All 4 Tours of Perugia in one page

So numerous are the prehistoric findings in Perugia andits surroundings that the group of small hills on which thecity stands must have been inhabited during the most remotetimes. According to Cato, a village was founded by theSarsinati Umbrians during the protohistorical period. Then theEtruscans, moving from the Tyrrhenian regions inland, tookover somewhere between the 6th and 5th centuries. It wasnot until later, between the 4th and 3rd centuries, whenPerugia became one of the twelve Etruscan territories ruledby a lucomon and Rome's proud rival, that the strength of thecity was seen. She fell into Roman hands with the Battle ofSentino (295 BC), but continued to prosper and maintain acertain political autonomy. This was most likely the period inwhich the circle of walls rose around the city: howeverthere are contrasting opinions about the exact date. ThePerugians remained faithful to Rome during the 2nd PunicWar, even when Trasimeno was overthrown (217 BC) andmany of the survivors from Flaminius' army sought refuge inthe city. The following year a group of Perugians helped theRomans defend the Castle of Casilino near Capua.

Nothing of historical importance happened during the2nd century or the first half of the first. The manymonuments of this period tell us that the city prospered,while the Roman dominion became increasingly moreincisive. Unfortunately in 141 BC Perugia was one of thecentres involved in the battle between Octavius and LuciusAntonius, Marcus Antonius' brother. Lucius defendedhimself for some time within the walls of the city, finallysurrendering in February 140 BC. The town was destroyedby a fire, sacked and the Perugian senate massacred.

Once the "Bellum perusinum" was over, Octavius hadthe weary city rebuilt (its dominion was reduced to sevenand a half stadi - 4,500 feet - from the walls) and it wasthen named "Augusta Perusia".

Porta Marzia and the Church of Sant'Ercolano

At the time of the Empire Perugia lost much of itsimportance leading a rather obscure and provincial life. There is no knowledge as to when Christianity becamewidespread but it was well established in the 4th century.

It was not until the second half of the 5th century thatPerugia was to have an organised diocese which took onmore importance as the civil authorities graduallydisappeared with the political and administrative decline ofthe Empire. The authority of the Bishop, the sole spiritual andmaterial leader of the city, emerged during the Gothic War inwhich Perugia played first part. Besieged by Totila, the citywas long defended by the Bishop St. Ercolano, who waslater betrayed, enabling the Gothic king to possess anddevastate it. Ercolano was massacred in 548 a.d. for hisheroic stand.

There is little news of the city's history for thecenturies to follow (until aRer the year 1000): Perugia wasin By-zantine hands for some time and then was passed over to the Church in the 8th century. The 11th century gave birth to the Communes, but it is difficult to date the begin ning of the free institutions. Wars with the neighbouring towns of Chiusi, Cortona, Assisi, Todi and Foligno marked the 12th century. In 1130 the inhabitants of the Isle of Polvese on lake Trasimeno surrendered to Perugia.

This was the first sign of such a magistrature which,later (1183) was to coexist with the Podesta. The 13thcentury began with the War of Assisi: the Perugiansdefeated the enemy in the battle at Collestrada and amongthe prisoners was the young Francesco di Bernardone(1202). This was the beginning of the most favourableperiod the city was to experience: it grew uninterruptedly,increasing its territories, dominating, in one direction, theplains of the Valley of Chiano, and in the opposite direction,the Appennine slopes. The city's policies, closely supportingthe Church Jive conclaves were held in the city between1216 and 1305) brought her greater prestige as well aseconomic and military power, especially after the death ofFrederick 11 (1250).

She grew wealthy with magnificent monuments, theGreat Fountain, the Priors' Palace, the large churches of themendicant Orders. Perugia developed as a free city and theUniversity was established (1308). Her luck did not fade when the Papacy was transferred to Avignon (1305), indeed it profited by this during the first half of the 14th century. However it was right at this peak of economic and political expansion that the events which were to cause the downfall of the city were felt. First there was the battle bet ween the wealthy people and the common people suppor ted by the noblemen (i.e. between the Raspanti and the Beccherini).

The rivalry grew among the powerful families -Montesperelli, Vincioli, Montemelini, Della Corgna, Oddi,Baglioni. A fight between the latter two continued throughoutthe 15th century until the victory and rule of the Baglioni. Thecity nominally returned to the Church after the Battle of Brufa(1368). She witnessed the dominion of several noblemen, captains of fortune - Biordo Michelotti, Braccio Fortebraccio, Niccolo Piccinino and Braccio Baglioni, who most established his family's power. The Commune, on the other hand, fell into decay, and with the decreasing freedom, the economic and social conditions worsened. The coup degrace was given by the Salt War (1540) which broke out as a result of a popular uprising against the imposition of a tax on salt by the Farnese Pope, Paolo lII.
Perugia resisted only briefly before she was conquered by Pier Luigi Farnese, the Pope's nephew. The BaglioniPalaces were destroyed (an enormous fortress was built onthe ruins - Rocca Paolina), the ancient judiciary wasabolished and a pontefical governor enforced. For overthree centuries Perugia was under the Church's dominion.The first awakenings of independence were observed withthe com of Napoleon and the resulting turmoil. Fullparticipation in the movement towards freedom did not takeplace, however, until the Risorgimento. After a number ofepisodes, the destruction of Rocca Paolina (1848), theuprising of the city and the massacre of Perugia (1859),Vittorio Emanuele lI's soldiers occupied the capital of Umbria(1860) and henceforth Perugia became part of the Kingdomof Italy. The history of the city then became that of the Italian State.

This Tours mean to be done on foot

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.

