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Activity Blog Blog17 April 20235 December 2023 By umbriasi 0

Gualdo Tadino: a “forest” of Museums

The city of Gualdo Tadino, originally known by the Umbrian name of Tarsina, fell under Roman rule and was given the name “Tadinum”, becoming an important trading center and point of reference along the Via Flaminia. During the Roman period it experienced many wars following the conflicts for power between Caesar and Pompey.
Other known devastations are those related to the figure of Hannibal and the resistance against the Goths fighting against the Lombards in the famous battle of Tagina.
The name GUALDO derives from the reconstruction dating back to 996 after the destruction of Otto III of Saxony, Emperor of the Eastern Franks and Roman Emperor since 966; starting from the reconstruction of the 11th century, the city assumed the Longobard name of Gualdo, “forest, wooded place” – from the German “Wald”. The formal recognition of the name “Gualdo Tadino” will only take place in 1833 by Pope Gregory XVI.
In 1237 it was destroyed again by fire and rebuilt by Frederick II and the Benedictine friars, mainly around the large structure of the Rocca Flea, on Colle Sant’Angelo.
In order to be able to experience Gualdo Tadino immersed in time, in the marvelous stories of the Gualdo citizens, in the architectural constructions and in the culture that has distinguished the Umbrian town, the City of Gualdo Tadino Museum Pole has enclosed the entire legacy of the city in a circuit of museums .
Not to be missed are the Rocca Flea Civic Museum, the Ceramics Museum, the Emigration Museum…Discover them all HERE

But let’s look at some of them in detail:

Rocca Flea
On the top of Colle Sant’Angelo, stands Rocca Flea, an exquisite military architecture dating back to the XII century and rebuilt by Frederick II in 1247. Inside, since 1999, there is the Rocca Flea Civic Museum.
“Its name, derived from the nearby river Flebeo, later called Feo, already appears in documents from the 12th century. With the succession of different dominations imposed on the city, the militias of Federico Barbarossa first settled there, then those of the pope and in 1208 those of the Guelph Perugia. Damaged by many conflicts, it was restored by Frederick II around 1242. In the 16th century it became the residence of the papal legates, while in 1888 the Rocca became a prison. Restored to its previous appearance thanks to recent restorations, the fortress has become the seat of the civic museum since 1999 “

Museum of Ceramics
“The Ceramics Museum of Casa Cajani is part of a large project which aims to exhibit and enhance the city’s heritage: the civic collection of ceramics, coming from the public, from acquisitions and donations. A project linked to the artistic, productive and economic history of this area, which documents the prestigious goals achieved over the centuries by the Gualdo ceramic manufacturers.
Some rooms of the Museum are entirely dedicated to Alfredo Santarelli, a tribute to his majestic work with artefacts from important factories born in the 1900s from the imprint of Santarelli, such as Luca della Robbia, the Mastro Giorgio Ceramic Society and the Angelo Pascucci Ceramic Industry. Another section is dedicated to the prestigious manufacture of Paolo Rubboli who reintroduced the technique of gold and ruby lustres of the Mastrogiorge tradition in Gualdo Tadino”.

Emigration Museum
“The Pietro Conti Regional Museum of Emigration was created to underline the historical, cultural and human heritage linked to the great emigration exodus that involved Italy from the end of the 19th century and which involved more than 27 million departures. Made with the video projection technique, it involves the visitor in an exciting backward journey: the arrival, the journey and the departure. Documents, images and stories from all regions of Italy. A choral journey that has the emigrant as its protagonist: the farewells, the meeting and the clash with the foreign country, nostalgia, the daily joys and sorrows, the integration into the new reality, the defeats and the victories, the confrontation and reflection on today’s immigration”.

