Pope Innocenzo IV Visits Santa Chiara (Nicola Monti)

The painting depicts the last of two visits made to the Assisi monastery of San Damiano by Pope Innocent IV to the sick Saint Clare, who would die two days later, on August 11, 1253. Only on the 9th of that month, with the papal bull Solet annuere, had the Pope approved the Rule of the Poor Clares, the order founded by Saint Clare and Saint Francis in 1212, the first Rule written by a woman in the history of the Church. The day after the nun's death, Innocent IV, accompanied by the cardinals and the entire Curia, returned to San Damiano to preside over her funeral. Convinced of Clare's sanctity, on October 18th, with the papal bull Gloriosus Deus, the Pope entrusted Bartolomeo Accoramboni, Bishop of Spoleto, with the initiation of the canonization process, which would be concluded two years later, in 1255, by his successor, Alexander IV.

The presence of the Poor Clares in Ripatransone dates back to the time of Saint Clare: as early as 1256, the Bishop of Fermo granted privileges to the nuns of San Damiano of the local monastery of San Francesco. In the 16th century, the nuns had their own church, which was later rebuilt in the mid-18th century and consecrated in 1754 as part of their convent complex. This painting once hung on the high altar: it depicts Innocent IV, accompanied by a cardinal and a large entourage behind him, approaching and blessing the dying woman. She, stretched out on her bed and attended by a fellow nun, turns her suffering face toward him, while, above, a glory of angels alludes to the heavenly environment that will welcome her.

This large altarpiece is a typical work of the devout poetics of Nicola Antonio Monti, born in Ascoli Piceno in 1738. After an initial apprenticeship with Biagio Miniera, the painter went to Rome in 1755, where he studied under Pompeo Batoni, who introduced him to Raphael and classicist painting. Despite several prestigious commissions, the artist chose to return to his homeland, where he began an intense career in the central and southern Marche region, as well as in Abruzzo and Umbria. Constrained by financial difficulties, he found himself undertaking a large volume of work, sometimes at the expense of quality due to the use of thin oils and inadequate stretchers. This led to the premature deterioration of some of his works, such as this one, which, however, has recently been restored to excellent legibility.

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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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