Plazza IV Novembre is the city's physical and moralcentre. All the main streets lead into the square where youfind the most important.monuments and the major religiousand socio-political institutions. On one side is the Prior'sPalace 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 NaturalHistory (entrance gratis), and a row of beautiful buildingsof various periods, including the Notaries' Hall (1400) andthe Friggeri Palace (1700), enclose the square on the othersides. In the centre stands the Great Fountain, perhapsthe most important monument in Perugia from an artisticviewpoint.

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 thecity, and a lion, symbol of the Guelph faction, the sevenliberal arts and Philosophy. The series ends with two eagles, one perhaps symbolizes the Empire and the otherJohn the Evangelist (here you will find Giovanni Pisano's signature). The upper tier holds 24 statuettes representingboth 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, theCaptain of the people, Euiiste, mythical 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 thecathedral, 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 tobe the author of this monument, the first in Perugia to showthe Renaissance spirit.

CATTEDRALE. The new cathedral, dedicated to St.Laurence, was built during the 9th century and occupiedan 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, theworks proceeded very slowly and were finally brought toan end in 1490. The external walls have been mostly leRin their uncompleted state; only a part was finished in thetypically 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 lIl by Vincenzo Danti of Perugia (1555). In the main fagadefacing Piazza Dante 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 theBishop 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 displayedin the museum including a triptych by Meo da Siena, another by Agnolo Gaddi, a Pieta by Bartolomeo Caporali andthe fine painting of St. Honofrius, a masterpiece by the painter Luca Signorelli from Cortona (1484). Of great interestalso 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 greatestexamples of the Commune buildings of the Gothic era. Itbegan 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 theancient towers up to via dei Priori. Later, during the 15thcentury, it was further extended along the present corsoVannucci. In spite of the numerous additions, the Gothicstyle typical of the area remains uniform. This howeverdoes not mean that other stylistic contributions are not tobe recognised: for instance the beautiful three-mullionedwindows 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 bronzestatues, a Gryphon and a Lion, stand on brackets.

The side of the building facing corso Vannucci has aseries of old workshops on the ground floor designed withpointed arches and a large round-headed portal with smallornate columns and bas-relief on the sharp splays. In theiunette 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 believehe 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' Hallof Romanesque structure with ten weighty arches whichgive support to the flat ceiling. Coats of arms of the mayorsand the Captains of the People are to be seen on the wallsand various St. Francis of Assisi, decorate the entrancewall and the window splays. On the other side of the floorare the Communal Halls of Reception comprising the TownCouncil Hall, with a fresco thought to be by B. Pintoricchioabove the door, the Red Hall, the Yellow Hall and others.On the upper floors are the Commune Offices and you canvisit the National Gallery of Umbria on the top floor (seepage 43).

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

COLLEGIO DEL CAMBIO. To the left of the maindoor, 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 Exchangersheld 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 benchescarved by Giampiero Zuccari (1615), leads into the Saladell'Udienza del Cambio (Audience Room). The bencheswere completed by Antonio da Mercatello towards the endof the 15th century. The large wooden bench was carvedby Domenico del Tasso. The statue of Justice is attributed to Benedetto da Maiano. The frescoes were paintedby Pietro Vannucci from Citta dells Pieve, called the Perugino (1450-1523), who completed them around the year1500. 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 byChristianity. 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 episodesof the life of St. John the Baptist by Giannicola di Paolo.

Continuing along corso Vannucci, the main street inPerugia, you can admire the buildings from the 15th, 16thand 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 1 5th century buildings). In a recess you can see thefacade of the Church of Sant'lsidoro probably work of GiulioDanti. And to the right, the Pavone theatre (1 9th century).Following down corso Vannucci you come to the DoniniPalace (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 theCarducci gardens with a beautiful view over a large areaof Umbria- here G. Carducci was inspired to write his 'Cantodell'Amore. In the gardens is a bust of the poet (by G. Frenguelli), a monument to Pietro Vannucci (by E. Quattrini,1923) and other famous personalities such as BernardinoPintoricchio, Galeazzo Alessi, Gugliemo Calderini.

Returning to Piazza Italia go into the street parallel tocorso 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. Thelong 15th century Palace of the Studium by the LombardGasperino d'Antonio and Bartolomeo Mattioli from Torgiano with windows designed by Fiorenzo di Lorenzo, wasbuilt by order of Sisto IV.

PALAZZO DEL CAPITANO DEL POPOLO. Nextdoor 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 ofthe Prior's Palace, and the town-crier's loggia built on deepbrachets. 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 ofthe 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 offPiazza 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 deiGigli, or Arco dei Montesperelli, with Etruscan jambs and a Gothic ogive. Going back up towards the centre of thecity 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 thesame-time as the city walls.

From Piazza Danti (with the modern Turreno Theatre),take the street uphill to the Prome, a square commandinga fine view sided by beautiful buildings such as Sant'Angelo della Pace (G.A. Alessi), the Conestabile Palace, theRossi 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 remainof the fortress built between 1372 and 1375 by Geraldo diPuy, 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 ancientPorta Sole cited by Dante. Here, next to the 18th centuryChurch of San Severo, in a small chapel, is a fresco byRaphael 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 theartist left in Perugia). The lower part was frescoed by Pietro Perugino after the death of his pupil, with figures ofsaints (1521) - it is one of the last works he did in Perugia.The master died in Fontignano in 1523. In the niche in thecentre of the wall is a beautiful painted terra-cotta by a Tuscan sculptor of the 16th century. From the small squarewith a splendid view of Assisi, you return to via Bontempi,and from here to Piazza Piccinino - Piazza Danti and intoPiazza IV Novembre.