On the Path of Ceramics

Discover Gualdo Tadino

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Blog Blog Tips11 April 20235 December 2023 By umbriasi 0

Discover Bevagna with UmbriaSì

In the flourishing valley of Umbria stands the city of Bevagna, originally populated by Umbrians with Etruscan influences. The original name, Mevania, is perhaps due to an Etruscan noble named Mefana, which became Mevania with the arrival of the Romans.
The bond that unites Sagrantino and Bevagna with deep-rooted origins is important and strong:
in fact, we read in the Historia Naturalis of Pliny the Elder, of a black grape variety produced in the municipality of Bevagna.
Enclosed in its walls, Bevagna experienced a flourishing building development with the construction of an amphitheater and Roman baths adorned with beautiful mosaics. The amphitheater itself, in medieval times, was then transformed and became part of a craftsman’s workshop on the ground floor with his residence on the upper floor: hence the famous saying “house and workshop”.
Among the Umbrian historical events and re-enactments, the one linked to the Mercato delle Gaite is singular and very fascinating, which for over 30 years has been proposing what medieval everyday life was like between 1250 and 1350: how people lived, what they did in the alleys of drink.
The event takes its name from the four main districts of Bevagna, the Gaite, and every year, at the end of June, it brings back to life the ancient uses and customs of the drinkers engaged in four competitions, Gastronomic, Trades, Market and Archery. Music, food, instruments, clothes…everything recalls the Bevagna of that century, a historical leap in time that fascinates and amazes.
Another experience is the Circuit of Medieval Crafts: real laboratories to be able to experience the arts and crafts of that time, among ancient machinery, engineering instruments, which have made the history of commerce and artisan production of Bevagna: the Setificio , the painter’s workshop, the Mastro Cecco paper mill and the wax factory.

Stroll along the streets, among taverns, clubs, wine bars and more modern wine bars where you can sip a glass of Montefalco Sagrantino or even in its sparkling version to have vivacity and freshness on spring days when the sun is still shy but warms up just enough to make you enjoy a walk in the open air.

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Visit Bevagna

Tasty weekend in Umbria among the villages more beautiful in Italy

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Activity Blog Blog24 March 20235 December 2023 By umbriasi 0

The madman’s license in Gubbio

To feel a bit like Alice in Wonderland, a bit like the Hatter, we take you to Gubbio, one of the most beautiful medieval towns in Umbria, also known by the Roman name of Iguvium, rich in history, monuments, architectural works and … also famous for being known as the City of Fools!
Well as such, in the Gubbio city you can also take the Fool’s License complete with Parchment. Everything starts and revolves around the Bargello Fountain, built around the 16th century, located in front of Palazzo Bargello in the heart of the historic center of Gubbio and renowned for being the Fools’ Fountain!

It all dates back to an ancient practice of 1880 and still in use today for the citizens of Gubbio but also for all the tourists traveling to Gubbio!
Attention! The Madmen’s license also requires requirements and is based on strict regulations:
1. It must be a genuine Eugubino to apply for the Madman’s License on your behalf
2. Pay a contribution to the Maggio Eugubino Association
3. Make 3 laps around the Fontana dei Matti in the presence of a genuine Eugubino Matto!
4. Being “baptized” by the spray of water from the Fontana dei Matti itself.

After passing the test, the same Association will grant you the Parchment of the Fool’s License written in medieval style.
The tradition of the Matti is linked to the laps, the “birate”, which take place around the main flagpole of Piazza Grande during the famous and folkloristic Ceri festival which is held every year on May 15th.

EUGUBINI, ROCKY CRAZY!
According to some geological studies, around the city they would have detected rocky conformations contaminated by a highly toxic chemical substance, iridium, which could in some way explain the “madness” of the Gubbio inhabitants.

