HIDDEN PERUGIAA walk through the streets

Urban trekking proposals

HIDDEN PERUGIAA walk through the streets

Urban trekking proposals

Concept and contentsLorena Rosi Bonci

Translations by Lindsay Watts for Itaca Servizi Linguistici, Bastia Umbra, Perugia

Production Quattroemme, Perugia

Particular thanks toStefano Chiabolotti, Luigi Fressoia, Enzo Marcaccioli, Silvia Monacelli

Note for visitorsThis guidebook leads visitors through the alleyways and little squares of the city’s five districts. Each itinerary starts from thecentre (Piazza IV Novembre, Piazza Matteotti, or Corso Vannucci)and returns to its starting point, as shown on each map, leaving thepossibility to customize the itinerary on the basis of one’s own time,interests, and needs. In some cases there are possible detours thatmay lengthen or shorten the itinerary. The tour takes place totallyoutdoors, privileging the lesser known aspects of the city’s mostfamous monuments, and can take from two to three hours.For more detailed information, also concerning visits to inside the monuments, you are invited to consult the Guida di Perugia(Guide to Perugia), 2006. It is also recommended that you contactthe Perugia IAT (Tourist Information and Reception Office) at Piazza Matteotti 18.

The information contained in this guide has been updated as thoroughly as possible as of its printing date. The information given on the itinerary maps may be approximate in nature. The publisher declines all responsibility in connection with the use of this guidebook.

Five itineraries for discovering the truest and deepestidentity of the city of Perugia, which generally escapestraditional tourism, to be taken on foot through anintricate web of alleyways, little streets, small squares,and steps.

The itineraries start from the acropolis, with themonuments most well-known to tourists, and go througheach of the Etruscan and medieval city’s five historicdistricts, marked by the gates of the walls.

The guidebook describes the route, indicating andexplaining the attractions and curiosities encountered,with attention to the “technical” and sporting aspectsalso, which make it an original urban trekking proposal.

Following the itineraries, it is possible to savour the deeptaste of the history, culture, and ancient handicraft andcommercial trades that are part of Perugia’s identity.

Thus what is being offered is an alternative touringmodel, one of sustainable and quality tourism, whichoffers tourists the opportunity to deepen their knowledgeof the city and extend their stays in Perugia.

Ilio LiberatiCommissioner for Economic Development and Tourism

PERUGIA 5

LineaMinimetro

3. ITINERARY OF PORTA SANTA SUSANNAp. 41

4. ITINERARY OF PORTA EBURNEAp. 53

Viale S.Antonio

1. ITINERARY OF PORTA SOLEp. 13

2. ITINERARY OF PORTA SANT’ANGELOp. 29

5. ITINERARY OF PORTA SAN PIETROp. 63

PERUGIA 7

Introduction

Wandering through these complicated, steep, humpy streets,through these precipitous galleries, with their loose bricks,

crossed by curbs to slow down the feet, amidst these strange buildings…

(H.A. Taine, Voyage en Italie, I, Paris, 1866)

They wandered to and fro, accordingly, and lost themselves among the strange, precipitate passages,

which, in Perugia, are called streets. Some of them are like caverns, being arched all over,

and plunging down abruptly towards an unknown darkness; which, when you have fathomed its depths, admits you

to a daylight that you scarcely hoped to behold again. (N. Hawthorne, The Marble Faun, Boston 1860)

After the Itinerari archeologici (Archaeological Itineraries) on the im-portant structures of its origins and after the Guida di Perugia (Guideto Perugia) through the main monuments of its five districts, the thirdguidebook reveals a city that is in many ways unknown and intimate,hidden to inattentive and hurried eyes, which enables visitors to enterthe heart of the old town, through a dense network of alleyways. These,starting from the main streets of the five districts, branch out in a tor-tuous and steeply winding web following the morphology of the terrainand the town plan, which has remained largely unchanged since its me-dieval origins, or just slightly modified by subsequent renovations. Theauthenticity and singularity of the city in its alleyways is such that theatmosphere and the sensations for the modern visitor are not too dif-ferent from those perceived by 19th-century travellers, such as Taine orHawthorne. But that which seems still and unchanged in time con-ceals, instead, a continuing overlapping of signs and marks, stories, andmemories of what has happened here, of those who have lived here,both common people and nobles, craftsmen and warriors, unknownand famous persons, men and women. All have contributed to buildthe city that has arrived down to us. The guide makes it possible to de-cipher those signs and marks, to discover what is still hidden, and torecover its many stories, through five itineraries, which develop alongthe intricate network around the main streets of the districts.

PERUGIA 9

What emerges is an extremely rich heritage, almost two hundred alleysand small squares, the interest of which can be seen in the variety anduniqueness of their names. These range from the numerous names offamous families and people, to those of unknown women (Sposa,Viola, Giulia, Gismonda), from the names inspired by the ancienttrades (Canapina [Hemp Worker], Pellari [Leather Workers], Martelli[Hammers], Solfaroli [Sulphur Workers], Oro [Gold], Cera [Wax],Spade [Swords]) or their characteristics (Cupa [Gloomy], Rupe[Crag], Labirinto [Labyrinth], Ritorta [Twisted], Scura [Dark],Chiara [Light], Streghe [Witches], Baciadonne [Woman Kisser]), tothose referring to exotic or common animals (Drago [Dragon], Orso[Bear], Struzzo [Ostrich], Bufalo [Buffalo], Aquila [Eagle], Pernice[Partridge], Piccione [Pigeon], Cane [Dog], Gatti [Cats], Lucertola[Lizard], Tartaruga [Tortoise]), and to amusing words in local dialect(Prome, Piscinello, Cuccuina, Bulagaio, Barutoli).It is an extraordinary image of a city that speaks to those who wish tolisten and shows things to those who wish to see with different eyes.

Lorena Rosi Bonci

Itineraries

The symbol of the quarter is the sun, which refers to its topographical exposure, fac-ing east; it is associated with the colour white, which is the colour of light, but also thecolour of the flour that came from the mills on the Tiber along the royal road, whichleft from here. The patron saint is San Romualdo dei Camaldolesi, who founded amonastery on the ruins of an ancient temple on the acropolis around 1000.

PORTA SOLE

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1

9

10

113

14

15

16

37

38

39

40

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4

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7

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8

ITINERARY OF PORTA SOLE

492482472462452442432422

m

412

300 600 900 1200 1500 1800 2100 2400 2700 3000 3300 3600

m sl

m

3

9 14

3025

3539

171

18

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21

22

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24

25

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27

28

29

3032

33

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36

31

122

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PERUGIA

1 Piazza IV Novembre2 Via Calderini3 Via Volte della Pace 4 Piazza Piccinino 5 Piazza Danti 6 Via del Sole7 Via delle Prome 8 Piazza Rossi Scotti 9 Piazza Michelotti

10 Via dell’Aquila 11 Piazzetta Raffaello 12 Via Raffaello13 Via Mattioli 14 Via Cesarei 15 Via Bontempi 16 Via degli Azzi 17 Via del Duca18 Piazzetta del Duca 19 Via della Viola 20 Via del Prospetto 21 Via e piazzetta San

Giovanni del Fosso22 Via della Madonna 23 Via Imbriani24 Via Bonaccia 25 Via Baciadonne 26 Via Abruzzo 27 Via Orizzonte 28 Piazza del Carmine 29 Via dell’Asilo30 Via Enrico Dal Pozzo 31 Via dei Lanari 32 Via della Torricella 33 Corso Bersaglieri 34 Via del Roscetto35 Via Sdrucciola 36 Via della Pazienza 37 Via Cartolari38 Via Alessi39 Via del Forno 40 Via Fani

Piazza IV Novembre

Detours into Via Dal Pozzo and Corso Bersaglieri

From Piazza IV Novembre turn intoVia Calderini, dedicated to the greatarchitect from Perugia (Perugia1837-Rome 1916), which was for-merly Rimbocco degli Scudellari. Itwas extended in 1591 by cardinalPinelli, the papal legate, after whomVia Pinella was named, which laterbecame Via del Commercio. Whenyou reach Piazza Matteotti, on theleft you will find Via Volte della Pace(photo). It is one of the most charac-teristic streets in the city, coveredwith cross arches from Piazza Mat -teotti, which follows the curved pathof the Etruscan wall, stretches ofwhich can be seen in the shops belowin Via Alessi. In 1899, an epigraph was

The square is the result of the demo-lition carried out at the request ofCardinal Crispo, in the second half ofthe sixteenth century, on the sidewhere the church of the Compagniadella Morte (1573-1603) was built,which was also known as the churchof Misericordia that had originated tobury the unburied dead or those ondeconsecrated ground. The originalproject by Vincenzo Danti was com-pleted by Bino Sozi, after his death(1576). The façade, which was left in-complete as a result of various finan-cial difficulties, bears the town’s sym-bol of the griffon and the three coatsof arms on the top of the doorwaybelonging to Pope Clement VII, Car di -nal Bevilacqua and the prelate Mag gi(photo). Inside you can find eigh-teenth-century reconstructions.

found, under the road, relating to theRoman chalcidicum (portico withcolumns) and, above the Etruscanwalls, a long Gothic arcade open tothe east, resting on pillars, which isconsidered by historians to be a placeof great political and social impor-tance for the city.Follow this until it joins onto Via Bon -tempi, which takes you to Piazza Pic -cinino (once Via dei Gigli, Via degliEu geni and Via della Com pagnia del-la Morte), named after the famousNicolò, who was so-called for hisphysical stature. He was a great cap-tain of fortune and the companion ofBraccio Fortebracci, first an ally andthen a rival of Francesco Sforza (Pe -rugia, 1368-Milan, 1444). In the mid-dle of the square is the Sorbello well.

At n. 9 is Palazzo Bourbon Sorbello,which, like the others at the side,rests on the Etruscan boundary walland earlier medieval structures. Theruins of a medieval tower are partic-ularly notable, where there is aplaque dating back to 1639 recallingthat it was the property of the Oddifamily. After passing from Diomededegli Oddi, in 1666, to the Eugenifamily, the building became home toCharles III of Spain, in 1734, until1785, when it was exchanged withthe building in Porta Eburnea thatbelonged to the Marquis of Sorbellowho was responsible for the restora-tion work and setting up of a large li-brary, especially Uguccione Ranieri.The Masonic House of the GrandeOriente d’Italia (Grand Orient of Ita -ly), which unites the lodges of Peru -

PERUGIA 17

del Turreno towards Via Bartolo andVia del Sole, portraying hands clutch-ing ears of wheat (photo) to showthat “si vendevano biade e pane”(grain and bread was sold here) (Gi -gliarelli, 1907). Indeed, underneaththe Monmaggiore fortress there werethe corn storehouses. In the MiddleAges it was a market place, and eventoday, on Tuesdays and Saturdays,there is a little terracotta market. Thesquare originated after the separa-tion from the platea magna in thefifteenth century, with the construc-tion of the new cathedral.The Turreno theatre, which wasopened in 1891, looks out onto thesquare, with its Arienti design andcapitals by the rich lawyer Bianchi;the inside structure was made of ironand cast iron. It took on its presentappearance after the reconstructionin 1953, which altered its originaldecorations and structure. It was thedemocratic theatre par excellence forthe new classes, made in stone on topof an earlier wooden amphitheatre

gia, has been here since 1970. Be neaththis is the Sorbello well (entrancefrom Piazza Danti; see Guide to Peru -gia, 2006, p. 28).This takes you to Piazza Danti, for-merly Piazza delle Erbe and Piazzadella Paglia, which is marked by thesmall reliefs at the sides of Palazzo

The name Danti comes from the fa-mous family from Perugia in the six-teenth century, which called itselfthis name in honour of Dante Ali -ghieri, rather than its original name,which was Ranaldi; Piervin cenzoRanaldi (1460-1512) was indeednicknamed “Dante” because of hispassion for the great poet. Membersof the family include Giovan Batti -sta, a mathematician and engineer;Giulio (1500-75) the son of Piervin -cenzo, who was a goldsmith and ar-chitect, who assisted Sangallo onthe Rocca Paolina Fortress; a sister,Teodora, an intriguing and mysteri-ous figure, who was a mathemati-cian, astronomer, art theorist andpainter; Vincenzo (1530-76), the sonof Giulio, a sculptor and architectand the author of treatises, and thebrothers Egnazio and Girolamo: thefirst, who was a Dominican friar,mathematician and cartographer, atthe service of Gregory XIII, was fa-mous for the forty maps frescoed inthe Belvedere Gallery in the Vatican,for the chair of mathematics in Flo -rence and Bologna and as the bish-op of Alatri (1583); the second, whowas a painter and goldsmith, work-

ing in Perugia, where he painted thesacristy of San Pietro, was famousas a good mannerist. The family’stomb is in the church of San Dome -nico (on the left pillar of the presby-tery, in the apse, where there is abust-portrait of Vincenzo; see Peru -gia, 1993, p. 146). The name of theplace refers, in particular, to Vin -cenzo Danti, who made the valuablebronze statue of Julius III (1553), anearly work, which is now on the sideof the cathedral, but which was inPiazza Danti until 1899. The squarewas, in fact, called “Piazza delPapa” until the statue was movedto make way for the electric tram,which ope ned in Peru gia that year.Vin cen zo worked in Rome andFlorence (after 1557) under CosimoI, and finally returned to Perugia in1573. In 1566, he was involved to-gether with his father and hisbrother Girolamo in the illegaltransport of the Arrin gatore statueby Pila for Cosimo I, from Perugia toFlorence. He was considered the on-ly true great sculptor from Perugia.Alongside others, he was involved inthe founding of the Academy ofDesign in Perugia.

though the noble buildings now pre-serve a mainly sixteenth-seventeenth-century appearance, after the greaturban renovation by Cardinal TiberioCrispo, the papal legate from 1545 to1548. The road continues left into Via delleProme, which is named after the pro-trusions of the great walls belowfrom the fourteenth-century fort ofPorta Sole, which are resting, in turn,on a stretch of Etruscan wall. At the beginning of the road, on theleft, at numbers 1-2, an iron gate be-longed to the “Ice Factory” whose en-trance was in Via Bartolo below (ivi, p.158). At n. 6 is a house with a balcony,where the date 1447 is inscribed onthe emblazoned architrave of thedoorway (photo).

that was opened in 1879 with theGuillaume Circus. In 1896, it held thefirst film show in Perugia, and in1897 it hosted the Lumière brothers.In 1926, it was rebuilt with a largeatrium and decorations by Ulisse Ri -bustini (portraits of singers, poets andmusicians from Umbria) and frescoesby Migliorati, which were lost afterthe final restoration.At n. 28 is Palazzo Conestabile dellaStaffa, which was built in the 14th

century by Cherubino degli Ermanni,the brother-in-law of Braccio For te -bracci. It was named after the Ri dolfis,who were appointed the constables ofthe Church by Pope Eu genio IV, andheirs, by marriage, of the name andpossessions of the Alfani della Staffafamily, who restored it at the end ofthe eighteenth century with its pres-ent appearance. It hosted Francis I,the emperor of Austria in 1819.Continue along Via del Sole (photo),which leads to Monte del Sole, nowPiazza Michelotti, towards the upperpart of the city.