WALK 2
 S. ERCOLANO - S. DOMENICO - MUSEO ARCHEOLOGICO NAZIONALE DELL'UMBRIA - PORTA S. PIETRO- S. PIETRO - GIARDINO DEL FRONTONE - S. COSTANZO - VIALE ROMA - ROCCA PAOLINA

Starting from the centre of the city, you go down corso Vannucci to via Mazzini where you have the facade ofthe ex church of Santa Maria del Popolo by G.A. Alessi.Cross over Piazza Matteotti and go into via Oberdan. Onboth sides of this street are old buildings; on the left is theax-hospital of S. Maria della Misericordia and the PawnBank - the oldest established in Europe (1462). Very picturesque are the steps of St. Ercolano which pass under the ancient Etruscan gate.

CHIESA Dl SANT'ERCOLANO. This church wasbuilt on the site where the Bishop and defender of Perugia against the Goths was beheaded and first buried. Theoctagonal structure was built up against the ancient circuit of walls and is supported by blind arches opening outonto the wall. The double flight of Baroque steps leads upto the round-headed portal. Its Gothic structure in the interior has been cleverly adapted to the Baroque decorations which cover the walls and vaults. The frescoes areby Carlone and the paintings in the tribune by Salvucci.

There is also an interesting canvas by Garbi and stuccowork on the side altars. The High altar is a Roman sarcophagus (II cent.) with two lions mauling two horses.

The steps of St. Ercolano continue down to corso Cavour. Go lefl along this street until the cross-roads (via Marconi and via XIV Settembre), on the right there is the churchof San Giuseppe and the ancient church of S. Croce withan interesting canvas by G. Antonio Scaramuccio, a fresco by an artist of the Bonfigli school and a painting of OurLady of Mercy from the first half of the 1 5th century. Continue along corso Cavour and where the street widens outis the massive structure of the CHIESA Dl SAN DOMENICO. This is one of the largest church buildings in Umbria. Go up the double flightof steps and enter into the church. The temple was founded in 1304 and, according to Vasari, designed by Giovanni Pisano. It was built on the style of the 'Hallenkirche,that is with naves all of the same height. In 1616, due tothe carelessness of whitewashers who placed the scaffolding on only one side of the church upsetting the equilibrium, the delicate Gothic transepts feli. They were thenreplaced with heavy Baroque architecture designed by C.Maderno (1632) on the style of St. Peter's in Rome.

In the bare interior only the side chapels and presbytery are adorned with important works of art. In the Cappella del Voto, the fourth chapel on the right, there is analtar by Agostino di Duccio; in the chapel right of the apseis a monument to Benedict Xl, perhaps by an Umbrian artist, closely following the style of the sculptured facade ofthe Cathedrai in Orvieto. The work is to be considered onewith the plastic culture developing in Umbria during theearly 1 300s. This culture produced a great number of workswhich have not yet been sufficiently studied.

In the square apse is a fine wooden choir-stall begunin 1476 by Crispolto di Bettona with the aid of Polimantedella Spina and Giovanni Schiavo. The inlaying was doneby Antonio Bencivieni da Mercatello (1498). In the largestained-glass window there are 24 figures of saints as wellas coats of arms and various friezes. The drawing s areby Mariotti di Nardo from Florence and the work is by FraBanolomeo di Pietro (1411). Going back towards the entrance, the first chapel in the left aisle is adorned with frescoes from the early 1 400s by Benedeho di Bindo from Siena and local artists. They depict scenes from the life of St.Catherine. In the next chapel is an admirable painting ofOur Lady amongst Saints by Giovanni Lanfranco (1647). Then you come to the Cappella del Gonfalone containinga banner by Giannicola di Paolo (1494) with an interestingpicture of Perugia at the end of the 15th century.

Go back into the square in front of the church (PiazzaGiordano Bruno) and on your left is the Convent of St. Domenico which houses the MUSEO ARCHEOLOGICO NAZIONALE DELL'UMBRIA AND ARCHIVIO Dl STATO. You enter the Archeological museum through the spacious cloister, an exampleof high Renaissance work, which is adorned with manyEtruscan urns, a Roman sarcophagus with the Myth of Meleager (2nd century AD), a well-head with the Battle of the Greeks against the Amazons, inscriptions from differentperiods, Roman cippi from the Augustan age, etc. On thesecond floor of the cloister there are more urns from theterritory of Perugia which vary according the families andplaces of origin: Rafia, Pomponia, Plotia, Noforsina, Tizia,Vezia, etc. In the middle of the west wing is a fine sarcophagus from Chiusi with the deceased Iying down and afigure of a demon, work from the 4th century BC (now beingrestored). In the east wing, Roman relics, inscriptions, urns,one of which is marble and embellished with an olive-treeand an oak-tree (from the Augustan age). From the cloister, through a corridor with a large head of Claudius andother Roman portraits, you arrive at the section containingobjects of Etruscan-Roman art and the pre-historic section.

There are various finds from necropolises in Perugia andsurrounding areas. Of particular interest is the Stele fromMonte Gualandro (6th century), the Sarcophagus of Sperandio (6th century), the bronze plates from San Mariano,the Cippus of Perugia, a lengthy inscription refering to legal matters written in Etruscan, from the 6th century, etc.One section is dedicated to objects originating from otherparts of Italy and abroad. Then there is the pre-historic section, comprising eight rooms plus the-great hall, part of SanDomenico Vecchio - an ancient Romanesque church nowincorporated into the Convent.

In these rooms findings from the Paleolithic to the Neolithic period, discovered in the Umbrian area and surroundsare exhibited. In the corridor there is a comparative exhibition of finds of the same period originating from variouscontinents. In the State Archives you can visit the Hall ofthe ancient Convent Library which is divided into three aisles following the pattern of similar Renaissance libraries(Biblioteca del Convento di San Marco in Florence).

