once picked, the olives must be delivered to the mill within 12 hours from the harvest in order to prevent any unwanted damage. The best time to harvest is between the months of October and December, which is when the olives change color and become red/violet. Thanks to the "cold extraction" process, this olive oil is very intense and has a delightfully fruity taste.  The celebration of the new olive oil Every year the Agricultural Society "Trevi Il Frantoio", which is an association of around 59 growers, organizes the "Olive Oil Festival", an event entirely dedicated to the oil of Trevi and its beneficial properties. In addition to a variety of tastings, the participants also have the chance to learn how to recognize a high-quality Extra Virgin Olive oil.   Trevi | Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.87785912.74915[ ] Attrattoreen_US539507690422https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-micheleChurch of San Michele Arcangelo - Bastia UmbraThe Parish Church of San Michele Arcangelo of Bastia Umbra is located in the city center, in Piazza Mazzini.Church of San Michele ArcangeloThe Parish Church of San Michele Arcangelo of Bastia Umbra is located in the city center, in Piazza Mazzini. 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.067566712.549718799999937Bastia Umbra54002[ ] Attrattoreen_US539574290590https://www.umbriatourism.it/web/umbria/-/fonta-1Fountain - BevagnaThe 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, vinoFountain - BevagnaThe 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 culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.932870812.608240000000023Bevagna54004[ ] Attrattoreen_US539568490590https://www.umbriatourism.it/web/umbria/-/palazzo-dei-conso-1Palazzo dei Consoli - BevagnaIn 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 ConsoliIn 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.   Fonte: Minerva Editrice Bevagna | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.932870812.608240000000023Bevagna54004[ ] Attrattoreen_US253465190590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-silvestro-a-bevagnaSan Silvestro Church in BevagnaThe Church of San Silvestro in Bevagna, a graceful example of religious architecture and of the Romanesque style.San Silvestro, Bevagna, church, UmbriaThe Church of San Silvestro overlooks on the picturesque square of the small village of Bevagna; it is a graceful example of  religious architecture and a compendium of the Romanesque style features of this place.  Description Established in 1195, as stated in the inscription located at the entrance, the church of San Silvestro shows an incomplete faÃ§ade, which was likely to be composed of two overlapping orders and be crowned with a bell tower, like the Church of San Michele, on the other side of the square. Under the horizontal frame, which is decorated with reliefs depicting various hunting scenes, dragons, human busts and animals, there are three windows: a mullioned window at the center and other two on the sides. Twin marble columns recycled from an older building support the central mullioned window, which is richly decorated with plant motifs; the other two windows are positioned on twisted columns, whose bases consist of upside-down capitals.  The beautiful inset portal is decorated with grapevines and fighting animals. The interior, simple and austere, yet monumental, has a central nave and side aisles separated by squat columns. The half-barrel vault roof of the central nave, unusual for an Umbrian religious building, is noteworthy. At the end of the nave, the presbytery is raised over the crypt, small and mystical, with a unique room with two columns supporting the groin vaults. Curiosity The town of Bevagna and the Church of San Silvestro served as background and movie set of the third film by Luciana Cavani dedicated to S. Francesco, which was broadcast on Rai Uno in 2014. Bevagna | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=1423749277384[ ] Attrattoreen_US122663https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-colli-altotiberiniVini Doc e Docg Colli AltotiberiniThe wide area of the Upper Tiber Hills, which includes important towns such as CittÃ di Castello, Umbertide and Gubbio, takes its name from the hilly area crossed by the Tiber river. The wine traditions of the area date back to the Romans (the vineyards are mentioned with admiration by Pliny the Elder), and even before to the Etruscans. Andrea Bacci, an important philosopher and writer in the sixteenth century, describes the area as follows: "on both sides of the Tiber there are festive fields and rich pastures, overlooked by gentle hills which are covered in part with long rows of olive trees and in part with well-kept vineyards." The Upper Tiber Valley has always been an important resting place for travellers moving from north to south and its gastronomic traditions are particularly linked to what the land has to offer, here more than elsewhere. Herbs, vegetables, legumes, mushrooms, meat, the products of this area are countless in variety and seasonality. Wine has always been an important part of the local gastronomy. The typical grapes of the area are Grechetto, Trebbiano and Sangiovese, which have been joined in the last two decades by some international varieties such as Cabernet Sauvignon and Merlot. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.4639783000000112.24048689999995[ ] Attrattoreen_US2439121790590https://www.umbriatourism.it/web/umbria/-/villa-fidelia-spelloVilla Fidelia - SpelloThe complex of Villa Fidelia (or Villa Costanzi) is located at the foot of a hill along the motorway in the territory of Spello. Built in the 16th century by the Urbani family on the remains of a sanctuary belonging to a sacral ensemble of a classical epoch (4th century), it passed in the 18th century to Donna Teresa Pamphili Grillo who transformed it completely.Spello, Festa delle rose, Umbria borghiVilla Fidelia - SpelloThe complex of Villa Fidelia (or Villa Costanzi) is located at the foot of a hill along the motorway in the territory of Spello. Built in the 16th century by the Urbani family on the remains of a sanctuary belonging to a sacral ensemble of a classical epoch (4th century), it passed in the 18th century to Donna Teresa Pamphili Grillo who transformed it completely. <div>The plan of the villa, strongly influenced by the pre-existing Roman construction, keeps the same layout and plan, even if the current complex of Villa Fidelia no longer includes the southern extremity, which now belongs to the missionary sisters of Egypt. The main building has a rectangular plant, is on three floors of which only three are above the ground because of the slope of the terrain. The facades are rich in Baroque and neo-classical decorations; they are framed by pilasters and flat-embossed pilasters intersecting with the string-course bands, windows with mixtilinear frames, broken pediments and framings. The central part of the main faÃ§ade is very important because of the staircase, the portal with a broken pediment flanked by windows, the balcony on the first floor giving access to two mixtilinear door-windows united through a medallion decoration. A more recent part overlooking the valley starts on the lower floor and continues on the ground floor with the rectangular windows whereas on the first floor there is a loggia with arches looking towards the valley. The central position of this loggia is highlighted by a higher arch crowned by a gable with a mixtilinear coping and a small drop-down balcony. The secondary faÃ§ade is more faithful to the original composition: it is tripartite, with an upper central floor and two important symmetrical side entrances. The most relevant aspect of the villa are the external areas, such as the Vesuvian or Baroque garden at the entrance, the horse track, the Italian-style garden and the park. The Vesuvian garden can be accessed by the main gate sided by the chapel and the house of the guardian; it develops on a plane inclined divided in terraces and bounded on its sides with a double row of cypresses. The first terrace is decorated with semi-circular and circular box hedges and is bounded above by a staircase with a central exedra-shaped fountain; the upper terraces are connected among each other through sinuous stairways and grassy spaces. The last part of the Vesuvian garden is the exedra of the clock, an elegant faÃ§ade with niches whose staircase gives access to the park. The side horse track is composed by a circus made up of a double crown of holm oaks. The narrow and long terrace of the Italian-style garden starts on the rear faÃ§ade of the small house, it is divided in four parts through a double line of hedges and globes of boxwood and it is rich with flowerpots of citruses. Uphill, the garden is bordered over its entire length by a high wall with huge niches. Right above that, bordered by rows of cypresses and maritime pines, there is the park of holm oaks. Currently the villa is publicly owned and used to host temporary exhibitions, while concerts and shows take place outside in the wide grass area along the Baroque garden.</div> Spello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US2242868890590https://www.umbriatourism.it/web/umbria/-/la-cappella-baglioni-nella-chiesa-di-santa-maria-maggiore-spelloThe Baglioni Chapel in the Church of St. Maria Maggiore - SpelloThe Church of St. Maria Maggiore houses a chapel entirely frescoed by Pinturicchio between the late summer of 1500 and the spring of 1501, as commissioned by Troilo Baglioni.The Baglioni Chapel in the Church of St. Maria Maggiore - SpelloThe Church of St. Maria Maggiore houses a chapel entirely frescoed by Pinturicchio between the late summer of 1500 and the spring of 1501, as commissioned by Troilo Baglioni. 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. The 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. The 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. A 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. Furthermore, 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. [Source: http://turismo.comune.spello.pg.it] Spello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US542895090590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-3Church of San Francesco - FolignoThe church of San Francesco is situated in Piazza San Francesco in Foligno. Church of San FrancescoThe church of San Francesco is situated in Piazza San Francesco in Foligno.  <div>Built in the thirteenth century by incorporating the older church of St. Matthew, it was completely rebuilt in the last century by the architect Andrea Vici (1796). The work, which lasted for many years, were continued by Giovanni Bettini and then by Vincenzo Vitali.  In 1856 after years of being closed, the church was reopened to the public but the facade had to be built and it was finished by engineer Giovanni Bertuzzi only in 1886.  The facade, decorated with stucco, is divided in compartments by five pilasters with capitals supporting the entablature; above you can see a crowning the central gable. In the lower part there are three architraved portals, boxes of simple frames.  The interior is of neoclassical style and has a single nave with four side chapels with apses. This is packed with pilasters topped with refined capitals to support a projecting cornice with vaults. The cover, in vaults, turns into the dome at the intersection of the arms.  The church contains in the first chapel to the right of a wooden group representing the Crucifixion with the Virgin and St. John (1697) of Foligno Antonio Calcioni; on the second and third altar are two urns containing the first body of the Blessed Angela of Montegiove (1357-1436). In the second one there are the remains of the Franciscan blessed Philip and James murdered in Bevagna in 1377 by mercenaries from Brittany to the Trinci service. The second altar on the left is the body of the Blessed Angela of Foligno, and a painting by Gaetano Gandolfi from Bologna who depicted the blessed. In the third altar on the left there's Our Lady of Mercy; in the main altar St. Francis receiving the stigmata (1856) of the Sicilian Pasquale Sarullo. The apse is decorated with frescoes of the late eighteenth century and the sacristy and the chapel of St. Matthew have fragmentary decoration of 14th century fresco.  The bell tower, built in 1911, in 1926 was raised to make room for a bronze statue of St. Francis.</div> Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248842.9541712.703960000000052Foligno54018[ ] Attrattoreen_US2439115690590https://www.umbriatourism.it/web/umbria/-/palazzo-baglioni-spelloPalazzo Baglioni - SpelloThe Baglioni Palace is located in Repubblica Square, in Spelloâs historical centre, between the town hall and the church of St. Andrew.Palazzo Baglioni - SpelloThe Baglioni Palace is located in Repubblica Square, in Spelloâs historical centre, between the town hall and the church of St. Andrew. The building was raised on orders of Adriano Baglioni, lord of Spello, in 1561 and designed by Battaglia di Pietro and Filippo di Giacomo. The palace incorporates part of the ancient Albornoz fortress (1358) in turn built above the seat of the Oratory of the Raccomondati of Santa Maria della Misericordia. The Baglioni family lived there for few years, and from 1583 the palace was occupied by the apostolic Governor until 1860 when the city returned under the strict control of the Papal State. Severely damaged by the earthquake of 1832 it was restored in the 1970s to house the State Middle School. Today almost nothing is left of the Baglioniâs ancient building: from via del Seminario Vecchio itâs possible to see stratified construction elements that show the different construction stages. The interior has been heavily transformed for use as school building; nevertheless on the first floor, in the Governorâs hall, there is still  ceiling decoration made of painted tiles and a large border running along the walls with female figures and views over the Umbrian valley (16th century). Spello | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US42904070https://www.umbriatourism.it/web/umbria/-/pagina-il-raffinato-mosaico-di-bevagnaBevagna's refined mosaicA mosaic floor with black and white tesserae, dating back to the second century AD, is the most intact and refined mark left in Bevagna by the ancient Romans who called the city Mevania.A mosaic floor with black and white tesserae, dating back to the second century AD, is the most intact and refined mark left in <a href="https://www.umbriatourism.it/-/bevagna" target="_blank">Bevagna </a>by the ancient Romans who called the city Mevania. The mosaic work is what remains of the ancient public baths that were located near the cardo massimo (main street) and the probable forum of the Roman municipium. The mosaic decorates the environment that can be identified as the frigidarium, (the room for cold baths) and is large (12x6.75 m): in the centre octopuses, dolphins and lobsters frolic, and on the short sides, tritons and sea-horses are arranged symmetrically. This is a typical subject of decorations in baths, drawing on marine-type mythological and ornamental repertoire. Visitors can learn about the history of the baths thanks to the illustrative panels at the entrance. Also near the forum, you can find other Roman traces dating back to the first and second centuries AD: the remains of a temple later transformed into the (former) church of Our Lady of the Snow and, in the upper part of the city, the curve of the ancient theatre traced by the houses arranged in a semicircle (two fluted marble columns are located inside the post office) with the remains of ambulatory, some of which can be visited. These are the last vestiges remaining of Mevania. Per informazioni:  tel. +39 0742 360081, via di Porta Guelfa 2, Bevagna <a href="https://www.sistemamuseo.it/home.php" target="_blank">www.sistemamuseo.it</a> bevagna@sistemamuseo.it Bevagna | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.934075212.6091209[ ] Attrattoreen_US42904048https://www.umbriatourism.it/web/umbria/-/pagina-il-porto-romano-di-bevagnaIl Porto Romano di BevagnaAlla scoperta dello scalo fluviale dell'antica Mevania. Mevania, Bevagna, Umbria, porto romano, porto fluviale, acqua, lavotoiIl porto Romano di BevagnaAlla scoperta dello scalo fluviale dell'antica Mevania.  I recenti ritrovamenti sotto lâex convento dei domenicani corroborano studi e ricerche degli ultimi anni: <a href="https://www.umbriatourism.it/-/bevagna" target="_blank">Bevagna </a>in epoca romana era dotata di un porto fluviale collegato direttamente con Roma attraverso il Tevere, vera e propria autostrada âante litteram", nel quale si riversa il sistema Clitunno-Topino.  Si tratta dei resti di un complesso edilizio realizzato in opus mixtum, un tipo di muratura usato dai Romani con lâinsieme di opus reticolatum e latericium e composto da alcuni locali, tra magazzini e ambienti di servizio del porto. Il loro rinvenimento puÃ² testimoniare la consistente attivitÃ commerciale in etÃ augustea del porto, che movimentava prodotti come frumento, olio, ma specialmente vino, molto apprezzato nella capitale dellâimpero. Bevagna si trovava infatti al centro della Valle Umbra e il suo porto fluviale - adiacente alla Via Flaminia costruita da Romani nel 220 a.C. - costituiva un polo intermodale di scambio tra i vari sistemi di trasporto.  Per informazioni: tel. +39 0742 360081, via di Porta Guelfa 2, Bevagna <a href="https://www.sistemamuseo.it/home.php" target="_blank">www.sistemamuseo.it</a> bevagna@sistemamuseo.it Bevagna | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.934075212.6091209[ ] Attrattoreen_US101345https://www.umbriatourism.it/web/umbria/-/il-tartufo-bianco-e-la-sua-conservazioneWhite truffles in Umbria and their conservationThe white truffle species of Umbria: the land and tradition of true gourmet delight.tartufo bianco, tartufo neroWhite truffles in Umbria and their conservationWHITE TRUFFLE OR TRIFOLA The white truffle is the rarest and most prized of the varieties. The scientific name is Tuber Magnatum Pico: magnatum, because it was destined for consumption by magnates, the great tycoons of the table, and Pico from the name of the Turin physician who first described its characteristics in 1788. Of all the types of truffles, this one can grow to the largest size. It is egg-shaped, yellow-white on the outside with a hazelnut beige on the inside, depending on how ripe it is. Did you know that up to 80% of it is water? It grows in the limestone ground found in the areas of CittÃ di Castello, Umbertide, Pietralunga, Montone, Monte S. Maria Tiberina, Citerna, S. Giustino, Gubbio, Scheggia, Pascelupo, Costacciaro, Sigillo, Fossato di Vico, Gualdo Tadino, Valfabbrica, Orvieto, Porano, Montecchio, Baschi, Castel Giorgio, Castel Viscardo, Allerona, Ficulle, Parrano, Montegabbione, Monteleone d'Orvieto and Fabro. BIANCHETTO OR MARZUOLO This variety is far more common and found on the plains, in the hills and the mountains at shallow depths in clayey-limestone earth, near both broad-leafed trees and pines. It is small in size, has a smooth red-brown exterior and a light and very veined interior. It has a slightly garlicky taste and is therefore somewhat less prized. Remember that to fully enjoy the flavour and aroma of the truffle, it should be eaten while still fresh. Although seasonal, they can be preserved. The most common manner is by freezing them, either whole or already grated. First, however, they must be carefully cleaned and dried. You can even dry them in thin slices and then ready them for use by soaking them in warm water or milk. Some people preserve them in glass jars with a tablespoon of salt after having boiled them for at least an hour, depending on their size. But no matter how you conserve them, the flavour and aroma never quite compare to that of a fresh truffle. Flavours of Umbria[ ] Attrattoreen_US539586490590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcange-1Chiesa di San Michele Arcangelo - BevagnaIt was the first cathedral of the city, then collegiate abolished by Frederick II in 1248. Only in 1620 it was restored by Pope Paul V.Church of San Michele ArcangeloIt was the first cathedral of the city, then a collegiate abolished by Frederick II in 1248. Only in 1620 it was restored by Pope Paul V. 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. Today 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. The 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. The other side is an angel with a processional cross and title block. The crypt consists of twelve spans divided by six slender columns. Bevagna | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93279812.608015900000055Bevagna54004[ ] Attrattoreen_US539604690590https://www.umbriatourism.it/web/umbria/-/palazzo-lepriPalazzo LepriAlong 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 faÃ§ade and the main door is embellished by an elegant and decorative wrought iron transom. Palazzo LepriAlong 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 faÃ§ade 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. Along the stairway to the building is part of the archaeological collection, gathered together and catalogued in 1787 by the abbot Fabio Alberti. In the Sala della Giunta there are three paintings by local artist Paolo Spetta from the mid- 19th century. The 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. On 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. Over 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. The paintings by Dono Doni, Ascensidonio Spacca and Andrea Camassei are equally interesting. Bevagna | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.933630812.608965200000057Bevagna54004[ ] Attrattoreen_US2660386290454https://www.umbriatourism.it/web/umbria/-/il-vinosanto-affumicato-dell-alta-valle-del-tevereSmoked Vinosanto wine of the upper Tiber valleyThis fortified wine, a Slow Food presidium, is produced with Trebbiano grapes, blended with Malvasia and Grechetto.Smoked Vinosanto wine of the upper Tiber valleyThis 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. In 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. Vinosanto 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. The 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. Meanwhile, 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. CittÃ di Castello | Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.457787612.231904799999938CittÃ di Castello54013[ ] Attrattoreen_US122637https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-assisiVini Doc e Docg AssisiThe town of Assisi, perched on the slopes of Mount Subasio in what is now a UNESCO World Heritage area, has attracted pilgrims from all over the world for centuries. The City of Peace is famous for being the birthplace of St Francis, the patron saint of Italy, and of St Clare. The magnificent Basilicas of the two saints, the Cathedral of St Rufinus and the Rocca Maggiore are just some of the great monuments that continue to draw large numbers of visitors to the town, and provide a source of inspiration for artists of all kinds. The rich culinary traditions of Assisi have always been heavily influenced by the proximity of Mount Subasio. Of all the local produce, one of the best-known comes from the plains of Cannara, famous for its onions.  Extra-virgin olive oil is another extremely important ingredient, as is the local wine. The typical varieties found in this area include the Grechetto, Trebbiano and Sangiovese, and over the last two decades they have been joined by various international varietals such as Cabernet Sauvignon, Merlot and Pinot Nero.       Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738443.070701712.619596600000023[ ] Attrattoreen_US993890990454 | 20526633 | 15726642https://www.umbriatourism.it/web/umbria/-/parco-di-archeologia-arborea-di-san-lorenzo-di-lerchiParco di Archeologia Arborea di San Lorenzo di LerchiThe 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 biodiversitÃ , patrimonio, archivio, adozioneThe park of forgotten fruit and flavoursAn 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 CittÃ 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. The 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 GÃ©rard 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. The 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  <a href="http://www.archeologiaarborea.org/">www.archeologiaarborea.org</a>   info@archeologiaarborea.org tel.+39 335 6128439  CittÃ di Castello | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.474505812.190394200000014CittÃ di Castello54013[ ] Attrattoreen_US985422790454https://www.umbriatourism.it/web/umbria/-/laboratorio-e-collezione-tessile-tela-umbraUmbrian canvas Umbrian Laboratory and Textile Canvas CollectionHandicraft 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 tourismLaboratory of Umbrian canvas â the Umbrian artistic handicraftThe 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:  CittÃ di Castello, Via S'Antonio, 3 Open 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 Phone number:  075 855 4337  Fax number: 075 852 4042 â email address:   <a href="mailto:telaumbra@aruba.it">telaumbra@aruba.it</a> For tourist information : Ufficio IAT di CittÃ di Castello, phone number: 075.8554922â <a href="mailto:info@iat.citta-di-castello.pg.it">info@iat.citta-di-castello.pg.it</a> <a href="http://www.telaumbra.it" target="_blank">www.telaumbra.it</a> CittÃ di Castello | Weaving, lace and embroideryhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.457541212.240657800000008CittÃ di Castello54013[ ] Attrattoreen_US985432890454https://www.umbriatourism.it/web/umbria/-/tipografia-grifani-donatiGrifani â Donati printeres in CittÃ di CastelloHistoric 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 museumAncient typography (from 1799) â Museum of the Graphic arts.The <a href="/-/citta-di-castello">CittÃ di Castello</a> 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 CittÃ di Castello. The 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. Gianni 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. Along 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.   Cooked 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 CittÃ di Castello (Perugia), Corso Cavour 4, 06012 Opened on Tuesday and Friday 9 am â 12.30 pm/ 3 pm â 7 pm, Saturday 9 am â 1 pm Sunday, guided visits by prior booking only Closed Mondays <a href="http://www.tipografiagrifanidonati.it">www.tipografiagrifanidonati.it</a> CittÃ di Castello | Typographyhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.4573112.238859999999931CittÃ di Castello54013[ ] Attrattoreen_US2439090190590https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-maggiore-spelloChurch of Santa Maria Maggiore - SpelloFounded 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, PinturicchioChiesa di Santa Maria Maggiore - SpelloFounded 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).  Along 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. Also 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 PietÃ , 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US3035292https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-andrea-apostolochurch of Sant'Andrea ApostoloAlong via Cavour, just past the Church of Santa Maria Maggiore, you'll find the church dedicated to St. Andrew.Chiesa di Sant'Andrea ApostoloAlong 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 faÃ§ade 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. Inside 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).  Spello | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.98765312.67118979999998Spello54050[ ] Attrattoreen_US2439129690590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-girolamo-spelloChiesa di San Girolamo - SpelloThe church and convent of St. Jerome are located just outside the walls of Spello, along the road leading to Collepino.Chiesa di San Girolamo - SpelloThe church and convent of St. Jerome are located just outside the walls of Spello, along the road leading to Collepino. The complex was built starting from 1472, thanks to funding from Braccio Baglioni, lord of Spello, and hosted a community of Observant Friars Minor until the first years of the 1900s. The community of the Small Brothers of p.C. de Foucault has been living in the convent since 1965. In front of the main church entrance there is a beautiful porch and within the church itâs possible to admire precious artworks including a sculpted and painted wooden Crucifix of the late 1400 and a fresco painted by an unknown follower of Pinturicchio, depicting the Wedding of the Virgin. The inlaid wooden choir of the 16th century is also particularly beautiful. Spello | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US2439098090590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-claudioChiesa di San ClaudioThe church of St. Claude is located outside the town, along the road between Spello and Villa Fidelia.Chiesa di San ClaudioThe church of St. Claude is located outside the town, along the road between Spello and Villa Fidelia. The building in Romanesque style of the 12th century stands on the remains of a Roman baths. It was one of the possessions of the Abbey of St. Silvester in Collepino and in the 14th century management of the church passed on to the Spello municipality. Between the 14th and the 15th century it was a destination of pilgrimages, and important fairs took place in the area in front of the faÃ§ade. For this reason, some arcades were built against the external walls of the church and later destroyed. The faÃ§ade, in white limestone, presents a bell gable, rebuilt in the 16th century with two overlapping mullioned windows. Below them was the central rose window destroyed by the earthquake of 1832 and reconstructed in 1883. There are two mullioned windows on the sides of the rose window. Three portals (the side ones are closed) gave access to central nave and side aisles divided on the inside by pillars on the left and by columns on the right. The original truss ceiling was replaced in the 14th century by three deep arches made of masonry; progressively lowering, they give the illusion of a more depth to the central aisle. The altar is made up of a pillar and a lid of a Roman sarcophagus. The semicircular apse and the central nave are decorated with frescoes of Umbrian school of the 15th century. In 1393 the whole presbyterial area was painted by the Orvieto artist Cola di Petruccioli, and we can still admire St. Andrew Apostle, a Virgin and Child and the Archangel Gabriel, St. Rufino and St. Lawrence. In the central aisle a fresco attributable to Giovanni di Corraduccio (15th century), the Virgin and Child, St.Anthony Abbot and St. James. Spello | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998[ ] Attrattoreen_US2439105090590https://www.umbriatourism.it/web/umbria/-/palazzo-comunale-spelloPalazzo Comunale - SpelloThe building is the result of an extension towards the east and expansion of the primitive Town Hall, dating back to the 1200s, built with white and rose limestone.Spello, infiorata di Spello, borgo piÃ¹ bello dell'Umbria, luoghi romantici, palazzo medievalePalazzo Comunale - SpelloThe building is the result of an extension towards the east and expansion of the primitive Town Hall, dating back to the 1200s, built with white and rose limestone. Built in 1270 by Master Prode, the ancient Spello Town Hall underwent a complex process of transformation and enlargement both of the building and of the adjacent square in 1567-1575, at the end of the Baglioni Lordship. The main architect of these works was the Lombard Master Battaglia di Pietro, who was very active in Spello in the second half of that century and also demolished the staircase ramp that gave access to the primitive palace. It was replaced by a fountain, still existing, with the reliefs and the emblem of Julius III (1550 - 1555). In the 17th century the abbot Ferdinando Passerini partially transformed the atrium of the palace into a kind of lapidary, as it is today, that collected many of the inscriptions dating back to the Roman period and to the Middle Ages discovered in the municipal territory. The building was the seat of the Spello Municipality until 1972. The loggia gives access to the Hall of Vaults (improperly called âof the Cryptâ), currently seat of the Infiorata Museum. Spello | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681342.98765312.67118979999998Spello54050[ ] Attrattoreen_US542822890438https://www.umbriatourism.it/web/umbria/-/muralesMuralesCalvi is famous as the "land of nativity scenes". Since the Eighties Calvi has this fame thanks to the original event realized by the artist Valan who called painters from all around the world to fresco the walls of the village houses on the theme of the Nativity. Over 50 works are visible there .MuralesCalvi is famous as the "land of nativity scenes". Since the Eighties Calvi has this fame thanks to the original event realized by the artist Valan who called painters from all around the world to fresco the walls of the village houses on the theme of the Nativity. Over 50 works are visible there . Calvi dell'Umbria | Art in Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=142374927335542.403861412.569369400000028Calvi dell'Umbria55008[ ] Attrattoreen_US46256145https://www.umbriatourism.it/web/umbria/-/il-raffaellesco-a-derutaThe âRaphaelesqueâ style in DerutaFree 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 <a href="https://www.umbriatourism.it/en_US/-/deru-1" target="_blank">Deruta</a> <a href="https://www.umbriatourism.it/en_US/-/la-ceramica-di-deruta" target="_blank">majolica</a>. Raffaello, grottesche, deruta, umbria, ceramica, decoro, maiolica, arte, raffaellescoIl âRaffaellescoâ a DerutaFree 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 <a href="https://www.umbriatourism.it/en_US/-/deru-1" target="_blank">Deruta</a> <a href="https://www.umbriatourism.it/en_US/-/la-ceramica-di-deruta" target="_blank">majolica</a>.  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.  The 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.  The 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) We 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.  Raphael 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.  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.  Deruta | Ceramicshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.9822912.4195878Deruta54017[ ] Attrattoreen_US46345723https://www.umbriatourism.it/web/umbria/-/le-ricette-della-tradizione-le-frittelle-di-san-giuseppeThe âFrittelleâ of St. JosephTraditional sweets prepared on Father's Day and in honor of St. Joseph, husband of the Virgin Mary, protector of workers and poor. dolci, dolci tipici, ricette della tradizione, umbria, enogastronomia, frittelle, zeppole, san giuseppe, festa del papÃ Le Frittelle di San GiuseppeIngredients for 4 people: milk: Â½ liter  rice 250 gr. a spoonful of vanilla sugar peel of half a lemon a pinch of salt Â½ teaspoon of ground cinnamon a glass of rum flour 50 gr. 2 eggs raisins (as you like) Traditional sweets prepared on Father's Day and in honor of St. Joseph, husband of the Virgin Mary, protector of workers and poor.  The day of March 19 coincides with the end of winter, a period in which the rites of agricultural purification are celebrated with big bonfires, burning the residues from the crop of the fields. The rites are accompanied by hymns in honor of the Saint and by the preparation of the famous âpancakesâ - undoubtedly the typical dish of this celebration - although the recipe varies by territory.  They are nothing but rice balls cooked in milk, mixed with a few other ingredients. The name itself âfrittelleâ - i.e. fried - specifies the cooking method.  Preparation Pour the milk into a saucepan and add sugar and salt. Bring to a boil and pour the rice mixing it with a wooden spoon, until half cooked, then drain and let cool on a plate. Crack the eggs and separate yolks from whites. Season the rice with grated lemon peel, cinnamon, flour, rum and egg yolks (depending on your taste, add raisins). Mix and add the whipped-up whites. Heat abundant oil in a pan and fry the rice mixture by pouring it with a spoon. When the pancakes are golden brown, drain and lay them on absorbent paper. Sprinkle with icing sugar and ... taste them!     Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=1454334610275[ ] Attrattoreen_US542816890438https://www.umbriatourism.it/web/umbria/-/monastero-museo-delle-orsolineMonastero Museo delle OrsolineOpened to the public since 2002, the museum is housed in the monastery held by the Ursulines since the first half of the eighteenth century.Monastero Museo delle OrsolineOpen to the public since 2002, the museum is housed in the monastery held by the Ursulines since the first half of the eighteenth century. 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 faÃ§ade 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. The 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. You 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. Local 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. An 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=142374927335542.403861412.569369400000028Calvi dell'Umbria55008[ ] Attrattoreen_US2478986790438https://www.umbriatourism.it/web/umbria/-/presepe-monumentale-calviMonumental Nativity Scene and Oratory of Sant'Antonio - Calvi dell'UmbriaThe interior of this church, ancient seat of the St. Anthonyâs Confraternity, hosts the monumental Christmas crib in itsbowl-shaped vault of the apse.  The nativity scene is made of polychrome terracotta and including more than 30 statues, executed between 1541 and 1546 by the brothers Giacomo and Raffaele da Montereale from Abruzzo.Presepe Monumentale - Calvi dell'UmbriaThe interior of this church, ancient seat of the St. Anthonyâs Confraternity, hosts the monumental Christmas crib in itsbowl-shaped vault of the apse.  The nativity scene is made of polychrome terracotta and including more than 30 statues, executed between 1541 and 1546 by the brothers Giacomo and Raffaele da Montereale from Abruzzo. Two niches on the sides of the vault host the statues of St. Anthony Abbot and St. Rocco, patrons of the same confraternity and invoked against the plague. The current location of the Christmas crib is not the original one: , in order to allow for the execution of the back choir of the monastery, in the 1740s it was necessary to shorten this church, and the crib was disassembled and then relocated into the new apse on two levels, similar to its original location. The Nativity is represented in the lower register: at the centre of the scene are St. Joseph and the Madonna kneeling down and adoring the Child Jesus. On the left there is a bagpipe player whereas on the right two female peasants. Behind the central group there are four angels. There is an evident qualitative disparity among the figures of the Madonna, of St. Joseph and of the young female peasant, attributable to the masters, compared to the other ones, that are instead the work of their pupils.  The second register contains the Procession of the Magi travelling towards Bethlehem: on the lower of two wide steps are the three Kings on horseback bringing gifts, on the upper step there is a parade of six figures, partly on foot and partly on horseback, one of whom overlooking the inner of the representation. Four musician angels are hanging from the vault onto the scene. There is a peculiar  male figure sitting on the edge of the upper bowl-shaped vault of the apse, with the legs dangling in emptiness. This figure has been interpreted both as a young man removing a thorn from his foot, a Hellenic and classical theme, and as the angry devil in the moment of tearing his foot in rage at the birth of the Saviour. After the recent restoration works, two frescoes of the 16th century have been brought again to light. The first one represents St. Agatha and St. Biagio, and the second one St. Anthony Abbot and St. Lucia, belonging to the original painted decoration of the Church. Source: <a href="http://www.calviturismo.it">www.calviturismo.it</a> Calvi dell'Umbria | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.403861412.569369400000028[ ] Attrattoreen_US4752435https://www.umbriatourism.it/web/umbria/-/chiesa-della-santissima-trini-1Church of the Santa TrinitÃ - Calvi dell'UmbriaIn 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 TrinitÃ - Calvi dell'UmbriaIn 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. The 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. Inside, there is a fresco depicting the Madonna and child, dated to the mid-15th century. Outside, 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.403861412.569369400000028Calvi dell'Umbria55008[ ] Attrattoreen_US542830290438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-2Church of San Francesco - Calvi dell'UmbriaThe 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 FrancescoThe 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. There is documentary evidence from 1291 about the early church, originally dedicated to St. Victoria, and about the adjoining small oratory. The north wall, the faÃ§ade 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=142374927335542.403861412.569369400000028Calvi dell'Umbria55008[ ] Attrattoreen_US4752526https://www.umbriatourism.it/web/umbria/-/chiesa-di-s-maria-assuntaSt. Mary of the Assumption ChurchSt. 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 ChurchSt. 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. The 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. It 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.4007590999999912.566573199999993Calvi dell'Umbria55008[ ] Attrattoreen_US273472990422https://www.umbriatourism.it/web/umbria/-/pieve-del-vescovoPieve del VescovoThe 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 VescovoSetting: rural Dating: 16th Century The castle Pieve del Vescovo, so-called because for centuries it has been owned by the Archbishop of Perugia's mensa, rises on a green hill that dominates the Caina Valley, a kilometre from the town of Corciano.  The fortified building with an imposing and solid structure, has a quadrangular plan with internal courtyard and four corner towers. Arranged on three levels, in around 1570, it was transformed into a luxurious residence following the designs of architect Gaelazzo Alessi, losing its strictly defensive features.  The late Renaissance layout, for which splendid hanging gardens and a fishpond were also designed, refines the building. Inside there are large rooms frescoed by Taddeo Zuccari, a chapel dedicated to Saint John the Baptist, dungeons and stables. The first historical information about the site dates back to 1206, when a papal bull by Innocence III put the pieve di S. Giovanni (Parish Church of St. John) under the jurisdiction of the Bishop of Perugia; which in 1394, was occupied by aristocrats who had fled Perugia and in 1396, it was fortified with defensive walls and high towers by Biordo Michelotti who celebrated his lavish wedding to an Orsini princess in the castle. Between 1560 and 1570, the fortified building was transformed into a residence, designed by the architect Galeazzo Alessi, at the wishes of Cardinal Fulvio 1 Della Corgna. In the second half of the Nineteenth century it was the residence of the Archbishop of Perugia, Gioacchino Pecci (later Pope Leo XIII). In the Nineteenth century it was badly damaged, whilst during the last world war it was home to a military garrison. The castle was then abandoned, in a state of almost total degradation until 1999, when the Scuola Edile di Perugia began restoration work. Since May 2005, the castle has been home to the Museo Diocesano Diffuso di Pieve del Vescovo.   Corciano | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US542951793915https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-4Church of San Francesco - CostacciaroThe church of San Francesco was built in the mid-13th century and expanded in the early 1700s.Church of San Francesco - CostacciaroThe church of San Francesco was built in the mid-13th century and expanded in the early 1700s. <div>The church has a Romanesque-Gothic facade of white limestone from Monte Cucco. It is the only architectural element of  medieval origin still visible. In the 17th and 18th centuries the church was renovated and expanded. The faÃ§ade features a rose window and a portal with embrasure distinguished by fillets of decorated columns. At the base of the columns there are jambs decorated with bas-reliefs. On the bas-reliefs there are animal shapes related to the Romanesque figurative culture. The rose window above has slender columns softened by foliage and other decorative motifs carved in bas-relief on the capitals.</div> Costacciaro | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.35896512.711621400000013Costacciaro54016[ ] Attrattoreen_US273478990422https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assuntaChiesa di Santa Maria AssuntaThe 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.Chiesa di Santa Maria AssuntaSetting: Urban Dating: 13th Century  The church of Santa Maria Assunta is situated near to the main square in Corciano, which was named after Coragino, the town's legendary founder, who was said to be a fellow traveller of the mythical Greek hero Ulysses. Dedicated to the Assumption of the Madonna into Heaven, it is the main church. Originally with a Gothic structure, it was radically transformed into a neoclassical one in 1870. Squeezed between the ancient medieval houses, you can reach it via the arco della Vittoria, going up a steep stairway or by going down a few steps from piazza Coragino. As there is no piazza in front of it, one has the impression of being immediately taken in by the large neoclassical main body of the church. The oldest document concerning this structure dates back to 1254. Between 1332 and 1334 it assumed the name of "Pievana", and as such, installed a baptismal font and also took on the role as a cemetery. Until 1848 the church did not undergo any radical changes, but in the second half of the century, it was transformed from a Gothic to a neoclassical structure following a design by Lardoni, an architect from Perugia. It was during this period that the new bell tower was added, using the square-shaped stone medieval tower nearby. Today, inside the church we can admire valuable masterpieces of the highest quality. Entering the church, our attention is immediately captured by the altarpiece depicting the Assumption of Mary by the painter Pietro Vannucci, better known as Perugino, 1513, located above the high altar. In addition to the high altar, there are two side altars in the church. The one on the right is dedicated to the Madonna of the Rosary, where there is a statue of her, the one on the left is dedicated to the Sacred Heart, where there is also a statue of the same name located in the niche. Don't miss the beautiful Processional Banner of Plague (Gonfalone della Peste) painted by Benedetto Bonfigli for the church of Sant'Agostino which has been kept here since 1879, in which the town of Corciano is depicted at the bottom of the painting. The striking thing about this is the attention with which the artist has reproduced the ancient castle, and the fact it looks so similar to the town today. Under the choir, to the right, is the baptismal font, and behind is a fresco with Christ's baptism painted by Don Guerriero Giappesi in 1946, inspired by Gerardo Dottori's Futurist art. On the other side is Cardinal Rotelli's funeral monument, made in 1891 by the sculptor Luchetti from Perugia. High up above the main entrance is a pipe organ. It was made by the master organ makers Angelo and Nicola Morettini, a famous family in the trade from Perugia, which was active for more than a century. Corciano's organ was made in 1863 and cost five hundred lire.   Corciano | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US4752016https://www.umbriatourism.it/web/umbria/-/museo-della-casa-contadinaMuseo della Casa Contadina - CorcianoThe museum was set up in 1976 as a result of the passion and dedication of some of local citizens and the town's Pro Loco association, who helped to research and collect objects connected to farm work as well as domestic and handicraft activities. Museo della Casa Contadina - CorcianoThe museum was set up in 1976 as a result of the passion and dedication of some of local citizens and the town's Pro Loco association, who helped to research and collect objects connected to farm work as well as domestic and handicraft activities.  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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US542965190422https://www.umbriatourism.it/web/umbria/-/palazzo-dei-prio-1Palazzo dei Priori - CorcianoThe 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, PerugiaPalazzo dei Priori - CorcianoThe 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.124518412.288374900000008Corciano54015[ ] Attrattoreen_US542961190422https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-agostinoChurch of Sant'AgostinoThe 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'AgostinoThe monastery church of Sant'Agostino rises up on top of a hill covered with olive trees, just south of the hill of Corciano. <div>The oldest document which testifies the existence of the complex, seat of the Hermits of Sant'Agostino, is from 1334. In 1811, Napoleon tried to suppress the convent, but the sudden return of papal rule ensured the recovery of the structure, later definitively abolished in 1860. Despite having undergone several transformations, the church, externally, still shows its fourteenth century lines. Built of limestone and gabled, the facade has been raised for a new roof. The ancient Gothic windows of the facade were changed with two square openings and the portal was replaced with an eighteenth century entrance.  On the two sides of the church a double row of bricks shows the original height of the building and, still here, are two beautiful Gothic mullioned blind windows.The apse, now rectangular, was modified. According to the cadastral survey of 1729 was in fact a semi-circular shape. Even the beautiful window which lights inside the church is eighteenth century. The interior shows more Gothic traces: the eighteenth-nineteenth century restoration work has changed the appearance. Shortly before the abolition of 1860 Father Raffaele Lauro had the last stucco decorations placed on the eighteenth-century altars. This church, like many other of Corciano, was a place of burial. There are still three tombstones on the floor. There are many art works created for the monastery, stands out among all the banner by Benedetto Bonfigli, currently preserved in the parish church, and four beautiful Baroque reliquaries. In this church the four patron saints of the City are venerated: St. Michael the Archangel, St. Sebastian, St. Roch and St. Macarius. The convent, originally built for twelve monks, is now privately owned. Inside there's a beautiful cloister,  painted with the Stories of St. Augustine, with captions in verse of the late seventeenth century by erudite Costanzo Ricci of Corciano. Unfortunately they are very damaged.</div> Corciano | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US116933https://www.umbriatourism.it/web/umbria/-/necropoli-etrusca-di-strozzacapponi-corcianoStrozzacapponi Necropolis - CorcianoStrozzacapponi is a perfect example of a necropolis organized according to a precise design. The burial rite was cremation, normally used in Perugia during the Hellenistic period. The ashes of the deceased were collected inside travertine urns or ceramic ollae.Strozzacapponi Necropolis - CorcianoThere are hundreds of tombs, organized according to a plan: similar in structure and size, they have a dromos (corridor) with steps leading to the entrance, closed by a large slab. The interior space on three sides had ledges where the urns or ollae holding the burial ashes were placed together with funerary objects. Those of the traditional aristocratic class are flanked by burials of many lower-ranking, free men or freed slaves. Used between the third century and the first century BC, the necropolis was associated to a mining settlement in the nearby travertine quarries in Santa Sabina. The urns, some of which are exhibited in the municipal Antiquarium of Corciano, are generally smooth; only in some cases do they have sculpted decorations enriched by lively polychrome decoration. The lids are often engraved with the name of the deceased. The necropolis-museum is part of a wider nature-archaeological route that also includes the necropolis of Fosso Rigo, used by craftsmen engaged in stone working. The archaeological area is temporarily closed to the public. Information LocalitÃ Strozzacapponi - Via Einaudi 06073 - Corciano (PG)  email: cultura@comune.corciano.pg.it   Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Corciano | Perugia | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.0921259000000112.313658000000032[ ] Attrattoreen_US542967790422https://www.umbriatourism.it/web/umbria/-/palazzo-del-capitano-del-popo-1Palazzo del Capitano del Popolo - CorcianoThe Palazzo del Capitano del Popolo, also called Palazzo del Capitano del Contado, is at the end of Via Fusaiola near Coragino Square at Corciano.Palazzo del Capitano del PopoloThe Palazzo del Capitano del Popolo, also called Palazzo del Capitano del Contado, is at the end of Via Fusaiola near Coragino Square at Corciano. <div>Built in the 15th century, it was the ancient residence of the Captain of the County, the officer who was sent in the subdued territories from Perugia, which dominated Corciano. The palace, flanked by the Palazzo dei Priori and the Mercanzia, has a Renaissance style brick facade on which there are two large stone portals and four elegant windows.</div> Corciano | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037Corciano54015[ ] Attrattoreen_US542974990566https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-lorenzoAbbey of San LorenzoThe 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, TemplariAbbey of San LorenzoThe 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. Today 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. The 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. Even older is the Romanesque crypt, which, in spite of some modifications in the 17th century, has kept its original layout. Inside is the tomb of Matilde Marzia who died in 1240, the mother of Beato Simone di Colazzone (Blessed Simon of Colazzone). The 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. Judging by the Romanesque crypt, however, we can hypothesize that construction of the building dates back to the 11th century. The historical events of the complex are connected to the life of Beato Simone (Blessed Simon), a follower of Saint Francis. In 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. Over 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. After 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. After the relocation of the Clarisse, the convent underwent a period of decline, until it was completely abandoned. In 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.9039054000000112.437470899999994Collazzone54014[ ] Attrattoreen_US542991990566https://www.umbriatourism.it/web/umbria/-/chiesa-parrocchiale-di-san-lorenzoParish church of San LorenzoThe 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 LorenzoThe 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. <div>It was built between the 19th and 20th centuries where the keep of a castle once stood. The faÃ§ade is characterized both by the beautiful rose window and by the decorations made up of local terracotta. Inside there are art works of remarkable interest, including a 13th c. wooden sculpture, polychrome, depicting the Madonna and Child. It's one among the finest examples of Umbrian Art. On the sides of the tabernacle two Angels, of local manufacture were added in the 15th century. On the right wall of the church, note a small but interesting 14th-century fresco depicting the Madonna and Child.</div> Collazzone | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.900222312.436139799999978Collazzone54014[ ] Attrattoreen_US543004790566https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcange-2Church of San Michele Arcangelo - CollazzoneThe church of San Michele Arcangelo is found on what is now Corso Emanuele III, the ancient "decumanus vicus del castrum", at the centre of Collazzone. Church of San Michele Arcangelo - CollazzoneThe church of San Michele Arcangelo is found on what is now Corso Emanuele III, the ancient "decumanus vicus del castrum", at the centre of Collazzone.  In 1370 it was annexed to the convent of the Poor Clares of San Lorenzo "inside the walls" and it probably originated as primitive chapel of the castle. The barbaric monogram of Redemption is visible on low pediment of the entrance. Recently wall frescoes were discovered, dating from the 14th and 16th centuries. Collazzone | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.899727512.43599770000003Collazzone54014[ ] Attrattoreen_US111927https://www.umbriatourism.it/web/umbria/-/antiquarium-di-corcianoAntiquarium - CorcianoL'Antiquarium is subdivided into three sections: Paleontological, Prehistoric and Proto-historical and ArchaeologicalAntiquarium, Corciano<table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> Opened in 2009, the museum is subdivided into three sections: Paleontological, Prehistoric and Proto-historical and Archaeological. All these sections present finds that had already been collected and held, in a small quantity, inside the rooms of the Town Hall since the 1990s. In the Paleontological section, it is possible to admire the fossil remnants of the Mesozoic Ammonites from MigianaâLower Early Jurassicâand that of the Quaternary MammalsâLower Pleistoceneâfrom Ellera; an updated didactic apparatus illustrates two of the important and far away stages in the history of the Corciano area. The Prehistoric and Proto-historical sections, mainly consisting of stone tools collected in several localities of the region, offer an interesting panoramic picture of Umbria, from the Upper Paleolithic to the Iron Age. Two cinerary vases, dated from the latter period, testify the diffusion of the Villanovan Culture in the territory between Trasimeno Lake and Perugia. The section dedicated to Classical Archaeology opens with the reconstruction of two princely chariots, found on April 1912 near Castel San Mariano inside a tomb dating from the 6 century B.C. Then comes the section dedicated to Sanctuaries, simple enclosures or altars built along the main roads of communication and on top of the hills, dedicated to deities, protectors of health, the body, fertility, affluence and livestock breeding. The Hellenistic period is represented by materials coming from the Etruscan Necropolises of Strozzacapponi and Fosso Rigo, with the reconstruction of three burial sites that have their funerary goods placed in the original position. The section ends with an interesting nucleus of items from the Roman period, represented by the finds coming from the Roman Villa of Palazzo Grande and the funerary goods from the so called "tombs a cappuccina", discovered in the area. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> Information Via Cornaletto 4/c 06073 - Corciano (PG)  email: infopoint@comune.corciano.pg.it     <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Corciano | Places of culture | Ancient historywww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.123787212.289259600000037[ ] Attrattoreen_US303538493925https://www.umbriatourism.it/web/umbria/-/pieve-di-san-gregorio-in-nidoThe Church of St GregoryThe Church of St Gregory is along the road between Castel Ritaldi and Colle del Marchese. The faÃ§ade, 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 GregoryThe Church of St Gregory is along the road between Castel Ritaldi and Colle del Marchese. The faÃ§ade, 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 faÃ§ade (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. Above 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. The star of the original rose window was incomprehensibly mounted on the bell gable. The church has one nave under a ceiling of wooden trusses and has been completely restored. The 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.827885812.651155099999983Castel Ritaldi54008[ ] Attrattoreen_US2067149090542https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-pancrazioSan Pancrazio ChurchDating from the seventeenth century, the San Pancrazio Church is situated in the center of the city, at Piazza Giorgio della Rovere.San Pancrazio ChurchDating 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.707819911.979396899999983Castel Giorgio55009[ ] Attrattoreen_US2496205590518https://www.umbriatourism.it/web/umbria/-/santuario-madonna-della-stella-cerreto-di-spoletoSantuario Madonna della Stella - Cerreto di SpoletoThe 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 SpoletoThe 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.821554412.918199100000038Cerreto di Spoleto54010[ ] Attrattoreen_US2067164893925https://www.umbriatourism.it/web/umbria/-/santuario-madonna-brunaSanctuary of Madonna della BrunaIt'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 BrunaIt'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 worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.8286312.656071699999984Castel Ritaldi54008[ ] Attrattoreen_US95705https://www.umbriatourism.it/web/umbria/-/citerna-uno-dei-borghi-piu-belli-d-italiaCiterna, one of the most beautiful villages in ItalyThe ancient city of Citerna is among the most beautiful villages in ItalyCiterna, Saint Francis, Pomarancio, church, Donatello, Madonna with Child, earthquakeCiterna, uno dei borghi piÃ¹ belli d'ItaliaKnown in Roman times as Civitas Sobariae, Citerna is a lovely city in the North of Umbria, recognised as one of the most beautiful villages in Italy. Much of its artistic riches were destroyed in the violent earthquake of 1917, but the circular Tower, symbolic of the city, remained intact.  A visit to the 14th century church of Saint Francis, situated on Corso Garibaldi in the historical centre, is highly recommended; the simple Renaissance forms are the result of remodelling that took place in 1508. The layout is the Latin cross plan and it is considered a 'museum church' because it features precious artistic works, among which the Deposition (16th century) by NicolÃ² Circignani, known as il Pomarancio, a Robbian terracotta with fruits and cherubs, drawings attributed to Raffaelino del Colle, frescoes inspired by Luca Signorelli's school, wooden choir stalls built in 1550, altars and refined carvings...The splendid Madonna with Child, in polychromatic terracotta, is also part of the church; this work, attributed recently to the young Donatello, was created around 1415. Do not miss a visit of the typical piazza Scipione Scipioni where the high Torre civica rises, with its 16th century clock featuring wooden mechanical parts, as well as the church of Saint Michael Archangel, built around 1680, which harbours the great Crucifixion panel (1570) by NicolÃ² Circignani known as Il Pomarancio, and the Madonna with Child (16th-17th century), a well-regarded work by Giovanni della Robbia. In the older part of the settlement there is the imposing Fortress; it was partly destroyed by the Germans in 1944, but still offers a remarkable panorama. <div style="clear:both;"> </div> Citerna | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190143.498012512.11784590000002[ ] Attrattoreen_US2070922390454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-citernaChurch of San Francesco - CiternaThe 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 - CiternaThe 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. Above 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. Above 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. On 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). In 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 NicolÃ² Circignani called the Pomarancio, in 1570. On 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.   Source: Umbria. Vol. 1. La biblioteca di Repubblica - L'Italia, 1. Milano: Gruppo Editoriale L'Espresso SpA - Divisione la Repubblica (Â© Touring Editore s.r.l.), 2005.  Citerna | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.498012512.11784590000002Citerna54011[ ] Attrattoreen_US2070913790454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcangelo-citernaChurch of St. Michael the Archangel - CiternaThe 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 - CiternaThe 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 faÃ§ade 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 NiccolÃ² Pomarancio and a valuable terracotta depicting the Virgin Mary and Child of the school of Giovanni della Robbia. Citerna | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.498012512.11784590000002Citerna54011[ ] Attrattoreen_US2496197690518https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-cerreto-di-spoletoChiesa di Santa Maria Assunta - Cerreto di SpoletoThe 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 triponzoChiesa di Santa Maria Assunta - Cerreto di SpoletoThe 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. The exterior masonry is an example of a well-kept Romanesque stonework. However, the most peculiar feature of this building is the ârose window designâ incised in the brickwork of the right internal wall, near the entrance. The right chapel hosts frescoes of Evangelists (in the vault), Christ at Calvary (in the lunette), Christ in the garden and St. Michael (sub-arch), of the 16th century. The apse presents a Nativity of the 16th century and a Mystical Marriage of St. Catherine, dated 1519;  above on the sides there is a fresco  of the early 14th century depicting Angels. On the left transept there is a fresco of the Madonna and Saint of the 16th century. Up on the left wall there is a detached fresco of the 15th century representing a Crucifix and Saints, a Saint and St. Augustine of the 15th century; and Our Lady of the Rosary of the 17th century. The remains of the artistic heritage of this parish church (once rich and important) are two wooden Madonnas of the 14th century, a canvas of a Deposition (derived from Daniele da Volterra) and the surviving parts of the fresco decoration (in a poor state of conservation). A big Roman monolithic cup made of basalt is used as baptismal font. A Madonna enthroned with Angels and Saints, a wide fragment of an antependium is an artwork made by an unidentified Umbrian in the early 14th century known as the Master of Cesi (preserved in the Diocesan collection of Spoleto). Cerreto di Spoleto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.821554412.918199100000038Cerreto di Spoleto54010[ ] Attrattoreen_US2496187390518https://www.umbriatourism.it/web/umbria/-/ex-monastero-di-san-giacomo-cerreto-di-spoletoFormer monastery of San Giacomo - Cerreto di SpoletoThe Church of San Giacomo, with the adjoining monastery, today houses the CEDRAV (Valnerina Centre for anthropological documentation). The faÃ§ade, corresponding to the left wall of the nave, is adorned with an ogival portal.Cerreto di Spoleto, Via di Francesco, Bike umbria, trekking umbria, Valnerina, natura umbriaFormer monastery of San Giacomo - Cerreto di SpoletoThe Church of San Giacomo, with the adjoining monastery, today houses the CEDRAV (Valnerina Centre for anthropological documentation). The faÃ§ade, corresponding to the left wall of the nave, is adorned with an ogival portal. 