At n. 15 is Palazzo Conestabile dellaStaffa, of the same family in PiazzaDanti, which was built in the seven-teenth century for the rich merchantFerretti, and later passed to the Piaz -za family and then became the homeof the Countess Maria Valentini Bo -naparte, the niece of Napoleon I (theyounger brother’s daughter). After1850 it became the political and lit-erary salon privileged by the high so-ciety of Perugia and the supporters ofthe Risorgimento. It later became theresidence of the Cone stabile familyuntil 1964, which gathered a pricelesscollection of paintings, including theMadonna del libro (Madonna of the

Here was the acropolis, with its tem-ples, which was later occupied, from1373 to 1376, by the MonmaggioreFortress, which was named after adelegate of Gregory XI (“to controlthe city and its citizens”; see Zappelli,1999, p. 197), and destroyed by thepeople of Perugia. Various architec-tural stratifications can be seen, al-

PERUGIA 19

za Rossi Scotti, where you can enjoythe beautiful view that stretchesfrom Porta Sant’Angelo to borgoSant’Antonio, and which, accordingto Walter Binni (1984), is the mostauthentic and original.The square is named after the build-ing of the same name dating back tothe seventeenth century that wasbuilt on the ruins of MonmaggioreFortress, to the east of the square,which belonged to the family of con-siderable cultural and artistic and pa-pal tradition that opposed the Savoiafamily. One of its distinguished mem-bers was Count Giovan Battista(1863-1926), a journalist, writer, ar-chaeologist (director of the thenArchaeological Museum), and collec-tor of antiques, books and works ofart. The building’s collections andvaluable furnishings ended up at theauction after his death, and were splitup and scattered (the great nine-teenth-century chandelier can nowbe found in the dining room in HotelBrufani).The building partly went to the Me -scolini Romizi family, and partly topublic organisations. Of note is thegarden “Il Giardino dell’Usignolo” (pri -vate property) that overlooks thebuttresses of the fortress and the ru-ins of the Etruscan walls, from whichyou can admire a splendid view of themedieval walls of borgo Sant’Antonioand the neighbouring bell-tower ofSanta Maria della Misericordia.Go up Piazza Michelotti, once Piazzadel Monte di Porta Sole, which wasnamed after the famous captain offortune Biordo Michelotti in 1870,who was born and died here, in thehouses of the Michelotti family (Pe -ru gia, 1352-98). He served the Vi -scon ti family and the Municipality of

book) by Raffaello, which was sold atthe Hermitage of Saint Petersburg.The family, on the ground floor, inagreement with the Stigmatine nunsof Porta Sant’An gelo, handed outfood and clothes to the poor. It wasextended in 1818 (following the de-sign of Giovanni Cerrini), and furthertransformed to make it suitable forthe library services that were trans-ferred from Palazzo dei Priori in 1969.The library grew particularly thanksto the donation made by ProsperoPo dia ni of 7000 volumes, in 1582,and the State-acquired religious col-lections.In front is a building with a smallmannerist doorway, which later be-came home to the Academy of Designuntil 1812 (at the side, between num-bers 16 and 18 is the epigraph datingback to 1638 on pink stone that re-calls the first Academy of Fine Arts).By the side is the church of Sant’An -gelo della Pace (see Guide to Perugia,2006, p. 17) from the 16th century,which was built on a previous loggiadating back to 1548. Alessi (accord-ing to others Sangallo) was commis-sioned by Crispo, which can be seenfrom the Latin inscription on the ar-chitrave relating to the loggia builtby Paul III; of note on the protrudingeaves are small gargoyles (photo).

Once home to the Com pa gnia deiMu ratori, dei Lanari, della Santa Cro -ce (Company of Masons and WoolMerchants, of the Holy Cross) (in thenineteenth century), it is now the li-brary deposit. The spectacular spiralstairway begins at the side, in Via del -le Prome, with three flights of steps(photo), the second of which rests onthe Etruscan walls, and offers asplendid view over borgo Sant’An -gelo. At the bottom it joins Via Bar -tolo and Via Scoscesa. Stay in Piaz -zetta delle Prome, which is now Piaz -

(the Baglioni Deposition), by Raf fael -lo, which was commissioned by hismother Atalanta (initially kept in thefamily’s tomb in San Francesco alPrato, later stolen, and now in theBor ghese Museum in Rome).A nursing home, at n. 4, bears themotto in Latin on the architrave: “hewho is the guest of an enemy, is notsafe”. At n. 5 is Palazzo Cesarei, na medafter the noble family that once livedhere, whose members include CountGiulio (1744-1829), a liberal mayorunder Napoleon (see Via Ce sarei, p.21); the Meteoro lo gical Observatorywas located in the arcade in 1864. Carry on along Via dell’Aquila, whichis topographically the highest, 493above sea level, hence the name of“Via dell’Aquila” meaning the “Roadof the Eagle”; this dark and narrowroad leads into Piazzetta Raffaello orSan Severo and is defined by thefaçade of the church of San Severo(photo); in the middle of the eigh-teenth century this little square wasbuilt on a pre-existing medieval one,next to the monastery of the Camal -dolesi of Ravenna, which was found-ed by San Romualdo.

Florence. Back in Perugia, he put him-self at the head of the popular fac-tion of the Raspantis, defeating thenoble Beccherinis; he came to powerin the city in 1393 and, as lord ofPerugia, he subdued villages and cas-tles. In 1397, a year before his death,he married a young Orsini. His claimas head of the Raspantis caused suchconcern among the nobility of Peru -gia that by means of the abbot of SanPietro, Francesco Gui da lotti, he waskilled on 10 March 1398. His deathwas avenged by the people with themassacre of the Guidalottis and thefire of San Pietro. Such was the grav-ity of events that only in 1497 did theabbot’s family commission the BeatoAngelico with the Polittico dei Dome -nicani (Polyptych of the Domi nicans)for the Guidalotti chapel in San Do -menico (which is now kept in UmbriaNational Gal lery).At n. 1 is Palazzo Veracchi Crispolti(once Palazzo di Biordo). The presentfaçade, which can be dated to 1550,is defined by great string-courseframes, fifteenth-century style squarewindows, and an Alessian style door-way. Above this is the inscriptionRESTAURUS CAST.I.C/ in memory ofthe old owner, the famous jurist Ri -storo Castaldi. On the right is a plaque in honour ofMazzini, dating back to 30 April1872, and on the left is a plaque inhonour of the Risorgimento patriotQuadrio Di Maurizio. In the inside courtyard is a well(1371-74) steeped in history, whichbelonged to the fortified papal build-ing of Monmaggiore: the body ofBiordo is said to have been thrownhere, and it is said to have been awitness to the “nozze di sangue”(marriage of blood) or “nozze rosse”“red marriage” in 1500. This building,which was the Baglioni’s main build-ing in colle del Sole, was the resi-dence of Astorre Baglioni who mar-ried Lavinia Orsini Colonna at theheight of his power, on 28 June. Thelavish wedding lasted for two weeksuntil the night between July 14 and15 when a group of plotters, led bythe cousins Carlo and Grifonetto Ba -glioni, entered the building and mas-sacred Astorre and his relatives. Thiswas followed by bloody vendettas, inwhich Grifonetto was killed and im-mortalised, in 1507, in the famouspainting the Deposizione Baglioni

The monastery has been transformedseveral times over the years, from aprinting works, in the nineteenthcentury to barracks for the city’sguards and a royal school for boys.Today, it is a residence.

PERUGIA 21

down along Via Cesarei, which wasnamed after the noble family of thesame name, and follow Via Raffaelloagain until you come to Via Bon tem -pi (photo).

Next to this is the chapel dating backto the fifteenth century, insidewhich you can see the only work leftby Raffaello in Perugia, portrayingthe Trinity, from 1505, which wasleft incomplete and finished at thebottom by Perugino (1521). On thehouse opposite are Dante’s verses(Par, XI, verses 43-48: to introducethe east, where Francesco was born)(photo).

Its name comes from the old noblefamily from Perugia that had itshouses here. Supporters of the Ra -spanti’s anti-noble party, they gavePerugia a bishop, Andrea Bon tempi,who became cardinal in 1352, as wellas various men of letters. During thefifteenth century, some of the Bon -tempis ended up in ruin or exile, onlyto regain their dignity and honour af-ter the end of the Baglionis. The roadwas built by Cardinal Crispo, a legateof Pope Paul III, during the urban re-development of 1547, on top of theancient Etruscan-Roman decuman. Itpresents an array of noble buildingsmostly dating back to the seven-teenth century.Going down, on the right, is PalazzoBaldelli Bombelli (1644); then, afterthe flyover, at number 28, on the left,was the storehouse that belonged tothe Cavaceppi family, a rich dynastyof merchants who owned severalshops and houses in Porta Sole. Theircoat of arms, in a garland, also showsthe gridiron of San Lorenzo, recallingthe ancient property of the “Capitolodi San Lorenzo”, which can be seen onthe engraved, perforated balcony,decorated with four little Corinthianpillars (photo).

Via Raffaello (once San Severo) startshere, and is dedicated to the greatartist from Urbino; going down to-wards Via Bontempi, on the right, youcome to Via Mattioli. This road waspossibly named after the famous doc-tor Mattiolo Mattioli, an astronomer,theologian and phi losopher (early fif-teenth century), who was consideredthe “prince of liberal arts” (Briganti,1954, p. 85). He taught medicine notonly in Perugia, but also in Siena andPadua. Sandro Penna was born in theroad, in a humble building, at n. 7(now number 17) (photo), on 12 June1906 (of Armando and Angela Anto -nione Satta), where he stayed for justa year. After the small square go

at n. 21, a wall with a single lancetwindow bears witness to the thir-teenth-century church of Santa Ma -ria Maddalena, formerly of the Fran -ciscan Tertiaries and then the Oli ve -tani family (before the constructionof the convent of MontemorcinoVecchio).Just before Porta dei Gigli is PalazzoMontesperelli. It was built in the roadthat is now closed off, which led upto San Severo, and which gave itsname, in the past, to Porta dei Gigli(meaning the Gate of Lilies) (photo)after the flowers painted on the topof the vault belonging to the Farnesefamily’s coat of arms.

Initially an Etruscan and then me-dieval gate, both are attested by theimposts of the round Gothic arch (seeGuide to Perugia, 2006, p. 13). Themajor decuman road of the Etruscan-Roman city branched off from hereand the royal road left from here, inthe Middle Ages, towards the Tiber,passing Carmine and Fontenuovo. Head down the beautiful flight ofsteps and turn at the bottom untilyou reach Via del Duca that leads in-to Piazzetta del Duca, which wasnamed after the person who commis-sioned the late sixteenth-centurybuilding, Diomede Della Corgna (anoble family from a place near Passi -gnano that was protected by PopeJulius III but disliked by Paul IV, and

On the right, you come to Via DegliAzzi, a small, dead-end street, at theside of Palazzo Degli Azzi (once Tic -chioni, now Rizzoli), which was namedafter the noble family originally fromArezzo that moved to Perugia in theeighteenth century, where it was reg-istered with the Nobili Collegi delCambio e della Mer canzia (NobleGuilds of the Exchange and Trade). Inthe early nineteenth century UgoMaria Degli Azzi married a Vi telleschiand added the name to his familyname. We must remember Giu stinianoDegli Azzi, who was a teacher ofRoman law, from 1841 to 1860, at theUniversity of Studies of Pe rugia and afamous civil and criminal lawyer.On the right, in a courtyard, from1884 to 1984, was the Benucci Prin -ting Works. In 1903, the first electricprinting machine was used here, in abuilding owned by the Oli vetani fam-ily that was perhaps used as a wheatwarehouse, which is indicated by theMontis Morcini engraving and thecrowns of olives (photo). Next to this,

defensive moat that ran along themedieval walls (which no longer ex-ist in this stretch), but also above theditch of Santa Margherita. It isjoined by Via Pulchra to Via del Bal -cone, a steep street, from Via dellaViola to Via Imbriani. Carry on along Via della Viola to thesteps of Via della Madonna, whichtestifies to an ancient Marian cult,together with the nearby Via Pulchraand Via Speciosa, which can be seenfrom the image of a miraculousMadonna con il Bambino (Madonnaand Child); the original, which wasremoved from the wall, has beenpreserved in San Fiorenzo since1770. At the bottom you come to Via Im -briani (once Antica, once Borgo SanFiorenzo), which was named afterMatteo Re nato Imbriani, a patriotfrom Naples, and official in 1859,who took part in the RepublicAssembly of man’s Rights and irre-dentism. He later became a deputyfor the left in Par lia ment. This brings us to the junction with ViaAlessi, where there is the mighty apseof the church and the walls of themonastery of San Fio renzo. The sa-cred building was built in the 8th cen-tury, in various phases, until 1770,when the reconstruction work of thechurch and the convent was finished,following Pie tro Carat toli’s design.Inside, above the altar, is a four-teenth-century fresco portraying Ma -ria in trono con il Bambino (Mary onthe throne with the Child) that wasremoved from Vicolo della Ma donna,

reinstated on his death). The buildingpassed to the Ranieri family, whobuilt a theatre that was open until1770. It was later moved under-ground past the stairway in Via delCarmine until 1812. In the thirties itbecame the Carmine cinema, andthen the Modernissimo cinema, and itwas a point of reference for avant-garde cinema from the Sixties until itclosed down, at the end of theNineties. There were also some well-known shops in the area, like theSartoretti grocery shop, from 1880. Go along Via della Viola (named aftera flower or woman who was once fa-mous) (photo), onto which long, nar-row blocks of houses look out,marked by dark, steep streets, which,in some cases, join onto the parallelVia Imbriani below, and which, in oth-er cases, are closed off; it is a narrow,but important road of lower Perugia.This brings you to Via del Prospetto,on the left, where there once stoodone of the most famous brothels inthe Thirties (Pianesi, 1998, p. 15).

After this come Via San Giovannidel Fosso and Piazzetta San Gio -van ni del Fosso (photo). This charac-teristic square was used for theatreshows in the Seventies and Eighties;it preserves the name of the churchthat existed in the Middle Ages,which was transformed over thecenturies, until the second half ofthe eighteenth century, above the

PERUGIA 23

From Porta Santa Margherita go backup Via Baciadonne, which is the first,narrow street on the right, with steps.Its name possibly comes from thedark, narrow part that was perfect forlovers, which goes up to Via Abruzzo(photo).

According to the historian from Pe -rugia Crispolti, it was named after thesoldiers from Abruzzo who werebrought here, in 1580, to controlcommon crime.Continue along Via Abruzzo until youcome to Via Orizzonte (meaningHorizon) named after the beautifulview towards Assisi, which joins it toVia Imbriani. Here there is a frescoedaedicule of the Madonna del Car me -lo, con Bambino (Madonna of Car me -lo, with Child), angels and saints, andthe writing Mater decori Car meli; weare at the back of the great complexof Santa Maria del Carmine, where itis possible to make out a chapel witha single lancet window. At n. 4 is abeautiful little doorway, in brick, be-longing to a private house and, at n.2, is the International MontessoriCentre.This takes you to Piazza del Carmine,where the road of the same namelooks out with its beautiful stairway(photo); it was named after thechurch of San Simone del Carmine (orSaints Simone and Giuda) and datesback to the end of the thirteenth

after a miracle, in 1617, was attrib-uted to the painting. The tomb ofGaleazzo Alessi is also preserved here.After 1860, the convent was used foracademic purposes and later for theCasa delle associazioni (House of as-sociations). It is worth making a visitto the cloister, at n. 2, in Via dellaViola, which is overlooked by a greatcedar of Le banon.Go down Via Bonaccia, which comesout at Porta Santa Margherita, onthe sixteenth-century papal walls(photo).

The medieval Porta Santa Margheritawas named after the ancient mona -stery of the same name, which be-came a psychiatric hospital in 1818. Itwas walled over in 1821 to open thenineteenth-century gate onto what isnow Via XIV Settembre, which laterdisappeared and was then openedagain after 1934. At the side of thegate is a brick bastion, which be-longed to the sixteenth-century pa-pal fortifications, like the one in ViaCialdini and the towers that oncestood beneath the Carmine. At thetop is a plaque dedicated to thegrenadiers from Sardinia commemo-rating the events of 20 June 1859.

children’s nursery school, on 14September 1861. Via dell’Asilo led tothe medieval Gate of San Simone orPorta del Carmine, which was openedin the fourteenth-century wall thatpassed here, documented since 1277,whose ruins lie buried in the embank-ment for the construction of Via XIVSettembre (1818-22). It was flankedby a round bastion, in 1516, whichwas destroyed to build the roadabove in 1822.

