Museo Diocesano, Gubbio

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Museo Diocesano Reviews
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  • Price a bit high compared to the quality and amount of items on display, in addition there was a show/sale of contemporary modern paintings/mixed with permanent works (a bit pointless).
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  • We were a little disappointed by the visit to this museum that we didn't get your heart racing. These are a few halls works belonging to the masters of painting eugubina including Nelli, Taddeo di Bartolo and Nucci. The highlights of the collection are the Gold Brocade cope of Marcellus II and the fresco depicting the crucifixion by the master of the Gubbio Cross. Descending towards the bottom you will find the large barrel of the canons dating back to 1500. Nothing special
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  • Located in the maze of medieval alleys, which constitute an attraction to bring the visitor back in time to that beautiful period where the honor meant much more to the man that death and where the lover trovatore devoted to his beloved beautiful verses accompanied by the gentle sound of the lute, the Diocesan Museum is rich in works of art, these being sealed inside the tourist more rushed and superficial. I'll start my description from the unique, but significant Hall where italic and Greek pottery are on display, and a donation of italiote a collector of Umbertide. At the Center, a display case contains several ancient coins, some of which you can read the legend and identify the symbol that recalls to the City-State. The ceramic dauna has numerous artifacts: ancient Japigia was tripartite in Daunia (the province of Foggia until Canosa included), Paucezia (Bari to the borders of Taranto) and Messapia (Taranto and the current Salento). What we now know as pottery dauna, originated and developed in the period between the end of the 9th century BC and the beginning of the next from geometric pottery production-japigia. The specimens on display are decorated in white with Matt black bands (geometric proto-daunian), others with black and red stripes (sub-daunian geometric) maybe metapontina junction, as well as geometric designs and floral decoration of the same colors. Particularly valuable a ascos (see photo) of the 4th-3rd century BC, with rich decoration and funerary rituals used for offerings of libations. Of great scientific importance a statuette of Kore (maiden) of the 7th-6th century BC, very similar to those Athenians, various kyliches (drinking cups) one of which with a black background and with red figures with olive branches and bird in the middle of the fourth century. AV. CR and another signed by Taleides the third quarter of the 6th century attica manufacturing av.Cr., various lekythoi (oil jars) slender shapes of which is particularly valuable to white background and black figures with scenes of Heracles and/or Newt and Nereo and the legend Erakles kalos (beautiful and valorous) from the 6th century. AV. CR., various skyphoi (drinking cups) including one decorated with OWL, sacred to Athena and dated VII-VI centuries. AV. CR. Also notice a phiale (plate) production apulo-italiot with scenes from the world of a woman, two fish dishes, survived amazingly intact italiot production of V-IV century before Cr. presenting to Center a light socket that needed to get the sauce to coat, a black-figure attic oinochoe (JUG) with scenes of Hercules fighting with the riders of the sixth century. AV. CR., a red-figured lucanian crater production-italiot with scenes from the funeral of a warrior carried on his horse and covered by the shield, while the animal is being driven by a male character totally naked and with Lance on the right, dated 6th century. AV. CR., various aryballoi (ointment) Corinthians of the VII-VI century BC. CR. and ceramic before III century Balsam. AV. CR. The art gallery presents works by the greatest artist of the 1300s, Mello da Gubbio Gubbio, influenced by Giotto, from Assisi and Siena, Simone Martini and Pietro Lorenzetti. Him the Madonna in Majesty, called la Madonna di Pieve di Agnano signed (see photo), a Madonna with child, from Valdichiascio (see photo), another Madonna in Majesty, master of Santa Chiara the years around the 1320-30 (see detail of the face of the Virgin) a beautiful crucifix between the santi Giacomo e Mariano by an unknown author and conventionally called master of the crucifixion of Gubbio a beautiful Santa Chiara, by Taddeo di Bartolo, a Madonna and child, work by the workshop of Ottaviano Nelli and a Virgin and child of Sassoferrato, famous for the frequent use of lapis lazuli for the veil of Mary, but that here is missing because it is a copy of a work by Guido Reni. Leaving the Museum you will run into the barrel of the canons of the fifteenth century: knowing the proverbial predilection for Italian wines of tourists in Central and Northern Europe, it would be appropriate to recall their che.....la botte is-alas-now empty, to prevent savages ... ... assaults to the nectar of the gods, you know ... ...
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  • To visit. Is right where the elevators
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