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The historical buildings of Amelia
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Palazzo Petrignani
Inside, the building displays the beautiful halls decorated by the students of Zuccari.

The Palazzo Petrignani of Amelia dates back to the sixteenth century and is among the most valued influences of the manieristic current on aristocratic buildings in Amelia. The main facade is set on four levels arranged in five horizontal rows of windows along a vertical line and was done in masonry brickwork , the other facades are made of local stone masonry.

The salons upstairs are accessed from the secondary entrance of Via del Duomo.
There are seven halls; all with vaulted ceilings decorated in the grotesques style as used by the school of late Mannerism.
The story of the building of the palace is closely linked to those of the Petrignani family , especially Fantino and Bartolomeo. The construction was begun in 1571 by the decision of Bartholomeo, the financer however ,was Fantino.

At his death, in 1601, work was interrupted. In 1603 the heirs, finding the building unfinished and in poor condition decided to settle the problem with the help of Monte di Pieta, an institutional pawnbroker.
The building changed owners numerous times over the years yet none of them had altered the pre-existing division. The building is currently owned by the Common.

The artistic features of the frescoes in the halls represent the sequence of work of various craftsmen yet have always been attributed to the School of the Zuccari brothers, probably because of the similarity of the amerino cycle with the much more important and famous Palazzo Caprarola, their work just a few years earlier. The decoration is part of the pure Mannerist style with references that draw on mythology and allegory to celebrate the Petrignani family and its most well- known member Fantino. It also refers, as was the custom between 1500 and 1600, to the great heritage of engravings of Italian and above all Flemish artists.

First hall - The vaulted ceiling is decorated with grotesques style and in the middle is the "Creation of Eve". The same scene is painted in the chapel of the Palazzo Farnese in Caprarola, by Federico Zuccari. At the corners of vaults there are four ovals each bearing two coats of arms.
Second hall - It's the most important room: enclosed by a frame of plaster and surrounded by a garland of flowers and fruit. At the heart of the vault there's a painting depicting "the meeting of Pope Leone I and Attila." The work is a copy of Raphael’s painting in the hall of Heliodorus in the Vatican. The fresco recalls the famous incident in 452 on the banks of the Mincio, when Pope Leone I stopped the Huns (probably by G.F.Perini). The room is called the Zodiac because in the thirteen lunettes are represented the 12 months of the year: 12 depict scenes from rural life.
Above each entrance are four topographical maps of different cities: Rome, Bologna, Florence and Milan.

Third hall - The hall is called the hall of the mirror due to the presence of an eighteenth century mirror. At the center of the grotesques that adorns the ceiling is a painting depicting the "Battle of the Milvian Bridge" a copy of a fresco by Raphael. Above a connecting door to the second room there are the maps of Vienna and Constantinople.
The artistic styles of the frescoes of the halls, surely seven, represent the sequence of the decor of the various artists involved.
The influence of the great Renaissance painter Raphael is felt in southern Umbria, where, next to the Zuccari and Silvio Agresti, Jacopo Siculo and Giovan Francesco Perini play an active role. The Palazzo Petrignani, having belonged to the family Rosa, is also known as Palazzo Rosa or the building with the Rosa Hall.
For further information or guided tours you may contact the Office of Culture of the Common of Amelia tel.0744/976220

Palazzo Venturelli

The Venturelli family is well known in Amelia since 1300. An ancestor, Petrucciolo seems to have been elected to the Board of the Elderly; also to note is Giovanni; governor of Bologna under Pius II later bishop and governor of Cesena and then the whole of Romagna under Sixtus IV. The grandson Filippo was bishop of Amelia and municipal speaker under Pope Eugene IV at the Council of Florence in 1426.

The palace falls within the type of construction that, beginning from a chosen location within the walls, bears witness to the layers of a city where the reuse of the old is quite obvious. As with most of the aristocratic palaces of the town, the building was built using pre-existing Roman structures and the surroundings as a supporting base. The building is located near Porta del Sole (still visible), the ancient entrance towards the east of the town, where it joins a paved road in an orthogonal direction with the 'cardo' (main road towards north), the urban continuation , of the Via Amerina.

The entrance is on the west side in via Pomponia, while on the east side, in Civitavecchia, a level lower , there are the entrances to the cellars that used the Roman domus and the surroundings. There one can see interesting mosaics made ​​of white and black tiles that form geometric designs and stylized floral motifs.

