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Sistine Museum of Ripatransone


Founded in 1571, the Diocese of Ripatransone was the Episcopal seat until recently. 
This high honor made the city a rich art and history center. The museum is located at the ancient church of Saint Catherine of Alexandria, better known as Saint Augustine and in some areas of the annexed convent. 
Founded in the XIV century and renovated many times at the initiative of the Devout, the Augustinian complex was at first escheated to the Italic Government (1810), then handed over to the local clergy who made a bishop residence out of it (1874). 

In 1932, the church was transformed into a cinema, and then was abandoned until recent restoration. Among the works present in the church is an elegant fresco from 1427 originating from the Ripan church Santa Maria della Petrella depicting the Madonna with Child among saints Peter and Paul, attributed to the Maestro of Loreto Aprutino. 

                                   The Magdalene / Photo: Italo Perazzoli
Moreover, there is a fresco depicting the Madonna del Soccorso attributed to Vincenzo Pagani (XVI century), and an imposing altarpiece by Giovan Battista Ragazzini (late XVI century) placed on the right side of the presbytery. Worthy of particular mention are also the fragments of an altar in terracotta in glass (1531-1532), a work by the Florentine brother Mattia della Robbia, that had been erected in the ancient cathedral of San Benigno, and tables with the Mysteries of the Rosary, traditionally assigned to the Ripano Ascanio Condivi, disciple and first biographer of Michelangelo.
From the church of the Capuchins comes the majestic and scenographic Adoration of the Cross, recently restored by the painter from the Barocci school Girolamo Cialdieri of Urbino (XVII century). 
At the center of the nave towers the Banco dei Magistrati, a work done in sculpted wood created by the carver Desiderio Bonfini of Patrignone. In the areas of the old convent there are liturgical objects, vestments and wooden sculptures originating from the cathedral and from other city churches. Noteworthy among the group is the Saint Mary Magdalene raised up by angels originating from the suburban church of the Frati Minori Osservanti whence it was removed at the beginning of the nineteenth century. 

The work is uniquely fascinating, having been produced during the second half of the XV century by a workshop of northeastern Italian artists. The saint is depicted standing with hands joined, covered by a very rich head of golden hair that falls down to her ankles. 
The fineness of the carving and the care taken in the painted parts, as well as the unique iconography, more frequent in paintings than in sculptures, make this work a rare beauty.
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