Detour to Via Enrico Dal PozzoFrom here, after the flyover in Via XIVSettembre, head for Via Enrico DalPozzo (once Via del Buon riposo andVia Fontenuovo), named after the fa-mous Barnabite scientist, in the sec-ond half of the nineteenth century,who abandoned his religious dress tostudy physics and mineralogy. He lat-er taught in Parma, Leghorn and fi-nally in Perugia, where he was one ofthe first to experiment electric light-ing on the occasion of the celebra-tions for Pius IX held in the city in1854. He died in 1892, in the buildingthat was later used by the “Piccolesuore” or Little nuns as an old peo-ple’s home, opened in 1866; a plaquewas put up that was moved to theUniversity (n. 31), with another oneunderneath recalling the seriousepisode of intolerance by the nunswho had it removed.The name Fontenuovo recalls the me-dieval fountain with its two poolsthat was used as a public wash-houseuntil the twentieth century (photo)(two more were known: in borgoSant’Angelo and in Via Fonti Coperte),at the end of the street (in front of

century. It was rebuilt in 1377 withthe material from the demolishedfortress of Porta Sole, and in variousperiods until its reconstruction in1747 after a fire. Inside, on thecounter façade, is an organ from theseventeenth century with twelvestatues of the Carmelite Order, paint-ings and a polychrome crucifix datingback to the seventeenth century; inthe apse is a small gonfalon byBonfigli; in the ancient refectory areseventeenth-century frescoes.The nursery school of Santa Croce,which was the first in Italy to followthe Montessori method, was openedin the annexed convent of San Si -mone, in Via dell’Asilo (photo), whichwas named after the State acquisi-tions in 1861 that turned it into a

PERUGIA 25

Via della Torricella looks out ontowhat is now the square of Porta Pesa,where a gate stood, after the expan-sion of the village of Porta Sole, (lev-el with what is now Via dei Ciechi andVia del Pasticcio). It was rebuilt until1824, and later knocked down andreplaced by a tollgate with railingsthat also no longer exists, which hadthree railings and two buildings atthe sides for the customs offices, anda weighbridge for weighing the cartsoutside, hence its name.This takes you to the Arco dei Tei (pho -to), in sandstone (formerly Porta diSanta Maria Nuova), named after thefamily that lived in the neighbouringhouses in borgo Sant’An tonio, whichbelonged to an initial phase of thecity’s expansion, before the construc-tion of the last medieval walls.

Detour to Corso BersaglieriFrom here you can reach Corso Ber -saglieri, which is the central spine ofborgo Sant’Antonio, for an interest-ing extension of the tour through lit-tle streets (Via del Pasticcio, Via dellaFormica, Via del Cane, and others)until Via Cialdini and Monteluce. �

what was the Villa of Rinaldo Ridol -fini that later passed to the Paoluccis,Lecconis, Crispoltis and to the knightFabrizio della Penna); or perhaps ittakes its name from the other foun-tain, near the ex Porta del Carmine.Another important example of me-dieval architecture is represented bywhat remains of the church of SanCrispino (14-15th century), the “Artedei Calzolai” (Guild of Shoe makers) towhich a hospital was added in the fif-teenth century, and a shelter for “tisi-ci e mentecatti” (people affected bytuberculosis and madmen) in theeighteenth century.Outside the village, the road followsthe old Etruscan and Roman road to-wards the Tiber and the royal road,marked by remains of mausoleums,from the lion doorway, to San Bevi -gnate and the monumental grave-yard. �

Take Via dei Lanari (photo), from Viadell’Asilo up to Via della Torricella. Itis one of the most awkward, but in-teresting streets because of its slope,

bends, steps and vaults, as well as be-cause of its narrow entrance, limitedheight and lack of light. The “Arte deiLanari” (Guild of Wool Merchants),one of the oldest guilds had movedhere (formed by the Humbled Bre -thren, called after the priors fromLom bardy, for their experience in theworking of wool), from what is nowVia Danzetta (formerly Via della Sal -sa), because of the bad smell from theworking process.

reuse of ex noble buildings, at theend of the nineteenth century, for asericultural plant.Go back up Via Bontempi, admiringthe view of the Arco dei Gigli fromthe staircase, and then down alongVia Sdrucciola, a short street withsteps, whose name describes its slip-pery quality, which brings us back in-to Via della Viola. Of note, immedi-ately afterwards, on the right, is Viadella Pazienza, a closed street on abeautiful visible stretch of the Etru -scan boundary wall. After reachingthe end of Via della Viola, go back upVia Cartolari (photo), on the right,which was once Via della Berta. It

After the Arco dei Tei you come to Viadel Roscetto (once Via dei Servi)(photo), which was dedicated to Ce sa -rino Rossetti, known as “il Ro scetto”because of the colour of his hair after1871 (Perugia, 1450-1550). He was agoldsmith, painter, sculptor andarchitect, and the pupil of Pe ruginoand friend of Raffaello, whointroduced him into the circle in Ro -me; he was responsible, amongst oth-er things, for the splendid silverwareused in the solemn refectory of thepriors, like the sweet holder in theshape of a ship (which was lost duringthe salt war) and the reliquary of the

PERUGIA 27

Saint Anello (the wedding ring be-tween Mary and Joseph). Of note, go-ing back up on the right is the side ofSanta Maria Nuova, which preservestwo Gothic arches from the originalmedieval structure. On the left, at n.21, is the entrance to the oratory ofthe Con fraternity of San Benedetto(today the Student Tourist Centre),designed by Valentino Mar telli (1598),and decorated on the inside withfrescoes by Matteo Sal vucci (approx.1610).Parallel to the Etruscan walls, on theleft, the road presents the character-istic comb-like streets: Via dei Ciechi,Via Bella, Via del Lupo (photo). At n.14, on the right, is Palazzo Spinola,which is an example of the industrial

stairway at the back of Palazzo Ca -pocci (photo); its name recalls theoven in the Vitalesta grocery shop,which existed in the early twentiethcentury; a fried food shop that waswell-known to the people of Perugiawas also here for a long time. Thestreet comes out onto Via Fani, whichwas formerly Rimbocco dei Pollaioli,Via della Chia vica and Via del Mer -cato, referring to the merchant areaof Sopra muro. It took its name fromthe Gari baldian patriot from Perugia(1844-1914), who was a lawyer andlater the minister of Grace andJustice in 1898, which is recalled by aplaque in the street that runs parallel,Via Mazzini, on the façade of his oldbuil ding, at n. 14. Finally, return toCorso Vannucci, and then to Piazza IV

takes its name from the “Cartolari”,people who sold paper and books,binders and printers. They had formeda special group of workers with theirdescendents, leaving traces in theworkshop of Francesco di Baldassarreand Girolamo di Francesco, which wasperhaps in the building, at n. 3, witha beautiful doorway and an archi-trave bearing the inscription Concorsindustria. Perugia was, in fact, one ofthe first cities in Italy to promote theart of printing, around 1471. Not faraway, at number 9, is the house of thegreat architect from Perugia, Galeaz -zo Alessi (1512-71), who studied inPerugia and Rome, and worked par-ticularly in Genoa and Milan. On thedoorway decorated with rosettes, sur-mounted by a coat of arms, is aplaque in his memory. His great workscan still be seen in Perugia, includingthe urbanization of the new Road(now Via Mazzini), various extensionsto Palazzo dei Priori, the supervisionof the work on the Rocca PaolinaFortress, after Sangallo, and the proj-ect for the Cardinal’s villa.Buried in the church of San Fiorenzo,the next road, Via Alessi, formerly Viadei Calderari, was dedicated to him in1871 and takes us back uphill towardsPiazza Matteotti. From here youcome to Via del Forno (photo), a his-toric street where there is a splendid

PERUGIA 29

The name of the quarter comes from the ancient temple of Saint Michael the Archan -gel, who is celebrated every year on 29 September, and who is also associated with thecoat of arms bearing the image of the Archangel or just the two wings and sword. It isred, like the flaming sword of the warrior angel or like the fire lit with the wood thatwas carried through this gate, facing north. The main road, Via della Lungara, whichled out from here to the countryside, in the north, is now Corso Garibaldi. The villagegrew in the 13th century between the Etruscan Arch and the convent of Mon te ripido,until it was incorporated into the city by the boundary wall in the early decades of the14th century. Despite the modern changes, it still preserves its original appearance asa residential and religious-settlement area.

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ITINERARY OF PORTA SANT’ANGELO

1 Piazza Danti2 Via delle Cantine 3 Via Baldeschi4 Via Appia5 Via dell’Eremita6 Via San Sebastiano7 Via Santa Elisabetta8 Via del Poeta9 Via Lupattelli

10 Via Piacevole11 Corso Garibaldi12 Via Benedetta13 Via del Fagiano14 Via della Rondine15 Vicolo di Sant’Agnese16 Via Persa17 Via Fuori le Mura18 Via del Tempio19 Via della Spada20 Via del Canerino21 Via della Torretta22 Via Ombrosa23 Via della Cera24 Via Lucida25 Via del Mogherino26 Via del Pepe27 Via Cometa28 Via dell’Oro29 Via dei Martelli30 Via dei Solfaroli

31 Piazza Lupattelli32 Via dei Pellari33 Via dei Barutoli34 Via del Piccione35 Via del Bulagaio36 Piazza Braccio Fortebracci37 Via Ulisse Rocchi38 Via Pozzo Campana39 Via della Nespola40 Piazzetta Alfani41 Piazzetta Ansidei

Piazza Danti

Alternative route from Via Appia along Via dell’Acquedottoand Via del Fagiano until Via Benedetta

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From Piazza Danti go along the sideof the cathedral of San Lorenzo toadmire the outside of the Oradini orSantissimo Sacramento chapel, pre-cious architecture annexed to thecathedral, which is attributed toAlessi (1576).It contains different areas from var-

ious periods, the first of which, at thebottom, presents an alternating se-quence of doors and windows, whichnow belong to shops. The head of a lion stands out on thelast stringcourse (photo) in honour ofthe patron Leo Balionis Archipre -sbiter, whose initial letters appear onthe architraves, while panels can beseen on the upper part of the walldecorated with colourful brick para-ments. In the foreground is the baptisterythat leans on the chapel with its ele-gant dome.

Go down following the first street tothe left, Via delle Cantine (photo),whose name comes from the greatcel lars in Palazzo dei Canonici, re -nowned for their plentiful wine,which, as legend has it, was even usedto put out the fire in 1315. Insi de, par-allel to the ashlar wall outside, runs amighty Etruscan wall in tuff, whichdates back to the same period as theboundary wall that probably support-ed the Etruscan-Roman forum.

This takes you to Via Baldeschi,named after the family that descend-ed from the famous jurisconsult Bal -do degli Ubaldi in 1871. At n. 2, thereis, in fact, one of the city’s Bal deschibuildings, now Bonucci. Built in 1563by Filippo, the son of Gentile di Baldo,it was the centre of the Guild ofJurists (see the inscription above thedoorway) and, in the nineteenthcentury, of the musical Insti tute andlaboratory of the sculptor GiuseppeFren guelli. It had a large garden-bel -vedere over the Conca, which was cutin half, between 1901 and 1906, forthe opening of the new Via Bat tisti.Go down Via Appia under the Archin Via Appia, which offers one ofthe most beautiful views of the Con -ca and the village of Sant’Ange lo (photo).

named after father Francesco VanOuters, who was born in Brussels anddied at the age of 91, after livinghere as a hermit for sixty years. Hewas buried in the small churchknown as the chiesetta dei SantiSebastiano and Rocco (ibid.), whichcan be reached in the small square atthe bottom, on the left. There is anice description by the journalistfrom Perugia Ugo Baduel, who at-tributes it to the parish of SantaElisabetta and recalls its decoration,on the façade, with ceramics placedby the father when children wereborn (photo); they were made by thefactory of La Salamandra, not faraway, near San Francesco delle Don -ne (Baduel, 1992, pages 196-197,232 and following), whose tall chim-ney can still be seen.

PERUGIA 33

Along the stairway, to the right, is theentrance to the postern of the Conca,a steeply sloping Etruscan pedestrianroute that was re-used in medievaltimes as a tunnel for the pipes of theaqueduct that carried water to theFontana Maggiore. The municipalcoat of arms with a griffon at the topis particularly noteworthy. The tunnelwas used as a sort of winter fridge inthe summer (see Pianesi, 1998, p. 75).

Detour to Via dell’AcquedottoA quicker, alternative route to thestreets allows you to reach Corso Ga -ribaldi from Via Appia to Via Be ne -detta by Via dell’Acquedotto (photo);this must be considered Perugia’smost characteristic hanging path,

On the architrave of the present en-trance door, on the lateral side, is themotto: “Peace to those entering,good health to those leaving”. The in-terior is decorated with a valuablepainted wooden ceiling and frescoesby Pietro Montanini (1655).Via dell’Eremita joins onto Via SanSe bastiano, which comes out intoVia Santa Elisabetta that was namedafter the fourteenth-century church,dedicated to the saint from Hungary,who was canonised in Perugia byGre gory IX on 27 May 1235. It wasbuilt in the middle of the Conca, and

which allows you to reach Via del Fa -giano and then Via Benedetta. Thepreviously mentioned Via degli Archidei Condotti runs above the arches ofthe medieval aqueduct (see Guide toPerugia, 2006, p. 27) and side para-pets were added after 1821 thatserved as a balcony to access the up-per levels of the houses that look outonto the road. �

At the bottom of Via Appia, on theleft, after Via del Pero and Via delCardellino, beneath the great surviv-ing arches of the medieval aqueduct,go along Via dell’Eremita. It was

used by the Company of dyers. Thearea, which is rich in water, con-tributed to the establishment of craftactivities in the area related toleather tanning (whose fountains canstill be seen outside the gate). For thesame reason, there were also spas inRoman times from which the famousMosaico di Orfeo (Mosaic of Orpheus)(Guide to Perugia, 2006, p. 27) is pre-served. Only part of a wall remains ofthe church knocked down in the ear-ly twentieth century, which preservesa majolica with Saint Elisabeth near

the entrance to the mosaic (photo). Go back up, on the right, towards thegreat arches of the aqueduct, untilyou come to Via del Poeta, on theleft, which was renamed in 1958(when the Merlin law came into forceimposing the closure of brothels), af-ter housing a brothel known as “del-la Bianca”, which had moved fromthe nearby Via Corrotta (a dead-endside road in Via del Maneggio), abrothel area, in one of the poorestand commonest areas of Perugia.Turn right at the top of the street un-til you come to the first road on theleft, Via Lupattelli, dedicated to theRisorgimento patriot from Perugia in1871, who was shot in Cosenza in1844, with the Bandiera brothers.Go past a small open space, on theright, Via Piacevole, which is joined toVia del Senso and other little streets.Continue along Via Lupattelli (photo),

Coming out onto the Main Street andgoing up on the left, you will comeacross some notable buildings owned

where a plaque, at n. 9, commemoratesthe house where he was born, and af-ter passing the characteristic streets ofVia Graziosa, Via Gentile and Via delGallo, go right along the road untilyou come out into Corso Ga ribaldi.This road, which was once called Viadella Lungara because of its long,narrow shape (like the one in Rome,of the same name), later dedicated tothe hero of the Italian Risorgimento,is characterised by popular architec-ture and minute, compact, medieval,terraced houses (photo), with court-yards and orchards at the back. Thereare a number of rare, ancient typesand several priceless buildings, be-sides the many convent complexes.

by the powerful Guild of Merchants,which is one of the most important inthe Municipality of Perugia. The buil -dings take up an entire block (untilnumber 104), and are characteri sedon the façade by the Guild’s symbol,in stone, of a griffon clasping a baleof goods in his claws (photo).

