The Ripatransone Digital Library

By: Vincenzo Pagani, Italian Painter (1490?-1568) Ripatransone, Pinacoteca Civica Description Behind the Madonna the angels in flight hold a cloth to divide the terrestrial world from the celestial one. At the centre, there is the Madonna seated on the throne, who holds her loved son, the infant Jesus, who wants to go toward the arms of St. Catherine, being attracted by her sandals. Behind St. Catherine, there is St. Nichols from Tolentino. On the opposite side, there is St. Joseph who looks at us intensely, and the bishop St. Augustine, who looks at the scene. At the bottom of the trone, there is the emblem of the family Fascitelli.

By: Vincenzo Pagani (1490? - 1568) - Giovanni Pagani (1465? - 1544) Temper On Wood Ripatransone, Pinacoteca Civica At the centre, there is the Madonna with her son on her knee, looking at him tenderly. The infant Jesus looks at St. Sebastian, Christian saint and martyr. (AD 256 - 288) after extracting the arrow, from the left shoulder. The child wears a coral necklace, the symbol of his blood and a floral composition with the shape of a cross. On the left, there is St. Victoria with the palm, the symbol of her martyrdom and a dagger planted in her chest. Not so far from Ripatransone. there is the possibility to observe her dagger at the chiesa di Santa Vittoria - Santa Vittoria in Matenano (FM)

Vincenzo Pagani (1490? - 1568) Italian Painter, Umbrian School. Ripatransone, Pinacoteca Civica Description This altarpiece, is divided into two section separated by a white cloud, on which are supported the Virgin Mary who looks at the observer, telling to pray, because the infant Jesus is blessing us. Behind the Madonna, there is the divine light with the shape of a seashell, on their side there are the angels some of them are praying other shows their devotion to the holy couple. At the centre of the scene, there is St. Michael The Archangel, he has been painted with two wings, he has also a serious face, having under his feet the devil near to death. He has a sword and a weight scale, used to weight the souls according to their sins and then sent to the heaven or to the hell. St. Michael wears a light armor, but not St.George with an heavy armor, a golden medallion, a long spear and a sword and his mantle. St. Martin Bishop on the left is painted with his classi...

Tempera On Wood Triptych Ripatransome, Pinacoteca Civica Catalogue: Itinerari Crivelleschi Nelle Marche a cura di Pierluigi De Vecchi Maroni Editore, Ripatransone Cerca Il Libro CRIVELLI, Vittore (b. ca. 1440, Venezia, d. 1501/2, Venezia) Italian painter, brother of Carlo Crivelli. Like Carlo, Vittore always signed himself as a Venetian. He followed his brother to Zara, where he is documented from 1465. He probably spent some time in Carlo's workshop, although there is only one surviving collaborative work, a polyptych for the church of S Martino at Montesanmartino (in situ). In 1469 Vittore took on a pupil in Zara whom he agreed to train for eight years. In 1476 he bought a house there. By 1481 he had moved to the Marches. In that year he signed a contract to paint a polyptych with the Virgin Enthroned with Saints (Rome, Pinacoteca Vaticana) for the church of the Madonna di Loreto in Montelparo, and from the same year also dates a polyptych painted for S Fra...

In this painting is crowded by personages That Are observing the martyrdom of St. Basso The scene takes place in a space framed by classic architectural scenes: on the right there are some Ionic columns and an arch on the left who closes the background of the composition. The saint turns His gaze towards the figure of Christ, who burst onto the scene from above, on the left. in the foreground there are the martyr attributes, such as the bishop's robes, the pastoral and the executioner who is inflicting the torture with the spit.

In the foreground there is the Virgin and the Savior standing on his knees; on the left, there is St. John who gives to the Child a white flower; at the foot of the Virgin, there is a crouching lamb. The group is isolated from the background by a large fluted column. St. Joseph on the right appears in meditation; in the background, we see a landscape and the city of Jerusalem.

