The Donkey An Unknown Animal (Written By: Tarcisio Cellini)

Since the first pages, the reader will discover the profound humanity of this animal.

If you want to know all about the donkeys, this is the book for you, it is also a proof against the prejudices about this animal, and this is the reason because the author stressed on the fact that this animal is almost unknown.

In more than threehundred pages, the reader will discover its popularity in the literature, in the visual arts, in the prayes, in the hold and new testament.

This book cannot be read as a novel, because it is dense of details that the reading will become boring.

A hint is to read this following its interests, if you are interested about the Nativity in art, you will have a dedicated chapter where there are major and minor painters, with a detailed description of the painting with the donkey.

Another interesting chapter is that dedicated to the literature.

In the chapter dedicated to the donkey and the school, the author explain the symbologies of a donkey in the western and east world.

There are two links with the city of Ripatransone, the first one is that the author was born and lives in this city and the 'Lodge Of The Donkey' visible in the medieval streets of Ripatransone during the carnval, this is a group of young guys with a donkey of papier-mâché, all black but with a red tongue.

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The Gleaner of Sapri's Manuscript (Written by the poet Luigi Mercantini)

At the top floor of the museum there is the original manuscript of The Gleaner of Sapri, Written by Luigi Mercantini. "They were three hundred, they were young and strong, and they died." This is the famous refrain of what is probably one of the most famous poems of the Risorgimento, the gleaner of Sapri, composed by Luigi Mercantini in memory of the enterprise attempted by Carlo Pisacane in 1857 to unification Italy. In these sections of the Historical Museum is dedicated to the poet Risorgimento Luigi Mercantini with an Historical Ethnographic Collection. This floor, dedicated to the Italy of nineteenth, allows visitors to immerse themselves during the time of National Unity, capturing the feelings that animated the young patriots who infuocavano the Italian Province. Songs and poems encouraged the barricades and political struggles of an Italy that joining was preparing to enter Europe. Sapri The Gleaner of Sapri Luigi Mercantini (1821–1872) Ano...

Madonna and Child, Saint Martin, Saint Anthony Abbot By: Vittore Crivelli

In the middle of this triptych there is the Madonna with her child in the act of blessing. The Madonna' s face is melancholic as she senses the end of her child will meet. The child holds a goldfinch, an angel with a sword and another one with crossed hands. Behind them a cane holds a cloth with a pomegranate and an apple hanging from it. Respectively they represents the church and the original sin. On the left there is Saint Martin bishop, in one hand he holds a finely bound hardback book with a model of a village with towers and crenelled walls. On the right there is Saint Antonio Abbott bishop who holds a book and a little bell. Above this triptych there is The Piety with tree Cherubini invented on collecting the blood of Christ. On the left there is the Madonna, on the right a praying Saint. At the feet of Christ there is Mary Magdalene. In the background a landscape. .

Christ on the Sepulchre Madonna and Child Enthroned between Saints Sebastian and Cosmas Saint Lucy

Pietro Alamanno (Choetbei, between 1430 and 1440 – Ascoli Piceno, 1498) was an Italian Renaissance painter and sculptor of Austrian origin. Montefortino, Fortunato Duranti Art Gallery Description At the top is the suffering Christ, partially in the tomb, with the instruments of the Passion hanging on a wooden panel against a red background to highlight it. The Madonna is seated on a throne, praying and looking at her Son, who is resting on her knees. On the left is Saint Sebastian, pierced by numerous arrows and looking at the baby Jesus. On the left there is Saint Cosima, wearing a red turban and holding a house in her hands. Saint Lucy is the only saint who looks at the observer; we see her holding a tray with her eyes and the palm of her martyrdom.

The Ripatransone Digital Library

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