PERUGIA 35

Included at n. 84 is the old Hospital ofthe poor, in brick, dating back to theend of the thirteenth century, whichwas a public dormitory until a fewdecades ago. The main entrance, intuff, (1570) leads to a precious hallwith a nave and two aisles that is di-vided by 10 columns, where therewere once the beds, and to the upperrooms (contact the Nobile Collegiodella Mercanzia – Noble Merchants’Guild – in Corso Van nucci for a visit)(photo).

dating back to 1805 (photo). On thearchitrave of the door of the house atn. 104 is the welcoming motto inLatin: TUMQUODCVIQUE (“anything isyours”).At numbers 104-106 was the churchof San Cristoforo, dating back to thesecond half of the thirteenth centu-ry, which was renovated several timesand later abolished. It is only possibleto make out its stone ashlar façadewith a pavilion roof and baldachindoorway, above which is the squareand compass in a triangle, symbolis-ing the Freemasonry, a deeply-rootedassociation in the village’s history(photo).

Joined to the complex was the smallchurch of Sant’Egidio (1793), frescoedwith stories of the Saint, which can beseen from the building at n. 88, afterthe sacred aedicule of a Madonna

An old house displays a beautiful out-side stairway at numbers 128-130; onthe façade a plaque commemoratesthe Mazzinian and Gari bal dian Gu -gliel mo Miliocchi, who died here.

at number 14). Of note is the bell-tower (photo), which can easily beseen from a distance because of itsparticular oriental design with itsonion-shaped pinnacle, its compactbrick decorations and its well madeof tuff in the cloister, and inside thechurch where there are valuable fres-coes dating back to the 15th centuryand majolica flooring in the naveand in the greater chapel from thesixteenth century (Perugia, 1993, p.110).

Whereas, of note, at numbers 142-144 is a noble residence with tuffwindows.Going up, after Via della Pietra,leave the main street for Via Bene -detta that was once called “Via deiCon dot ti” because of its proximityto the medieval aqueduct, whichleads to the old convent and churchof San Be nedetto (ivi, p. 28). Thistakes you to a small open space,which leads down to Via del Fa gia -no, which is also part of the old Viadei Condotti that is built above theaqueduct; from here you can enjoy awonderful view of the historic cen-tre (photo).

Continue along Via Benedetta untilyou come to Via della Rondine, whichlooks out onto the main street, the lastpart of which, is characterised bygreat monastic buildings, on the left,like the monastery of San t’Antonio daPa dova, at n. 220. It was built in thefifteenth century, knocked down andsignificantly rebuilt, until it finally be-came the Casa della Studentessa (Stu -dent’s House), in the Seventies. ThePo ly ptich of Sant’Antonio was keptthere until 1810 (it is now in the Na -tional Gallery of Umbria), the master-piece by Piero della Francesca, whichwas commissioned by Ilaria Baglioni,the abbess of the monastery. If youcarry on, you come to what was oncethe monastery of Santa Lucia, which ispreceded by a valuable entrance witha brick vault dating back to 1706. Itwas re-used by the Conser vatorio An -tinori, an organisation that providedassistance and professional trainingfor outcast girls until 1870 (photo).

In front is the complex founded in1421, which was rebuilt severaltimes, for various uses. The convent,which was finally abolished in 1820,held the first meeting of the Masoniclodge of Freemasons back in 1811, in1826 there was the ConservatorioGraziani and then the Institute forabandoned children. Today, there arethe offices of the university (ADISU

PERUGIA 37

Pick up the main street again goingdown Via del Tempio, which isflanked, on the right, by a row of lit-tle houses. The houses end at thebottom, near the junction, wherethere is a tiny chapel on the cornerdedicated to the Madonna ausili-atrice (Our Lady of help), who is pop-ularly known as the Madonna dellaStella (Our Lady of the Star) becauseof her dark cloak decorated with alarge star. The fresco (from the 16th

century) can be seen through thewindow in the door, which opens on29 September, on the occasion of thecelebration of Sant’Angelo (photo).

After this is cul-de-sac Vicolo diSant’Agnese that ends at the churchof the same name and the monasteryof the Clarisse, who moved here fromBoneggio after 1330. The church wasreconstructed in the seventeenth cen-tury and restored in 1816, after theFrench suppression (see Guide toPerugia, 2006, p. 29). The last street, on the left, which is adead end, is Via Persa or “Via Per du -ta”, so-called because of the distancefrom the centre. Continuing along the main street, it isworth stopping at the delightful littlepublic garden at number 252, with itsbenches and small fountain beneatha pergola where there were the pub-

lic wash houses until a few decadesago (photo).On reaching the Cassero (ivi, p. 30),outside the gate, your gaze moves toVia Fuori le Mura, to the medievalwall, to San Matteo degli Armeni andMonteripido (ibid.). From the Cassero,whose terrace offers a wonderful viewfrom every angle, some steps lead upto the Temple of Sant’Angelo (ibid.),which is one of the most beautifulspots in Perugia, with its green frontlawn, flanked by cypresses. Here thereis a Roman column bearing a cross,which was carried from Piazza del So -pramuro or, according to others, fromPiazza del Duomo in 1865, which sup-ported the pulley of a well (photo).

Going down along the main street,again on the left, past the road thatleads to the medieval Porta delloSperandio, at n. 191, you will come tothe monastery of the Beata Colomba(the great mystic who was born inRieti in 1467 and died in Perugia in1501) which has an extremely simplefaçade with lintel arch windowsmade of little bricks, an alms box, aplaque in pink stone and a raiseddove in terracotta above the doorway(ivi, p. 29) (photo).

An inscription on the façade recallsthe meeting that took place betweenSaint Francis of Assisi and Saint Do -me nico di Guzman in 1220 with Dan -te’s verses about the two great saints(Par, XI, verses 37-39).Next is the church of Santa Caterinad’Alessandria (1658) and the Bene -dictine monastery of the same nameby Galeazzo Alessi (1547) (photo),which was occupied by the Saffa fac-

tory (Anonymous Company Matchand Related items factory of Milan)from 1903 until the Sixties. It wasfounded by Attilio and Luigi Purgotti,who were chemists and the inventorsof “hygienic matches”, which aresafer because the phosphorous is re-moved. The factory, with its strugglesand strikes against the exploitationof workers, characterised the villagefor its working class aspects (ivi, p.28).Go back down along the left side ofthe main street, onto which a seriesof small, parallel streets lead with atypical comb-like structure: the first,dead-end street is Via della Spada,next to Santa Caterina, which isnamed after the quarter’s symbol,the warrior angel’s winged sword, orperhaps after the sword-maker’scraft. Enter Via del Canerino, fromthe left, along its side street Via del-la Torretta, close to the medievalwalls, which is named after a towerbetween Porta dello Sperandio andPorta del Bulagaio. An opening inthe wall looks out onto the greenarea of Parco Sant’Angelo, with abeautiful view of the medievalboun dary wall and an extensive pa -norama. This takes you out onto themain street near a building with awonderful open gallery in terracotta(photo).

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Via dell’Oro (photo); the street is re-lated to the memory of VittorioGorini, a popular “freethinker” fromPerugia, who lived at n. 2, in a labo-ratory-house – open to curious peo-ple and visitors – until a few yearsago, before his death in 2006. Thestreet is possibly named after thegoldsmiths’ shops. From the mainstreet you get back onto the nextstreet, Via dei Martelli, named after acraft; this joins Via dei Solfaroli, atthe bottom, whose name refers to theproduction of sulphur matches (cal -led “zolfini” in Perugian dialect).Back on the main street again, gopast Piazza Lupattelli (once PiazzaSant’Agostino), again dedicated tothe Risorgimento patriot, which isoverlooked by the complex of San -t’Agostino and the adjoining oratories(see Guide to Perugia, 2006, p. 31).Get back onto Via dei Pellari, whosename refers to another bygone craft.The street joins back onto the steepand picturesque road of Via dei Ba -rutoli, named after the word in di-alect “barutolare” referring to the riskof tumbling down the steep steps(photo). From here you can enjoy awonderful view of the bell-tower ofSanta Maria Nuova.

Heading downhill, you come to thecul-de-sacs, Via Ombrosa and Viadel la Cera, perhaps named after awax factory. Take Via Lucida, whichjoins back onto Via del Mogherinonamed, according to Gigliarelli (inZap pelli, 1999, p. 130) after the lily-of-the-valley flower that originatedfrom the East. After this, on the mainstreet, comes the cul-de-sac Via delPepe, whose name possibly originatesfrom a spice shop. Go up Via Cometa, which joins onto

Head straight on, following Via delPic cione, to the right, which over-

looks a high terrace, from where yourgaze flies towards the Bulagaio cliffs,and rejoins the green path in San -t’Angelo Park. Once back, go down Viadei Barutoli, which bears right, at thebottom, into Via del Bulagaio (photo)that was probably frequented inEtruscan times; the name of the placepossibly comes from the word “bu -glia re”, which means “to throw rub-bish into an abandoned chasm”. Theroad leads directly into Piazza Forte -bracci, once Piazza Grimana, whichwas filled in, in the sixteenth century,by cardinal Marino Grimani. It is over-looked by the impressive Etruscan orAugustan Arch and by Palazzo Gal -lenga Stuart, once Palazzo Antinori(ivi, pages 31-32), a Baroque building,whose back part was added in thenineteen thirties. From the Etruscan Arch go up ViaUlisse Rocchi, which takes its name

from the doctor from Perugia UlisseRocchi (1837-1919), who was mayorof Perugia for many years. It is stillknown to the people of Perugia as ViaVecchia, with reference to the ancientnorth-south road axis of the Etruscan-Roman city, of which stretches of largepaving stones have been found.Past the arch, going up, on the right,a plaque at number 58 commemo-rates the painter and sculptor ArturoChecchi who lived here (Florence,1886-Perugia, 1971).In front, immediately after the seven-teenth-century Palazzo Brutti (wherethere is now the Superintendence forthe Architectural Heritage, theLandscape and Ethno-anthropologi-

cal, Artistic and Historical Heritage ofUm bria) you come to Via Pozzo Cam -pana which is named after the wellthat collected water and took it tothe fountain below in Piazza Grima -na. The street, which branches off,forms a little square, where it is pos-sible to make out medieval stonetowers, from n. 14 to n. 18. Then, you bear right into a road cov-ered with vaults, and go back down aflight of steps, under an arch, in ViaUlisse Rocchi. Here, at n. 29, was theold church of San Donato, datingback to the thirteenth century, whichwas significantly rebuilt, on the cor-ner with Via della Nespola. It is nowused for business on the lower floorand housing on the upper floor. Thefirst synagogue was built in this area,around which most of the Jews ofPerugia gathered (without it ever be-coming an actual ghetto), until theywere expelled from the city in 1569,only to return in the first half of thenineteenth century (Toaff, 1975). Thisis commemorated by a plaque, whichwas put up by the Council at the be-ginning of 2006.From Via Ulisse Rocchi, by the side ofthe old church, a narrow street withsteps, Via della Nespola, leads to acharming little square called Piaz -zetta Alfani, named after a noblefamily from Perugia. The founder ofthis family was the famous juristBartolo da Sassoferrato, and its mem-bers included the painters Domenicoand Orazio Alfani and the juristsBernardino and Buonaccorso. Goback to Piazzetta Ansidei, formerlyPiazza San Donato, which was namedafter an old family from Perugia in1871, the Ansidei di Catrano family.The family had one of its buildingshere (a castle that once existed in thenorth-west of Perugia), and hadmoved to the city in the early 15th

century. On the façade of the build-ing there is a plaque commemoratingCount Reginaldo, who was mayor ofPerugia for 16 years, from 1861.Via Ulisse Rocchi continues along asteep and narrow stretch, past tallbuildings, such as Palazzo Coppoli(where there is now the provincialwine cellar), which belonged to a po -werful, old family from Perugia, whichfinally takes you back to Piazza Danti.

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The quarter is named after the patron saint, who appears as the symbol, besides the old-er symbol of the bear. The chain was added later, and has remained the symbol up un-til today in memory of the resistance put up against the enemies, which was documentedin 1327, in Via dei Priori. It is blue, also referring to the waters of Lake Trasimeno, whichcan be reached from this gate, facing west, along the royal road towards Cortona.

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Corso Vannucci, which is overlooked,on the right, by Palazzo dei Priori(Guide to Perugia, 2006, p. 36), withits subsequent enlargements, can bereached from Piazza IV Novembre. Thebuilding phase of the first block, onthe corner with the square that wascompleted in 1296, is followed, unin-terruptedly, by the fourteenth-centu-ry enlargement, which incorporatesthe tower of Benvenuto di Cola, atnumber 21, above the Arco dei Priori.The bell-tower leant against this, withthe cell open and lowered, and is alsoworth remembering for the quotationby the philosopher from Perugia AldoCapitini (1899-1968) (1947, p. 11),who lived here with his father whowas in charge of the municipal bells.The precious Portale Maggiore datesback to this period (the mid four-teenth century), and its lunette con-tains copies of the patron saintsLaurence, Herculaneum and Constan -ce (according to others Ludwig fromToulouse). The rich cornice starts fromthe two pillars resting on two lions atthe sides ending with two griffonssubduing two calves (photo), thesymbol of the Guild of Butchers,which made a significant contribu-tion to financing the work. Allegoricalfigures are engraved on the pillars: onthe left is Humility, Fecundity andInsanity; on the right: Pride, Virginityand Magna nimity. In the arch, elegantfriezes with oak leaves and spiralcolumns frame 58 tiles with allegori-cal figures; at the top, on the left, isthe inscription: En tra puro - move se-curo (Enter pure - move secure).

Enter from Arco dei Priori, abovewhich is the clock where the peoplefrom Perugia traditionally arrangeto meet, to reach Via dei Priori(photo).

It is named after the ten magistrates(decemviri or priori), who governedthe city in the Middle Ages until theearly eighteenth century. The routepartly follows that of the major de-cuman of the Etruscan-Roman cen-tre, which crossed the city from theeast (Arco dei Gigli) to west (PortaTrasimena). It later became the royal road ofPorta Santa Susanna, which joinedTrasimeno and Tuscany. It is an im-portant road because of the numberof valuable private buildings and nu-merous religious settlements, henceits name “Via sacra” or “Holy way”. Itis also characterised by its strongwinds (see Penna, 1977, p. 43).Typical, medieval streets, often nar-row, steep and winding, covered withvaults, branch off from the mainroad.Going down the main street, youcome to the first road on the left, Viadel Dado, a dead-end, with a typicallittle square that is hemmed in bybuildings at the sides, after which it ispossibly named. This takes you to Via dell’Orso, thesecond on the left, which is one of the most characteristic streets(photo).

glioli was named after Giovanni Bat -ti sta Vermiglioli (1769-1848), themost cultured man of his time, whofounded the chair of archaeology andthe Archaeological Museum of Peru -gia: he was a man of letters, a histo-rian and a biographer of artists, ofBraccio Fortebracci and MalatestaBaglioni. He also made the first mo -nograph on the Fontana Maggio re,which was so famous that Leo pardicame to see it, staying with him from10 to 20 November 1828. The great poet from Perugia SandroPenna (Perugia, 1906-Rome, 1977)lived, from 1916 to 1927, at n. 5, inthe same street. He was the son of abusinessman, who had a shop in ViaMazzini 12 (see Catanelli, 1987, pages132-133); he fled to Rome at the ten-der age of 16, where he later movedwhen he was 23 (see Penna, 1977,pages 41-50).At n. 3/A was a little cobbler’s shopthat closed down in the Seventies.From Via Vermiglioli, along Via Cuma -na, turn left and you will come to ViaDeliziosa, in name and in fact (photo).