In this Room there are paintings from the XVII - XVIII Century. All the paintings and the altarpieces have a religious subject. These works come from the church of St. Augustine at Sant'Elpidio a Mare, bought and donated to the museum by Uno Gera. The most important paintings are the three altarpieces of Ernst van Schayck (Utrecht, 1567-Castelfidardo,1631)  a Flemish painter influenced by the local mannerism and the baroque quotes. Another painter is Filippo Ricci (1715-1793) Some paintings have an unknown origin, such as the small "Holy Family", the sketch with "Tobias and the Angel", the "San Michele Arcangelo", the two ovals with "Christ crowned with thorns" and the '"Sorrows" derived by Guido Reni, the lively "Martyrdom of St. Basso" and the "Martyrdom of St. Andrew", version of a painting in dell'Ambro Sanctuary. Virgin assumed into heaven with St. Paul & Lucy - 1609 - 1631 Oil On C...

The collection of ceramics, began to take shape in the late nineteenth and early twentieth century thanks to the Cesare Cellini. This room is rich of pottery, and other objects,they comes from various sources and they were donated by citizens, clergy, nobles, agencies and amateurs. The last notable patron was Uno Gera. This collection is made of thousand of objects, but not all with an high artistic and cultural value, so it was necessary a drastic exhibition selection, favoring the ceramic centers of greater importance, especially from Marche, neighboring areas (such as Abruzzo, Lazio and Emilia -Romagna, with Castelli centers, Anversa degli Abruzzi, Bussi, Urbino, Pesaro, Casteldurante Esanatoglia, Ascoli Piceno, Faenza, Sassuolo) and, for some particularly significant objects, even other parts of Italy (Savona, Albisola, Pavia , Lodi, Deruta, Gubbio, Viterbo, Grottaglie, Shower, Capodimonte, Candiana Padova) and Europe (Meissen).

The loggia opens onto the living room and it is topped by a balcony. In this room there are paintings with a profanes or allegorical subjects. The Allegory of Philosophy is represented by a young woman, where her iconography is taken from "De Consolation of Philosophy Boethius" In her hand there is a scepter and two large volumes, she has also a sensual naked shoulder, which means her disinterest for the mundane aspects in favor of a speculative activity. From the Roman Area we have the young god Apollo (XVIII) he is shirthless and with a large cloak, that envelops the rest of his body. Apollo is represented as a winner because he won the race against Marsyas, in his hand there is the lyre, the instrument of the challenge, and the laurel wealth, the symbol of victory. From The Bologna Area, we have "A Young Man" a "Feminine Figure" and two canvas i.e. "The Annunciation and "The Angel Of The Annunciation" (XVIII)

The vast room is covered by a beautiful coffered ceiling, painted with floral and plant motifs. Immediately below it runs a high frescoed frieze with putti holding-banner, unfortunately damaged by martellinature an old repainting. The decoration dates back to the original structure of the Palazzo Bonomi and is assignable to a workshop of Ascoli painters decorators active in the early decades of the eighteenth century. To the right, next to the wall, there is the largest framing golden alcove, dating from the mid-nineteenth century: it consists of a pair of columns, culminated by flames, and by pilasters supporting an entablature enclosing a double volute. Inside, in addition to a small Marche fore, which lays a gilded wooden little sculpture depicting the group of 'Our Lady of Loreto', there are a number of devotional squares and a beautiful eighteenth-century embroidery on silk. On the right, there is a series of sacred subjects in fine wood reliefs. In the middle of the ...

In this small room there are two frescoes and a sculpture. Madonna With Child (1500-1530) Fresco St. Philip and St. Joseph (1458 - 1468) Fresco Madonna Enthroned (1495-1526) Sculpture, Made of Terracotta This sculpture comes from The ancient church of San Francesco, or Santa Maria Magna, now destroyed. The sculptor was Giovanni Francesco Abruzzo Gagliardelli (Citta Sant'Angelo, ante 1495-1526), ​​a follower and successor of Sylvester ' Eagle. It 'a valuable sculpture in terracotta retaining only traces of polychrome; lost is also the Child, a time lying on his mother's knees. To Giacomo da Campli is assigned the fresco depicting the "Saints Philip and James" (1468), removed in 1964 by the eponymous former church. In the same building there was the "Madonna and Child Enthroned", dated to the first quarter of the sixteenth century and placed in the Umbria-Marche area, although some authors have proposed the names Cola dell'Amatrice a...

