• Giovanni Maria Roscioli probably commissioned the bust of his mother (Bartolomeo's wife) Diana in ca. 1640.  When she died in 1644, Giovanni Maria made a gift to Bernini from her estate that probably constituted payment for the work.

The busts were placed in the Roscioli chapel in 1709 and subsequently moved to niches in the sacristy. They were neglected by art historians until the early 20th century, when Michele Faloci Pulignani recognised them as works by Bernini.

Crucifix (1635)

This fine ivory figure of the crucified Christ on a wooden cross also formed part of the bequest by the heirs of the Roscioli family to the Duomo in 1703.  This is almost certainly the Crucifix that was recorded as an item of expenditure by Giovanni Maria Roscioli and is attributed to Alessandro Algardi.

Copy of the Foligno Madonna (17th century)

This panel also formed part of the bequest by the heirs of the Roscioli family to the Duomo in 1703.  It seems that either Bartolomeo or Giovanni Maria Roscioli commissioned it when the original (painted by Raphael in 1511) was in Sant’ Anna.  It is attributed to Giuseppe Cesari, il Cavalier d’ Arpino. 

Miracle of St Martin of Tours (ca. 1603) 

The Orfini family commissioned this altarpiece from Baldassarre Croce for their altar in the Duomo, which was dedicated to St Martin.  The panel depicts St Martin restoring to life a new convert who had died before he could be baptised.

Madonna and Child in glory with saints (1598) 

This damaged altarpiece was originally on the altar of the chapel of the Jacobili family.  According to the historian Ludovico Jacobili, who was writing in 1626, the family commissioned it in 1598 from Cristoforo Roncalli, il Pomarancio, although Paul Brill painted the cityscape of Foligno that forms its backdrop.  The altarpiece was cut down and badly damaged in the 19th century when it was moved to the sacristy.  It depicts the Madonna and Child seated on clouds while SS Felician and Francis below commend the city to their care.

Annunciation (ca. 1598)

The Flavi family seem to have commissioned this altarpiece from Ferraù Fenzoni, il Faenzone for their altar in the Duomo.  Il Faenzone probably painted it in the period 1597-9, when he was working in Todi on the restoration of the Duomo and Palazzo Vescovile there.

Marriage of the Virgin (1613)

This altarpiece from the Duomo seems to have been one of the last works of Ventura Salimbeni.  The arms on the step suggest that the Elisei family commissioned it. 

Coronation of the Virgin and saints (17th century)

According to the historian Ludovico Jacobili, who was writing in 1626, this panel was by the French artist Noel Quillerier and was originally over the entrance to the Cappella di San Domenico di Sora e il Beato Pietro Crisci in the Duomo.  It depicts the Virgin looking down on Foligno while Christ and God the Father hold a crown above her head.  St Domenic of Sora and the Blessed Peter Crisci commend the city to her care.

Martyrdom of SS Crispin and Crispinian (ca. 1640)

The Università dei Calzolai (shoemakers’ guild) commissioned this altarpiece from Cesare Sermei [for their altar in the Duomo ?].  It depicts the moment when the tools of their trade with which they were martyred turned miraculously on their executioners.

SS Cosmas and Damian (1636) 

The Arte degli Speziali (apothecaries’ guild) commissioned this altarpiece for their new altar in the Duomo from Giovanni Battista Michelini.  It depicts their patron saints in the act of healing the poor.

Altarpieces (ca. 1650)

These panels from the parish church of Santa Maria Assunta, Serrone di Foligno are by the so-called Maestro di Serrone.  (He was a follower of Caravaggio, and could have been the French artist George de la Tour).  The panels depict:

• the workshop of St Joseph (illustrated); and

• the beheading of St John the Baptist.

Tabernacle of the Confraternita della Misercordia

This tabernacle and the Crucifix within it are older than the fresco of the grieving  Virgin and St John the Evangelist that now forms the backdrop. 

• The tabernacle originally had closing doors.
  

• The fresco seems to relate by the sale of land in 1463 by two members of the Confraternita di Santa Maria della Misercordia in order to finance such a work from Pietro di Giovanni, called Mazzaforte.  It is attributed on stylistic grounds to Mazzaforte’s then pupil, Nicolò di Liberatore, called l' Alunno. 
  