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.    Source: http://www.cerretodispoletoturismo.it     Cerreto di Spoleto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.821554412.918199100000038Cerreto di Spoleto54010[ ] Attrattoreen_US2070928690454https://www.umbriatourism.it/web/umbria/-/camminamento-medievaleMedieval walkwayAt 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 walkwayAt 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.498012512.11784590000002Citerna54011[ ] Attrattoreen_US828134693925https://www.umbriatourism.it/web/umbria/-/unesco-tempietto-del-clitunnoTempietto 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 faÃ§ade 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. The 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 time  Tuesday - Saturday: 8.15 am  - 7.15 pm (last entrance) Sunday: 2.15 pm - 7.15 pm Monday closed Monday 14th August: open Campello sul clitunno42.834571512.765554000000066Campello sul Clitunno54005[ ] Attrattoreen_US828131090470https://www.umbriatourism.it/web/umbria/-/unesco-il-santuario-di-rivotorto-e-paesaggio-storicoThe Sanctuary of Rivotorto and the historical landscapeThe 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. On the faÃ§ade 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. The 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-faÃ§ade, is a painting of Saint Michael Archangel by Domenico Mattei. On the walls are paintings by Cesare Sermei alluding to Franciscan history. Assisi43.050133812.618349899999998Assisi54001[ ] Attrattoreen_US112097https://www.umbriatourism.it/web/umbria/-/convento-della-scarzuola-e-citta-buzziana-montegabbioneScarzuola Convent and the Town of Tommaso Buzzi - MontegabbioneAn always open huge global work that has never been finished, in which the elements of the past superimpose those of the present and of the futureScarzuola Convent and the Town of Tommaso Buzzi - MontegabbioneThe Convento della Scarzuola e CittÃ Buzziana complex is located in Montegiove, a locality in the municipality of Montegabbione.  Tradition has it that its name comes from a thatched hut, which St Francis built himself during one of his peregrinations. A church and a Franciscan convent were built, by order of the noble Nerio di Bulgaruccio of the Counts of Montegiove, in this very-same place in 1282. In the apse, of the Santissima Annunziata Church, there is a fresco dating from the first half of the 13th century, depicting St Francis in Mystical Levitation. It is one of the early paintings depicting the Saint, and isn't yet part of the canons of the official iconography. The convent, abandoned by the Franciscan Friars in the 18th century was acquired by one of the most renowned Italian architects of the 20th century, Tommaso Buzzi (1900-1981) from Milan. In twenty years hebbuilt his own "cittadella"âideal townâcentered around seven theaters, which was inspired by thenHumanistic ideals of the harmonic composition of Nature and Culture. There are constructions of high symbolic valueâeven in their names: The Babel Tower, The Musical Scalenof the Seven Octave, Jacob's Ladder, etc. etc.ârunning along the visit pathway. The climax is reached with the representation of the Acropolis, a mountain of Buildings, which are empty inside and often overlapping. An always open huge global work that has never been finished, in which the elements of the past superimpose those of the present and of the future, shows a use-and-abuse of scale, desired disproportions, monsters, labyrinths and geometrical and astronomical paths Information and reservation <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">website: <a href="http://www.lascarzuola.com/" target="_blank">www.lascarzuola.com</a> mail: <a href="mailto:info@lascarzuola.com ">info@lascarzuola.com</a> telephone and fax: 0763837463    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Montegabbione | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.897399612.149306700000011[ ] Attrattoreen_US2358940090518https://www.umbriatourism.it/web/umbria/-/torre-dell-orologio-monteleone-di-spoletoClock Tower- Monteleone di SpoletoBuilt 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 SpoletoThe 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 historyhttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.650439112.951629300000036Monteleone di Spoleto54031[ ] Attrattoreen_US2507928990518https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-caterina-monteleone-di-spoletoFormer Convent and Church of Santa Caterina - Monteleone di SpoletoIts 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 SpoletoIts 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. [Source: <a href="http://www.comune.monteleonedispoleto.pg.it">www.comune.monteleonedispoleto.pg.it</a>] Monteleone di Spoleto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.650439112.951629300000036Monteleone di Spoleto54031[ ] Attrattoreen_US122852https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-montefalcoVini DOC e DOCG Montefalco - SagrantinoImpossibile nominare il Sagrantino e non pensare subito al suo territorio di origine, <a href="https://www.umbriatourism.it/en_US/-/montefalco">Montefalco</a>, il Balcone dell'Umbria, come viene chiamato questo piccolo borgo da cui si gode di una magnifica vista sulle valli circostanti. Da sempre territorio a grande vocazione olivicola e vitivinicola, oggi Montefalco, in provincia di Perugia, e tutta lâarea dei <a href="https://www.umbriatourism.it/en_US/-/i-tesori-dei-colli-martani-storia-arte-e-natura-lungo-l-antica-via-flamin-1">Colli Martani </a>rappresentano l'Umbria nel mondo grazie a questo vino, il Sagrantino DOCG, e al vitigno protagonisti di una rivoluzione iniziata a cavallo a partire dagli anni â70.Impossibile nominare il Sagrantino e non pensare subito al suo territorio di origine, <a href="https://www.umbriatourism.it/en_US/-/montefalco">Montefalco</a>, il Balcone dell'Umbria, come viene chiamato questo piccolo borgo da cui si gode di una magnifica vista sulle valli circostanti. Da sempre territorio a grande vocazione olivicola e vitivinicola, oggi Montefalco, in provincia di Perugia, e tutta lâarea dei <a href="https://www.umbriatourism.it/en_US/-/i-tesori-dei-colli-martani-storia-arte-e-natura-lungo-l-antica-via-flamin-1">Colli Martani </a>rappresentano l'Umbria nel mondo grazie a questo vino, il Sagrantino DOCG, e al vitigno protagonisti di una rivoluzione iniziata a cavallo a partire dagli anni â70. La storia Vitigno antico, le cui tracce risalirebbero addirittura al I secolo D.C., Ã¨ coltivato quasi esclusivamente nel territorio di Montefalco, rimanendo ben ancorato all'area che lo ha visto nascere e che rappresenta il suo naturale habitat. Per alcuni le sue origini si identificano nella âitriolaâ, unâuva pregiata di cui parla Plinio il Vecchio; per altri questo vitigno potrebbe essere stato importato dalla Spagna dai primi seguaci di San Francesco.  Di certo, dallâanno Mille in poi, come dimostrano documenti sempre piÃ¹ frequenti,  il vino assunse una grande importanza economica e sociale, divenendo un prodotto di spicco di queste terre, tanto che veniva considerato un dono di prestigio per principi e pontefici. Riguardo alle origini del suo nome, câÃ¨ chi lo fa derivare dallâuso di questo vino dolce passito durante la messa â da cui vino sacro o sagrantino. Ma potrebbe anche avere origine popolare, come vino della festa che si beveva durante le sagre. Anche se attualmente nel Sagrantino prevale la versione secco, il vino Ã¨ nato come dolce. Un tempo infatti, veniva prodotto esclusivamente nella tipologia passito, quindi ottenuto dallâappassimento delle uve su graticci di legno. Questa tecnica di produzione era molto congeniale alle uve di Sagrantino, capaci di appassire per mesi senza marcire e di conservare a lungo intatta la componente zuccherina. Negli anni â60 perÃ² la tradizione del passito sembrava dimenticata, ridotta a una produzione molto limitata, quasi solo casalinga: Ã¨ stata lâidea del Sagrantino secco a rilanciare questo vitigno, a partire dalla prima vendemmia del 1972 con questo tipo di vinificazione. Nel 1979 il Sagrantino di Montefalco venne riconosciuto vino DOC, mentre nel 1992 Ã¨ diventato il dodicesimo vino italiano a ottenere la DOCG ed Ã¨ oggi ritenuto una delle bandiere del vino italiano nel mondo. Il vino Il Sagrantino dÃ origine a un vino rosso rubino scuro caratterizzato da profumi fruttati e speziati, di grande struttura, ricco e dall'inimitabile trama tannica. Nella versione passita regala vini di straordinaria intensitÃ e complessitÃ , in cui la dolcezza bilancia perfettamente le sue naturali parti piÃ¹ dure. Si presta molto bene a un lungo invecchiamento. Suggerimenti Se siete in questa zona per assaporare gli ottimi vini, non mancate di visitare il borgo di Montefalco: la sua posizione, appena distaccata ma al tempo stesso dominante rispetto alla vicina Via Flaminia, gli ha permesso di essere da sempre un importante riferimento culturale per le localitÃ limitrofe. Ne sono testimonianza le tracce lasciate da artisti quali il Perugino, Benozzo Gozzoli, Francesco Melanzio. Montefalco | Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi39.png/8ad5a843-3aa4-42ac-a313-46d50e76239f?t=142374927738442.8892935999999912.650284300000067[ ] Attrattoreen_US2222940790438https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-del-carmine-montefrancoChurch of the Madonna del Carmine - MontefrancoThe Church of the Madonna del Carmine is situated in the village of Montefranco, fortified center surrounded by olive trees and oak forests, rich in artistic and architectural treasures.Church of the Madonna del Carmine - MontefrancoThe Church of the Madonna del Carmine is situated in the village of Montefranco, fortified center surrounded by olive trees and oak forests, rich in artistic and architectural treasures. The building has an elegant bell tower and inside preserves frescoes of the 17th century of the Umbrian School and a sixteenth century Ascension. Montefranco | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.601146112.753737199999932Montefranco55019[ ] Attrattoreen_US2222946890438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-bernardino-montefrancoChurch of San Bernardino - MontefrancoThe church of San Bernardino was built on an ancient Benedictine chapel.Church of San Bernardino - MontefrancoThe church of San Bernardino was built on an ancient Benedictine chapel. Located not far from the town of Montefranco, the church is characterized by two adjacent buildings. Itâs dedicated to the town's patron saint San Bernardino, who preached in Montefranco in 1444. The interior of the church contains frescoes attributed to Orlando Merlini, student of Benozzo Gozzoli. In 1454 the church was built and, and then it was rebuilt in the fifteenth century, with an adjacent convent of the Padri Osservanti, and the facade still bears the traces of the original building. The interior, a single nave and a vaulted ceiling, contains numerous frescoes by different artists, ranging from the fifteenth to the sixteenth century. Montefranco | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.601146112.753737199999932Montefranco55019[ ] Attrattoreen_US2507906690518https://www.umbriatourism.it/web/umbria/-/chiesa-e-convento-di-san-francesco-monteleone-di-spoletoChurch and convent of San Francesco - Monteleone di SpoletoThe 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, outdoorChurch and convent of San Francesco - Monteleone di SpoletoThe monumental complex of San Francesco di <a href="http://www.umbriatourism.it/-/monteleone-di-spoleto">Monteleone di Spoleto</a> 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. <div> 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). The 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. The main faÃ§ade (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. The 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. The 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. In 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. </div> <div> </div> <div>[Source:<a href="http://www.monteleonedispoletoeventi.it"> www.monteleonedispoletoeventi.it</a>]</div> Monteleone di Spoleto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.650439112.951629300000036Monteleone di Spoleto54031[ ] Attrattoreen_US2265518290542https://www.umbriatourism.it/web/umbria/-/castello-di-casteldifioriThe Castle of Castel di FioriThe village of Castelfiori, in the municipality of Montegabbione, is placed in the countryside and surrounded by woods.The Castle of CasteldifioriThe village of Castelfiori, in the municipality of Montegabbione, is placed in the countryside and surrounded by woods. Recently renovated, the village is surrounded by walls that have kept its medieval charm and is dominated by the Castle, which was mentioned already in 1350, and by its tower, dating back to the early 1200s. In the central square there is a statue of the Archangel Michael, built in 1937 by the sculptor Michele Perla and inspired by that in the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo, in the province of Foggia. The church of Santa Maria Maddalena rises up on the central square, rebuilt between the 17th  and 18th centuries, probably on the ruins of the ancient castle church. The building, built in stone, has a single nave. Inside, in the niche on the back wall, there is a Marian mural, while along the left wall is the niche of Santa Maria Maddalena. Montegabbione | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=145433455496242.922441112.091175099999987Montegabbione55020[ ] Attrattoreen_US2265535190542https://www.umbriatourism.it/web/umbria/-/chiesa-di-maria-ss-assunta-in-cielo-montegabbioneChurch of SS.Assunta Maria in Cielo - MontegabbioneThe Church of SS.Assunta Maria in Cielo is the present parish church of Montegabbione.Church of SS.Assunta Maria in Cielo - MontegabbioneThe 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). The church is characterized by Byzantine style and it was decorated by the artists from Perugia Francesco Biscarini and Raffaele Angeletti. Inside 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. In 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. Next to the church is the reinforced concrete bell tower, built in the fifties. [Source: www.comune.montegabbione.tr.it] Montegabbione | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=145433455496242.922441112.091175099999987Montegabbione55020[ ] Attrattoreen_US2265527290542https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-delle-grazie-montegabbioneChurch of Maria SS. delle Grazie - MontegabbioneThe 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 - MontegabbioneThe 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. [Source: www.comune.montegabbione.tr.it] Montegabbione | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=145433455496242.922441112.091175099999987Montegabbione55020[ ] Attrattoreen_US41404825https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-farro-di-monteleone-di-spoleto-dopFarro di Monteleone di Spoleto DOPUna varietÃ di farro molto antica, le cui prime tracce risalgono allâEtÃ 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 mangiareFarro di Monteleone di Spoleto DOPUna varietÃ di farro molto antica, le cui prime tracce risalgono allâEtÃ del Bronzo, che nel 2010 ha ottenuto la Denominazione di Origine Protetta. Il Farro di <a href="https://www.umbriatourism.it/it_IT/-/monteleone-di-spoleto" target="_blank">Monteleone di Spoleto</a> DOP Ã¨ una varietÃ 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 Ã¨ proprio cosÃ¬: 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. Se la storia del farro risale a prima delle cristianitÃ (ci sono testimonianze riconducibili a tremila anni fa o piÃ¹ recentemente al periodo romano), la varietÃ di Monteleone di Spoleto Ã¨ strettamente legata alla figura del Santo Patrono del paese, San Nicola di Bari, il quale passando per Monteleone e impressionato dalla indigenza dei suoi abitanti, secondo la leggenda, iniziÃ² a distribuire il poco farro contenuto nella sua sacca, fino a sfamare tutti i poveri del paese.  Il miracolo Ã¨ ricordato il 5 dicembre di ogni anno con la celebrazione del santo, durante la quale Ã¨ prevista la preparazione e la distribuzione di una minestra preparata dal parroco della Chiesa di San Nicola proprio con il cereale tipico del paese. Il farro viene distribuito a mezzogiorno con sugo di magro agli abitanti di Monteleone, a cominciare dai bambini che sono i destinatari privilegiati del rituale. Dal 2010, il farro di Monteleone di Spoleto ha ottenuto, in ragione della sua storia e delle sue specificitÃ , la Denominazione di Origine Protetta. Ricco di vitamine e sali minerali, il Farro di Monteleone di Spoleto DOP Ã¨ ingrediente fondamentale per zuppe e minestre, oltre che di molti piatti tipici locali quali lâimbrecciata e la polenta alla <a href="https://www.umbriatourism.it/it_IT/-/la-valnerina-viaggio-tra-norcini-casari-e-tartufari" target="_blank">Valnerina</a>. Monteleone di Spoleto | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.651242412.9514342Monteleone di Spoleto54031[ ] Attrattoreen_US539369690438https://www.umbriatourism.it/web/umbria/-/castello-di-attiglianoCastle of AttiglianoThe Castle of Attigliano rises up on on the edge of a terrace overlooking the Tiber valley, a picturesque and panoramic position. The name, according to tradition, derives from the numerous lime trees growing nearby, from Latin "ad tiliam".Castle of AttiglianoThe Castle of Attigliano rises up on on the edge of a terrace overlooking the Tiber valley, a picturesque and panoramic position. The name, according to tradition, derives from the numerous lime trees growing nearby, from Latin "ad tiliam". 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. Over 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. In 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. After 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.516838912.292241999999987Attigliano55006[ ] Attrattoreen_US539370890438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-lorenzoChiesa di San LorenzoDating 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 LorenzoDating 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.51566112.292450599999938Attigliano55006[ ] Attrattoreen_US539379690438https://www.umbriatourism.it/web/umbria/-/fontana-dei-delfiniFountain of the DolphinsThe 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 DolphinsThe 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.51440912.289209300000039Attigliano55006[ ] Attrattoreen_US536526890438https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-ceciliaChurch of Santa CeciliaThe Church of Santa Cecilia (the Patron Saint of Acquasparta) dates from the 12th century, as visible in the apse.Church of Santa CeciliaThe 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.690469912.546306500000014Acquasparta55001[ ] Attrattoreen_US536516890438https://www.umbriatourism.it/web/umbria/-/chiesa-del-sacramentoChurch of the SacramentThe Church of the Sacrament was built in 1684, in the district of the Piazza Vecchia of the SocietÃ del Santissimo Sacramento, in the village of Acquasparta.Church of the SacramentoThe Church of the Sacrament was built in 1684, in the district of the Piazza Vecchia of the SocietÃ 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.690469912.546306500000014Acquasparta55001[ ] Attrattoreen_US536534990438https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-giglioChurch of the Madonna del GiglioThe 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 GiglioThe 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. There are numerous frescoes visible inside, some of which are well preserved. Acquasparta | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.689142512.547414600000025Acquasparta55001[ ] Attrattoreen_US358101290438https://www.umbriatourism.it/web/umbria/-/palazzo-cesiPalazzo CesiAmong 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 LinceiPalazzo CesiAmong 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. Around 1579 the construction of the building ended, when Federico Cesi, a nephew of Gian Giacomo, married Olimpia Orsini. In the first months of 1604, Federico retired within its walls, discouraged by his father's intolerant and unsympathetic attitude towards the activity of the Accademia dei Lincei. A few month before Federico had founded the Accademia with other friends. Once the critical phase was over, the four founders, including Federico, gathered again in the rooms of the palace which, in 1618, became Federico's residence and the official seat of the Academy. The quietness of the Umbrian countryside made the residence of the Cesi an ideal place for academic work and scientific research. In 1624 Galileo Galilei was also a guest in the palace of Acquasparta. The building is accessible from the entrance hall leading to the ground floor rooms. From the porch, through a staircase, you reach the main floor. Here precious frescoes celebrate the illustrious origins and the great military virtues of the Cesi family. Beautiful coffered wood ceilings adorn the rooms. On the main floor, in the reception hall, the coffered ceiling is carved with figures of Hercules, trophies of arms and gargoyles. Among the decorative paintings that illustrate the military exploits and the origins of the Cesi family, is the emblem of the Academy: the lynx surrounded by a laurel wreath. On the ground floor the decoration of the rooms used for the Cesi's private lives draws on the rich mythological heritage, in particular by Ovid's Metamorphoses. All the decorations are considered among the greatest examples of Roman painting style in Umbria. Bibliography Martinelli Imbriani A. (1982), Contributo alla storia di Acquasparta, Roma, Edizioni Oddo. T.C.I. (2004), Umbria, Milano, Touring Editore.   Acquasparta | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi34.png/952587c2-7882-4bd3-8f9f-fa1d4a480ad3?t=142374927663442.691200812.546165299999984Acquasparta55001[ ] Attrattoreen_US536540390438https://www.umbriatourism.it/web/umbria/-/monti-martaniMonti MartaniThe Monti Martani massif is located at the center of Umbria and runs north-south for about 45 Km. Monti Martani, umbriaMonti MartaniThe 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.  The 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.  The 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. As for the fauna, its diversification is linked to the variety of plant environments examined above.  Among 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. Birdwatchers 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.  These include hedgehogs, squirrels, foxes, weasels, polecats, deer and badgers.  In the mid-eighties, thanks to some initiatives of the Umbria Region, Martani Trekking was ceated.  It 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 parkshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.57335312.668104500000027Acquasparta55001[ ] Attrattoreen_US536512290438https://www.umbriatourism.it/web/umbria/-/chiesa-san-francescoChurch of San Francesco - AcquaspartaIn 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 - AcquaspartaIn 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. Inside 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. A 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 culturehttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.6928955000000112.545620900000017Acquasparta55001[ ] Attrattoreen_US1852487090542https://www.umbriatourism.it/web/umbria/-/villa-cahenVilla CahenIn the 1880 the Villa was built in the municipality of Allerona by the wealthy financier Edouard Cahen of Antwerp, who, in love with Italy and its landscapes, had bought the estate from the aristocratic family of the Bourbon del Monte.Villa CahenIn the 1880 the Villa was built in the municipality of Allerona by the wealthy financier Edouard Cahen of Antwerp, who, in love with Italy and its landscapes, had bought the estate from the aristocratic family of the Bourbon del Monte. The estate extends for about thirty kilometers in circumference between two ridges in the valley of the Paglia river in an area currently known as the Selva of Meana. The particular and fascinating feature of this place is represented by the Italian garden, full of tree and herbaceous species, including rare, that the owner brought there from the most distant places. The Villa is a rare example of art nouveau and has been designed with great care and enriched with natural and artificial furnishings. Other peculiarities consist in the lemon-house and greenhouses to protect plants during the winter. There is also a recently-restored Japanese garden located between the Italian garden and the greenhouses. The Villa has a simple and elegant external form in the art nouveau style, known as Liberty style in Italy. Its external structure is enhanced thanks to the white surfaces of the walls. The shutters, the modulations of the lugs and overall the turret body add notes of color to the external structure. The villa is divided into several floors: a basement used as warehouses and premises for electrical and heating equipment, a ground floor for spacious and elegant halls to study, to receive and dining, a third floor for bedrooms and their confidential annexes to the owners, an additional floor for the servants' bedrooms. Allerona | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=1454334571240Allerona55002[ ] Attrattoreen_US1852493290542https://www.umbriatourism.it/web/umbria/-/parco-di-villalbaVillalba ParkThe Villalba Park is a wooded area of over 20 ha.Villaba ParkThe 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. The 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. Just 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 parkshttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.8125559000000111.973852999999963Allerona55002[ ] Attrattoreen_US2476129790542https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-alleronaChiesa di Santa Maria Assunta - AlleronaThe parish church of St. Mary of the Assumption (15th century) is in the village.Chiesa di Santa Maria Assunta - AlleronaThe 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 NicolÃ² 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. There is also a very interesting fresco by Giovanni Antonio de' Sacchis, called Pordenone, commissioned in 1516 by the widow of Bartolomeo from Alviano, Pantasilea Baglioni, representing the noblewoman herself as well as a Virgin with Saints. Allerona | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.8125559000000111.973852999999963Allerona55002[ ] Attrattoreen_US4697514728208065https://www.umbriatourism.it/web/umbria/-/videoricetta-torta-di-pasqua-al-formaggioTorta di Pasqua al formaggioLa torta di Pasqua Ã¨ una preparazione salata a base di formaggio, tipica delle feste pasquali. Tradizionalmente viene preparata il GiovedÃ¬ o il VenerdÃ¬ Santo e gli usi vorrebbero che, essendo giorni di digiuno e di astinenza, non si assaggi fino a che non si "sciolgono le campane".Torta, PasquaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/JPwHd8_Mb8g?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/JPwHd8_Mb8g?rel=0&enablejsapi=1"></iframe></div>   <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script>La torta di Pasqua Ã¨ una preparazione salata a base di formaggio, tipica delle feste pasquali, di forma assai simile al famoso panettone natalizio. Tradizionalmente viene preparata il GiovedÃ¬ o il VenerdÃ¬ Santo e gli usi vorrebbero che, essendo giorni di digiuno e di astinenza, non si assaggi fino a che non si "sciolgono le campane". La mattina di Pasqua, verso le 11, si pone sulla tavola ben preparata, assieme ad uova sode, capocollo, salame, prosciutto, frittate, coratella e naturalmente vino, magari un bianco strutturato come ad esempio un Grechetto invecchiato o un rosso, Colli del Perugino. Le sue origini sono molto antiche ed esistono molte varianti a seconda della zona dell'Umbria, la PIZZA DI PASQUA, spesso la si chiama cosÃ¬, ha anche una variante dolce. Tempo di preparazione: 15 minuti Tempo di riposo: 5-6 ore Tempo di cottura: 60 minuti Dosi per: 3 torte al formaggio piccole (per 1 torta al formaggio grande dimezzare la dose)   Ingredienti: <ul> <li>12 uova</li> <li>1,25 Kg di farina</li> <li>250 gr di Strutto</li> <li>1 bicchiere di olio evo D.O.P. Umbria - Colli Assisi Spoleto</li> <li>1 bicchiere di latte</li> <li>50 gr di lievito di birra fresco</li> <li>30 gr di sale</li> <li>1 cucchiaio di pepe nero macinato</li> <li>100 gr di pecorino del Subasio grattugiato</li> <li>100 gr di pecorino del Subasio tagliato a dadini</li> <li>200 gr di parmigiano grattugiato</li> <li>100 gr di parmigiano tagliato a dadini</li> <li>100 gr di formaggio tipo groviera tagliato a dadini</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;"> Preparazione <ul> <li>Per preparare la torta di Pasqua al formaggio, sbattiamo le uova in una ciotola e mettiamo da parte.</li> <li>In unâaltra ciotola amalgamiamo la farina, il lievito sciolto nel latte tiepido e il sale. Poi aggiungiamo lo strutto e lâolio.</li> <li>Mescoliamo e aggiungiamo le uova ed i formaggi grattugiati.</li> <li>In ultimo aggiungiamo i formaggi tagliati a cubetti da 1-2 cm.</li> <li>Amalgamiamo molto bene fino ad ottenere un impasto elastico che si stacca dalle pareti della ciotola.</li> <li>Dividendolo lâimpasto in 3 e adagiamolo negli stampi precedentemente unti con lo strutto.</li> <li>Facciamo riposare in un luogo riparato e caldo per 5-6 ore finchÃ© il lâimpasto non raggiunge il bordo dello stampo.</li> <li>Inforniamo a forno statico ben caldo a 200Â°C per almeno unâora (se la torta di pasqua al formaggio prende troppo colore in superficie, abbassiamo il forno a 190Â°C).</li> <li>Sforniamo e lasciamo intiepidire la torta al formaggio prima di levarla dallo stampo.</li> </ul> </div>   PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/proposta-stifone" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_stifone.jpg/a4fc7b54-d3ea-422d-b813-8aa817511a8b?t=1586269315723" /> </a> <div style="padding:3px 0; 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color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/vallo-di-nera" style="color:#1d1d1d !important;">Vallo di Nera</a></div> <a href="https://www.umbriatourism.it/-/vallo-di-nera" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/percorso-tra-i-vicoli-di-citta-della-pieve" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_pieve.jpg/85d52404-a910-4709-89c0-bbf391723e80?t=1586269316277" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/percorso-tra-i-vicoli-di-citta-della-pieve" style="color:#1d1d1d !important;">Percorso tra i vicoli di CittÃ della Pieve</a></div> <a href="https://www.umbriatourism.it/-/percorso-tra-i-vicoli-di-citta-della-pieve" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/montone" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_montone.jpg/4c172241-8599-40f0-8550-ae990f317f97?t=1586269315538" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/montone" style="color:#1d1d1d !important;">Montone</a></div> <a href="https://www.umbriatourism.it/-/montone" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/birwatching-nel-parco-di-colfiorito?p=/birdwatching&t=Birdwatching" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_colfiorito.jpg/26bb5700-b1fc-45b6-baf6-bb77163ea09f?t=1586269313169" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/birwatching-nel-parco-di-colfiorito?p=/birdwatching&t=Birdwatching" style="color:#1d1d1d !important;">Birdwatching nel Parco di Colfiorito</a></div> <a href="https://www.umbriatourism.it/-/birwatching-nel-parco-di-colfiorito?p=/birdwatching&t=Birdwatching" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/parco-archeologico-di-carsulae-terni" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_carsulae.jpg/40541a7f-0024-4e61-9644-2a1f0e21cd5f?t=1586269314366" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/parco-archeologico-di-carsulae-terni" style="color:#1d1d1d !important;">Parco Archeologico di Carsulae</a></div> <a href="https://www.umbriatourism.it/-/parco-archeologico-di-carsulae-terni" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.087334312.37394[ ] Attrattoreen_US2436154990518https://www.umbriatourism.it/web/umbria/-/castello-di-schegginoVillage of SchegginoScheggino is a triangular-shaped hillside village, crowned by a fortress tower.Scheggino, Valnerina, Nera, Borgo, CastelloVillage of SchegginoScheggino is a triangular-shaped hillside village, crowned by a fortress tower. <div>The presence of a mighty fortification highlights the strategic function of the settlement, on the left bank of the Nera River (281 metres above sea level), and it guards over a necessary passageway on the ancient Valnerina road, at the confluence of the mountain itinerary along the Valcasana.</div> <div> </div> <div>Its most ancient core, called âCapo la terraâ, dates back to the 13th century and developed close to the fortress, probably to house the inhabitants of the nearby feudal castle of Pozzano after its destruction. The expansion of the 14th and 15th century developed around this first circle, slopes down towards the valley and was completed in the 16th century with the creation of the village bordered by the power channel of the mill.</div> <div> </div> <div>The village presents particular buildings such as Graziani Palace, a manor residence of the 18th century built near the first circle of walls and one of the angular towers, and the Town Hall, established in a singular building of the 17th century, characterized by a mansard floor or covered lodge, intended for public use, with the rising right side of a modern civic tower provided with a clock and bells. The municipal historical archive preserves documents of the Scheggino municipality from the 14th century and of the suppressed municipalities of Ceselli, Civitella and Mount St. Vito. At the southern extremity of the Via di Borgo you can find, on the ancient Valnerina road in the direction of Osteria di Ceselli, the 17th century Gate of the Well, so called for the presence of a spring.</div> <div> </div> <div>On the opposite side of the road you can find Profili Palace, a typical 18th century palace currently divided into different apartments. The building, recently restored and still housing the main portal, the entrance atrium, the courtyard with Nymphaeum and the stairs to access the upper floors, originally included also a garden in the area in front of the building, a greenhouse and a fishpond. Under a wing of the Profili Palace is the 16th century Valcasana gate, which was the starting point of a section of the âIron Roadâ, that is the road used to transport materials of the mines and ironworks, which ran from Scheggino to Monteleone di Spoleto through Caso and Gavelli.</div> <div> </div> <div>The road was upgraded in the 17th century, under the pontificate of Urban VIII, thanks to the good offices of the Cardinal Fausto Poli of Usigni. The area outside the Valcasana Gate is rich with spring waters and water vegetation, so much so that it has been a public park since the early 19th century.</div> <div> Source: http://www.comunescheggino.it/</div> Scheggino | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.712143112.829464199999961Scheggino54047[ ] Attrattoreen_US2436204590590https://www.umbriatourism.it/web/umbria/-/palazzo-comunale-sellanoPalazzo Comunale - SellanoThe  building is located near the church of St. Mary and has a nineteenth-century layout but a 16th century facade, and contains traces of frescoes dating back to the 16th century.Palazzo Comunale - SellanoThe  building is located near the church of St. Mary and has a nineteenth-century layout but a 16th century facade, and contains traces of frescoes dating back to the 16th century. In a room on the top floor you can admire a precious Virgin and child with Saints, a fragmentary fresco dating back to the mid 15th century. This building also houses the so called âplate of Brevicelliâ made of embossed and golden copper (16th century). Sellano | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.898578412.886001599999986Sellano54048[ ] Attrattoreen_US2436134690518https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-anatoliaChiesa di Sant'AnatoliaThe recently restored parish church of SantâAnatolia is situated at an original and beautiful square.Valnerina, rafting sul nera, bike umbria, via di Francesco,Chiesa di Sant'AnatoliaThe recently restored parish church of SantâAnatolia is situated at an original and beautiful square. Inside the church is decorated with painting of the 14th-15th centuries. The frontal of the main altar is of inlaid marble by seventeenth--century Neapolitan school, there is wooden crucifix and statues of Our Lady of Sorrows and St. Francis from the former church of Santa Croce, a few seventeenth-century paintings and a gilded frame of the Rococo style. Sant'Anatolia di Narco | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.733038212.83600100000001[ ] Attrattoreen_US2044179090438https://www.umbriatourism.it/web/umbria/-/chiesa-di-s-giovanni-battista-arroneChurch of S. Giovanni Battista - ArroneThe church of S. Giovanni Battista, a Gothic building of the 13th -14th centuries, has a square tower and a polygonal apse.Church of S. Giovanni Battista - ArroneThe church of S. Giovanni Battista, a Gothic building of the 13th -14th centuries, has a square tower and a polygonal apse. The interior of the church has a single nave, with covering wood beams with three trusses. The walls are painted with figures of Saints, commissioned for grace received from families from Arrone, for protection from diseases and misfortunes. They and the apse frescoes are attributed to the "Maestro del Trittico di Arrone" (Master of the Arrone Triptych). Arrone | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.584025412.768178000000034Arrone55005[ ] Attrattoreen_US112213https://www.umbriatourism.it/web/umbria/-/museo-della-canapa-sant-anatolia-di-narcoHemp Museum - Sant'Anatolia di Narco"Antennas" of the Valnerina Valley Eco-MuseumHemp Museum - Sant'Anatolia di NarcoInaugurated in 2008, the Museo della Canapa of Sant'Anatolia di Narco is housed in the building that used to be the town hall. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The Museum is one of the "Antennas" of the Valnerina Valley Eco-Museum that was founded to enhance the culture, techniques and ancient knowledge of this territory. The Museum displays document the entire cycle of transformation of raw hempâfrom farming, maceration and drying to kneading and carding processesâand displays collections of textiles dating from the 17th to the 20th centuries </td> </tr> </tbody> </table> Information Piazza del Comune Vecchio 06040 - Sant'Anatolia di Narco (PG)  email: info@museodellacanapa.it sito web: <a href="http://www.museodellacanapa.it/">www.museodellacanapa.it</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Sant'Anatolia di Narco | Weaving, lace and embroidery | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.733038212.83600100000001[ ] Attrattoreen_US11698315726642https://www.umbriatourism.it/web/umbria/-/parco-e-museo-vulcanologico-di-san-venanzoMuseum of Volcanology and Park - San VenanzoThe Museum of Volcanology and its adjoining Park deserve a visit both for the peculiarity of their collections and for the environment in which the museum standsMuseum of Volcanology and Park, San Venanzo, venanziteMuseum of Volcanology and Park - San VenanzoThe Museum of Volcanology and its adjoining Park deserve a visit both for the particularity of their collections and for the environment in which the museum stands. Among the most important finds that are kept and displayed in part of the itinerary, it is worth mentioning: a very rare kind of rock, called "Venanzite"âthis rock comes from the solidification of lavaâa dinosaur egg and the cranium of the Elephas Meridionalisâfound in the area nearby. In the adjoining Park visitors can take a 2-kilometer tour, along which the history of this volcano is recounted and, among other things, they can admire what remains of a quarryâevidence of the ancient extraction activities in the areaâwhere the stones for producing millstone were extracted. The Museum and the Park are in an area characterized by the presence of three small volcanoes, of about 500 meters in diameter and 30 meters high, that were active 265,000 years ago. The main aim of the exhibition is to illustrate the environmental and geological significance of eruptions that happened in the San Venanzo area and establish their relationship with volcanic phenomena in general. The Museum display is organized in four rooms, in which materials of particular interest are kept, such as the Venanzite, the rock that comes from the solidification of lava whose composition is almost unique, and that helped make the little town famous all over the world. It is also worth mentioning the Dinosaur Egg from China and the Elephas Meridionalis cranium found in the area nearby. The Museum aims at providing the visitor with a basic knowledge of the rocks and morphology of volcanoes in the Park. The latter is a real open-air museumârealized above the huge lava flow of Venanziteâwhose pathway winds for 2 kilometers under the flow itself thanks to the emptying of the body of lava during the 1970s. During the visit it is possible to observe cones and craters, lava flows; and some rocks and rare minerals. Information Piazza Roma 1  05010 San Venanzo (Tr) E-Mail: parco.museovulcanologico@gmail.com Tel.: +39075875482 Reservations: +393397743826 - +39348 8033116 Website: <a href="http://www.comune.sanvenanzo.tr.it" target="_blank">www.comune.sanvenanzo.tr.it</a> On Facebook: <a href="https://www.facebook.com/museo.vulcanologico/" target="_blank">https://www.facebook.com/museo.vulcanologico/</a> Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari San Venanzo | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.86883312.266169999999988[ ] Attrattoreen_US46975321https://www.umbriatourism.it/web/umbria/-/videoricetta-ciaramicola-peruginaCiaramicola peruginaLa Ciaramicola Ã¨ una grossa ciambella dall'aspetto festoso e invitante, coperta da una glassa bianchissima cosparsa di piccoli confetti. Il colore rosso dell'impasto e il bianco rappresenterebbero i colori di Perugia, mentre i confetti di color giallo, verde e azzurro richiamerebbero il frumento maturo, i pascoli delle montagne e le acque del Lago Trasimeno. Tradizione vuole che il dolce rappresentasse l'amore, quello che le ragazze il giorno di Pasqua portavano ai propri innamorati.CiaramicolaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/D9UnCXKpoaE?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/D9UnCXKpoaE?rel=0&enablejsapi=1"></iframe></div>   <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script>La Ciaramicola Ã¨ una grossa ciambella dall'aspetto festoso e invitante, coperta da una glassa bianchissima cosparsa di piccoli confetti. Il colore rosso dell'impasto e il bianco rappresenterebbero i colori di Perugia, mentre i confetti di color giallo, verde e azzurro richiamerebbero il frumento maturo, i pascoli delle montagne e le acque del Lago Trasimeno. Tradizione vuole che il dolce rappresentasse l'amore, quello che le ragazze il giorno di Pasqua portavano ai propri innamorati.  Con questo dolce il vino consigliato da accostare Ã¨ un Orvieto doc muffa nobile o Trebbiano e Grechetto. Tempo di preparazione: 15 minuti Tempo di cottura: 40 minuti Dosi per: 1 ciaramicola Ingredienti per la base: <ul> <li>550gr di farina 00</li> <li>4 uova</li> <li>150gr di strutto (o burro)</li> <li>250 gr di zucchero</li> <li>1 bustina di lievito per dolci (16gr)</li> <li>Scorza di 1 limone</li> <li>200ml di liquore Alchermes</li> </ul> Ingredienti per la meringa: <ul> <li>100 gr di albumi (circa 2 uova)</li> <li>200 gr di zucchero</li> <li>1 cucchiaino di cremar tartaro</li> </ul> Ingredienti per la guarnizione: <ul> <li>Codette di zucchero colorate q.b.</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione della Ciaramicola   <ul> <li>Per preparare la Ciaramicola Perugina, sbattiamo le uova insieme allo zucchero con una frusta.</li> <li>Aggiungiamo la farina setacciata, il lievito, lo strutto, la scorza grattugiata di un limone e lâAlchermes.</li> <li>Amalgamiamo il tutto con una spatola.</li> <li>Imburriamo uno stampo da ciambella e versiamo dentro lâimpasto, livelliamo con la spatola.</li> <li>Inforniamo in forno statico preriscaldato a 160Â°C per 40-45 minuti (verificare la cottura con uno stuzzicadenti).</li> <li>Sforniamo e lasciamo intiepidire.</li> </ul>   Preparazione della meringa <ul> <li>Per preparare la meringa iniziare a montare a neve ad alta velocitÃ gli albumi con il cremar tartaro.</li> <li>Aggiungere lo zucchero gradualmente e continuare a montare alla massima velocitÃ fino ad ottenere una meringa lucida e soffice (ci vorranno almeno 10 minuti).</li> </ul>   Assemblamento della Ciaramicola Perugina <ul> <li>Smodelliamo la Ciaramicola ancora tiepida e ricopriamola di meringa.</li> <li>Aggiungiamo una spolverata di codette di zucchero e poniamo in forno a 90Â°C per 20-25 minuti cosÃ¬ da far asciugare la meringa.</li> <li>Sforniamo e lasciamo freddare completamente prima di servire.</li> </ul> </div>   PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/trekking-urbano-a-perugia" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_perugia.jpg/00a39671-4d35-4d54-9e50-272b0d1a7780?t=1586269314582" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/trekking-urbano-a-perugia" style="color:#1d1d1d !important;">Trekking urbano a Perugia</a></div> <a href="https://www.umbriatourism.it/-/trekking-urbano-a-perugia" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/rafting-nel-parco-fluviale-del-nera-tra-i-comuni-di-ferentillo-ed-arrone?p=/canyoning-and-rafting&t=Torrentismo,%20rafting%20e%20sport%20acquaticie" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_rafting.jpg/81fb16ae-edf1-42cc-b748-cf384c49f55c?t=1586269314789" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/rafting-nel-parco-fluviale-del-nera-tra-i-comuni-di-ferentillo-ed-arrone?p=/canyoning-and-rafting&t=Torrentismo,%20rafting%20e%20sport%20acquaticie" style="color:#1d1d1d !important;">Rafting nel parco fluviale del Nera</a></div> <a href="https://www.umbriatourism.it/-/rafting-nel-parco-fluviale-del-nera-tra-i-comuni-di-ferentillo-ed-arrone?p=/canyoning-and-rafting&t=Torrentismo,%20rafting%20e%20sport%20acquaticie" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/vini-doc-e-docg-colli-perugini" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_vini.jpg/6f75668c-9a96-485b-8fb9-c0eee497af03?t=1586269314985" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/vini-doc-e-docg-colli-perugini" style="color:#1d1d1d !important;">Vini DOC e DOCG dei colli perugini</a></div> <a href="https://www.umbriatourism.it/-/vini-doc-e-docg-colli-perugini" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/la-settimana-santa-in-umbria" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_ss.jpg/e3d76ba1-20b3-48bb-a06e-7cbfe018ecf6?t=1586269315154" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/la-settimana-santa-in-umbria" style="color:#1d1d1d !important;">La Settimana Santa in Umbria</a></div> <a href="https://www.umbriatourism.it/-/la-settimana-santa-in-umbria" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/percorsi-templari" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_templari.jpg/5c7c06f2-9958-436e-a0ac-2f882119a991?t=1586269315372" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/percorsi-templari" style="color:#1d1d1d !important;">Percorsi templari</a></div> <a href="https://www.umbriatourism.it/-/percorsi-templari" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/la-via-di-francesco" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_francesco.jpg/ea759bef-9ae4-4f7c-acc7-7383d001b69f?t=1586269316438" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/la-via-di-francesco" style="color:#1d1d1d !important;">La via di Francesco</a></div> <a href="https://www.umbriatourism.it/la-via-di-francesco" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/parco-del-monte-subasio" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/quad_subasio.jpg/505c3cc9-2189-4dc1-95fb-ad38ef4cff9c?t=1586269316698" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/parco-del-monte-subasio" style="color:#1d1d1d !important;">Parco del Monte Subasio</a></div> <a href="https://www.umbriatourism.it/-/parco-del-monte-subasio" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US95649https://www.umbriatourism.it/web/umbria/-/ceselli-torrentismo-rafting-trekking-Ceselli: canyoning, rafting, trekking...The village of Ceselli (Scheggino) in the Valnerina valley is an ideal destination for canyoning enthusiasts Valnerina, Scheggino, Nera river valley, canyoning, hiking, Pious IX trail, via di Francesco, water sportsCeselli: torrentismo, rafting, trekkingâ¦Ceselli (alt. 317 m) is a small settlement in the Valnerina, on the right bank of river Nera, overlooking the valley of the same name.  A hillside castle dating back to the 13th and 14th centuries, it defended the feudal monastery of San Pietro in Valle and was, according to oral tradition, entrusted to the vassals of the dukes of Spoleto. The village grew in the valley with the typical hillside houses that have entrances to the barns and dwellings on different sides and storeys.  In the village we suggest visiting the church of Saint Michael the Archangel, dating back to the 14th century, and modified several times over the centuries up to its current 19th century facade. The interior presents a single nave and side altars, with remains of frescoes from the 15th and 16th centuries around the apse and the bell tower, which was built on the remains of the castle's tower.  Further along the SS209 Valnerina road and up into the mountain, outside the settlement, is the small Romanesque church of San Vito, venerated in popular tradition as a bulwark against rabies.   Near the graveyard, along the old Spoleto road is the Romanesque church of San Sabino o Savino, bishop and Umbrian martyr, killed in Spoleto. The interior, with its single nave, presents traces of frescoes partly dating back to the 1500s. A district of the town of Scheggino, known for its Activo Park amusement park, truffles and the sense of peace and quiet that characterise many of the villages in this part of the Valnerina, the settlement of Ceselli has been a separate municipality since 1875. Its position on the bank of the river Nera, nestled among steep slopes where well oxygenated water flows and sometimes foams into rapids, makes it an ideal destination for all water sports, (rafting, canoeing, kayaking, canyoning...), no-kill fishing and hiking.   A departure point for those wishing to explore the Forra del Casco, a stimulating descent through canyons, waterfalls and rapids in a still-wild nature, Ceselli is also at the heart of a network of paths to discover by bike or on foot, such as the historical Pious IX trail, which leaves Osteria di Ceselli and follows in the steps of the then-Archbishop of Spoleto, fleeing the revolutionary tremors of 1831, as well as the Via di Francesco. Scheggino | Valnerina | Canyoning and rafting | Hikinghttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.684665412.817946900000038[ ] Attrattoreen_US2487679590590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-sellanoChiesa di San Francesco - SellanoThe Church of St. Francis, also known as Our Lady of the Cross, is located at the edge of the village of Sellano.Chiesa di San Francesco - SellanoThe Church of St. Francis, also known as Our Lady of the Cross, is located at the edge of the village of Sellano. Finished in 1538, it is made of ashlar stones with an octagonal plan, a pronaos topped by a pediment and a rectangular apse. It is similar in style to many mountain sanctuaries. The interior of the church is divided into three aisles, with two 16th century stucco altars. The high altar shows a fresco of the 16th century depicting a Virgin with Child. Sellano | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.898578412.886001599999986Sellano54048[ ] Attrattoreen_US47036846https://www.umbriatourism.it/web/umbria/-/videoricetta-strapazzata-di-uova-al-tartufoStrapazzata di uova al tartufoIl legame tra il tartufo nero e l'Umbria Ã¨ cosÃ¬ forte che la varietÃ piÃ¹ pregiata Ã¨ conosciuta come "Nero di Norcia e Spoleto". Ma tutta l'Umbria Ã¨ terra di tartufi e praticamente durante ogni periodo dell'anno potete godere di questo meraviglioso frutto della natura. Cresce nei terreni calcarei e argillosi, vivendo in simbiosi con altre piante come quercia, leccio, faggio e castagno. La sua grandezza varia dalle dimensioni di una noce a quelle di una mela: rotondeggiante, spesso irregolare, con la superficie ruvida ma non spigolosa. Indimenticabile il suo profumo aromatico: la polpa Ã¨ nero rossastra con venature sottili bianche.Pasqua, tartufo, strapazzataSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/saXziZnpRzc?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/saXziZnpRzc?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ingrdienti (per 2 persone): <ul> <li>4 Uova</li> <li>40gr di Tartufo Nero di Norcia (o Tartufo Estivo)</li> <li>60ml di Olio EVO D.O.P. UMBRIA - Colli Martani</li> <li>Sale q.b.</li> <li>1 spicchio d'aglio</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li>Facciamo scaldare l'olio in padella e lasciamo imbiondire lo spicchio d'aglio in camicia.</li> <li>Eliminiamo l'aglio e lasciamo raffreddare l'olio.</li> <li>Grattugiamo i tartufi e aggiungiamoli nell'olio. Mescoliamo e lasciamo insaporire qualche minuto.</li> <li>Separiamo l'olio dai tartufi e rimettiamolo in padella, accendiamo la fiamma e aggiungiamo le uova.</li> <li>Iniziamo mescolando gli albumi e solo quando questi saranno a metÃ cottura e inizieranno a diventare di colore bianco, rompiamo anche i tuorli e mescoliamo aggiungendo in ultimo il tartufo.</li> <li>Lasciamo cuocere qualche istante, la strapazzata di uova al tartufo dovrÃ risultare molto morbida e cremosa.</li> <li>Impiattiamo e concludiamo con una qualche scaglia di tartufo!</li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/montefalco" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/pro_montefalco.jpg/d6a1c24a-1b0d-41c8-82ec-bbf0da7f77a8?t=1586440476989" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/montefalco" style="color:#1d1d1d !important;">Montefalco</a></div> <a href="https://www.umbriatourism.it/-/montefalco" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/dall-abbazia-di-sassovivo-al-sasso-di-pale" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/pro_sassovivo.jpg/ccd0ee2b-11af-4859-b3ca-bea1d0fa70db?t=1586440476798" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/dall-abbazia-di-sassovivo-al-sasso-di-pale" style="color:#1d1d1d !important;">DallâAbbazia di Sassovivo al Sasso di Pale</a></div> <a href="https://www.umbriatourism.it/-/dall-abbazia-di-sassovivo-al-sasso-di-pale" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/nelle-terre-del-perugino-il-divin-pittore" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/pro_perugino.jpg/289bbdd4-0f9a-4ae8-9838-a5bb2e73577c?t=1586440477194" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/nelle-terre-del-perugino-il-divin-pittore" style="color:#1d1d1d !important;">Nelle terre del Perugino: il divin Pittore</a></div> <a href="https://www.umbriatourism.it/-/nelle-terre-del-perugino-il-divin-pittore" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/ferentillo" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/pro_ferentillo.jpg/d621e440-3eec-47fb-bde3-744b1a01e061?t=1586440477363" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/ferentillo" style="color:#1d1d1d !important;">Ferentillo</a></div> <a href="https://www.umbriatourism.it/-/ferentillo" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/itinerario-a-piedi-da-arrone-a-tripozzo" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/pro_arrone.jpg/e0f90f09-8d00-4f74-92aa-981c46d293ea?t=1586440476583" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/itinerario-a-piedi-da-arrone-a-tripozzo" style="color:#1d1d1d !important;">Itinerario a piedi da Arrone a Tripozzo</a></div> <a href="https://www.umbriatourism.it/-/itinerario-a-piedi-da-arrone-a-tripozzo" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes43.087334312.37394[ ] Attrattoreen_US95679https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-di-arroneChurch of Santa Maria Assunta in ArroneVisit the church of Santa Maria Assunta of Arrone, in the Nera River Park, along the St Francis Way Church of Santa Maria Assunta, Arrone, churches of Terni, sixteenth century frescoes, Valnerina valley, Nera river park, St Francis wayThe parochial church of Santa Maria Assunta is situated in the more recently built neighbourhood of Santa Maria, atop the medieval settlement of Arrone, around the castle known as 'La Terra'.   The building has a four-gabled facade with a belfry and three portals; the central one dates back to 1493, and its lunette features a fresco depicting Madonna and Angels. The inside, with its nave and side aisles ending in three apses, is mostly decorated with 17th century frescoes. The early 16th century frescoes that extend into the central apse are inspired by the sacred iconography of Filippo Lippi, the great Renaissance artist who painted the apse of the Spoleto Cathedral. Precious glazed terracotta sculptures of the 16th century decorate the left apse. The dais of a triptych by Maestro di Arrone, dating back to 1487, can also be seen.   Arrone | Valnerina | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.584025412.768178000000034[ ] Attrattoreen_US44999918https://www.umbriatourism.it/web/umbria/-/pagina-riserva-mondiale-della-biosfera-unesco-del-monte-pegliaRiserva Mondiale della Biosfera Unesco del Monte PegliaQuarantamila 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 Ã¨ 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, olmiRiserva Mondiale della Biosfera Unesco del Monte PegliaLa Riserva Naturale del Monte Peglia si trova nel ternano, racchiusa tra i bacini fluviali del fiume <a href="https://www.umbriatourism.it/it_IT/-/parco-fluviale-del-teve-1" target="_blank">Tevere</a>, 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<a href="https://www.umbriatourism.it/it_IT/-/parco-del-lago-trasimeno" target="_blank"> Lago Trasimeno</a>, mentre a sud si possono trovare rilievi di altezza maggiore, tra i quali spicca il Monte Peglia. Lâintera Riserva, compresa nei quattro comuni di <a href="https://www.umbriatourism.it/it_IT/-/san-venanzo" target="_blank">San Venanzo</a>, <a href="https://www.umbriatourism.it/it_IT/-/orvieto" target="_blank">Orvieto</a>, <a href="https://www.umbriatourism.it/it_IT/-/parrano" target="_blank">Parrano </a>e <a href="https://www.umbriatourism.it/it_IT/-/ficulle" target="_blank">Ficulle</a>, non ha mai conosciuto il forte incremento demografico di altri centri della Regione: le localitÃ e i piccoli borghi che ne punteggiano i 40 mila ettari non hanno mai sfruttato intensamente le risorse del territorio, conservando la grande varietÃ di flora che abita i boschi della zona, da secoli rimasta pressochÃ© 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.  Sul Monte Peglia si trovano giacimenti preistorici risalenti a piÃ¹ di 700.000 anni fa, e i vulcani spenti di San Venanzo, sorto sul crinale di uno di essi, dove Ã¨ 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. Non che lâattivitÃ umana sia stata completamente assente: di particolare interesse per chiunque voglia esplorare la zona, oltre ai percorsi aperti e segnati piÃ¹ recentemente, Ã¨ lâantico sentiero che dal piccolo borgo di Poggio Aquilone si inoltra nella Riserva per raggiungere Parrano e le sorgenti termali delle â<a href="https://www.umbriatourism.it/it_IT/-/tane-del-diavolo-parrano" target="_blank">Tane del Diavolo</a>â. Poco piÃ¹ a nord, gli appassionati di arte possono invece visitare la <a href="https://www.umbriatourism.it/it_IT/-/convento-della-scarzuola-e-citta-buzziana-montegabbione" target="_blank">Scarzuola</a>, dove a partire da un convento duecentesco lâartista milanese Tommaso Buzzi ideÃ² e costruÃ¬ la sua visionaria âCittÃ Idealeâ. La percezione che si ha camminando tra questi boschi, o esplorando lo stile di vita âlentoâ dei centri piÃ¹ o meno grandi della zona, come Ficulle, <a href="https://www.umbriatourism.it/it_IT/-/castello-di-montegio-1" target="_blank">Montegiove </a>col suo castello o Orvieto, âcittÃ slowâ per eccellenza, Ã¨ 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: <a href="https://www.montepegliaperunesco.it/" target="_blank">www.montepegliaperunesco.it</a> Orvieto | Ficulle | San Venanzo | Parrano | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.818102212.2095867San Venanzo55030[ ] Attrattoreen_US2798116793915https://www.umbriatourism.it/web/umbria/-/abbazia-di-sant-emiliano-in-congiuntoliAbbazia di SantâEmiliano in CongiuntoliContext: mountains Dating: 13th century The ancient abbey can be reached from the road that ascends the slopes of Catria Mount, starting from Scheggia and moving towards Sassoferrato; it is located at the confluence of Sentino river and the Freddo stream (Rio Freddo).Context: mountains Dating: 13th century The ancient abbey can be reached from the road that ascends the slopes of Catria Mount, starting from Scheggia and moving towards Sassoferrato; it is located at the confluence of Sentino river and the Freddo stream (Rio Freddo). 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. The gabled faÃ§ade has the eaves decorated with a series of stone corbels. Lancet windows illuminate the naves. Of 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.415388212.702021800000011Scheggia e Pascelupo54046Scheggia e Pascelupo6027[ ] Attrattoreen_US2798093093915https://www.umbriatourism.it/web/umbria/-/abbazia-di-santa-maria-di-sitriaAbbazia di Santa Maria di SitriaContext: mountains Dating: 11th CENTURY The former abbey is situated in the natural park of Monte Cucco in a valley between Artino gully and the slopes of Mount Catria, along the path that connects Scheggia to the hamlet of Isola Fossara.Context: mountains Dating: 11th CENTURY The former abbey is situated in the natural park of Monte Cucco in a valley between Artino gully and the slopes of Mount Catria, along the path that connects Scheggia to the hamlet of Isola Fossara. Currently 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. According 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.415388212.702021800000011Scheggia e Pascelupo54046Scheggia e Pascelupo6027[ ] Attrattoreen_US2798120093915https://www.umbriatourism.it/web/umbria/-/eremo-di-san-girolamo-di-monte-cuccoEremo di San GirolamoThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.415388212.702021800000011Scheggia e Pascelupo5404606027Scheggia e Pascelupo[ ] Attrattoreen_US95606https://www.umbriatourism.it/web/umbria/-/scheggia-tra-storia-e-naturaScheggia, between history and natureThe historic city of Scheggia surrounded by the Mount Cucco ParkIguvine tables, mount cucco, park, Umbrians, pasce lupo, gubbioScheggia, the ancient Ad Ensem, was an important mutatio, i.e. a changing station, located near Via Flaminia. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> It was burned to the ground during the wars between the Goths and the Byzantines (532 - 552 A.D.), but was soon rebuilt by the latter to stop Lombard raids. Luceoli Castle was built on the city ruins at the beginning of the 11th century. The new centre was named Schiza by the locals, as they were still influenced by the Greek language. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> In the following centuries, Scheggia became part of the territory of Gubbio, the Urbino duchy, and finally of the Papal State, which maintained its jurisdiction over the territory from the 15th century until the Italian unification. In 1878, it formed a single Municipality with Pascelupo. Scheggia was the hub of the ancient cult of Jupiter Poeninus, who was worshipped in a famous nearby temple of which there is no longer any trace despite many archaeological finds. The charming town inside Mount Cucco Park has a rich history - there is the 14th-century Civic Tower, the last remaining gate of the ancient castle that is still standing, the church of Sant'Antonio Abate (1665), the Santi Filippo e Giacomo parish (16th century) home to many fine works of art and the church of Mount Clavario (17th c.). Scheggia e Pascelupo | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.40322812.665733000000046[ ] Attrattoreen_US92553https://www.umbriatourism.it/web/umbria/-/la-ceramica-di-gualdo-tadinoThe ceramics of Gualdo TadinoThe history and characteristics of Gualdo Tadino ceramics: broom leads to the success of the lustre techniqueCeramics of Gualdo Tadino, lustre technique, broomThe beauty of Gualdo Tadino ceramics; merit of the broom treeSince ancient times, self-sufficiency in raw materials has made Gualdo Tadino an important artistic centre.  The woods of the Apennines supplied timber for numerous furnaces; the various streams operated the mills that grind the glazes; iron oxide was obtained from the quarry of Monte Fringuello â the basis for the famous gold / ruby accents; while the quarries of Matalotta supplied excellent quality clay. The first written documents for supply of ceramics date back to the 14th century:  the forms and decorations of the handmade pieces are reminiscent of already-existing types in the  areas around Gubbio, Orvieto and Deruta. Evidence from the second half of the fifteenth century affirms the quality of majolica from Gualdo Tadino: a 1456 document of the Regents of Gubbio authorizes the sale of precious jars and pots in the city markets. The manufacture of pottery finished with the lustre technique probably began between the 16th and 17th centuries. This technique consists of application to the finished piece of the extraordinary touches of gold and ruby, obtained during a third firing, with broom smoke. During the 17th century, the Gualdo Tadino potters also worked away from home, such as Antonio and Lorenzo Pignani, who were active in Rome, and who were commissioned by Pope Clement X in 1673 to apply gold to majolica with a never-before-used technique. The turning point was in the second half of the 19th century, with the revival of the art of metallic gold and ruby <a>lustre</a> ââin the work of Paolo Rubboli (1838-1890): production of artistic majolica of the highest quality that had a positive impact on the future of the city.  Even today, the traditional types of decoration used in the Gualdo Tadino factories consist primarily of decoration with grotesques, foliage, flakes, "quartieri" and other motifs, normally on a blue background, combined with classical scenes and subjects, glazed with gold and ruby ââin traditional kilns known as "muffole", as mentioned in the "Tre libri del vasaio" by Cipriano Piccolpasso. Gualdo Tadino | Ceramicshttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.23413912.78224130000001[ ] Attrattoreen_US3035179https://www.umbriatourism.it/web/umbria/-/casacastaldaCasacastaldaSet perched above the Risacco and Rasina valleys, tributaries of the Chiascio river and a river from Gualdo Tadino respectively, Casacastalda owes its existence to a castle built in the 8th century by a Longobard descendant of the Ostrogoth King Totila named Ernero Castaldo (hence the name "Casa del Castaldo"). CasacastaldaSet perched above the Risacco and Rasina valleys, tributaries of the Chiascio river and a river from Gualdo Tadino respectively, Casacastalda owes its existence to a castle built in the 8th century by a Longobard descendant of the Ostrogoth King Totila named Ernero Castaldo (hence the name "Casa del Castaldo").  