Its name comes from the medie valcu stom of affluent families keepinglions, bears, parrots and other exoticanimals for the entertainment andluxury of the people. The printerBianchino Veronese, who was called“del leone” after his lion, was knownin the Annali Decemvirali.After the street, take the third roadon the left, Via Sant’Agata, whosename comes from the church ofSaints Severo and Agata, which exist-ed back in 1163, like the chapel of themartyr saint from Sicily. The churchwas given to the pope in 1320 in ex-change for the church of San Severodi Piazza, which was abolished to en-large Palazzo dei Priori, and rebuilthere, with a dedication to both of theSaints. It has a façade with a pointeddoorway surmounted by a cusp ontwo hanging columns. Outside is aplaque in memory of Don Piastrelli,an important figure from the worldof progressive Catholicism, and a pro-moter of the modernist movement inItaly, and the social school. He was apoint of reference and educatedmany young Catholics in the politicsof Perugia, including Capitini himself.Continue down the steps, turn rightand go back up under a cross archuntil you reach Via Vermiglioli. Thisroad, which was once Via and PiazzaVermiglia, took its name from theseventeenth-century Palazzo Vermi -glio li, at n. 16, in the little square, atthe top of the steps. Palazzo Vermi -

A plaque was placed at n. 7, in 1923,in memory of General Fulvio Riccieri,who was awarded a silver medal inthe First World War (see Bartoli, 2004,pages 154-155). At n. 17 is the house,according to the plaque, which wasonce inhabited by Pietro Vannucci,

PERUGIA 45

opposite the façade with its little bellgable of the ex church of Sant’An -tonino, dating back to the thirteenthcentury to which a house clings curi-ously. Going down, the first street onthe right is Via dei Gatti, which wasstill closed by a gate in the Fifties, andtherefore only used by cats, hence itsname.At the bottom of Via Deliziosa, turnright into Via Benincasa, named afterthe family, which was a branch of theCatranos, whose members includedthe blessed Andrea Benincasa whowas martyrised by the Turks in thefourteenth century and various ju-risconsults. Lastly, Michelangelo Be -nincasa founded the Institute forpoor orphans in this street to whichhe left the profits of all his existingassets in Deruta (Briganti, 1954) in1702. Going up towards Via dei Priori,on the left, at n. 5, there is an atriumwith orchards inside. At n. 6 is theValdese Evangelical Church; at n. 3 asacred building with a pavilion roofhouses the orthodox church of SanGerosimo. Go back into Via dei Priori, at the sideof Palazzo Lippi Boncampi, where, atnumbers 60-62, a plaque (photo) re-calls that Alinda Bonacci Brunamonti(Perugia, 1841-1903) died here at theage of 62. She was the poet who per-sonified lyric and literary romanti-cism in the nineteenth century inPerugia for Capitini.

In front, at n. 51, is the door sur-mounted by an arch, known as the“Ca val dipinto” (Painted Horse), wherethere were the ruins of a fresco of aninn in the early twentieth century. Follow Via del Morone, whose nameprobably comes from the mulberrytree, until you reach the open spacethat was once known as Piazza degliOddi. In front is Palazzo degli Oddi (n.84), now Marini Clarelli, which wasbuilt in the sixteenth century on topof the houses that belonged to theOddi family, a noble family from Pe -rugia, from the thirteenth century,who mainly lived in Porta Santa Su -sanna; among the family’s titles werethe counts of Laviano and PoggioAquilone and its various propertiesalso included Monte Malbe, whichlater passed to the Pope. The buildinghas a severe, bare, eighteenth-centu-ry façade. Inside, in the atrium, fres-coes dating back to the end of theseventeenth century show episodesof the family’s epic deeds.The open space is closed to the westby the apse of the little church ofSaints Stefano and Valentino, datingback to the 12th century, which wasrebuilt facing the opposite direction.Go up the charming little street of thesame name, on the right side of thechurch, Via Santo Stefano, where youturn right at the top into Via Vincioli,named after the ancient family thatlived here until it died out in the eigh-teenth century. Its members includedSan Pietro Vincioli, the abbot andfounder of the abbey of San Pietro,who lived around 1000, as well as oth-er important exponents. In the areawhere there is now the garden, therewas once a little wooden theatre thatwas knocked down around 1775. Theroad carries on along Via degli Offici,once known as Chirurgica and Via diSan Bernardo, which took its namefrom the Revenue Offices that were inthe old convent of San Ber nardo. Goup Via della Pernice, on the left,which was dedicated to game huntingin 1810; of note here is the beautifulhouse rebuilt in antique style betweenthe eighteenth and nineteenth centu-ry by the lawyer Antonio Brizi (photo).Carry on along Via Guardabassi,which was dedicated to the famouspatriot from Peru gia, on the occasion

Keep going down to the right alongVia del Poggio, where there is aplaque, at n. 6, commemorating thehouse where the poet Alinda BonacciBrunamonti was born, right in frontof Via della Lucertola, which is a de-lightful street, like the one that runsparallel Via della Tartaruga. Go back down the stretch of roadwith steps, where you can admire aprivet that is over fifty years old,growing spontaneously in the smallterrace of a private house (photo). A little further on, Via dei Priori con-tinues into the short street called ViaSan Francesco that leads into thesquare of the same name, which isoverlooked by a number of churches:- the church of Santa Maria della Lu -ce, or Madonna di San Luca, comple -tely built in tuff, in 1519, which iscommemorated by the inscriptionengraved on the Doric cornice, after amiracle of an image of the Madonnaand saints, by Tiberio d’Assisi thatwas situated nearby and later movedto the niche of the altar. At the baseof the pillars are two beautiful grif-fons (photo), recalling the financialintervention of the Municipality dur-

of the placing of a plaque, by munic-ipal decree, on 18 September 1871, atnumber 12, where he was born anddied. Di stinguished family membersinclude Mariano senior, a painter andart critic, Mariano junior, a doctorand man of letters, who died in 1952,and Anna Maria, who is rememberedfor her puppets. Going straight downyou come to Piazzetta San Paolo,where there is a secondary school forclassical studies, with a plaque com-memorating Giovanni Bini Cima, therepublican intellectual from the sec-ond half of the nineteenth century,who taught here. Going back up thesquare a little, on Via dell’Arco, youcome to Via del Poggio, where youcan admire one of the most beautifulviews of Piazza San Francesco al Pra -to, from the balcony resting on astretch of the Etruscan boundarywall, on which the whole road is built.

ing its construction. The dome wasfrescoed by Giovanni Battista Ca po -rali in 1532;- the church of San Luca Evangelista,which was rebuilt in late-manneriststyle (1586) by Bino Sozi after beingcommissioned by the Knights of Mal -ta. The interior with three bays is splitup by three Doric pillars (photo).

PERUGIA 47

nity of Justice, a sixteenth-centuryhall that was rebuilt in the eigh-teenth century, with a carved, goldenceiling, stuccoes and paintings;In the sacristy of the oratory, in theBal deschi Chapel, is the tomb of ju-risconsult Bartolo di Sassoferrato,who died in 1357 (see Guide to Peru -gia, 2006, p. 42).- the church of San Francesco al Pra -to (see ivi, pages 42-43); annexed tothe convent of the same name, it wasbuilt in the middle of the 13th centu-ry to replace the old chapel of Santa

Next to this is the Casa della Com -men da, of the order of the Knights ofMalta, dating back to 1484, withqua dripartite windows, similar tothose at the Old University. It is nowa residence, but between the nine-teenth and twentieth century ithoused a wool factory;- the oratory of San Bernardino fromSiena, a Renaissance masterpiece(mid 15th century), on the façade ofwhich Agostino di Duccio sculptedstatues and bas-reliefs in a rich poly-chrome weave of marble and stone(Carrara marble, serpentine, pink sto -ne from Assisi, tuff), covered with

azu rite, malachite and gold (now on-ly residue) (photo).Inside there is an early Christian sar-cophagus with small columns datingfrom 360 AD, containing the relics ofBlessed Giles, a companion of St. Francis.Behind the altar you can reach theoratory of Saints Andrea and Ber nar -dino or the oratory of the Con fra ter -

Susanna, which gave its name to thewhole quarter (photo). It has col-lapsed several times and been rebuilt,when it lost its medieval and Baroquebell-tower, as a result of centuries ofsubsiding on this side of the hill.The façade was rebuilt in 1929 fol-lowing the design of the Gonfalonedi San Bernardo (1464) by BenedettoBonfigli, in Cosmatesque style, withdiamond shapes and marquetry inpink and white stone.Inside, it contained the rich tombs ofthe most important families of Pe -rugia, decorated with famous paint-ings: the Deposizione Baglioni (theBaglioni Deposition) and the Inco ro -nazione della Vergine (the Crowningof the Virgin) by Raffaello Sanzio,and the Resurrezione (the Resur -rection) by Perugino, which were lat-er moved to Rome. As a result of thevaults and apse collapsing, it was leftfor a long time partly uncovered,without furnishings inside. It is now used as an auditorium. Since

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the beginning of the twentieth centu-ry, the Academy of Fine Arts, foundedby Orazio Alfani and Dome nico Sozi,in 1537, has been in the ex convent.From Piazza San Francesco go backdown Via Curiosa, which brings youto Via del Piscinello, on the right,whose name, in dialect, is taken fromthe small trickle of water from thefountain, at the bottom of the street,rather than from the blood that wasshed during the medieval clashes be-tween the Oddi and Baglioni families,according to legend. An inscriptionon the fountain cautions: Immonezzequi non si gettin né si lavi alcundrappo. Veglia la legge (No rubbishmust be thrown here, nor any clotheswashed. Upheld by the law). Going back up, bear right along Via delLauro until you come out near thechurch of Sant’Andrea, in stone andter racotta, to the right of Porta di San -t’Andrea or Santa Susanna, which wasnamed after the old mo nastery ofSanta Susanna or the Co lom bata. Onthe outside, the gate preserves its poin -ted arch from the thirteenth century,which is raised, in brick, with a beau-tiful griffon in pink stone. No tracesremain of the medieval wall, at thesides of the gate, which was knockeddown in the twentieth century. In front of Via del Lauro, the roadcontinues along Via Tornetta. It ismostly taken up, on the right side, bya complex, which is an example for itsvarious uses: in medieval times therewas the church of Santa Mustiola,which, with the annexed houses, be-came the centre of the Confraternityof Sant’Andrea and later the Con -fraternity of Justice around the mid-dle of the fifteenth century; in 1552,it became the monastery of theCapuchins of Santa Chiara (alsoknown as Rinserrate di Santa Mu -stiola). After 1860, when the religiousorders were abolished, it was reusedfor various purposes and taken over,between 1912 and 1939, by theVayani Italian leather goods factory. In 1941, it became home to the firstState Archive, and was later used tohouse evacuees, known as “la Casba”(the Casbah); now it is home to theNational School of Nutrition. The twisty road unfolds, hence itsname, and continues into Piazza del

Drago, which is today interrupted bythe city developments that witnessedthe demolition of the medieval walls,

the construction of Viale Pellini andthe excavation of the land and or-chards, which were later replaced bya car park and escalators (photo).From upstream, three charming comb-like streets converge onto the road, ViaGrata (photo), a dead end, Via del Tor -

do, which takes you back up onto thethird little road, Via Neb biosa, untilyou come out onto Via della Sposa. This road, according to Gigliarelli(1907), took its name from the four-teenth-century story of a young wo -man called Marta who was abandonedby her lover. It takes you out right nextto a nineteenth-century building (atnumbers 14 and 16), where you cansee three colourful ceramic shields re-minding people that La guerra è bar-barie, Il lavoro è felicità, La pace èciviltà (War is barbarian, Work is hap-

several times. The oratory must beconsidered the greatest example ofproto-Baroque style in Perugia be-cause of its precious vault in the atri-um decorated with stuccoes by JeanRegnaud di Sciampagna (1675-76)and because of its rich interior (Guideto Perugia, 2006, p. 40).Go out onto Via dei Priori again, nextto the church of Santa Teresa deiCarmelitani Scalzi, whose incompletefaçade, dating back to 1718, presentsa sombre Baroque doorway. Continuealong the road of the adjacent esca-lators, down two flights of steps un-til you reach the gardens, on the left,and then take the flight of steps inVia della Canapina (photo). The road

it has a high pointed arch, on the key-stone of which, at the top, is a Gol -gota, and a rising moon on the secondashlar, to the right (photo). A sculptureportrays a lion or perhaps a sphinx onthe left console, while other symbolscan be seen on the ashlars.Go through the gate via the stairway,and back up Via dei Priori until youcome to Via degli Sciri, on the right.It is named after the Sciri’s houses andtower, which is 46 metres high, andrepresents the only surviving exampleof the many towers built for militarycontrol of the noble districts (whichcan be seen from the Gonfa lone dellagiustizia by Bonfigli with the Baglionitowers), and the houses-towers, typi-cal of medieval vertical building. Mostwere knocked down in the fifteenthand sixteenth century during the citywars, some fell during earthquakesand others were destroyed during thepapal repression of the salt war. Thetower was incorporated into the mu-sic academy of the Franciscan Tertia -ries of sister Lu cia in 1680. The road goes around the complexand passes in front of the oratory ofthe Con fraternity of the Disciplinedof San Fran cesco (photo), from thefourteenth century, which was re-built around the middle of the six-teenth century; it is joined to the ad-jacent hospital that was once a shel-ter for pilgrims, and has been altered

was named after the hemp workers orrope makers who made ropes in thisarea. As soon as you come out of thegardens, you will see the uniquechurch of San Benedetto, on the left,which was built on three levels, witha suspended apse leaning against the

piness, Peace is civilization) and tem-pera decorations in the strip under theroof. Go back up the street, past Viadel Cefalo, on the right, until youreach the gate of San Luca or Tra si -mena, with its splendid externalfaçade. The gate, also known as Portadella Madonna della Luce, Senese orPorta della Luna, once Etru scan – stillpreserves the piers from this period –

poets and writers. He was buried inthe church of San Filippo Neri, in thecity’s musical district, not far fromthe oratory of Santa Cecilia (the pa-tron of musicians) and the city the-atre. In front stands the impressivenew church of San Filippo Neri(1626-34), which was built accordingto the design of Paolo Maruscelli, af-ter the Council of Trent; inside, itcontains the most splendid exampleof Baroque architecture and decora-tions in the city. The façade, made oftuff, completed in 1665, has two or-ders and is preceded by a staircasewith a coeval balustrade.Going up from Piazza Ferri, follow Viadella Stella, which skirts the oratoryof Santa Cecilia that is annexed tothe church of San Filippo Neri. It wasbuilt according to the design of Pie -tro Baglioni in 1687-90, to celebratethe festival of Santa Cecilia, on 22November. Turn right, in front of theoratory, into Via Fratti, once calledVia dell’Oratorio, which was laternamed after Antonio Fratti, the Ga -ribaldian from Forlì and Repu bli canparliamentarian, who died heroicallyin Domokos, after enrolling in 1897to help the Greeks who were rebellingagainst the Turks. This road was ded-icated to him by his companions inarms from Perugia. Go up oppositethe extraordinary Via Maestà delleVolte (see ivi, p. 26) and turn right in-to Via Ritorta (photo), named afterits winding road, which is one of themost authentic medieval streets inthe historic centre.

