Trinità e angeli con i simboli della passione XVI Secolo Pittore Fiammingo

God the Father, at the center of the scene, wrapped in a large dark cloak, holds the lifeless body of Jesus in his arms, almost as if to display his Son's sacrifice for the salvation of mankind. Between the heads of the Eternal One and Jesus, the dove of the Holy Spirit completes the iconography of the Holy Trinity. Around, groups of angels hold the symbols of the Passion, offering them to the viewer's gaze, seeking their participation.

This is a singular iconography of the Holy Trinity, after which the church, adjacent to the Poor Clare Monastery of Montalto, was dedicated. However, the painting, which was the altarpiece of the main altar, appears to be several years earlier, fitting perfectly into the figurative culture of the late 16th century, within the so-called "Sistine" style, which originated from the great Roman art movements of the time of Pope Sixtus V.

The painting is of the highest quality, but cannot be attributed with certainty to one of the numerous important painters active in Rome in those years, not only because of the extraordinary and archaic iconographic conception of the Trinitarian scene, but also because of the surprising landscape view in the lower section, where an extraordinary sensitivity to light highlights a profound view, perhaps of the city of Jerusalem, comparable to the inventions of Flemish landscape artists such as Paul Brill.

Particularly significant is the choice of subject, likely made by the Poor Clare nuns, a choice that attests to the Order's great devotion to the Trinity, a devotion strongly present in Franciscan spirituality, documented and supported already in the words of Saint Francis: "Blessed be the Trinity and the indivisible Unity: we will praise it, because it has worked its mercy among us" (Prayer to the Holy Trinity).

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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.

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