There is a record of the reconstruction of the castle by Perugians in 1433, when it was given the status of Free Comune. One can still admire the town's ancient coat of arms carved in stone at various points in the old town centre, which includes a tower on a keep graced with the symbol of the Gryphon of Perugia. Three entrance gates are all that remain of the original structure: Porta Perugina or Porta Sole to the south, Porta del Giglio or Porta Gualdese to the north, and Porta Eugubina looking west. Well worth a visit are the Santa Maria Assunta church from the 10th century, heavily renovated in the 14th century and home to a triptych by Matteo da Gualdo, and the Sanctuary of the Madonna dell'Olmo, built in memory of the miracle of the Blessed Virgin (1484) when she appeared in an elm tree, which is still conserved inside the church, to a shepherd girl.   Valfabbrica | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.196360212.646924099999978Casacastalda[ ] Attrattoreen_US273480790422https://www.umbriatourism.it/web/umbria/-/rocca-monaldiRocca MonaldiRocca Monaldi stands secluded in the vicinity of Magione, surrounded by thick vegetation. It was probably built in the 14th Century and over time, underwent some changes to make it more suitable for residential use.Rocca MonaldiSetting: Isolated in an agricultural setting Dating: 14th Century Ownership: Private Rocca Monaldi stands secluded in the vicinity of Magione, surrounded by thick vegetation. It was probably built in the 14th Century and over time, underwent some changes to make it more suitable for residential use.   The structure has a rectangular plan with four bastions at its corners, and is enclosed by imposing external fortified walls, to which other parts of wall were added to defend the keep. The stately home is built between the two defensive walls. It was likely that Marco di Ceccolo Piccinino built the fortress, which was initially called Rocca del Conte Angelo, after Angelo di Giacomo Piccinino, one of Marco's relatives, who lived there. Unfortunately on the 8th June 1479, the fortress endured a violent attack by some Florentine troops who damaged it in various places. During the 16th Century, the property passed first to the Baglioni family and later to the Monaldi family. The latter was one of the most prominent aristocratic families in Perugia. They also owned a building of the same name today in via Baglioni in Perugia, and it was with this family that the fortress' history intertwined, until the beginning of the 20th century. From the 16th Century onwards, the fortress was known as Rocca Monaldi, taking the name of the family who had lived there the longest. Many members of the Monaldi family distinguished themselves in Umbria and beyond, Benedetto was Procurator at the Holy See and Bishop of Perugia, Ludovico was Apostolic Commissioner in Gualdo Tadino and Carlo a member of the SuperioritÃ del Collegio La Sapienza of Perugia. At the start of the Twentieth Century, the Marchioness Nathan Monaldi used to entertain friends, regularly presenting small theatrical shows inside the fortress. Today the property belongs to the Veracchi family.   Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.142125712.203915000000052Magione54026[ ] Attrattoreen_US536551193915https://www.umbriatourism.it/web/umbria/-/museo-regionale-dell-emigrazione-pietro-conti-Museo Regionale dell'Emigrazione "Pietro Conti"The museum is housed within the Palazzo del Podesta, in the historic center of Gualdo Tadino, a town located in the north-east of Umbria, near the border with the Marche region.Museo Regionale dell'Emigrazione "Pietro Conti"The museum is housed within the Palazzo del Podesta, in the historic center of Gualdo Tadino, a town located in the north-east of Umbria, near the border with the Marche region. <div> 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. The 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. The 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. The 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. </div> Gualdo Tadino | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.231404212.783841100000018Gualdo Tadino54023[ ] Attrattoreen_US100877https://www.umbriatourism.it/web/umbria/-/il-cavatore-di-tartufiThe truffle diggerThe secrets and history of hunting truffles: an emotional life experience during your holiday in Umbria. truffle , umbriaIn search of the legendary delicacy in the homeland of the truffleDon't miss the opportunity to go hunting for truffles!         If you are in Umbria, it's definitely one of the experiences you shouldn't miss, especially when in the company of children.  It's usually a solitary exploration, rarely shared with other hunters: while in the forest you walk slowly, your light steps following paths and thoughts, which intermingle just like the intense looks between the dogs and their owners. Suddenly there is a festive tail wagging, and a little spade digs into the earth in the exact spot  where the nose of your trusted friend is pointingâ¦ Today dogs are used for digging truffles, but for centuries pigs were used. In fact, the sows. Guided on a leash by farmers, they were capable of finding a truffle even ten feet underground: they are attracted by odours that resemble sexual hormones secreted by male pigs.  Until the end of the last century, an iron ring was wedged at the front end of the snout to stop them from immediately devouring the truffle. The first document that describes using a sow was written by the humanist Bartolomeo Sacchi, who in 1468 highlighted the technique used for hunting truffles in Umbria. The first trace of a professional "truffler" is in a document accounting for the financial regulations of Spoleto, from August 22nd 1400, in which the merchandise that entered and left the city was annotated. Already by then, truffles were very precious: to distribute them outside of the territory, you needed to forego a "payment by the pound" duty. If you're thinking of turning your hand to this art, you should know that the "truffle dogs" typical of Umbria, which unite both physical force and docility, have been selected in the Valnerina valley over the course of centuries: the Black Valnerina Grifo, a rustic dog accustomed to working in both cold or humid weather, has a natural âtalent' and it's almost unnecessary to train them CittÃ di Castello | Gualdo Tadino | Gubbio | Orvieto | Valnerina | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi21.png/0739359d-963e-405e-a2c3-adc2a9ff16a8?t=142374927440942.93800412.62162109999997[ ] Attrattoreen_US47215163https://www.umbriatourism.it/web/umbria/-/videoricetta-crescionda-spoletinaCrescionda spoletinaâCasa che vai Crescionda che troviâ: cosÃ¬ si usa dire dalle parti di Spoleto e dintorni, perchÃ© ogni famiglia custodisce gelosamente la propria ricetta segreta di questo dolce, tipico del periodo di Carnevale ma che ormai si mangia in qualsiasi momento dellâanno.crescionda, spoletoSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/pwQHrZXo5gY" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/pwQHrZXo5gY?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ingredienti: <ul> <li>3 uova</li> <li>80gr di farina 00</li> <li>80gr di zucchero</li> <li>100gr di ciottolato fondente grattugiato</li> <li>500ml di latte intero</li> <li>100gr di amaretti</li> <li>20gr di cacao amaro in polvere</li> <li>1 cucchiaino di cannella in polvere</li> <li>Scorza grattugiata di 1 limone</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> In una ciotola sbattiamo le uova insieme allo zucchero </li> <li> Aggiungiamo la cannella in polvere e il cacao amaro e continuiamo a miscelare il composto con una frusta. </li> <li> Aggiungiamo la scorza grattugiata di un limone e il cioccolato fondente grattugiato. </li> <li> Aggiungiamo la farina e gli amaretti triturati. </li> <li> In ultimo aggiungiamo gradualmente il latte. Otterremo un composto abbastanza liquido. Versiamolo in una teglia del diametro di 24cm precedentemente ricoperto di carta forno. </li> <li> Inforniamo in forno ventilato a 180Â°C per 25-30 minuti. </li> <li> Sforniamo e lasciamo raffreddare completamente prima di estrarre dallo stampo. Se possibile lasciar riposare la crescionda spoletina almeno una notte in frigorifero prima di servirla. </li> <li> Decorare la superficie con amaretti o cacao amaro in polvere. </li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/unesco-riserva-mondiale-della-biosfera-unesco-del-monte-peglia" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_montepeglia.jpg/7ea5d253-2082-470e-bfca-98a662bc6277?t=1586881233154" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/unesco-riserva-mondiale-della-biosfera-unesco-del-monte-peglia" style="color:#1d1d1d !important;">Riserva Mondiale della Biosfera Unesco del Monte Peglia</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/unesco-riserva-mondiale-della-biosfera-unesco-del-monte-peglia" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/a-monteluco-tra-antichi-eremi-ed-edifici-religiosi" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_monteluco.jpg/5500ee2c-7cea-4d35-bde4-1c961bd39992?t=1586881232898" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/a-monteluco-tra-antichi-eremi-ed-edifici-religiosi" style="color:#1d1d1d !important;">A Monteluco tra antichi eremi e chiese</a></div> <a href="https://www.umbriatourism.it/-/a-monteluco-tra-antichi-eremi-ed-edifici-religiosi" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/i-borghi-della-conca-ternana" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_ternana.jpg/eee5fa1e-7b94-43e7-870d-4f0004efe749?t=1586881232657" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/i-borghi-della-conca-ternana" style="color:#1d1d1d !important;">I borghi della Conca Ternana</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/i-borghi-della-conca-ternana" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_marmore.jpg/05046f49-42bb-411e-97ba-2cdf9bd58222?t=1586881232431" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;">In bici alla Cascata delle Marmore e a Piediluco</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette2"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/arrampicata-a-ferentillo" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_ferentillo.jpg/b373b200-033c-47b0-83f4-b4ee56abd61c?t=1586881232059" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/arrampicata-a-ferentillo" style="color:#1d1d1d !important;">Arrampicata a Ferentillo</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/arrampicata-a-ferentillo" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/canottaggio-a-piediluco" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vid_canottaggio.jpg/0545bf65-e48d-4d35-b1a6-8f0da2eeb516?t=1586881230954" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/canottaggio-a-piediluco" style="color:#1d1d1d !important;">Canottaggio a Piediluco</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/canottaggio-a-piediluco" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes43.087334312.37394[ ] Attrattoreen_US318076190542https://www.umbriatourism.it/web/umbria/-/area-archeologica-di-scoppietoScoppieto Archaeological AreaThe 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 AreaThe 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. The 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 historyhttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=142373406941042.723467912.292881999999963Baschi55007[ ] Attrattoreen_US1971107193935 | 15726642https://www.umbriatourism.it/web/umbria/-/centro-di-paleontologia-vegetale-della-foresta-fossile-di-dunarobbaThe Botanic Palaeontology Centre of the Fossil Forest in DunarobbaThe Botanic Palaeontology Centre has been set up at the end of 1990s to support the research and study activity on the Fossil Forest in Dunarobba, by reconstructing its geological and climatic features but also its wildlife through findings, explanatory panels and scale models. The Botanic Palaeontology Centre of the Fossil Forest in DunarobbaThe Botanic Palaeontology Centre has been set up at the end of 1990s to support the research and study activity on the Fossil Forest in Dunarobba, by reconstructing its geological and climatic features but also its wildlife through findings, explanatory panels and scale models.  The Fossil Forest came to light at the end of 1970s, inside a clay quarry intended for the production of common bricks. The currently visible remnants of about 50 trunks of giant conifers represent an exceptional and rare example of some types of plants featuring this sector of the Italian peninsula during the period of time between 3 and 2 millions of years ago, that is in the geological period known as Pliocene. This ancient forest, much of it still buried by sediment, indicates environmental conditions that are significantly different from the current ones, characterised by a substantially warmer climate. The preservation of the trunks in a living position and the almost total maintenance of the characteristics of the original wood are reasonably attributable to a continuous and gradual burial within a marshy area located on the shores of a large lake. Moreover, the area was subject to a gradual sinking, i.e. a geological phenomenon known as subsidence. The particular characteristics of this paleontological site make it a unique naturalistic monument of great scientific importance. In the years following its discovery, the Superintendence for the Archaeological Heritage of Umbria began a long documentation work aimed at studying, safeguarding and preserving the paleontological site. Currently, the greatest efforts are aimed at combating the decay of the petrified wood by atmospheric agents, the main cause of degradation.   Click <a href="http://www.forestafossile.it/storia.asp" target="_blank">here</a> for times and visits.    For further information: <a href="http://www.forestafossile.it/" target="_blank">http://www.forestafossile.it</a>/ Avigliano Umbro | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=1423734069410[ ] Attrattoreen_US539396290542https://www.umbriatourism.it/web/umbria/-/antiquariumAntiquarium - BaschiThe 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 - BaschiThe 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. The first section is dedicated to the production of ceramics: the panels here describe all the stages of realization of land sealed, clay extraction and tailings, modeling and baking of pottery. The second section is dedicated to the trade and the spread of manufactured products in Scoppieto, Italy, and in the main centers of the Mediterranean basin up to Alexandria. The third and final section of the museum, in the basement rooms, consists of a photographic exhibition of archaeological finds discovered in the past centuries in the territory and today preserved in various Italian museums. Baschi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.6693864999999912.216308400000003Baschi55007[ ] Attrattoreen_US539434890542https://www.umbriatourism.it/web/umbria/-/eremo-della-pasquarellaEremo della PasquarellaThirteen km frm Baschi on the SS 448 road towards Todi, in the Forello gorge, the Pasquarella Hermitage or "Pasquarella hiking center" is set among rocks and dense vegetation.Eremo della PasquarellaThirteen km frm Baschi on the SS 448 road towards Todi, in the Forello gorge, the Pasquarella Hermitage or "Pasquarella hiking center" is set among rocks and dense vegetation. 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. The 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. Only 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. [Fonte <a href="http://www.turismobaschi.it" target="_blank">http://www.turismobaschi.it</a>] Baschi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.727689712.30756359999998Baschi55007[ ] Attrattoreen_US2900621390542 | 28208065https://www.umbriatourism.it/web/umbria/-/museo-dell-ovo-pinto-a-civitella-del-lagoMuseum of the Painted Egg in Civitella del LagoAn 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 travelMuseum of the Painted Egg in Civitella del LagoAn 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. The 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. In 2005 this original museum opened in Civitella del Lago, that exhibits thousands of painted or carved eggs from many different species. For further information: <a href="http://www.turismobaschi.it/ita/6/arte-e-cultura/2/museo-dellovo-pinto" target="_blank">http://www.turismobaschi.it/</a> <a href="http://www.ovopinto.it/" target="_blank">http://www.ovopinto.it/</a>   Baschi | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=142373406941042.711825112.281919199999948Baschi55007[ ] Attrattoreen_US372105090438https://www.umbriatourism.it/web/umbria/-/chiesa-della-santissima-trinitaChurch of the Santissima TrinitÃ - Avigliano UmbroSituated in Avigliano Umbro, the Church of the Santissima TrinitÃ 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 TrinitÃ - Avigliano UmbroSituated in Avigliano Umbro, the Church of the Santissima TrinitÃ 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. However, 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. Also 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.   Bibliography Santini L. (1999), Guida di Amelia e dell'Amerino, Perugia, Quattroemme Editore. Caruso P. (1999), Benvenuti in Umbria, guida ai 92 comuni, Collazzone, Grilligraf Editrice. T.C.I. (2004), Umbria, Milano, Turing Editore. Avigliano Umbro | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.65195712.427511999999979Avigliano Umbro55033[ ] Attrattoreen_US539387090438https://www.umbriatourism.it/web/umbria/-/chiesa-santissima-annunziataChurch of the Madonna dell'AnnunziataNear Avigliano Umbro, just outside the village of Toscolano, is the church of the Madonna dell'Annunziata. It has a single nave in which, at the back wall, has a shrine decorated with frescoes attributed to the Umbrian Renaissance painter Piermatteo of Amelia.Church of the Madonna dell'AnnunziataNear Avigliano Umbro, just outside the village of Toscolano, is the church of the Madonna dell'Annunziata. It has a single nave in which, at the back wall, has a shrine decorated with frescoes attributed to the Umbrian Renaissance painter Piermatteo of Amelia. It was discovered in 1985 and restored in 1989 through the intervention of the Sopritendenza alle Belle Arti of the Regione Umbria. Inside, a large fresco is visible, a Majesty, attributed by Federico Zeri to Piermatteo of Amelia (ca. 1481-83), in addition to many votive offerings donated to the church because of a plague. On the front of the shrine, the cycle shows on the left an angel holding a page with the proclamation, at the center the Eternal Father in the form of a dove, on the right the Virgin holding an open book in the hand. Avigliano Umbro | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi30.png/c67e0f5e-45b1-4b4d-9181-70e959197981?t=142374927588142.657981112.34881949999999Avigliano dell'Umbria[ ] Attrattoreen_US2135115390454https://www.umbriatourism.it/web/umbria/-/castello-di-lisciano-nicconeThe Castle of Lisciano NicconeIt has very ancient origins; in fact, it was built on top of the hill overlooking the town from the east, around the 9th-10th century. In 1202, through the work of the Monte Marquis who possessed it, it was placed under the protection of Perugia, whose destiny it followed.The Castle of Lisciano NicconeIt has very ancient origins; in fact, it was built on top of the hill overlooking the town from the east, around the 9th-10th century. In 1202, through the work of the Monte Marquis who possessed it, it was placed under the protection of Perugia, whose destiny it followed. 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 historyhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.247226512.142029800000046Lisciano Niccone54025[ ] Attrattoreen_US2135119690454https://www.umbriatourism.it/web/umbria/-/castello-di-reschioThe Castle of ReschioIt 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 ReschioIt 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 CittÃ 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.   [www.lisciano.org] Lisciano Niccone | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.247226512.142029800000046Lisciano Niccone54025[ ] Attrattoreen_US2135127590454https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicolo-lisciano-nicconeChurch of St. Nicholas - Lisciano NicconeThe 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 NicconeThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.247226512.142029800000046Lisciano Niccone54025[ ] Attrattoreen_US323761393915https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-nuovaChurch of Santa Maria NuovaThe 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 NuovaThe 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 faÃ§ade 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. Constructed between 1270 and 1280, this church boasts a simple stone faÃ§ade with an asymmetrical trefoil doorway. The 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. Frescoes depicting the Annunciation, Crucifixion, Saints and two majesties were eventually uncovered on the counter-faÃ§ade. Along the right wall is a fresco portraying Christ on the Cross, a Blessing Christ, and a Madonna Enthroned with Child. Santa 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 culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.350300912.582640900000001Gubbio54024[ ] Attrattoreen_US126358https://www.umbriatourism.it/web/umbria/-/palazzo-dei-consoliPalazzo dei ConsoliThe Palazzo dei Consoli, visible from afar, is situated in the historic centre of GubbioPalazzo dei ConsoliThe Palazzo dei Consoli, visible from afar, is situated in the historic centre of Gubbio. Its faÃ§ade overlooks the Piazza Grande, a suspended terrace, the political hub of the city during the fourteenth-century. The Palazzo dei Consoli is definitely worth a visit not only for its picturesque setting, but also for the art collections it houses. The building in fact houses the Archaeological Museum and Art Gallery. The Palazzo dei Consoli of Gubbio was built between 1332 and 1349 to a design by Angelo da Orvieto (mentioned in an inscription above the arch of the portal) with the help of Matteo di Giovannello also called: Gattapone. A square building in grand Gothic style, accentuated by lesenes, or pilaster strips, dividing the faÃ§ade distinctly into three.  The first floor is occupied by the portal which is accessed via a grand fan-shaped staircase; the lunette has a fresco by Bernardino di Nanni  dell' Eugenia depicting the  Madonna and Child  between St. John the Baptist and St. Ubaldo (1495). The painting was heavily modified during the sixteenth-century by Benedetto Nucci. There are mullioned windows on either side of the portal. The second floor is adorned with six windows in the centre topped by a dentil cornice connecting the arches. The palace has a crenelated battlement and is embellished with ogival arches; the bell tower rises to the left of the building. The right side and the rear of the palace, visible from Via dei Consoli, are very similar to the faÃ§ade. Another building has been constructed to the left of the palace which has a portico the length of Via Baldassini. The Sala dell'Arengo, or Great Arengo hall, occupies all of the first floor with its magnificent  barrel vaulted ceiling. The interior of the building is now the home of the art gallery, on the top floor and the archaeological collection, now on display on the ground floor. Curious fact The Palazzo dei Consoli as the unfinished Praetorian Palace, was built during the first half of the fourteenth-century, at a time of rapid expansion for the city. At that time, it was felt there was a need for public spaces in line with the economic and political power that Gubbio then exercised over its territory. The ancient Platea Communis or public space at the top was abandoned and a beautiful suspended Piazza, a little lower down,  was created, a centre piece bordering all the  adjacent districts, but external to them, making it an impartial meeting place in political matters. Information and useful advice. Leave your car in the Piazza 40 Martiri carpark, you will easily be able to walk to the historic centre of Gubbio. Entrance to the Civic museum to view both the archaeological collection and the art museum requires the purchase of only one ticket.  Gubbio | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.353233812.578811900000005[ ] Attrattoreen_US112017https://www.umbriatourism.it/web/umbria/-/antiquarium-del-teatro-romano-gubbioThe Antiquarium of the Roman Theater - GubbioThe Antiquarium del Teatro Romano is set up inside a rural home, which includes the remnants of a Roman house - Domus - with fine mosaic decorations, utilized from the Augustan agesantiquarium, teatro romano, gubbioOf the four preserved rooms, the largest shows a mosaic reproducing a geometrical pattern framing a scene of Ulysses and Scylla from Homer's Odyssey. The mosaic was executed by assembling small polychrome tesserae, in a type of mosaic-work called Opus Vermiculatum, inspired by Hellenic painting models. The rest of the display is focused on the history and development of the town and the territory, all documented with panels and materials from excavations in town and the necropolis. The three black Kratersâa shape of Greek vase âcome from the Necropolis of San Biagio, in use between the 7th and 2nd centuries B.C. and are reminiscent of elegant metallic forms. Information Via del Teatro Romano 06024 - Gubbio (PG) sba-umb@beniculturali.it Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari Gubbio | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.351319312.575316599999951[ ] Attrattoreen_US92539https://www.umbriatourism.it/web/umbria/-/la-ceramica-di-derutaDeruta ceramicsThe history and characteristics of Deruta ceramics: from "Petal Back" to calligraphy, colours and decorative traditionDeruta ceramicsThe heart of the design and history of Umbrian ceramics in the diverse styles of DerutaThe great geographical position of Deruta, near main land and river thoroughfares, and the abundant availability of the clay in the nearby hills boosted the development of the Deruta potters and the expansion of their businesses.  Already widespread in the Roman period, ceramics and pottery have been Deruta's main source of income for a number of centuries. A public auction held in 1277 requested a supply of "ad modum mattorum Dirupta". From 1336, cooperative organisations produced everyday objects, painted only in brown and copper green on a background of off-white glaze, the "Maiolica Arcaica":  vitrified ceramics with decorations in green/copper or manganese brown, fashioned on the wheel in a single throwing. The decorations were mainly geometric and floral motifs. From the 15th century onwards, the rigidity of shapes and styles gave way to a series of iconographic variations, with the acquisition of orange, yellow and blue: switching from functionality to decoration, as in the case of the so-called "pomp" plates. The new ornamentation is coded according to a formal scheme: a central medallion and a series of concentric bands parallel around it. From the second half of the 15th century two phenomena affected Deruta: the substantial immigration of potters following the plague of 1456, and closer relationship with the leaders of Umbrian painting. Deruta goods were therefore offered on rich and popular markets: in addition to the refined and sophisticated vitrification, the art of glazed earthenware also flourished. Indeed, the same kilns produced bricks, terracotta and painted vases: new players arrived in the original centres, giving life to an unprecedented artistic and commercial vitality. In the 16th century, the "Compendiario" style took shape: the outlines of the images are concise and simple, although with complex forms of flutings, plastic reliefs and sinuous edges. Finally, in the "calligraphic" style, the decorations, in monochrome blue or orange, are composed of a dense network of foliage with inserts of landscapes, hunting scenes and zoomorphic depictions. Deruta | Ceramicshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271842.980894212.421785[ ] Attrattoreen_US1963093915https://www.umbriatourism.it/web/umbria/-/festa-dei-ceriThe Festa dei Ceri in GubbioThe Festa dei Ceri - a folk, secular and religious event that involves all of UmbriaRace, ceri, feast, ceraioli, sant'Ubaldo, San Giorgio, Sant'Andrea, Gubbio, lift, MayThe century-old tradition of the Festa dei Ceri takes place every year in Gubbio on May 15th, on the eve of the Feast of Sant'Ubaldo, the town's patron saint who died in 1160. It is of little importance whether the origins of the Feast are Pagan or have something to do with the devotion for the patron saint - during this Feast you can truly breathe the soul, passion and traditions of Gubbio and the whole of Umbria. The objective of the race is to glorify Sant'Ubaldo and it consists in transporting the Ceri from the church of Santa Maria Nuova into the town centre to the basilica dedicated to the Saint. The Ceri are three enormous wooden structures that weigh four quintals each (nearly 900 pounds) and are topped by the statues of Sant'Ubaldo (protector of masons), San Giorgio (protector of artisans and tradesmen) and Sant'Antonio Abate (protector of farmers and students). These are carried along the streets of the town centre to the Sant'Ubaldo basilica on Mount Ingino. The "ceraioli" (ceri-bearers) take part in this wild race followed by an enthusiastic crowd. A suggestive ceremony precedes the race - at midday in piazza Grande, the Ceri are carried three times around the square. They are then paraded through the streets of the city, before being taken to via Savelli Della Porta until the start of the race. Each year, people from all over the world come to enjoy a bit of Umbrian folklore. For tourist information   Gubbiowww.lafestadeiceri.ithttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351319312.575316599999951Gubbio54024[ ] Attrattoreen_US2798019193915https://www.umbriatourism.it/web/umbria/-/piazza-quaranta-martiri-e-logge-dei-tiratori-gubbioPiazza 40 Martiri and Lodges of Marksmen â GubbioThe square, original seat of the medieval market, is now equipped partly as parking and partly as garden.The square, original seat of the medieval market, is now equipped partly as parking and partly as garden. Defined as the primary place of welcome for the regional road system, the square is also a spot where you can enjoy a splendid view on the upper part of the town, near the mountain. Its name is a tribute to the 40 victims of Gubbio killed by Germans on 22 June 1944. The northern side is bordered by the long 14th century complex of the former âBig Hospitalâ, built by the Brotherhood of the Blessed Virgin Mary and transferred in 1452 to the Brotherhood of Whites or lay people. The building was originally the seat of the Hospital of Lady Mary (1326). In 1505 it was joined by other hospitals of the district, hence the name of âBig Hospitalâ, remained active until 1628. Since already the first half of 1500 âThe Art of Woolâ was aimed at building over the big hospital an indoor room where âpullingâ the clothes, namely laying the fabrics so to achieve the wished dimensions. The Lodge of Marksmen was executed after many controversies and is still present in all its majesty. In the faÃ§ade of the building we can see one of the many wall paintings of that time: a Madonna between the Saints. Peter and Paolo by Bernardino from Nanni (1473). The Church of St. Mary of Lay people annexed to the building, was built in 1313 and extended maybe according to the drawing by Francesco Allegrini during the renovation of the entire complex. The last restoration dates back to 1997 after the earthquake. The walls of its only nave are decorated with 24 small paintings representing the life of Mary, executed by Felice Damiani. Gubbiohttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951Gubbio54024Gubbio6024[ ] Attrattoreen_US47424673https://www.umbriatourism.it/web/umbria/-/videoricetta-stringozzi-agli-asparagiStringozzi agli asparagi<span style="display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(85, 85, 85); cursor: text; font-family: "Helvetica Neue",Helvetica,Arial,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 200; letter-spacing: normal; line-height: 20px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;">Primo piatto tipico dell'Umbria, gli stringozzi sono chiamati anche, a seconda delle zone, strangozzi o umbricelli. Per la loro facilitÃ di realizzazione appartengono da sempre alla tradizionale cucina regionale, il cui condimento varia a seconda delle zone e puÃ² essere a base di carne, di pesce e di vegetali. In questa gustosa ricetta sono conditi con asparagi, guanciale di cinta Umbra e cipolla bianca di Cannara.stringozzi, asparagi, umbriaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/YPWJd_ye3No?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/YPWJd_ye3No?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ingredienti: <ul> <li>250gr di Stringozzi Umbri</li> <li>1 cipolla bianca di Cannara</li> <li>500gr di asparagi</li> <li>150gr di Guanciale di cinta Umbra</li> <li>Olio EVO D.O.P. UMBRIA - Colli Amerini q.b.</li> <li>Pepe nero macinato q.b.</li> <li>Sale q.b.</li> <li>Pecorino del Subasio q.b.</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> Per preparare gli Stringozzi agli asparagi iniziamo pulendo gli asparagi, tagliamo la parte finale, puliamoli con un pelapatate e affettiamoli lasciando integre le punte. Cuociamo a vapore per almeno 10 minuti. </li> <li> Versando 4 cucchiai di olio EVO D.O.P. UMBRIA - Colli Amerini in una padella e aggiungiamo il guanciale di cinta Umbra tagliato a listarelle e la cipolla di Canora tritata finemente. </li> <li> Lasciamo rosolare a fiamma media per qualche minuto. </li> <li> Aggiungiamo in padella gli asparagi cotti, il sale, il pepe e lasciamo rosolare il tutto per qualche minuto con il coperchio socchiuso. </li> <li> Lessiamo gli strillozzi in abbondante acqua salata, scoliamo e aggiungiamo nel tegame. Se necessario aggiungere un mestolo di acqua di cottura della pasta. </li> <li> Saltare gli stringozzi in padella qualche istante e aggiungiamo in ultimo il pecorino del Subasio, un giro d'olio EVO D.O.P. UMBRIA Colli Amerini e del pepe nero macinato. </li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/i-luoghi-delle-fiction-in-umbria" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vr_fiction.jpg/5fac002c-41a3-4b3b-83ad-ebf4655aa09b?t=1587473105221" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/i-luoghi-delle-fiction-in-umbria" style="color:#1d1d1d !important;">I luoghi delle fiction in Umbria</a></div> <a href="https://www.umbriatourism.it/-/i-luoghi-delle-fiction-in-umbria" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/proposta-tappa-6-da-cesi-a-terni" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vr_cesi.jpg/5c9c012f-2fcd-4542-88ce-f2ece8f596d0?t=1587473104949" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/proposta-tappa-6-da-cesi-a-terni" style="color:#1d1d1d !important;">Da Cesi a Terni</a></div> <a href="https://www.umbriatourism.it/-/proposta-tappa-6-da-cesi-a-terni" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/ferentillo-un-viaggio-tra-arte-cultura-sport-e-avventura" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vr_ferentillo.jpg/53865408-89b2-417b-a408-e758db6de322?t=1587473104699" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/ferentillo-un-viaggio-tra-arte-cultura-sport-e-avventura" style="color:#1d1d1d !important;">Ferentillo: un viaggio tra arte, cultura, sport e avventura</a></div> <a href="https://www.umbriatourism.it/-/ferentillo-un-viaggio-tra-arte-cultura-sport-e-avventura" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/alla-scoperta-delle-rocche-albornoziane-in-umbria" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vr_rocche.jpg/7e287043-cf7f-4b89-b305-775a07489463?t=1587473104382" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/alla-scoperta-delle-rocche-albornoziane-in-umbria" style="color:#1d1d1d !important;">Alla scoperta delle rocche albornoziane</a></div> <a href="https://www.umbriatourism.it/-/alla-scoperta-delle-rocche-albornoziane-in-umbria" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette2"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/castel-ritaldi" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/vr_castelritaldi.jpg/aa4e97bf-633e-40dc-8321-f85ad5a6ec90?t=1587473103551" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/castel-ritaldi" style="color:#1d1d1d !important;">Castel Ritaldi</a></div> <a href="https://www.umbriatourism.it/-/castel-ritaldi" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes43.087334312.37394[ ] Attrattoreen_US1304949012907185 | 22371268https://www.umbriatourism.it/web/umbria/-/il-mosaico-spirituale-dell-umbriaUmbria's spiritual mosaicUmbria in the spiritual love between St. Francis and St. Claire of Assisi. Wedding in Umbria, Getting married in UmbriaUmbria's spiritual mosaic.Umbria is the land of St. Francis of Assisi and of love for human existence. It's also the land of St. Claire of Assisi, of spiritual elevation and devotion. It's a land of earthly and unearthly powers, as well as of natural colors. Umbria is all that. It's the perfect place for any couple of lovers willing to live at best their love, through a spiritual path on the footsteps of that sublime and eternal elective affinity tying St. Francis to his Claire. Getting married in Umbria means to dedicate consciously all one's life to the partner walking alongside of us.  Who is ready, in his soul, for the sacred wedding bond, can choose amongst a wide range of locations: the impressive Pope's Basilica of St Francis (Assisi), St. Felicitano's Cathedral (Foligno), St. Peter's Basilica (Perugia), Spoleto's Dome, St. Maria Assunta's Cathedral (Orvieto), St. Francis' Church (CittÃ di Castello), St. Ubaldo's Basilica (Gubbio) and several other treasures of spiritual architecture. Nevertheless, the journey into the Umbria's ancient spiritual roots doesn't certainly end here: swinging stages immersed in the nature contain the several spiritual paths, hidden itineraries among woods and mountain peaks such as the St. Francis' Route. It's a completely walking itinerary allowing the visitor to go through the principal stages of Francis' preaching, an interior and intimate journey to discover the Saint's words and deeds, as well as that spirit of interior peace and love for creation still characterizing Umbria. St. Rita of Cascia is the third protagonist of Umbria's spiritual heritage. Within the monastery devoted to her, nuns offer future brides the possibility of choosing their wedding dress amongst the several ones left here as a gift, in the name of that charity and love spirit, perfectly symbolized by St. Rita of Cascia.  Per maggiori informazioni: <a href="http://lovemeinumbria.com/" target="_blank">Wedding in Umbria</a> Assisi | CittÃ di Castello | Gubbio | Orvieto | Perugia | Spoleto | Folignohttps://www.umbriatourism.it/documents/10184/87120/assisi/2dcc3a9e-8b06-4bc5-951c-3b172021afeb?t=145433529681343.070701712.619596600000023[ ] Attrattoreen_US2506706https://www.umbriatourism.it/web/umbria/-/abbazia-di-vallingegnoThe Abbey of VallingegnoThe 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. The 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. The 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. The current complex is composed of the church, the monastery, and a brickwork bell-gable. The 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. Many 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. It 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 culturehttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351319312.575316599999951Gubbio54024Vallingegno6024[ ] Attrattoreen_US10537457https://www.umbriatourism.it/web/umbria/-/basilica-di-sant-ubaldoBasilica di Sant'Ubaldo â Basilica of Sant'UbaldoBuilt 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'UbaldoBuilt 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. Built 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 culturehttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351319312.575316599999951Gubbio54024[ ] Attrattoreen_US542919590590https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-infraportasChurch of St. Mary InfraportasThe Church of St. Mary Infraportas overlooks the western side of St. Domenico square in FolignoÂ´s historic centre. Church of St. Mary InfraportasThe Church of St. Mary Infraportas overlooks the western side of St. Domenico square in FolignoÂ´s historic centre.  <div>The entrance is covered by a porch with three arches supported by four columns with Romanesque capitals. A shrine of 1480 with a fresco is located on the right of the porch, and at the bottom on the right side there is the Romanesque bell tower.  The levels of the porch and the church floor are lower than the current street level.  The rectangular-plan interior is divided by pillars in three aisles.  The ceiling of the barrel-vaulted central aisle rises higher than that of the lateral aisles, added in the 15th century, with cross-shaped vaults.  In the left aisle on the first pillar there is a Madonna of the Milk attributed to Giovanni di Corraduccio and on the wall there is a Madonna with Child and St. John the Evangelist on a background painted with tapestry supported by Angels, an artwork signed by Ugolino di Gisberto and dating back to the 16th century; on the internal side of the second pillar, within a shrine, there is a Madonna and Child in multicolour stucco of the late 15th century and a tombstone with an image of a reclining figure. St. Rocco and Angels are represented on the third pillar, under the arch on the right side.  In the central aisle nearby the door there is a St. Jerome attributed to Pierantoni Mezzastris; a Maddona with Child among Angels, attributed to Lattanzio di Niccolo, is depicted on the first pillar; there are also frescoes of the 14th century representing Saints Peter and Paul, a Madonna with Breastfeeding Child, the Annunciation; in the second pillar on the left, inside a niche there is a multicolour Papier-mÃ¢chÃ© bust of the 16th century, representing Jesus with tied hands and the crown of thorns.  The right aisle has in its niches pictures of Crucifixions; under the first arch there is a Christ carrying the cross attributed to NiccolÃ² Alunno; on the second pillar St. Lucia and St. Amico, by Pierantonio Mezzastris; under the second arch a St. Peter martyr attributable to NiccolÃ² Alunno. On the alter nearby are frescoes showing St. Catherine of Alexandria and St. Jerome by Pierantonio Mezzastris.  A chapel with two nice windows on the right wall opens up in the last part of the left aisle: in the conch of one of them there is a fresco representing the Archangel Gabriel and Disma (the good thief) of the second half of the 12th century; in the bottom niche there is a Blessing Christ between St. Peter and St. Paul and a decoration that seems to refer to an oriental tapestry, and a Romanesque wooden statue of the Madonna is attributable to the 12th century.</div> <div> Curiosity Until the 13th century the church was ouside the townÂ´s walls and was called foris portam (outside the gate); with the building of new town walls at the end of the 13th century, the building was enclosed between the two sets of town walls and took the name of infra portas.</div> Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248842.953669612.700805100000025Foligno54018[ ] Attrattoreen_US542933790590https://www.umbriatourism.it/web/umbria/-/museo-archeologico-colfioritoMuseo Archeologico ColfioritoThe Museum is situated at Colfiorito, a small town in the mountain near Foligno situated along a major road junction which in ancient times already connected Umbria, Sabina and the Adriatic coast.Museo Archeologico ColfioritoThe Museum is situated at Colfiorito, a small town in the mountain near Foligno situated along a major road junction which in ancient times already connected Umbria, Sabina and the Adriatic coast. <div>The visit of the Museum is an opportunity to learn about the cultural development of this dynamic part of the Umbrian Apennines, since prehistoric times inhabited and permanently occupied from the Archaic by the Umbrian people of Plestini. At Colfiorito there are also the Nature Park and its museum. Exhibits finds from excavations carried out largely in the Colfiorito and its Highlands since the sixties of the twentieth century. It is dedicated to Plestini, population of Umbrian origin here especially attested in the most mature point in its development (VII-V century BC). The itinerary is organized in thematic sections, where, in addition to illustrative panels and multimedia stations, there are also reconstructions of some discovery contexts. On the ground floor is the lapidary, consisting of finds from the Roman city and the territory plestino: tanks, frames and columns, but also inscriptions. The first floor is entirely dedicated to the pre-Roman necropolis of Colfiorito, frequented from the IX to the III century, with the exposure of grave goods and two tombs reconstructed in real size. On the second floor they are shown the towns and sanctuaries, and in particular the fort of Mount Orve and the sanctuary of the goddess Cupra, from which four bronze plates with inscriptions indicating the deity as "mother of Plestini". The itinerary is closed by a section dedicated to the urban organization of Plestia and the rural settlements which raised up on the area of the Highlands.</div> Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248843.0262375999999912.889652699999942Foligno54018[ ] Attrattoreen_US542910290590https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-in-campisChurch of Santa Maria in CampisIt's situated about 2 km south of Foligno in the direction of  Sant'Eraclio, in a vast necropolis relevant to the Roman city of Fulginia.Chiesa di Santa Maria in CampisIt's situated about 2 km south of Foligno in the direction of Sant'Eraclio, in a vast necropolis relevant to the Roman city of Fulginia. 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. Of 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 NiccolÃ² di Liberatore, known as L'Alunno (1456). Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248842.951409912.71265249999999Foligno54018[ ] Attrattoreen_US9250593915https://www.umbriatourism.it/web/umbria/-/gubbio-tra-arte-storia-spettacolo-e-buon-ciboGubbio, the city of the CeriTake part in the Festa dei Ceri, see the tallest Christmas Tree in the world and savour a traditional cresciaGubbio, ceri, race, truffle, Christmas tree, saint francis, ceramics, wolf, cresciaSet at the foothills of Mount Ingino in the north-eastern part of Umbria, Gubbio has a terraced layout. <div style="clear:both;"> <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The ancient origins of the city are testified by the seven bronze tablets known as the Iguvine Tablets, written between the 2nd and 1st century B.C. and housed in the local Civic Museum. They are partly written in the Umbrian language and are considered among the most important documents in Italy. Significant Roman architectural ruins are the Roman theatre dating back to the 1st century B.C. and the Mausoleum, the remains of a tomb from where you can start your visit.  Below the residential area, there is the church of San Francesco, built in the mid-13th century in place of the storehouse of the Spadalonga family, who welcomed St. Francis after he renounced his father's wealth.  Among the frescoes in the church, the most striking are the ones on the left apse, with Stories from Virgin Mary's Life by Ottaviano Nelli (15th century). The heart of the town is the medieval piazza Grande, a panoramic terrace with the 13th century palazzo dei Consoli, seat of the Civic Museum, the palazzo del PodestÃ built at the sme time, and the Neo-classical palazzo Ranghiasci-Brancaleoni.  </td> </tr> </tbody> </table> <div style="clear:both;"> </div> Further up: the palazzo dei Canonici, seat of the Diocesan Museum, with an art collection that retraces the history of the Iguvine Diocese; the cathedral, started at the end of the 12th  century and dedicated to Saints Mariano and Giacomo, whose remains are kept under the high altar; and palazzo Ducale. The latter, commissioned by Federico da Montefeltro between 1475 and 1480 and probably designed by Francesco di Giorgio Martini, is now a museum. Inside, there is a lovely courtyard where the ancient town hall square used to be. Do not miss the Basilica di Sant'Ubaldo, almost at the top of Mount Ingino, which can be reached either on foot with a panoramic yet steep walk or by chairlift. The famous Ceri di Gubbio are kept here. Above the high altar, inside an urn, you can see the body of patron Sant'Ubaldo, who died in 1160. On your way down, pass by the famous Bargello fountain where, after going round it three times and being "baptised" with its water, you will receive the symbolic "Patente di matto di Gubbio" (a sort of honorary citizenship). <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> If you want to trace St Francis's footsteps, you must visit the church of the Vittorina (13th century), built where, according to tradition, he encountered the wolf of Gubbio. Gubbio can be enjoyed year-round: music festivals, the magic of Christmas with the tallest Tree in the world, markets and nativity scenes, the Festa dei Ceri, historical re-enactments, art exhibitions and concerts. Savour local flavours such as the fine truffles and excellent crescia, a flatbread. Find out more about the ancient artisan tradition by visiting studios and workshops; experience all this and much more... </td> </tr> </tbody> </table> </div> Gubbio | Art in Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.347543212.571720000000028[ ] Attrattoreen_US2254191793915https://www.umbriatourism.it/web/umbria/-/piazza-grande-gubbioPiazza Grande - GubbioPiazza 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 - GubbioPiazza 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. The space is highly scenic and is oriented towards the countryside thanks to the panoramic terrace. The 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. Consuls Palace and the Civic Museum <a href="https://www.umbriatourism.it/-/palazzo-dei-consoli">The Consuls Palace</a> was built between 1332 and 1349 according to a design by Angelo from Orvieto with the contribution of Matteo di Giovannello, called the Gattapone. This rectangular shaped building has a high Gothic momentum accentuated with vertical pilasters dividing the front in three distinct parts. Its halls have been hosting  the Civic Museum collections since 1909.  The 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. The Tablets represent the heart of one of the richest Umbrian archaeological collections with finds dating back to the Umbrian and Roman age. The so-called Hall of Loggetta hosts the ceramics section, ranging from the archaic majolica (14th century) to 19th century artefacts. On the upper floor houses the Municipal Picture Gallery that illustrates the local artistic culture from Middle Ages to Baroque. Palazzo Pretorio In 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. To 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 culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951Gubbio54024[ ] Attrattoreen_US47603254https://www.umbriatourism.it/web/umbria/-/videoricetta-agnello-in-fricasseaAgnello in fricasseaPiatto tradizionalmente preparato durante il periodo pasquale, anche se la ricetta viene ormai proposta in ogni periodo dellâanno. La fricassea Ã¨ un termine che deriva dal francese âfricasserâ e indica la cottura della carne tagliata a spezzatino in casseruola con burro e cipolla, a cui vengono aggiunti i rossi dâuovo e il succo di limone.agnello, umbriaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/RnmbypYz_14?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/RnmbypYz_14?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ingredienti: <ul> <li>1 Kg di Agnello (polpa e costine)</li> <li>1 cipolla dorata di Cannara</li> <li>1 spicchio d'aglio</li> <li>Succo di 1 limone</li> <li>2 uova Olio EVO D.O.P. Umbria - Colli Orvietani</li> <li>Sale e pepe q.b.</li> <li>Finocchietto q.b.</li> <li>50gr di pecorino del Subasio</li> <li>1 bicchiere di vino Montefalco bianco</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> Per preparare l'agnello in fricassea facciamo scaldare 50ml di Olio EVO D.O.P. Umbria - Colli Orvietani in un tegame insieme allo spicchio di aglio e alla cipolla tagliata sottile. Facciamo soffriggere a fiamma media per qualche minuto. </li> <li> Aggiungiamo l'agnello e facciamo rosolare a fiamma vivace girando spesso. Sfumiamo con il vino bianco e aggiungiamo sale e pepe. Abbassiamo la fiamma e lasciamo cuocere per 20-30 minuti (la cottura dipenderÃ dallo spessore della carne). </li> <li> Aggiungiamo le uova sbattute con il succo del limone e il pecorino del Subasio. Lasciamo cuocere qualche istante continuando a mescolare il tutto e lasciamo addensare l'uovo. </li> <li> Aggiungiamo abbondante finocchietto selvatico e servire l'agnello in fricassea ben caldo. </li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/da-passignano-sul-trasimeno-a-castiglione-del-lago-lungo-la-strada-dei-vini-colli-del-trasimeno" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_dapassignano.jpg/c44f5bcc-8b10-4d72-a8d0-95a0ceb8374a?t=1587988797929" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/da-passignano-sul-trasimeno-a-castiglione-del-lago-lungo-la-strada-dei-vini-colli-del-trasimeno" style="color:#1d1d1d !important;">Da Passignano sul Trasimeno a Castiglione del lago</a></div> <a href="https://www.umbriatourism.it/-/da-passignano-sul-trasimeno-a-castiglione-del-lago-lungo-la-strada-dei-vini-colli-del-trasimeno" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/campo-del-sole" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_camposole.jpg/670996c1-15ea-4902-b336-bf7b7fe6e1ba?t=1587988799363" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/campo-del-sole" style="color:#1d1d1d !important;">Campo del sole</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/campo-del-sole" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/usigni" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_usigni.jpg/4d8215e5-71b1-4745-8fc7-b5480a5a53ed?t=15879887990889" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/usigni" style="color:#1d1d1d !important;">Usigni</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/usigni" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/viaggio-nel-tempo-lungo-la-via-flaminia" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_flaminia.jpg/4ebc9faf-948f-4823-b450-0b3bb0a41868?t=1587988798765" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/viaggio-nel-tempo-lungo-la-via-flaminia" style="color:#1d1d1d !important;">Viaggio nel tempo lungo la via Flaminia</a></div> <a href="https://www.umbriatourism.it/-/viaggio-nel-tempo-lungo-la-via-flaminia" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette2"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-otricoli" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_castello.jpg/1e7ac89f-6d40-4531-b748-73ef4ae7ce33?t=1587988798463" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-otricoli" style="color:#1d1d1d !important;">Castello del Poggio di Otricoli</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-otricoli" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes[ ] Attrattoreen_US117023https://www.umbriatourism.it/web/umbria/-/teatro-romano-gubbioThe Roman Theatre - GubbioThe ancient Roman Theatre is in the municipality of Gubbio, in the archaeological area called Della GuastugliaThe Roman Theater, Teatro romano, Gubbio, Guastuglia, archeologiaTeatro romano - GubbioThe visit itinerary to the ruins of the Roman theatreâTeatro Romanoâand the archaeological finds kept in the Antiquarium provide an opportunity to learn about the social organization of the Roman town of IguviumâGubbioâfrom the recreational to the residential areas revealing the tastes, tradition and customs of the time. The Theatre, constructed with the contribution of the town's magistrate Gneus Satrius Rufus around 20 B.C., was built with large rusticated blocks of limestone. It has two orders of arcades, of which the lower arcade and some arches of the upper arcade still remain standing. Remnants of some Opus Reticolatumâbrickwork used in exterior walls typical of the ancient Roman architectureâare in the corridors and the vomitoires. The cavea is subdivided into four wedges and the strips without steps were probably fitted with wooden stairs. The floor of the orchestra, paved with slabs of limestone, allowed for the drainage of rainwater into a large cistern positioned underneath, called the pulpitum. The frons scaenaes has two lateral rectangular niches and a central semicircular niche. The theatre could hold up to six thousand spectators and was among the largest at the time. Information Via del Teatro Romano 06024 - Gubbio (PG)  email: sba-umb@beniculturali.it   Source: Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Information Via del Teatro Romano 06024 - Gubbio (PG)  email: sba-umb@beniculturali.it   Source: Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Gubbio | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351962512.572651599999972[ ] Attrattoreen_US2702696790422https://www.umbriatourism.it/web/umbria/-/centro-d-ateneo-per-i-musei-scientifici-cams-University Centre for the Science Museums (CAMS)The science museums of the Perugia University Umbria, Umbria museums, Umbria holiday, Umbria itineraries, Umbria travel, Umbria tourism, Umbria history, Perugia University, Perugia medieval garden, Perugia botanical gardenThe science museums of the Perugia UniversityGallery of Natural History Located in a recovered industrial building (the ex-tobacco factory of Casilina), the Museum of Natural History of the Perugia University preserves and exhibits to the public two collections of great naturalistic value: an imposing ornithological collection, brought together in the 1800 by Orazio Antinori, and a collection of 6000 samples belonging to the mineral world (fauna and flora), wanted by Monsignor Giulio Cicioni. The Gallery hosts exhibitions of samples coming from remote corners of the planet that, through the explanations provided by the staff, allow the visitor to see species already known under a new light as well as to get to know and admire closely fascinating exotic species.     For further information on times and tickets, click <a href="http://www.cams.unipg.it/musei-orti/galleria-di-storia-naturale/informazioni">here</a>.    The Museum of Human Anatomy The anatomical museum of the Perugia University has been founded for didactical use in 1814 by two important doctors of Perugia, Cesare Massari and Goffredo Belisari, who ordered the famous wax modeller of the Florentine Specola Francesco Calenzuoli âto do some wax preparations for the Anatomical Cabinetâ. The museum, set up in 2017, shows as anatomy has been perceived over time by lecturers and the audience, and narrates not only the evolution of medieval sciences but also of culture and society. The exhibition is divided into three sections:  - The first one concerns artificial anatomy, hosting the artworks made between 1600 and 1830 by painters, sculptors and engravers.  - The second one, devoted to the natural anatomy, is made up of findings obtained between 1830 and 1930 by real bodies, the unique ones able to ensure that scientific rigour required by the increasing specialization. This section also includes three mummies of Ferentillo found at the beginning of 19th century, dated between the 17th and the early 19th century.  - The third and last section is devoted to criminal anthropology, a pseudoscience conceived at around 1875 by the scholar Cesare Lombroso who researched, in some morphological and physiological features, an inclination of people to crime.      For further information on times and ticket, click <a href="http://turismo.comune.perugia.it/poi/museo-di-anatomia-umana">here</a>.   The Gallery of Mathematics The Gallery of Mathematics arose from the collection of mathematical objects (until now beyond 150) designed and realized by Emanuela Ughi that make the fascination of maths available to everyone. The physical experience with the materials of the Gallery wants to reassure all those who think they are not able to understand maths, by showing that there is a new way to familiarize with a subject that is difficult for many people but which we deal every day with:  maths indeed has a decisive role in the daily life and is behind many of the normal human activities. The Gallery for Mathematics is a meeting point of people and ideas, ranging from the pure playful use, that tries to operate the exhibiting objects and instruments, to the understanding of more complex demonstrations. Indeed, the Gallery collects exhibits, puzzles, games that allow to approach ideas, concepts and mathematical theorems by exploring them through handling tasks and drawings: hands-on activities, as in different modern Science Centres. A section of the Gallery consists of an interesting collection of materials that have been specially designed and produced for the Mathematical Education of Children with disabilities â particularly for earlier visually disabled pupils and for the support in case of dyscalculia or cognitive retardation.    For further information on times and costs, click <a href="http://turismo.comune.perugia.it/poi/galleria-di-matematica">here</a>.   The Botanical Garden The current botanical garden, near the church of St. Peter, is the successor of the ancient university botanical garden created in Perugia by doctor Filippo Belforti in 1720. Originally, the botanical garden was often used for medical purposes, as it is also showed by the careful extension operated by Prospero and Annibale Mariotti.  The collections contain more than 1200 taxa. The main sections include the Apennine Arboretum, the Aquatic Species, the Tropical and Sub-tropical species, the succulent Xerophytes and the gymnosperms. Itâs worth to mention among the collections of ornamental plants: a rose garden illustrating the history of the genus Rosa's cultivation; a collection of forty species and cultivars of Hydrangea and a collection of cultivars of Pelargonium with perfumed leaves. The medicinal plants are mainly located in the Hortus Sanitatis of the medieval garden.   Ticket: free entrance. The guided visit costs 50 euros each group, for both gardens 80 euros each group. For further information, click <a href="http://www.cams.unipg.it/musei-orti/orto-botanico/informazioni" target="_blank"> here</a>.   The medieval garden The University of Perugiaâs medieval garden stands on the hill where the ancient cathedral of St. Peter once rose. Itâs a garden adjoining the ancient Benedictine abbey dating back to the year 965, including the old Etruscan-Roman street, the Roman gateway of 1200 and the remains of the Benedictinesâ masonry at the end of 16th century. Before the inauguration of the medieval Garden in 1996, this seat used to host the Botanical Garden of the University, moved following the foundation of the Higher Agrarian School. The medieval Garden is proposed as an atypical structure compared with the current conception of garden: itâs a symbolic garden developing, through a real structure, the abstract concept of medieval monastic garden. In the medieval garden, the structure and location of cultivated taxa are organized in order to illustrate the medieval beliefs and mythologies related to the vegetable world. The itinerary in all the structure is a symbolical re-enactment of the evolutional, cultural and spiritual stages of the man and involves 10 successive stages: the âPrimordial Stateâ (Garden of Eden); âThe faultâ (Lucus or Holy Wood); âThe rationalityâ (Hortus Sanitatis); âThe dominationâ (Podium); âThe creativityâ (Hortus horerorum); âThe communityâ (the medieval door and the ancient public street); âThe religiosityâ (cloisters); âThe cultureâ (University: Faculty of Agricultural Science); âThe aestheticsâ (Structure of the Cloisters, Tower bell etc.); âThe holinessâ (St. Peterâs Basilica).    Ticket: free entrance. Guided visits cost 50 euros each group, for both gardens 80 euros each group. For further information, click <a href="http://www.cams.unipg.it/musei-orti/orto-medievale/informazioni"> here</a>.   The Laboratory on the History of Agriculture The Laboratory has been created to exhibit part of the scientific and educational material produced by the Faculty of Agriculture in Perugia over time; it allows to retrace the most important stages in the evolution of agricultural sciences in the last two centuries, by putting the agricultural development in relation with the economical and social events that influenced that time. The collections, relating to the mechanics for agriculture, testify the passage from a technology based on the use of wood and tow with animals, to a technology based on the use of steel and internal combustion engines.    For further information on times and tickets, click <a href="http://www.cams.unipg.it/musei-orti/laboratorio-di-storia-dell-agricoltura/informazioni">here</a>.   Plaster cast gallery The creation of the plastersâ collection, based on the Greek, Etruscan and Roman originals, was possible thanks to Filippo Magi (Florence 1905 â 1986), tenured professor of Archaeology and History of Greek and Roman Art as well as Etruscology and Italic Antiquities at the Faculty of Letters and Philosophy from 1960 to 1975 and in the same years Director of Studies and Archaeological Researches at the Vatican City State. The collection offers an anthological view of the masterpieces of the classical antiquityâs masters and allows to examine copies of beyond 80 artworks among the most significant ones in the Greek, Etruscan and Roman sculpture. It houses highly interesting artworks such as the group of the âNileâ, probably made by Antonio Canova (Possagno 1757 - Venice 1822) to replace the original one transferred to Paris following the requisitions ordered by Napoleon Bonaparte, the cast of a segment of the Traiana Column, the casts of some sculptures belonging to the eastern pediment of the Parthenon representing Erittonio, the Horse of Selene and Cefiso, a depiction of the fictile sarcophagus called âof the Spousesâ by Cerveteri.    