The Palace of Canonical, in origine insediamento castrense (X-XII secc.), poi residenza dei canonici della cattedrale (XIII-XVI secc.), per un certo periodo abitato anche dalla famiglia Trinci, è inserito tra la navata sinistra e il transetto della Cattedrale, con ingresso in Largo Carducci. Esso conobbe un primo restauro nel 1764 ad opera dell’architetto Giuseppe Piermarini ed un secondo, definitivo, eseguito tra il 1923 and 1925, su progetto dell’architetto Giorgio Sorbi. In quell’occasione si riaprirono le vecchie bifore e venne aggiunto il corpo di fabbrica terminale merlato in sostituzione delle precedenti strutture abitative che delimitavano la piazza su quel lato.

L’aspetto attuale offre su Largo Carducci una facciata con tre porte con arco a piano terra, tre finestre con arco al primo piano, due bifore e una trifora al secondo. In the frame between the ground floor and the upper open mullioned windows above the doors. Only in the first part of the length of the building, corresponding to the terrace, are visible merlons, designed in reality for the entire length of the side of Piazza della Repubblica. In both sides, under the battlements, is a frame that towers over four mullioned windows, two per side, a single window on Piazza della Repubblica and a three Largo Carducci.

Today the building houses the the Canoniche Cathedral Museum Diocesan, whose first sector was opened in January 2008. At the beginning of the twentieth century was Michele Faloci Pulignani the idea of ​​a Sacred Museum, for which he directed the work of renewal of Cathedral, between 1902 and 1904, and those that, between 1923 and 1925 conferred at the Palace of Canonical its current appearance. In more recent years, other furniture and works of art of the Cathedral Chapter merged into a first collection thanks to the activity of the canonical Mariano Filipinos; by the Diocese, also, poured into the Bishop's numerous works, the place of belonging, were subject to the risk of loss or theft. In this way, over time, body took a real Museum.

Today it houses a core of about 40 works, documents of Christian archeology and several paintings executed in the XV-XVIII centuries by various artists, including Bartolomeo di Tommaso, Ferraù from Faenza, Noël Quillerier, Cristoforo Roncalli, Cesare Sermei, Giovan Battista Michelini, clear testimony of the whole of artistic commissions and grants that have occurred over the centuries, and come not only from the cathedral, but also from small local churches.

The exhibition starts with a wooden sculpture depicting San Feliciano, one of the oldest images of the saint, attributable to the end of the first quarter of the fifteenth, reconstructed in its original parts and freed from additions and repainting.

Other important works are those left behind by the family Roscioli, works that constituted the collections and paintings preserved in the Roman residences of that family and irretrievably dispersed, except some. In the same building are, also, kept the altarpieces that, from the end of the sixteenth century, decorated the chapels of the cathedral and were performed by painters mostly strangers.

The most remarkable medieval remains in the museum are some rare wooden sculptures, including Madonna Santa Maria Infraportas, one of the oldest that are preserved, and the tabernacle fourteenth century hermitage of Pale, while among the many altarpieces present in large numbers in the territory of the diocese you can admire the paintings of Bottega di San Giuseppe, left in a small mountain probably in the second decade of the seventeenth century by an unknown artist of the Franco-Flemish culture, identified by some with Lorraine painter Georges de La Tour.

The treasure of the Cathedral is, also, consists of a reliquary Venetian adorned with rock crystal and enamel dating back to the early fourteenth century, a rich set of processional crosses in silver and copper gold, performed between the fourteenth and sixteenth century by local goldsmith workshops for churches of the Diocese and liturgical objects from the Baroque period, often made by well-known artists and silversmiths.

To remember is, finally, collecting relics kept in the crypt, in the Chapel of the Relics.

Accessibility

Disabled people arriving by car can park next to the Cathedral, Square of the Bishopric, where there are parking spaces reserved. The Cathedral Museum and the Diocesan accessed through two entrances: from inside the Cathedral, through a door located along the left aisle, leading to a courtyard from which you take the elevator; There is also an external access to the Museum, through a door located on the wall next to the main facade of the Cathedral, access that has a step with cm high 8 and leading equally to the same inner courtyard. To visit the museum must ask the pastor or guardian of the Cathedral. The Museum is located on the second floor and is accessed via an elevator whose door has a clear opening of cm 90 and the cabin cm deep 130. The halls can be visited without difficulty, except the "hall of the rose", that has 6 steps at the entrance. The toilet of the Palace of Canonical reserved for disabled people is on the first floor.

Map

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