Etruscan boundary wall that followsthe left side of the road (photo). Thewalls later reappear in the long, mag-nificent parapet, which draws theconcavity of the Cupa. At the top ofCanapina, on the left, is the delight-ful Piazzetta del Drago, in the court-yard of the old Benincasa musicacademy, which is now a primaryschool. Go straight on keeping to theleft along Via del Silenzio (photo), ashort road that comes out into Viadella Cupa; go up until you come toPiazza Ferri, on the left, which wasonce Piazza del Naspo and Piazza del-la Chiesa nuova. This was dedicatedto Baldassarre Ferri (Marsciano, 1610-Perugia, 1680), in 1871, whose treblevoice was renowned throughout thewhole of Europe, and celebrated by

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At n. 1, on the corner with Via Fratti,is the most beautiful house-tower ofthose preserved (photo).

At n. 14 you come to a pointed archwith symbols referring to storehous-es (goods warehouses) (photo), while

It was probably the residence ofValentino Martelli (Perugia, 1550-1630), an architect and sculptorwho renovated the urban face ofPe rugia. Go up, on the left, along Viadella Gab bia, named after the cagethat once hung on the side of Pa -lazzo dei Priori, which was used as amedieval torture for public mockery,with the words Iustitia sol ubique.Of note in the same street is the to -wer of Dial dana or Madonna Septen -dana (the widow of Zigliuccio di Ben -ve nuto Od doni), whose house was in-corporated into the public building(photo).

of note at numbers 20-22 is a typicalmedieval shop, with a helicoidalstair way: a shop on the ground floor,a municipal dormitory on the firstfloor and a kitchen with an openingused as a fireplace in the middle onthe second floor. Go out onto Via deiPriori, in front of Palazzo Pasini, at n.24 with its beautiful Portale deiDraghi (photo), where there are thewords AVARITIA TURBAT DOMUS.

This takes you to Piazza IV Novembreand from here into Corso Vannucci.

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In the past the quarter’s symbol was a deer; this was later replaced with a tower on aharnessed elephant, after which it supposedly takes its name referring to the ivorytusks; the tower, symbolising vigilance, might represent the turris eburnean, which isattributed to the Virgin. Saint James is the patron saint, who was also the symbol, inthe guise of a pilgrim. It is green, which apparently refers to the orchards spread alongthis slope, facing southwards. The royal road left the quarter in the direction of Orvieto.

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ITINERARY OF PORTA EBURNEA

1 Corso Vannucci2 Via Boncambi3 Via Scura4 Via delle Streghe5 Via della Sapien za6 Via del Bufalo7 Via Bonazzi8 Via Grecchi9 Via Caporali

10 Via del Pozzo11 Via Menicucci12 Via Bruschi

13 Via Mariotti14 Via del Paradiso15 Via San Giacomo16 Via Deserta17 Via Fatebenefratelli18 Vicolo della Consolazione19 Via del Circo20 Via Torcoletti21 Vicolo di San Savino22 Via Cantamerlo23 Piazzetta San Giovanni

di Dio

24 Via del Giardino25 Via del Parione26 Piazza Santo Spirito27 Via degli Orti28 Via del Curato29 Via degli Apostoli30 Via delle Forze31 Via della Cupa32 Via della Luna

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ITINERARIO Porta Eburnea

Starting from Palazzo dei Priori inCor so Vannucci, the first street thatmarks the boundary between thequarters of Porta Santa Susanna andPorta Eburnea is Via Boncambi (pho-to), named after an old, influentialfamily from Perugia (probably associ-ated with the money changers of thenearby Guild), which existed in the13th century and died out in 1812,whose family merged with the Pucciand Lippi families. The family’s residences were here, an-

you come to Via Scura, on the left;going back up the steep stairway, youreturn to the main street through anunderarch of Palazzo Lippi. The road,which was once Via Pentolini, is part-ly incorporated into the building,marked on the main street by an archentrance similar to the other one.Head right from Via Scura along themain street, in front of Palazzo Gra -ziani (at n. 47), once Sereni, which be-came the property of the Cassa diRisparmio di Perugia in 1886, andsubsequently of the Banca Commer -ciale, where there is now the Fon da -zione Cassa di Risparmio di Pe ru gia.Built on pre-existing medieval struc-tures, it was transformed in the sec-ond half of the sixteenth century byVignola, who made a façade dividedby a double string-course. The walls ofthe assembly hall were decoratedaround the end of the nineteenthcentury by Annibale Brugnoli withscenes of the city’s recent history, in-cluding Le stragi del XX Giugno 1859(The 20th June massacre 1859) and thefamous Rice vimento in onore di reUmberto I, (Re ception in honour ofKing Umberto I). In 1818, the firstfloor was rented to the historic hotel,the Albergo della Posta, which hadmoved here from Corso Cavour. In1817, Prince Leopold of Tuscany andPrincess Marianna Caroline of Saxonycame to stay, on the occasion of theirhoneymoon, and later, Maria Teresa ofAustria. It also received a visit fromthe Grand duke Michael of Russia, TsarAlexander’s brother; on this occasion,a great fire broke out, which destroyedworks of art by Perugino and Barocci,as well as valuable furnishings. Thehotel was extremely popular withmany travellers, including Dumas thefather, who described it as “the besthotel in Italy” (Pianesi, 1998, pages31-32). It later moved to Palaz zoPatrizi, where it is today. At n. 49, youcan still see the stucco decorations onthe ceiling.Heading straight on, at n. 63 of themain street, is Palazzo Graziani Mo -naldi, a noble, sixteenth-century res-idence designed by Vignola, whichwas enlarged in the nineteenth cen-tury. The nobles from Perugia who be-longed to the Accademia del Casi noordered the building of the Pa vone

nexed to the adjoining Palazzo deiPriori. You can still admire the beau-tiful tuff stairway outside (photo)and, further on, past a storehousemar ked at the top by a rosette, acourtyard with a well. Go right down to the bottom until

Theatre, underground, between 1718and 1723. The theatre, which wasbuilt of wood, with a quadrangularplan, was a hive of theatrical activityuntil 1756, when it was rebuilt byPietro Carattoli, in keeping with theArgentina model in Rome, in stone,with a horse-shoe shaped structure,after becoming unsuitable for thenew forms of melodrama and come-dy. The theatre was opened in 1773. Itwas renovated again in the nine-teenth century, and finally in 1943 bythe engineer Sisti. In 1822, the Acca -demia dei Filedoni was ope ned on thefirst floor, and its entrance can still beseen in Via delle Streghe (photo), one

PERUGIA 57

of the most characteristic streets,which was once Via della Mattonella.Go down a dark and spiralling flightof steps that is partly covered, whichis perhaps why it is associated withwitches. The road goes straight onuntil it meets Via della Sapienza na -med after the nearby “Collegio dellaSapienza Vecchia, of the same name.At n. 14 is a beautiful example of amedieval tower-house, where you goback up Via del Bufalo, a short, steeppicturesque street, covered, in part, byvaults, one of which is a cross vault,supported in one corner by a column

in tuff with a capital (photo); a tow-er incorporated into the buildings canbe found at n. 10. Go back up until you come to ViaBonazzi, and follow this to the right.It is named after the famous writerand historian (Perugia, 1811-79), wholived and died here, who is famous forhis Storia di Perugia dalle origini al1860 (The History of Perugia from itsorigins until 1860). It was called ViaSan Biagio, after the medieval churchdedicated to the Saints Stephen andBiagio, of which little remains at n.10. The road, which is built on top ofRoman Age structures, preserves itsmedieval appearance.At n. 39, the church of the Compa gniadel Suffragio, with its manneristdoorway and stone offertory, for thesouls of Purgatory, shows what is leftof two seventeenth-century churches. At n. 41, the oratory of the Com pa -gnia dei Santi Crispino and Crispi nia -no, which was built in 1613 at the re-quest of five devoted shoemakers, ismarked on the outside by a small coatof arms in tuff portraying a skivingknife (that is now used for other pur-

gelo di Porta Eburnea (after the nameof the church where the road forks),and later Via dei Semplici, after themedicinal herbs in the ancient phar-macopoeia, which perhaps grew inthe neighbouring orchards or after anexisting apothecary. The road is partof the Etruscan road network, andtherefore of a part of the royal roadof Porta Eburnea.There is an Etruscan well at the be-ginning of the road that is very simi-lar to the Sorbello well (end 2nd cen-tury B.C.), which is incorporated intoa Roman domus, and then into somemedieval houses (private property).Continuing right, at n. 3, you can seethe ruins of a medieval tower-house,and the plaque of Captain AntonioRossini, who died in battle at Adua, in1896. At n. 11, the memory of the cy-cle of frescoes of Inferno, Purgatoryand Paradise, painted by the futuristpainter Gerardo Dottori, in 1923, fora Roman businessman, in keepingwith the style of that period, is pre-served only in the name of what isnow the restaurant known as “AltroMondo” (Other World). The work ofart was inaugurated by Marinetti, butlater concealed by painting and ren-ovation work.Going down, on the left, at n. 10, youcome to another beautiful tower andVia del Pozzo, whose name recalls awell that is no longer visible. At n. 8 aplaque commemorates the visit ofGalileo Galilei who stayed at the houseof the mathematician from PerugiaGiuseppe Neri, in 1618, with its inter-esting sixteenth-century courtyard. Back in Via Caporali, before turningoff to the left into Via Menicucci, inthe open space, you can glimpse themedieval church of Sant’Angelo inPorta Eburnea, which was renovatedin neoclassical style at the beginningof the nineteenth century. Via Me ni -cucci (photo) commemorates the en-gineer and politician who was invol -ved in the 1831-33 uprisings, andcon sequently tried and condemned.It ends on Via Bruschi with a shortstairway. The road is dedicated to theBruschis, a family of patriots andartists, and in particular to the fatherand son, Carlo and Do me nico; one aRisorgimento patriot, and the other arespected painter in Rome (where he

poses) (photo).Right in front, in the open space, tothe left of the road, begins Via Grec -chi, named after the young partisanwho was shot at the age of 18 in bor-go XX Giugno, along with nine otherpartisans (commemorated by a pla -que, see p. 70). Here you can see thequarter’s coat of arms. Palazzo An -sidei, dating back to the eighteenthcentury, with its unusual loggiadesigned by Count Vincenzo An sideiin 1808, looks out onto the steps, to-

wards Piazza Italia (photo).Pick up Via Bonazzi again, the secondpart of which is the result of the nine-teenth-century reconstruction workthat followed the demolition of partof the Rocca Paolina Fortress. The rearfaçades of the post-unification build-ings in Piazza Italia, above, look out tothe left, like the Bank of Italy (1871-73), with its ashlar-work on theground floor and vertical and hori-zontal ordered partitions. At the bot-tom, it is possible to see a twentieth-century flyover that joins the BrufaniHotel and, on the right, the SapienzaNuova complex, which was foundedin 1427, about a century after that ofthe Sapienza Vecchia (see p. 62).Without going down to the end ofthe road, at the junction go down tothe right along Via Caporali. This wasdedicated to the poet from PerugiaCesare Caporali (Perugia, 1531-Ca sti -glione del Lago, 1601), in 1871, wholived under the protection of the Del -

re there is now the medieval oratoryof the Confraternity of the An nun -ziata, which was rebuilt in the se ven -teenth century, with a nineteenth-

left frescoes at Monteci torio, PalazzoMadama and the Quiri nale) and inPerugia (where he decorated Bal de -schi Chapel in San Pietro, the RosaryChapel in San Domenico, the churchof the Annunziata and the ProvincialCouncil Chamber, amongst otherthings. Domenico was also a doctorand botanist and, in 1812, he found-ed the botanical garden at the Uni -versity of Studies of Perugia (at theex Olivetani convent), besides being apatriot who was involved in the up-risings that took place on the 20 June1859. There is a plaque at n. 15 on the

PERUGIA 59

house in the street where they lived(photo).The road leads into Via Mariotti,where there is the house, at n.1, whichbelonged to Annibale Mariotti, com-memorated by a plaque in memory ofthe historian and patriot from Perugia,who died in the papal prisons in 1801.The road leads into the square, of thesame name, Via dell’Annunziata, whe -

century façade and cheerful circle ofputti on the arch of the doorway(photo). Inside are frescoes by Bruschi datingback to 1900. At the side is the formerMantellate or Servite monastery, whichwas built in the fourteenth century onthe Etruscan walls below, and extend-ed in the sixteenth century, now theAcademy of Music of Perugia.Go back down Porta Eburnea or Arcodella Mandorla where the popularquarter of Porta Eburnea extends withits medieval appearance. On the gate,outside, it is possible to see reusedEtruscan blocks with fragments of theAugusta Perusia and Colonia Vibia in-scriptions. Go down the steps, to theright of the arch, in Via del Paradisothat skirt a beautiful stretch of Etru -scan wall, connected to the adjoiningcontemporary gate (photo).

The road, which was formerly Via del-la Lupa cieca and Via dei Cronici,takes its name from the home for theterminally ill, which was annexed tothe church and convent of the friarsof the order of the hospital of SanGiovanni di Dio, called the “Fate BeneFratelli” after 1584. It was extendedand rebuilt in the nineteenth centu-ry, and finally closed down in 1996(when its patients were moved to theold Grocco sanatorium in Via dellaPallotta). After passing Vicolo della Conso -lazione, on the right, head up to thetop of the hill, where there is the on-ly surviving fourteenth-century buil -ding in the Baglioni quarter, whichwas home to the Bartolino Collegefor 12 poor young students, at thewish of Marcantonio Bartolini, from1571. This was abolished in 1811, andlater became home to the family ofFrancesco Moretti (1833-1917) andhis laboratory of artistic glass win-dows, which is still open today thanksto the work of his descendents (bookfor a visit). Donati tower (photo), a nineteenth-century reconstruction of a medievaltower, stands out at the top, on theleft and, next to this, what remains ofthe Rocca Paolina Fortress.

Go back up Via San Giacomo, pastVia Deserta, on the left, which is adead end, and then past the aediculeof a Madonna and Child, on thecrossroads with Via Fatebenefratelli,which you follow to the top (photo).

At the bottom of the street, lookingup at the corner opposite is a block oftuff: it shows a roach (a fish from LakeTrasimeno) with two heads indicatingthe two directions for selling the fish,from the lake to the market and viceversa (photo).

Continue along Via del Circo, which isnamed after the small amphitheatrethat was built in the early nineteenthcentury (1804-08) for the game ofball, or circus game, near the fortified

fore the prison and Piazza d’Armi werebuilt. The second side road on theright, Via Cantamerlo, whose namepossibly comes from the saying “canta,canta merlo” (sing, blackbird, sing) saidby women to their suitors (accordingto Gigliarelli, 1907), leads into Piaz zet -ta di San Giovanni di Dio, named af-ter the overlooking church of the Fa -te benefratelli complex (photo).

