The following tour has been designed to be done walking

Walk 1
 FONTANA MAGGIORE - LOGGE Dl BRACCIO - CATTEDRALE - MUSEO DEL DUOMO - PALAZZO DEI PRIORI - SALA DEI NOTARI - COLLEGIO DEL CAMBIO E DELLA MERCANZIA - CORSO VANNUCCI - PIAZZA ITALIA - PIAZZA MATTEOTTI - RAPHAEL'S FRESCO.

Piazza IV Novembre is the city's physical and moralcentre. All the main streets lead into the square where you find the most important monuments and the major religiousand socio-political institutions. On one side is the Prior's Palace or Town Hall, on the other the Cathedral with a facade covering nearly the whole length of the square. The Episcopal Palace, which houses the Museum of Natural History (entrance gratis), and a row of beautiful buildings of various periods, including the Notaries' Hall (1400) and the Friggeri Palace (1700), enclose the square on the other sides. In the centre stands the Great Fountain, perhapsthe most important monument in Perugia from an artistic viewpoint.

FONTANA MAGGIORE. The fountain was erectedfor the official opening of an aqueduct which brought water from Monte Paciano, about five miles away, to the centre. This enormous enterprise for the Medieval Communewas completed in 1279 and within a period of two years(1277-1278) the fountain was built and decorated. Theworks were directed by the Benedictine brother, Fra Bevignate da Cingoli, a Venetian plumber by the name of Boninsegna was employed and the sculptors Nicola and Giovanni Pisano executed the works in marble and bronze.A Perugian Rosso Padellaio, casted the bronze bowl. Thefountain was inspired by the syncretistic and encylopaedic philosophy of the Middle Ages but, unlike the religiousmonuments, a concept of civil history prevails and was developed here more than in any other monument of the time. The lower tier is divided into 50 marble panels inserted in the 25 sides of the polygon. The seguence beginswith the panel showing the Original Sin, on the side facing the Episcopal Palace, and continues towards the Palazzodei Priori with six other diptychs, inspired by the politicaland moral history.

Then follows the twelve months of the year represented by work proper to the seasons, each with its corresponding Zodiac sign.

Next come the diptych with a gryphon, symbol of the city, and a lion, symbol of the Guelph faction, the seven liberal arts and Philosophy. The series ends with two eagles, one perhaps symbolizes the Empire and the other John the Evangelist (here you will find Giovanni Pisano's signature). The upper tier holds 24 statuettes representing both real and mythical characters of Perugia's and theworld's history. Amongst the most important of these arethe Bishop St. Ercolano, defender of the city and hero ofthe patria, his traitor cleric, Matteo da Correggio, the Podesta (mayor) of Perugia Ermanno da Sassoferrato, the Captain of the people, Euliste, my thical founder of the city-and the Augusta Perusia, on a throne like an ancient godess. The three bronze women at the centre of the fountain represent the three theological virtues: Faith, Hope and Charity.

LOGGE Dl BRACCIO. The archway set against the cathedral, was built by order of the famous Captain of fortuna, Braccio, in 1423. A fifth arch on the right was destroyed. Fieravante Fieravanti from Bologna is believed to be the author of this monument, the first in Perugia to show the Renaissance spirit.

CATTEDRALE. The new cathedral, dedicated to St. Laurence, was built during the 9th century and occupied an area downhill -from the present building. In the 10th century it was rebuilt higher up covering the present transept. The building of the current church was started in 1347, the works proceeded very slowly and were finally brought to an end in 1490. The external walls have been mostly left in their uncompleted state; only a part was finished in the typically Perugian red and white marble. On the side facing Piazza IV Novembre is a large 16th century door designed by Galeazzo Alessi, a small pulpit where Bernardino da Siena once stood, and higher up in a niche, a wooden crucifix, attributed to Eusebio Bastoni (in front of which Perugia laid down the keys to the city during the Salt War). On the outside steps there is a bronze statue of Julius III by Vincenzo Danti of Perugia (1555). In the main fagade facing Piazza Danti is a door by P. Carattoli.