Address:Pontani Palace - 11 Piazza Morlacchi - 06123 Perugia, PG. Ticket and times: : contact operators by phone or email. Info: Phone Number 075 585 3118 - fax 075 585 3138. E-mail address: gian.grassigli@unipg.it   For further information: <a href="http://www.cams.unipg.it" target="_blank">www.cams.unipg.it </a> Deruta | Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718Deruta, Perugia[ ] Attrattoreen_US542945790422https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-dei-bagniSantuario della Madonna dei BagniNot 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 BagniNot 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). <div> 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. By 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. Over 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. </div> Deruta | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.980894212.421785Deruta54017[ ] Attrattoreen_US95875https://www.umbriatourism.it/web/umbria/-/valfabbrica-tra-arte-cultura-e-trekkingValfabbrica, between art, culture and trekkingValfabbrica: nature excursions, the Palio, art and culture, the Franciscan Path of Peace and the Via di Francescochiascio, palio, St Francis, Franciscan Path of Peace, Autumn Festival, via di francescoValfabbrica, situated on the slopes of Monte delle Croci, is on the left bank of the river Chiascio.  The area lies at the centre of the Assisi-Perugia-Gubbio triangle, amidst green hills and forests, and is one of the natural oases typical of the Umbrian foothills of the Apennines. The origins of the castle of Valfabbrica, documented from the 9th century, are closely linked to the fortunes of the Benedictine monastery of Santa Maria, of which it was a possession. Today, near the cemetery, only the Chiesa di Santa Maria Assunta remains of this ancient monastery. It has been largely restored, with frescoes by the Umbrian School of the 14th century. The Church is referred to as the place where St Francis was welcomed after leaving Assisi, en route to Gubbio. The castle of Valfabbrica was long disputed between Perugia, Gubbio and Assisi, which rebuilt the fortifications in the 13th century, parts of which are still preserved today. The ancient structure retains its mighty tower, which was once the gate of the castle. A second tower was added at the end of 1100, and as time passed it assumed the function of bell tower. Within the castle is the Chiesa di San Sebastiano (14th century), renovated in the 17th century with the addition of altars on the side walls. Along the main road is the modern Parish Church of Santa Maria Assunta, built in 1960 to a design by the architect Primo Saccardi. Each year, between late August and early September, the city revives the medieval atmosphere with the Autumn Festival and the Palio di Valfabbrica. These festivals feature local historical re-enactments, with huge numbers of both people and events. Valfabbrica is also a place of pilgrimage and nature excursions, and is part of the Franciscan Assisi-Gubbio Path of Peace, walked in 1207 by St Francis after his famous dispossession of suffering, clothes and money in the square in Assisi. It is also a stop on the Via di Francesco. Valfabbrica | Places of culture | Urban trekkinghttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.158881212.601164400000016[ ] Attrattoreen_US2415962690518https://www.umbriatourism.it/web/umbria/-/complesso-di-san-francesco-norciaComplesso di San Francesco - NorciaThe St. Francis complex has hosted the auditorium, the municipal library and the historical archive since the 14th century.Complesso di San Francesco - NorciaThe St. Francis complex has hosted the auditorium, the municipal library and the historical archive since the 14th century. The renovation of the auditoriumâs external faÃ§ade was completed by the conventual Franciscans, according to the standards of the late Gothic style. The beautiful rose window on the front and the richly decorated lateral portals are noteworthy. The single-nave interior is decorated with a few frescoes that survived among the many ones that decorated its walls. The auditorium is about to be enriched by another prestigious painting. Indeed, the bottom wall is going to host the altarpiece depicting The Coronation of the Virgin painted by Jacopo Siculo for the Franciscan friars of the Annunziata in 1541. The monumental painting, that will return to its home town after 25 years, is going to revitalize the whole environment thanks to its particular lights and colours, but also because of its dimensions (the entire structure containing the altarpiece is 7 metres long and 5 metres wide). One of the most significant archival heritages of the region, in terms of richness, antiquity and variety of recordings, can be visited within the complex. Indeed precious vestiges of the St. Benedictâs town and of its surrounding territory since the 13th century are preserved in the municipal historical archive of Norcia. If we also consider the aggregated collections, the archive consists of beyond 12000 pieces dating between this time and the 1960s. In the section predating the unification of Italy, note the secret archive of the Municipality that indicates the existing relationships between Norcia and the central papal authority, the neighbouring communities and towns. In the post-unification section are the documents produced between 1860 and 1960. Then the municipal deposit houses the State archives such as the Notarial Archive of the Government. (Source: www.comune.norcia.pg.it] Norcia | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.791674613.094733499999961[ ] Attrattoreen_US1976741490438https://www.umbriatourism.it/web/umbria/-/il-centro-geografico-d-italia-peninsulare-ponte-cardonaThe Geographical Centre of Mainland Italy - Cardona BridgeDifferent 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 BridgeWhere 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 <a href="/-/acquedotto-della-formina">Formina Roman aqueduct</a>, next to the Cardona bridge, one of the most enchanting Roman bridges of Narni. The 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. Cardona Bridge The Bridge is located in the Montello area, reached by a pathway flanked by great oaks and holm oaks. This is a Roman bridge built as a square with travertine ashlars. It is a slightly elevated single round arch and it preserves the piers and part of the shoulders of the original structure. A 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: <a href="http://www.pontecardona.it" target="_blank">http://www.pontecardona.it</a> Narni | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.517602212.515629900000022Narni55022[ ] Attrattoreen_US124816https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-cassianoThe Abbey of San CassianoThe abbey is located near to the town of Narni, on the steep slopes of Monte Santa Croce. Narni, Umbria, benedettini, San benedettoThe Abbey of San CassianoThe 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. The 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. The 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. The 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). The 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. These 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. The 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.   Bibliography Santini L. (1998), Guida di Terni e del ternano, Ponte S. Giovanni (PG), Quattroemme Sperandio B. (2001), Chiese romaniche in Umbria, Ponte S. Giovanni (PG), Quattroemme Narni | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi20.png/24b896a7-7453-4e0b-85bc-c474b32f17bc?t=142374927426442.517629512.515742700000033Narni55022[ ] Attrattoreen_US277284490438https://www.umbriatourism.it/web/umbria/-/acquedotto-della-forminaThe Formina AqueductThe 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 AQUEDUCTThe 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. The Cardona Bridge, which is along its path, has been declared the <a href="/-/il-centro-geografico-d-italia-peninsulare-ponte-cardona">Centre of Italy</a> by the Military Geographical Institute as it is equidistant from the north and south, and the east and west of the country. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.517602212.515629900000022Narni55022[ ] Attrattoreen_US2786850193915https://www.umbriatourism.it/web/umbria/-/cattedrale-dei-santi-mariano-e-giacomo-gubbioThe Cathedral of St. Mariano and Giacomo â GubbioThe 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 faÃ§ade, 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 faÃ§ade, 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). There 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. To 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). Source: <a href="http://gubbio.infoaltaumbria.it/scopri_la_citta/in_centro/il_duomo.aspx">http://gubbio.infoaltaumbria.it</a> Gubbiohttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951Gubbio54024Gubbio6024[ ] Attrattoreen_US92563https://www.umbriatourism.it/web/umbria/-/la-ceramica-di-gubbioThe ceramics of GubbioThe history and characteristics of Gubbio ceramics: from the "lustre" of Mastro Giorgio to the great masters of the 20th centuryCeramics of Gubbio, lustre decoration, Mastro Giorgio AndreoliThe ceramics of Mastro Giorgio and the intensity of ruby redThe archives of Gubbio show that the work of master potters began in the 14th century.  Medieval testimonies demonstrate an archaic majolica with geometric decorations or plants in green and brown. However, the fame of the ceramics tradition of the town is linked to the great potter Giorgio Andreoli, known as Mastro Giorgio, who arrived in Gubbio in 1489, from Intra, on Lake Maggiore. Mastro Giorgio was an undisputed master in the art of lustre finishes, which made Gubbio ceramics famous: gold, silver, green and, in particular, a beautiful intense ruby red.  It was in fact the great master who introduced this shade of red, diversifying from the colours used in Deruta, where blue and gold were then popular.  Dishes, decorative trees, cups and vases emerged from the workshop of Giorgio Andreoli, but it was the raised low foot that, in around 1530, became predominant in the work of this great master. The new technique was applied to the narrative strand known as "istoriato" and to many decorations (arabesques, palmettes, grotesque candelabra, trophies, garlands) next to the colours orange, blue, yellow and green. After a long hiatus, ceramic production restarted in the second half of the 19th century as part of a cultural movement to restore the Renaissance tradition in Umbria. In the early 20th century - a period to which the early experiences of Aldo AjÃ² date, whose style was imitated by students and followers of Baffoni, Cavicchi, Faravelli, Monarchi, Notari and the Rossi brothers, to name but a few - the potters of Gubbio began to learn new techniques, in addition to the production of reverb majolica, such as the working of <a>buccheri</a>, polished and then decorated with engraving or polychrome enamel and gold, or pottery inspired by the Middle Ages, in which cobalt blue predominates. Gubbio | Ceramicshttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951[ ] Attrattoreen_US19387https://www.umbriatourism.it/web/umbria/-/gola-del-bottaccioneBottaccione GorgeThe Bottaccione Gorge - a geological site and a true gem Bottaccione Gorge gubbio hermitage roman aqueduct dinosaurs meteorBottaccione Gorge - the theory behind the extinction of dinosaursThe Bottaccione Gorge is a deep incision with vertical walls between Mount Ingino and Mount Foce, also known as Mount Calvo.  It is an important natural scientific site and is also rich in historical-artistic evidence. The site is a result of the erosion of the Camignano stream over two-three million years. The stream still flows at the bottom of the valley. The rocks represent a complete and unique stratigraphic sequence - they date back to the Jurassic, Cretaceous and most of the Cenozoic eras. The different types of fossils found in the rocks have enabled the study of the environmental conditions in which they formed, that is why the Bottaccione Gorge is also known as the "Earth archive". But the geological site became famous all over the world in the 1970s, when an American geologist discovered that one layer presented a high concentration of Iridium, a metal which is rare on Earth but common in space. This discovery was at the basis of the hypothesis that the Earth was hit by a big meteor that produced an enormous crater (150-200 km diameter) destroying entire ecosystems and leading to the extinction of all the animals directly dependent on those plants, among which were the big dinosaurs which had been roaming the earth for millions of years. Only the less-developed organisms managed to survive. We can therefore say that the cause behind the extinction of dinosaurs was found here. In addition to this, the gorge is also important for its historical-artistic artifacts such as the medieval aqueduct and the 14th-century hermitage of Sant'Ambrogio Gubbio | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/Mappa_zona_Gubbio/c4c6818a-921b-4d0c-8895-7895feac1aab?t=142373353945943.351319312.575316599999951Gubbio54024[ ] Attrattoreen_US116973https://www.umbriatourism.it/web/umbria/-/parco-archeologico-di-otricoli-e-antiquarium-di-san-fulgenzio-otricoliOcriculum Archaeological Park and Casale St. Fulgenzio Antiquarium - OtricoliThe archaeological area of Ocriculum represents for its dimensions (36 hectares), its state of conservation, the features of its monuments and the richness of materials found during the excavations, one of the most important centres not just in Umbria but in Italy. Ocriculum Archaeological Park and Casale St. Fulgenzio Antiquarium - OtricoliThe remains of the ancient Roman town, crossed by the Flaminia road and lapped by a bend of the Tiber, are located in a natural landscape of significant beauty, perfect synthesis of archaeology and nature that remained unchanged throughout centuries. The main monuments of the ancient Roman settlement are currently clearly visible in the town of Ocriculum, that can be visited through pedestrian trails: the area of the Forum and the Basilica, the huge monument of the Great Substructures, the Theatre, the Baths, a monumental entrance pylon, a big Nymphaeum, a paved section of the Ancient Flaminia road overlooked by a rounded funerary Monument and a public spring, the Amphitheatre, huge funerary monuments and, on the right of the Roman town, along the Flaminia State Road, the archaic Necropolis (7th century B.C.). An integral part of the itinerary is the visit to the Casale St. Fulgenzio Antiquarium, with a hall dedicated to educational laboratories and a permanent archaeological exhibition made of artefacts found during the excavation campaigns carried out in the Ocriculum archaeological area from 1960 to 2005. Notably interesting, among the archaeological artefacts on exhibit, are pre-Roman bucchero pottery, decorative terracotta pieces, bricks, cinerary urns, portraits and marble sculptures.   Schedules of the Guided Tours of the Ocriculum Archeaological Park From November to March: only upon booking From April to October Saturday, Sunday and Holiday: 10 am and 5 pm On weekdays and at times other than those indicated above, only upon reservation Opening time of the Casale St. Fulgenzio Antiquarium From October to March Saturday, Sunday and Holiday: 3 - 6 pm   From April to September Saturday, Sunday and holiday: 10 am - 12.30 pm/ 5 - 7.30 pm On weekdays and at times other than those indicated above, only upon reservation Contacts Email address: info@comune.otricoli.tr.it â agnesenunzi@hotmail.it Phone number: 0744 719628 â 329.9482481 Website: <a href="http://www.comune.otricoli.tr.it" target="_blank">www.comune.otricoli.tr.it </a> Otricoli | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.422031912.477659499999959[ ] Attrattoreen_US1282012012648926https://www.umbriatourism.it/web/umbria/-/la-storia-di-annaAnna's storyThe St. Francis Way with your dogUmbria Tourism, Via di Francesco, Francesco di Assisi, spiritualitÃ in UmbriaLa storia di AnnaWould you like to walk the St. Francis Way with your faithful four-legged friend? Are you worried about finding facilities or that your dog might have difficulty? Discover the stoty of Anna, a pilgrim who walked along the St. Francis Way with her two Australian Shepherds, Ombra and Ken, sharing a lovely adventure.  Anna lives in the countryside between Bergamo and Brescia and manages a boarding kennel for dogs, where she combines passion and work. She was, not coincidentally, the first pilgrim to travel the Way accompanied by 4-legged friends. She walked the path in May 2013, when the idea of travelling with dogs was still beginning to develop. She started from Piediluco and in a week she reached Assisi, via the Valnerina and the Umbrian Valley, following the Route's stages exactly. Here is her story about this journey with her dogs and her advice to others considering starting on this adventure with their dogs. Anna, how did you get the idea of travelling along the St. Francis ay? I got the idea almost by chance, since I read an article on the route in a travel magazine.  So I became curious and I asked for information to the administrators of the viadifrancesco.it website and I came in contact with the Francesco's Way consortium that helped me to organize the journey, particularly to find places that could host my dogs and arrange my luggage transportation. My primary requirement was that my dogs could stay with me in the same room. At the beginning did you plan to travel alone or did you always intend to make the journey with your dogs? From the start I wanted to travel with my dogs. I always walk with the dogs and try every day to walk with them for at least an hour. I believe that movement for dogs is essential and if you don't move, they won't, either. There's never enough open space around home or a sufficient garden. It's vital to keep them moving with us. Before leaving, how did you have to arrange things to manage the journey with your 4-legged friends? I trusted the consortium, therefore I didn't have to manage logistics, because I didn't have particular needs except keeping my dogs in my same room. Anyone who planning this on their own will have to look for facilities that accept dogs. What difficulties did you find during the journey? Actually no particular difficulty or at least nothing forbidding. On the second day, Ombra's paw became a bit cracked, but I had with me all I needed to take care of her. Luckily, in May it wasn't so hot and therefore we didn't have the water problem, that could be the main worry for dogs. In Valnerina we have always had the river near, and in other places there are some small fountains along the path but I always kept a small water supply with me in case of need. Which was the most challenging stage, for you and your dogs? Why? For sure the route from Spoleto to Poreta, particularly because I went the wrong way leaving the route and I could hardly find my bearings. Finally I walked many kilometers more than expected and I ended the stage only in the late afternoon. What stage or place has most remained in your heart? I liked the entire Valnerina area so much, immersed in the nature, because I didn't know it at all before I went there. The place I liked most was Castel di Lago, a charming small village that gives a perfect idea of Umbria and of Francis' route. What did you take away from your journey along the St. Francis Way? It was a really positive experience, that strengthened me a lot. I often tend to underestimate myself and so I feel the need to arrange everything just so. Instead, facing this journey alone with only my two dogs, managing to finish it, going on adventures and overcoming even small difficulties, strengthened my confidence. When I did the Way I was still living in Monza and not working; the time alone with my dogs gave me the chance to reflect and think a lot, and probably this experience gave me the courage to change my life, moving to a family property and starting my present job. What would you recommend to those wanting to take the St. Francis Way with dogs? First, choose a period that is not too hot, because having enough water is the main concern with dogs. Carrying a big supply of water in your rucksack adds a lot of weight and makes you work harder. Then you must carefully assess your own  conditioning and that of your dogs, and  choose suitable stages to avoid subjecting them to excessive effort. You'll have a wonderful experience, that will deepen your bond to your 4-legged friends. I also advise considering taking more days than necessary to travel calmly, maybe giving yourself extra time to sightsee in the art towns and having a rest day to visit the historical centers. Even your dog will have the time to rest, without being too much under stress. Don't forget to pack bandaging supplies, like I needed for Ombra's paw on the second walking day. Finally, pay attention to people and other dogs you may meet along the trail, particularly those on private land. Along the route, I let them roam free, but approaching towns, I had the leash ready in case of need. Anna's story is beautiful; it's an adventure shared with her splendid companions that will surely live on in her memory, and it even contributed in a small way to turning her life around. Today travelling along the St. Francis Way with dogs is even easier and safer than it was for Anna, thanks to the many support services created by the Francis' Way consortium to make the route more pet-friendly. These range from tourist facilities hosting animals to welcome kits containing a bowl, a sleeping mat and a toy. It will be also possible to get a collar with GPS tracker, so the dog's location can be pinpointed. The Statio Peregrinorum (Pilgrim's Welcome Office) in Assisi welcomes those walking the Way and issues certificates attesting their pilgrimage. Dogs receive their own certificates too, in keeping with St. Francis's message of love and respect for nature and her creatures. For information: <a href="http://www.francescosways.com/">www.francescosways.com</a> Assisi | Terni | Valnerina43.070701712.619596600000023[ ] Attrattoreen_US2214395490422https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-perugiaPalazzo dei Priori - PerugiaSeat 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'umbriaPalazzo dei Priori - PerugiaSeat 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. During a first extension (1333-1337) two three-lights windows were added on the piazza-side faÃ§ade, flanking the portal and the stairway (originally not fan-shaped), the work of Ambrogio Maitani (the semicircular stairway dates back to 1902) . Subsequently 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. If 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 podestÃ and Captains of the People who ruled the town. The faÃ§ade 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. In 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 <a href="/-/galleria-nazionale-dell-umbria-perugia">Umbrian National Gallery</a>, there is the Priori Chapel, frescoed by Benedetto Bonfigli with Stories of the Life of St. Ludovico from Tolosa and St. Ercolano (1454-1480). In 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 culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US112243https://www.umbriatourism.it/web/umbria/-/necropoli-del-palazzone-e-ipogeo-dei-volumni-perugiaPalazzone Necropolis and Volumni Hypogeum - PerugiaThe Palazzone Necropolis is located in a well-equipped archaeological area, with pathways and an Antiquarium that hosts some finds and thematic displays of the Etruscans' daily lifePalazzone Necropolis and Volumni Hypogeum, Necropoli del Palazzone e Ipogeo dei Volumni - Perugia<table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The Palazzone Necropolis is located in a well-equipped archaeological area, with pathways and an Antiquarium that hosts some finds and thematic displays of the Etruscans' daily life. </td> </tr> </tbody> </table> <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The cemetery, located 7 kilometers to the southwest of Perugiaâin the modern suburb of Ponte San Giovanniâwas connected with a settlement supervising a portion of the Tiber Valley below. It consists of about 200 chamber-like tombs excavated in the natural soil. Inside the necropolis, the Volumni Hypogeum, distinguished for the complexity of its internal arrangement and decorative commitment, belonged to the "Volumni", i.e. the rich Velimna family. The sepulcherâone of the most significant examples of the funerary architecture of the Hellenistic Ageâreproduces the canonic arrangement of rooms of a Roman Domus. The main spaced, called "tablinum", houses seven cinerary depositions, all kept inside urns, whose lids reproduce the portrait-like-features of the deceased. The necropolis dates mostly to the Hellenistic Ageâbetween the 3rd and 1st century B.C.âwhile a nucleus of five tombsâin two different areasâdates from the second half of the 6th beginning of the 5th century B.C., i.e. the Archaic Age. </td> </tr> </tbody> </table> Information Via Assisana - Ponte San Giovanni 06121 - Perugia (PG)  email: sba-umb@beniculturali.it sito web: <a href="http://www.archeopg.arti.beniculturali.it/" target="_blank">www.archeopg.arti.beniculturali.it</a>    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Perugia | Places of culture | Ancient historywww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.093326612.412802300000067[ ] Attrattoreen_US2396009690422 | 15726642 | 43534959https://www.umbriatourism.it/web/umbria/-/post-perugia-officina-scienza-tecnologiaPOST - Perugia Science and Technology WorkshopThe 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 WorkshopThe 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. It 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. The staff includes a group experienced in Teaching of Science to provide ongoing support during visits, inspiring and facilitating the understanding of scientific subjects. The museum, launched in 2003, is divided into three main sections. The 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. Another 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. Lastly, the classroom for activities invites visitors to explore the different aspects presented in the other museum sections, autonomously with the help of various tools.  The 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.  On Sunday afternoons (consult the schedule) the "workshop of young scientists" are waiting for children from 3 to 11 years old. And 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: <a href="http://www.perugiapost.it">www.perugiapost.it</a> +39 075 5736501 Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US112107https://www.umbriatourism.it/web/umbria/-/galleria-nazionale-dell-umbria-perugiaNational Gallery of Umbria - PerugiaThe Galleria Nazionale dell'Umbria is hosted in the upper floors of Palazzo dei Priori, with the entrance in Corso Vannucci. National Gallery of Umbria, perugiaThe Galleria Nazionale dell'Umbria is hosted in the upper floors of Palazzo dei Priori, with the entrance in Corso Vannucci.  Born from the original nucleus of works from the local Academy of Fine Arts of Perugiaâsecond half of the 16th centuryâthe collection grew significantly between the end of the 1700s and the first half of the 1800s, and later was further enriched as a consequence of the suppression of the religious orders by the Unitarian State. The current Museum arrangement, inaugurated in December 2006, occupies a surface of 4,000 square meters distributed on two levels. The prestigious collection, chronologically ordered, includes a wide variety of works, which range from paintings on wooden panels, canvases and frescoes, to sculptures in wood and marble, to goldsmiths and fabrics, all highly representative of Italian artistic production between the 13th and 19th century. Among the masterpieces of the medieval and Renaissance periods, the works of Arnolfo di Cambio, Nicola and Giovanni Pisano, Duccio di Boninsegna, Gentile Da Fabriano, Beato Angelico, Benozzo Gozzoli, Piero della Francesca and Francesco di Giorgio Martini stand out. Much space is given to Umbrian painters such as Benedetto Bonfigli, Bartolomeo Caporali and Fiorenzo di Lorenzo, and in particular to the renowned paintings of Perugino, Pintoricchio and their pupils and followers. Some sections are dedicated to the masterpieces of the Sienese goldsmiths and to the traditional "Perugian tablecloth", to the production of ceramics and floor tiles of the 15th and 16th centuries and to the collection of drawings, among them a precious sanguine and ink sketch by Federico Barocci. The display path continues with painting and sculptural evidence from the 1600s, 1700s and 1800s, among them the works of Pietro da Cortona, Orazio Gentileschi, Francesco Trevisani and Sebastiano Conca, and concludes with the thematic exhibitions dedicated to 19th century Perugian topography and the Carattoli Collection Accessibility For those using their own vehicle, there are no disabled parking spaces in the proximity of the facility. The nearest ones are located at the two ends of Corso Vannucci: to the south, in Piazza Italia, about 200 m far away and to the north, in Piazza Piccinino, about 150 m from the Gallery.  If the reserved lots are occupied itâs possible to park for free also in the lots marked by blue stripes. All the area is within the ZTL (LIMITED TRAFFIC ZONE), therefore itâs necessary to send an email to infositu@comune.perugia.it, specifying the day of the transit and the plate of the car, attaching a copy of the coupon for disabled; all this in the previous days or within 72 hours after the transit. The Umbrian National Gallery can also be reached by public transport: the nearest bus stop is in Piazza Italia. Instead, for those who choose to use the MinimetrÃ², also accessible to disabled people, the right stop is the terminal âPincettoâ. The facility can be visited by people with motor difficulties or who need a wheelchair; for this reason, a wheelchair is available to visit the Gallery, that is also equipped with a defibrillator in case of necessity.  Guide dogs are allowed to facilitate the visit by people with impaired sight and blind; in addition to the possibility to rent audio guides, at the beginning and at the end of the exhibition itinerary there are panels with Braille and raised captions. By sending an email to gan-umb@beniculturali.it itâs possible to request a more specific guided visit with specialized operators trained for the purpose.  Information OPENING HOURS: Open 8.30-19.30 from Tuesday to Sunday (last entry at 18.30). Corso Vannucci 06121 - Perugia (PG) email: gallerianazionaleumbria@beniculturali.it sito web: <a href="https://gallerianazionaledellumbria.it/">https://gallerianazionaledellumbria.it/</a>      <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977[ ] Attrattoreen_US318093390422https://www.umbriatourism.it/web/umbria/-/rocca-paolinaThe Rocca PaolinaThe 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 militareThe Rocca PaolinaThe 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. The 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.1086290999999912.38766510000005Perugia54039[ ] Attrattoreen_US323746790422https://www.umbriatourism.it/web/umbria/-/acquedotto-duecentescoThirteenth-century AqueductThe 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 UmbriaThe acqueduct runs about 5 km, from Mount Pacciano to the Maggiore fountain in the historic centre of Perugia. As it wasâ¦ Built 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. Why visit it Together with the Maggiore fountain it is one of Perugiaâs most significant monuments. There 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. Description In 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. Near Mount Pacciano, there are the conservoni, ancient cisterns where water was collected, the caretaker's house and a small church. The 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. Starting 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. Curiosity The 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. Useful information and advice Via dell'Acquedotto is easily reachable on foot, so leave your vehicle in one of the car parks in the historic centre. From the train station you can reach the historic centre by MinimetrÃ², bus or taxi. The Monte Pacciano cisterns are located outside the historic centre in the San Marco area. Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.114566712.388365300000032Perugia54039[ ] Attrattoreen_US352404090422https://www.umbriatourism.it/web/umbria/-/palazzo-della-pennaPalazzo della PennaThe 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 PennaThe 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. A 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. The 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. On 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. During the year the palace also hosts temporary exhibitions of famous contemporary artists of various nationalities. The 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.   Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.108008912.389647299999979Perugia54039[ ] Attrattoreen_US125007https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-pietroAbbazia di San Pietro [The Abbey of Saint Peter]The Abbey of Saint Peter, which is part of the 15th century expansion of the city walls...The Abbey of Saint Peter, which is part of the 15th century expansion of the city walls, is located opposite the Giardini  Frontone in Perugia, at the end of Borgo XX Giugno, outside the Porta San Pietro and was once the most powerful Benedictine monastery in Umbria. It was founded in the 10th century and was the first seat of the Bishop of Perugia.   Description The Abbey of San Pietro has preserved its original architecture, with numerous structural works having taken place between the 15th and 17th centuries. To enter the church you have to cross a beautiful courtyard surrounded on all four sides by a portico with travertine columns topped with Doric capitals, produced in 1614 by Valentino Martelli, which completely covered the church facade. The mighty bell tower, which is dodecagonal until it reaches line of corbels, then becomes hexagonal with high mullioned windows and ends with a slender spire. Designed by Bernardo Rossellino, the lower half was built in the 13th century and the top half was built in the 15th century.  The entrance to the church is characterised by a rich 16th century portal made from  white marble topped with a lunette on which there is a fresco depicting the Madonna e due angeli by Giannicola di Paolo. Next to the portal are some frescoes by the artist which have been brought back to life, ones which belonged to the original facade. The interior presents a unique fusion of medieval architecture and decorative late mannerist work. The church has a basilica-style layout with three naves divided by columns with Ionic capitals of the late imperial period, and in its nave it has large paintings depicting scenes from the Old and New Testament written by l'Aliense (1592-94), which are framed in a fresco decoration that creates space between the paintings, arches and underarches, and continues even in the aisles. The altar consists of columns, pillars, recesses and domes made from rare polychrome marbles. The  right nave depicts characters linked to the church such as San Pietro in Vincioli, San Benedetto,  Santa Scolastica, San Mauro and San Gregorio Magno. Along the wall are also the Cappella di San Giuseppe chapel, decorated in 1855 by Domenico Bruschi, and the Capella delle Reliquie chapel, with a wrought iron gate and 16th century stucco and frescoes by Benedetto Bandiera. On either side of the entrance to the presbytery are two paintings by Giovanni Domenico Cerrini (Mary nursing the Child and Saint John the Baptist). Inside the presbytery are the wooden choir stalls (dating from 1525-1535), which are among the most beautiful in Italy. The sacristy, built in 1451, is home to frescoes on its ceiling; it has The Old Testament Stories, which is perhaps by a Flemish master, while on the walls is Stories from the Lives of Saints Peter and Paul by Vincenzo Danti, a Michelangelo style artist, and 5 small paintings by Perugino with images of saints for the Feast of Ascension, requisitioned by the French and today in Lyon. Along the walls of the left nave are notable works such as PietÃ , part of the broken altarpiece for Sant'Agostino from the church of Sant'Agostino by  Pietro Perugino. In the Vibi chapel notable works include the marble Dossale of the Young Jesus, the Baptist, and Saint Girolamo attributed to Mino da Fiesole (dating from 1453), Annunciation by Giovan Battista Caporali and Visitation by Stefano Cimurri (dating from 1530).  Next is the Ranieri chapel with a ceiling decorated with paintings by Annibale Brugnoli (XIX) over a work by Caporali. The Sacramento chapel has instead a ceiling decorated by Francesco Appiani and Pietro Carattoli. On the altar is a picture of the Madonna of Giglio from the 14th century in the centre of a painting depicting Saints Peter and Paul by Jean Baptiste Wicar (19th century). On the opposite wall is a large painting from the end of the 16th century with the Triumpth of the Benedictine Order.  Upon leaving the church, pasing through the first cloister, which has already been mentioned, take the corridor leading to the second cloister set on three floors with a well in the centre. Still ahead is the old refectory with a sink in glazed terracotta depicting the Samaritan at the well work from the 15th century  by Benedetto Buglione. A third cloister also known as âcloister of the stars' is the work of Galeazzo Alessi.   Curiosity In the monks' former fish farm there is a medieval garden which is an interesting symbol of the garden of yesteryear. Nearby is the botanical garden, which also contains an Alpine garden, a Zen garden and a pond with shade-loving plants. Today the botanical garden plays an important role in teaching visitors about interacting with nature and the environment. Useful information The church is located in the southern part of the city and is easily accessible on foot; visitors can leave their cars in the car parks surrounding the historical centre. Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718Perugia54039[ ] Attrattoreen_US3513383990422 | 15726642https://www.umbriatourism.it/web/umbria/-/casa-museo-di-palazzo-sorbelloHouse Museum of Palazzo SorbelloThe 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, PerugiaHouse Museum of Palazzo SorbelloThe 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. The visit allows to discover the intellectual life and the artistic taste of the aristocracy from the 18th and 19th centuries in Umbria. The collection includes landscape paintings, family portraits and paintings, including the Portrait of Vittorio Alfieri by FranÃ§ois-Xavier Fabre. The rich library contains rare editions such as the Encyclopedie FranÃ§aise by Diderot and D'Alembert (1770) and the original edition of Alfieri's Tragedies. A 19th century Ginori tableware and figurines from German manufacturers in Meissen and Dresden stand out in the porcelain collection. You can also admire the precious fabrics of the Pischiello School of Embroidery founded by Romeyne Robert Ranieri in 1904. Every 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: <a href="http://www.casamuseosorbello.org/" target="_blank">www.casamuseosorbello.org</a> Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394Perugia54039[ ] Attrattoreen_US2239992890422https://www.umbriatourism.it/web/umbria/-/nobile-collegio-del-cambio-perugiaNobile Collegio del Cambio - PerugiaBuilt 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 - PerugiaBuilt 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. On 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. Inspired 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). From here one goes to the chapel of St. John the Baptist, with frescoes by Giannicola di Paolo.   Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US112127https://www.umbriatourism.it/web/umbria/-/ipogeo-di-san-manno-perugiaSan Manno Hypogeum - PerugiaThe Ipogeo di San Manno is in the locality of Ferro di Cavallo, at a short distance from Perugia. It is in a medieval house, property of the Knights of Malta.San Manno Hypogeum - PerugiaThe Ipogeo di San Manno is in the locality of Ferro di Cavallo, at a short distance from Perugia. It is in a medieval house, property of the Knights of Malta. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The hypogeum consists of a large rectangular room with a vaulted ceiling and is completely faced with a layer of travertine slabs, perfectly aligned and joined together "a secco", i.e. without the use of mortar. On the longer sides, two small squared chambers openâsymmetricallyâone to the left and one to the right of the room, and both have a vaulted ceiling. Above the arch of access in the left chamber, a three line long Etruscan inscriptionâeach of different lengthâhas been sculpted. The text mentions the tomb built by Aule and Larth of the Precu family, and the father Larth and the mother, from the Cestna family, are commemorated </td> </tr> </tbody> </table> <div style="clear:both;"> </div> Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">via San Manno - LocalitÃ Ferro di Cavallo <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06121 - Perugia (PG)   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Perugia | Places of culture | Ancient historyhttp://www.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.1060668999999912.347385099999997[ ] Attrattoreen_US2900368190422 | 15726642https://www.umbriatourism.it/web/umbria/-/museo-del-giocattolo-di-perugiaThe Toy Museum in PerugiaA 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 PerugiaA 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. The Museum is a space open to game and creativity in the various proposals that it offers: theme exhibitions, events, laboratories and guided visits. The 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.    The Museum is open, upon booking, every day. Opening day: Sunday from 4 to 6.30 pm In order to book the guided visits within the museum of toy, contact: Giulia Zeetti +39 3407936887   For further information: <a href="http://www.museodelgiocattoloperugia.com" target="_blank">www.museodelgiocattoloperugia.com</a> Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US112027https://www.umbriatourism.it/web/umbria/-/cappella-di-san-severo-perugiaSan Severo Chapel - PerugiaThe Cappella di San Severo stands next to the small Church of San Severo, in Rione di Porta Sole, the highest point in the city of Perugia.cappella san severo, perugia, raffaello<table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The Chapel preserves the sole work left among the many that Raphael executed for the town of Perugia. It is a fresco depicting The Trinity and the SS Maurus, Placidus, Benedict Martyr and John the Monk, commissioned in 1505 by the Bishop Troilo Baglioni. The work, which was left unfinished by Raphael when Pope Julius II called him to Rome, was completed byâthe then oldâPietro Vannucci, Il Perugino, in 1521. The SS Scholastica, Jerome and John the Evangelist, Gregory the Great, Boniface and Martha depicted on the lower part of the fresco are attributed to him </td> </tr> </tbody> </table> Information Piazza Raffaello 06121 - Perugia (PG)  email: sansevero@sistemamuseo.it   Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Perugia | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.112728512.39176980000002[ ] Attrattoreen_US323754390422https://www.umbriatourism.it/web/umbria/-/cattedrale-di-san-lorenzoCathedral of St. LawrenceThe Cathedral of St. Lawrence is located in the historical centre of Perugia on Piazza IV Novembre, its southern faÃ§ade facing the square. cattedrale di san lorenzo, perugia, centro storico, perugia vacanze, perugia arte, perugia spiritualitÃ , umbria, umbria viaggi, umbria spiritualitÃ , umbria arteCattedrale di San LorenzoThe Cathedral of St. Lawrence is located in the historical centre of Perugia on Piazza IV Novembre, its southern faÃ§ade 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. The 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. The 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. The incomplete exterior features red and white marble. The 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. The 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. The 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. The ceiling is embellished with complex decorations that offer the visitor a true anthology of 18th century painting. Among 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). An 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. The left nave houses what is left of the PietÃ 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. The 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. To visit the church, we suggest you leave your car in one of the parking garages around the historical centre of Perugia. The St. Lawrence Museum, like many others in Perugia, is part of the Perugia CittÃ Museo circuit.  Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.112209712.388895899999966Perugia54039[ ] Attrattoreen_US112147https://www.umbriatourism.it/web/umbria/-/museo-archeologico-nazionale-dell-umbria-perugiaNational Archaeological Museum - PerugiaThe National Archaeological Museum is housed in the former convent of San Domenico, located along Corso Cavour, just outside the Etruscan walls of Perugia.National Archaeological Museum - PerugiaThe National Archaeological Museum is housed in the former convent of San Domenico, located along Corso Cavour, just outside the Etruscan walls of Perugia. Since 1948 the Museum has occupied the area of the Dominican Convent complex, built over an earlier 13th century church that stood where the main cloister is today, which in the course of the centuries has been enlarged until assuming its current aspect. With the occupation of the Napoleonic troops and the Italian process of unification, the complex was transformed to host military barracks, changing dramatically the original design: the cavalry was housed in the cloister, the stables were placed in the oratory and the old church was transformed into a refectory on two levels. During the Second World War the complex was occupied by German militias, then by the Allied troops and finally by refugees. Since 1945, when it was handed over to the Municipality, it has become a place of culture, hosting the State Archives and Civic Museums. Apart from admiring the architectural complex of San Domenico, whose cloisterâone among the largest and notable in townâallows a good view of the church's imposing tower bell, a visit to the Archaeological Museum represents a precious opportunity to be acquainted with the collections of Etruscan finds. These are among the richest in Italy, gathered above all in the course of the 19th century excavations in the necropolises around Perugia. Next to the most ancient finds, the visitors can appreciate the numerous materials coming from the excavations that followed the start of the Superintendence of the Archaeological Heritage (1964) that are displayed in accordance with the most modern exhibition criteria. Furthermore, a significant amount of pre-historical finds completes the exhibition. The Museum hosts the pre-historical and Etruscan-Roman collections, which were gathered starting from the 19th century by the illustrious scholars who as curators took over the responsibility of managing and preserving the archaeological heritage of the town, which at the time was an important center for Etruscan archaeological studies. The central nucleus of the exhibition mostly contains material from the territory and the excavations in the necropolises of Perugia, which can be dated from the Archaic and the Hellenistic Ages, like the Cai Cutu Sarcophagus in Sperandio and the exceptional complex of archaic bronze coming from Castel San Mariano, as well as the Cai Cutu hypogeum reconstructionâas per the original arrangementâin a separate section located in the basement. Both levels of the Loggia in the cloister display the Etruscan-Roman Lapidarium composed of many cinerary urns, funerary cippusâi.e. memorial stonesâand marble slabs with Latin inscriptions. Pre-proto-historical material from diverse contexts in central ItalyâUmbria, Tuscany, Marche and Abruzzoâalong with the Bellucci Collection and the finds from the settlement of the Tuscan village of Cetona are placed in the upper floor. In the large Hall of the Bronzes, which has hosted for almost half a century the rich collections of proto-historical items that belonged to Giuseppe Bellucci and Umberto Calzoni, a new section has been arranged following the most recent museum criteria. This section illustrates the dynamics of the development of the Umbrian and Etruscan civilizations, the former settled on the left riverbank of the Tiber, while the latter on the right side, with the river as a figurative the central corridor. Accessibility For those travelling with their own vehicles, some car parks reserved for the disabled are located along Corso Cavour. Upon advance notice by phone to the number +39 075 5727141, itâs possible to drive to the cloister with oneâs own car and park there for the duration of the visit. The facility can also be reached by public transportation: the nearest bus stop is in the âTre archiâ stop, about 200 metres from the entrance of the Museum along Corso Cavour.    Information Piazza Giordano Bruno 06121 - Perugia (PG)  email: <a href="mailto:sba-umb@beniculturali.it">sba-umb@beniculturali.it</a> sito web: <a href="http://www.archeopg.arti.beniculturali.it/" target="_blank">www.archeopg.arti.beniculturali.it</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Perugia | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.107109512.391882900000041[ ] Attrattoreen_US123716https://www.umbriatourism.it/web/umbria/-/coglioni-di-muloCoglioni di muloThis delicacy can only be found in the tradition of Norcia, and its origins lie with the consumption of mule sausage, traditionally eaten in nearby Abruzzo. The name is rather misleading: in fact this speciality is made from pork gut filled with finely-chopped pork and a long piece of lard in the centre. It is tied to a wedge of beechwood and left to mature naturally, like salami. Served as an antipasto, it can also be left to marinate in red wine for a few days to soften the texture.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.791674613.094733499999961[ ] Attrattoreen_US2484844590438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicola-otricoliChiesa di San Nicola- OtricoliLocated in the heart of the town, the building dates back to the end of the 15th/beginning of the 16th century. It is a rectangular space with a cross-vaulted ceiling, with a large chapel on the left which originally would have been the core of the early church.Chiesa di San Nicola- OtricoliLocated in the heart of the town, the building dates back to the end of the 15th/beginning of the 16th century. It is a rectangular space with a cross-vaulted ceiling, with a large chapel on the left which originally would have been the core of the early church. The faÃ§ade has a semi-circular-topped door with two decorations: a sunburst Christogram at the centre of which are the letters IHS (representing Jesusâ name) and a small bas-relief depicting the Patron Saint Nicola in bishopâs robes. Above it is a small ornate trilobed window. The bell gable rises up on the roof with two pointed arches containing two bronze bells. Inside the church are some precious 17th century paintings; a baptismal font and a basin for holy water, both carved out of stone and dating back to the 11th century; and some frescoes that were discovered following recent restoration work. Otricoli | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959Otricoli55024[ ] Attrattoreen_US101213https://www.umbriatourism.it/web/umbria/-/antiquarium-comunale-otricoliOtricoli Municipal AntiquariumThe Museum, located within Otricoliâs Priory Palace, links through an ideal educational path, including artefacts and illustrative panels, the three historical identities of Otricoli: the pre-Roman centre, the ancient Roman town of Ocriculum and the current medieval historical centre, rich of ancient materials reused in the urban fabric. Antiquarium Comunale di OtricoliOtricoli Municipal AntiquariumThe Museum, located within Otricoliâs Priory Palace, links through an ideal educational path, including artefacts and illustrative panels, the three historical identities of Otricoli: the pre-Roman centre, the ancient Roman town of Ocriculum and the current medieval historical centre, rich of ancient materials reused in the urban fabric.  Archaeological artefacts of great value from the Roman town of Ocriculum are to be exhibited in the Antiquarium. Particularly interesting among them are the reproduction of the polychrome mosaic from the baths of Ocriculum, an archaeological collection on the surface of the town, a communion altar, four decorated funerary inscriptions, a table support and especially the only original mould of Jupiterâs colossal head.  The marble head, 58 cm high, was discovered in Ocriculum at the end of 1700 and it was part of a statue of colossal dimensions, with the naked parts made of marble and the rest of the body of masonry and stucco (technique of the acrolith - large statue made of different materials). The figure represents a divinity, probably the Jupiter of the local capitolium, the temple devoted to the divine triad made up of Jupiter, Juno and Minerva, and was a copy of the Jupiterâs statue placed within the Romeâs capitol temple.  The original cult statue, dating back to the end of 6th century B.C., was destroyed in a fire in 83 B.C. A new simulacrum was executed by a Greek artist, Apollonius, who used as a model the famous statue of Zeus at Olympia, artwork of the sculptor Phidias. Zeus at Olympia, probably the most famous statue of the ancient times, should have been more than 14 metres tall and was executed with gold and ivory. The god was sitting on a throne decorated with paintings and sculptures: his head decorated with olive branches, holding his right hand a statue representing a Victory and in his left hand a sceptre topped by an eagle. The artwork was executed in the thirties of the fifth century B.C, right after the completion of the Parthenon. This statue of Apollonius served as a model for statues of many municipal capitoliums, among which, probably, the Jupiter of Ocriculum.  Otricoli Municipal Antiquarium opening times From October to March Saturday, Sunday and holidays: 10.30 am - 12.30 pm From April to September Saturday, Sunday and holidays: 10 am - 1 pm Just upon booking in the working days and in hours different from those indicated above.  Contacts Email addresses: info@comune.otricoli.tr.it â agnesenunzi@hotmail.it  Phone Number: 0744 719628 â 329.9482481 Web site: <a href="http://www.comune.otricoli.tr.it">www.comune.otricoli.tr.it</a> Otricoli | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959[ ] Attrattoreen_US2484832990438https://www.umbriatourism.it/web/umbria/-/collegiata-di-santa-maria-assunta-otricoliCollegiata di Santa Maria Assunta - OtricoliThe parish church dedicated to Santa Maria Assunta is situated at the highest point of the village, on the main square. Considered a 12th century building until 1957 (the year of the discovery of a niche with frescoes from the 15th century), it is actually an important example of pre-Romanesque architecture from the 7th century.Collegiata di Santa Maria Assunta - OtricoliThe parish church dedicated to Santa Maria Assunta is situated at the highest point of the village, on the main square. Considered a 12th century building until 1957 (the year of the discovery of a niche with frescoes from the 15th century), it is actually an important example of pre-Romanesque architecture from the 7th century. 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. The 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. Above, 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. The 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. On either side of the central nave there are two minor aisles with four Baroque chapels and a minor chapel, in the left aisle. The 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. Opposite 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959Otricoli55024[ ] Attrattoreen_US2418806490438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-salvatoreThe Church of San SalvatoreIn 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 SalvatoreIn 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959Otricoli55024[ (42.4220319@12.477659499999959) ] Attrattoreen_US116311https://www.umbriatourism.it/web/umbria/-/museo-di-fabbrica-ubaldo-grazia-maioliche-deru-1"Ubaldo Grazia Maioliche" Factory Museum - DerutaThe Museo di Fabbrica "Ubaldo Grazia Maioliche" is located along the main road running below the medieval centre of Deruta, where the majority of artistic ceramic workshops have always been concentrated."Ubaldo Grazia Maioliche" Factory Museum, Museo di fabbrica "Ubaldo Grazia Maioliche" - DerutaThe Museo di Fabbrica "Ubaldo Grazia Maioliche" is located along the main road running below the medieval centre of Deruta, where the majority of artistic ceramic workshops have always been concentrated. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> With its significant collection of artistic ceramics, the small museum represents the destination of an itinerary visit that starts with the factory, the production site of the items displayed. This is the same site where the entire ceramic production cycle is still run todayâfrom processing clay, inside special containers, to the firingsâand the remnants of the first old factory kiln, dating from a period between the end of the 19th and beginning of the 20th century, are assimilated in the new building. Inaugurated in 2002, the Museum has its premises on the last floor of the factory, and exhibits more than 500 pieces among those that have characterized its production, starting with the early samples from the 19th century up to those realized in the 1960s. The large family collection, put together by the current owner to contrast the dispersion of samples in the antique market and in various European museums, illustrates the original pieces and the copies executed by the artists who participated in the factory activities. A nucleus of medieval painted ceramic fragments, which were found near the factory, opens the itinerary. A section is dedicated to the masters Alpinolo Magnini and Ubaldo Grazia, who in the course of the 1920s reproduced display pieces, plates made with the "lustro" techniqueâa procedure largely used by the majolica makers from Deruta in the 16th centuryârendering the glaze iridescent with gold reflexes by adding metallic salts and a third firing in a kiln without oxygen. </td> </tr> </tbody> </table> Information Via Tiberina 06053 - Deruta (PG)  email: ubaldograzia@ubaldograzia.com sito web: <a href="http://www.ubaldograzia.com/" target="_blank">www.ubaldograzia.com</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Deruta | Ceramics | Places of culturewww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271842.989124412.421937299999968[ ] Attrattoreen_US2496371690422https://www.umbriatourism.it/web/umbria/-/museo-della-ceramica-derutaMuseo della Ceramica - DerutaEstablished 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 - DerutaEstablished 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. The 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.  What 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 culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.980894212.421785Deruta54017[ ] Attrattoreen_US2496382390422https://www.umbriatourism.it/web/umbria/-/pinacoteca-comunale-derutaPinacoteca comunale- DerutaSince 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- DerutaSince 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. On 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 NiccolÃ² 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 culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.980894212.421785Deruta54017[ ] Attrattoreen_US406493490590https://www.umbriatourism.it/web/umbria/-/fontana-in-memoria-dei-caduti-di-ivan-theimerFountain in memory of the fallen, by Ivan TheimerThe 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 TheimerThe 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. At its base there is the engraving âEveryone builds the victory of peaceâ. The artwork is the showpiece of the Czech sculptor Ivan Theimer who specializes in using bronze and generally produces sculptures with a solid classical impact. Other important works by Theimer include the three obelisks in the ElysÃ©e Palace garden and a bronze high-relief for the faÃ§ade of Parisâ National Archives. In addition to this fountain, Foligno has another artwork by Theimer: the monument devoted to Giuseppe Piermarini.    Foligno | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.955973212.702066699999932Foligno54018[ ] Attrattoreen_US2421726990494https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-dei-miracoliSantuario della Madonna dei MiracoliIn order to reach the shrine of our Lady of Miracles, you have to go to Castel Rigone, a small hamlet of Passignano sul Trasimeno.Santuario della Madonna dei MiracoliIn order to reach the shrine of our Lady of Miracles, you have to go to Castel Rigone, a small hamlet of Passignano sul Trasimeno. <div>The sanctuary is located just outside the walls of the village, and it is among the best examples of Renaissance architecture in Umbria. The building was erected in 1494, with the support of the Perugia municipality, as place of protection against the plague; for this reason, it was dedicated to Our Lady of Miracles, by the will of Pope Alexander VI. The structure was totally built with sandstone: the faÃ§ade was executed by Domenico Bertini, and the squat tower was rebuilt in 1851, after the collapse of the previous one in 1531. The sanctuary has a Latin-cross design, with a vast single nave; on the left wall you can admire paintings by the Perugia school dating back to the 1500s. A wooden crucifix is located in the right arm of the transept, within a small chapel of pietra serena stone, frescoed by Tommaso Papacello. The two tondi with figures of the prophets Micah and Isaiah, located on the pillars of the triumphal arch, were executed by Domenico Alfani. In the apse is the painting depicting the Epiphany, executed by Alfani after cartoons by Rosso Fiorentino. The chapel in the left transept, also in pietra serena, houses a picture of the Virgin with the Child, dating back to the end of the 16th century.  The painting by G.B. Caporali depicting the Coronation of the Virgin is located above the second altar on the left.</div> <div> </div> Passignano sul Trasimeno | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.187629612.134165400000029[ ] Attrattoreen_US47603278https://www.umbriatourism.it/web/umbria/-/videoricetta-tozzetti-umbri-allo-zafferanoTozzetti umbri allo zafferanoQuesti dolcetti della tradizione umbra venivano storicamente preparati in occasione delle feste che si presentavano in famiglia, particolarmente per quelle natalizie e pasquali, ma ormai si possono trovare in qualsiasi momento dellâanno. Ne esistono tante reinterpretazioni: ognuno aggiunge magari un dettaglio o un ingrediente personale, secondo il proprio gusto. Questa versione, in sostituzione dei semi di anice, prevede l'utilizzo dello zafferano di Cascia.tozzetti, UmbriaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/LbOpSj6lpnE?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/LbOpSj6lpnE?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ricetta per 30 Tozzetti umbri allo zafferano Ingredienti: <ul> <li>500gr di farina 00</li> <li>250gr di zucchero semolato</li> <li>2 uova e 3 tuorli</li> <li>100gr di strutto</li> <li>1/2 cucchiaino di bicarbonato</li> <li>150ml di liquore tipo mistrÃ </li> <li>150gr di nocciole</li> <li>150gr di mandorle</li> <li>Scorza grattugiata di un limone</li> <li>20gr di Zafferano di Cascia in polvere</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> Per preparare i Tozzetti umbri allo zafferano iniziamo setacciando la farina, zucchero e bicarbonato su un piano. </li> <li> Aggiungiamo al centro la scorza grattugiata del limone, le uova, lo strutto a temperatura ambiente e il liquore. </li> <li> Iniziamo quindi ad amalgamare tutti gli ingredienti con l'aiuto di una forchetta. A questo punto uniamo le mandorle e le nocciole ed iniziamo a lavorare l'impasto con le mani finchÃ© non sarÃ liscio e omogeneo. </li> <li> Dividiamo l'impasto in 3 parti e lavoriamole sul piano per creare dei filoncini. </li> <li> Adagiamo i filoncini su una teglia foderata con carta forno e inforniamo a 180Â°C per 25-30 minuti. </li> <li> Sforniamo e lasciamo intiepidire, dopodichÃ© tagliamo a fette spesse circa 1,5 cm. </li> <li> Adagiamo i tozzetti sulla teglia e inforniamo nuovamente A 150Â°C per altri 10 minuti. </li> <li> Sforniamo e lasciamo raffreddare completamente. </li> <li> Serviamo i Tozzetti umbri allo zafferano con del Sagrantino di Montefalco Passito DOCG. </li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/lo-zafferano-in-umbria" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_zafferano.jpg/c4a3b927-435d-46ab-ba3e-a53079474a77?t=1588000916197" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/lo-zafferano-in-umbria" style="color:#1d1d1d !important;">Lo zafferano in Umbria</a></div> <a href="https://www.umbriatourism.it/-/lo-zafferano-in-umbria" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/la-via-del-trasime-1" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_etrasimeno.jpg/e842b3fc-fa3f-4df8-b6a6-28401f2c3121?t=1588000918144" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/la-via-del-trasime-1" style="color:#1d1d1d !important;">La via del Trasimeno</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/la-via-del-trasime-1" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/sulle-orme-dei-cavalieri-di-malta" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_malta.jpg/0740354c-a324-4734-bcac-df6a72bf166e?t=1588000917736" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/sulle-orme-dei-cavalieri-di-malta" style="color:#1d1d1d !important;">Sulle orme dei cavalieri di Malta</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/sulle-orme-dei-cavalieri-di-malta" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/fonti-del-clitunno" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_clitunno.jpg/c3ffeec1-cc98-4415-913d-f9f4a1c41126?t=15880009174735" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/fonti-del-clitunno" style="color:#1d1d1d !important;">Le fonti del Clitunno</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/fonti-del-clitunno" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette2"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/escursioni-in-valnerina-il-grande-anello-del-monte-meraviglia" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_valnerina.jpg/81d1858d-e301-4ce2-9e25-cd40e35fbe40?t=1588000917088" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/escursioni-in-valnerina-il-grande-anello-del-monte-meraviglia" style="color:#1d1d1d !important;">Escursioni in Valnerina</a></div> <a href="https://www.umbriatourism.it/-/escursioni-in-valnerina-il-grande-anello-del-monte-meraviglia" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes[ ] Attrattoreen_US2427625690438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-san-geminiChiesa di San Francesco - San GeminiContext: urban Dating: 13th century The church of St. Francis is located in piazza San Francesco in San Gemini, close to the early-medieval castle within the circle of the city walls of the late thirteenth-century.Chiesa di San Francesco - San GeminiContext: urban Dating: 13th century The church of St. Francis is located in in piazza San Francesco in San Gemini, close to the early-medieval castle within the circle of the city walls of the late thirteenth-century. <div>The gabled faÃ§ade is built with local stones. At the centre there is the Gothic splayed pointed portal with small columns topped by capitals decorated with coats of arms; the entrance is enriched by a wooden door with 15th century lacunars. Above the entrance is a rounded arch window, today walled, and a large rose window. The church has only one nave that is particularly lengthened and cut cross-wise by seven ogival arches and ending in a polygonal apse including a large Gothic mullioned window. The covering of the nave is made of wooden beams resting on huge arches, whereas the apse is covered by a vault with ribs featuring polygonal sections, supported by small embossed columns with foliar capitals. The walls are decorated with a series of frescoed scenes, partly patchy: particularly interesting on the left are a Majesty, some Saints and a popular-style Crucifixion with St. Francis and the donor at Christâs feet made by an unknown Umbrian artist of the 14th century; on the inside of the faÃ§ade there is an Adoration of the Magi attributed to Livio Agresti. The elegant Renaissance bust of St. Bernardino made of polychrome terracotta is attributable to the school of Vecchietta. Behind the building there is an elegant cloister where art and craft exhibitions take place every year. Both the official document and the precise date of the Friars Minor settlement in San Gemini are unknown: the tradition follows what the biographer of the St. Tommaso da Celano wrote about the arrival of St. Francis in town. The church was however built before 1291, year when Nicholas V, with a papal Bull, granted particular indulgences to some Franciscan buildings including this one in San Gemini.