The main floor can be reached through three flights of stairs , the living room; rectangular in shape, is located above the main entrance with two entrance doors three windows on the long sides of the hallway and a door on each of the short sides . The pavement bears the emblem of the family. Noteworthy is the pictorial decoration in continuous frieze that, in the sequence of pictures in fake frames marked by atlants exhibits the narration of facts and fantastic representations of symbols and allegories where the town of Amelia and its scenery are represented. It is a remarkable work of art. The palace is currently owned by the Antonini family.
For further information and tours: www.palazzoventurelli.com

Palazzo G. Cansacchi

The property is located in Via dell' Ospedale, with main access at n. 14 - beside the Hospital of St. Maria dei Laici. It is generally referred to as "Palazzo Cansacchi" having been for centuries, without interruption, owned by the firstborn Cansacchi Counts , nobles of Amelia, with bond of trust to pass it on ( lasting till the end of the eighteenth century), in favor of the next firstborn males . The building is located on the outer perimeter of the historic center of Amelia, in its north side and is one with the walls dominating the moat, with a stunning view of the valley below and the woods and the dense vegetation surrounding the village of Macchie (Castrum Machiae). It was built on a base of Roman or early medieval walls, which are still visible in some key features . The house in its present form, has the characteristics of the aristocratic buildings of the fifteenth - sixteenth centuries; that of the Renaissance . It has a square tower, probably was longer once , rectangular windows with a travertine border , the main gate and the secondary gates were also contoured by travertine. From the front door you enter a 14th century courtyard with an open air gallery with columns, an octagonal well, doors and windows with strips of travertine, which lead to the stairs also travertine, one towards the upper floors the other leading to the garden. The courtyard is covered with a rich collection of fragments of tombstones, capitals and coats of arms.

The 14th century courtyard owes its current style to the remodeling carried out by Placenzio Cansacchi; Palatine Count and the chief magistrate of Foligno and Spoleto (1434 - 1486) and his brother and heir Cristoforo (1445 - 1505). The coat of arms of those two brothers with a shield in the shape of a horse head, are still walled in the courtyard, with their names. A plaque commemorates the figure of Placenzio Cansacchi, born in this building.

Inside the building, consists of a ground floor and an underground floor to the south that opens towards the valley to the north. In addition there are two upper floors and a tower. There are several rooms, mostly with paneled painted wood, the floor in intertwined red bricks and the doors' borders finished with travertine.
The large central hall with the high domed ceiling, one of the entrance halls and another smaller hall boast a big collection of important paintings, attributed to Federico Zuccari and Nicolò Circignani, known as Pomarancio. These frescoes, of great quality and still in good condition, denote the influence of Flemish art and due to their importance and artistic value have long been bound by ( just as the whole structure ) the Superintendent of Perugia's monuments.

Palazzo Farrattini

Palazzo Farrattini was built between 1520 and 1525 upon the desire of Bartholomew Farrattini. The design, by Antonio da Sangallo il Giovane, has an austere geometric facade with a door decorated by a rustic border .
There are interesting interior Roman mosaic floors, located in the basement of the building. The extraordinary grand staircase leads to the first floor, where you can admire a beautiful coffered ceiling.
The Salone del Sangallo outlined by a pictorial frame, was completed for the wedding with Plantilla Pojani that lead to as a dowry the fiefdom of Piediluco and the name that since then is alongside that of the Counts Farrattini by papal dispensation. The beautiful hearth attributed to Sangallo for the bottom and in the upper part the Scalzi (the artist of the funerary monuments of the Farrattini Chapel in the Main Cathedral).

The main floor consists of six other rooms including that of the Emperors, lined with neoclassical grotesques painted on cloth, that of Cardinal covered with an antique red damask fabric with a rare seventeenth century chandelier and the room dedicated to Caterina De 'Medici in memory of the role played by Bartolomeo II in the marriage, between the nephew of Pope Clement VII and Henry II, the future king of France. There are many similarities, albeit to a lesser degree, between Palazzo Farrattini in Amelia and Palazzo Farnese in Rome, both built and designed by Antonio da Sangallo il Giovane. In this period (first half of the sixteenth century) numerous works of civil architecture were commissioned by the local lords and were realized. The design of the building dates back to 1517, and Antonio da Sangallo personally directed the construction, simultaneously to the management of work on St. Peter's Basilica and the Palazzo Farnese in Caprarola.

For further information and tours: www.palazzofarrattini.it

Palazzo Battista Geraldini (sec. XV)

The building is located in the higher part of the town, just below the Cathedral which is dominated by a splendid view over the old town. The building was built on pre-existing Roman structures, which are still visible on the east side. The Roman structures and the surroundings were used as a base. The building consists of five rooms with frescoes of considerable interest (late 1500's ) attributed to Taddeo and Federico Zuccari and their school, one in particular reveals the hand of a Flemish painter.

Main hall
The four continents and erotic images hall
The hall of the four elements
The hall of the four seasons

The hall of virtue and mythology

The structure is still the property of the Geraldini family

Palazzo Boccarini

It was the home of the distinguished family who had settled in Amelia towards the end of 1200, following the changes undergone over the centuries, it has layers of styles ranging from 1300’s to 1600’s. The Amerino living room on the main floor, accessed from the back of the building by a fourteenth century staircase, is of particular beauty. .
In the living room one can admire frescoes attributed to Licio Agresti, Mannerist painter of the late fifteenth century, depicting mythological scenes related to the history of Amelia. In particular , on the longer walls one can admire the two allegories of the city of Amelia, the sides include "The Four Seasons" bearing a pearl, a distinctive element of the emblem of the Boccarini family.

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