PORTA SAN PIETRO. Continue down corso Cavour which leads to the gate of St. Peter. The outside was designed by Agostino di Duccio of Florence (1475-1480). It isone of the most symbolical monuments of the Renaissance period in Perugia and was inspired by L.B. Albertisexamples such as the Malatesta Temple in Rimini. The upper part was never completed with a battlement.

SAN PIETRO. Continue down the wide street Borgo XX Giugno, and you arrive at the Basilica of St. deter,a famous Benedictine abbey with over 1,000 years of history which is closely connected to that of the city. It was here on monte Caprario that the Perugian nobleman, Pietro Vincioli, founded the church and the monastery on thesite where the Cathedral of Perugia stood as far back asthe 6th century, it is commonly believed that they were consacrated in 968. From those times remain, perhaps, thebasilica church section and the layout of the Inside columns, of which the capitals and shafts belong to the ancient period. Enter into the first cloister through the finedoor, both by V. Martelli. Here you can admire the belltower which is detached from the church itself: the lowerpart is from the 13th century, the upper (belfry and spire)from the 15th century and was designed by Bernardo Rossellino. The interior of the church is a true museum of pictures and sculptures from the 15th to the 19th centuriesincluding works by local and foreign artists. Note the finedecorations on the central nave with ten large canvas pain-tings depicting the Old and New Testaments (1592-1594)by Antonio Vassillachis, known as Aliense, a pupil of Tintoretto and Veronese, who also painted the enormous picture of the Saints of the Benedectine Order on the innerwall of the facade. The splendid wooden ceiling is workof Giovanni Pierantonio da Montepulciano (1564). In thechancel and the side aisles is a series of frescoes from thelate Mannerist period (Scilli Pecennini, Benedetto Bandiera,Giambattista Lombardelli, Giovani Schepers). On the wallsand over the altars are paintings from various periods bydifferent authors. Worth mentioning are, in the right aisle,St. Maurus raising a dead person by Cesare Sermei, above the second altar; two canvas paintings by Ventura Salimbeni, on the wall after the second and third altars; two canvases by G. Domenico Cerrini on the wall dividing theaisle and the presbytery. At the end of the right aisle is apainting of the Pieta and Saints by a Perugian artist alongthe lines-of Fiorenzo di Lorenzo (1469); on the wall adjacent the two chapels of Vibi and Ranieri are canvases bySassoferrato; inside these chapels, a marble altar by Mino di Fiesole (1473) and canvases by F. Gessi and G. Reni. Next comes the Chapel of the Sacrament (Cappella delSacramento) with three biblical scenes by G. Vasari (1566).Going along the aisle there is a Pieta by Pietro Peruginoone of his late works which was formerly in Santo Agostino. In the tribune, the wooden choir-stalls completed between 1 S26 and 1537 by numerous artists, the most famousbeing Fra Stefano and Fra Damiano from Bergamo. It isone of the finest and most complex of its kind of Lombardhigh Renaissance style. At the rear of the apse a door leadsto a small outdoor area overlooking Assisi and the Umbrianvalley. The decorative paintings in the Sacristy are by ScillaPecennini and Girolamo Danti (1574). The bronze crucifixabove the altar is by A. Algardi. Some of the most important paintings on the walls include the St. John as a childand the Child Jesus by an artist of Perugino's school; theSt. Francesca Romana by Spadarino and four predella panels by Perugino (1496). The Santa Scoiastica is a recentcopy. In another room at the entrance door some interesting illuminated manuscripts concerning the church areon display. Within the vast Convent is the Faculty of Agriculture. Of important artistic interest here is the Great Cloister and another called 'delle stelle designed by G. Alessi(1571). There is a glazed terra-cotta lavabo by B. Buglionifrom Florence (1488) in the Refectory, today the Aula Magna.

To the right of St. Peter's is a monument to The Fallen of June 20th 1859 by G. Frenguelli. Here you enter the GIARDINO DEL FRONTONE. The garden is the site where Braccio Braccioforte had once created Piazza d'Armi and surrounded it with a wall. It was then passedover to the Arcadi in the 1 700s . In 1780 a small stone amphitheatre and stage arch were built on B. Orsinis design.The Porta di San Costanzo by V. Martelli leads you to the CHIESA Dl SAN COSTANZO, from the Romanesqueperiod, restored by G. Calderini (1980). The magnificentmarble portal (12th and 13th century) and the apse are theonly remains of that period.

From this small church you continue down vials Roma which skirts the ancient city walls and brings you toPiazza Cacciatori delis Alpi. Go into via Masi and from here you can admire ROCCA PAOLINA. This grandiose fortress built by the will of Paolo lil Farnese in record timebetween 1540 and 1543, occupied the area of the heavilypopulated medieval quarter where the houses of the Baglioni family stood. It was erected under the guidance ofthe architect Antonio da Sangallo il Giovane, through a system of spurs and casemates for its five levels with an additional smaller fortress downhill, called the "Tenaglia".The massive structure continued to be a symbol of dominance over the people of Perugia for more than three hundred years. Immediately following the formation of the Kingdom of Italy the Perugians destroyed it to celebrate theirliberation from the much hated Papal regime. All that isleR of the building is the retaining walls of one of the spurs,wherein are a number of large rooms now used for variouspurposes (exhibitions, meetings, etc.). Along via Marzia isthe Etruscan gate called Porta Marzia (2nd century BC),which was spared destruction and incorporated into thewall by Sangallo. Excavations have brought the long stretchof houses and buildings to light which now very charmingsetting. Through this varied route you arrive at the Carducci gardens.