</div> San Gemini | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.611675212.547853000000032San Gemini55029[ ] Attrattoreen_US2427602290438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-gemine-duomoChiesa di San Gemine - DuomoCathedral: 12th century The building dates back to the late Gothic era and has been subject to various changes.San Gemini, Acque minerali, Umbria,Chiesa di San Gemine - DuomoCathedral: 12th century The building dates back to the late Gothic era and has been subject to various changes. <div>It was completely rebuilt between 1817 and 1847 according to the design of the Engineer Livoni, also using the recommendations of the sculptor Antonio Canova, who stayed in San Gemini in the first years of 1800. The faÃ§ade, rather sober, presents a 15th century portal. The interior, in neoclassical style, attributable to the neo-baroque architecture, preserves four canvasses of the early 1600: the Martyrdom of St. Sebastian, the Virgin with the Child and the Saint Bishop, St. Matthew the Evangelist and the canvas of the 18th century Ecstasy of St. Rita. The urn containing the relics attributed to St. Gemine, Patron of the city, is preserved below the high altar and was found in 1775 in a walled niche adjoining the sacristy. Source: turismosangemini.it</div> <div> </div> San Gemini | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.611675212.547853000000032San Gemini55029[ ] Attrattoreen_US12496890438https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-nicoloThe Abbey of San NicolÃ²The church is located outside Porta Romana, near the San Gemini walls, in the area known as fico nero. The Abbey of San NicolÃ²The church is located outside Porta Romana, near the San Gemini walls, in the area known as fico nero. It consists of three naves separated by arches, which lead to a square apse, and pillars alternate with columns featuring beautiful capitals to support the arches. The roof is made of wooden trusses. On the simple facade, which dates back to the 12th century, there is a portal architrave with a lunette and rose window above it; on the right side is the bell tower which, towards the rear of the building, becomes a belfry with a double archway. The finely decorated portal, made by sculptor Fernando Onori, is a copy of the original, which is currently held in the Metropolitan Museum in New York. The interior, with its apse frescoed in 13th century works depicting the Virgin Mary enthroned with saints, contains fragments of marble with winged figures which are perhaps from a sarcophagus and a ciborium. The church dates back to the 11th century. Its importance and power gradually increased right up until the beginning of the 13th century. After the massive damage caused between 1228 and 1239 by Federico II, the church was rebuilt and the original layout was completely altered: the choir area was enlarged, the facade and bell tower were built and the semicircular apse was changed to be square-shaped and became the extension to the naves. The abbey's period of decline began at the beginning of the 16th century; around 1800 the abbey had partly collapsed, and at the beginning of the 20th century the roof had completely collapsed and the entrance to the main portal had been walled up. In 1958 a major restoration project gave the church back to the community.   Bibliography: Santini L. (1998), Guida di Terni e del ternano, Ponte S. Giovanni (PG), Quattroemme  Sperandio B. (2001), Chiese romaniche in Umbria, Ponte S. Giovanni (PG), Quattroemme San Gemini | Places of worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi20.png/24b896a7-7453-4e0b-85bc-c474b32f17bc?t=142374927426443.08766712.372618399999965[ ] Attrattoreen_US2257018790518https://www.umbriatourism.it/web/umbria/-/piazza-san-benedetto-norciaPiazza San Benedetto - NorciaPiazza 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 - NorciaPiazza 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<a href="/-/basilica-di-san-benedetto"> basilica of  San Benedetto</a>, the Cathedral of Santa Maria Argentea, the Castellina and the Civic and Diocesan Museum "La Castellina". Palazzo Comunale The 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. Inside, 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 Cathedral of Santa Maria Argentea On the southern side of the square, it was built after 1560, while the bell tower is from 1869. The 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. Civic and Diocesan Museum "La Castellina" The civic and diocesan museum "La Castellina" occupies the entire western side of Piazza San Benedetto, the heart of the historic center of Norcia. The 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. In 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. Today it houses the Civic and Diocesan Museum, the Massenzi collection and the permanent archaeological exhibition Leaving for the Afterlife. The 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. Donated 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. Since 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. Note that these structures sustained damage in the 2016 earthquake and are awaiting restoration. Norcia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.791674613.094733499999961Norcia54035[ ] Attrattoreen_US123856https://www.umbriatourism.it/web/umbria/-/prosciutto-di-norciaProsciutto di NorciaThere are two varieties of Norcia prosciutto. The first, "typical" variety is agd for up to a year, while the "ancient" variety is aged for up to two years. The typical variety is famous for having introduced the general public to salted "mountain" prosciutto, now widely available in supermarkets and known for its intense flavour. The thin slices are cut by hand. The second represents the very best of Norcia tradition, and is intended for the connoisseur, because of its strict artisanal production methods and the slow aging in the dry mountain air. It is made according to stringent rules: the pork loin is trimmed into a teardrop shape, dry-salted with large-grain salt, and crushed pepper and garlic is then added. After a salting period of 30-40 days, the prosciutto is washed in warm water and left to dry, before being matured for seven to eight months. At the end of this period it will have a firm consistency with a low fat content and mild garlic flavour. The quality of this ham depends not only on the aging process but also on the size of the animal at slaughter, and its diet during the fattening phase: these factors influence the texture of the meat, its flavour, and the number of fatty streaks in the lean meat. The undisputed king of Norcia's gastronomic tradition, in 1997 Prosciutto di Norcia was granted Protected Geographical Indication status by the European Union.     Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.791674613.094733499999961[ ] Attrattoreen_US40260312https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-la-lenticchia-di-castelluccio-di-norcia-igpLa lenticchia di Castelluccio di Norcia IGPPreziosa e unica, per le piccole dimensioni e dal sapore inconfondibile, Ã¨ coltivata sui Piani carsici di Castelluccio di Norcia, circa 20 km quadrati di terreno a circa 1.500 metri di altitudine, allâinterno del Parco Nazionale dei Monti Sibillini. lenticchia, igp, norcia, umbria, piani di castelluccio, fioritura, prodotti tipici, legumi, zuppe, ricette, cucina umbra, umbria, celiachia, gluten free, vegetariani, piatti vegetariani, alimentazione sana, sport, cibi per sportivi, cosa mangiareLa lenticchia di Castelluccio di Norcia IGPPreziosa e unica, per le piccole dimensioni e dal sapore inconfondibile, Ã¨ coltivata sui Piani carsici di Castelluccio di Norcia, circa 20 km quadrati di terreno a circa 1.500 metri di altitudine, allâinterno del <a href="https://www.umbriatourism.it/it_IT/-/parco-nazionale-dei-monti-sibillini" target="_blank">Parco Nazionale dei Monti Sibillini</a>.  Le rigide condizioni climatiche in cui cresce, fanno sÃ¬ che non sia necessario alcun trattamento per la conservazione. Ã un legume molto antico: sono stati trovati semi di questa coltivazione in tombe neolitiche del 3000 a.C. La Lenticchia di Castelluccio di Norcia IGP Ã¨ una delle protagoniste della famosa âfiorituraâ dei piani di Castelluccio, evento naturale che tra fine maggio e luglio offre uno spettacolo suggestivo di colori e profumi. Ogni anno migliaia di turisti affollano i <a href="https://www.umbriatourism.it/it_IT/-/pian-grande" target="_blank">Piani di Castelluccio di Norcia</a> per assistere al fenomeno; non tutti perÃ² sanno che, tra le coloratissime infiorescenze che abbelliscono il Pian Grande, quelle bianche con sfumature celesti nascondono un segreto. Sono questi, infatti, i fiori della pianta della Lenticchia di Castelluccio di Norcia, uno dei prodotti piÃ¹ rinomati della zona. Questi legumi, di piccole dimensioni e appiattiti, vengono ottenuti utilizzando tecniche di coltivazione immutate nei secoli: allâaratura e allâerpicatura primaverili segue la semina (al massimo fino alla metÃ di maggio). Le condizioni meteorologiche tipiche dellâaltipiano consentono una rapida maturazione delle piante, il che permette agli agricoltori di procedere alla raccolta (detta âcarpinaturaâ quando fatta a mano) giÃ ad agosto, e allâessiccazione delle piante prima dei rigori autunnali. Uno dei tratti distintivi di queste lenticchie Ã¨ dato dalla loro buccia, particolarmente sottile e tenera: caratteristica che permette di poterle preparare in una ventina di minuti, peraltro senza doverle ammorbidire in acqua. Questo non impedisce tuttavia che la lenticchia mantenga facilmente la cottura, rendendola adatta sia per minestre o zuppe, sia come semplice contorno. In cucina Se volete seguire la tradizione, servite le lenticchie di Castelluccio, che hanno un sapore davvero speciale, come accompagnamento ai salumi tipici umbri o, nel periodo natalizio, accanto al tradizionale zampone o cotechino.  Una ricetta alternativa e molto gustosa Ã¨ la Zuppa di lenticchie e acciughe. Ingredienti per quattro persone: 400 gr. di lenticchia di Castelluccio, 50 gr. di acciughe, 200 gr di passata di pomodori, 1 spicchio dâaglio, 1 costa di sedano, salvia, pepe, sale, olio extra vergine dâoliva (rigorosamente umbro!), parmigiano grattugiato, fette di pane tostato o raffermo. Preparazione: mettete in una pentola le lenticchie e copritele abbondantemente con acqua fredda. Una volta portata ad ebollizione lâacqua a fiamma vivace, abbassate la fiamma in modo che lâacqua seguiti a bollire lentamente, facendo sempre attenzione al livello dellâacqua: se ne dovesse occorrere ancora, aggiungerla sempre bollente per non fermare la cottura. Nel frattempo, preparate un battuto di salvia, sedano e aglio e soffriggete nellâolio, unite le acciughe lavate e dissalate, e pestate il tutto con un cucchiaio di legno fino a ridurle ad una poltiglia. Aggiungete i pomodori passati e lasciate sul fuoco per far restringere un poâ il sugo. Dopo trenta minuti di bollitura unite il soffritto alle lenticchie; aggiustate di sale e fate bollire il tutto fino a fine cottura. Servite con pane tostate o raffermo, e aggiungete parmigiano e pepe.    Norcia | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.828775813.2076515Castelluccio di Norcia[ ] Attrattoreen_US2487672590438https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcangelo-polinoChiesa di San Michele Arcangelo - PolinoThe 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 - PolinoThe 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. Starting in 2013 the church underwent various works of recovery and consolidation. Today the parish belongs to the Terni Vicariate of the Spoleto-Norcia Archdiocese. Polino | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.583438412.844417600000043Polino55027[ ] Attrattoreen_US323749190518https://www.umbriatourism.it/web/umbria/-/basilica-di-san-benedettoBasilica of St. BenedictThe Basilica of St. Benedict is located on the piazza of the same name in the centre of Norcia.Norcia, Valnerina, San BenedettoBasilica of St. BenedictThe Basilica of St. Benedict is located on the piazza of the same name in the centre of Norcia. Tradition has it that this was the site of the house where the twin saints Benedict and Scholastica were born. Dedicated 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 faÃ§ade is typically medieval and differs from the interior, which was entirely redone in the 18th century. Constructed 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 faÃ§ade underwent restoration. The last work done on the church took place in the 1950s and revealed a 14th-century triumphal arch. In 1570 a portico originally used as a roof over the cereals market was added to the right of the church. The soft pink faÃ§ade 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. A large rose window encircled by the symbols of the four Evangelists adorns the upper part of the faÃ§ade. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi4.png/4288535a-fafa-41f2-bef5-ce0af711cabf?t=142374927190142.792461913.093242700000019Norcia54035[ ] Attrattoreen_US2900702090422https://www.umbriatourism.it/web/umbria/-/oratorio-di-san-bernardinoOratory of San BernardinoThe 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 duccioOratorio di San BernardinoThe Oratory of San Bernardino is the greatest example of Renaissance art in Perugia. Built in 1452 to the left of <a href="/-/san-francesco-al-prato">San Francesco al Prato</a> in honour of the saint, who often visited Perugia to preach to the people right on the lawn in front of the Franciscan church. The elegant polychrome facade with fine reliefs, sculpted between 1457 and 1461, is a masterpiece by Agostino di Duccio. Two lateral pillars, each with two tabernacles, support a pediment and close the middle space, which has a twin portal surmounted by a large lunette. Starting 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. In 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. The interior  On the right wall is the Standard of San Francesco al prato byBenedetto Bonfigli. The 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. On 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. Behind 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. In the sacristy of the oratory is the Baldeschi Chapel, which houses the tomb of the jurisconsult Bartolo di Sassoferrato, who died in 1357. Source: AA.VV., Umbria ("Guida rossa"), Touring Club editore Perugia | Art in Umbriahttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US3483756090438 | 15726642https://www.umbriatourism.it/web/umbria/-/geolab-museo-laboratorio-di-scienze-della-terraGEOLAB - Museum laboratory of Earth sciencesThe Geolab is a permanent exhibition space dedicated to the dissemination of Earth Sciences.Geolab, San Gemini, Umbria, Umbria museums, Umbria for familiesGEOLAB - Museum laboratory of Earth sciencesThe 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. The 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. The exhibition was designed by Mizar di Paco Lanciano and the video presentation by Piero Angela introduces the topics that will be covered. The 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. In 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... The third room leads to the geodynamic events of the Mediterranean area and Italy. The fourth room is dedicated to the birth of Umbria, fossils and microscopic examination of the rocksâ secrets. In the fifth room you can learn about the main phenomena and places of geological interest in Umbria. The Geolab is a great adventure, an environment rich in stimuli and emotions where you can participate actively through original and funny experiments.   For information and reservations Toll-free number for schools 800 96 19 93 - from mobile phone 0744 422848 Monday to Friday from 9 a.m. to 5 p.m. and Saturday from 9 a.m. to 1 p.m. excluding public holidays. <a href="https://www.sistemamuseo.it/ita/2/musei/41/san-gemini-umbria-geolab-museo-laboratorio-di-scienze-della-terra/" target="_blank">https://www.sistemamuseo.it/</a> San Gemini | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.611675212.547853000000032San Gemini55029[ ] Attrattoreen_US125169https://www.umbriatourism.it/web/umbria/-/arco-di-san-damianoArch of San DamianoThe expansion of the Roman town of Carsulae was marked on the north by the city's gateway, known as the Arch of San Damiano Archaeological area of Carsulae 05029 SAN GEMINI TRThe expansion of the Roman town of Carsulae was marked on the north by the city's gateway, known as the Arch of San Damiano (from the name of the nearby mediaeval church), created under the principality of Augustus (1st Century A.D). The street Via Flaminia emerged from under the arch, crossing Carsulae from the south to the north. In the urban section it was paved and bordered by pavements and gutters. Today the central opening remains of the doorway-arch, mounted on two concrete pillars (opus cementicium) faced with large blocks of square stone and perfectly placed without mortar (opus quadratum). Originally, the central arch was flanked by two minor openings â lateral passages - and numerous elements of these have been recuperated during the monument's excavation. These were also used as buttresses of the central arch. The surviving arch is round with a 5 metre span. Its height from street level is 9.2 metres and its width is 4.5 metres. Three steps form the base of the pillars, approximately 6 metres wide. Rectangular recesses can still be observed on each of the two sides of the pillars but the function of these is unclear. They are identical in width and all positioned in the same manner. It has been hypothesised that they could host a special architectural element, a hypothesis nevertheless which has not been confirmed by any discoveries. San Damiano's Arch was the monumental gateway of the city, without any defensive function, erected, like so many others, during a period of peace to serve as a solemn entrance to the town of Carsulae, which was not surrounded by a city wall. Bibliography Ciotti U., et al. (1976), San Gemini e Carsulae, Milano-Roma, Bestetti Editore https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi18.png/a3332bd7-6b1b-432f-8d61-905fbc40ab33?t=142374927398142.633143212.560780300000033[ ] Attrattoreen_US2415895190438https://www.umbriatourism.it/web/umbria/-/palazzo-dei-priori-narniPalazzo dei Priori - NarniThe Priori Palace is a building rich in magnificent elements that make it a beautiful centrepiece of this picturesque village.Narni, Umbria, Gattapone, borgo umbroPalazzo dei Priori - NarniThe 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. <div>Traces of inscriptions, frescoes, large windows and emblems are on the walls. You can see the emblem of the Orsini family above the central pillar of the faÃ§ade. At a certain height the iron rings are evidence of the pillory. In the medieval epoch it housed the urban magistrates. The upper part of the palace is a Renaissance building.</div> <div>Over the centuries has undergone many changes and it became in 1618 the headquarters of the Scolopian fathers who founded the student residence and the public school of the town there until the second half of 1800. Next to the Priori Palace there is the Civic tower of 1200 overlooking the city and the entire valley. Between the tower and the loggia is the small loggia of the town crier where public notices were read. According to tradition it was used by St. Bernardino da Siena to preach to the people, and the first mayor was proclaimed here on Narniâs Liberation Day (13 June 1944). The Palace is located on the eastern side of Priori Square.</div> <div> [Source: www.turismonarni.it]</div> Narni | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.517602212.515629900000022Narni55022[ ] Attrattoreen_US1218610690438 | 15726642https://www.umbriatourism.it/web/umbria/-/museo-della-citta-e-del-territorio-in-palazzo-eroliCivic Museum in Palazzo Eroli - NarniThe Civic Museum is situated in Narni's old town centre, behind the Town Hall. Civic Museum in Palazzo Eroli - NarniThe Civic Museum is situated in Narni's old town centre, behind the Town Hall. With its 2700 sqm hosts major paintings, sculptures and archaeological sites that allow the reconstruction of the city's history. Its centrality has transformed the Museum as a tourist information centre to find schedules of openings for visiting artistic heritage, events and initiatives in the city and in the territory, as well as book guided tours of the old town centre. As the town culture building, the Museum offers the possibility of an ongoing cultural exchange through conferences, presentations of books and publications, meetings, thematic tours and workshops for children with a "child-friendly Museum" to create a permanent itinerary and to interact with the collection on display. Palazzo Eroli, rich noble residence in Narni, is also a perfect setting for temporary exhibitions and for the Museum collection. The Museum is divided into two sections: the archaeological collection, which includes artifacts from prehistoric to medieval times, and the picture gallery, with works dating from the 14th to the 18th century. Among the most interesting works we can admire: the Incoronation of the Virgin by Domenico Ghirlandaio and the Annunciation by Benozzo Gozzoli, the Egyptian Mummy with its decorated wooden sarcophagus and the bronze Cup of the fountain in the main square (Piazza dei Priori) from 1303. The whole is supported by state-of-the-art equipment like large screens and lighting systems. The "CaffEroli" coffee bar inside the Museum invites visitors to read, relax and refresh themselves. A large indoor room is stocked with an extensive bookshop, a reading section and a children's corner. There is also an extensive consultation room for adults on art, history and tradition and one reserved for young visitors for an entertaining approach to art and history through didactic activities. Adjacent is a spacious terrace overlooking the charming Nera river gorge.   A child-friendly Museum! New educational path devoted to families. The project developed by Sistema Museo, with indispensable contribution of the Umbria Region and support from Narni Municipality, aims to improve accessibility for families of the Civic Museum and make it a more welcoming place for a very special target... the whole family! Each station has different activities, divided by age groups, able to engage young visitors in an inspiring and creative way. Parents direct and support their children's experiences. Currently three positions have been created, one located in the Roman archaeological section, the second placed in the Medieval archaeological section, third placed in the art gallery. Each totem includes a small handbook for parents and for each micro proposed activity there is some technical information and some text that goes more in-depth. All texts are in Italian and English! Lots of pictures, lots of games, lots of fun ... lots of culture for all ages! Let's follow Leon the museum's lion mascot, in this discovery route!   Services and workshop: <div>- Thematic tours across the museumâs collection and the city</div> <div>- Workshops for school and families</div> <div>- Taste itineraries with local products</div> OPENING TIMES*   From October to March 10.30 - 13.00 / 15.00 - 17.30 Friday, Saturday, Sunday, Holiday and Holiday eves   From April to June and September 10.30 - 13.00 / 15.30 - 18.00 from Tuesday to Sunday, Holiday and Holiday eves _ closed on Monday   During the Ring Race called âCorsa allâAnelloâ From last Friday in April to the second Sunday in May 10.30 - 13.00/15.30 - 21.00   From Monday to Thursday 10.30-13.00/15.30-23.00 From Friday to Sunday, Holiday and Holiday eves   July and August 10.30-13.00/15.30-18.30 Tuesday to Sunday, Holiday and Holiday eves _ closed on Monday Closed on 25/12. The 01/01 only afternoon timetable.   Everyday on reservation   *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 historyhttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.517602212.515629900000022Narni55022[ ] Attrattoreen_US2415952990518https://www.umbriatourism.it/web/umbria/-/pian-grandeThe Plains of Castelluccio di NorciaThe 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 CastelluccioThe Plains of Castelluccio di NorciaThe 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 kmÂ²: the Pian Grande (province of Perugia), the Pian Piccolo (province of Perugia) and the Pian Perduto (province of Macerata, in the Marche Region). They are marked by karst phenomena, with the formation of karst structures known by local residents as Mergani, which are deep sinkholes in the main plain and drain rainwater into groundwater aquifers, which also bring water to the rivers Sordo and Torbidone, of the plain of Santa Scolastica. The Pian Grande, which extends for about 7 km with an average width of 3 km and an altitude ranging from 1300 to 1252 m, is the second-largest karstic plateau in Italy, after the Piana del Fucino, and is entirely surrounded by the ridges of the Sibillini Mountains. What makes the Plains famous is the Flowering which, starting in May and continuing into June and July, colours the whole area with poppies, cornflowers, daisies and lentils (the lentil is one of the most appreciated gastronomic excellences in the area). The 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. Then 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. The 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. Castelluccio and its plateau are the perfect shelter for mountain lovers: in addition to air sports, from hang-gliding to paragliding, you can enjoy many outdoor activities, both for experts and beginners, such as trekking, Nordic walking, biking and horseback riding. Norcia | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.791674613.094733499999961Norcia54035[ ] Attrattoreen_US123501https://www.umbriatourism.it/web/umbria/-/pecorinoPecorinoformaggio pecorino, norcineria, valnerina, enogastronomia umbria, vacanze umbriaPecorino is one of Italy's oldest cheeses, and over the centuries there have been very few changes in the way it is made. Over the course of 2000 years, cheesemaking traditions and techniques have been handed down orally. The methods used to curdle the milk, break the curd, press, drain, scald and salt the cheese vary, depending on the type of Pecorino being produced. The best Pecorino is made between May and June, using the milk from sheep grazing on spring pastures. Pecorino can be either mild or aged. The mild variety should be consumed shortly after it is made, while the second is aged in a cool, fresh cellar with low ventilation, so that it matures fully. In addition to the fresh and aged varieties, there are also more delicately flavoured types of Pecorino (with the addition of cow's milk), and some varieties are even flavoured with herbs or Norcia black truffle. Other varieties require specific ageing processes: "pecorino di fossa" is aged in special straw-lined caves, while pecorino di cenere is matured under a layer of ash.   Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US1308213012648926https://www.umbriatourism.it/web/umbria/-/la-storia-di-manuela-e-lucaManuela and Luca's storyWorking along the St. Francis way, with an "itinerary spirit"via di francesco, assisi, san francesco, umbriatourism, umbria, citerna,Manuela and Luca's storyIn 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. Manuela 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. They 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: "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. "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". Manuela 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." This 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". Manuela 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. Manuela 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.  This 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. For information about the St. Francis way: <a href="http://www.francescosways.com/">www.francescosways.com</a>       Citernahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.498012512.11784590000002Citerna54011[ ] Attrattoreen_US1363463612648926https://www.umbriatourism.it/web/umbria/-/la-via-di-francesco-e-le-sue-storieThe Via di Francesco and its stories...as told by Annarita, the "Pilgrims' mamma".via di francesco, assisi, san francesco, umbriatourism, umbria, valfabbricaLa via di Francesco e le sue storieWe have talked to many pilgrims and people who live and work along the Via di Francesco, because these people, especially when they do so with passion, constitute a treasure chest of extraordinary stories and tales. Annarita, who runs the Ostello di Valfabbrica, is certainly one of the most important guardians of the values that the Way can communicate and the stories that pilgrims experience while travelling along it. "Every evening the world arrives here, I donât need to travel", Annarita tells us, showing us the table where the pilgrims meet for a convivial dinner and explaining the whole meaning of her activity with these few words. Annarita has been running the hostel for 4 years and here she does a bit of everything from receptionist to cook. A tiring experience but one that enriches her and that allows her to have a beautiful picture of the pilgrims who walk along the Way: "Since we opened," she explains, "about 3500 people have passed through here. Most of them are pilgrims, a few are 'normal' tourists. About 50% are foreigners even though since 2016 the number of Italians has been growing. There are many Germans, Austrians and Dutch, then also Canadians, Brazilians, Americans and this year also some pilgrims from Bulgaria". As evidence of the origin of the pilgrims, Annarita has placed a series of flags outside the hostel (and there are really many), representing the nationalities of the people who have passed through here. Their visits are full of meaning, since for many it is the last night before their arrival in Assisi. But Annarita not only cites numbers and statistics, she tells us assorted and beautiful stories of the life of pilgrims, of people from all over the world, because in her hostel, completely accessible including to differently-abled guests, hospitality and conviviality are two fundamental values. "Here we try to welcome pilgrims and make them feel good, in a warm and family-like atmosphere. Dinner is made up of typical and genuine things and is served around a single large table where the meal is shared. It's nice to see how people who don't know each other, who don't speak the same language, can get in tune and exchange their experiences. What language do we speak? Pilgrim language... And we understand each other very well. "In the hall there is also a guitar available and every evening a warm group atmosphere is created". In this convivial atmosphere Annarita has the opportunity to listen to the pilgrims and to discover something of their lives, getting in tune with them. With great enthusiasm she shares some of those that have impressed her the most: âOne of the most indelible memories I have,â she tells us movingly, âis that of Silvana, an Austrian lady who travelled by handbike, completely alone, the way from La Verna to Assisi: a woman with an extraordinary spirit. "Then I remember a family from Alaska who travelled the route from Florence to Rome with two small children, and another family of Germans, with a 2-year-old daugher they carried in a bicycle cart and another 8-month-old girl they carried in a sash. The morning of their departure, there was a very strong storm and I offered to take them to Assisi by car, but they did not want to, and with great tranquillity they put the two children in the bike cart, covered it and left in the pouring rain, like real pilgrims. "I remember a girl who walked the path together with her best friend, before entering a cloistered convent. I remember how this girl was beautiful, serene and happy. "There are also successful managers and entrepreneurs, who decide to take the Way to disconnect from their daily routine, âdetoxifyâ, find the true values of life. Or many groups, often made up of people who met each other along the Way and started as strangers. "The truth is that each pilgrim represents a story and each one deserves to be told." It is clear that Annarita puts her heart into what she does, she likes to open up to the pilgrims, and understand them. And like many of the people we have spoken to over time, she gives us some advice to improve the Way, based on her experience: "In my opinion, it is fundamental to work to build a single Way, with identifiable information and signs, because people are confused by the different information and signage along the Way. The variations should also be better explained. "It also wouldn't hurt to provide a few more places to sit and rest for a while, made even of a tree trunk resting on the ground". For more information on the  Via di Francesco:<a href="http://www.francescosways.com" target="_blank"> </a><a href="http://www.francescosways.com/">www.francescosways.com</a>   Valfabbrica43.158881212.601164400000016[ ] Attrattoreen_US1282024512648926https://www.umbriatourism.it/web/umbria/-/la-storia-di-andrea-e-del-suo-viaggio-con-moglie-e-figliStory of Andrea and of his journey with wife and childrenSt. Francis Way with the familyVia di Francesco, Umbria Tourism, spiritualitÃ in Umbria, Francesco di Assisi, pellegrinaggi in UmbriaStory of Andrea and of his journey with wife and childrenEmbarking on a journey along the St. Francis Way is an introspective experience for many people, to face alone, searching for oneself. It can also become a different experience, based on sharing, team spirit and love, if you decide to take this journey with your family, particularly with small children.  Do you think is it too hard or challenging? Are you afraid that your children could get bored? Let Andrea and his family's experience, as well as his enthusiasm, change your mind and inspire you to start making plans and gathering equipment. Andrea's family lives in Palombara Sabina, 30 kilometers from Rome, and they walked the St. Francis Way in July 2014. His wife Francesca Maria and children Chiara and Francesco, who were respectively 4 and 6, started off with their faithful "Motored". What's a Motored? Andrea explains, "The Motored is a small bike cart, intended to pull children, and we adapted it to carry our children when they couldn't walk anymore. When it's not attached to the bike you can attach a small wheel as front support and it becomes a sort of stroller with shock absorbers, brakes and good wheels. It's heavy, but it pushes very well and it has been our travel-mate. We also carried water and other things on it to reduce the burden of our rucksacks. Young Francesco gave it the name Motored because it was red and its brakes made the noise of a motorcycleâ¦". Andrea and his family left directly from home, adapting the Rome route and the St. Francis Way to their travelling needs and reaching Assisi after 13 stages and 240 kilometers. Walking the path with small children obviously demands careful preparation and planning to avoid needless risks. "I started to plan the journey 4 months before leaving,"  Andrea tells us, "because first of all I had to re-arrange stages according to our needs. With the bike cart and small children we couldn't walk along the mountain paths, or for too long, so I changed the route, looking for alternatives yet parallel roads, as close as possible to the 'original' itinerary. Our idea was to walk along the path in the simplest way, using humble hospitality and therefore, in the preparation stage, I also collected as much as possible contacts and telephone numbers of local tourist offices, municipalities, Churches, convents, monasteries and other places that might host us. Furthermore I looked for all possible information to have along the route, especially if you take small children". Andrea contacted facilities to sleep in either on the same day or the day before, based on where the family found itself. "One of the most beautiful experiences of our journey was the welcoming spirit of these 'poor' hospitality places" Andrea says with enthusiasm, "because all the people who hosted us opened their hearts and behaved in an exceptional way. A lot people didn't even want any offerings, because they said that we taught them something, with our family journey. Extraordinary. "I can't forget the humanity of Don Franco, in the parish of Arrone, who hosted us in the church and offered us a meal at his home, or the welcoming spirit of Spello's nuns. But generally the hospitality and welcome of everyone along the Way was extraordinary: people, when they met us, offered us breakfast or went home to get biscuits or milk for the children. Some cyclists we met along the ex Spoleto-Norcia Railway section cheered us on and gave us advice about roads to take and to avoid. During the journey, we received so much from people we met. Thanks to the great solidarity and friendliness, we found peace with the world, because despite bad examples we see every day on TV, you realize that many good people still exist." Confronting the St. Francis Way with children is a special adventure, so different from walking it alone. It's an experience that builds and strenghens strengthensj ties, and Andrea explained it perfectly: "We are not typical walkers, but I walked alone along the Santiago route in 2006. Well, starting this kind of journey with your family is a completely different thing because you can't just listen to your needs, but you have to be guided by the children's needs. You need to follow their rhythm, their demands. You leave as a family, but during the journey you become a team, in which everyone is ready to help each other, to 'sacrifice' to meet others' needs. It reinforces the family's strength". This kind of experience will remain in the children's memory: "Francesco and Chiara enjoyed it a lot. Everywhere we went Chiara felt like a princess, with the welcome we received. "Francesco is aware he made an important accomplishment for his age, since he walked for more than 50 kilometers, including 9 kilometers-long climbing stages in a downpour. This journey increased their confidence in their abilities and in themselves. It also strengthened our sense of belonging to a family, the ability to work as a team and to do something together". As we said, of course, preparing a journey like that with small children demands considerable attention and planning, because you must be ready for any circumstance. Let's listen to Andrea's advice to everyone considering such an adventure: "First, it's important to involve your children from the beginning, starting from the preparation stage of the journey, to make them understand what you will do together. Our Chiara and Francesco 'took part' in drafting the itinerary, we listen to their thoughts, they were together with my wife and me when we bought the Motored online. Obviously we took final decisions at the end, but involving them was essential and very nice too. "Second I recommend carefully evaluating if the thing is feasible, and how you can carry your children when they can't walk anymore. Otherwise, it would be better to wait until they're older and will be able to walk for themselves along the route with you. Then, obviously, arrange everything in advance, planning the time needed for each stage, collecting contacts about places to sleep and as much information as possible, because it's never too much. Finally, be sure to set off with the right attitude, aiming to share an adventure with your family, being aware that every day will be a surprise". For information on the St. Francis Way: <a href="http://www.francescosways.com/">www.francescosways.com</a> Assisi | Norcia | Spello | Spoleto | Arrone43.070701712.619596600000023[ ] Attrattoreen_US1281995312648926https://www.umbriatourism.it/web/umbria/-/la-storia-di-simone-e-piccolaccoglienza-gubbioStory of Simone and Gubbio's Small WelcomeTales of friendship, solidarity and support to the pilgrim along the St. Francis WayVia di Francesco, Gubbio, Umbria, Umbria Tourism, Umbria eventi, religiositÃ in Umbria, pellegrinaggio, Francesco di AssisiStory of Simone and Gubbio small welcomeSometimes what makes an itinerary unique is not just the landscape beauty of places or the perfect organization of the route, but the humanity and sensitivity of people you meet, who help those nearby, offering their work and willingness, and opening their heart.  This is the story of Simone and Gubbio's Small Welcome (PiccolAccoglienza), a project started in 2013, aiming to help and support pilgrims walking along the St. Francis Way. "It all started in March 2013 â Simone, who coordinates the Gubbio Small Welcome group of about 15 people, tells us â when we created with Gubbio's dioceses the Office for the Pastoral Care of Leisure, Pilgrimages, Tourism and Sport. We quickly realized that pilgrimage was a very wide and extraordinary world and therefore we developed our project. Gubbio Small Welcome was launched on 1st March 2014." At the beginning, supporting pilgrims meant providing mainly technical information, but the activity soon widened to include other services. "Over time, we created the pilgrim's information line, a mobile number covered by our group according to each person's availability, so that someone was always able to answer. We started to coordinate facilities devoted to the humble welcome of pilgrims in the territory of Gubbio's dioceses, keeping always in mind that each pilgrim is first and foremost a person, and must be treated like that. For this reason we thought about the "Pilgrim's Postcard", a gift to hand to everyone stopping by the places of the poor welcome. Every year postcards portray a different artist's work and since 2013 over 6000 have been handed out". The Gubbio Small Welcome Project (http://www.piccolaccoglienzagubbio.it) is based in the Dioceses' premises located in Gubbio, via Baldassini and involves a group of about 15 volunteers from Gubbio, who do other jobs in their life. Simone is surveyor, there are housewives, clerks, students, self-employed professionals, but they all share this passion of helping pilgrims, listening to their needs and mainly doing everything with their heart. In its first year of activity, Gubbio Small Welcome provided information or came in contact with 500 pilgrims, the year after with 1500, in 2015 with 2500 and in 2016, already 2800 by August. These numbers demonstrate the increasing number of pilgrims along Francis' Itinerary, but also how the work of Gubbio Small Welcome is appreciated and important. Since March 2016 Gubbio Small Welcome has also been sending the Pilgrim's Credential to those who request it. Gubbio Small Welcome's activity contributes to supporting many pilgrims in transit through Gubbio, and also plays a fundamental role in increasing awareness amongst inhabitants of the area. "For us it's very beautiful to see the growing interest in the St. Francis Way in all the area â Simone continues enthusiastically â People are increasingly available to welcome and help pilgrims. It often happens to me, for example, to see people go helping pilgrims during violent storms, to give them a lift in their cars and welcome them in their homes or take them to one of the dioceses' facilities. Other local associations provide support, such as Gubbio's 100 Brooms (<a href="http://www.100ramazze.org/">http://www.100ramazze.org/</a>), a volunteer group in Gubbio that organizes spot projects to clean up areas around town, and that in 2015, on the occasion of the event "Vivi la Via", cleaned up a long stretch of the Way from Caprignone to San Pietro in Vigneto . It is this spirit that makes the Way authentic and unique". The participation and sense of belonging among residents has slowly increased, in part thanks to activities and events organized along the itinerary, always with the committment of Gubbio's Small Welcome. The project "Getting to know the Itinerary", for example, organized together with the Gubbio May Association and the Dioceses, started in October 2014 and aims at showing the territory and places of St.Francis to many Gubbio inhabitants who may not know them. A walk of approximately 15 km is organized every 4-6 weeks along one of the Itinerary's stages and there are always between 40 and 90 participants. Simone and Gubbio's Small Welcome group give a lot to pilgrims through this initiative, in terms of both technical information and human relationships. But his stories and his enthusiasm reveal that he receives a lot too: "It's very beautiful to see the human relationship developing during the Way amongst pilgrims, who happen to meet, get to know each other and become friends at last, telling each other in a few days things they have never said even to their best friends. Something special often develops in the relationship among our group of Gubbio's Small Welcome and pilgrims too. They start by asking for technical information, but we end up becoming friends and sharing parts of our lives. The keywords are always friendship, welcome and inner well-being". By sharing his life's experiences, Simone had the chance to discover many beautiful stories of people along the St. Francis Way, all different but equally important and infused with the spirit of friendship. Examples are a group of teenagers who, after finishing high school, accompanied a friend who, before joining the Seminary, walked the Way as a preparatory act, or an engaged couple who, together with their best man, bride's maid and friends, celebrated their hen and bachelor's party walking from Gubbio to Assisi over three days. Another story is of a Fiat employee who, in exchange for help received, and without a word, sent the necessary part to fix the Dioceses' bus a few days later. These stories of friendship, humanity and solidarity can be experienced along the itinerary and exist thanks to the activity of people such as Simone who, all along the St. Francis Way, put their hearts in what they do. For information about the St. Francis Way: <a href="http://www.francescosways.com/">www.francescosways.com</a>   Gubbio43.351319312.575316599999951[ ] Attrattoreen_US2481823493935https://www.umbriatourism.it/web/umbria/-/eremo-di-santa-illuminata-guardeaEremo di Santa Illuminata - GuardeaA 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 - GuardeaA 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. <div>Tradition holds that the complex was founded in 1007 by San Romuald, tutor of the Camaldolese, but after 200 years it was given to the Franciscans. St. Francis stayed there several times, sleeping on a travertine rock in a nearby cave, still the object of worship. Here many friars lived and died, some of which reached the honors of the altar; the most famous was the Blessed Pascuccio who performed many miracles and whose mortal remains are revered in the parish church. In 1653 the decline of the church and the convent of St. Illuminata began when Pope Innocent X incorporated this property to the parish of St. Maria dell'Olmo Amelia. In 1869 the church was deemed unsafe, and is no longer used for services.</div> <div> </div> <div>Source: www.turismoguardea.it</div> Guardea | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.6276412.296278799999982Guardea55015[ ] Attrattoreen_US2478993693935https://www.umbriatourism.it/web/umbria/-/guardea-vecchiaGuardea VecchiaThe ruins of the old castle of Guardea rises up on a hill, just behind the village of Guardea, in one of the most scenic places of Amerino area.Guardea VecchiaThe ruins of the old castle of Guardea rises up on a hill, just behind the village of Guardea, in one of the most scenic places of Amerino area. 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.   Source: www.turismoguardea.it Guardea | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.6276412.296278799999982Guardea55015[ ] Attrattoreen_US2479003993935https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-guardeaCastello del Poggio - GuardeaOn 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 - GuardeaOn 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 historyhttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.6276412.296278799999982Guardea55015[ ] Attrattoreen_US539562390422https://www.umbriatourism.it/web/umbria/-/villa-del-boccaglioneVilla of BoccaglioneThe 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 BoccaglioneThe 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 culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.011572212.485378099999934Bettona54003[ ] Attrattoreen_US539550090422https://www.umbriatourism.it/web/umbria/-/cinta-murariaThe city wall of BettonaBettona 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 - BettonaBettona 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. The currently visible wall is the result of a reconstruction <a href="https://www.umbriatourism.it/en_US/-/alla-scoperta-delle-rocche-albornoziane-in-umbria" target="_blank">made by Cardinal Albornoz</a> 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. The 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. Staying 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. On 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. To 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. Bettona | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.011556412.486326500000018Bettona54003[ ] Attrattoreen_US539397490542https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-nicoloChurch of San NicolÃ²In 1576 the church of San NicolÃ² (the first one dates back to the twelfth century) was reconstructured by the architect Scalza, "urbevetanus" (as he defines himself in the signature on the marble group of the PietÃ , which is in the Orvieto Cathedral). He personally followed the works for about 10 years; only in the last period, during the construction of the bell tower, he was replaced by Antonio Carrarino.Church of San NicolÃ²In 1576 the church of San NicolÃ² (the first one dates back to the twelfth century.) was reconstructured by the architect Scalza, "urbevetanus" (as he defines himself in the signature on the marble group of the PietÃ , which is in the Orvieto Cathedral). He personally followed the works for about 10 years; only in the last period, during the construction of the bell tower, he was replaced by Antonio Carrarino. San NicolÃ² is the first religious building designed by Scalza. The church is characterized by Tuscan Style both inside and outside. The interior of San NicolÃ² 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. The 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. The architect Renato Bonelli, Orvieto praised the faÃ§ade: "... harmony in the lower zone; purity of lines, composition and purity of design: a faÃ§ade 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 faÃ§ade 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. " Baschi | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi29.png/232922c3-18c6-4e52-884c-47862ab1be41?t=142374927570542.669465112.216334800000027Baschi55007[ ] Attrattoreen_US539483090542https://www.umbriatourism.it/web/umbria/-/lago-di-corbaraCorbara LakeCorbara Lake is a reservoir, created by the damming of the Tiber river close to the town of Corbara (TR).Lago di Corbara, umbria, terni, tevereCorbara LakeCorbara Lake is a reservoir, created by the damming of the Tiber river close to the town of Corbara (TR). 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. Corbara 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. The most upstream part is full of tall forests, the flora has a large number of precoius species. For 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. Baschi | Lakes, rivers and waterfalls | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=142373406941042.716833712.251930799999968Baschi55007[ ] Attrattoreen_US539413893915https://www.umbriatourism.it/web/umbria/-/palazzo-comunaleTown Hall - Gualdo TadinoThe Town Hall was built after the destruction of the ancient Palace of the Rectors of Arts and Priors, caused the earthquake of 1751.Town Hall - Gualdo TadinoThe Town Hall was built after the destruction of the ancient Palace of the Rectors of Arts and Priors, caused the earthquake of 1751. <div>The original building was probably built around 1246, although the historical sources are scarce and uncertain. In 1768 the construction of the new building was started thanks to the authorizations allowed during the compulsory administration by Flaviani. The architect Domenico Fontana directed the works on design of the the architect Clemente Orlandi; the following year the palace was finished by the Lombard company which had been awarded the contract. The council chamber has an interesting decoration with the theme episodes Gualdese and illustrious history of the place characters, such as The Battle of Tagina and the workshop of Matteo da Gualdo. They are works by painters of Gubbio Rodolfo Rossi and Clodomiro Menichetti (1909). The same Menichetti also decorated the original office of the mayor and some rooms of the old hospital.</div> <div> </div> <div>Fonte: www.infoaltaumbria.it</div> Gualdo Tadino | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.2311039999999912.785012000000052Gualdo Tadino54023[ ] Attrattoreen_US536559793915https://www.umbriatourism.it/web/umbria/-/cattedrale-di-san-benedettoCathedral of St. BenedictThe faÃ§ade of the basilica cathedral of St.Benedict dominates the main square of Gualdo Tadino by visually closing its eastern side.Cathedral of St. BenedictThe faÃ§ade of the basilica cathedral of St.Benedict dominates the main square of Gualdo Tadino by visually closing its eastern side. <div> The late Romanesque - Gothic style faÃ§ade is divided in two parts by a stringcourse ledge. Three portals open below this. A 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. The neo-Romanesque style bell tower rises next ot the apse, and a 16th-century fountain is set alongside the right side of the building. The 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. The 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. The walls of the basilica are decorated with paintings executed by Ulisse Ribustini dating from between 1907 and 1924. The 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. It was an important Benedictine abbey founded in 1006 by the count Offredo on the ruins of an ancient hermitage. The 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. As 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. Throughout 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. In 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.  </div> Gualdo Tadino | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.2312412.785689999999931Gualdo Tadino54023[ ] Attrattoreen_US2481839393935https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-lugnano-in-teverinaThe Collegiate Church of St. Mary - Lugnano in TeverinaThe Collegiate Church of St. Mary is the symbol and core of the Community of the Land of Lugnano.Chiesa di Santa Maria Assunta - Lugnano in TeverinaThe Collegiate Church of St. Mary is the symbol and heart of the Community of the Land of Lugnano. <div> The 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. Both 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. The Church faÃ§ade 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 PodestÃ 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. <div>The Collegiate has in its pronaos a plaque with a section of the Statute, corresponding to the 21st section of the 1st Book of the Statute in 1508. The writer Eroli claims that this is evidence for the Churchâs dating and says: âThe inscription itself assures us that the current renovated Collegiate already existed in 1230 and had for who knows how many years before that time; therefore the two centuries I ascribed to its reconstruction should not be doubtedâ. The building, facing East towards the rising sun, the symbol of Christ, presents the typical Latin-cross plant, a tripartite faÃ§ade with sloping roofs at different heights, crowned with a triangular pediment that highlights the internal division in three aisles. The division is executed through blocks of local travertine that are perfectly squared and decorated with a porch that presents a semi-vault ceiling supported by semi-circular ribs, made entirely from stone. The faÃ§ade is rich with numeric and iconographic elements, religious symbols with precise meanings that could have been easily âreadâ and understood also by the population that was usually illiterate. These representations, real proverbs set in stone, were aimed at warning the population and protecting it from temptations. Our ancestors understood these symbols very easily.  The pediment, the highest point of the roof, is surmounted by an Eagle pointing out at all the Romanesque churches devoted to the Lady. The two wings of the big eagle were given to Our Lady to fly âin the desert of menâ, i.e. the world, where the Church of Christ will be established. This eagle holds in its talons a sacrificial lamb symbolizing the Crucified Jesus. The small underlying rose window is divided in six sections, counting the 6 days needed for the Creation. It is surrounded by seven ceramic discs, seven is the perfect number, made up of 3, the number of Heaven and 4, that of the Earth. The large rose window is the symbol of Christ as centre of the Universe and has these meanings: the circle is the Heaven, symbol of God, inscribed into a square representing the Earth of the man. The set of circle and square represents God who made himself Man with the coming of Christ. The wheel has a double 16, 32 outside and 16 inside. The whole rose window is built on multiples of 8, the number symbol of the Resurrection through the Baptism that takes away the original Sin of the world.  The four figures sculpted at the corners of the square represent the 4 Evangelists, Matthew, Luke, John and Mark, considered the four cardinal points of the New Testament. The same figures are repeated on the lintel of the porch: the Angel viewed face-on represents Matthew who is open towards the humanity; the Lion represents Mark, protector of Christ; the Eagle represents John, symbol of the resurrection; the Bull represents Luke, symbol of passion and sacrifice.</div> <div>Adam with the features of an animal is represented near Luke, in order to remind everyone of the original sin committed by Adam which caused his expulsion from the Earthly Paradise, on the other side the frightened animal symbolises sin. Each capital of the lateral columns represents a double Y, that shows the two ways open to man: salvation or damnation. On the capital, below the Angel of Matthew, the sculptures of two Eagles with their wings touching each other shows the importance of unity and brotherhood among men. Below the Eagle of John, the last capital presents a curious and very debated issue, but it was concluded that the ribbons coming from the ears of two men and ending into a flower symbolize Listening and Obedience of the Man to the word of God. THE INTERIOR The internal architecture develops on three levels â aisle, crypt and presbytery -  includes contributions of Lombards, whose presence on the territory is documented by historical sources starting already in the Middle Ages. Its compact design and solid structure underlines a volumetric harmony, whereas the simple lines of the construction are expression of a strong and austere art, that took inspiration for centuries from forms of classical art that are still present in the region. The vaulted ceiling of the central aisle ensures the total wall continuity of the structure and offers the image of an embracing and massive compartment developed in depth and plastically partitioned in two rows of four massive columns each that are slightly tapering and without entasis, resting on square foundations and connected through rounded arches. Capitals present a variety of forms revealing, according to some scholars, different hands as well as techniques and styles, confirming the hypothesis of a possible reconstruction of the church.  Cubic and smooth capitals or more ancient intertwined examples belong to a first group. They are complemented by palm capitals with one or more orders that reveal a rustic design and profiles like the ones in the epoch of St. AlÃ² in Terni and St. Peter in Tuscany. A second group of capitals include the much more evolved examples that directly imitate some ancient models, so to produce a dynamic and elaborated ensemble as well as the unique capital representing an altar with two priests wearing vestments and in the right corner a head-shaped snake, a symbol of the devil and paganism, whereas on the left corner there is a blessing by an enthroned woman. There are different interpretations about the symbolic meaning of the figures represented âin the following sequences of scenes showing the Eucharist in its concrete representation â the celebrant assisted by deacons â and the Church in its allegorical representation â the blessing by an enthroned woman â opposed to the frightening allegory of sinful humanity among the coils of the devil, flanked by diabolical symbols, such as the full moon and the owlâ. THE SCHOLA CANTORUM AND THE AMBOS Restorations in 1936-1937 restorations removed and redid some plaster, closed the confessional niches and the four lateral chapels,  modified the presbytery stairs, rebuilt the altar ciborium and shorted the apse to position it over rediscovered foundations. Some rediscovered pieces were used to rebuild the âSchola Cantorumâ and the ambos, that once were used to read the Gospel and the Epistles. The restoration work made use of âfive mosaic panels and five small pilasters with mosaics, two small pilasters with the characteristic knob and fragments of other ones, several frames corresponding to panels, some of them with reliefsâ¦â (Grassini). BAS-RELIEFS For its origins, we must consider a survey by historian Guerriero Bolli of two bas-reliefs located in the Church of St. Mary Lugnano in Teverina. The first one represents St. Michael Archangel who kills a dragon with a spear. This bas-relief recalls the one placed on the faÃ§ade of St. Peter in Spoleto, now in the Louvre of Paris; Spoleto was an important seat of the Lombard Duchy, and St. Michael Archangel was also an official co-patron of the Lombard people. St. Michael is called âSt. Angeloâ in the âLand of Lugnanoâ. The two festivities of St. Michael, the 8th May (St. Angelo of May) and 29th September (St. Angelo of September) determine the selling period of the pastures or âgrass-productsâ including the phenomenon of transhumance. A church in Via Garibaldi is dedicated to St. Michael Archangel, always in the âLand of Lugnanoâ. This demonstrates the presence of Lombards in customs, laws and traditions, beyond that shown in historical documentation. All this doesnât prove beynd a doubt the presence of the Lombard people, but one thing is sure: even if the Land of Lugnano used to belong to the Roman Duchy, it bordered with the Lombard Tuscia and possibly just the Tiber established this border. Therefore, we can suppose not just the presence but also the cultural influence of Lombards in Lugnano della Teverina, in the years 500, 600 and 700. In the year 1000, the holdings of the Lombard Matilde di Canossa reached the northern Lazio region.</div> <div>The second bas-relief could be even more interesting. Here follows the description of Guerriero Bolli, up to the point we can totally agree with: âThe other bas-relief similar to the altar of the Lugnano Collegiate represents two characters dressed as magistrates who exchange a small amphora as a sign of peace. As a whole, the bas-relief doesnât have the fineness of St. Michaelâs bas-relief, even if the two figures of magistrates appear monumental thanks to the convergence of two figures that in the lower part of the bas-relief occupy the whole base of the rectangle and are tightened towards the top. These characters also carry on their dress, rich with deep creases, a corset with large sleeves ending in a curl supposed to cover the belt that tightens the dress on the waist. This dress suggests the ârochetâ that Bishops or Canons used to wear on the surplice before the Liturgical reformation and it was also a garment used in the ancient courts. This ârochetâ was a garment of Nordic origin,  its name referring to the word ârockâ, namely âdressâ. Itâs obvious that we are facing with the story of an important historical event, worth memorialising in a sculpture whose detail of the two small amphoras is curious: they could recall the âlahone chiltâ, namely the present used to be offered in the Lombard law in order to demonstrate the unconditional acceptance of the pact.â (Surveys of C.E.S.T.R.E.S. â June 1998).</div> <div> Source: <a href="http://www.turismolugnanointeverina.it">www.turismolugnanointeverina.it</a></div> </div> Lugnano in Teverina | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.5751652999999912.332084699999996Lugnano in Teverina55016[ ] Attrattoreen_US2481850493935https://www.umbriatourism.it/web/umbria/-/palazzo-pennone-lugnano-in-teverinaPalazzo Pennone - Lugnano in TeverinaThe building, curiously cut into two parts by the gallery with the same name, is a rectangular three-story buiding.Palazzo Pennone - Lugnano in TeverinaThe building, curiously cut into two parts by the gallery with the same name, is a rectangular three-story buiding. <div>The corners of the Palace, the balustrades and the rusticated portals are made of travertine. The building is known as Palazzo Ridolfi-Farnese, after the cardinal governors of Lugnano. The name Pennone seems to refer to the evocative image of the flagpole of a ship, as the palace stands at the highest point of Lugnano, in an imposing position over the village. In fact, the name derives from Antonio Pennoni, the first owner or commissioner of the Palace. It was built approximately in 1650, probably on the site of the ancient townhall, St. Peterâs Church and the Chancellery.  