Packages Umbria For Family9 March 202323 May 2024 By umbriasi 0

Strolling Through Perugia’s History

Starting from Euro 156,00 per adult person

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Partnership with Umbria for Family

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Activity Blog Blog6 March 20235 December 2023 By umbriasi 0

UmbriaSì tells about “Il Perugino”

UmbriaSì racconta il Perugino, Il Meglio Maestro d'Italia

There has been great excitement in recent months in Umbria for the preparations for the great exhibition dedicated to Perugino the Divine Painter.
From 4 March the exhibition for the 500th anniversary of the death of Pietro Vannucci will be held in Perugia at the Galleria Nazionale dell’Umbria until 11 June, with the name “the Best Master of Italy” as defined in 1500 by Agostino Chigi, great art connoisseur and patron of his time.

Let’s retrace Perugino’s life together, his artistic works, to let you experience the art of the Divine Painter that echoes not only throughout Umbria and Italy, but throughout the world.

Pietro di Cristoforo Vannucci
Born in 1448 in Città della Pieve and died in 1523 in Fontignano, from a wealthy and important family in the Umbrian political panorama; in fact Perugino’s father, Cristoforo di Pietro di Giovanni, held the position of Prior of Città della Pieve in 1459.
The name Vannucci, as the family was known, derives from the name of the great-grandfather, Giovanni, known by the diminutive of Vannuccio.

Many names that distinguished his art, production and fame beyond the definition of “Best Master of Italy”, of Divine Painter, as we read in the verses of the Painter Giovanni Santi, Raphael’s father, of whom he was master, and “Il Perugino” outside the regional borders. Perugia, in fact, was much better known and thriving from the point of view of artistic productions, compared to other Umbrian cities.

Pietro Vannucci, in his early twenties, began his artistic training in Città della Pieve, in the workshops of Sienese painters. In 1460 he was already recognized for his talent so much that he was an apprentice accompanist in Arezzo to Piero della Francesca. Ten years later, he frequented the most famous workshop in Florence, that of Andrea Verrocchio where the art of goldsmithing, sculpture and painting was practiced. The Florentine environment gave Pietro Vannucci the opportunity to know and come into contact with other artists such as Botticcelli, Filippo Lippi and Leonardo.
In 1472 Perugino finished his apprenticeship and began his career as a painter after enrolling in the Compagnia di San Luca as a “painter“.

An important work of his lost, but testified by the payment made in his favour, was the commission of the decoration of the Great Hall of the Palazzo dei Priori by the Municipality of Perugia in 1475.

Perugino’s fame continues to grow and from 1478 he will be engaged in Rome, by will of Pope Sisti IV, for the decoration of St. Peter’s Basilica in the Vatican first, and then the Sistine Chapel, with the famous scene of the “Delivery of the Keys” (in which a self-portrait of the Painter is visible). On this occasion he will come into contact with other painters such as Cosimo Rosselli, Bernardino di Betto Betti known as Pinturicchio and Luca Signorelli.

In 1493 he marries in Fiesole the woman who will be his great inspiring Muse for him, above all for the faces of the Madonnas he painted (such as the Madonna with Child and Madonna with Child between Saints John the Baptist and Sebastian), Chiara Fancelli, daughter of sculptor and architect Luca Fancelli, a pupil of Brunelleschi. From their marriage 5 children were born, and she decided to settle in Florence, also in consideration of the fact that the Divine Painter had his workshop in Florence, as well as in Perugia.
In 1498, the Divine Painter was called to fresco the Hall of the Collegio del Cambio (seat of the money changer) with the Cycle of the Virtues.
Since 1500, Perugino has dedicated himself to creating works in his native Umbria, evidenced by the presence of the typical features of the region such as rolling hills and landscapes full of greenery in Città della Pieve, his native land, but also Spello Foligno, Panicale, Trevi and Perugia.
The Divine Painter died in 1523 of the bubonic plague in Fontignano, and was buried under a tree. In 1925 his remains were found next to small pots of paint. In 1929 it was placed in the urn with the epigraph PETRVS-PERVSINVS-PICTOR and transferred to the church of Santa Maria dell’Annunziata, also in Fontignano, where Perugino was probably painting “The Madonna with Child” commissioned in 1521 by the confraternity of the Announced.