Walk 3

MAESTA DELLE VOLTE - ARCO ETRUSCO - UNIVERSITA' PER STRANIERI - S. AGOSTINO - S. ANGELO - UNIVERSITA' ITALIANA - SANTA MARIA NUOVA - SANTA MARIA Dl MONTELUCE - SAN BEVIGNATE

MAESTA DELLE VOLTE. Piazza IV Novembre leadsinto this medieval Street,- one of the most suggestive in Perugia. In front is the Oratory of the same name, with afacade by Bino Sozi (second half of the 16th century). Inside is a fresco of the Majesty, called infect 'of the vaults'(Maesta delle Volte), by an Umbrian artist around 1330.Today the fresco is no longer to be found on the wall. Tothe left of the Oratory is a round-headed Gothic arch, partof a once existing church portico. Beyond the houses arethe medieval towers of via Fratti, from which the picturesque lane, via Ritorta, leads into via dei Priori. Back at the Maesta delle Volte, you pass under the arches (there aretraces of the ancient passage, between the stronghold of Porta Sole, later destroyed, and the Priors' Palace, builtby Monmaggiore) which take you to Piazza Cavalotti. Here on the right are the Cathedral's Presybteries and on thecorner of via Baldeschi is the Baldeschi Palace. Now gointo Piazza Morlacchi with the Manzoni Palace, housingthe Faculty of Letters and Philosophy, and shortly after the18th century Morlacchi Theatre by A. Lorenzini, decorated by M. Piervittori. Go down via Cesare Battisti which runsalong the Etruscan wall. Below, the steps of via Appia canbe seen and the narrow passageway of the Old Aqueductlined with quaint little houses. It is the most ancient aqueduct in Perugia, built in 1277 and then restored and reinforced in the 16th century by V. Danti. Behind this is thequarter of Sant'Angelo, a commoners' district during theMiddle Ages.

UNIVERSITA' PER STRANIERI. Continuing downvia Cesare Battisti you come to Piazza Fortebraccio, dominated on the left by the huge Gallenga Palace, todaythe University for Foreigners, once Antinori Palace, is themost eminent monument of the 18th century in Perugia.

Designed by the Roman F. Bianchi, it was accomplishedby the Perugian P. Carattoli (1754). The inside decorationsare also by P. Carattoli.

ARCO ETRUSCO. The Etruscan Arch, on the otherhand, is one of the most outstanding achievements in architecture that have endured the centuries since the Etruscan civilization. The wide supporting arch is flanked bytwo large towers and covered by a barrel vault with Dorictype Etruscan decorations over the archway of alternatingpilasters and shields. Higher up is a Roman arch, erectedfor unloading purposes. The tower on the left is crownedwith a 16th century loggia. The construction date is muchdisputed, some believe it was built in the 3rd century BCothers the 2nd. The inscription AUGUSTA PERUSIA onthe arched lintel must refer to Augustus' restitution of thecity after the Bellum perusinum.

From Piazza Fortebraccio, still often called Piazza Grimana after the legate Cardinal, Marino Grimani, who hadit built in the 16th century, there are two itineraries to follow: Corso Garibaldi, which crosses the quarter of PortaSant'Angelo, or via Pintoricchio and corso Bersaglieri,which lead to the quarter of Sant'Antonio and Monteluce.

SANT'AGOSTINO. A short walk up corso Garibalditakes you to the Piazza and Church of Sant'Agostino. Thebuilding was inspired by 13th century monastic architecture with a nave and two aisles and chapels around theapse, like San Francesco in Ascoli Piceno. After having undergone many changes the interior of the church is in late Baroque style realized by Stefano Canzacchi fromAmelia. Of the various paintings kept in the church, notethe frescoes by Pellino di Vannuccio in the second chapelon the left (1377), the Canvases by Arrigo van den Broek,called Arrigo Fiammingo, in the third chapel on the rightand the 14th century frescoes (by Piero di Puccio, AllegrettoNuzi and others) in the chapels around the right arm of thetransept. In the first chapel on the right, by Francesco diGuido di Virio, is a painting of Our Lady of Mercy attributed to Giannicola di Paolo. In the apse large wooden choirstalls by Baccio d'Agnolo (1502-1532). Also in Piazza Sant'Agostino, to the right of the church, is the Oratory of theConfraternity of Sant'Agostino with Baroque wooden panelling and paintings by Bernardino Gagliardi, Giulio Cesare Angeli and Mattia Batini. The painting of the Virginin Glory with Saints is by Raffaellino del Colle (1563). TheConvent of Sant'Agostino with its two large cloisters todayhouses the recruiting centre.

Continuing along corso Garibaldi, lined with typical medieval houses, you see various public buildings such asthe hospitals of the confraternities - Sant' Egidio, the Merchants' hospital - and convents. On the right is the Monastery of Beata Colomba belonging to the Dominican nuns, inside an important canvas of Christ carrying the Cross attributed to Giovanni Spagna. Then after an overhead bridgeyou have on your left the Monastery of Sant'Agnese withfrescoes by Pietro Perugino and one by Eusebio da SanGiorgio. Take the street on the right, via del Tempio, whichleads to the TEMPIO Dl S. MICHELE ARCANGELO, oRen called St. Angelo's. This early Christian temple was probablybuilt towards the end of the 5th century or the beginn~ngof the 6th. The centrally planned building is made up oftwo concentric areas, an ambulacrum and a round areawith an altar in the centre. A series of sixteen columns,brought here from elsewhere, divide the ambulacrum fromthe presytery area, typical of similar Roman structures suchas Santo Stefano Rotondo. Note the two chapels (originallythere were four) on the external perimeter of the templewhich gave it the form of a Greek cross. It is not certainwhether the original form of the beams on the ceiling iswhat we see today. Interesting are the Gothic supportingarches, both in the central area and the side room.