It later became property of the family Vannicelli, whose emblem in wrought-iron is preserved above the well. Until the 18th century it was the residence of the Governor of the Apostolic See, later on it was respectively a barn, mill and silkworm breeding centre, until falling into complete disuse. Recently it has been renovated and today it hosts the Town Hall.</div> <div> Source:<a href="http://www.turismolugnanointeverina.it"> www.turismolugnanointeverina.it</a></div> <div> </div> Lugnano in Teverina | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.5751652999999912.332084699999996Lugnano in Teverina55016[ ] Attrattoreen_US273476590494https://www.umbriatourism.it/web/umbria/-/castello-di-zoccoCastello di ZoccoBuilt 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.lago Trasimeno, castello Zocco, Magione,Castello di ZoccoSetting: Isolated in an agricultural setting Dating: 13th Century Ownership: 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.  In 1403 the first modifications were made to it, indeed, before this date, the castle was called "villa" and had one hundred and fifty inhabitants. Once the defences had been strengthened, it took the title of "castrum" and as early as 1456, housed hundreds of people from Perugia who had fled a serious plague epidemic that raged through the city. In 1479, it endured a violent siege by Florentine troops, as many fortresses in the area did, including the nearby Rocca Monaldi. A few years later, in 1486, a well costing twenty-five florins was built inside the castle that had been built for defensive purposes. From the 16th century onwards a period of slow decline for the castle began, when it was improperly run by the camerlenghi (chamberlains) of the lake. Another contributing factor was the rising lake waters, which meant that Zocco found itself, in just a few years, on the shores of the lake. Once the castle was connected to a little port, an active community of fishermen quickly formed which, over time, however, gradually decreased. At the beginning of the Twentieth century it was inhabited by a small community of farmers, but for decades, it has belonged to the Palombaro family of Rome, who are producers of a well-known extra-virgin olive oil. Its church of San Macario, on whose walls you could once read an ancient Latin inscription next to a painting depicting a gentlewoman, is particularly noteworthy. Magione | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.142125712.203915000000052Magione54026[ ] Attrattoreen_US352395490494 | 15726642https://www.umbriatourism.it/web/umbria/-/museo-della-pesca-del-lago-trasimenoMuseum of Lake Trasimeno FishingThe Fishing Museum is located along the main street of San Feliciano village that shows up on the shore of Trasimeno Lake.Museum of Lake Trasimeno FishingThe Fishing Museum is located along the main street of San Feliciano village that shows up on the shore of Trasimeno Lake. 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. The 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. The 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. The 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. And outside there is a large square with two small boats on which children can play as fishermen.     Open from Tuesday to Sunday. For information: tel. + 39 075 8479261. Magione | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.142125712.203915000000052Magione54026[ ] Attrattoreen_US2481859293935https://www.umbriatourism.it/web/umbria/-/chiesa-e-convento-di-san-francesco-lugnano-in-teverinaChurch and Convent of San Francesco - Lugnano in TeverinaThe 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 TeverinaThe church and Convent of St. Francis was built in 1229 where the Saint preached and performed a miracle in 1212. <div>In the church you can admire the fresco recalling the miracle: the Saint sends a duck to release a child who has been attacked by a wolf. This fresco has been recently restored.</div> <div> </div> <div>In restoration work performed in 1600, in line with the changing tastes of that time, the fresco was re-painted using casein tempera, modifying the colours of some components as well as adding a landscape to the background of the painting. Different tests aiming at removing all the repainted part brought to light an intact fresco executed in the 1300s with the technique of the âgood frescoâ representing a simplified scene with canons and grotesque-style details. A rare fresco of the Franciscan proto-martyrs is visible within the convent.</div> <div> </div> <div>Here the Blessed Gonella from Norcia died on 22 June 1540.</div> <div> </div> <div>The convent flourished in the 1600s. The elegant cloister decorated with a series of elegant travertine columns and frescoes depicting the life of St. Francis was built in 1608. Today you can still admire the bell tower with Baroque forms dating back to 1680. It was a flourishing religious centre until 1930. In 1988 the roof of the Church was rebuilt by the St. Francis Association; later the granite floor of 1950 was removed allowing the ancient terracotta floor to shine again.  A beautiful liturgic altar was built in 2004, in memory of Mario Tessicini, first President of the St. Francis Association and the walnut door of the church was restored.</div> <div> </div> <div>Source: <a href="http://www.turismolugnanointeverina.it">www.turismolugnanointeverina.it</a></div> Lugnano in Teverina | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.5751652999999912.332084699999996Lugnano in Teverina55016[ ] Attrattoreen_US95512https://www.umbriatourism.it/web/umbria/-/mugnano-il-borgo-dei-muri-dipinti-Mugnano, the village of the "painted walls"Close to Lago Trasimeno is Mugnano, a picturesque village known worldwide for its painted walls Mugnano, village, painted walls, Perugia, TrasimenoMugnano, the history of a village ... <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> Near Perugia and not far from Magione, near Lake Trasimeno, is Mugnano, a small yet picturesque village surrounded by the Umbrian countryside. The settlement stems from 2nd century BC settlements, which were followed by the construction, between the 9th and 10th centuries, of a thriving Benedictine abbey. The monks were engaged in the reclamation of the surrounding land, which soon became one of the most fertile areas of the region. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> The castle was built in the 14th century to protect property and the local population, although its curtain walls and majestic bell tower were added in the 18th century, when the ancient castrum was the site of the settlement of the Confraternity of the Blessed Sacrament. Inside the castle, it's well worth visiting the square of the "pump", home to a deep well from which women, since the beginning of the 20th century, drew water with a hand operated pump.  ... and its "painted walls"... <div> </div> <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> An itinerary runs through the village, in an almost surreal atmosphere, to  discover the "painted walls", a permanent exhibition of great interest, created by Italian and foreign artists and based on the idea of the painter Benito Biselli. The originality of the paintings, topics, styles and techniques represent different artistic vernaculars, from the figurative to the informal and giving form and colours to the old walls. Mugnano began to attract the critics in the 1970s, when the village hosted four high-level temporary exhibitions of important artists. Over the years, the idea evolved, transforming the event from temporary to permanent. In 1983 "In...contriamoci in Mugnano" was organized for the first time. This is a large village festival, held every year between late June and early July, which in addition to proposing traditional dishes and local wine, adds permanent modern art to the ancient architectural structure and its small alleys and squares. That year, the first eight local painters were called on to complete the "painted walls", which aroused great critical attention. The following year, the event was also opened to foreign artists and today has reached more than forty murals. In the days leading up to the festival, the village is enlivened, with scaffolding  mounted in front of the walls and the artists begin their work surrounded by a crowd of curious onlookers and insiders. "The walls of the village sing a sudden flowering of works, a rhythmic writing of pictorial seals where each artist has placed the juice of his creativity" (Mimmo Coletti, 1990). Since 2008, the route is completely illuminated with energy-saving lights, so it can be enjoyed even at night. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> All the frescoes, despite being recent, blend in perfectly with the ancient village giving the feeling of having always been there. Perugia | Art in Umbriahttps://www.umbriatourism.it/documents/10184/87120/Zona_panicale/e0f79e82-e9b5-46c3-a696-8cf8e89284aa?t=142365103342043.0552999000000112.21741510000004[ ] Attrattoreen_US303518990494https://www.umbriatourism.it/web/umbria/-/castello-dei-cavalieri-di-maltaCastle of the Knights of Malta in MagioneOriginally a hospital of the Knights of St John of Jerusalem, later known as the Knights of Malta, and dedicated to St. John Baptist, the original core of the castle was built in the mid-12th century not far from the important road between Perugia, Lake Trasimeno and Tuscany. Cavalieri di Malta, Lago Trasimeno, castello cavalieri, Umbria, MagioneCastle of the Knights of Malta in MagioneOriginally a hospital of the Knights of St John of Jerusalem, later known as the Knights of Malta, and dedicated to St. John Baptist, the original core of the castle was built in the mid-12th century not far from the important road between Perugia, Lake Trasimeno and Tuscany.  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. In 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. The 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. The 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. Currently 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: <a href="http://www.castellodimagione.it" target="_blank">www.castellodimagione.it</a> Magione | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.142125712.203915000000052Magione54026[ ] Attrattoreen_US273503690422https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-bevignateChiesa di San BevignateThe church of San Bevignate is just outside Perugia, in via E. Dal Pozzo, opposite the Monumental cemetery.Chiesa di San BevignateThe church of San Bevignate is just outside Perugia, in via E. Dal Pozzo, opposite the Monumental cemetery. A complex series of factors contributed to its construction around the mid-13th century: Raniero Fasani's Flagellation movement, which, beginning in Perugia in 1260, spread all over Italy; the new working-class, who having gained political prominence, felt the need to legitimise themselves with their own temple and their own saint, choosing the mysterious Bevignate, who had never been canonized and of whom no reliable documentation exists. Lastly, because of the numerous hermits and hermitages in the area and the presence of Knights Templar who needed a new church in place of San Giustino d'Arna. Indeed, it was precisely the Knights Templar who managed to obtain patronage for the building from the pontiff. After the destruction of the order, in 1312 the church passed to the Order of the Knights of Saint John (of Jerusalem), then to the monks of Saint John and later to various confraternities until 1860, when it became property of the State, and was entrusted to the municipality of Perugia. Outside, the church's appearance is rather bare, following the model of buildings built by the Templars in the Holy Land. Inside is a single nave with two bays and a groin-vaulted ceiling. There is a raised squared apse, introduced by a large triumphal arch, containing frescoes from the 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.   Bibliography Mancini F. F. &  Casagrande G. (1982), Perugia. Guida storico-artistica, Bologna, Fotometalgrafica Emiliana. Roncetti M., Scalpellini P. et al. (1997), Templari e ospitalieri in Italia. La chiesa di S.Bevignate a Perugia, Milano. Montella M. (1993) (a cura di), Perugia, Perugia, Electa Editori Umbri. T.C.I. (2004), Umbria, Milano, Touring Editore. Perugia | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US5335260https://www.umbriatourism.it/web/umbria/-/il-vicus-borgo-antico-martis-tudertiumVicus Martis TudertiumThe construction of the Roman Via Flaminia, dating from the second half of the third century BC, had originally a military function and installed an arterial road which rapidly linked Rome to the Adriatic Sea. The presence of this infrastructure heavily influenced the evolution of the neighboring populations, promoting an cultural, economic and social development.Vicus Martis TudertiumThe construction of the Roman Via Flaminia, dating from the second half of the third century BC, had originally a military function and installed an arterial road which rapidly linked Rome to the Adriatic Sea. The presence of this infrastructure heavily influenced the evolution of the neighboring populations, promoting an cultural, economic and social development. Small settlements arose as "stations", destined to change horses or for travelers âs hospitality, gradually tended to take on the characteristics of organized and complex centers called vici: clusters of buildings with all the architectural features of an ancient village. Even the spread of the new Christian religion, from the 2nd  and 3rd centuries AD, began its rise in the peripheral areas of the peninsula, making use of the formidable support of the Roman road network: the Via Flaminia became thus one of the key channels. The barbarian invasions and the Empire decline, evident during the 4th and 5th centuries AD, led to the abandonment of adjacent areas to the road, no longer safe places to gather and returning to the old hilltop settlements much more easily defensible. The Vicus Martis Tudertium arose around the church of Santa Maria in Pantano, built in the 7th-8th centuries on an old Roman building (of which considerable parts are lost). This is attested by numerous inscriptions from this area, and it is identifiable with Statio ad Martis on the Flaminia. The excavations brought to light a series of buildings with an enviable state of conservation of the perimeter walls, thus proving the existence of the Vicus, from its imposing size, covering an area of about seven hectares: the exact location of the via Flaminia section. Massa Martana | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.781741112.528255700000045[ ] Attrattoreen_US125465https://www.umbriatourism.it/web/umbria/-/preci-e-l-antica-scuola-di-chirurgiaPreci and the old school of surgeryThe typical village of Preci is situated not far from Norcia on the border with the Marche region. Preci e l'antica scuola di chirurgiaThe original fortress, built into a hillside in the second half of the thirteenth century, was devastated by an earthquake in 1328 while under the jurisdiction of Norcia. During the first half of the sixteenth century Preci was a place of refuge for exiles and was destroyed twice, once by the Papal legate to the Marches and also by Norcia. The peace treaty with Norcia was signed in 1555 and the growing success of the School of Surgery led to renewed construction in the area, giving the village its present appearance. The urban settlement is very compact and has a sixteenth century look about it. The historical centre has numerous palaces, built between the 16th and 17th centuries by families of several doctors in Preci. The world renowned School of Surgery stems from the medical knowledge of Syrian monks who settled in the nearby Valle Castoriana. The Sant' Eutizio Abbey was equipped with an infirmary and an important library making it one of the most important centres of its kind. The doctors in Preci specialised in ophthalmology and the surgical extraction of the kidney stones, facilitated by the tradition and their skill in the processing of pork. In the village there is the interesting parish Church of Santa Maria and the Church of Santa Caterina.The Scacchi district is found at the top end of the village with its sixteenth century houses belonging to the Scacchi and Mensurati doctors. These are notable for their decorated portals and curious inscriptions with mottos on the lintels. A commercial centre along Valle Campiano has opened recently in the village of Preci and it is worth visiting the Church of the Madonna della Peschiera. The local municipal area set in very impressive nature, as it extends between the Valnerina and the National Park of Monti Sibillini, both from an historical and artistic point of view with the typical hamlets of Castelvecchio, Roccanolfi and Poggio di Croce Montebufo. Preci | Valnerina | Discovering the Valnerinahttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.880663913.039638500000024[ ] Attrattoreen_US125451https://www.umbriatourism.it/web/umbria/-/il-piccolo-borgo-di-castelvecchioThe small village of Castelvecchio di PreciThe village, from the late medieval era (13th-14th century) no longer shows any traces of fortification.castelvecchio, preci, abbazia di sant'eutizio, umbriaThe small village, under the jurisdiction of the commune of Preci, was dramatically transformed in the 16th and 17th centuries. The inhabited area has an almost rectangular form and is crossed by streets which intersect in the fashion of a chessboard. Within the town, we find the Chiesa di San Giovanni Battista, Chiesa di Santa Maria and Chiesa della Madonna della Colonna churches. The entrance gates to the village are located on the two longer sides and correspond to the ancient routes towards Corone in the south and Saccovescio in the north. The splendid Abbazia di Sant'Eutizio abbey is just a short distance away. Preci | Valnerina | Discovering the Valnerinahttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.890156413.01949239999999[ ] Attrattoreen_US126633https://www.umbriatourism.it/web/umbria/-/tomba-degli-hescanas-a-orvietoTomba degli HescanasThe 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.LocalitÃ Molinella o Paterazzo - 05010 - Orvieto (TR)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. It 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. Visiting 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.   Description Discovered 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. A 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 The 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.  Porano | Ancient historyhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi27.png/640a50e9-cdc3-468d-ba5d-44bd5bd16db0?t=142374927533742.718506812.110744599999975Porano55028[ ] Attrattoreen_US2424725690542https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-biagio-poranoChurch of San Biagio - PoranoIn the 13th century the Parish church of San Biagio in Porano was mentioned by the Ratio Decimarum, the register of tithes collected by the ecclesiastical authorities.Church of San Biagio - PoranoIn the 13th century the Parish church of San Biagio in Porano was mentioned by the Ratio Decimarum, the register of tithes collected by the ecclesiastical authorities. Currently it appears very different from the original because of the numerous interventions on the structure. In the church there are two frescos, depicting San Biagio and the donor, and an Annunciation of the Orvieto school of the fourteenth century. There is also a beautiful marble holy water font sculpted by Rutilio Laurenzi in 1608. The church houses a relic of Fra' Paolo da Porano, the Franciscan coat of arms of his robe, donated by the neighboring convent of San Crispino, where the Brother is buried. In the sacristy there is a processional cross of the fifteenth century. Porano | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.686877812.102810699999964Porano55028[ ] Attrattoreen_US3035231https://www.umbriatourism.it/web/umbria/-/catacomba-di-villa-san-faustinoCatacomb in Villa San FaustinoThese 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 FaustinoThese 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. Although 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. The 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. The 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 historyhttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.734631112.532765799999993Massa Martana54028[ ] Attrattoreen_US5218628https://www.umbriatourism.it/web/umbria/-/ponte-fonnaiaPonte FonnaiaMassa Martana, Ponte romano, via Flaminia, etÃ augustea, umbriaPonte FonnaiaIl ponte Fonnaia, costruito dai romani nel 220 a.C., Ã¨ 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 Ã¨ alto circa 10 metri. Ben conservati sono anche i fianchi del ponte, con grossi blocchi di travertino che rivestono una struttura interna a sacco.  In 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 etÃ augustea (27 d.C.).  La struttura permetteva alla via Flaminia, il cui tracciato Ã¨ ancora ben conservato attraverso i campi, di valicare il piccolo affluente del Naia. Massa Martana | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.776648912.523263100000008Massa Martana54028[ ] Attrattoreen_US2214353590566https://www.umbriatourism.it/web/umbria/-/teatro-della-concordia-monte-castello-di-vibioConcordia Theatre - Monte Castello di VibioThe Concordia Theatre is located in the heart of the historic centre of  Montecastello di Vibio, a small town on a hilltop on the right side of the Tiber Valley, not far from Todi.Concordia Theatre - Monte Castello di VibioLocation The Concordia Theatre is located in the heart of the historic centre of  Monte Castello di Vibio, a small town on a hilltop on the right side of the Tiber Valley, not far from Todi. Why should you visit it? Monte Castello ofers âweekend theatreâ, a tourist and cultural proposal for Umbria and especially Monte Castello di Vibio visitors. The 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. The programming ranges from prose, to opera, operetta, concerts of classical and jazz music. Description The 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. It 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. In 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. . Unfortunately 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. Curiosities The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.837947212.348275400000034Monte Castello di Vibio54029[ ] Attrattoreen_US112037https://www.umbriatourism.it/web/umbria/-/castello-bufalini-san-giustinoBufalini Castle - San Giustinopalazzo Vitelli, castello bufalini, san giustinoThe history of the castle is indissolubly tied up with the Bufalini family, who could boast of having successful and prominent figures in the ecclesiastic, literary and juridic fields. Castello Bufalini was originally built as a military fort and owned by the Dotti, a Ghibelline family from Sansepolcro. After the battle of Anghiari, in 1440, the small fort became a military outpost in defense of the territory of CittÃ di Castello, and was destroyed towards the end of the 15th century on orders of the Florentine Republic. With the passing of the property to NiccolÃ² di Manno Bufalini in 1487, some reconstruction work based on the design of the Roman architect Mariano Savelli and indications of Giovanni and Camillo Vitelli, men of arms and experts in military construction, was carried out. The castle assumed the semblance of a fortress, with an irregular quadrangular floor plan and four towers at the corners, one of whichâthe Main Tower or Keepâwas larger than the others and surrounded by a wide moat filled with water. Starting from the 1530s, the fortress was transformed into a noble palace, responding to precise artistic, social and cultural needs, as desired by Giulio I Bufalini and his brother, the Abbot Ventura. The major changes mainly affected the interior, with the creation of large rooms distributed around an internal court with two side porticos, the remake of the faÃ§ade with the introduction of the loggia and the monumental entrance in a central position dates back to that period. From the outside, the original military structure of the edifice looked the same. The design of the palace was the work of the Florentine architect, Giovanni d'Alesso, called Nanni Unghero, part of the Sangallo entourage, but the construction work was completed with the intervention of the Vignola, around 1560. During the last decade of the 17th and the first years of the 18th century, the palace was restructured, following the designs of the architect-painter Giovanni Ventura Borghesi from CittÃ di Castello, as a delightful countryside Villa with its Italian Garden. The edifice was enriched, during the 18th century, with exquisite works of art of late Baroque taste, among which are the frescoes, decorative canvases and painting cycles partially devoted to celebrating Bufalini's acquisition of the noble title of Marquis. In July 1989, Castello Bufalini became State property, and constitutes a rare example of a nearly intact historical patrician manor that preserves most of its furniture and fittings dating from the 16th to the 19th century, together with a collection of paintings from Bufalini Palace in CittÃ di Castello. Currently, the entire complex is organizedâfurniture and fittings, paintings, tapestry, majolica and the various busts of Ancient Romeâin line with the taste of the local nobility. Visitors can admire the room of the Pagan Gods and the Prometheus room, with the frescoes of Cristofano Gherardi; the Loggia; the sideboard room, with the precious china cabinets preserving chinaware, ceramics and crystal sets; the dining room; the lounge; the throne-room, with the canvases portraying scenes from the Old Testament and the Orlando Furioso of the Ariosto; the portrait gallery; the room of stucco decorations; and the room of Cardinal Giovanni Ottavio Bufalini, with a beautiful cradle. The garden is a typical example of an Italian Garden that still preserves its18th century arrangement. The Rose Garden, the Vegetal Gallery, called "voltabotte"âbarrel vaultedâthe so-called "Paradise" and the Labyrinth are especially beautiful. Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Via Largo Cruciani <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06016 - San Giustino (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: sbsae-umb@beniculturali.it   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   San Giustino | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=142374927202843.551795212.172451799999976[ ] Attrattoreen_US2427677490454https://www.umbriatourism.it/web/umbria/-/repubblica-di-cospaiaRepublic of CospaiaFrom February 1441 to June 1826, the Republic of Cospaia was a small independent territory.Republic of CospaiaFrom February 1441 to June 1826, the Republic of Cospaia was a small independent territory. It is currently a part of the municipality of San Giustino. The small area became independent when, in February 1441, Pope Eugene IV gave the territory of Sansepolcro to the Republic of Florence. A mistake in the designation of the border was made, failing to include a small strip of land it in the Treaty that marked the boundaries. The inhabitants of Cospaia declared that they would not accept any authority. For years, the small communities provided for their own subsistence by growing tobacco, called the "tornabuona grass". For irrigation needs  an embankment was raised as a dam to create a pond. Cospaia's cultivation and trade of tobacco brought a degree of prosperity, but also a small invasion of smugglers, because tobacco was illegal in the Papal States. San Giustino | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.551795212.172451799999976[ ] Attrattoreen_US2427661590454https://www.umbriatourism.it/web/umbria/-/museo-storico-del-tabaccoMuseo storico del tabaccoThe 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 tabaccoThe Museo Storico e Scientifico del Tabacco (Historic and scientific museum of tobacco) is housed in the former Tobacco Growers' Consortium building, near the train yard of San Giustino. The building that once was a tobacco warehouse is now the premises of the Museum. The edifice was built at the end of the 19th century by the Municipality of San Giustino. The structure was expanded in the following years and remained active until 1992, when tobacco processing was transferred to the industrial area, inside new warehouses. The Museum is unique in its genre, the structure hosting it is of notable historical interest both for documenting tobacco cultivation and its manufacturing stages, and for the importance this has had on the economy of the territory. At first entirely dedicated to tobacco processing, the Museum was founded by the Foundation for the Historic-Scientific Museum of Tobacco, constituted in 1997 by all participants, such as businesses and associations acting in the tobacco productive chain, from farmers to tobacco shops. The Museum presents the legislation on the subject, and reconstructs the various processing stages, divided into the three main ones of farming 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.551795212.172451799999976San Giustino54044[ ] Attrattoreen_US2424739290542https://www.umbriatourism.it/web/umbria/-/villa-paolina-poranoVilla Paolina - PoranoVilla 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 - PoranoVilla 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. <div>Its tree buoyancy hides it to the sight but at the same time it includes it among the main Umbrian parks. The villa, at the bottom of a long tree-lined boulevard, rises in the heart of an historical park among the most significant ones in Italy that extends for nine hectares. The pretty complex includes wide garden areas with a design and trees of great value, harmoniously blended with the wilder surrounding territory. All the estate follows a design with helical bevels regulating both the arrangement of buildings and green areas. It was built by the will of marquis Giovan Battista Gualtiero in 1706 on a pre-existing monastic structure, as summer residence for prelates. Starting from 1874 the complex underwent a process of transformation by the will of the Viti Mariani family, before it passed on to the Casini family. It has been owned by the Terni Province since the 1980s. Currently the villa, seat of the Institute of the Agroforestry of the NRC, houses different cultural and sport events. It consists of a central building with two lateral wings. The building is entered via a low terrace connected to the garden by a double semicircular staircase. All the arched windows of the faÃ§ade are inserted into niches. In the building there are rooms decorated in nineteenth century style and a gallery decorated with landscape motifs. To complete the building there are minor buildings such as the lemon house, the farmhouse and the semi-circular exedra. Etruscan tombs dating back to the 4th century BC have been found in the park.</div> <div> </div> Porano | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.686877812.102810699999964Porano55028[ ] Attrattoreen_US2427560890542https://www.umbriatourism.it/web/umbria/-/castel-rubello-poranoCastel Rubello - PoranoContext: isolated in the agricultural context Dating: 13th century Current use: accommodation Private propertyCastel Rubello - PoranoContext: isolated in the agricultural context Dating: 13th century Current use: accommodation Private property Castel Rubello, built on a hill (430 metres) is part of the Porano municipal territory. The castle, in a good state of preservation, is formed by the union of two complexes: the first one is characterized by building units huddled up and by a church, naturally defended by a rocky bastion and by a big square-based corner tower. The second complex consists of a big building for residential use, that preserves within it a splendid fireplace and frescoes of Lombardelli, and of smaller-sized buildings arranged in a circle to create a court. The castle, dating back to the 13th century, took its final appearance at the beginning of the fourteenth century. It was a source of contention: in the 14th century between Malcorini and Muffati, in the 15th century between Ladislao dâAngiÃ² and the near Orvieto. It was owned by Valenti since the half of the fifteenth century; the castle was then passed on to the noble family of Avveduti. In 1816 it belonged to the Society of Jesus who entrusted it to the Baron Luigi Salvatori. Today it is owned by Giuseppe Serafini Trinci. Porano | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.686877812.102810699999964Porano55028[ ] Attrattoreen_US112137https://www.umbriatourism.it/web/umbria/-/museo-archeologico-nazionale-orvietoNational Archaeological Museum - OrvietoThe museum collects the most ancient and recent materials found, and together with the Faina Foundation Museumâlocated on the opposite side of Piazza Duomoâis a synthesis of the archaeological knowledge concerning OrvietoNational Archaeological Museum - OrvietoThe Museo Archeologico Statale is hosted on the ground floor of the medieval Palazzo Martino IV, one of the three Papal Palaces standing behind the Duomo of Orvieto The museum collects the most ancient and recent materials found, and together with the Faina Foundation Museumâlocated on the opposite side of Piazza Duomoâis a synthesis of the archaeological knowledge concerning Orvieto. The National Archaeological Museum, being associated with the activities of research and study of the Soprintendenza per i Beni Archeologiciâthe Superintendence for the Archaeological Heritage of Umbriaâand the scientific and cultural institutions operating in the regional territory, displays the finds coming out of the archaeological investigations and excavations, therefore it is in permanent evolution. Inaugurated in 1982, the Museum exhibition displays materialsâfound in the territory up to the 19th centuryâpreviously held in the archaeological section pertaining to the Museo dell'Opera del Duomoâthe Museum of the Works on the Cathedralâknown as MODO. This collection of thousands of items was added to with the detached frescoes from the tombs of Golini in Porano, which had been held till 1982 in the Archeological Museum of Florence. Furthermore the conspicuous collection of the town's most ancient finds, coming from the urban necropolises of the Crocefisso del Tufo and Cannicella, the Temples of Belvedere and Via San Leonardo and the surrounding territory, including the necropolises of Porano, Castellonchio and neighboring areas, were added to the collection. The finds are arranged following the modern topographical museum criteria. The finds recovered from recent excavationsâor on-going excavationâare displayed following a rotating plan, which allows the visitor to appreciate the constant achievement of new finds Accessibility For those travelling with their own vehicle, the area of the cathedral, behind which the museum is located, is subject to the rule of LTZ (LIMITED TRAFFIC ZONE), therefore itâs necessary to carry the appropriate disabled permit to display on the car. In order to pass through the gates of the LTZ (LIMITED TRAFFIC ZONE) without incurring sanctions, you have to inform of the day of transit, the plate, the brand and the model of the car by fax to the number  0763-306341 or by email to comune.orvieto@postacert.umb.it by attaching a copy of the disabled mark or of the carâs registration document. All must be done previously or within 72 hours of the transit.  In order to avoid the above-mentioned procedure, itâs possible to arrive in Piazza Duomo by driving along Via Postierla and Via Soliana where there are no gates but however itâs necessary to be in possession of the coupon for disabled. In proximity of the museumâs entrance, on the right side of the Dome, there are 5 reserved car parks. You can reach Piazza Duomo also with mini-busses of the urban service, and you can get off in Piazza Cahen, located near the big car park in Via Roma, reachable with oneâs own vehicle and from the trainsâ station by bus or funicular.  The National Archaeological Museum of Orvieto is located on the ground floor of one among three papal palaces behind the dome and can be visited by people with motor difficulties or using aids such as wheelchairs. The facility is not provided with audio-guides. The entrance to guide dogs is allowed to facilitate the visit by people with impaired sight and blind; but there arenât any particular services or measures.  Information Piazza Duomo 05018 - Orvieto (TR)  email: sba-umb@beniculturali.it sito web: <a href="http://www.archeopg.arti.beniculturali.it/" target="_blank">www.archeopg.arti.beniculturali.it</a>    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=142373406941042.7169041999999912.112370699999929[ ] Attrattoreen_US3020651090542https://www.umbriatourism.it/web/umbria/-/castello-di-montegio-1Castle of MontegioveBuilt as a fortification on a hill between Orvieto and Perugia and disputed by the captains of fortune, today the Castle of Montegiove is an elegant residence open to the public and can be visited all year round.Castle of Montegiove, Montegabbione, Scarzuola, CittÃ Buzziana, Orvieto, Perugia, Umbria travels, Umbria holidaysCastle of MontegioveThe castle of Montegiove stands on a hill on the border between Orvieto and Perugia, in the municipality of <a href="http://www.umbriatourism.it/-/montegabbione">Montegabbione</a>, not far from the Convent of <a href="http://www.umbriatourism.it/-/convento-della-scarzuola-e-citta-buzziana-montegabbione">Scarzuola and the Ideal City </a>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. The 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. In 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. New 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. Today 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: <a href="http://www.castellomontegiove.com" target="_blank">www.castellomontegiove.com</a> e-mail: <a href="mailto:info@castellomontegiove.com">info@castellomontegiove.com</a> telephone number: (+39) 0763837473  Montegabbione | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.917469112.143521400000054Montegabbione55020[ ] Attrattoreen_US2137968890566https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-marscianoChurch of Santa Maria Assunta - MarscianoThe 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 - MarscianoThe 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 worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.951721712.323481600000036Marsciano54027[ ] Attrattoreen_US2083645990542https://www.umbriatourism.it/web/umbria/-/castello-di-carnaiolaCastle of CarnaiolaThe Castrum was built around the year 1000 AD by Orvieto to guard the ford of the Chiani. Castle of CarnaiolaThe 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 historyhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.872510412.016545400000041Fabro55011[ ] Attrattoreen_US5218716https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-in-pantanoChurch of St. Mary in PantanoThe church of St. Mary in Pantano is one of the most ancient and interesting ones in Umbria. Massa Martana,borghi umbria, spiritualitÃ ,Church of St. Mary in PantanoThe 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. From 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. The faÃ§ade, 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. In 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. The 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 NiccolÃ² 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). A squared tower crowned with medieval arches of the 14th century rises on the right of the faÃ§ade.  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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi34.png/952587c2-7882-4bd3-8f9f-fa1d4a480ad3?t=142374927663442.776648912.523263100000008Massa Martana54028[ ] Attrattoreen_US3035079https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-faustinoAbbazia di San Faustino â San Faustino AbbeyStanding 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 AbbeyStanding 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 faÃ§ade, reporting the positive opinions of the local inhabitants about the Roman official. The 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. Use of Roman materials can also be seen in the three metopes which can be found on the faÃ§ade as well as in the apse area. The first documentation mentioning the abbey of San Faustino dates back to 1104. The 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 faÃ§ade, which was restored in 1956, is an airy portico.  In the upper part of the faÃ§ade 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. Externally the apse is supported by pillars and there is a low a rectangular window which gives light to the crypt. The 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. After this, the sarcophagi were buried, the floor was levelled out and the main altar was raised. With 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. Today, 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 culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744143.442952212.44858929999998Massa Martana54028[ ] Attrattoreen_US3034975https://www.umbriatourism.it/web/umbria/-/abbazia-dei-santi-fidenzio-e-terenzioAbbazia dei Santi Fidenzio e Terenzio - Massa MartanaThe 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 MartanaThe 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 faÃ§ade presents the portal under a round arch and an elegant mullioned window with two lights, adding a finishing touch. Following 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.7836463999999912.509375699999964Massa Martana54028[ ] Attrattoreen_US2140810890566https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-felice-massa-martanaChurch of San Felice - Massa MartanaIn 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, BorgoChurch of San Felice - Massa MartanaIn 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 faÃ§ade, 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. A 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. Two 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.776648912.523263100000008Massa Martana54028[ ] Attrattoreen_US2137971290566https://www.umbriatourism.it/web/umbria/-/teatro-della-concordia-marscianoTheatre of Concordia - MarscianoThe 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 - MarscianoThe 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. In 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. In 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.951721712.323481600000036Marsciano54027[ ] Attrattoreen_US2137959190566 | 32784555https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giovanni-battista-marscianoChurch of San Giovanni Battista - MarscianoThe church of St. John the Baptist is located in the square, the center of Marsciano.Church of San Giovanni Battista - MarscianoThe 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 worshiphttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.951721712.323481600000036Marsciano54027[ ] Attrattoreen_US2137947690566https://www.umbriatourism.it/web/umbria/-/museo-dinamico-del-laterizio-e-delle-terrecotteDynamic Museum of Brick and TerracottaThe 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 TerracottaThe 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. Since 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.951721712.323481600000036Marsciano54027[ ] Attrattoreen_US273501190518https://www.umbriatourism.it/web/umbria/-/usigniUsigniThe 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.UsigniThe 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. The 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. The 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. Poggiodomo | Discovering the Valnerinahttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.711309212.935060000000021Poggiodomo54042[ ] Attrattoreen_US2424702690438https://www.umbriatourism.it/web/umbria/-/museo-laboratorio-dell-appennino-umbroMuseo - Laboratorio dell'Appennino UmbroThe museum is located in the center of Polino, inside the fortress.Museo - Laboratorio dell'Appennino UmbroThe museum is located in the center of Polino, inside the fortress. 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. The workshop-museum offers an opportunity to learn, through models and other interactive multimedia systems, the evolutionary history of the Umbria. The 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. Not 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. After 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 historyhttps://www.umbriatourism.it/documents/10184/87120/ferentillo+-+polino-+arrone/10de9e76-7e34-4c29-b261-05c244d635d8?t=145433446774242.583438412.844417600000043Polino55027[ ] Attrattoreen_US2484853790438https://www.umbriatourism.it/web/umbria/-/castello-del-poggio-otricoliCastello del Poggio - OtricoliPoggio 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 slowCastello del Poggio - OtricoliPoggio 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.   Otricoli | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.422031912.477659499999959Otricoli55024[ ] Attrattoreen_US1713235112907185 | 22371268https://www.umbriatourism.it/web/umbria/-/sposarsi-non-e-mai-stato-cosi-teatraleTheatre, prestigious wedding locationIf marriage has always been the most profoundly sincere act recognising love, it's also true that there is an extraordinary way to say I do .. acting (but not too much!). Wedding in Umbria, getting married in Umbria, Umbria wedding, Umbria for spousesTheatre, prestigious wedding locationGetting married has never been so... theatrical If marriage has always been the most profoundly sincere act recognising love, it's also true that there is an extraordinary way to say I do .. acting (but not too much!).  Concordia Theatre A small typically Italian gem rises in the small Umbrian village of Monte Castello di Vibio, enclosed in less than 100 square metres. The Concordia theatre is the world smallest theatre; built in 1808, it reproduces the typical Italian theatre structure in miniature, with classic proportions and high-level acoustics. The typical wooden structure supports two tiers of boxes and an orchestra for a total of just 99 spectators. All its peculiarities make it a true exclusive artwork, and it is also an original location for getting married onstage. On their most important day, the couple can take the spotlight with this original and creative location to share with friends and family. Singing, enacting love poems or dancing; there are those who choose the fairy tale, with the triumphant arrival on board an elegant coach drawn by white horses, while others take a jump back in time by wearing historical costumes of the medieval Monte Castello.   The Mancinelli Theatre The Mancinelli Theatre is an elegant and refined place where saying the fateful I do and in which the entire celebration becomes a theatre invitation. Few steps from the Orvieto's cathedral, the Mancinelli Theatre is a neoclassical building, considered among the finest examples of  19th century Italian theatre architecture. The location where the civil ceremony is celebrated is the very elegant foyer, which is particularly welcoming, with a beautiful gallery with an entirely frescoed barrel vault; the gallery is an ideal location to set up the wedding feast. The exchange of vowstraditionally takes place in the central hall, whereas the orchestra is the most evocative area for taking pictures of the day's stars. There's no better location than the most evocative Umbrian theatres to feel like the true protagonists of your most beautiful day. [ ] Attrattoreen_US2424675190518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-carloChiesa di San Carlo BorromeoThis 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 BorromeoThis parish church was built in 1635 to replace the now-gone Church of St. Anthony of Padua, located within the castle walls. <div>A Renaissance-style portal opens on the wide faÃ§ade. It has one single nave with a square presbytery. There are nine wooden altars of the 17th and 18th century, of which eight are along the sides of the nave and were donated by the noble families of the village. The high altar is dedicated to St. Carlo Borromeo with the wooden statues of St. Macario and St. Rocco on both sides. The high altar is surmounted by a big crucifix with two angels. The base of the right column of the high altar and the chancel carry the emblem of the âCongregation of Landownersâ, that will later become the emblem of the Poggiodomo Municipality.</div> <div> </div> Poggiodomo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.711309212.935060000000021Poggiodomo54042[ ] Attrattoreen_US2214363290566https://www.umbriatourism.it/web/umbria/-/chiesa-dei-santi-filippo-e-giacomoChurch of Santi Filippo e GiacomoThe Church of Santi Filippo e Giacomo is on Piazza Vittorio Emanuele II, the main square of Monte Castello di Vibio.Church of Santi Filippo e GiacomoThe Church of Santi Filippo e Giacomo is on Piazza Vittorio Emanuele II, the main square of Monte Castello di Vibio. The church was built in 1851, funded by Popes Gregory XVI and Pius IX, on the site of a smaller previous church. The neoclassical-style building has a very simple facade with a semicircular window recently completed with stained glass. The church has a rectangular plan divided into three naves ending in semi-circular apses. The interior is decorated with remarkable frescoes on the vault, the walls and pillars, created by the artist Nicola Perugia Benvenuti and his brother Federico. At the center of the presbytery it is situated the imposing main altar flanked by statues of San Filippo and San Giacomo, and dominated by the miraculous image of the Madonna of Portenti. Also worth noticing are the baptismal font and the sacred olea with patterns and finely carved figures, and the so-called Holy Arm in silver,which holds a ring and bracelet, relics of Saints Filippo and Giacomo. Monte Castello di Vibio | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.837947212.348275400000034Monte Castello di Vibio54029[ ] Attrattoreen_US2100866490590https://www.umbriatourism.it/web/umbria/-/rocca-di-gualdo-cattaneoThe fortress of Gualdo CattaneoThe 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 castlesThe fortress of Gualdo CattaneoThe 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. The fortress, called âOf  the Borgiasâ in honour of Pope Alexander VI, was completed in 1500 and different skilled workers contributed to its construction. The fortress has a triangular shape with rounded and truncated cone-shaped towers at each corner, that correspond to others through underground walkways. The 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. The 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 <a href="/-/gualdo-cattaneo-il-borgo-dei-castelli">castles </a>(such as St. Terenziano, Grutti, Torri, Barattano and Cisterna). In 1624 Galileo Galilei stayed here and wrote âItâs a small compendium of the universeâ. Gualdo Cattaneo | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.912049612.556193399999984Gualdo Cattaneo54022[ ] Attrattoreen_US2421780990422https://www.umbriatourism.it/web/umbria/-/porta-marziaPorta MarziaThe 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 MarziaThe 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. An 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. The 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. Between 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 historyhttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US2222936790494https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-di-mongiovino-panicaleSanctuary of the Madonna di Mongiovino - PanicaleThe 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 - PanicaleThe Sanctuary of Mongiovino or of the Madonna di Mongiovino is within walking distance of Panicale (about 7 kilometres) and just beneath the ancient Castle of Mongiovino.  It was built in 1524 by Rocco da Vicenza to replace a more ancient chapel which housed a miraculous picture of the Madonna. The sandstone sanctuary has a Greek cross plan and an octagonal cupola supported at its interior by four pillars. The portals of the building are also remarkable and are the work of the same Rocco, Giuliano da Verona, Bernardino da Siena and Lorenzo da Carrara. The interior presents a square plan with four chapels on its corners and the main chapel preserving the miraculous painting. Among the notable works there are the Deposition from the Cross by Arrigo Fiammingo, a Resurrection by NicolÃ² Pomarancio, the Coronation of Mary depicted on the cupola by Mattia Batini and other important sacred images including especially the miraculous image representing the Virgin and Child, of the 14th century. Beyond the pictorial works, other noteworthy pieces are the main altar in stone and the terracotta statues located in the niches of the organ and executed by Bevignate da Perugia and Arrigo Fiammingo. Panicale | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.028628112.097475300000042Panicale54037[ ] Attrattoreen_US125229https://www.umbriatourism.it/web/umbria/-/area-archeologica-della-guastugliaArchaeological area of GuastugliaThe archaeological area extends to the plains, beyond the western medieval wall of Gubbio...  Archaeological area of GuastugliaThe archaeological area extends to the plains, beyond the western medieval wall of Gubbia, in an area between the Viale del Teatro Romano â Via Matteotti, alongside the Porta degli Ortacci, and Viale Parruccini â Via Ubaldi â Via Perugina. From the end of the 2nd century B.C. in the current area of Guastuglia, opportunely levelled and terraced, the city extended which, in the Augustan age (1st century B.C.) encompassed a vast inhabited area, focussed on the theatre and surrounded by an almost constant ring of necropolises. The area of Guastuglia is the area with the most consistent remains of the Roman city, still being excavated and it represents the first guided itinerary of the city of Iguvium, with information points and explanatory panels which allow the public to enjoy the monuments. The trail can be completed with the visit to the Antiquarium, which incorporates the remains of a richly decorated Roman dwelling and it conserves various exhibits from the pre-Roman and Roman eras from the excavations of the necropolises and the city.   Description Repeated excavations have uncovered a vast area which extends about 25 hectares, densely inhabited mid-1st century B.C. as revealed by the presence of several opus signinum paintings and used continuously until at least the 4th century A.D. A little more upstream, near the porta degli Ortacci, the area now occupied by the 18th century hospital, the church of San Francesco and Piazza Quaranta Martiri, has restored a series of structures with the first building phase going back to the years between the 2nd and 1st centuries B.C., contemporaneous with the planning of the new area which was linked to a thermal installation. Further north, the sector was occupied by a large domus built on a least two levels, with opus signinum and mosaic paving. Underneath Palazzo Vispi and in its immediate vicinity, you can see some structures linked to the remains of a domus with peristalsis and some pillar bases, maybe related to a porticoed road traced out in the direction of the theatre, from which a paved stretch emerged. Further south, amongst the numerous domus, (some which cannot be visited) extended along via Buozzi, the most significant and notable is the so-called "banchetto", due to the presence of a mosaic paved area depicting a "Venere Marina" with a companion or domina, alongside Bacchus pouring wine. The emblem was inserted between the 3rd and the 4th centuries A.D. simultaneously with the restructuration of the house which occurred in the late ancient era. The remains of another domus are visible inside the Antiquarium, mostly constituted of a rich, geometrical mosaic paving in black and white in which a central polychrome, decorative motive was inserted, made up of very tiny mosaic tiles (vermiculatum technique) which depicts the episode of the ship of  Ulises and Scylla (now in the archaeological museum of Perugia). It can be dated to the end of the 2nd century B.C. and comes from a pictorial model of the Hellenistic age. The theatre (1st century B.C) is located in the centre of Guastuglia and it is one of the most capacious of the time with a diameter of over 70m which could accommodate about 6000 spectators. To the south-west of the theatre, a section of the terracing wall in opus vittatum re-emerged which here delimited the area of the Roman city. A large ceramic outlet (which can be visited on request) has been identified between this area and the church of San Biagio, containing material which can be dated between the archaic era and the end of the 2nd Century B.C. Along Via Ubaldi, you can see the  mausoleum, the so-called "di Pomponio Grecino", erroneously attributed to one of the members of an important local senate family, the son of the consul of 16 A.D. Inserted in a small area of the necropolis, the cement hub is conserved, about 9m tall. The monument can be dated to the third quarter of the 1st century B.C. In the archaeological section of the Museo Civico, placed below the palazzo dei Consoli, we can see the sequence of events of the city and of the territory of the proto-historic era to the late medieval era. In the upper room, the Tavole Iguvine are exhibited, a fundamental document of Umbrian language and religious rituals, engraved between the end of the 3rd and the start of the 1st century B.C., and composed of seven bronze tablets found in 1444 near the Roman theatre. Information and useful advice To visit the area, please contact the Antiquarium Via del Teatro Romano 06024 Gubbio <a href="http://www.archeopg.arti.beniculturali.it/">www.archeopg.arti.beniculturali.it</a>   https://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.351319312.575316599999951[ ] Attrattoreen_US335087590494https://www.umbriatourism.it/web/umbria/-/museo-del-vetroGlass MuseumThe 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 MuseumThe 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. It 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. The 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. An 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 E-mail: <a href="mailto:museodelvetro@comune.piegaro.pg.it">museodelvetro@comune.piegaro.pg.it</a> Website: <a href="http://www.museodelvetropiegaro.it/">Visit the website</a>   Piegaro | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.970053712.086352600000055Piegaro54040[ ] Attrattoreen_US11699390542 | 43534959https://www.umbriatourism.it/web/umbria/-/pozzo-della-cava-orvietoThe Well of the Quarry - OrvietoThe complex, called Pozzo della Cava, has its entrance in Via della Cava, and winds under the ancient quarter of Orvieto. The Well of the Quarry , Pozzo della Cava - Orvieto<table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> The deep well, from which the entire site takes its name, was excavated, readapting a pre-existing Etruscan well, by order of Pope Clement VII, whoâseeking refuge in Orvieto, in 1527âordered its realization to draw spring water in case of a siege. Its structure consists of two parts merged together: one has a circular crosssection, the otherâwhich is smaller and dates from the 5th â 6th century B.C.âis rectangular. Next to the well, it is possible to continue ahead on the path and visit an Etruscan cistern, some buttiâshafts used as dumping holesâa medieval wine cellar and remnants of ancient rupestrian tombs. The caves, used during medieval times and the Renaissance to produce ceramics, are also interesting. During Christmas Season, a crÃ¨che is realized inside the complex, in the caves of the well. Its arrangement is different every year and always noteworthy for its artistic execution and historical setting. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> <div style="clear:both;"> </div> Information Via della Cava 05018 - Orvieto (TR)  email: info@pozzodellacava.it sito web: <a href="http://www.pozzodellacava.it/" target="_blank">www.pozzodellacava.it</a>    <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Orvieto | Ancient historywww.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.718148612.104226299999937[ ] Attrattoreen_US85222https://www.umbriatourism.it/web/umbria/-/panica-1Panicale, the medieval village that overlooks Lake TrasimenoThe Medieval hamlet of Panicale: Perugino masterpieces and the art of embroidering tullePanicale, medieval hamlet, Trasimeno, Perugino, Tulle Museum, Ars PanicalensisPanicale, il borgo medievale che domina il TrasimenoPanicale is a picturesque medieval hamlet that has managed to maintain most of its original structure intact. It is located in an area that was once inhabited by the Etruscans and also represented a safe refuge for the Roman soldiers who survived the battle of Lake Trasimeno, won by Hannibal's Carthaginians.  Thanks to its location on the hills, it offers great views over Lake Trasimeno and the surrounding countryside and can be reached by a panoramic road that runs along fine olive groves. Before visiting the village, we suggest enjoying the views of the lake from one of the panoramic points just outside the walls, as well as the church of San Sebastiano, built between the late 14th and  15th centuries. The frescoes depict the martyrdom of San Sebastian and the Madonna on a throne with musician angels, and were painted by Pietro Vannucci, aka Perugino, the "Divine Painter". The town centre starts at the Perugina gate, which leads to the first of the three squares located on three different levels. The first, piazza Umberto I, will welcome you with its 15th century travertine fountain; in piazza san Michele Arcangelo admire the Baroque Collegiate church of San Michele Arcangelo, symbol of the religious power, and finally, on the highest point, piazza Masolino is home of the Palazzo del PodestÃ , built between the 12th and 14th centuries by the Comacine masters and whose bell tower can be seen from the valley. In the town centre, there is also the Cesare Caporali town theatre, with a rich calendar of events the whole year round. It is one of the most charming historical theatres in Umbria and it houses the stage curtain depicting mercenary captain Boldrino Panieri, from Panicale, created by painter Mariano Piervittori. The Tulle Museum inside the former church of Sant'Agostino in piazza Regina Margherita is also worth a visit. It is dedicated to Anita Belleschi Grifoni who, at the beginning of the 20th century, revived a special type of tulle embroidery called "Ars Panicalensis". A needle is used directly on the cotton or silk tulle and the method was already popular from the beginning of the 19th century, thanks to the British Heathcoat and Lurdley who, in 1809, perfected a loom to manufacture tulle, a fine and lightweight yet very strong fabric characterised by its bobbinet structure.   If you wish to learn more about the history of the town families, we suggest visiting the Mariottini Art gallery inside the Town Hall in via Pietro Vannucci, where 31 paintings depicting the men of the city are on display. Just outside the town, along the road that leads to the lake, there is the Baroque church of Madonna della Sbarra, built for a sacred image of the Virgin Mary discovered in the 16th century in a tabernacle near the town that was hidden by greenery. A few kilometres from Panicale, there are also the Sanctuary of the Madonna di Mongiovino (16th century) and the Grondici Sanctuary, with breathtaking views over the surrounding valleys. Panicale | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/Zona_panicale/e0f79e82-e9b5-46c3-a696-8cf8e89284aa?t=142365103342043.028754912.097176999999988[ ] Attrattoreen_US2245726490494https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-delle-grondici-panicaleSanctuary of the Madonna delle Grondici - PanicaleThe 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 - PanicaleThe Sanctuary of the Madonna delle Grondici is located in a really evocative panoramic position near Tavernelle, a village in the district of Panicale.  It was built in the 15th century to protect a Madonna painted on a votive shrine that according to legend, revived a child. The word âgrondiciâ, meaning âunder-eavesâ identifies the part of the roof protruding from the external wall of a building, the eaves. The medieval theology thought that the souls of children who died without having been baptised would go to limbo and, consequently, they could not be buried in hallowed ground. Parents whose children were dying unbaptised would bring them to the Sanctuary, in the hope that they could still give some signs of life and receive both the Sacrament of Baptism and a religious burial. If this didnât happen, the child was buried under the eaves; the name of Madonna delle Grondici developed over time from here. The temple, totally renovated in recent years, was guided by hermits until the beginning of the 20th century. Inside 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.0030304000000112.148123800000008Panicale54037[ ] Attrattoreen_US2225790790494https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-sebastiano-panicaleChurch of St. Sebastian - PanicaleThe 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 - PanicaleThe church of San Sebastiano was certainly built between the 14th and 15th centuries and was modified to its present form in 1623. It was adorned with capitals, cornices, two altars and two small choirs. Inside the church you can see the fresco of The martyrdom of St. Sebastian, by Pietro Perugino. Outside the Church in the upper left part there are two terracotta panels bearing the dates 1690 and 1725, and itâs possible to find the date 1692 in the external part of the garden. Itâs very difficult to interpret these three dates. It is assumed that the date 1690 refers to the year when Nuns took possession of the building thanks to a legacy from Monsignor Paolo Corsetti to the College of Virgins. Very probably the date 1725 could refer to another legacy to the College. The last date, 1692, certainly refers to the building of the surrounding wall at the initiative of the Collegeâs Nuns.                                                                                                             [Source: www.comune.panicale.pg.it] Panicale | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.028628112.097475300000042Panicale54037[ ] Attrattoreen_US112193https://www.umbriatourism.it/web/umbria/-/museo-del-tulle-anita-belleschi-grifoni-panicaleAnita Belleschi Grifoni" Tulle Museum - PanicaleInaugurated in 2001, the Museo del Tulle "Anita Belleschi Grifoni" has its premises in the 1500s Church of Sant'Agostino, in Panicale, restored so that it could conserve and exhibit the numerous embroidered Tulle manufactured articles that had been spread around in private hands and in town churchesAnita Belleschi Grifoni" Tulle Museum - PanicaleInaugurated in 2001, the Museo del Tulle "Anita Belleschi Grifoni" has its premises in the 1500s Church of Sant'Agostino, in Panicale, restored so that it could conserve and exhibit the numerous embroidered Tulle manufactured articles that had been spread around in private hands and in town churches. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> Embroidery on Tulle was a needle activity, performed with material such as cotton and silk. It was already widespread starting from the first decades of the 19th century, thanks to the improvement in technique made by the English Heathcoat and Lurley, in 1809, with the introduction of a loom that mechanically produced Tulle, a very fine and vaporous netting fabric, which is light but at the same time very resistant. Tulle in fact is a fabric characterized by the typical machine made structure of interlaced fibersâproducing small hexagonal designsâcalled "bobbinet", a perfect base for laces. This embroidery technique, born to offer a production similar to the hand made one, like the needle-lace or the "Tombolo" and "Fuselli"ârespectively âpillow' and âbobbins'âmade lace, was practiced by the nuns of the Collegio delle Vergini di Panicale and taught to the young girls, pupils of the College up until 1872, year of its closure. During the 1930s, this traditional activity was revived by Anita Belleschi Grifoni, a lady from Panicale who improved the techniques, revised designs and simplified the stitches. Convinced of the economic and social potentiality of this traditional activity, an exclusively women's activity, Anita Belleschi Grifoni founded a school and created its trademark, the "Ars Panicalensis". From the beginning, 1936, the company entered into a sort of collaboration with the ENAPIâEnte Nazionale per l'Artigianato e le Piccole Industrieâand also entered into contact with many contemporary artists, who produced designs and models to reproduce in the form of laces. Thanks to Anita's initiative and to her numerous social relations, but also to the contained cost of the manufactured products, the Ars Panicalensis embroidery became cÃ©lÃ¨bre among nobles and the families of the middle class and higher classes, to the point that some of its samples were also sold to the royal family of Savoia and to the princes of Torlonia. The school, like previous and analogous experiences of the region, also had the aim of providing women with their own economic independence and personal self-realization through the production and commercialization of their handmade work. After the death of Anita Belleschi Grifoni and the closure of her school, some lace makers continued to keep this traditional technique alive. </td> </tr> </tbody> </table> Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Piazza Regina Margherita <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06064 - Panicale (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: info@panicaleturismo.it   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Panicale | Weaving, lace and embroidery | Places of culturehttp://www.umbriacultura.ithttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.02859212.09741699999995[ ] Attrattoreen_US2424665290494https://www.umbriatourism.it/web/umbria/-/museo-paleontologico-luigi-boldrini-"Luigi Boldrini" Paleontological MuseumSince 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 MuseumSince 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.962700112.084799800000042Piegaro54040[ ] Attrattoreen_US2418897290494https://www.umbriatourism.it/web/umbria/-/collegiata-di-san-michele-arcangeloThe Collegiata Church of Michele ArcangeloThe collegiate church of San Michele Arcangelo is the parish church of Panicale. The Collegiata Church of Michele ArcangeloThe collegiate church of San Michele Arcangelo is the parish church of Panicale.  It was built in 1618 by Pope Paul V over an earlier Romanesque church whose faÃ§ade was retained. The church was restored in 1696. The building is mainly tiled. The frames of the entrance doors are in travertine and sandstone. In the back of the church is a sandstone niche. Inside there is a painting of the Madonna and Saints by Perugino, a painting by Giovan Battista Caporali and a Presepio with the Padre Eterno. Panicale | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/panicale/5609922a-add6-4161-84fc-6770f24d786a?t=145433455496243.028628112.097475300000042[ ] Attrattoreen_US2798148090454https://www.umbriatourism.it/web/umbria/-/pieve-di-santa-maria-pietralun-1Parish church of Santa Maria - PIetralungaThe parish church of Santa Maria rises majestically in Pietralungaâs Piazza Fiorucci.The parish church of Santa Maria rises majestically in Pietralungaâs Piazza Fiorucci. <div>Its foundation dates back to the 7th-8th centuries as its title, one of the oldest of the ecclesiastical organization of the Diocese of CittÃ di Castello, with which the Archpriest is installed as canon ab immemorabili extra muros (beyond the town walls since time immemorial), attests.</div> <div> The church faÃ§ade 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. The 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. The present flat and square presbytery was built in the area of the ancient entrance. On 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. </div> Pietralungahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.465014712.426595200000065Pietralunga54041Pietralunga[ ] Attrattoreen_US122730https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-lago-di-corbaraVini Doc e Docg Lago di CorbaraLake Corbara is a man-made lake formed in the 1960s with the construction of a hydroelectric power plant along the River Tiber.  Its rugged shores continue for several kilometres into a gorge, almost as far as Todi, and it is flanked on the flatter side by vineyards and olive groves. Wine-growing has always been extremely important in this area, and the climate is ideal for the production of various white and red wines. The more traditional Umbrian varietals of Grechetto and Sangiovese have been joined by various other Italian and international grape varieties such as Chardonnay, Sauvignon, Vermentino, Cabernet Sauvignon, Merlot and Pinot Nero, which find the local climate to be particularly favourable.   Orvieto | Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.716833712.251930799999968[ ] Attrattoreen_US40893260https://www.umbriatourism.it/web/umbria/-/sapori-della-terra-2019-fagiolo-secondo-del-piano-di-orvietoFagiolo secondo del Piano di OrvietoLâoro bianco dellâorvietano, salvato dallâestinzione grazie allâimpegno dei coltivatori locali.fagiolo, orvieto, umbria, slow food, presidio, prodotti tipici, legumi, zuppe, ricette, cucina umbra, celiachia, gluten free, vegetariani, piatti vegetariani, alimentazione sana, sport, cibi per sportivi, cosa mangiare, cose da mangiareFagiolo secondo del Piano di OrvietoLâoro bianco dellâorvietano, salvato dallâestinzione grazie allâimpegno dei coltivatori locali. Il nome di questo fagiolo ne spiega da sÃ© le particolaritÃ : il âPiano di Orvietoâ Ã¨ la pianura alluvionale che si stende lungo il corso del fiume Paglia, nel comune di <a href="https://www.umbriatourism.it/it_IT/-/orvieto" target="_blank">Orvieto</a>. Si tratta di un terreno permeabile e perciÃ² ideale per la semina di questa varietÃ di fagioli âsecondiâ perchÃ© 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. La 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. Con il Secondo Dopoguerra la coltivazione del Fagiolo secondo di Orvieto ha rischiato di scomparire: solo la buona volontÃ 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 Diversamente da altre varietÃ di legumi, non câÃ¨ 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 puÃ² essere utilizzato anche per preparare specialitÃ a base di fagioli come i âfagioli allâuccellettoâ, piatto tipico del centro Italia. Orvieto | Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.718615212.1087907Orvieto55023[ ] Attrattoreen_US46856066https://www.umbriatourism.it/web/umbria/-/unesco-riserva-mondiale-della-biosfera-unesco-del-monte-pegliaRiserva Mondiale della Biosfera Unesco del Monte PegliaLa 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.La Riserva Naturale del Monte Peglia si trova nel ternano, racchiusa tra i bacini fluviali del fiume <a href="https://www.umbriatourism.it/it_IT/-/parco-fluviale-del-teve-1" target="_blank">Tevere</a>, 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<a href="https://www.umbriatourism.it/it_IT/-/parco-del-lago-trasimeno" target="_blank"> Lago Trasimeno</a>, mentre a sud si possono trovare rilievi di altezza maggiore, tra i quali spicca il Monte Peglia. Lâintera Riserva, compresa nei quattro comuni di <a href="https://www.umbriatourism.it/it_IT/-/san-venanzo" target="_blank">San Venanzo</a>, <a href="https://www.umbriatourism.it/it_IT/-/orvieto" target="_blank">Orvieto</a>, <a href="https://www.umbriatourism.it/it_IT/-/parrano" target="_blank">Parrano </a>e <a href="https://www.umbriatourism.it/it_IT/-/ficulle" target="_blank">Ficulle</a>, non ha mai conosciuto il forte incremento demografico di altri centri della Regione: le localitÃ e i piccoli borghi che ne punteggiano i 40 mila ettari non hanno mai sfruttato intensamente le risorse del territorio, conservando la grande varietÃ di flora che abita i boschi della zona, da secoli rimasta pressochÃ© 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.  Sul Monte Peglia si trovano giacimenti preistorici risalenti a piÃ¹ di 700.000 anni fa, e i vulcani spenti di San Venanzo, sorto sul crinale di uno di essi, dove Ã¨ 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. Non che lâattivitÃ umana sia stata completamente assente: di particolare interesse per chiunque voglia esplorare la zona, oltre ai percorsi aperti e segnati piÃ¹ recentemente, Ã¨ lâantico sentiero che dal piccolo borgo di Poggio Aquilone si inoltra nella Riserva per raggiungere Parrano e le sorgenti termali delle â<a href="https://www.umbriatourism.it/it_IT/-/tane-del-diavolo-parrano" target="_blank">Tane del Diavolo</a>â. Poco piÃ¹ a nord, gli appassionati di arte possono invece visitare la <a href="https://www.umbriatourism.it/it_IT/-/convento-della-scarzuola-e-citta-buzziana-montegabbione" target="_blank">Scarzuola</a>, dove a partire da un convento duecentesco lâartista milanese Tommaso Buzzi ideÃ² e costruÃ¬ la sua visionaria âCittÃ Idealeâ. La percezione che si ha camminando tra questi boschi, o esplorando lo stile di vita âlentoâ dei centri piÃ¹ o meno grandi della zona, come Ficulle, <a href="https://www.umbriatourism.it/it_IT/-/castello-di-montegio-1" target="_blank">Montegiove </a>col suo castello o Orvieto, âcittÃ slowâ per eccellenza, Ã¨ 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: <a href="https://www.montepegliaperunesco.it/" target="_blank">www.montepegliaperunesco.it</a> [ ] Attrattoreen_US122412https://www.umbriatourism.it/web/umbria/-/grechetto-o-grechetto-di-orvieto-Vini DOC e DOCG Orvieto - Grechetto di OrvietoLâOrvieto DOC Ã¨ tra i vini umbri piÃ¹ famosi e rappresenta la maggioranza dellâarea vitata della regione. I vigneti che lo producono si trovano su entrambi i lati del Paglia, il fiume che scorre attraverso la cittÃ di Orvieto verso il Tevere. I terreni tufacei e il substrato roccioso, che contraddistinguono questâarea, oltre ad essere adatti alla realizzazione di cantine dove conservare il vino, contribuiscono in maniera profonda alla qualitÃ del terroir locale. La storia La tradizione vinicola dellâOrvietano ha radici antiche. Gli Etruschi avevano scavato cantine nel massiccio di tufo che caratterizza la zona: nel fresco di queste grotte la fermentazione si completava solo dopo parecchi mesi, lasciando al vino un residuo zuccherino che contribuÃ¬ notevolmente a decretarne il successo. I Romani lo esportarono fin nelle Gallie. E come forse pochi sanno, per secoli alcuni Papi della vicina Roma hanno apprezzato questo vino bianco, prodotto in prevalenza con uve di grechetto e procanico: Paolo III Farnese ne era particolarmente ghiotto, mentre Gregorio XVI volle addirittura che il suo corpo fosse lavato con questo vino prima di essere inumato. Il vino Oggi la zona dellâorvietano prevede due distinte Doc che si sovrappongono per lâintero territorio: <ul> <li>Orvieto; il bianco tradizionale, prodotto per secoli, oggi Ã¨ un vino secco, con profumo di pesca e un profilo pulito e fresco. Il suo disciplinare â insieme a quello del rosso â Ã¨ stato aggiornato verso unâulteriore tipicizzazione dei vini, con la previsione di un minimo di 40% di grechetto (vitigno tipico della zona) e un minimo di 20% e massimo di 40% di trebbiano o procanico (nome dato nella zona al trebbiano appunto). Tra le tipologie della Doc Orvieto sono stati introdotti anche la Vendemmia tardiva e la Muffa nobile, due pregiati vini passiti da bacca bianca.</li> <li>Rosso orvietano; a seguito della semplificazione del disciplinare di produzione, per questa tipologia Ã¨ previsto il tipo âRosso orvietano o Orvietano rossoâ ottenuto con uve Aleatico, Cabernet Franc, Cabernet Sauvignon, Canaiolo Rosso, Ciliegiolo, Merlot, Montepulciano, Pinot Nero, Sangiovese, da soli o congiuntamente per almeno il 70%.</li> </ul> Il Grechetto Ã soltanto nel 1975 che, grazie a uno studio condotto dallâUniversitÃ degli Studi di Perugia, si Ã¨ riusciti a definire, almeno formalmente, le differenze tra le due tipologie di Grechetto maggiormente coltivate in Umbria, quello di Orvieto e quello di Todi. Appartenente alla famiglia dei Greci, Ã¨ uno dei piÃ¹ antichi vitigni in Italia, arrivato probabilmente nella nostra penisola in epoche diverse ma proveniente dalla stessa macroarea geografica. Ã un vitigno molto diffuso in tutta la regione, spina dorsale della maggioranza dei vini bianchi prodotti tanto in provincia di Perugia quanto in quella di Terni, a partire proprio dalla Doc Orvieto. Il Grechetto, quando vinificato in purezza, dÃ origine a un vino giallo paglierino caratterizzato da lievi profumi fruttati e floreali, di buon grado alcolico e aciditÃ . Tradizionalmente utilizzato in assemblaggio, soprattutto ad Orvieto, Ã¨ unâuva che, per le sue naturali caratteristiche, si presta molto bene anche alla produzione di vini dolci. Suggerimenti Oltre ad assaggiare questi ottimi vini, potete visitare la splendida <a href="https://www.umbriatourism.it/-/orvieto">Orvieto</a>. Appoggiata su una grandiosa rupe di tufo, la cittÃ sorge su un luogo che era abitato ancor prima degli insediamenti etruschi. Annessa allo Stato Pontificio nel XV secolo, fu per lungo tempo una meta prediletta da tanti papi romani. A testimonianza di questo suo ruolo centrale nella Chiesa Ã¨ il <a href="https://www.umbriatourism.it/-/duomo-di-santa-maria-assunta-in-cielo">Duomo</a>, una delle piÃ¹ belle cattedrali in Italia e capolavoro dellâarchitettura gotica nazionale. Wine and oilhttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi27.png/640a50e9-cdc3-468d-ba5d-44bd5bd16db0?t=142374927533742.718506812.110744599999975[ ] Attrattoreen_US92577https://www.umbriatourism.it/web/umbria/-/la-ceramica-di-orvietoThe ceramics of OrvietoThe history and characteristics of Orvieto ceramics: from Etruscan buccheri to the galletto of Orvieto.Ceramics of Orvieto, buccheriOrvieto and Etruscan ceramicsThe tradition of ceramics  in Orvieto dates back thousands of years, to the time of the first human settlements. In Etruscan times, it experienced a very important stage, with the production of buccheri:   pottery based on highly refined clay, worked on the wheel and uniformly black, given to it being fired in charcoal and in the absence of oxygen. However, it was in the Middle Ages that the archaic majolica of Orvieto experienced its unquestioned primacy, becoming a "model" for other Italian manufacturing centres: its  heyday was between the end of the 13th and middle of the 15th centuries, with manufacture in brown and green on white enamel, adorned with retina decorations in the background and rich forms with images of birds, fish, animals, humans and beasts with human heads. In the 15th century, the "Vascellari" â as the master craftsmen were called â introduced new colours such as yellow and cobalt blue, as well as new decoration techniques such as engraved engobing, green relief â known as "zaffera". If you fancy a walk among the ruins, you can still see the once major sites of manufacturing in Orvieto: the 15th-century furnace near the Pozzo della Cava or the nearby factory that was in operation until the mid-16th century. The rediscovery of the archaic majolica, with the medieval finds extracted from the kitchen "waste" from residential buildings and homes, encouraged the reworking of ancient forms and decorations, adapted to the new local artisan production and evoking the motifs of the past: in the interwar period, the manufacture of the famous pitchers with a protruding wide spout (galletto) began. Finally, worthy of note is the fact that the mosaic tiles of the beautiful facade of the medieval Duomo di Orvieto, expertly alternating with sculptural elements,  are produced locally and, as of this artistic event, were widely known under the name of "Orvieto style" Orvieto | Ceramicshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi26.png/8b68a78b-6333-44e9-8966-aed87daed4e6?t=142374927514542.718506812.110744599999975[ ] Attrattoreen_US2358901390542https://www.umbriatourism.it/web/umbria/-/chiesa-del-santissimo-crocefissoChiesa del Santissimo CrocefissoJust outside the north gate of Monteleone di Orvieto, along the Umbro Casentinese road, is the Church of the Santissimo Crocifisso.Chiesa del Santissimo CrocefissoJust outside the north gate of Monteleone di Orvieto, along the Umbro Casentinese road, is the Church of the Santissimo Crocifisso. The building, dating back to the 17th century, was the object of a drastic restoration after a long period of decline and neglect: it reopened for worship on August 15, 2004. In the place where the church is now there was a small chapel on whose back wall was painted a Crucifixion: many miracles were attributed to the image of the most holy crucifix and its altar collected enormous alms. In 1601 the municipality of the time, urged by the population, asked the Ecclesiastical Authority for permission to build a church around this little chapel. The construction began by the architect Francesco Scalza of Orvieto, son of the famous Ippolito, and the Community took on much of the expenditure. Various problems brought huge delays; not least those related to the events of the conflict between the Farnese and the Pope for supremacy on the Duchy of Castro. The six paintings of the pilasters, with motifs related to the Passion of Christ, are of that period. The church was open for worship only in 1633. In the new church the altar was the back wall with the image of the crucifix of the small original chapel. The place of worship was associated with the Confraternita della Morte, a pious old institution that, since that time, has been called the Confraternita della Morte e del Santissimo Crocifisso. Almost a century later, in the early 1700s, the wooden altar framing was built. During the 1700s the two side chapels were built. After various transformations they were dedicated to Our Lady of Good Counsel, an image greatly venerated by citizens of Monteleone, and Our Lady of Sorrows, located to the right, which houses the statue used in the Good Friday procession.     [Source: www.comune.monteleone.tr.it] Monteleone d'Orvieto | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.92144312.053922599999964Monteleone di Orvieto[ ] Attrattoreen_US125550https://www.umbriatourism.it/web/umbria/-/merletto-di-orvietoOrvieto LaceOrvieto and lace: a tradition able to renew itself by blending the old with the modern.merletto, orvieto, umbriaOrvieto e il merletto: una tradizione capace di rinnovarsi trovando connubi tra antico e modernoThe art of crochet lace in Orvieto was called "Trina d'Irlanda" and has been around since the XVII century. In the early 1900s Ars Wetana was founded to promote this craft with entirely local characteristics, copying details and artistic motifs from the city's cathedral. The idea for the project was launched by the Senator Count Eugenio Faina and realised by his son, Claudio, who set up a fund for a simple but remarkable work women could do at home to earn some income for themselves. The lace is unique in its genre, both for its technique and the designs that become veritable works of art, like centre pieces and decorative additions to clothing and household linens. The technique comprises various phases that can be done by more than one person, each one specialised in a particular phase. The main tools are a crochet hook and very thin thread. A design is drawn on paper and then traced onto a densely woven fabric. The ornament is made based on the design and sewn onto the cloth. At the end, the base unites all the pieces: the design and the central part made up of rounds, with a netting that can be of a different shape and picots that refine the work. A detail worthy of note is the special ironing technique with starch, done with unusually shaped heated irons with rounded points which create the bas-relief effect of the design that so distinguishes Orvieto crochet lace. Passion for this tradition remains very much alive today and the ancient art of lace making has now been enriched with new and original shapes. Experts base their work on ancient designs and have created an entirely individual style where traditional knowhow results in new creations with materials that are seemingly far from traditional. Leather, knitwear and uncommon fabrics have become rightful members of this remarkable world of fashion and home dÃ©cor, serving as decorations on shoes, wedding dresses, lamp shades, chairs and other items created for a clientele that is both refined and discerning, clients who appreciate the inestimable value of handcrafted beauty. Orvieto | Weaving, lace and embroideryhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.718506812.110744599999975[ ] Attrattoreen_US125201https://www.umbriatourism.it/web/umbria/-/area-archeologica-del-tempio-del-belvedereArchaeological Area of the Temple of BelvedereThe temple, from the Etruscan era, is located at the far northern end of the city, on a panoramic clearingORVIETO TRThe temple, from the Etruscan era, is located at the far northern end of the city, on a panoramic clearing. Between the 5th and 6th centuries B.C., it was a building of worship probably linked to the underworld, as revealed by some excavated structures and a black, varnished vase with a painted dedication to Tinia (the name of the great Etruscan divinity, corresponding to the Roman Jupiter) calusna: a Jupiter with "Chthonic" aspects. This is the best conserved monument of Etruscan Orvieto and has always been considered as one of the canonical examples of  Etruscan sacred architecture. Today the temple is within the PAAO (Parco Archeologico e Ambientale dell'Orvietano - the Orvietan Environmental and Archaeological Park), a project which focuses on enhancing archaeological heritage in relation to the various natural resources. Pieces of architectural terracotta from the building, of exceptional quality, are displayed both at the Museo Claudio Faina and the Museo Archeologico Nazionale of Orvieto museums. The temple, of which walls and foundations remain, was discovered in 1828 following construction works of via Cassia Nuova. The remains show a floor of a building set out with an entrance hall, (the front part) with four columns on the front, behind which an area opens out with three cells alongside with the central part being wider than the side parts. The temple, facing south-east, rises on a high rectangular podium which is 21.9 m long, while the width of the front part (16.3 m) and the back (16.9 m) are asymmetrical with no clear reason as to why this is so. Access was made via a centrally placed ramp and opposite the entrance, closed in by a quadrangular area. The area was probably excavated in tufa behind the temple and covered in cocciopesto (lime mortar with crushed pottery), with benches along the three walls and the other remains of the structure and a cistern which has been excavated more recently are linked to the cult which was practised in the holy area. As a whole, the style of the temple falls into the category of typical temple buildings defined as "Etruscan-Italian" whose appearance is discussed by Vitruvius (1st century B.C) in his fundamental text De Architettura, which also mentioned a quantity of painted terracotta which cover rafters and structures; pediments which showed even complex pictures, with well-rounded statues in polychrome terracotta of great effect. During the excavation a conspicuous quantity of architectural terracotta was recovered, connected to at least two building phases: a small number of fragments and some matrices belong to the oldest phase (the second half of the 6th century to the start of the 5th century B.C.). From the second phase (end of the 5th century B.C.), which is well-documented, various fragments related to the high-reliefs of the back pediment have survived. These depict a scene with various characters with significant stylistic similarities to the Magno Greco environment, in particular with the works of Phidias. Only a few fragments of terracotta belong to a later phase, relating to interventions to substitute elements which had deteriorated over time. Information and useful advice It is easy to get to the area from Piazzale Cahen, going down Viale Crispi. From Orvieto Scalo, you can use the funicular or direct shuttle minibus to the various areas of the city centre. Likewise, from the Railway station you can go to the city centre using the Funicular and Minibus Alternative Mobility System.  https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.718506812.110744599999975[ ] Attrattoreen_US2496318890454https://www.umbriatourism.it/web/umbria/-/collegiata-di-santa-maria-e-san-gregorioCollegiata di Santa Maria e San GregorioThe collegiate of St. Mary of the Assumption owes its current style and appearance to the second half of the 1600.Collegiata di Santa Maria e San GregorioThe collegiate of St. Mary of the Assumption owes its current style and appearance to the second half of the 1600. <div>It represents the extension of a lower 14th century church, without the current apse and the side chapels. It has been called âChurch of St. Mary of the Assumption (in heaven) until, for convenience of the population, it became the parish church in place of an earlier one, with the privilege of having an Episcopal See and a college of Canons. Since then it took the name of âChurch of St. Gregorioâ or âCollegiateâ. In 1661 it was restored by the canon Giovanni Pazzaglia and assumed its present form. The building, with a Latin cross plan, has a single aisle and an extraordinary wooden ceiling. Its interior hosts the âNunsâ Chapelâ, so called because of the adjacent convent of the Clares. They preserve the Holy Thorn (donated to the population of Montone by Carlo, son of Braccio Fortebracci and displayed to the public only on Easter Monday and on the penultimate Sunday of August of each year). The church is rich with frescoes and canvasses, such as The Last Supper, an artwork above the sacristy door by the Flemish Calvaert. The vault fresco was painted by Giovanni Parenti, leader of the Florentine Academy. It dates to the first half of the 1700s and represents the apostles waiting for the descent of the Holy Spirit.</div> <div> </div> <div>[Source:<a href="http://www.montonein.it"> www.montonein.it</a>]</div> Montone | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.362322812.32368729999996Montone54033[ ] Attrattoreen_US2476016290518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-giovanniChiesa di San Giovanni BattistaThe church dedicated to San Giovanni Battista in Vallo di Nera was built during the 13th and 14th centuries. In the 16th century the absidal part was enlarged and partially rebuilt (the date is engraved on the left corner of the facade).Chiesa di San Giovanni BattistaThe church dedicated to San Giovanni Battista in Vallo di Nera was built during the 13th and 14th centuries. In the 16th century the absidal part was enlarged and partially rebuilt (the date is engraved on the left corner of the facade). The faÃ§ade, bell tower, the portal and the rose window date to that period. Inside the church there are important works of art: a baptismal font of the 16th century, a fresco of 1536 by Jacopo Siculo, in the apse, the Transit of the Madonna, a splendid example of the school of Raphael of the 16th century, a PietÃ and symbols of the Passion by the same artist, a graceful Holy Oil of 1504, many paintings of the 16th century as well as some relics covering the period from 1722 to 1814. Along the side walls of the church ae the fourteen stations of the Via Crucis dating back to 1749. On the front of the arch Jacopo Siculo painted a delicate Annunciation and life size figures of San Sebastiano and San Rocco. Vallo di Nera | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.801615912.863551599999937Vallo di Nera54058[ ] Attrattoreen_US2476034990518https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-rocco-vallo-di-neraChiesa di San Rocco - Vallo di NeraThe Church of St. Rocco is located outside Vallo di Nera, along the road leading to the farmhouses. It was built in the 15th century.Valnerina, bike umbria, sentieri umbria, Rafting sul nera,Chiesa di San Rocco - Vallo di NeraThe Church of St. Rocco is located outside Vallo di Nera, along the road leading to the farmhouses. It was built in the 15th century. The faÃ§ade is gabled, decorated with a wrought iron gate, preceded by a portico extending over the entire width of the street. Inside it contains some frescoes contemporaneous with its construction,including, on the stucco altar, a Lady of the Milk of the second half of the 15th century. Vallo di Nera | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.801615912.863551599999937Vallo di Nera54058[ ] Attrattoreen_US95596https://www.umbriatourism.it/web/umbria/-/ferentillo-un-viaggio-tra-arte-cultura-sport-e-avventuraFerentillo: art, culture, sports and adventureFerentillo: arte, cultura, sport e avventuraFerentillo, mummies, nera river, park, sports, Valnerina valley, san pietro in valle, canoeing, canyoning, climbing, raftingFerentillo, a small town in the Valnerina valley, is set in a gorge overlooked by two castles. The medieval town is crossed by the river Nera, which divides it into two boroughs - Precetto and Matterella. <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> Over the years, the built-up area expanded in the valley, though the two initial boroughs are still recognisable. A favourite with sports tourism enthusiasts, the town is part of the Nera River Park. It was probably founded in the 8th century and its history is interwoven with that of the nearby abbey of San Pietro in Valle, to which Ferentillo was connected for a long time. It became a Municipality in 1860 with the Italian unification. </td> </tr> </tbody> </table> <div style="clear:both;"> </div> At the entrance to the borough of Matterella, there is the 13th century church of Santa Maria, later modified, with its 15th century painting of the Madonna with Child between two Angels above the door. Inside, there are some very interesting works of art. The Castle, an imposing building with towers and a tall keep, is located on the hill overlooking the borough. Crossing the main road and river Nera,  you will come to the second borough, Precetto. Do not miss the church of Santo Stefano in the higher part of the town, which was built on two different levels. The lower one dates back to the 13th -14th century and is now the crypt, whereas the upper one dates back to the 16th century. The crypt is now a Museum and houses some mummified corpses that made the town famous.    They have been arranged in specific cases and traces of clothing are still visible on some. The spur overlooking Precetto also has a Castle, although it is in ruins. The history of the two defensive settlements is strongly intertwined, as both were founded to protect the nearby abbey of San Pietro in Valle. Ferentillo | Valnerina | Urban trekkinghttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.617875212.778694599999994[ ] Attrattoreen_US2401721690438 | 15726642https://www.umbriatourism.it/web/umbria/-/le-gole-del-neraThe Gorges of the Nera RiverThe 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, trekkingThe Gorges of the River NeraThe 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.  Itâs an interesting bit of territory because of its landscape, naturalistic and historic value. Particularly 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. At 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). The 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. The 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. The 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.    [Source: <a href="http://www.turismonarni.it" target="_blank">www.turismonarni.it</a>]   Narni | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/narni+-+calvi+-+otricoli/5bf8b6e8-de41-4bc1-b01f-037bc7210d15?t=145433512172442.5092212000000112.56002890000002Narni55022[ ] Attrattoreen_US2436214793915https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-andrea-sigilloChiesa di Sant'Andrea - SigilloThe church is located so close to the ancient fortress that it may be confused with that. You can see the unfinished faÃ§ade and the apse, similar to the fortress, from faraway, as well as the huge bell tower rising behind.Chiesa di Sant'Andrea - SigilloThe church is located so close to the ancient fortress that it may be confused with that. You can see the unfinished faÃ§ade and the apse, similar to the fortress, from faraway, as well as the huge bell tower rising behind. <div>The architecture of the church is in neo-Renaissance style with a wide apse and a single nave housing columns, pilasters and capitals. The high altar is located at the centre of the apse, whereas the two lateral altars are in the nave. The organ, placed above the entrance with a decorated chancel (18th century) was built in 1793 by the famous Gaetano Callido from Venice for the church of St. Francis in Fabriano, no longer extant, and it was moved to Sigillo in 1869. It is still today the first and only original of this maker existing in Umbria. The walnut choir with wide stalls and an imposing lectern, dated 1679, is also very interesting. Above the choir is an 18th-century painting with a rich frame, depicting the Martyrdom of St. Andrew.</div> <div> </div> Sigillo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.331411912.730749699999933[ ] Attrattoreen_US2439055293915https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assun-2Chiesa di Santa Maria Assunta - SigilloThe 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 - SigilloThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.331411912.730749699999933Sigillo54049[ ] Attrattoreen_US2418817390494https://www.umbriatourism.it/web/umbria/-/palazzo-baldeschi-museo-banca-della-memoria-del-trasimenoPalazzo BaldeschiPalazzo Baldeschi is situated within the small village of Paciano.Palazzo BaldeschiPalazzo 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. The 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 culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.027988912.060402999999951Paciano54036[ (43.0279889@12.060402999999951) ] Attrattoreen_US2484775890542https://www.umbriatourism.it/web/umbria/-/tane-del-diavolo-parranoTane del Diavolo - ParranoAn 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 - ParranoAn 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! The Centre of Territorial documentation The 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. The visit to the Centre can be combined with the excursion to the Devilâs Nests or can be made independently. Source: <a href="http://www.comune.parrano.tr.it">www.comune.parrano.tr.it</a> Monteleone d'Orvieto | Orvieto | Montegabbione | Parrano | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.86371612.106103200000007Parrano55025[ ] Attrattoreen_US95502https://www.umbriatourism.it/web/umbria/-/paciano-borgo-medievale-sulle-colline-del-trasimenoPaciano, a medieval hamlet on the hills of Lake TrasimenoPaciano, a small medieval hamlet on the hills of Lake Trasimeno with a rich artistic heritagePaciano, medieval hamlet, Trasimene, Perugino, Lake TrasimenePaciano, one of the "Most beautiful Villages in Italy"Paciano, located in western Umbria, is a small town surrounded by olive groves at the foothills of Mount Petrarvella with views over Lake Trasimeno, Valdichiana and Mount Amiata <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> It is considered one of the "Most Beautiful Villages in Italy" thanks to its environmental, cultural and artistic heritage. The historic town centre has maintained its medieval structure, with three parallel roads connected by perpendicular alleys that can be reached via the Fiorentina, Perugina and Rastrella Gates. In addition to the numerous churches, you should also visit the brand-new multimedia Banca della Memoria (Memory Bank) in palazzo Baldeschi. Here, you can reflect on the "memory and skills of artisan, agricultural and gourmet food and wine work" thanks to the local population. If you love art, fine paintings and sculptures are displayed in the Don Aldo Rossi museum, the church of San Giuseppe and the Art Gallery, which can be reached through the Santissimo Sacramento confraternity in Via della Pitalessa. </td> </tr> </tbody> </table> <div style="clear:both;">Nearby, we suggest visiting the Madonna della Stella Sanctuary, built in 1572 after a pilgrim saw a star resting for three days above an image of the Madonna.</div> Paciano | Lago Trasimeno | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.024597112.066420900000026[ ] Attrattoreen_US2418829990494https://www.umbriatourism.it/web/umbria/-/chiesa-della-madonna-della-stellaChurch of the Madonna della StellaThe church of Madonna della Stella is situated in the southern part of the small village of Paciano, just outside Porta Rastrella.Church of the Madonna della StellaThe church of Madonna della Stella is situated in the southern part of the small village of Paciano, just outside Porta Rastrella. In 1562 it was built in Renaissance style and preserves important art works. Among these are the remarkable frescoes by Scilla Pecennini in the side chapels and the fresco, depicting the Madonna, in the niche of the major altar. It was executed by a painter of the Umbrian school in the 13th century. In the sacristy there are other frescoes depicting the Stories of the Sanctuary, painted between 1590 and 1620. Paciano | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.027988912.060402999999951[ (43.0279889@12.060402999999951) ] Attrattoreen_US2100872590590https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-agosti-1Church of Sant' AgostinoThe church of Sant' Agostino is the oldest of Gualdo Cattaneo.Church of Sant' AgostinoThe church of Sant' Agostino is the oldest of Gualdo Cattaneo. 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. The 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. The 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 NicolÃ² Alunno depicting the Crucifixion; there is also a painting of the fifteenth century and a panel of the fourteenth century by Maestro Bastiano.   Gualdo Cattaneo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.912049612.556193399999984Gualdo Cattaneo54022[ ] Attrattoreen_US123842https://www.umbriatourism.it/web/umbria/-/porchettaPorchettaporchetta umbria, enogastronomia umbria, Vacanze umbria, agriturismo umbriaPorchetta is one of the principal products of the Bevagna, Gualdo Cattaneo area, and even has its own production chain. Its members are all experts in the art of making and selling this speciality: from the farmers skilled in rearing the pigs to a special weight to the porchettaro, whose itinerant kiosks can be found at many traditional gatherings such as village festivals and local farmers' markets.  Small to medium sized pigs are used to produce porchetta. The meat is filled with aromatic herbs and spices, and cooked in wood-fired ovens for several hours. Thorough cooking is the only way to obtain the golden colour on the outer rind, which must be crunchy, while ensuring that the meat inside is well-cooked. It is generally agreed that the area with the greatest tradition and skill in producing porchetta is Costano, near Assisi, where there is even a "museum of porchetta".    Flavours of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.04333312.533611000000064[ ] Attrattoreen_US2798157790454https://www.umbriatourism.it/web/umbria/-/museo-ornitologico-naturalistico-silvio-bambini-pietralungaMuseo ornitologico - naturalistico "Silvio Bambini"- PietralungaLocated 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. The 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. In 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. In 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 CittÃ 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. The 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. Over 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. This 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. The 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. Pietralungahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.465014712.426595200000065Pietralunga54041Pietralunga[ ] Attrattoreen_US2798127290454https://www.umbriatourism.it/web/umbria/-/la-roca-longobarda-pietralungaLa Rocca Longobarda - PietralungaDa 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. <div>Iniziamo la visita da Piazza Fiorucci, difronte ai ruderi del Castello. Da qui possiamo ammirare i resti della porta d'accesso all'antico maniero, costruito in epoca longobarda, intorno all'VIII secolo d.C. come sede gastaldale e avanposto militare ed il torrione pentagonale d'avvistamento e di difesa, comunemente chiamato Rocca. La struttura Ã¨ stata piÃ¹ volte modificata nel corso dei secoli. Originariamente il piano di campagna del Castello si trovava all'altezza della porta di ingresso che, come si puÃ² notare, corrisponde a quella della Pieve di fronte; il livello odierno Ã¨ dovuto a scavi e rimozioni, eseguiti nel volgere del tempo, per costruire nuovi edifici.</div> <div>Fonte: <a href="http://pietralunga.infoaltaumbria.it/Scopri_la_Citta/In_Centro/LA_ROCCA_-_(Fortezza_militare).aspx">http://pietralunga.infoaltaumbria.it</a></div> Pietralungahttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.465014712.426595200000065Pietralunga54041Pietralunga[ ] Attrattoreen_US3035051https://www.umbriatourism.it/web/umbria/-/abbazia-di-san-benedetto-vecchioAbbazia di San Benedetto Vecchio â Abbey of San Benedetto VecchioThe abbey is found along the "strada provinciale" road which goes from Pietralunga to Reggio, on a hill, quite isolated from the nearest town or village. Umbria, umbria abbaziaAbbazia di San Benedetto Vecchio â Abbey of San Benedetto VecchioThe abbey is found along the "strada provinciale" road which goes from Pietralunga to Reggio, on a hill, quite isolated from the nearest town or village.  The monastery, known as "San Benedetto Vecchio" as well as "Monte Pellio", has undergone many modifications. The church has a trussed ceiling with wooden beams and ends with a semi-circular apse. Outside you can see the different types of construction used on the building, deducing that its oldest part is that close to the apse. The church is mentioned in an Act from 1191, and prospered until the beginning of the 15th century. As in similar circumstances, the Comune of Gubbio took measures to protect the abbey and ensure the safety of the monks, erecting a fortified tower or fortilitium, which housed a small military garrison. We have documentation about it from the 14th to the 15th centuries. Pietralunga | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi5.png/07b91758-b74f-4731-af5b-1f0e872725ac?t=1423749272028Pietralunga54041[ ] Attrattoreen_US2095106990566https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-sabinoChiesa di San SabinoThe new parish church was the second work by Cardinal Giovan Battista Altieri.Chiesa di San SabinoThe new parish church was the second work by Cardinal Giovan Battista Altieri. 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 faÃ§ade is by Giovanni Antonio Fratini from ForlÃ¬, portal and windows perhaps by Maestro Marcello Rainaldi and the concrete tympanum above the door dating to1944. The 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. The 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.857932512.363445500000012Fratta Todina54020[ ] Attrattoreen_US539511693915https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-pietroChurch of San PietroThe Church of San Pietro is the oldest church of Fossato, built originally as a Monastery of Camaldolesi.Church of San PietroThe Church of San Pietro is the oldest church of Fossato, built originally as a Monastery of Camaldolesi. <div>It was surely built before the castrum, because although it is the main church, it's not located at the center of the castle, as expected according the architectural rule at the time the town was founded. The church was carved into the rock to the east and north, below the residence of the ancient monks (which can still be accessed from inside the church using a steep staircase carved into the rock) and it overlooks a small square with medieval features. This church had the largest cemetery in the territory of Fossato from its origins until 1870. In those years the church fallen in total abandonment because the parish house had been moved to the Church of San Sebastiano, which absorbed some of its treasures. Exactly a century later it was restored and reopened to worship.  There are some traces of frescoes, a tomb and other elements. There is a wonderful stone washbasin located below the church of St. Pietro.</div> <div> </div> <div>Fonte: Comune di Fossato di Vico</div> Fossato di Vico | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.294444412.761753099999964Fossato di Vico54019[ ] Attrattoreen_US2095113090566https://www.umbriatourism.it/web/umbria/-/palazzo-altieriPalazzo AltieriPalazzo Altieri, ancient seat of bishops and famous for its gardens, is located in the center of Fratta Todina.Palazzo AltieriPalazzo Altieri, ancient seat of bishops and famous for its gardens, is located in the center of Fratta Todina. 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. Currently 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 culturehttps://www.umbriatourism.it/documents/10184/87120/todi+e+dintorni/3c0ebd05-2c00-4470-87c3-37d738bc9721?t=145433476744142.857932512.363445500000012Fratta Todina54020[ ] Attrattoreen_US539497493915https://www.umbriatourism.it/web/umbria/-/cappella-della-piaggiolaCappella della PiaggiolaThe little church of Santa Maria della Piaggiola is also  the ancient seat of the Monte di PietÃ , 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 PiaggiolaThe little church of Santa Maria della Piaggiola is also  the ancient seat of the Monte di PietÃ , 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 culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.298249112.762584699999934Fossato di Vico54019[ ] Attrattoreen_US539541693915https://www.umbriatourism.it/web/umbria/-/vecchio-palazzo-comunale-e-torreOld Town Hall and tower - Fossato di VicoIn 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 torreIn 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. <div>A crest on the turret acknowledges a sign of Perugia's domain and protection. Of all the similar fine turrets along the walls is one (already present in the acts of the mid-thirteenth century) handed down in number 14 from the oldest preserved town map, from 1734.</div> <div> 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. </div> <div>Source: Comune di Fossato di Vico</div> Fossato di Vico | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.298249112.762584699999934Fossato di Vico54019[ ] Attrattoreen_US539506493915https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-benedettoChiesa di San Benedetto - Fossato di VicoIt is located on San Benedetto street, just outside the walls.Chiesa di San BenedettoIt is located on San Benedetto street, just outside the walls. Benedictine Abbey of the 13th century, with well preserved architecture, has two lancet doors and a lancet trefoil portal. It bears a stone-carved inscription in Roman numerals, showing the date 1337. Inside it has a nave and two semicircular cross side chapels and retains only parts of the third-fourth century frescoes of the Gubbio school, including what is perhaps the oldest portrait of Pope Urban V.  The residential part of the abbey has been restored and expanded in recent decades. Fossato di Vico | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.298249112.762584699999934Fossato di Vico54019[ ] Attrattoreen_US2436225493915https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-agostino-sigilloChiesa di Sant'Agostino - SigilloThe Church of St. Augustine, located within the village of Sigillo, was built between 1788 and 1791 by the Swiss architect Giacomo Cantoni on the foundations of the ancient Church of St. Catherine. Only the medieval Crypt of that church remains, restored by the Municipal Administration and converted into a cultural centre.Chiesa di Sant'Agostino - SigilloThe Church of St. Augustine, located within the village of Sigillo, was built between 1788 and 1791 by the Swiss architect Giacomo Cantoni on the foundations of the ancient Church of St. Catherine. Only the medieval Crypt of that church remains, restored by the Municipal Administration and converted into a cultural centre. The faÃ§ade features twin pilasters and by the austere portal. On the walls there are two niche-styled altars that are built on each side and alternated to niches with statues. The apse is enriched by a wooden choir and preceded by a slightly elevated presbytery. The high altar was executed between 1795 and 1796 by making extensive use, for the coatings, of marbles in various colours: ancient green, yellow from Siena and red from Verona. The building's neoclassical interior is characterized by a single nave covered with a vault with elegant pilasters and capitals reaching the cornice. Among the furnishings, there is a quite imposing organ and two confessionals made of walnut; ther are canvasses and wooden sculptures of the 16th, 17th century and a gilded copper Cross from 1494 by Enrico of Piemonte. The most important artwork is the Annunciation painted on canvas, dontated by Ippolito Borghesi da Sigillo and placed behind the choir. Sigillo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.331411912.730749699999933Sigillo54049[ ] Attrattoreen_US2439044693915https://www.umbriatourism.it/web/umbria/-/chiesa-di-sant-anna-sigilloChiesa di Sant'Anna - SigilloLocated on the ancient Flaminia Road, it is now called the church of the graveyard, and it was built  around the middle of 15th century, thanks to the people`s alms.Chiesa di Sant'Anna - SigilloLocated on the ancient Flaminia Road, it is now called the church of the graveyard, and it was built  around the middle of 15th century, thanks to the people`s alms. It was the seat of the Confraternity of St. Anna, its brothers were called brothers of St. Anna and often used to meet there under the guidance of a priest. The municipal graveyard was built nearby in the last century. It always had only one altar and in 1633 a porch in front of the church with three naves and 6 columns was added, as it can be seen today. Later the porch was enclosed, turning the whole building into a beautiful and great temple. The ancient Flaminia road used to pass below the right aisle. Many masses were celebrated on the altar, paid for by pious benefactors. The feast of the patron saint used to be celebrated there in ancient times. It still remains a place visited for the most important sacred processions celebrating in Sigillo. Its maintenance was entrusted to the community of Sigillo and to the confraternity of the Most Holy Sacrament. In 1922 the atrium and the faÃ§ade overlooking the square were restored. Sigillo | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.331411912.730749699999933Sigillo54049[ ] Attrattoreen_US539465493935https://www.umbriatourism.it/web/umbria/-/palazzo-ducalePalazzo Ducale - GioveThe Castle of Giove, as currently known, is the result of restoration work begun by the Farnese family in the 16th century and continued by the dukes Ciriaco and Asdrubale Mattei, on the base of the previous medieval fortress for defensive purposes. Palazzo DucaleThe Castle of Giove, as currently known, is the result of restoration work begun by the Farnese family in the 16th century and continued by the dukes Ciriaco and Asdrubale Mattei, on the base of the previous medieval fortress for defensive purposes.  The 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.  The 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.   Giove | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.55108612.353664299999991Giove55014[ ] Attrattoreen_US2441970990438https://www.umbriatourism.it/web/umbria/-/palazzo-comunale-stronconePalazzo comunale - StronconeThis building, formerly called Priori Palace, was probably built in the 13th century, but in the following centuries it underwent various rearrangements and changes that altered its original structure.Palazzo comunale - StronconeThis building, formerly called Priori Palace, was probably built in the 13th century, but in the following centuries it underwent various rearrangements and changes that altered its original structure. 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. The 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. Precious 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. Source: Stroncone Tourism. Stroncone | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.499740512.663681999999994Stroncone55031[ ] Attrattoreen_US539453893935https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assun-1Church of Santa Maria Assunta - GioveThe church of Santa Maria Assunta, within the city walls, was built in 1740 and has a harmonious faÃ§ade surmounted by two bell towers. Church of Santa Maria Assunta - GioveThe church of Santa Maria Assunta, within the city walls, was built in 1740 and has a harmonious faÃ§ade surmounted by two bell towers It contains a panel of artistic interest with the image of the Madonna Assunta. The painting, according to some, is a work by NiccolÃ² Alunno, for others it derives from the School of Alunno. The organ, situated above the front door, has special characteristics that make one of the most interesting, among the relatively new instruments, of the entire province of Terni. Giove | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.50946212.32496500000002Giove55014[ ] Attrattoreen_US539426893935https://www.umbriatourism.it/web/umbria/-/borgo-storico-medievale-di-gioveHistoric medieval village of GioveThe historic center of Giove is a classic example of medieval structure: a dense series of alleys is intertwined within the perimeter delimited by medieval walls and characterized by overlapping arches, stairs and buttresses. Borgo storico medievale di GioveThe historic center of Giove is a classic example of medieval structure: a dense series of alleys is intertwined within the perimeter delimited by medieval walls and characterized by overlapping arches, stairs and buttresses.  <div>On the gateway of the village is the monogram of San Bernardino (IHS), who evangelized these lands during his work of apostolate in the early of the 15th century.  In medieval times, the road had two poles: the Town Hall entrance and the Church of San Giovanni Battista on the current Piazza Cento Tramonti to the opposite side.</div> Giove | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.510697512.334255299999995Giove55014[ ] Attrattoreen_US539433693935https://www.umbriatourism.it/web/umbria/-/cappella-di-san-roccoChapel of San RoccoThe chapel of San Rocco was built around the sixteenth century as an offering to the saint against the plague, along the Amerina road that leads from Giove to Amelia. Chapel of San RoccoThe chapel of San Rocco was built around the sixteenth century as an offering to the saint against the plague, along the Amerina road that leads from Giove to Amelia. Inside it preserves a cycle of votive paintings attributed to Lorenzo and Bartolomeo Torresani, still partly under plaster, with thematic iconographic features typical of cycles against the plague. A sixteenth-century fresco of the Foligno school of the Crucifixion depicts in its lower portion the city of Jerusalem. The chapel has been converted into a War Memorial. Giove | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.515521712.36326280000003Giove55014[ ] Attrattoreen_US95915https://www.umbriatourism.it/web/umbria/-/il-borgo-medievale-di-stronconeThe medieval village of StronconeStroncone, the medieval village atop a beautiful hill covered in olive groves, a short distance from TerniStroncone, Umbria, Terni, via di Francesco, Sanctuary of GreccioThe village of Stroncone is located outside Terni, perched on a 450 m hill covered in olive groves.  The main entrance to the village is from Piazza della LibertÃ , with its beautiful 16th-century fountain. Just inside the gate, topped by the coat of arms of the municipality, you'll encounter a small square that will call to mind the courtyard of a castle, with an ancient well and, in the corner, the Chiesa di San Giovanni Decollato, a jewel of art and architecture from the first half of the 15th century, with frescoes depicting stories of the life of the Saint. In Piazza della LibertÃ , there is also a Natural History Museum that documents the evolution of the Earth and life in the area, with palaeontology and geology collections. Walk up Via Flaminio Delfini, the main street, then turn right into Via dell'Arrengo. You will arrive at the Romanesque Chiesa di San NicolÃ², with Byzantine reliefs adorning the beautiful decorated Portal (1171); inside there is a painting of the Coronation of the Virgin by Rinaldo di Calvi, one of the best pupils of Lo Spagna. Next go to the Palazzo Comunale, founded in the 13th century, where, if you are interested in miniatures, you can admire nine chorales with their precious capital letters. Delightful alleyways branch off Via Gregorio Contessa, rich with gates and arches. Just outside the walls, you can find the Convento di San Francesco, founded, according to tradition, by St Francis in 1213. Its library holds one of the richest Franciscan collections in Umbria and the body of Blessed Antonio Vinci, who came from Stroncone. Close to the city, you can visit the four hamlets of Aguzzo, Coppe, Finocchietto and Vasciano, and the tourist resorts of  Montane delle Cimitelle and "I Prati", where you can enjoy pleasant stays at any time of the year, and walk along picturesque trails up to the summits of the mountains dominating the vast landscapes of the Conca Ternana and the Reatine plain. In the highlands of the Prati di Stroncone, you can also go trekking with donkeys, and along the Via di Francesco, you can reach the Sanctuary of Greccio, one of the major Franciscan sites. Stroncone | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi14.png/903de68b-8d43-493d-bdf3-5c1dd8297d14?t=142374927335542.499740512.663681999999994[ ] Attrattoreen_US303510390542https://www.umbriatourism.it/web/umbria/-/torre-del-moroTorre del MoroLa torre si trova al centro di Orvieto, lungo il corso cittadino.Torre del MoroLa torre si trova al centro di Orvieto, lungo il corso cittadino. Alla fine del Duecento Orvieto ebbe un nuovo assetto urbano e collocÃ² 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 cosÃ¬ chiamata da Raffaele di Sante, detto il Moro, che diede il suo nome anche al sottostante palazzo Gualtiero, di sua proprietÃ , 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 piÃ¹ piccola proveniva dalla torre di Sant'Andrea e quella piÃ¹ grande dal palazzo del Popolo. Il 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 proprietÃ del Papato, sede dei Sette, del pontefice e sembra che vi abitÃ² anche Antonio da Sangallo. Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.718506812.110744599999975Orvieto55023[ ] Attrattoreen_US2358918990542https://www.umbriatourism.it/web/umbria/-/teatro-dei-rusticiThe Theatre of the RusticiThe Theatre of the Rustici is situated in Monteleone di Orvieto, a small historic village situated in the extreme north of the province of Terni.The Theatre of the RusticiWhere is it The Theatre of the Rustici is situated in Monteleone di Orvieto, a small historic village situated in the extreme north of the province of Terni. The Theatre's past Originally the theatre of Monteleone of Orvieto was the granary of the ancient public building in the village. Inside the hall is an inscription in tempera saying: "The community of Monteleone that in 1732 transformed this granary into a theater testifies to the city's love for civil education for the peaceful training of art". Why visit The small theatre of Monteleone di Orvieto is worth a visit both for the beauty of the interior, structured in two tiers of boxes, and for the theatrical review that is held during the year. Description In the 1732 the theatre of Monteleone of Orvieto was built in the granary of the ancient public building of the village on the initiative of some young townsmen who asked the Municipality and obtained permission to represent some plays in the carnival period. Despite the objections of the public authorities and especially the papal government, which feared that the representations were inspired by the revolutionary ideas of the Renaissance, theatrical activity went on even in the following centuries. Over the time, the building was renovated and enlarged several times, particularly in 1894. Currently it presents a horseshoe plan and two two tiers of boxes, for a total of 96 seats. Monteleone d'Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.92144312.053922599999964Monteleone di Orvieto[ ] Attrattoreen_US2358926890542https://www.umbriatourism.it/web/umbria/-/torre-dell-orologio-monteleone-di-orvietoThe Clock Tower - Monteleone di OrvietoThe Clock Tower stands like the backdrop of a stage, in Piazza Pietro Bilancini in Monteleone di Orvieto.The Tower of the clock - Monteleone di OrvietoThe Tower of The Clock stands like the backdrop of a stage, in Piazza Pietro Bilancini in Monteleone di Orvieto. The tower was built at the end of 1800 by the Monteleone architect Filidio Lemmi using bricks manufactured in local kilns, which give the building a warm and harmonious tone. In the tower is the large clockface whose hands were moved by an elaborate and monumental pendulum machine; its stone weights, descending along the tower, gave movement to the mechanism. The facade is further embellished by a bas-relief, also in brick, representing the coat of arms of Monteleone, made by Prof. Michele Lemmi. [Source: www.comune.monteleone.tr.it] Monteleone d'Orvieto | Places of culture | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124042.92144312.053922599999964Monteleone di Orvieto[ ] Attrattoreen_US2484758090542https://www.umbriatourism.it/web/umbria/-/museo-emilio-greco-orvietoMuseo Emilio Greco - OrvietoPlaced 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 - OrvietoPlaced 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). Previously historical seat of the Works of the Cathedralâs Museum, since September 2008 it has returned at the centre of the MODOâS exhibition itinerary, by representing its starting point, in order to host on the ground floor the collection of Emilio Greco (1913-1995), donated by the artist to the town of Orvieto, to whom he was artistically and humanly linked. Indeed since 1970 the majestic Medieval portals of the cathedral have been housing the big bronze altarpieces made by Greco between 1962 and 1964. This extraordinary testimony of the sacred artâs renewal in the second half of the 20th century marks the beginning of the itinerary towards the most famous icons of the collection of the Cathedralâs Works in the papal buildings. The artworks exhibited in the enchanting rooms of Palace Soliano range from 1947 to 1990 and mark the most significant stages of the Sicilian artistâs career: from the wrestler, exhibited in London on the occasion of the 1948 Olympics to the famous plaster cast of the Monument to pope John XXIII made between 1965 and 1967. Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.718506812.110744599999975Orvieto55023[ ] Attrattoreen_US116923https://www.umbriatourism.it/web/umbria/-/necropoli-di-crocifisso-del-tufo-orvietoCrocefisso del Tufo Necropolis - OrvietoThe Necropoli del Crocefisso del Tufoâits name comes from a crucifix incision on the tuff rockâextends all along the northern tuff rock slope, upon which the ancient Etruscan VelznaâOrvietoâstands. Crocefisso del Tufo Necropolis, Necropoli di Crocifisso del Tufo - OrvietoThe Necropoli del Crocefisso del Tufoâits name comes from a crucifix incision on the tuff rockâextends all along the northern tuff rock slope, upon which the ancient Etruscan VelznaâOrvietoâstands.  <table align="left" cellpadding="0" cellspacing="0" hspace="0" vspace="0"> <tbody> <tr> <td align="left"> Discovered in the 19th century, it represents an extraordinary evidence of Etruscan history and culture. Visiting this site is essential and complementary to the visits to The National Archeological Museum and the Claudio Faina Museum of Orvieto, which preserves a great number of finds, above all the rich ceramic goods. The Necropolis was attended from the 8th to the 3rd centuries B.C. The layout of the necropolis, planning it into lotsâi.e. grouped into blocksâdates back to the apex of its development during the 6th and 5th centuries B.C. The lots, defined by orthogonal intersecting roads that were occupied by tombs of the cubic kindâ"a dado" like diceâfollow a rigid disposition reflecting a social organization of an egalitarian kind. Every burial was reserved for a single family, identified by the inscriptionsâthe name sculpted on the entrance lintelsâthat reveal the presence of foreigners in Orvieto, a town that was growing more and more cosmopolite. Some forms of ostentation of wealth achieved by a large strata of the population are expressed with the luxurious items contained in the funerary goods, acquired on Eastern Greek markets, many of which are displayed inside the National Archaeological Museum and in the Claudio Faina Museum of Orvieto </td> </tr> </tbody> </table> Information Str. Statale 71 - Km 1.6 - LocalitÃ   Le Conce 05018 - Orvieto (TR)  email: sba-umb@beniculturali.it sito web: <a href="http://www.archeopg.arti.beniculturali.it/" target="_blank">www.archeopg.arti.beniculturali.it</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari  Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/orvieto+e+dintorni/62f62850-b005-42d1-a380-fca17492714f?t=145433478986042.72058512.105281399999967[ ] Attrattoreen_US2421809490422https://www.umbriatourism.it/web/umbria/-/chiesa-e-monastero-di-santa-giulianaThe church and the monastery of Santa GiulianaThe Convent of Santa Giuliana is located in the district of the Eburnea Gate, at the end of the gardens of Piazza Partigiani in Perugia.Perugia, Umbria, Monastero cistercense, Matteao Gattaponi, Umbria jazzThe church and the monastery of Santa GiulianaThe Convent of Santa Giuliana is located in the district of the Eburnea Gate, at the end of the gardens of Piazza Partigiani in Perugia. 