Bear left in Via del Giardino, which isnamed after the garden of the Mar -quis of Bourbon Sorbello, who had a“noble country residence or “casa didelizia”, and a botanical garden” witha variety of exotic plants. This takesyou out into Via del Pa rione, whosename, which can also be found inRome and Florence, possibly origi-nates from the word paries meaninggreat wall because the boundary wallis particularly high in this point, ormaybe (according to Zappelli, 1999,pages 147-148) after the Latin wordpars rionis.The road unfolds past the formerprison, which was built between 1866and 1870 because the old prisons inPalazzo dei Priori and the Rocca Pao -lina Fortress (for political prisoners)were insufficient. After various build-ings had been knocked down, includ-ing the church of San Giorgio and theHospital of the Invalids, the prison in-corporated the Bartolelle mona stery(named after their financier) and themonastery of Santa Maria Maddalenadelle Convertite, which had been abo -lished by the French and used as ho-tels for prostitution.The road leads into Piazza Santo Spi -rito, on the right, where there is thechurch of the same name dating backto the seventeenth century, and thegreat convent of the “Minimi” fathersof San Francesco di Paola, which was

passageway of Rocca Pao lina Fortress.It was built with flights of steps andboxes by the businessman Orazio Boc -canera (who also built the Carminetheatre, which later became the Mo -der nissimo), to stop the game frombeing played in Corso Vannucci, whichusually happened (see ivi, p. 89). Thefirst game of football took place on 6July 1805 and continued for aboutsixty years, with famous players, suchas Carlo Didimi (1798-1877), fromTre ia in the Mar che, who gave Gia co -mo Leopardi the inspiration for thecanto A un vincitore del pallone (To awinner with the ball). Some of thewall structures of the circus still standinside the Rocca Paolina Fortress andcan be seen from the escalator.Go down Via Torcoletti, whose namemeans “little torcoli”, typical sweetsfrom Perugia, according to Biganti(1954) with reference to the sweetsprepared by the nuns from the Ber -tolelle Franciscan convent, which wasabolished by Napoleon, and laterturned into a prison for women. Atthe beginning of the road is the for-mer church of San Savino that givesits name to the street of Vicolo di San

PERUGIA 61

Savino, which is the first side road onthe right (photo). Via Torcoletti is what remains of theancient road, which went up SantaGiuliana, and entered the SoccorsoGate in the Roc ca Paolina Fortress, be-

background, and where the quar ter ofPorta Eburnea begins, with a coat ofarms portraying an elephant and anivory tower in a green background.The parapet along the road offers abreathtaking view, especially at sun-set. It is overlooked by the great“Collegio della Sapienza Vecchia (seeGuide to Perugia, 2006, p. 52), thefirst example of a paying college forwell-to-do, aristocratic boarders, whowere also not from Perugia, for exam-ple the son of Gioacchino Belli. Thelittle theatre was opened in 1799, andrebuilt in wood and cast iron in theearly twentieth century. This is wherethe young Rodolfo Guglielmi recited,who later became known as Valen -tino. It was rebuilt in various phasesand, in 1902, it became home to thenational Boarding School for orphansof health workers. Since 1970 it hashoused the women’s section from thecollege of Sant’Anna (ibid.).Next to the college is the little churchof Santa Maria della Valle, with theannexed house of the Salesian nuns(ibid.) and, from the corner of this,you go back up Via della Luna (pho-to), one of the most beautiful streetsin Perugia, which unfolds twistinglyup a steep hill, past the small apse of

founded in 1576 and completed in1689 according to the design of Fran -cesco Vezzosi. In front of the churchfaçade, go down Via degli Or ti, whereyou can still see the orchards fromthe houses, until you reach Via delCurato (photo), on the right, which

the church, on the right, in pink andwhite stone. Carry on going up wherethere is a medieval house, on thebend, resting on a tower, which takesyou directly into Corso Vannucci.

takes its name after the parish priestof the adjoining church of San Gia -como who once lived there. Followthe beautiful street with its floweryfaçades until you reach the junctionwith Via San Giacomo, near thechurch of the same name, also knownas the “Church of the Five Plagues”,which was recorded in 1246 and re-built in 1683, with a tuff doorway, anarch transom and three decorativelittle palms. Go down to the sign of the roach andhead left along Via degli Apostoli un-til you reach the medieval Porta delCastellano, also known as Porta SanGiacomo, along Via delle Forze,which is connected to a stretch ofmedieval walls with a round tower.The walls continue to the right, out ofthe gate, where they join the beauti-ful stretch of Etruscan wall, beneaththe old Mantellate monastery, alongthe green stretch of the Cupa gardens(see Archaeological Itineraries, 2005,p. 10). After the postern, go back upthe steps onto Via della Cupa, at thetop, where the quarter of Porta SantaSusanna ends, represented by a coatof arms with a chain in a blue

The quarter, known as “borgo bello” meaning “beautiful village” (because of its beau-tiful Benedictine and Dominican settlements, art and lush vegetation), facing south-east, takes its name from the patron saint, Peter. He is also the quarter’s symbol, to-gether with the crossed keys, whereas in the fourteenth century it was a lion and latera stone recalling the custom of “litomachia” or the game of stones that took place nearthe Battle Field (now Via XIV Settembre) to train young Perugians in the art of war. Itis yellow, like the corn that came in through gate, which opened onto the Tiber plain.

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ITINERARY OF PORTA SAN PIETRO

1 Piazza Matteotti2 Via Danzetta3 Via dello Struzzo4 Via Baldo5 Via Baglioni6 Via Santa Lucia7 Via Alunni8 Via Floramonti9 Via Marzia

10 Via Masi

11 Via Fanti12 Viale Indipendenza13 Corso Cavour14 Via Podiani15 Via Vibi 16 Via Fiorenzuola17 Via Cuccuina18 Via Giulia19 Via Gemella20 Via Traversa21 Via Gismonda

22 Via Colomba23 Via del Grillo24 Via dei Ghezzi25 Via Bonfigli26 Via degli Archi 27 Via del Deposito28 Via del Canterino29 Via del Laberinto30 Via del Cortone31 Via del Persico

32 Piazza Giordano Bruno33 Via del Castellano34 Via Piantarose35 Via Guerriera36 Via del Conventuccio37 Via Campo di Battaglia 38 Via Sant’Ercolano39 Via Oberdan40 Via della Rupe

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The itinerary begins at Piazza Mat -teotti, which was once Garibaldi,Piccola and Piazza del Sopramuro. Todevelop the area for business andbuild shops and warehouses, thesquare was supported by mighty ar -ches (see Guide to Perugia, 2006,pages 56-57), and above these arch-es, the important buildings, the Ca -pitano del Popolo and the Old Uni -versity were built in the last de cadesof the fifteenth century and at thebeginning of the sixteenth century,(see ivi, p. 56). Of note on the front ofthe first building are the old units ofmeasurement, 97, 63, 41 cm respec-tively, which were used for the mar-ket (photo).

The boundary passes between the twoquarters of Porta Sole and Porta SanPietro a little further on, betweennumbers 18 and 19, which are indi-cated by their respective symbols. Atthe end, towards Via Baglioni, thesquare joins onto the main street byVia Danzetta, which was once Via deiCappellari, and Rimbocco della Salsa,after the olives that were used forworking the wool. The street wasnamed, in 1871, after the ancient,noble family that had become power-ful thanks to the wool and leathertrade, and which was renowned for itsinvolvement in the Risorgimento.Next is Via dello Struz zo, whose nameapparently comes from the ostrichdonated by Ludwig I of Bavaria to themarchioness Ma rianna Flo ren zi, whoput it in the hanging garden in Pa -lazzo Alfani Flo renzi, in Via Ba glioni 3.Marianna lived here from 1820 to1850, and was one of the most beau-tiful and cultured women of the nine-teenth century, which is recalled byplaque in the atrium of the building.Continue along Via Baldo, named in

honour of Baldo degli Ubaldi, whowas born in Perugia in 1327, and apupil of Bartolo da Sassoferrato,which is commemorated by a plaque.Also of note, in front of the housethat belonged to the great jurist isPalazzo Pucci Boncambi. On thefaçade of this building is a plaquecommemorating the hero MarcelloLippi Boncambi who died in theSecond World War and was awardeda gold medal. Cross Via Baglioni, theimportant road dedicated to the fa-mous family from Perugia in 1871that opposed the pope, which wasopened in 1582 at the request of thepapal legate Alessandro Riario, withthe name of Via Riaria. This takes youto Via Santa Lucia, which leads outonto Via Oberdan with a narrow stair-way. Its name comes from the adjoin-ing medieval little church, of thesame name, also known as the churchof Colle Landone, which was rebuiltwith its present appearance, in 1760.In the nineteenth century there was apasta factory and ice shop in thisstreet. On the left, it joins Via Alunniwhich takes its name from thefoundling hospital of Alunni that washere until it closed down in 1873; thiswas the name given to the many newborn babies who were abandonedhere, and taken in through a rotatingwheel and brought up by wet nurses(after the Latin verb alo, “to nourish”).Carrying on down to the steps youcome to Via Oberdan, which you fol-low until the junction with Via San -t’Ercolano. Then, go back up the shortstreet called Via Floramonti, whichtakes its name from the noble familythat lived here until the 17th century.At n. 9 you can see a well-preservedmedieval tower (photo).

low. The Villa, which was originallydesigned as a bathing area, was pur-chased, in 1888, by the family afterwhich it is named that used it as ahotel; its guests included RichardWagner, which is commemorated ona plaque at the back. Continue along Via Fanti until youreach the entrance of the two Bi -scarini buildings, which were built, in1894, by the architect Nazareno Bi -scarini, in ornate terracotta style (allof the decorations come from An ge -letti and Biscarini’s furnaces). Go back up Via Masi in front of theRAI offices in Umbria, which oncehoused the “Carabinieri’s” barracks,along a road that skirts the areawhere the tenail of the Rocca PaolinaFortress stood. After passing the gar-den, where there is a war memorial inhonour of the victims of all wars,over the steps, you come to the junc-tion between Via Masi and VialeIndi pendenza. The road, formerlyknown as Alberata, was built on theruins of the Fortress, and named af-ter the centuries-old hackberriesthat grew along the edges, however,it was renamed in 1871. Followingthe road, immediately afterwards, onthe right, at n. 47, it is worth notingthe medieval Casa Villanis, built inbrick, with its beautiful flowerarrangements, which was restored bythe architect Ugo Tarchi in 1922(photo).

On 25 April 2005, on the occasion ofthe sixtieth anniversary of liberationfrom fascism, a commemorative plaquewas put up on the building, at n. 10,which had been used by the fascistpolice for torture in memory of Ga -stone Sozzi, a young anti-fascist fromCesena, who was arrested and tor-tured and later died in Perugia prison,in 1927. At the end of the hill, at n.16, you can see the coat of arms be-longing to the old Compagnia di SanMartino that owned many of thebuildings in the street.Go along Via Marzia (see Archaeo -logical Itineraries, 2005, p. 10), whichta kes its name from the famous Etru -scan gate in the Rocca Paolina For -tress, whose entrance was completedin 1848. It was originally called ViaLomellina, after the papal legate car-dinal Lomellini, who had the roadbuilt in 1682, and the Baro que foun-tain of the same name, which can beseen on the epigraph above. In frontof this you can admire a unique viewtowards the bell towers of Sant’Er -colano, San Domenico and SanPietro.At the bottom of Via Marzia, followVia Masi, to the left, named after thedoctor and soldier Luigi Masi, whocommanded many campaigns (Petri -gnano d’Assisi, 1814-Palermo, 1872),until you reach the steps that godown through a garden, into ViaFan ti, named after Manfredo Fanti(Carpi, 1806-Florence, 1865), the com-man der of the troops from Piedmontwho freed Perugia on 14 September1860. It is worth stopping off, on the left, atthe back of Villa Mavarelli-Gnoni(photo), to see the beautiful projectby Calderini in 1869-70, with itsfaçade at n. 37 in Viale Marconi be-

Carry on to the end of the avenuethat reaches Corso Cavour, at the footof the stairway of Sant’ Ercolano, un-til you come to the garden designedby Filippo Lardoni in 1854, with its

PERUGIA 67

great horse chestnuts and holm oaks,around the fountain with Neptune,which was brought here from Piazzadel Sopramuro.Corso Cavour (photo), one of the fiveroyal roads, starts here, in the direc-tion of Assisi and Rome, and was oncecalled Via Papale, Corso di Porta Ro -mana, and Corso di San Pietro; it took

cipality, creating the Augusta Mu -nicipal Library. Here you will find Pa -lazzo della Penna (16th century),which took its name from the Arci -preti della Penna family, after the cas-tle of Penna in Teverina, formerly deiVibi, which was built on the ruins ofthe Roman amphitheatre, and re-structured over the centuries; today ithouses museum collections. Go downto the right of the building by a flightof steps (which preserves the ruins ofan ancient well) onto Via Vibi, namedafter the ancient family from Mon -tevibiano and Monte Castello di Vibiothat claimed to be descendants ofVibio Treboniano Gal lo, the Romanem peror who came from Perugia,from 251 to 253 A.D. (photo).

its current name, in 1871, after thegreat statesman. Between the eigh-teenth and nineteenth century, thefirst building on the left, at the bot-tom of the steps, was home to a num-ber of hotels, and Goethe probablystayed here on 25 October 1786. Inthe fateful year of 1859, the Ame -rican Edward Newton Perkins was al-so staying here with his wife, twofriends and young daughter, whenSwiss soldiers entered from San Pie -tro, killed the owner of the hotel andtwo attendants and threatened theguests and their belongings. This wasfollowed by protests and an article inthe Times, which further contributedto the end of the Papal State and theannexation to the Kingdom of Italy. In1860, the hotel changed its name toEsperance and became very popularwith travellers (Pianesi, 1998, pages53-55). Of note, on the right, at n. 13,is Palazzo Rossi Scotti, dating back tothe 17th century, which was rebuilt inthe 19th century. Turn right aroundthe building and follow Via Podiani,once Via Voltata delle carrozze, whichtook its present name, in 1871, afterthe famous man of letters ProsperoPodiani (1550-1615), who lovedbooks and owned 7000 volumes,which were donated to the Muni -

The street ends with the medievalPorta dei Funari, known as Porta deiVibi or Porta della Penna, which isnow lower than the present level ofthe road that leads into the nearbyPorta di Santa Croce, known as Portadei Tre Archi, which was opened in1857, with its large column arcade.At the Tre Archi crossroads, you cometo the church of Santa Croce that be-longed to the Cavalieri del SantoSepolcro (Knights of the Holy Sepul -chre), and which later became hometo the “Compagnia of San Giuseppedei falegnami” (see Guide to Perugia,2006, p. 58) (photo).

On the left is Via Cuccuina, whichleads onto Corso Cavour by a shortstairway. Its strange name, accordingto some, originates from the Frenchword cocu (the name given to womenbetrayed by their husband). VicoloFiorenzuola skirts the former Capuc -cinelle convent, to the right, at theend, and finishes right in Via Giulia(photo).

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This street, which became a cul-de-sac when Porta delle Cappuccinellewas closed off, continues into ViaGemella, so-called because it is thetwin, running parallel to Via Traversa(which branches off from Via Giulia).This takes you out into Via Gismonda;carry on going back up Via Colomba,whose name comes from the nearbymonastery of the Beata Colombafrom Rieti, which skirts it until it co -mes out onto Corso Cavour. Of note isthe deliberate, narrow order betweenthe parallel streets named afterwomen: Giulia, Gismonda and Co -lom ba, perhaps benefactors (see Zap -pelli, 1999, p. 106). Turning right onto the main street,follow the complex of the formermonastery from street number 125 to129 (see Guide to Perugia, 2006, p.59) that became the Fire Brigade’sbarracks. Carrying on, on the right,you will come to the hill of Via delGrillo, a cul-de-sac, where the monkfrom Siena, Ber nardino del Grillo,founded the “Con servatorio delle de -relitte” or “repentute”, in 1539, whichwas later incorporated into thenearby Bene dictine monastery of

Immediately after the crossroads, anumber of little streets branch offfrom Corso Cavour. Starting on theright, the first is Via Fiorenzuola, un-derneath a dark archway, below Pa -lazzo Meniconi Bracceschi, which be-longed to one of the oldest noblefamilies of Perugia. By the side, at n.39, is Palazzo Baldeschi, the residenceof the Oddi-Baldeschi family, Countsof Fiorenzuola, after whom the streetis probably named. After taking thestreet where there is an initial darkpart covered with cross vaults, afterthe bend you will see a bright stretch(photo).