Going back to corso Garibaldi you come to the PortaSant'Angelo, a fine example of fortification with a keep inserted in the circuit of wall (14th century). Outside the gate on your left you come to the 13th century Church of S.Matteo degli Armeni with frescoes by Umbrian masters showing Byzantine tendencies (about 1273); the other votivepictures from the 14th and 15th centuries are less important. In front of this church upon a hill is the Convento diMonteripido. This Franciscan friary was erected on the retreat place of Friar Giles, one of St. Francis' first companions. There is a beautiful fresco of late 16th century stylein the refectory and a fine 18th century library by P. Carattolil, who also designed the shelves.

UNIVERSITA' ITALIANA. Returning within the wallstake the street to the right, via Zeffirino Faina. After a shortwalk you arrive at the ex Olivetan Convent, today the Italian University, by C. Murena, while the church is by L. Vanvitelli. The University of Perugia is proud of its ancient history dating back to the 13th century. However it was not officially established until 1307 by Clement V. Since then Perugia has been one of the most famous University townsin Italy. This century has seen the foundation of a University for Foreigners. (1924) which, with its students from allover the world, contributes greatly to the cultural life of thecity and the entire region. Taking via A. Fabretti you comeback to Piazza Fortebraccio.

From here you can follow the second itinerary alongvia Pintoricchio. Beyond the Church of San Fortunato towards the end of the street, on the right you come to the CHIESA Dl S. MARIA NUOVA. This church, dedicated to Our Lady, was built in the 13th Century and hasbeen greatly modified over the years. The interior shows late Renaissance style aisles while the apses remain Gothic. Among the many works of art note the Banner by Benedetto Bonfigli (about 1472) in the second altar on theright, the canvases by Stefano Amadei in the Cappella delI'Addolorata, the Carrying of Christ by F. Pellegrini abovethe sacristy door (1593).

In the apsidal chapel, frescoes attributed to LazzaroVascari (about 1455). In the apse fine wooden choirstallsby Paolino d'Ascoli and Giovanni di Montelparo, the oldestone in Perugia of Gothic form (1458). Leaving the churchyou enter a large 16th century cloister where there is a beautiful view of the bell tower, perhaps designed by G.Alessi.

Further on you pass through the Arco dei Tei and PortaPesa. Then go down via Brunamonti towards the Piazzadi Monteluce.

CHIESA Dl S. MARIA Dl MOf;ITELUCE. The churchhas a white and pink facade typical of the Gothic style foundin Perugia. The twin portal and the rich rose-window standout on the coloured facing. On the right is a squat bell tower. In the interior are some fine frescoes from the late Mannerist period (17th century) and above the altar a copy ofGiulio Romanos Coronation of the Virgin of Monteluce, designed by Raphael and painted by the Roman G. Silvagni.

In a room behind the church are 14th century frescoes fromthe Perugian school. The convent adjoining the church istoday the General Hospital.

Take the road running alongside the church (via delGiochetto) which leads you to via dal Pozzo and the CHIESA Dl S. BEVIGNATE. The one nave church,built in the 13th century, is particularly interesting for itsCistercian inspired architecture. In the interior are important frescoes. The presbytery has fine pictures on the rightwall with the Last Judgement thought to be painted about1260 - it is perhaps one of the best displays of early Perugian art. Along the wall of the nave figures of the Apostlesby another author. Further along the street is the Cemetery and on taking the road to the right the Church of S. Maria in Monterone with a facade completed in 1534.

WALK 4

VIA DEI PRIOR! - PORTA TRASIMENA - SAN FRANCESCO AL PRATO - ORATORIO Dl SAN BERNARDINO -ACCADEMIA DELLE BELLE ARTI - CHIESA Dl SANPROSPERO - SANTA GIULIANA

To the left of the main entrance to the Priors' Palaceis the great archway opening into
VIA DEI PRIORI. This street in one of city's mainthoroughfares and of great importance for its well- preservedmonuments. It was the decumanus massimus (principalroad running from east to west in Roman camps and cities) in the once Etruscan, once Roman city, and maintained its pre-eminent role in the urban life of the Middle Agesand the Renaissance period. To your left is the Church ofSant'Agata rebuilt during the first decades of the 1 4th cenfury in an original two-bar Gothic structure. In the interiorinteresting frescoes by the Perugian school of about thesame period. Continuing down the street on the right is thenew Church of San Filippo Neri, a fine example of Baroque with a facade by Pietro Marucelli of Rome, pupil of Pietro da Cortona (1661). In the interior with one nave and side chapels are numerous valuable paintings. To the left,in the first chapel on entering, is an Annunciation by Francesco Trevisani (1710), the frescoes along the nave areby F. Appiani and N. Giulj (1768). The Evangelists in thependentives below the cupola are by G.A. Carlone (1668),the Heaven in the cupola is by F. Mancini (1730).