The design of the interior was prompted by the so called "Hallenkirche", a church with equally high nave and two aisles, of Gothic origin (the prototypes seem to belong to Poitou). The interior gives the impression of a large hall divided by octagonal pillars faced in stucco work imitating marble. The vaults are decorated with frescoes from the 18th century, their most important authors being M. Leopardi, A. Appiani and P. and V. Carattoli. Beginning on the right, there is the sepulchre of Bishop Andrea Baglioni, perhaps by Urbano da Cortona (about 1451), and then the Cappella di San Bernardino closed off by iron gates. Inside are seats by Jacopo Fiorentino and Ercole di Tommaso (1567).

Above the altar is the Decent from the Cross, an early masterpiece of Federico Barocci (1567-1569). The window was designed by Arrigo Fiammingo (1565). Continuing on there is the Cappella del Baptistero with a window by Domenico Bruschi and a marble front by Pietro Paolo da Como (1477). On the third pillar Our Lady of Grace, attributed to Giannicolo di Paolo. Also in the right aisle is the Cappella del Sacramento by G. Alessi (1576) with frescoes by M. Leopardi (1795), then, on the wall, the Martyrdom of St. Sebastian by Orazio Alfani (1572). Along the right arm of the crossing is the Martyrdom of St. Stephan by Giovanni Baglioni and a monument to Leone Xlil by Giuseppe Luchetti (1892). In the Sacristy are decorations by Giannantonio Pandolfi da Pesaro (1578) and furniture inlaid by Mariotto di Paolo (1497). The chancel has fine wooden choirstalls by Giuliano da Maiano and Domenico del Tasso (1491), a lovely example of Renaissance art. In the chapelto the left of the chancel is the Assumption of Our Ladyby Ippolito Borghesi (1624). On the left side of the churchgoing towards the entrance is the Cappella del Crocefissowith an altar by Pietro Carattoli (1735), then the Altar ofthe Pieta with the Pieta by Agostino di Duccio (1473) and the Prophets by B. Buglioni (1487) followed by the Altarof the Gonfalone containing a large lunette by Giannicoladi Paolo (1514) and the - Banner by Berto di Giovanni (1526). At the end, near the entrance is the Cappella di Sant'Anello closed off by iron work.
Over the altar, a painting of the Marriage of the Virginby G.B. Wicar (1825). Above this in a safe, is the Reliquary of the Holy Ring by Bino, Federico and Cesarino del Roscetto (1498-1511). Lastly, the sepulchral monument to the Bishop M. Oddi by Gian Domenico Guidi (1658).
Behind the church is a cloister wrth a beautiful Renaissance well-head. Decorative and-sculptural fragments, tablets on the history of the church and the town are incorporated in the walls.

MUSEO DEL DUOMO. BIBLIOTECA DOMINICINI. Both the Cathedral Museum and the library are found off the cloister. There are several important paintings displayed in the museum including a triptych by Meo da Siena, another by Agnolo Gaddi, a Pieta by Bartolomeo Caporali and the fine painting of St. Honofrius, a masterpiece by the painter Luca Signorelli from Cortona (1484). Of great interest also is the series of illuminated manuscripts dating fromthe 6th century onwards. The first cloister leads into a second, called the 'presbyteries' of the cathedral, with attractive 15th century open galleries.

PALAZZO DEI PRIORI. Go back into Piazza IV Novembre to the Priors' Palace which is one of the greatest examples of the Commune buildings of the Gothic era. It began with a People's Hall, designed on Lombard models, which was built up on the square, today this is known as LA SALA DEI NOTARI. The Notaries' Hall is accessible from the stairs of Vaccara, originally of a different shape. Between 1320 and 1350 another building was inserted around this great hall built in 1290, incorporating the ancient towers up to via dei Priori. Later, during the 15th century, it was further extended along the present corso Vannucci. In spite of the numerous additions, the Gothicstyle typical of the area remains uniform. This however does not mean that other stylistic contributions are not to be recognised: for instance the beautiful three-mullioned windows are related to the Venetian architecture. On the Piazza IV Novembre side, steps lead directly to the Notaries'Hall. Higher up on the wall, two 13th century bronze statues, a Gryphon and a Lion, stand on brackets.