Description: The canvas represents a sketch for a larger work for the "conversation room in the Villa of Don Carlo Torlonia in Castelgandolfo (close to Rome). At the centre of the scene there is Neptune which stirred the sea upsetting the Nereids and Tritons whom are depicted around him. This sketch is made with a style that Coghetti had shown in the religious subjects: it reveals the academic and classicist formation and presents a dramatic tension in the gestures and faces of the characters.

Description: This sketch represents the visit of the Cardinal Carlo Borromeo to Lucy hosted in the tailor's house after the talk with the Unnamed, described by Manzoni in the XXIV of The Betrothed. The scene takes place in a very simple domestic interior, furnished with a large fireplace, on which are placed several kitchen utensils, and a wooden table, next to it there is.  the tailor's wife and the three children. In the foreground, there is  a small chair and a pony. The light, coming from the left, illuminates the central scene with Lucy and her mother, dressed in the clothes of the seventeenth century commoners, before Cardinal wearing choir gown, the chasuble and red galero.

Description: This canvas represents the iconographic theme of Love Wedding and Psyche, which originated in the story told by Lucius Apuleius in the Metamorphoses novel  or the Golden Ass. Here Francesco presents one of the final episodes, when at the behest of Zeus, Psyche was taken into heaven and the wedding was solemnized with Love. The painter has set the scene in a celestial space, identified by multiple clouds, and has developed into a theatrical composition, placing the protagonists at the centre of his work. At the sides there are the wedding guests.

Oil on Canvas Description: In this canvas it is narrated one of the episodes of the life of St. Paul of the Cross and in particular when he saw the Madonna with her son. St. Paul is at the entrance of the cave where he lived as a hermit, kneeling, with the dress of the Passionist order he founded. The book is an allusion to the Rule of the Passionist written by the saint in 1721, the skull, could be considered an allusion to the Passion of Christ or/ and as a symbol of Golgotha, taking up the traditional iconography of the Crucifixion widespread until the fifteenth century.

Francesco Coghetti was a painter from the city of Bergamo (Northern Italy) His sketches had been acquired by Uno Gera and then donated to the museum of Ripatransone. Francesco moved to Rome in the year 1821, where he experienced the romantic, purist and classicist and his masters were: Giuseppe Diotti e Vincenzo Camuccini. The considerable number of religious subjects sketches reflects the consistency of the ecclesiastical orders, the most important and lucrative work of any artist, obtained from Coghetti and mainly come from the most prestigious Roman sites activated from the forties to the end of the seventh decade of the century . The two small paintings with the Death of the Virgin represents the Lombard environment, with the main altar of the Cathedral of Piacenza. Biography: (12 July 1801 – 20 April 1875) was an Italian painter and art school administrator. He was born to a wealthy family which enabled him to be educated at prestigious private schools. After c...

Description: Here there are the Magdalene and Martha. The Magdalene shows her most famous attribute the ointment jar used for profuming the feets of Christ. She wears a wide cinched-waist dress with a belt and a red cloak trimmed with gold, which holds with her right hand. St. Martha lived in the first century, she was the sister of Lazarus and Mary. In this canvas we see her with two of her attributes a bucket and a dragon. Both are standing in a painted architectural niche with bowl shell and piers adorned.

Description: In this canvas the Magdalene wears a red dress and she is seated on a cliff. With her left arm, she holds the skull of Christ, at her feet is depicted an open book. The particularity of this canvas is her red dress, which usually does not appear in this type of devotional image. It follows the "Iconography of the Baroque painting because, she turns her eyes towards an angelic vision in heaven and two cherubim.

Description: This canvas shows a female figure, probably she is the Magdalene for her long hair. She is assorted  on her thoughts. Her face is painted very carefully and dressed with a precious garment.

Description: In this painting we see that the Magdalene has been depicted with her typical attributes, such as the skull on the ground, the ointment on her hand and her beautiful hair loose and a rich robe. St. Charles Borromeo as usual is dressed with his cardinal's robe and a red hat. St. Charles and the Magdalene are looking up at the cloud where there is a bright light in act of praying. Behind them there are three saints but they are looking outside the painting as to say to be silent and praying with them. On the left there is St. Francis and on the right there is Saint Anthony Abbot, who holds the stick with the T- handle and St. Joseph with his stick flower, the future husband of Mary.