On the High altar is an Our Lady of the Assumptionby Pietro da Cortona (1662), while the two canvases in theconch of the apse are by Pietro Montanini of Perugia. Onthe left of the street is yet another evocative medieval street, via della Cupa, which leads to the circuit of Etruscan allwhere you can enjoy a beautiful view. Continuing down viadei Priori you come to the church of S. Stefano on the right,with a fine Romanesque apse and outstanding 14th and 15thcentury frescoes inside. Opposite where the street widensis the church of Santa Teresa degli Scalzi in the form ofa Greek-cross. It is a fine example of 18th century architecture. Further along you come to the mighty Tower ofthe Sciri, the only one remaining of the many that stoodover Perugia. Going left along the via degli Sciri is the Oratorio della Confraternita dei Disciplinati di San Francescowith a beautiful pre-Baroque interior and canvases of theiife of Christ as a child by G. Antonio Scaramuccia on thewalls.
Further along via dei Priori is the Church of the Madonna della Luce of Renaissance architecture, perhaps byCesarino del Roscetto. In the interior a vault by G.B. Caporali (1510-1540) with a fresco by Tiberio di Assisi andothers. Then on the right the Church of S. Luca and theCasa dei Cavalieri di Malta (House of the Knights of Malta), and on the left the PORTA TRASIMENA. This gate with Etruscan jambs and a Gothic arch is one of the many which lead into thecity. The street ends in a large square, Piazza di San Francesco al Prato, where you find two important monuments:
SAN FRANCESCO AL PRATO - ORATORIO Dl SANBERNARDINO. The former, one of the principal churchesin Perugia, was founded towards the middle of the 17thcentury on the lines of the Upper Church of St. Francis inAssisi, and was adorned over the centuries with valuableworks of art. Indeed this temple has housed the great Crucifix by St. Francis' Master (1272), now in the National Gallery of Umbria; the large Polyptych of Taddeo di Bartolo(1403), also in the Gallery, works by Perugino, Raphael -The Coronation of Our Lady, today in the Vatican Art Gallery, the Baglioni Deposition, today in the Borghesi Gallery. In the 18th century earth movements caused the vaultsto fall; they were re-built but collapsed once again. The ruinsare now being restored and fortified. The facade of the Oratory, next to the church, is a masterpiece of the sculptorand architect Agostino di Duccio from Florence(1457-1461). With their rich multi-coloured pattern the precious bas-reliefs reflect the refined linear rhythms of thegreat artist. Note the Glory of St. Bernardine in the large lunene and the figures of the Virtues and the musician angels around the twin portal. The most important works-inthe interior is the large early Christian sarcophagus decorated with small statues in the niches on the facing, dating back to around the mid 4th century. The rear of theOratory opens into the building of the Confraternity of Justice, a Renaissance hall restructured in the 1 8th century,with pictures by M. Leopardi, T. Matteini, C. Labruzzi, V.Ferrei, G. Lapis. Nearby is the Oratorio del Gonfalone witha fine banner by Benedetto Bonfigli and Mariano d'Antonio (1464).

ACCADEMIA DELLE BELLE ARTI. Going under thearch between the Oratory and the Church you reach theAccademy of Fine Arts, founded in the second half of the16th century and flourishing between the 1700s and the1800s. The collection of art includes a gallery of paintingswith very important modern pictures (from the 19th century to today); a room with drawings and prints; a beautifullarge gallery of plaster casts from the 16th century, 18thcentury and Neoclassic period (from Michelangelo to Canova), which are partly original.

From Piazza San Francesco al Prato you can eithergo right into via Pascoli where, in a room inside the Faculty of Chemistry, there is a magnificent Roman mosaic depicting a scene with Orpheus (2nd century AD), or you cango left into via dells Sposa. At the end of this street is Porta Santa Susanna. Turning left into via Pompeo Peilini you can admire a long section of the Etruscan walls. Continuedown and turn right into via San Prospero. After a shortwalk, on the left, is the small CHIESA Dl SAN PROSPERO. This ancient basilicaperhaps of early Christian origin (it was definitely existentin the early Middle Ages) was built on an Etruscan sepolchre. In the interior is the famous Ciborium from the DarkAges (8th century), one of the few Byzantine monuments to be seen in the city. Inside there is also a side chapelwith painted decorations by Bonamico, active in 1225 andthe first Perugian to be recorded in the history of art. Theworks dedicated to the saint the Apostles and the Last Judgement show a rustic character but are full of spirit andthe interesting expressive currents of the time. Bonamicoswork is closely aligned to Roman art but is also influencedby Northern trends.

Continuing along via Pellini into vials Fiorenzo di Lorenzo you are soon at the ancient gardens of Piazza d'Armi.

CHIESA Dl SANTA GIULIANA. Adjoined to a monastery of the Cistercian nuns, the church is similar toothers in Perugia such as S. Maria di Monteluce and theChapel of Sant'Ercolano (next to the Cathedral). In the onenave interior there are important 13th century and 14th century frescoes. In the convent which now houses the military hospital, is a magnificent 14th century cloister attributedto Matteo di Giovannello, called Gattapone, an architectfrom Gubbio. Other frescoes by local artists, between the13th and 14th centuries, are to be found in the variousrooms.

From Santa Giuliana return down via Fiorenzo di Lorenzo to via Pellini again, until you come to via San Giacomo on your right. Going up this street you enter the ancient city through the fine Porta della Mandorla, with Etruscan jambs and an upper arch from the Gothic period. Fromhere a series of picturesque medieval streets lead you back to corso Vannucci.

LA GALLERIA NAZIONALE DELL'UMBRIA - L'IPOGEODEI VOLUMNI - LA TOMBA ETRUSCA Dl S. MANNO -L'IPOGEO Dl VILLA SPERANDIO

GALLERIA NAZIONALE DE LL' U M BR IA. The National Gallery of Umbria is the most important arts museumin the region. Amongst its collections there are also masterpieces by other schools, as well as a historicaltopographical section dedicated to the city of Perugia (atpresent - 1984 - the works are being restored and the section is being redecorated). The art gallery originated in 1810with a law promulgated by the Council of Roman Stateswhich abolished religious associations. The works of artthese associations had were assembled on the upper floorof the monastery of Monte Morcino Nuovo (then site of theAccademy of Fine Arts, now the University). Afterwards,following the incorporation into State property decreed bythe Italian state in 1860, the gallery was moved to thechurch of the same monastery, and later (about 1878) tothe third floor of the Priors' Palace where the papal Governor once resided. In the great entrance hall, which waswhere the General Council used to meet, there are frescoesfrom the 12th to the 15th centuries, once belonging to Umbrian churches and convents. Also there is an importantwooden sculpture of Christ taken from the cross, of the socalled "di Tivoli" type with Antelami influences. It comesfrom Roncione near Deruta and dates back to 1236. The first room exhibits works from the first half of the 13th century, including the outstanding Crucifix from the Churchof San Francesco al Prato (1272). Another important painting is the Virgin and Child by Duccio di Buoninsegna from Siena (about 1300). In the small room nearby are reliefsfrom a fountain sculptured by Arnolfo di Cambio which wascompleted four years after the Great Fountain (1281) andis one of the rarest pieces in the museum.