The side of the building facing corso Vannucci has a series of old workshops on the ground floor designed with pointed arches and a large round-headed portal with small ornate columns and bas-relief on the sharp splays. In the iunette above the door are figures of three saints: Laurence and Ercolano - the patron saints of Perugia - and Ludoic the patron saint of the palace. There are some doubtsas to the nationality of the artist though many now believe he was Umbrian. The atrium, composed of pillars and vaultsin brickwork, is one of the most beautiful examples of internal courtyards. From here a stairway leads to the upper floors. To the right on the first floor is the Notaries' Hall of Romanesque structure with ten weighty arches which give support to the flat ceiling. Coats of arms of the mayors and the Captains of the People are to be seen on the walls and various St. Francis of Assisi, decorate the entrance wall and the window splays. On the other side of the floor are the Communal Halls of Reception comprising the Town Council Hall, with a fresco thought to be by B. Pintoricchio above the door, the Red Hall, the Yellow Hall and others. On the upper floors are the Commune Offices and you can visit the National Gallery of Umbria on the top floor (seepage 43).

COLLEGIO DELLA MERCANZIA. To the right of the main door on corso Vannucci is the Merchants' Guild amagnificent hall with carved wood panelling from the first half of the 15th century. The motif is obviously related to the decorative patterns found in the Northern countries.

COLLEGIO DEL CAMBIO. To the left of the main door, after via dei Priori, is a group of three portals opening into the Exchange. Together with the already mentioned Art of the Merchants, that of the money Exchangers held a fundamental role in the administration of public affairs and town governing. This can be testified by the unique beauty of the building adorned with important works of art. The Sede dei Legisti (Lawyers' Room), with benches carved by Giampiero Zuccari (1615), leads into the Sala dell'Udienza del Cambio (Audience Room). The benches were completed by Antonio da Mercatello towards the end of the 15th century. The large wooden bench was carved by Domenico del Tasso. The statue of Justice is attributed to Benedetto da Maiano. The frescoes were painted by Pietro Vannucci from Citta dells Pieve, called the Perugino (1450-1523), who completed them around the year 1500. Under the guidance of Francesco Maturanzio, Secretary of the decemvirate, they display an exquisitely humanistic expression representing the four Cardinal Virtues, personified by the great personalities of the Ancient World, the Nativity scene and the Transfiguration, then the Prophets and the Sibyls exhalting the harmony between Science and Virtue of the Old World and the Truth revealed by Christianity. On the vault are grotesques and allegoric figures of the planets in tondo. Note the self-portrait of Pietro in a false frame painted on the wall. Also in this samebuilding you can visit the small Cappella di San GiovanniBattista, frescoed between 1509 and 1528 with episodes of the life of St. John the Baptist by Giannicola di Paolo.

Continuing along corso Vannucci, the main street in Perugia, you can admire the buildings from the 15th, 16th and 17th centuries. In Piazza della Repubblica, on the left, is the Baldeschi Palace (the house of the Jurist, Baldo degli Ubaldi, in the adjacent via Baldo, is an interesting example of 15th century buildings). In a recess you can see the facade of the Church of Sant'lsidoro probably work of Giulio Danti. And to the right, the Pavone theatre (19th century). Following down corso Vannucci you come to the Donini Palace (1700s) on the left, the most elegant building in Perugia from the Baroque period. From here enter into Piazza Italia with (from left to right) the Cesaroni Palace by G. Calderini, which now houses the Regional Council offices, the Calderini Palace, the Government Building by A. Arienti (1870) and lastly the Banca d'ltalia building by G. Rossiwhich has undergone many changes over the years. In thecentre of the square is a monument to Vittorio Emmanuele 11 by G. Tadolini (1890). Go around the Government Building, built on the site of the Rocca Paolina, and enter the Carducci gardens with a beautiful view over a large area of Umbria-here G. Carducci was inspired to write his 'Canto dell'Amore. In the gardens is a bust of the poet (by G. Frenguelli), a monument to Pietro Vannucci (by E. Quattrini,1923) and ot her famous personalities such as Bernardino Pintoricchio, Galeazzo Alessi, Gugliemo Calderini.

Returning to Piazza Italia go into the street parallel to corso Vannucci, via Baglioni. Also here there are fine buildings such as the 16th century Banco di Napoli building, the Alfani-Florenzi Palace with a portal attributed to Vignola. You then arrive at Piazza Matteotti, formerly Soprammuro, a square partly supported on arches set against the Etruscan wall. The right side of the square is lined with monumental buildings of great artistic and historical interest. The long 15th century Palace of the Studium by the Lombard Gasperino d'Antonio and Bartolomeo Mattioli from Torgiano with windows designed by Fiorenzo di Lorenzo, was built by order of Sisto IV.

