This is the third and final residence of the Trinci, lords of the city from 1305, after the expulsion of Anastasi, to the 1439. It is located in the old district of Piazza, in the heart of the city, current Republic Square, along its northern side. The building is the result of the restructuring and amalgamation of previous residential areas, dating from the first half of the thirteenth century and the beginning of the fourteenth, purchased, from 1388, by the wealthy merchant John Ciccarelli de 'Zitelli. James was the son of his father to sell the properties to Ugolino III Trinci, which is attributed the creation of the beautiful complex of Gothic courts, dall'accorpamento born of ancient buildings in Romanesque to Gothic buildings acquired more recently. It is designed as a hinge between the architectural structures of the core-city, the Cathedral on one side and the Town Hall the other, symbols respectively of ecclesiastical power and the civil-religious-political, to which the Palazzo Trinci was also physically connected by two bridge (demolished in the eighteenth century because it was unsafe to connect with the Town Hall), apparent willingness on the part of hegemonic control of the family.

The late-Gothic structure, one of the most suggestive of central, is mainly inspired by the fourteenth-century Florentine model, but it also influences derived from the architecture of palaces of northern.

The structure is divided into three levels, admirably connected by the so-called Gothic staircase, "Pivot around which the structural organization of space", as claimed by Cristina Galassi. The "new homes" of the Trinci serve multiple functions: have space for the exercise of the merchant family's private residence and, respectively in the storerooms of the ground floor and rooms on the main floor, the so-called "Rooms of Constance", home of Constance Orsini, wife of Ugolino III Trinci place and are representative of the public life of the city and the exercise of power, functions performed in the frescoed rooms on the second floor.

The neoclassical facade the Palace was built between 1842 and 1847 Vincenzo Vitali on a project of Edward Poggi, then modified by Sigismondo Ferretti while staircase in the courtyard was built by Cesare Bazzani in 1927, to evoke the original Gothic-scale internal.

The completion of the cycle of frescoes that decorate the representation (Loggia, Hall of the Emperors and the House of Rose) dates from the second floor 1411-1412. Recent documentary discoveries have allowed these paintings attributed to the master Gentile da Fabriano and his many collaborators (Jacopo Bellini from Venice, Paul from Nocchi Foligno, Francesco da Bologna Giamboni, Baptist by Domenico da Padova). This award is due to the discovery of the so-called Notebook Boxcutters, ie notebook erudite eighteenth century Ludovico Boxcutters, written between 1770 and 1780. The notes describe a path inside the building and are equipped with very accurate drawings that reproduce the most significant artistic emergencies. The same notebook back, also, excerpts of receipt of payment issued by the late Gothic painter Gentile da Fabriano to Ugolino Trinci, in data 27 August 1411 and 12 January 1412; relations with Gentile da Fabriano is perhaps explained by the dynastic ties and family that settled Trinci with Chiavelli Fabriano.

This second floor is divided into several rooms:

  • The Loggia, painted with stories about the mythical origins of Rome, from the union of the god Mars and Rhea Silvia to the founding of Rome by Romulus and Remus. Every single episode has commentary by verses in the vernacular, visible today in a piecemeal, transcribed by scholar Ludovico Jacobilli. We have assumed a direct intervention by Gentile da Fabriano in this cycle of frescoes in which you capture the typical painter of the technical tricks of Fabriano, as the crescent-shaped ornament on the forehead of the horse, the scene of the execution of Rhea Silvia, identical at a particular of the 'Adoration of the Magi Uffizi (1423).
  • The Cappella, The decoration, commissioned by the last of the dynasts Corrado Trinci, is the last decorative intervention promoted from inside the Palazzo Trinci, performed in 1424 from 'Gubbio Ottaviano Nelli, As can be seen from the inscription runs beneath the scene of Nativity.The cycle of paintings in the Chapel of Palazzo Trinci is dedicated, Like many late medieval chapel palatine, the life of Mary and inspired by the literary Golden Legend Jacopo of Voragine. The episodes, which are divided into sixteen scenes, extend along all surfaces of the Chapel, in the four sails, in its frames and ribs of the vault so as not to leave any empty space. The Chapel of the Palace was the only place to escape to damnatio memoriae that, in an attempt to erase all traces of the lordship Foligno, mutilated the frescoes of salt and scraped the arms and emblems of the house Trinci.
  • The House of Rose (or Hall of Liberal Arts and Planets), once so called because of the presence of crimson roses, emblem of Ugolino Trinci, in the white band, red and green (the colors of the Trinci) which acts as the upper frame of the cycle frescoed. In the room, which probably served as a study or library, the theme is developed frezziano Age of Man, together with the representation of the Liberal Arts, Planets and hours of the day, hence the other name of the hall, Hall of Liberal Arts and Planets. In the north wall, left, admires the theme of the seven Liberal Arts (the Trivium and Quadrivium), represented by female figures seated on thrones fine Gothic, a background of azurite simulate a hanging tapestry. On the opposite wall is a series of Planets, according to an order linked to the days of the week and, juxtaposed to them, by round or wheels, The Age of Man, represented by human figures inside the circle corresponding to the Age, in turn connected with the Hours of the Day, represented, in the outer annulus of the same circles, the position of the Sun in the sky.
  • The Corridor. Along the corridor connecting the palace with Canonical, is depicted, on the left wall, the theme of Nove Prodi, three in the Jewish world (Joshua, David and Judas Maccabaeus), three of the greek-roman world (Hector, lost, Julius Caesar, of which only the lower left and Alexander the Great), three in the Christian world (Re Artù, Charlemagne and Godfrey of Bouillon) to which they combine the images of two Famous Men, Romulus and, probably, Scipio Africanus. This decorative cycle went to overlap the previous one made around 1407 depicting the theme of Age of Man, in monochrome painting, attributed to the painter Paul Foligno Nocchi. It is assumed, then, that 1411 the old decoration of the hall was blacked out for a change in the client program, intent to update the decoration of the building, preferring to entrust the construction team to Gentile da Fabriano, in which it was included, however, Paul himself Nocchi. The theme of Age of Man was not, however, excluded from the program, but only transferred on the opposite wall of the corridor, within a plant decorations. Throughout the Corridor reveals his debt to France, debt found in the history of Foligno, when we remember that during the fourteenth century the two brothers Paul and Peter Trinci, bishops respectively of Foligno and Spoleto, prelatizi held important positions in Avignon, where it is likely that they would purchase books and illuminated texts, then merged into the library holdings of the family. On the wall above the door of the Palace of the Canonical has been a male character, with cape and hood, kneeling while reading a book. This is probably the representation of the humanist Francesco da Fiano, it is here that wanted to pay homage as the supreme creator of the series of paintings.
  • The Hall of the Emperors (or the Giants), that presents the theme of Famous Men. In this room are represented twenty characters, called "giant" for the colossal, arranged in fake pointed arches, below which runs the inscription explaining the heroic figure above, resting on a plinth made of imitation marble and mirrors for alternate boards. The "giants" rest on a grassy little tern, in which appears a rich and precise repertoire of plant species, almost an old herbarium. The characters represented belong to the historical period that goes from Romulus to Trajan, and showed the original details, such as armor, swords and sandals, gold foil d 'silver. They are selected primarily because of their military value (these are mainly soldiers, General, King enemies who win) and of their primitive paupertas, their sense of justice. The parade will stop with the representation, lodge in the fake painted on the east wall, some people dressed in elegant clothes of the time with the colors of the Trinci (white, red and green), probably be identified with Ugolino and his wife Constance, presented as actor-spectators of this noble parade.
  • The Hall of Sixtus IV, great atmosphere, originally covered by trusses, behind the Hall of the Emperors. This room was completely changed after the fall of the Trinci, when the entire building became the residence of the apostolic governors, as a result of restauratio performed by Cardinal Vitelleschi and the return of Foligno under the influence of the Papal. Was added to a ceiling keel, made of boards painted in tempera with the heraldic symbols of the della Rovere family, from which Pope Sixtus IV, with the papal coat of arms in the middle of the Oak (leaves and acorns) and that of Cardinal Giovanni Battista Savelli.
  • The Hall of the Governor, located on the second floor of the south, is decorated with a Mannerist painting cycle, hours fragmentary, which probably represents a theme inspired by neo-Platonic love. The frescoes, dating from around the forties of the sixteenth, can be attributed to the painter Dono Doni.

 

In the second floor of the Palace, also, This is the so-called Sala Giuseppe Piermarini. It was named after the architect Foligno 27 September 1908, on the occasion of the centenary of his death, is commemorated by a plaque on the north wall, and is intended to collect the writings and drawings of the architect. There currently are stored on plaster bust, two portraits in the press and the working tools of the Piermarini. Comes, also, recalled his most famous project, that for the construction of the Teatro alla Scala in Milan

 

Palazzo Trinci is, also, headquarters Municipal Art Gallery, divided into three sections, `300, `400 and` 500, of Archaeological Museum, including extensive documentation of the people of Umbria Fulginates and Plestini and the archaeological collection made by the Trinci family, of Municipal Museum of the Institution, City at Foligno cheraccoglie evidence on the establishment, within a period of time from the fifteenth century unification of Italy, through moments of everyday life and objects of institutional and Multimedia Museum of Tournaments, of Rides and Games, officially inaugurated in February 2001 and the result of considerable research, that aims to make a point of Foligno reference for the study, the history and actuality of jousts and tournaments from the Middle Ages to the nineteenth.

Accessibility

Persons with disabilities who arrive by car can park, if they have permission, Square in front of the Museum; to visit should ring a bell at the main entrance, place, with the intercom, at a height of cm 145. A staff person assigned to the Museum will accompany visitors with disabilities to a secondary entrance, served by an elevator that has a door opening in cm 90 and the cabin cm deep 150. The Museum is located on different levels. The museum rooms on the second floor, where there is a picture gallery of the '300, can be visited without difficulty; short wooden ramps connecting rooms. From the second floor you can continue your visit to the Archaeological Museum, via two stair lift having a platform wide cm 69 cm deep and 85. On the second floor there is also a conference room and classroom (entrance there is a long ramp m 2 and slope 10% about). On the third floor the frescoed halls and art gallery of the '400 and '500, all visited without difficulty, except that the chapel Nellie 4 steps at the entrance. On the ground floor, under the main staircase, are placed in environments where you can admire the mosaics and the well, to access such aboutre have the door opened by personnel. The entrance to these rooms and the hall of the mosaics have overcome two slides with accompanying. To continue your visit and access the Multimedia Museum must exit from the main, turn right, along, then, Gramsci and, after about 70 m, turn right on Via del Quattrocento, where is the entrance of the Multimedia Museum, located on the first floor of the south-west of Palazzo Trinci. Disabled people can access via a lift: the door has a clear opening of cm 80 and the cabin has a depth of cm 140. The rooms of the Multimedia Museum can be visited without obstacles, while for access to the computer station there is a ramp brick that has a length of cm 186 and a slope of 18% about. In all floors of the museum there is a toilet reserved for disabled people. The bathroom on the ground floor, environment in which there are placed the mosaics, has a step at a height of cm 10.

Gallery

Map

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