In rooms lil and IV, together with pictures by Meo of Siena, a pleasant but basically rather modest painter wholater became a naturalized Perugian, are works by a groupof artists whose paintings flourished in the city during thefirst half of the 14th century. Next to these are two worksof other schools the stained glass with the Crucifixion byGiovanni di Bonino and another rare painting with theSaints, perhaps by Francesco da Rimini.

The next room (V) contains Sienese pictures from thesecond half of the 1 4th century and the first half of the 1 5th.In the centre of the room is a splendid bronze group of alion and two gryphons, once over the Great Fountain.

Room Vl has works of the late- and international-Gothicperiod. The most precious piece is, without doubt, the Madonna and Child by Gentile Fabriano.

In room Vll are some examples of Renaissance art:the fine polyptych by Fra Angelico and the large polyptychby Piero della Francesca.

Now go onto room Vlil - IX containing works of the region Marche, and the so-called Umbrian school of painting which had been evolving from the middle of the century to 1480 1485 when contacts with Florence strengthened. Note the wo;ks by Giovanni Boccati, Benedetto Bonfigli, Fiorenzo di Lorenzo and Bartolomeo Caporali.

In room Xl works by Fiorenzo are exhibited; his mostinteresting painting is the Adoration of the Shepherds, perhaps to be considered his masterpiece.

Now begins the next stage including the first paintingsby Perugino and Pintoricchio in rooms Xll and Xlil.

The Adoration of the Wise Kings is the masterpieceby the young Pietro, probably still with the collaborationof Pintoricchio. However, the main attraction is the eightpaintings with the Miracles of St. Bernardine, joined witha Banner by Benedetto Bonfigli, dated 1473. Here you cansee the young Pintoricchio, the young Perugino, perhapsBramante and other authors which are difficult to identify.

In the following rooms (XV, XVI, XVII, XVI11, XIX, XX,XXI) are paintings of the first half of the 16th century whenPeruginos and the Umbrian school were undergoing a recession due to the oncoming of great personalities suchas Michelangelo and Raphael and the subsequent Mannerism.

In rooms XXI works by Doni and the Alfanis, the mostfamous Mannerists of the time. In room XXII, a long corridor called "il tesoro" precious goldsmith's work, ivory objects and bronze statues are displayed in glass cases, Enter the Cappella dei Priori painted by Benedetto Bonfigliwith scenes from the lives of St. Ercolano and St. Ludovico, with an enchanting picture of Perugia in the 15th century. Then room XXIV containing fragmented sculpturesfrom the Chapel of the Maesta delle Volte, exquisite worksby Agostino di Duccio. The Gallery's new wing includesthe large Podiani room (XXVI); with works of the late Mannerism period and the early 17th century, and a spiral staircase leading to numerous smaller rooms which were once the cells of the ancient prison. In these rooms are artstic objects of the 17th and 18th centuries, some exam ples from the topographic museum and agroup of ancient Perugian cloths. Of particular interest are the paintings of the Adoration of the Wise Kings by Arrigo Fiammingo (1564), St. Cecilia with an Angel by Orazio Gentileschi, Nativity of Our Lady and a mystical Weddind of St. Catherine by Pietro da Cortona and a Presentation in the Temple by Andrea Sacchi.

Some of the Gallery's works are to be found in othermuseums and art galleries in Umbria, such a Citta di Castello and Spoleto.

IPOGEO DEI VOLUMNI. This hypogeum is certainly the most beautiful and interesting Etruscan tombs in the surrounds of Perugia. Situated on the outskirts of Ponte San Giovanni, it was discovered in 1840. It is a series of underground rooms - alarge atrium, a tablinum (or cell) and eight small side cellsdug out of tuffstone. In its layout and some of the decorations on the ceiling it resembles the form of a Roman house. The exact date of the complex is uncertain, but it can be approximately traced back to the second century BC.In the tablinum are urns, five of which are made of travertine stone and one of marble. The most interesting urn isthe one of the magistrate Aruns Volumnio, head of the family. A statue of the man depicts him sitting on a deathbed giving up offerings to the gods. Underneath are two'ease, infernal deities guarding the gates of Hades. Attached to the hypogeum is an important collection of smalurns from the nearby necropolis of Palazzone and a smallmuseum with the objects discovered in the tomb.

IPOGEO Dl SAN MANNO. At about three kilometres from the Fonteveggi station,not far from via Cortonese, lies the hypogeum of San Manno. It is a large vaulted room of travertine-stone blocks inan architectural style which precedes the 2nd and Ist canfury Roman structures. On the walls is a three line inscription in Etruscan, one of the longest of its kind known toexist. Above the hypogeum (3rd century BC) is a churchrestored in the 16th century, with traces of frescoes fromthe 14th century and a fresco by Scilla Pecennini (1585).

IPOGEO DELLO SPERANDIO. Near-the Villa Sperandio(Porta Sant'Angelo) lies an important Etruscan hypogeum (2nd century BC). You go downabout five metres and enter the vaulted sepolchre dug outof stone. In the large sarcophagus made of travertine wasa skeleton of a woman. The rich archeological finds (gold objects) have been transferred to the Archeological Museum of Florence. An archaic sarcophagus was found inthe necropolis with engravings of a procession of warriors,now displayed in the Museo Archeologico Nazionale di Perugia (6th century BC).

| Main Page |