The fresco was destined for the Confraternita delle Poelle – i.e. the confraternity’s chapel in the (now demolished) church of San Giovanni Decollato (see Walk I), which presumably already housed the tabernacle.  The confraternity took the tabernacle with them in 1569 when they moved to the Chiesa della Misercordia (see Walk II).  It was moved to the sacristy of the Duomo in 1904.

Fresco fragment (1458)

This head of a grieving man (probably St John the Evangelist) came from the fresco of the Crucifixion in the Cappella di Santa Marta in Santa Maria in Campis. According to the historian Ludovico Jacobili, this fresco was signed by Nicolò di Liberatore, l’ Alunno and dated 1458: any such signature has since disappeared but the attribution is confirmed on stylistic grounds. 

San Salvatore Polyptych (1432)

Rinaldo Trinci, Prior of San Salvatore, commissioned this altarpiece from Bartolomeo di Tommaso for the high altar of the church.  It is the only surviving panel by this artist that remains in Foligno. 

• The central panel depicts Prior Trinci kneeling before the Madonna and Child.

• The panels to the sides depict St John the Baptist and the Blessed Peter Crisci. 

• The panels from the top register exhibited here depict SS Bartholomew and Ursula above. 

Four other panels were sold in 1825. 

• One of them, which was the central panel in the top register, has been lost. 

• The other three, which formed the predella, have been identified as:

• Christ’s agony at Gethsemane, in the Pinacoteca Vaticana, Rome;

• the road to Calvary, in the Musée du Petit Palais, Avignon; and

• the burial of Christ, in the Galleria Nazionale, Perugia (Room 12).  

Flight into Egypt (ca. 1432) 

Rinaldo Trinci commissioned this fresco from Bartolomeo di Tommaso for the counter-façade of San Salvatore.  It was detached from  in the early 20th century and is now badly damaged.

St Mary Jacobi (1507)

This votive panel from the oratory of Santa Maria Giacobbe, Pale is signed by Lattanzio di Nicolò and dated.  It was stolen in 1964 but recovered soon afterwards.  The panel depict the standing figure of St Mary, the mother of James, carrying the vase that contained the spices with which she had intended to embalm the body of the crucified Christ.  [She also carries a gospel, and there is an apparently discarded page from it on the floor to the left.

Madonna and Child enthroned (early 14th century)

This polychrome wooden statue came from a tabernacle in the oratory of Santa Maria Giacobbe, Pale that was decorated with small panels depicting scenes from the life of Christ.  The statue and the tabernacle were stolen and subsequently recovered on a number of occasions: however some of the panels stolen on the most recent occasion have yet to be recovered.  

There were originally sixteen panels depicting eight scenes.  Those recovered are:

• the right panel from the “nole me tangere”;
  

• the left panel from the agony in the garden;

• the right panel from the presentation of Jesus at the Temple; and

• the pair of panels depicting the capture of Christ. 

Madonna and Child enthroned (early 14th century)

This polychrome wooden statue came from the Chiesetta di San Cristoforo di Orchi, outside Foligno.

Madonna and Child enthroned (early 13th century)

This polychrome wooden statue from Santa Maria Infraportas  is one of the oldest such works to survive in Umbria.  By the time that it was restored in 1962, the figure of the Madonna had already lost its arms, and its head had been damaged by the insertion of pegs to hold a crown.  The figure of the baby Jesus was stolen soon afterwards.

Trinci Corridor

A number of exhibits relating to the structural history of the Duomo are arranged in the corridor behind the rose window of the minor facade of the Duomo, which linked Palazzo Trinci to Palazzo delle Canoniche.

Cross from the Campanile (1438)

This metal cross was salvaged from the campanile after the earthquake of 1832 and re-erected on its successor.  It was removed after the earthquake of 1997.  It is dated by inscription and bears the Trinci arms.  This date and the Trinci arms also appear on the main bell in the campanile: it was the date at which Rinaldo Trini was elected as Bishop of Foligno (although Pope Eugenius IV refused to recognise this election).

Door from the Duomo

[Details ??]

Works still to be displayed ??

St Catherine (17th century)

This panel by Andrea Camassei is from the Monastero di Santa Caterina Nuova.

Panels (17th century) from Santa Caterina Nuova

These panels by Giovan Battista Michelini, il Folignate, which came from the Monastero di Santa Caterina Nuova, depict:

• the Holy Family;

• St Catherine; and

• the Virgin of the Immaculate Conception.

Blessed Tomasuccio of Foligno (17th century)

This panel by Noël Quillerier is from the Monastero di Santa Caterina Nuova.

Return to Walk I.