PALAZZO DEL CAPITANO DEL POPOLO. Next door is the Palace of the Captain of the People also by Gasperino d'Antonio and Leone di Matteo (1472-1481). Of particular interest is the portal, which recaptures the motif of the Prior's Palace, and the town-crier's loggia built on deep brachets. The building together with the Palace of the Studium houses the Courts of Justice. Next, through an opening in the building of the Assises, you pass onto the terrace of the indoor market from which there is a magnificent view over the Umbrian plains.

CHIESA DEL GESU. Continuing along the right side of Piazza Matteotti you reach the Church of Jesus (1572). The upper part of the facade was completed in recent times. The interior of the church is characterized by a fine carved ceiling and frescoes by A. Carloni (secondhalf of the 17th century). In the sacristy is a fresco by Stefano Pozzi. In the three oratories downstairs - Oratory of the Congregation of Nobles, of Artists and of Peasants - you see important works such as frescoes by Sermei, Martelli, Fabrizi, Carlone, Montanini and Gismondi and a carved and inlaid altar by Fortunato Tedesco, etc.

Go back to Piazza Matteotti (on the left is the Palazzo della Posta - a neo-Renaissance style building by Armanni) and take the steep via Alessi, flanked with fine buildings, down to the church of San Fiorenzo. The interior was completed in the 18th century (P. Carattoli) and has a beautiful banner by Benedetto Bonfigli (1476). Also running off Piazza Matteotti is the picturesque cross-vaulted street, Volte della Pace, which takes you down to via Bontempi enobled by attractive Renaissance and Baroque buildings. Continue down the street and you come to the Arco dei Gigli, or Arco dei Montesperelli, with Etruscan jambs and a Gothic ogive. Going back up towards the centre of the city you come out in Piazza Piccinino.

CHIESA DELLA COMPAGNIA DELLA MORTE. This beautiful church of the Confraternity of Death was designed on the Greek-cross pattern by Valentino Martelli (beginning of the 17th century) and bears a portal by Bino Sozi. In the interior is a canvas with the Trinity by Felice Pellegrini (1612).

POZO ETRUSCO. (For information on visits seethe guard at the well). Also in Piazza Piccinino is the spectacular Etruscan well, one of the most interesting monuments of that civilization which has only recently been explored and opened to the public. It descends about 35 metres (115 ft.) below road level and is more than 5 metres(16 ft.) wide. Its date of construction is much debated, however it is generally thought to have been built about the same-time as the city walls.

From Piazza Danti (with the modern Turreno Theatre), take the street uphill to the Prome, a square commanding a fine view sided by beautiful buildings such as Sant' Angelo della Pace (G.A. Alessi), the Conestabile Palace, the Rossi Scotti Palace. From the parapet you can enjoy a magnificent view over the quarters of Sant'Angelo and Sant'Antonio, and in the distance, the Appennines. The square rests on high weighty arches which are all that remain of the fortress built between 1372 and 1375 by Geraldo di Puy, called Monmaggiore. During 1375 the people of Perugia rose up in revolt against the oppression of the abbotand destroyed the fort.

Right behind this is Piazza Micheloni (the highest pointof Perugia, where an ancient citadel probably stood). Godown to the Piazzetta di San Severo, site of the ancient Porta Sole cited by Dante. Here, next to the 18th century Church of San Severo, in a small chapel, is a fresco by Raphael and Pietro Perugino. In the upper part of the fresco the great artist from Urbino painted the Trinity (1508) in a semi-circular composition which forebodes the Disputation in the Vatican Stanze (this is the only work of the artist left in Perugia). The lower part was frescoed by Pietro Perugino after the death of his pupil, with figures of saints (1521) - it is one of the last works he did in Perugia. The master died in Fontignano in 1523. In the niche in the centre of the wall is a beautiful painted terra-cotta by a Tuscan sculptor of the 16th century. From the small square with a splendid view of Assisi, you return to via Bontempi, and from here to Piazza Piccinino - Piazza Danti and into Piazza IV Novembre.

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Legend of the Pictures:

3. Fontana Maggiore
4. The Cathedral
5. Palazzo dei Priori
6. Church of Sant'Isidoro