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.110716812.390827899999977Perugia54039[ ] Attrattoreen_US126731https://www.umbriatourism.it/web/umbria/-/tomba-del-faggetoTomba del FaggetoThe tomb of Faggeto is a fine example of funerary architectureFound in the suburbs 18 km north of the centre of Perugia, the tomb of Faggeto is a fine example of funerary architecture with a barrel vault dating to the Hellenistic period (3rd-1st Century B.C.). Located at the foot of Mount Tezio, in an area dominated by low mountains, the tomb is opened from the sandy ground of the area, along the eastern side of the Cresta del Fornace (Crest of Hell), in the beechwood forest that gives its name to the tomb (from the Italian word for beech trees 'Faggi'). The tomb, discovered by accident in the early twentieth century, consists of a single chamber which is entered via a narrow access corridor (dromos) in the open air. The small size of the internal chamber (1.26 x 1.12m) comprises of a rectangular room up of a little more than 1m in length, with the interior walls built from local stone blocks, perfectly slotted together without mortar and arranged in three rows. A platform is attached to the end wall to display the urn and the burial objects, which lie right in the centre of the room, and is made up of one single slab. To build the vaulted roof of the tomb, 5 stone blocks have been arranged radially, working their way upwards and fitting together perfectly to create a semicircular shape. The tomb was closed off using a smoothed, parallelepiped stone slab, with truncated cone pivots on the end to act as hinges. The door and the large, triangular block of stone placed over the tomb's opening are perfectly smoothed on the surface, and were therefore designed to be visible. The travertine urn, found on the platform inside the chamber by the tomb's discoverers, has a double lid, and the box containing the ashes and badly burned bones of the deceased, the front of which is well smoothed and absent of any decoration. The back of the urn features an inscription, engraved in letters of the Neo-Etruscan alphabet, bearing the first name -Arnth - and the family name of the deceased: Cairnina. Because of this, scholars have suggested a connection with the name of the Caina stream, whose springs gush just a short distance away from the tomb. Several restoration efforts, also aimed at ensuring the safety and viability of the place, have been carried out over time, making sensitive changes to the original, such as the expansion of the access corridor and the strengthening of the tomb's cover slabs, which were tampered with at the time of discovery.   Bibliography Pianu G. (1985), "Perugia", Itinerari Etruschi 1, Milano, Electa  Matteini Chiari M. (1975), "La tomba del Faggeto in territorio perugino", Quad. Ist. Arch. Univ. di Perugia, 3, Roma, De Luca https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.22185512.326443400000016[ ] Attrattoreen_US126465https://www.umbriatourism.it/web/umbria/-/rocca-d-ariesFortress d'AriesLa rocca d'Aries, nei pressi di Montone, ha origini molto antiche, fu eretta dalla famiglia Fortebracci sui resti di un antico fortilizio a difesa della primitiva popolazione.Location Bagnolo 06014 Montone PGThe ancient Fortress d'Aries, near Montone, was built by the Fortebracci family on the remains of an ancient fort originally built to defend the early population. Over time, the Fortress was involved in an historical sequence of events in Montone, which over the centuries took on a defensive function as well as a being a residence.  In the Sixteenth century it became independent of the Umbrian town. Rectangular in shape with a circular tower on one side, it has been restructured several times in order to adapt for its residential purposes, while maintaining intact the sturdy fortified structure. The earliest mention of it dates from the year 1000 and by 1376 its history began to merge with that of the Fortebracci family. In that year Oddo III, father of the famous Braccio, conquered the Fortress, bringing it under the authority of the nearby CittÃ  di Castello. A few years later the Perugia Magistrates, having reclaimed the property, made the decision to make Fortress d'Aries impregnable by increasing its size and making it more robust. They entrusted the work, given the scale of the project, to Oddo Fortebracci III. The building was completed in 1380 and continued to be a source of conflict between Perugia and Citta di Castello in later years as it was considered difficult to attack. In the fifteenth century it became the property of Braccio Fortebraccio, who in the meantime had become absolute lord of most of Umbria. His family, and in particular his wife Nicola Varano, would often stay there. In the sixteenth century the ownership of the Fortress passed to the Bentivoglio  family. There was no mention of it until 1596, when the Fortress was attacked by six hundred bandits who terrorised Gubbio, creating untold damage throughout that period. Meanwhile the ownership of the Fortress changed hands: the Bentivoglio family sold it for 15,000 Roman scudi to Count Giambattista Cantalmaggi, who through inheritance rights passed it to the Della Porta family.  In the 1980's it still belonged to the Della Porta family when it was sold to the Region of Umbria.     Bibliography Amoni D. (1999), Castelli fortezze e rocche dell'Umbria, Perugia, Quattroemme. https://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.362322812.32368729999996[ ] Attrattoreen_US122709https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-colli-peruginiVini Doc e Docg Colli PeruginiPerugia, the main town of the region, is a city that dominates the surrounding valleys from the hillside. Founded by the Etruscans, it became Roman before undergoing several conquests. Perugia became municipality in 1139, extended its sphere of influence in that period and experienced an impressive urban development that lasted until about the middle of the fourteenth century. Once it became part of the papal dominion, it became part of the national territory in 1860. Today it preserves an extraordinary artistic and cultural heritage from this varied past. The denomination of origin of the Perugia Hills includes the southernmost part of the Perugia municipality and some of its surrounding areas. It is an area with a particularly favourable climate and exposure to viticulture (there is evidence of the wine-growing activity that began with the ancient Etruscans and continued with the Romans). The controlled designation of origin "Perugia Hills" is reserved for white, red and novello wine as well as for spumante and vin santo or vino santo with reference to the following grape varieties: <ul> <li>white wines - Chardonnay, Grechetto, Pinot Grigio and Trebbiano;</li> <li>dark wines - Cabernet Sauvignon, Merlot, Sangiovese</li> </ul> Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US125798https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-michele-arcangeloChiesa di San Michele ArcangeloThe Chiesa di San Michele Arcangelo church, one of the oldest in Perugia... The Chiesa di San Michele Arcangelo church, one of the oldest in Perugia, is located inside the Porta Sant'Angelo district in the final section of Corso Garibaldi. The latter is characterised by the presence of numerous religious buildings and voluntary institutions, such as the Chiesa di Sant'Agostino church, and the Monastero di San Benedetto, Monastero di Santa Caterina, Monastero di Sant'Antonio, Monastero della Beata Colomba and Monastero delle Clarisse di Sant'Agnese monasteries. From the outside it is noteworthy as it is characterised by a circular structure topped by a lantern dome, with various single holes and with an attractive lawn in front.  Inside it also very charming, characterised by bare walls with bricks, a circular nave with one chapel, and by the sixteen columns which support the central drum. The large buttresses distributed circularly break up the ceiling aesthetic with beams and contribute to the visual effect. Description The Chiesa di San Michele Arcangelo church was built between the 5th and 7th centuries. It was the first religious building to be constructed in Perugia as well as being one of the first Paleo-Christian churches in Italy. Its current appearance, enclosed within the city wall, does not allow us to see the significance which the temple had for centuries. Placed on a hill, out of the city, it was the only building where one could practise one's Christian faith in a city which was still dominated by a Pagan culture. Comparable to the Roman churches of Santa Costanza and Santo Stefano Rotondo, it has a circular plan. Inside, the central area is separated from the ambulatory by sixteen differently sized salvaged Corinthian columns which hold up the drum. A series of windows, three by three, open up in the direction of the four cardinal points. The broach roof is braced with ribs supported by corbels, which, like the door, are from the Gothic era. Walking around the ambulatory, you can see the small baptistery with votive frescoes from the 15th century, the Crucifix chapel and the chapel of the Angel, whereas the fourth chapel was lost when opening the portal. The altar, at the centre of the church, is composed of an ancient marble slab on a half column.   Interesting facts Unlike what one may think, the building does not derive from the transformation of an ancient Pagan temple. In reality, Christians never used temples of ancient worship because they were the direct expression of Pagan religions and also because their dimensions were too small to perform masses or welcome the believers inside. In reality when the worship of numerous gods declined, temples erected to secondary gods were given by magistrates to the Christian community for any use they wished to make of them which was almost always to demolish them for use in the construction of a church elsewhere. For this reason the columns inside the building and other elements are borrowed and probably come from the Temple of Vulcan and from an existing temple dedicated to Flora on the Civitella d'Arna hillside. Information and useful advice The historical centre of Perugia is easy to get to by leaving your car in one of the car parks which surround the historical centre, i.e. Briglie di Braccio, Pellini, the car park on piazza Partigiani and that of Sant'Antonio. From here you can ether walk up corso Vannucci or use the APM service. From Pellini car park and Piazza Partigiani car park, you can use the escalator whereas Briglie car park has a lift. The MiniMetro people mover system of Perugia, implemented early 2008, makes travelling easier, improving connecting links between the centre and the suburbs. Once you get to the centre, you can find the Chiesa di San Michele Arcangelo by walking along Corso Garibaldi or by leaving your car near the tower which hosts the Museo delle Porte e delle Mura urbiche, [the Museum of City Gates and Walls]. https://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.119416212.385582900000031[ ] Attrattoreen_US126382https://www.umbriatourism.it/web/umbria/-/palazzo-gallenga-stuartPalazzo Gallenga-StuartPalazzo Gallenga-Stuart is situated in piazza Fortebraccio in the city of Perugia near the impressive Etruscan Arch. Palazzo Gallenga-Stuart is situated in piazza Fortebraccio in the city of Perugia near the impressive Etruscan Arch. The palace is now the headquarters of the UniversitÃ per Stranieri (University for Foreigners) of Perugia, but it had long been the aristocratic residence of the Antinori family. A visit to the palace is recommended  not only to admire its late Baroque style architecture but also to see its richly decorated rooms. For those who enjoy  beautiful panoramic vistas, a climb up to the top floors of the building, will be rewarded with stunning views of the thirteenth-century aqueduct. Piazza Fortebracci, in which the palace stands, is a meeting place for the many foreign students who are studying at the university and taking a course in Italian language and culture. Description The palace, in late Baroque style, was built between 1748-58 by the architect Pietro Perugino Carattoli and designed by Francesco Bianchi. During the 1930's the American  Count Frederich Thorne Rider financed the construction of the west part of the building which remains unfinished. The faÃ§ade is punctuated by columns and brick cornices separating the large windows. The interior is decorated with frescoes by Giuli and Carattoli. In the main hall you can admire the painting of The Glorification of Rome by the futurist painter Gerardo Dottori. The small palace theatre saw Carlo Goldoni perform there when he was a child. Since 1926 the building Gallenga-Stuart is home to the Italian University for Foreigners, whose aim is the learning and dissemination of the Italian language and culture in the world.   Curious fact Piazza Fortebraccio,  where the palace is situated, is also called Grimana in memory of Cardinal Marino Grimani,  who promoted  its construction in 1536 to fill in the hollow separating the walled city from the Sant'Angelo hamlet. https://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi.png/f1a5a7db-2275-4615-a067-1cb1b0c0d742?t=142374927134143.11493312.389730800000052[ ] Attrattoreen_US101097https://www.umbriatourism.it/web/umbria/-/torello-alla-peruginaTorello alla PeruginaThis is an ancient recipe, invented as a way of using up left-over brothTorello alla Perugina (Top round of veal, Perugia-style)Torello alla Perugina (Top round of veal, Perugia-style) Ingredients 1 kg of veal top round 50 g chicken livers 30 g chicken breast 2 anchovies 1/2 onion 1 carrot 1 stick of celery 2 sage leaves 1 tsp capers 1 lemon White wine Extra-virgin olive oil Salt Pepper Preparation Finely chop the vegetables, tie the veal with cooking string, and place in a casserole dish with the oil. Brown over a high heat for a few minutes. Add a glass of white wine, place the lid on the pan, and continue cooking for about 20 minutes. Then add the chicken breast chopped into small pieces, the chicken livers (cleaned and well-rinsed), add salt and pepper and cook without the lid for another 20 minutes. Add a dash of white wine if necessary.  Remove the meat and strain the cooking juices through a sieve, together with the anchovies and capers. Add the juice of a lemon to the resulting sauce. Cut the veal into thin slices and serve with the sauce. Perugia | Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027543.087334312.37394[ ] Attrattoreen_US2601083231883295https://www.umbriatourism.it/web/umbria/-/le-pinoccatePinoccateThe âPinoccateâ are Umbrian traditional cakes, tied to Christmas festivities, based on sugar and pine-nuts. Pinoccate, pinoccate perugia, Food and wine in Umbria, Umbria typical recipes, Umbria Christmas dishesIngredients Sugar 500 gr Water 250 gr Pine-nuts 300 gr Lemon The âPinoccateâ are Umbrian traditional cakes, tied to Christmas festivities, based on sugar and pine-nuts.  They have a peculiar diamond shape and can be white or black (in the chocolate version).  Packed with coloured papers, they are based on a dough made up of water and sugar, the latter one will be boiled until it turns into a thick syrup, with which the pine-nuts will be later soaked.  Pour the whole on a marble top; while it cools down, many small diamonds will be shaped.  Preparation In a pot mix the sugar with 150 gr. water, bring it to boil and, when it reaches the degree of flush cooking, remove it from heat and incorporate, while keeping stirring them, the pine-nuts and the grated lemonâs peel. Pour it immediately on a marble top previously soaked and with the blade of a knife level its surface. Before it cools down, cut the âpinoccateâ by using a smooth-blade knife, by shaping some diamonds.  If you follow this procedure you will be able to make both kinds of âpinoccateâ. In order to prepare the black âpinoccateâ, itâs sufficient to replace the lemonâs peel with cocoa.  Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=1454334522718[ ] Attrattoreen_US122381https://www.umbriatourism.it/web/umbria/-/gamay-o-gamay-del-trasimeno-Gamay (o Gamay del Trasimeno)Not to be confused with the better-known French Gamay, particularly common in Burgundy, Gamay del Trasimeno has been present in Umbria since the mid-nineteenth century, if not earlier.  Recent studies have shown that it is the same as the vine known in Sardinia as Cannonau, in Veneto as Tai Rosso, in France as Grenache, and in Spain as Garnacha. It is believed, although there is no proof, that on its journey from the Greek peninsula to the rest of Europe it found the Umbrian climate to be particularly hospitable. This varietal is grown almost exclusively in the large area around Lake Trasimeno, in the province of Perugia. When vinified as a pure varietal, Gamay yields a full-bodied wine with an intense ruby-red colour and a fresh, rather fruity aroma. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/passignano+-+magione+-+tuoro/3d6dc692-b73a-4a57-9675-f7d1dc6fb91d?t=145433463518643.129591112.09468179999999[ ] Attrattoreen_US501612436816512 | 47006051https://www.umbriatourism.it/web/umbria/-/gnocchi-al-ragu-di-agnelloGnocchi al ragÃ¹ di agnelloIngredients and recipe of a typical delicacy from PerugiaGnocchi al ragÃ¹ di agnelloGnocchi al ragÃ¹ di agnello (Gnocchi with lamb ragÃ¹) Ingredients: For the gnocchi: 700g of potatoes 200g of flour 1 egg For the ragÃ¹ sauce: 400g of lamb meat Rosemary 1 garlic clove 1 onion Peeled tomatoes White wine Extra-virgin olive oil Grated pecorino cheese Salt Pepper Preparation Start by boiling the potatoes with their skin still on. Once they're cooked, drain and peel them. Then mash them up and mix them with the flour and egg. You need to work the mix with your hands until it becomes solid. Divide the mix into small bits and shape them into the right gnocchi form with a fork. Let them sit on a chopping board. Prepare the ragÃ¹ by dicing the lamb meat into small bite-sized pieces. Chop up and mix together the onion, garlic and rosemary and brown them in a pan, then add the lamb. Simmer for about ten minutes and splash with some wine. Add the tomato and leave to simmer for at least an hour. Boil the gnocchi and mix them with the ragÃ¹. Serve with grated pecorino on Traditional recipeshttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.087334312.37394[ ] Attrattoreen_US122481https://www.umbriatourism.it/web/umbria/-/malvasia-toscana-o-malvasia-lunga-Malvasia Toscana (o Malvasia Lunga)Present in Italy for many hundreds of years, the Malvasia Toscana is part of a large family of vines that includes at least another seventeen varieties. The origins of this aromatic wine are believed to lie in the Greek peninsula, and thanks to the intensive commerce and trade with Venice in the eleventh century, it began to establish itself along the Adriatic coast. This vine is commonly found all over Umbria, and is used in the production of a large number of white wines made in the provinces of Perugia and Terni. When vinified as a pure varietal, the Malvasia yields a wine that is straw-yellow in colour, with a lingering aroma, good alcoholic strength and smoothness. It is normally used in blends, to add greater aroma and body to white wines. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.93800412.62162109999997[ ] Attrattoreen_US2259857690590https://www.umbriatourism.it/web/umbria/-/le-sorgenti-di-nocera-umbraThe Nocera Umbra springsThe abundant water, mostly with unique organoleptic properties, represents a main asset of the Nocera territory. The Nocera Umbra springsThe 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. Angelica Spring It 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. The 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. Over 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. In 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.    The Flaminia Spring Arising 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.    The Cacciatore Spring The 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. Laboratory 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. The 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.   [Source: http://www.nocerainumbria.it/] Nocera Umbra | Lakes, rivers and waterfallshttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi8.png/a13f58d2-c421-4cba-ade1-b3608ad2cc36?t=142374927248843.113495212.787561399999959Nocera Umbra54034[ ] Attrattoreen_US2415940090590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-filippo-nocera-umbraThe Church of San Filippo - Nocera UmbraThe 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 UmbraThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.113495212.787561399999959Nocera Umbra54034[ ] Attrattoreen_US2415919590590https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-francesco-nocera-umbriaChurch of St. FrancisThe 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 UmbraThe 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. The 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). The 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. In 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.113495212.787561399999959Nocera Umbra54034[ ] Attrattoreen_US2415929890590https://www.umbriatourism.it/web/umbria/-/duomo-nocera-umbraDuomo - Nocera UmbraItâs the main church of Nocera and Mother Church of the former Dioceses of Nocera and Gualdo, until 1986.Duomo - Nocera UmbraItâs the main church of Nocera and until 1986 was the Mother Church of the former Dioceses of Nocera and Gualdo. <div>It has undergone several restorations. Built on the top of the hill, it probably replaced a sacred pagan site by one of Christian worship: perhaps that was the original place hosting the temple devoted to the Goddess Favonia, from which derived the Tribe of the Nucerini Favonienses who lived together with the Nucerini Camellani (came here from Camerino) during the Umbrian and Roman epochs. The two tribes are mentioned by Pliny (NH. III, 113). In the 5th century, when the Nocera diocese was established, the temple was transformed into a church and devoted to Mary. One of the traces of another restoration, that took place around the 10th century, is the Romanesque portal located at the side entrance of the church, placed at the top of Via S. Rinaldo and enriched with a decoration in carved stonework of grape varieties and animals in the band of the archway. Another very probable earlier piece of this cathedral is a massive cross in stone containing a hollowed cross that is preserved in the Diocesan Museum. After the destruction of Nocera by Federico II in 1248, the church was abandoned and only in 1448 it was rebuilt on its ancient foundations.  The architecture had only one nave, with a roof of arches and girders according to the Franciscan style (the same style is currently visible in the Church of St. Francis). The stone decorations of the main faÃ§ade are a modern restoration dating back to 1925 (as described by the plaque on the wall). Entering from the secondary door (on via Rinaldo) there is a big nave with a semicircular apse. The restoration dates back to the start of the 19th century, in neoclassical style with columns, pilasters and vaults made of processed plaster. [Source: www.nocerainumbria.it]</div> <div> </div> Nocera Umbra | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.113495212.787561399999959Nocera Umbra54034[ ] Attrattoreen_US122834https://www.umbriatourism.it/web/umbria/-/vini-doc-e-docg-torgianoVini Doc e Docg TorgianoA small village not far from the main town of the region, Torgiano owes its origin to the settlements built around a medieval castle of which only a few walls and a tower remain. It is no coincidence that Torgiano is home to two of the most important museums in the region, the Wine museum and the Olive and Olive Oil museum. It is an extraordinary territory, which has always been a privileged reservoir for the production of quality wine and oil for the nearby city of Perugia. The production area of the Torgiano wines, which includes a DOCG and a DOC, is the entire territory of the Torgiano municipality, excluding the alluvial soils along the course of the rivers in the case of grapes intended for the production of DOCG wines. This territory is the first one that received, thanks to the far-sighted producer Giorgio Lungarotti, the DOC in Umbria in 1968. It was also the first one to get the DOCG in 1990. Sangiovese, Canaiolo and Trebbiano are grown here and, together with other optional grapes, they give life to two red wines of the highest level: Rosso di Torgiano Doc and Rosso Riserva Docg. In the DOC, in addition to the red wine, there are also White wine, RosÃ© wine, Chardonnay, Pinot Grigio, Cabernet Sauvignon, Riesling Italico, Pinot Nero and Spumante. Wine and oilhttps://www.umbriatourism.it/documents/10184/87120/Zona_panicale/e0f79e82-e9b5-46c3-a696-8cf8e89284aa?t=142365103342043.027315812.432391000000052[ ] Attrattoreen_US2418867290494https://www.umbriatourism.it/web/umbria/-/museo-don-aldo-rossi-e-pinacoteca-chiesa-san-giuseppeDon Aldo Rossi Museum - San Giuseppe Church Picture GalleryThe current museum, as a Paciano section of the museum system of the Archdiocese of Perugia-CittÃ della Pieve, was started in collaboration with the Superintendent of Historical and Artistic Heritage of Umbria, from the desire to enhance and preserve pieces and memories of the community's past, as already conceived by Don Aldo Rossi in 1994.Don Aldo Rossi Museum - San Giuseppe Church Picture GalleryThe current museum, as a Paciano section of the museum system of the Archdiocese of Perugia-CittÃ della Pieve, was started in collaboration with the Superintendent of Historical and Artistic Heritage of Umbria, from the desire to enhance and preserve pieces and memories of the community's past, as already conceived by Don Aldo Rossi in 1994. Picture Gallery: (entrance in Via della Pitalessa) Previously the hall of the Confraternity of the Blessed Sacrament, where Francesco from Castel della Pieve, a painter from the same town as Pietro Vannucci, known as Perugino, frescoed in 1452 a grand Crucifixion, commissioned by the prior Andrea di Giovanni. A little later, in a side wall, a local painter frescoed an Annuciation, still visible but in bad condition.  The great confraternity hall held some of the most important, still unaltered, paintings: the Madonna del davanzale, believed to be by  Bernardino di Mariotto (late 15th century), an oil painting of the Annunciation of the early 17th century, two valuable paintings of âserviti orderâ of the 17th century (the Madonna Addolorata and the Madonna con Bambino e Santi); a third, also of the 17th century, with Dominican saints (from the St. Anthony convent) and two Saint Lucia paintings.  A small section is dedicated to the Pacianese Antonio Castelletti (1764-1840) with the Mysteries, an early work connected with the painting of the Madonna del Rosario, preserved in the parish and the processional Gonfalone Santa Bonosa, patroness of Paciano. The section ends with the reconstruction of the altarpiece of Antonio and Giovanni Sparapane and their two paintings depicting Santa Mustiola and St. Peter the Apostle (1475-78). Museum: Inside St. Joseph's Church the spaces have been recently restored. Immediately past the entrance to the church, also known as Santa Maria dellâImmacolata Concezione Church and in the Chapel of the Immacolata Concezione, the Banner of the Madonna delle Grazie, made around 1470 by Benedetto Bonfigli, is located.  Down the nave, where in 2000 a number of votive frescoes dating back to the 15th century (two bearing the date 1444 and 1449) depicting saints and Majesty have resurfaced, there are some wooden statues: St. Joseph, of the 17th century, two Addolorate (17th and 18th century) and a 17th century Virgin of the Rosario, with real hair, the Nativity (end of the 17th century) and a Christ Child called dell'Aracoeli, in painted wax. At the top, above the altar hangs a Crucifixion of the Bolognese school of the mid-eighteenth century. Inside the presbyterial space dominated by the delightful chancel and framed by two neoclassical columns, as well as some 17th and 18th century reliefs (Angel, Ecce Homo, Head of Christ and Immaculate) and the statue of St. Joseph, placed in the niche on the altar, are a series of displays in which are placed valuable ecclesiastical furnishings of the 16th-18th century: crosses; monstrances; chalices; pyxes; table, sprinkling and incense services; reliquaries; tabernacles; papier-mÃ¢chÃ©, candelabra and candlesticks. Among the goblets there are finds of great value such as the one dated 1591 and two other examples of the sixteenth century. The painting by Francesco Appiani (1704-1792) depicting the Marriage of the Virgin is located here, in the space where it has always been. Beyond the confraternity tables you go up to the mezzanine floor where there are the small room of the archaeological finds, discovered after the Second World War near the archaeological area of Fonteboccio. In the adjacent room there are some of the most significant sacred vestments of the territory, for importance and antiquity. A small opening inside the old bell tower leads to the chancel, where there is a valuable organ by Adamo Rossi dated 1795.   Paciano | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.027988912.060402999999951[ ] Attrattoreen_US112157https://www.umbriatourism.it/web/umbria/-/museo-claudio-faina-e-museo-civico-orvietoClaudio Faina Museum and Civic Archaeological Museum - OrvietoThe Museo Claudio Faina and the Museo Civico Archeologico are housed inside Palazzo Faina, located in Piazza Duomo, in Orvieto. Claudio Faina Museum and Civic Archaeological Museum - OrvietoThe Museo Claudio Faina and the Museo Civico Archeologico are housed inside Palazzo Faina, located in Piazza Duomo, in Orvieto. The building became the seat of the Museum in 1954, when Claudio Faina Junior, the last heir, left all his properties to Orvieto Municipality as the basis for and to finance the Claudio Faina Museum Foundation, and it has remained there ever since. The exhibition arrangement aims at illustrating the steps of the gathering of the collection, from the constitution of the original nucleus starting in 1864, by Count Mario, collected following the indications required by collectors of the time, up to its enrichment by Eugenio, Mario's heir, who limited the acquisition of the finds to the Orvieto area, and promoted the formation of a Civic Museum rather than enriching the family collection. From the gallery, located on the second floor of the palace, it is possible to admire a view of the Duomo from a particular perspective. The access to the Civic Archaeological Museum is in Piazza Duomo. It is housed on the ground floor of the palace and is entirely dedicated to the finds from the local excavation sites of Orvieto and its territory, which testify to the exceptional flourishing of Volsiniiâthe Etruscan town of Orvieto. The architectural terracotta finds exhibited from the Belvedere area come from production of the finest artistic quality, executed in the course of the 5th century B.C. by Volsinii's workshops. They are inspired by Classical Ancient Greek Art, and are what is left of the decorative apparatus and marble coated buildings of worship. From the sacred area of Cannicellaâits name comes from reeds, a perennial grass growing profusely in the areaâa sanctuary identified inside the necropolis located to the south of the town, comes the cÃ©lÃ¨bre sculpture of Venus, and from the necropolis of the Crocefisso del Tufoâthe Tuff Crossâlocated to the north, some funerary slabs with the inscription of the deceased and stonesâcippiâare exhibited. From the territory of Orvieto, some materials collected in the course of the 19th century are displayed. Among these, the Torre di San Severo Sarcophagus, with its sculpted scenes depicting mediated episodes of the Greek Mythology of funerary inspiration, stands out. The Claudio Faina Collection is arranged on the first and second floors of the palace, in a renewed arrangement set up in 1996. On the first floor (Piano Nobile), which preserves the 19th century decorations, parts of the Faina collection are arranged highlighting especially the collecting activity of Mauro, in particular his numismatic collection, consisting of coins mainly from the Roman, Republican and Imperial periods. They are displayed in rigorous chronological order. On the second floor, the finds are arranged following a typological and chronological order: from pre- and proto-historic materials to Attic ceramics, while some rooms are entirely dedicated to Etruscan ceramics. Information Piazza del Duomo 05018 - Orvieto (TR)  email: info@museofaina.it sito web: <a href="http://www.museofaina.it/" target="_blank">www.museofaina.it</a>   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Orvieto | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/Cartina_zona_todi/152af2c9-089d-4425-b8c6-627a54845839?t=142373406941042.71676512.11246200000005[ ] Attrattoreen_US2237153690494https://www.umbriatourism.it/web/umbria/-/teatro-cesare-caporali-panicaleCesare Caporali Theatre - PanicaleThe 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 - PanicaleThe 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. The theatreâs history is rooted in the âDramatic Societyâ founded in 1694 by a group of young Panicale inhabitants. In 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.  In 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. The 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. Restored in the 1980s, today the theatre is frequently used.  Panicale | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+della+pieve/7746896c-7202-44f0-a549-a98b8a630304?t=145433457124043.028628112.097475300000042Panicale54037[ ] Attrattoreen_US2801142693915https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-maria-assunta-valfabbricaChiesa di Santa Maria Assunta - ValfabbricaThe 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.158881212.601164400000016Valfabbrica54057[ ] Attrattoreen_US112223https://www.umbriatourism.it/web/umbria/-/museo-dell-olivo-e-dell-olio-torgianoOlive Tree and Olive Oil Museum (MOO) - TorgianoThe Museo dell'Olivo e dell'Olio - MOO - is in the village of Torgiano, a renowned center of wine production between Perugia and Assisi. Olive Tree and Olive Oil Museum, Museo dell'olivo e dell'olio - TorgianoThe Museo dell'Olivo e dell'Olio - MOO - is in the village of Torgiano, a renowned center of wine production between Perugia and Assisi.  The musem is inside an old olive mill which was in use untl the last century, and which before that had been three different houses. This edifice has housed the Olive Tree and Olive Oil Museum since the year 2000. Conceived of and realized by the initiative of Giorgio and Maria Grazia Lungarotti, the museum is supported by the family enterprise and managed by Lungarotti Foundation. The museum retraces the history and the different uses of the olive tree and olive oil, without any geographical or temporal limits. Archaeological finds, ceramics, books and other material describing the mythological origins of this plant, its production, diffusion and different uses are exhibited. Among them is an antique Attic alabastronâa particular vase for holding perfumed oilsâdecorated with a red pattern by the Painter of the Foundry, dated in the 5th century B.C. Ample space is dedicated to the collection of oil lamps, from the ancient pre-Roman ones to those of the 20th century. A section is dedicated in particular to the olive tree and olive oil symbolism in graphic arts and handicrafts; the display dedicated to Traditions and Folklore recalls ancient beliefs and popular superstitions. Information OPENING TIMES From October to March: Saturday and Sunday 10 am - 1 pm /3 - 5 pm, booking required on weekdays, except for Mondays. From April to June: Tuesday to Sunday 10 am - 1 pm /3 - 6 pm From July to September: Monday to Sunday 10 a.m. - 6 p.m.   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Via Garibaldi <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">06089 - Torgiano (PG)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: prenotazionimusei@lungarotti.it <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">sito web: www.lungarotti.it/fondazione/moo   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Torgiano | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/perugia+-+corciano/83177533-a4e7-49de-88d1-a49e514e3a08?t=145433452271843.025447512.433341100000007[ ] Attrattoreen_US112059https://www.umbriatourism.it/web/umbria/-/cimitero-museo-le-mummie-di-ferentillo-Mummy Museum of FerentilloSome 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 FerentilloThe very simple faÃ§ade 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. 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. Twenty mummified bodies are visible inside the caskets; the oldest one dates from about four centuries ago, while the most recent one is from the 19th century. The conservation of the bodies is due to some peculiar microorganisms present in the soil and the constant ventilation of the place. Information <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Precetto - Via della Torre <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">05034 - Ferentillo (TR)  <span style="background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">email: mummie@libero.it   <span style="font-size: 9pt; line-height: 115%; font-family: Arial, sans-serif; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">Fonte Regione Umbria - Servizio Musei e soprintendenza ai beni librari   Ferentillo | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.620443212.784383100000014Ferentillo55012[ ] Attrattoreen_US539474893925https://www.umbriatourism.it/web/umbria/-/chiesa-di-san-frances-1Church of San Francesco - Giano dell'UmbriaThe Church of San Francesco dates back to the second half of the 13th century.Church of San Francesco - Giano dell'UmbriaThe Church of San Francesco dates back to the second half of the 13th century. <div>The exterior, in pinkish ashlar blocks with two sloping roofs, has an facade higher than the original one.  The facade is decorated by a closed oculus and by a recessed portal. The interior has a single nave; on the inteiror face of the facade is a wooden organ of 18th century. The walls are decorated by six (three on each side) wooden altars of the 18th century, adorned with frontals in scagliola of the Tuscan school, painted with floral motifs and surmounted by valuable paintings. The impressive main altar, with a great Baroque wooden curtain, hides the original apse of the church.  The apse is decorated with precious frescoes of the 14th century. The chapel of the crucifix preserves a cycle of frescoes attributed to the painter Giovanni Corraduccio from Foligno (14th century).</div> Giano dell'Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.8356512.577379999999948Giano dell'Umbria54021[ ] Attrattoreen_US539481293925https://www.umbriatourism.it/web/umbria/-/palazzo-pubblicoTown Hall - Giano dell'UmbriaThe Town Hall, of medieval origin, has been remodeled several times over the centuries and it has been further renovated recently.Town Hall - Giano dell'UmbriaThe Town Hall, of medieval origin, has been remodeled several times over the centuries and it has been further renovated recently. <div>To the left of the entrance, the coat of arms of the town dating to the 14th 15th century is set in the wall.  In the council chamber, at the top, it runs a band decorated in 1934 by local artist Ernesto Bannella, representing all of the City castles.  There are also preserved archaeological remains of an ancient Roman villa, found in the Toccioli area.</div> Giano dell'Umbria | Places of culturehttps://www.umbriatourism.it/documents/10184/6773061/cartina_sm_umbria_150dpi13.png/8c043462-6498-4684-8357-c32946aa1d2b?t=142374927320842.836321112.587180699999976Giano dell'Umbria54021[ ] Attrattoreen_US2442097293915https://www.umbriatourism.it/web/umbria/-/santuario-della-madonna-dell-olmoSantuario della Madonna dell'OlmoIt is situated in the most modern part of the village, at the public park.Santuario della Madonna dell'OlmoIt is situated in the most modern part of the village, at the public park. Dating to the 15th century, its interior is enriched with frescoes, some of which are attributed to Matteo da Gualdo. The sanctuary is located on the spot of the miracle of May 22, 1484 when  the Blessed Virgin appeared on an elm tree to shepherds. The trunk of the elm is still preserved inside the church. Valfabbrica | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.158881212.601164400000016Valfabbrica54057[ ] Attrattoreen_US2801128393915https://www.umbriatourism.it/web/umbria/-/ll-sentiero-francescano-della-paceThe Franciscan Peace PathValfabbrica is also a destination for pilgrimages and nature excursions.Valfabbrica is also a destination for pilgrimages and nature excursions. 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. For more information:<a href="http://www.ilsentierodifrancesco.it/Index.aspx?idmenu=3623"> ilsentierofrancescano.it</a>   Valfabbricahttps://www.umbriatourism.it/documents/10184/87120/gualdo+tadino/5007c5a4-c82e-4593-8d89-3f391e7140b3?t=145433518149743.158881212.601164400000016Valfabbrica54057[ ] Attrattoreen_US2476024290518https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-cateri-1Chiesa di Santa CaterinaThe 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 CaterinaThe 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 faÃ§ade 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/spoleto/a31e3b11-7378-4a0f-b972-e4089aac5335?t=145433443256642.801615912.863551599999937Vallo di Nera54058[ ] Attrattoreen_US539523293915https://www.umbriatourism.it/web/umbria/-/le-rughe-di-fossato-di-vicoLe Rughe di Fossato di VicoA 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 VicoA 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. <div>That is still the entrance main castle, under the crenellated tower.  Because the defense needs had to prevail over those of road conditions, the level road that it is currently seen didn't exist at that time and it was instead an up and down path on certain points of which flowed, passing under the houses.  Short descended from the parallel immediately above, that the wide road and currently Via Roma, apparently in order to facilitate the movement of defense of the castle towards the walls and the portam castri. Rughe are characterized by the vaulted roofs stone round arch or plank, the powerful pointed arches or round arches that sustain it, the loopholes from which they get light and in the Middle Ages were also a place of defense from attack.</div> <div> </div> <div>Fonte: Comune di Fossato di Vico</div> Fossato di Vico | Places of culturehttps://www.umbriatourism.it/documents/10184/87120/gubbio/20732a06-fc5c-4a7c-96ca-072dacb55fe5?t=145433486958643.298249112.762584699999934Fossato di Vico54019[ ] Attrattoreen_US2421759993935https://www.umbriatourism.it/web/umbria/-/chiesa-santa-maria-della-neveChurch of Santa Maria della NeveLocated in the characteristic St. Valentine Square, the church has early-Medieval origins, when it was still a small countryside parish around which arose the first inhabited centre that would later have been fortified.Chiesa Santa Maria della NeveLocated in the characteristic St. Valentine Square, the church has early-Medieval origins, when it was still a small countryside parish around which arose the first inhabited centre that would later have been fortified. The classical faÃ§ade 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. The 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. The 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. On 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. Today the church features 17th century shapes that are extremely simple and linear: a very simple faÃ§ade and a gable roof on which stands a little bell tower with two small arches. Penna in Teverina | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/alviano+-+giove+-+attigliano/80535a15-5edf-400b-9c11-126728af4dbf?t=145433507064042.493321212.354819399999997Penna in Teverina55026[ ] Attrattoreen_US2496331890454https://www.umbriatourism.it/web/umbria/-/piazza-fortebraccio-montonePiazza Fortebraccio - MontoneThe 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 - MontoneThe 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.  Itâs a charming spot, where itâs possible to breath an atmosphere of other times; from the square you can see, towering over the alleys of the village, the high civic tower with the clock on one faÃ§ade. Montonehttps://www.umbriatourism.it/documents/10184/87120/citt%C3%A0+di+castello+e+dintorni/d7282df3-5039-442b-a7d3-b97d0ffb86cb?t=145433489171843.362322812.32368729999996Montone54033[ ] Attrattoreen_US2439078193915https://www.umbriatourism.it/web/umbria/-/ponte-romano-spianoSpiano Ponte RomanoThe Spiano Bridge is located just outside Sigillo, is a structure made up of huge boulders that allowed the Fonturci stream to reach the ancient Flaminia Road.Spiano Ponte RomanoThe Spiano Roman Bridge is located just outside Sigillo, and was built of huge boulders to carry the ancient Flaminian Road over the Fonturci stream. ItÂ´s a masterpiece of Roman building: some people date it to the second century B.C. and others to the later Augustan age. Built of huge blocks of cornelian, it measures 32 m in length and 3.25 m in width at the top of the arch. This monument is emblematic of the old Roman âmunicipiumâ of Suillum (governed by the two âduoviriâ, together with the âquattuoviriâ college of magistrates), as well as symbolizing the ancient and deep-rooted connection between the Tyrrhenian and the Adriatic Sea. The famous staging-post on the Via Flaminia, Helvillum, could be found within the territory of Suillum. From here, a branch road crossed the mountains and led on to Ancona. It remained in use for many centuries, until the beginning of the 1900âs and was known as the âPostiglioneâ (Postillion). Sigillo | Ancient historyhttps://www.umbriatourism.it/documents/10184/87120/sigillo+-+scheggia+-+costacciaro/9ab24d74-92ec-4ec7-b657-beb3bb10e44d?t=145433468570743.331411912.730749699999933Sigillo54049[ ] Attrattoreen_US2441991090438https://www.umbriatourism.it/web/umbria/-/oratorio-di-san-giovanni-decollatoOratorio di San Giovanni DecollatoThe oratory of St. Giovanni Decollato, on left of the entrance gate to the ancient fortified village of Stroncone, is an authentic jewel of art and architecture.Oratorio di San Giovanni DecollatoThe oratory of St. Giovanni Decollato, on left of the entrance gate to the ancient fortified village of Stroncone, is an authentic jewel of art and architecture. <div>Seat of the Confraternity, it holds valuable artworks by Giuseppe Bastiani, called Giuseppino from Macerata. The lateral lunettes carry depictions of four stories of the Saintâs life: Nativity - St. John in the desert - Annunciation to Zaccarias - Visit to the prison of the disciples, whereas the Baptism is represented at the centre of the vault divided into compartments through stucco and grotesque cornices alternated to small landscapes and folders with Latin writings attributable to Battista. The altarpiece of the high altar depicting St. John, painted by Bastiani, is very beautiful. The head of the martyr Saint that inevitably attracts the viewerâs eyes, concentrates the whole pathos of the representation. Two Baroque altars and elegant stucco, made by two artists from Stroncone, the brothers Gregorio and Cristoforo Grimani, complete the inside of this most beautiful church.</div> <div> </div> Stroncone | Places of culture | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.499740512.663681999999994Stroncone55031[ ] Attrattoreen_US2441983190438https://www.umbriatourism.it/web/umbria/-/chiesa-collegiata-san-nicoloCollegiate Church of San NicolÃ²It is one of the oldest churches in Stroncone and we know that in 1181 the Consuls of Stroncone donated it to the abbey of San Benedetto in fundisCollegiate Church of San NicolÃ²It is one of the oldest churches in Stroncone and we know that in 1181 the Consuls of Stroncone donated it to the abbey of San Benedetto in fundis 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. The 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). Source: Turismo Stroncone Stroncone | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.499740512.663681999999994Stroncone55031[ ] Attrattoreen_US2347572190438 | 43534959https://www.umbriatourism.it/web/umbria/-/i-prati-di-stronconePrati di StronconeA 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 <a href="/-/stroncone" style="text-decoration-line: underline; outline: 0px;">Stroncone</a>, 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. Wide green plains with a few huge trees appear when the mountains side almost begins to retreat 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 easy distance of Terni, maybe little known but that you will love at first sight. Stroncone | Nature parks and theme parkshttps://www.umbriatourism.it/documents/10184/87120/terni/5376881f-e907-49f2-8871-c7f688432072?t=145433508955442.499740512.663681999999994Stroncone55031[ ] Attrattoreen_US47843653https://www.umbriatourism.it/web/umbria/-/videoricetta-torta-al-testoTorta al testoChi viene in Umbria non puÃ² non assaggiare la torta al testo: un piatto tradizionale regionale che si puÃ² riempire con formaggio, salsiccia, verdure...o qualsiasi altro ingrediente che ispiri la propria fantasia!Anticamente il testo, detto anche "panaro", era una semplice pietra piatta di forma piÃ¹ o meno circolare. Solo in epoca recente Ã¨ subentrato l'uso di un'amalgama di creta e di polvere di marmo di forma circolare, cotta al forno, che viene appoggiata sul fuoco e, una volta rovente, viene utilizzata come base per il tradizionale impasto.Torta, testo, umbriaSIDEBAR SIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/6jtcP5iq57M?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/6jtcP5iq57M?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Tempo di preparazione: 10 minuti Tempo di riposo: 30 minuti Tempo di cottura: 10-12 minuti Dosi per: 2 torte al testo Ingredienti per la torta al testo: <ul> <li>500gr di farina tipo 0</li> <li>15gr di bicarbonato (o lievito istantaneo)</li> <li>1 cucchiaino di sale</li> <li>Acqua gassata q.b. (circa 250ml)</li> <li>25ml di olio evo D.O.P. Umbria - Colli Assisi Spoleto</li> </ul> Ingredienti per farcire: <ul> <li>Prosciutto di Norcia q.b.</li> <li>Formaggio del Subasio q.b.</li> <li>Erba cotta e ripassata in padella</li> <li>Salsicce di Norcia</li> </ul>   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> Per preparare la Torta al Testo versiamo su una spianatoia la farina con il bicarobnato. </li> <li> Misceliamo bene e iniziamo ad aggiungere l'olio e lâacqua poca per volta. Aggiungiamo il sale e continuiamo a miscelare finchÃ¨ non otterremo un impasto compatto. </li> <li> Lâimpasto dovrÃ essere lavorato energicamente per qualche minuto. </li> <li> Lasciamolo riposare poi coperto con un canovaccio, per almeno 30-40 minuti. </li> <li> Dividiamo lâimpasto in due parti e stendiamo con il mattarello sul piano ben infarinato. Creiamo due dischi di impasto con spessore di 2cm circa. </li> <li> Scaldiamo il testo e quando sarÃ ben caldo, abbassiamo la fiamma e poniamo lâimpasto al centro bucherellandolo con i rebbi della forchetta dopo qualche istante. </li> <li> Facciamo cuocere 5-6 minuti per lato facendola roteare di tanto in tanto. Copriamo con un canovaccio per mantenerla calda, tagliamo e farciamo con prosciutto e pecorino oppure con erba e salsiccia. </li> </ul> </div> PROPOSTE <div class="row" id="videoricette"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/torrentismo-nella-forra-della-villa-in-valnerina" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_torrentismo.jpg/50fa3cb4-d2ce-42f3-a8c8-b7aa48541ca0?t=1588689799444" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/torrentismo-nella-forra-della-villa-in-valnerina" style="color:#1d1d1d !important;">Torrentismo in Valnerina</a></div> <a href="https://www.umbriatourism.it/-/torrentismo-nella-forra-della-villa-in-valnerina" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/trekking-sui-monti-martani" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_martani.jpg/8b14baec-5b2a-4235-aaf2-33b4a83890c2?t=1588689799720" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/trekking-sui-monti-martani" style="color:#1d1d1d !important;">Trekking sui Monti Martani</a></div> <a href="https://www.umbriatourism.it/-/trekking-sui-monti-martani" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_piediluco.jpg/b9495a65-caa0-4f2e-a858-afec0172478f?t=1588689799964" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;">In bici alla Cascata delle Marmore</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/bici-la-cascata-delle-marmore-e-il-lago-di-piediluco" style="color:#1d1d1d !important;"> </a></div> </div> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/web/umbria/-/i-luoghi-del-grand-tour-nel-ternano" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_ternano.jpg/854b2476-cf3c-41c7-b276-eb4476838f6d?t=1588689800176" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/web/umbria/-/i-luoghi-del-grand-tour-nel-ternano" style="color:#1d1d1d !important;">I luoghi del grand tour nel ternano</a></div> <a href="https://www.umbriatourism.it/web/umbria/-/i-luoghi-del-grand-tour-nel-ternano" style="color:#1d1d1d !important;"> </a></div> </div> </div> <div class="row" id="videoricette2"> <div class="col-xs-6 col-sm-4 col-md-3 col-lg-3"> <div><a href="https://www.umbriatourism.it/-/piazza-del-popolo-a-todi" style="color:#1d1d1d !important;"><img src="https://www.umbriatourism.it/documents/10184/0/v_todi.jpg/b7f87255-6cbc-46be-bc18-20cae670b429?t=1588689800418" /> </a> <div style="padding:3px 0; color:#1d1d1d !important;"><a href="https://www.umbriatourism.it/-/piazza-del-popolo-a-todi" style="color:#1d1d1d !important;">Piazza del popolo a Todi</a></div> <a href="https://www.umbriatourism.it/-/piazza-del-popolo-a-todi" style="color:#1d1d1d !important;"> </a></div> </div> </div> Traditional recipes[ ] Attrattoreen_US47604181https://www.umbriatourism.it/web/umbria/-/videoricetta-tegamaccio-del-lago-trasimenoTegamaccio del Lago TrasimenoL'anguilla, il carassio, la carpa, il latterino, il persico reale, il persico sole, il pesce gatto e la tinca sono i pesci che popolano le acque del Trasimeno. Uno dei piatti tipici dove a trionfare Ã¨ il sapore unico e inconfondibile del pesce di lago Ã¨ il "tegamaccio", una zuppa di pesce che prende il nome dal tegame in terracotta in cui viene cucinata con olio extra vergine di oliva, salsa di pomodoro, vino bianco ed erbe aromatiche.tegamaccio, Umbria, TrasimenoSIDEBAR  <style type="text/css">.hytPlayerWrap { display: inline-block; position: relative; } .hytPlayerWrap.ended::after { content: ""; position: absolute; top: 0; left: 0; bottom: 0; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 64px 64px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHdpZHRoPSIxMjgiIGhlaWdodD0iMTI4IiB2aWV3Qm94PSIwIDAgNTEwIDUxMCI+PHBhdGggZD0iTTI1NSAxMDJWMEwxMjcuNSAxMjcuNSAyNTUgMjU1VjE1M2M4NC4xNSAwIDE1MyA2OC44NSAxNTMgMTUzcy02OC44NSAxNTMtMTUzIDE1My0xNTMtNjguODUtMTUzLTE1M0g1MWMwIDExMi4yIDkxLjggMjA0IDIwNCAyMDRzMjA0LTkxLjggMjA0LTIwNC05MS44LTIwNC0yMDQtMjA0eiIgZmlsbD0iI0ZGRiIvPjwvc3ZnPg==); } .hytPlayerWrap.paused::after { content: ""; position: absolute; top: 70px; left: 0; bottom: 50px; right: 0; cursor: pointer; background-color: black; background-repeat: no-repeat; background-position: center; background-size: 40px 40px; background-image: url(data:image/svg+xml;utf8;base64,PHN2ZyB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciIHZlcnNpb249IjEiIHdpZHRoPSIxNzA2LjY2NyIgaGVpZ2h0PSIxNzA2LjY2NyIgdmlld0JveD0iMCAwIDEyODAgMTI4MCI+PHBhdGggZD0iTTE1Ny42MzUgMi45ODRMMTI2MC45NzkgNjQwIDE1Ny42MzUgMTI3Ny4wMTZ6IiBmaWxsPSIjZmZmIi8+PC9zdmc+); } </style> <div class="hytPlayerWrap"><iframe allowfullscreen="" frameborder="0" height="auto" src="https://www.youtube.com/embed/vO6QmpcP5GM?rel=0&enablejsapi=1" style="display:none;" width="auto"></iframe></div> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="" class="embed-responsive-item" src="https://www.youtube.com/embed/vO6QmpcP5GM?rel=0&enablejsapi=1"></iframe></div> <script>"use strict"; document.addEventListener('DOMContentLoaded', function() { if (window.hideYTActivated) return; let onYouTubeIframeAPIReadyCallbacks = []; for (let playerWrap of document.querySelectorAll(".hytPlayerWrap")) { let playerFrame = playerWrap.querySelector("iframe"); let tag = document.createElement('script'); tag.src = "https://www.youtube.com/iframe_api"; let firstScriptTag = document.getElementsByTagName('script')[0]; firstScriptTag.parentNode.insertBefore(tag, firstScriptTag); let onPlayerStateChange = function(event) { if (event.data == YT.PlayerState.ENDED) { playerWrap.classList.add("ended"); } else if (event.data == YT.PlayerState.PAUSED) { playerWrap.classList.add("paused"); } else if (event.data == YT.PlayerState.PLAYING) { playerWrap.classList.remove("ended"); playerWrap.classList.remove("paused"); } }; let player; onYouTubeIframeAPIReadyCallbacks.push(function() { player = new YT.Player(playerFrame, { events: { 'onStateChange': onPlayerStateChange } }); }); playerWrap.addEventListener("click", function() { let playerState = player.getPlayerState(); if (playerState == YT.PlayerState.ENDED) { player.seekTo(0); } else if (playerState == YT.PlayerState.PAUSED) { player.playVideo(); } }); } window.onYouTubeIframeAPIReady = function() { for (let callback of onYouTubeIframeAPIReadyCallbacks) { callback(); } }; window.hideYTActivated = true; }); </script> Ricetta per 2 persone Ingredienti: <ul> <li>1kg di pesce di lago (anguilla, persico reale, tinca)</li> <li>500gr di pomodori pelati</li> <li>2 cucchiai di pomodoro concentrato</li> <li>1 spicchio d'aglio</li> <li>2 cipolle dorate di Cannara</li> <li>1 peperoncino</li> <li>1 bicchiere di vino DOC "Colli del Trasimeno" Bianco Secco</li> <li>1 ciuffo di prezzemolo</li> <li>Olio EVO D.O.P. Umbria, Colli del Trasimeno q.b.  </li> </ul> DifficoltÃ : facile Tempo di preparazione: 3 ore circa   <div style="background-color:#f0f0f0; padding:10px;">Preparazione <ul> <li> Per preparare il Tegamaccio del Trasimeno i pesci dovranno essere puliti ed eviscerati prima di procedere con la preparazione. </li> <li> In un tegame (possibilmente di terracotta) versiamo abbondante olio EVO D.O.P. Umbria, Colli del Trasimeno e la cipolla tritata. </li> <li> Lasciamo rosolare qualche minuto a fiamma bassa. Aggiungiamo poi l'aglio, il peperoncino e il concentrato di pomodoro mescolando gli ingredienti con un cucchiaio. </li> <li> Facciamo appassire a fiamma dolce e aggiungiamo il pesce tagliato a pezzi di 4-5 centimetri (comprese le teste che daranno sapore alla zuppa). </li> <li> Aggiungiamo a questo punto il vino bianco, lasciamo sfumare qualche minuto e successivamente aggiungiamo i pomodori pelati schiacciati, sale, pepe e prezzemolo e continuare la cottura a fiamma molto bassa per almeno 2-3 ore (la zuppa dovrÃ sobbollire). Il pesce non andrÃ mai girato, per evitare che la zuppa si attacchi al fondo, scuotere il tegame con movimenti rotatori di tanto in tanto. </li> <li> Il Tegamaccio del Trasimeno va servito ben caldo su crostini di pane casereccio tostato, eventualmente aromatizzato con aglio. *Ricetta realizzata con la collaborazione della cooperativa dei pescatori del Trasimeno. </li> </ul> </div> Traditional recipes[ ] Attrattoreen_US9578519117723https://www.umbriatourism.it/web/umbria/-/spello-uno-dei-borghi-piu-belli-d-italiaSpello, one of the most beautiful towns in ItalyReferred to as the Splendidissima Colonia Julia in Roman times, Spello will fascinate you with its medieval streets, the Flower Festival and the frescoes by PinturicchioSpello, Pinturicchio, Flower Festival, Splendidissima Colonia Julia, the church of Santa Maria Maggiore, flowered balconies, Villa Fidelia, Franciscan SpaSpello, nestled on the southern flank of Mount Subasio, between Assisi and Foligno, is part of the club of "The Most Beautiful Villages of Italy" due to its significant environmental, cultural and artistic heritage. The ancient town centre of Umbrian origin, "Hispellum" from the first century BC, was an important Roman town given the title "Splendidissima Colonia Julia". There is important and impressive evidence of the Roman period which coexists beautifully with today's medieval urban appearance. The itinerary for your visit starts in the lower part of the town. You will enter into the heart of the town through the monumental Consular gate (first century BC), given this name because it marked the entrance to the city from Via Flaminia; follow what was once the route of the old uphill road and let yourself be captivated by the coexistence of isolated Roman structures, to your right, and the medieval urbanization that you can admire on the left; continue until you get to the open space that houses the church of Santa Maria Maggiore. Enter the church and approach the left side of the nave where you will find the Baglioni Chapel, frescoed in 1501 by Bernardino di Betto, known as Pinturicchio, one of the greatest artists of the Umbrian and Italian renaissance. When standing in front of the frescoes we recommend that you take all the time necessary to discover the many juicy details with which the imaginative artist, among precious grotesques, depicted Sibille enthroned on the vault, the Annunciation on the left wall (of particular interest is a frame with a self-portrait signed by the artist) and on the back wall the Adoration of the Shepherds and the arrival of the Magi with views of the Umbrian countryside; on the right there is Dispute in the Temple.   The large panel with Madonna and Saints (1508) housed in the thirteenth century church of Sant'Andrea, a Franciscan church in the town and within walking distance of Santa Maria Maggiore, is also by Pinturicchio. Carrying on up the hill, we recommend a small detour along Via Torri di Properzio to admire the monumental Venere gate, from the Augustan age, built in the shape of a triumphal arch, flanked by the two Properzio towers with a dodecagonal plan. Returning to the main road, continue uphill towards Piazza della Repubblica square, where the Town Hall is located, allowing yourself to be tempted by the shops selling local produce and crafts, as well as the numerous art shops. Here, along both sides of the street, you will find numerous taverns, restaurants and wine bars where you can enjoy local cuisine and produce. Next we head to the Belvedere, an ancient terrace on which the Roman forum was built; here you can enjoy views of the Topino valley and hilly arc that stretches from Montefalco to Assisi. Get lost in the narrow medieval streets adorned with colourful flower-filled balconies, which, on the day of Corpus Christi, are joined by precious carpets of flowers, for the famous Flower Festival of Spello; authentic works of sacred art made with flower petals. Visit the ancient Villa dei Mosaici museum, a Roman villa in the Sant'Anna area, where you can see 360 square metres of mosaic floors that have recently been restored and are dated between the third and early fourth century AC. If you still have some time left we recommend a walk in the gardens of Villa Fidelia park, or a little relaxation in the Spello Franciscan Spa, where you can enjoy the benefits of the sulphur waters that flow in the plain below Spello | Discovering the villages of Umbriahttps://www.umbriatourism.it/documents/10184/87120/deruta+-+collazzone/15d029e8-5b64-4bc0-b6dd-829c4285c2ba?t=145433461027542.98765312.67118979999998[ ] Attrattoreen_US2157782790518https://www.umbriatourism.it/web/umbria/-/gli-antichi-bagni-di-triponzoThe Ancient Baths of TriponzoIt 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 TriponzoâIts 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. The hot springs of <a href="http://t/-/cerreto-di-spoleto" style="text-decoration-line: underline; outline: 0px;">Cerreto di Spoleto</a>, 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. Today, 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. It 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. The 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. The 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. This causes the water to acquire dissolved solids of the rock, and warming to the temperatuer of hte depths of the Earth. After 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. The 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. Surrounded 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.    For further information: <a href="http://www.bagnitriponzo.it/">http://www.bagnitriponzo.it/</a> Cerreto di Spoleto | Lakes, rivers and waterfalls | Discovering the Valnerinahttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.82766712.937994200000048Cerreto di Spoleto54010[ ] Attrattoreen_US2427578290518https://www.umbriatourism.it/web/umbria/-/chiesa-di-santa-caterinaChurch of St. CatherineThe Church of St. Catherine is one of the oldest churches in Preci: it dates back to the 10th century. Church of St. CatherineThe 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. The 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. The 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 worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.880663913.039638500000024Preci54043[ ] Attrattoreen_US2415973590518https://www.umbriatourism.it/web/umbria/-/tempietto-norciaTempietto - NorciaThe small stone monument is located in vicolo del Tempietto at the corner with the central via Umberto I.Tempietto - NorciaThe small stone monument is located in vicolo del Tempietto at the corner with the central via Umberto I. <div>The building is the work of Vanni della Tuccia who in 1354 decorated the simple square-plan structure with anti-classical bas-reliefs depicting zoomorphic, anthropomorphic, geometrical, symbolic and esoteric motifs. The external decoration ends with an unusual ashlar. An inscription bearing the name of the author, the date of the execution and the angelic salutation runs all along the perimeter of the parallelepiped. </div> <div>The small interior houses a 14th. century fresco depicting the Virgin and Child with Saints; the painting appears darkened because of the smoking oil lamps of which it is still possible today to observe the original hooks. The two windows must have been closed by wrought iron grates. The small Temple, originally called âla mainaâ namely âthe pictureâ, is the most original and best preserved building of Norcia. There are a number of hypotheses concerning its foundation; it was maybe a small therapeutic sanctuary following the plague that devastated the city and the whole Italy during the middle of the 14th century; or alternatively it could have been built as a consequence of a particular vote expressed by the citizenship.</div> Norcia | Places of worshiphttps://www.umbriatourism.it/documents/10184/87120/cascia+norcia+preci/9daa8de8-5de7-4674-a8cb-535dca8ff187?t=145433438471242.791674613.094733499999961[ ]