Borgo XX Giugno was named afterthe events in 20 June 1859, when theSwiss troops, recruited by the PapalState, entered the village from PortaSan Costanzo (see Guide to Perugia,pages 66-67) led by general Schmidtand devastated the abbey of SanPietro, plundering and killing throu -ghout the city. In memory of the greatresistance put up by the people fromthe village, assisted by the monks ofSan Pietro, the village was given itsname by municipal decree in 1909and a monument was erected in frontof the Frontone Gardens portrayingthe griffon, the symbol of Perugia,crushing the papal tiara and the hy-dra with seven heads. This was later

changed into a gentler version by thesame sculptor Giuseppe Fringuelli. Aplaque was also put up, in the sameyear, in the entrance cloister of SanPietro to commemorate the devasta-tion and assistance given by themonks to the wounded and patriotswho had sought refuge within theirwalls (see Zappelli, 1999, p. 211). In1944, at least 85 years on, anotherevent marked the history of the vil-lage and Perugia. Incredibly, on thesame day, on 20 June, the Anglo-Ame rican troops entered the samePor ta San Costanzo to liberate Peru -gia from the fascist regime. A plaquerecalls the massacre of the anti-fas-cists in borgo XX Giugno.

After Porta San Pietro, on the right,from Via Sant’ Anna, the first street isVia dei Ghezzi, named after its an-cient meaning of “dark skinned”. Herethere are three moors raised in stoneon the gate of the same name in VialeRoma below, which can be reachedby the steps in Via Sant’Anna. In1844, in Via dei Ghezzi, at n. 15, theCountess Laura Donini Montesperellifounded a rest home for sick and eld-erly ladies, which is still open today.When you have come out, return toborgo XX Giugno, until you reach ViaBonfigli (the old Roman road andmain road to Rome until the nine-teenth century), to the right of PortaSan Pietro. It was named after thepainter from Perugia (approx. 1420-1496), who was famous for his repro-

Santa Maria Madda lena, now the“Cara binieri’s” barracks, at n. 133 (seeivi, p. 62). This soon brings you toPorta San Pietro (see ivi, p. 63), whichwas once Porta delle due Porte (Gateof the two Gates); the first, medievalGate, whose traces can still be seen,looks out on this side. Before leaving,on the left, is the oratory of San Gia -como (photo), which offered protec-tion to passing pilgrims. Go throughthe second gate, a priceless work ofart from the Renaissance period, byAgostino di Duccio, and you willcome to borgo XX Giugno, formerlyknown as borgo San Pietro.

indicates the birth house of Ge rardoDottori (1884-1977), the famous fu-turist painter from Perugia. This roadonce joined Via degli Archi, wherethere is now the church of SantaMa ria di Colle, today the MarianoFre scobaldi Auditorium, and contin-ues under dark cross vaults goingdown to the right towards Via delCanterino. This dead-end street, the origins ofwhose name are unclear, joins ontoVia del Laberinto or La birinto. It waspossibly named after the labyrinth-like streets, or, more probably, afterthe caves and tunnels, which onceexisted along the outer stretch of themedieval walls, of which only fewtraces can be seen. It is worth stop-ping here, from n. 16 to n. 22, toadmire what remains of the Bi sca rini-Angeletti furnace and laboratory,which specialised in eclectic, decora-tive moulded terracotta, a mix be-tween neoclassical and art nouveau. The laboratory was run, from about1870 to 1903, by the artists-crafts-men, sculptors and restorers, Fran -cesco Biscarini and Raffaele An ge -letti, and it was re-opened in 1914,after eleven years of inactivity, byAn gelo Biscarini, the grandson ofFrancesco. On the front it is possibleto make out beautiful masks andstatues and a clay balustrade in thegarden. A little further on, at n. 30/A,the house, now a residence, displaysunique clay decorations on the out-side (coats of arms, garlands, busts,portraits) (photo).

duction of the city in the fifteenthcentury (for example in the Prioricha pel). At n. 6 is the fourteenth-century ho -spital of San Giacomo. It was home to pilgrims and the poorand took up the whole block. It was in use until the end of thenineteenth century (see Zappelli,1999, p. 57, recalling the passing ofpilgrims on the first of August to-wards Assisi to purchase the indul-gence of Porziuncola) (photo).

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The route continues all through thevillage until San Pietro, the FrontoneGardens and Porta San Costanzo (seeGuide to Perugia, 2006, p. 66).Going back up Corso Cavour, on theright, a few metres past the gate, youcome to Via degli Archi. This is ashort street covered with vaults,which is closed in the shape of a T atthe bottom. After this comes Via del Deposito(photo), where a plaque, at n. 9,

Museum, through the cloister that isone of the largest in the city, dividedby forty columns in tuff, which hous-es archaeological finds (see ivi, 2006,p. 61). In the small square is a me-dieval well (dating back to the date1285). The parapet is made up ofeight slabs of tuff, some of which aredecorated with a rampant griffon(denoting the public function of thewell), a monogram of the name ofChrist in Latin and the date the wellwas restored (1452), and the mono-gram in Greek and a shell. This refersto the shell of San Giacomo diCompostela, the symbol of the pil-grims who passed by, on the royalroad to Assisi and Rome. From the square you take Via del Ca -stellano, whose name refers to theoriginal church of Santo Stefano delCastellare, which perhaps comesfrom the ruins of some fortification.The street is overlooked by themighty side of the basilica of SanDomenico, which protrudes with itseighteenth-century chapel areas inbrick, those dating back to the fif-teenth century with Gothic doublelancet windows, and the chapel ofSan Domenico, with pink and whitestones by the Comacini masters. Hereis the side entrance of the church.You immediately find yourself underthe impressive apse and the bell tow-er of San Domenico, where you canadmire the outside construction ofthe large Gothic window (m 23 x9.13). In front of the apse is the Pa -

It is extremely valuable because ofthe history of Perugia’s art and craftactivities. Most of the clay decora-tions on the buildings in Perugia fromthe end of the nineteenth centuryoriginate from these laboratories, forexample Palazzo Cesaroni, PalazzoCalderini, Palazzo della Provincia, theBank of Italy, Palazzo Bianchi, theBiscarini buildings, Palazzo Vajani,etc. and many of the chapels in themonumental graveyard.Near the side of the building youcome to a road that goes down intothe greenery of Via del Cortone, andgoes back up at the back and side ofthe ex convent of San Domenico,where you can enjoy one of the mostbeautiful views of the park of SantaMargherita, Monteluce and PortaSole. Then, you head towards the street,which is partly covered with vaults,until you turn left into Via del Per -sico, which is possibly named afterthe peach tree or, perhaps after thefish from the lake. At the bottom youcan see the Baroque stairway and thegreat church of San Domenico (pho-to). This takes you into the squarecalled Piazza Giordano Bruno, namedin honour of the philosopher, whowas a victim of the inquisition burnedat the stake as a heretic in Rome on17 February 1600, and to whom aplaque in front of the church of SanDomenico was dedicated in 1907.Enter the adjoining ex convent, nowthe State Archive and Archaeological

teot ti, on the first of March everyyear, on the occasion of the festivalof Sant’Ercolano, between partici-pants from the “part at the top” andthe “part at the bottom”. It was abloody game in which people wereinjured and killed. It lasted for overthree centuries, from the thirteenthcentury until 1425, and was aimed attraining youngsters in the art of war.The present road was finally complet-ed around 1820-22 (Zappelli, 1999, p.62). Make a left exit where there is asplendid view of the church ofSant’Ercolano, which is named afterthe most popular patron saint ofPerugia, who was extremely popularin the medieval ages. During the cel-ebration, his statue was taken fromthe church to the cathedral, and backagain the next day during a splendidprocession, after his wooden headhad been replaced with a silver one.The church was municipal propertyshowing the deep bond between theSaint and his city (see Guide toPerugia, 2006, p. 57). Go back up theroad of the same name Via Sant’Er -colano (photo), known as the “sca -lette di Sant’Ercolano” (“the steps ofSaint Herculaneum”), which was builtin 1581. The road, which is one of themost beautiful and important roadsin the city, goes through the arch ofthe same name, also known as PortaCornea (ibid.), up to the top of thestairway. Via Oberdan begins here at

laz zo dell’In quisizione, with the dateof 1667 on the doorway (see ivi,2006, p. 59). Via del Castellano takesyou out into an open space in CorsoCavour, where there is an ancientwell with the symbol of the griffonand the remains of a column (photo)on the one side and, on the other, thehospital of the Pilgrims or Confra ter -nity of San Domenico, with its rowsof pink and white stones (approx.1333), that is now used for otherpurposes.The itinerary continues along CorsoCavour (towards the Tre Archi). Of

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note, on the right, are ancient me-dieval shops with Gothic arches and,on the left, at n. 63, the old Belluccipharmacy, where a plaque inside re-calls an incident related to the tragicevents of 20 June 1859, when thepharmacy owned by the MazzinianSebastiano Bellucci was struck by acannon shot fired by the papal army.Continue until you pick up Via delCortone again on the right, and then,Via del Persico, on the left, whichleads into Via Piantarose. Go pastwhat is now Via XIV Settembre, for-merly Campo di Battaglia (see furtheron) and you will come to Via Guer -riera, which was named after thepractice of “litomachia”. Going up, onthe right, you will reach a dead-endstreet called Via del Conventuccio,and, next to this, at n. 14, in Via Guer -riera, an arch with decorations madeof clay from Angeletti’s laboratory.Go past Via del Bovaro, on the rightand you will soon come to Via Campodi Bat ta glia, whose name recalls theold “battaglia dei sassi” or “battle ofstones”. This was held in the “field”beneath the rock, which is today Pin -cetto and what is now Piazza Mat -

figures from the church of SanGiuseppe, which was documented inthe thirteenth century, and later in-corporated into the structure of thehospital.Immediately afterwards, on the right,the street called Via della Rupe oncejoined the road to the Pincetto up toVia Angusta. It is named after thecliff on Campo di Battaglia that wasfilled in over the course of time withthe backfilling that created PincettoPark (meaning “little Pincio” becauseof its similarity to the one in Rome),where there was an aviary with ea-gles in the Twenties, and later anoutdoor cinema; the area is now un-dergoing urban development for themini metro terminal. Built inside anenclosure there is a wooden chaletdating back to 1898 which was hometo Perugia’s first photographic labo-ratory belonging to Giulio Natalini. Inthe open space, beneath Piazza Mat -teot ti, it is possible to admire theprecious great arches (see ivi, 2006, p.56). Returning to Via Oberdan, at n.6, there is a particularly notable,beautiful trigraph on the entrance ofone of the sites of Monte di Pietà, animportant structure, which is alsoone of the oldest in Italy (1462) thatsupported the city’s poorer classes(photo).

the junction with Via Floramonti andgoes back up to Piazza Matteotti. Thisimportant road, which is high andnarrow, follows the bend of theEtruscan walls below, and was namedafter the irredentist Guglielmo Ober -dan (Trieste, 1858-82), who was putto death by the Austrians. The roadsurface was significantly lowered in1581, which can be seen, on the left,from the tall pointed arches ofPalazzo Crispolti. The hospital of San -ta Maria della Misericordia wasfounded on the right side. This can beseen by the DME (Domus Mise ricor -diae) trigraph, on the front of manybuildings, for example at n. 58. Theroad, Via dell’Ospedale, was namedafter the hospital, and included thechurch of Santa Maria della Mise -ricordia (14th century) in the middleof the complex, at n. 54. The façadepresents doorways dating back tovarious periods, and of differentheights, the lowest of which wasmade during the reconstruction workcarried out in 1760 by Pietro Ca rat -toli. Two niches preserve two Ma don -nas at the sides. The one on the left isattributed to Caporali (16th century),and the one on the right is attributedto Marino da Perugia (14th century). Afish is engraved into the keystone ofthe first arch, at n. 50 and n. 40, be-neath the DME trigraph, to show thatfish was sold on the ground floor ofPalazzo Armellini. The road was, infact, also known as Via della Pesceria(photo).

The area gradually expanded as thehospital grew in importance, eventu-ally covering a vast area, up to Piazzadel Sopramuro. At n. 38, the architra -ve of the doorway shows three worn

Go back to Piazza Matteotti, which isoverlooked by the front of the OldUniversity, where there are severalcoats of arms and inscriptions relat-ing to the Domus Misericordiae,showing that the property belongedto the Hospital.

List of references

• N. Hawthorne, The marble faun, Boston 1860.• H.A. Taine, Voyage en Italie, I, Parigi 1866.• L. Bonazzi, Storia di Perugia dalle origini al 1860, I-II, Perugia 1875-79.• R. Gigliarelli, Perugia antica e moderna, Perugia 1907.• A. Capitini, Perugia. Punti di vista per un’interpretazione, Firenze 1947.• F. Briganti (a cura di), Guida toponomastica, Perugia 1954.• G. Agozzino, Toponomastica espressione di un costume, in “Nuova economia”, 10, ottobre 1965, pp. 3-5. • U. Ranieri di Sorbello, Perugia della bell’Epoca, 1859-1915, Perugia 1970.• A. Toaff, Gli ebrei a Perugia, Perugia 1975.• S. Penna, Un po’ di febbre, Milano 1977.• P. Scarpellini, Guida breve di Perugia, Perugia 1980.• A. Grohmann, Perugia, Roma-Bari 1981.• F.F. Mancini, G. Casagrande, Perugia. Guida storico-artistica,Bologna 1982. • A. Calderoni, Le vie regali e maestre negli statuti perugini, Perugia 1983.• W. Binni, Perugia. La tramontana a Porta Sole, in La tramontana a Porta Sole. Scritti perugini ed umbri, “Quaderni Regione dell’Umbria”, 4, 1984, pp. 9-17.• Archivio di Stato, Comune di Perugia, Carte che ridono, Roma 1987.• L. Catanelli, Usi e costumi nel territorio perugino agli inizi del ’900,Foligno 1987.• F. Roncalli Di Montorio, U. Nicolini, F.I. Nucciarelli, Mura e torri di Perugia, Roma 1989.• U. Baduel, L’elmetto inglese, Palermo 1992.• M. de Vecchi Ranieri, Viaggiatori stranieri in Umbria. 1500-1940,Perugia 1992.• G. Donati (a cura di), Perugia. Guida toponomastica, Città di Castello 1993.• Perugia, Perugia 1993.• A. Sorbini, Perugia, nei libri di viaggio dal Settecento all’Unitàd’Italia, Foligno 1994.• M. Pianesi, Perugia. Altri itinerari, Assisi 1998.• M.R. Zappelli, Caro viario. Un viaggio nella vecchia Perugia

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attraverso le sue mura, porte, vie e piazze, Perugia 1999.• F. Chierchia, I borghi storici di Perugia. Corso Garibaldi nel borgo di Porta Sant’Angelo, Perugia 2000.• M. Roncetti (a cura di), Per buono stato de la citade. Le matricoledelle Arti di Perugia, catalogo della mostra, Perugia, 20 giugno-15settembre 2001, Perugia 2001.• F. Dufour (a cura di), Perugia. Città d’arte, Perugia 2002.• P. Bartoli (a cura di), Parole di pietra, Perugia 2004.• E. Mori, Alla scoperta della Perugia celata, Perugia 2004.• Archaeological Itineraries, Perugia 2005.• M. Terzetti (a cura di), Perugia. Guida-racconto della città, Perugia 2005.• G.R. Coopmans de Yoldi, G. Ser-Giacomi (a cura di), La basilica di San Domenico di Perugia, Perugia 2006.• C. Cutini (a cura di), “Domus Misericordiae”. Settecento anni di storia dell’ospedale di Perugia, Perugia 2006.• V. Garibaldi (a cura di), Il portale del palazzo dei Priori di Perugia,Perugia 2006.• Guide to Perugia, Perugia 2006.• R. Zuccherini, I camminaPerugia. Le vie dei poeti, Perugia 2007.

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Travel notes

Travel notes

Information and tourist welcome offices(Communes of Perugia, Corciano, Deruta, Torgiano)Loggia dei Lanari, Piazza Matteotti, 18 - 06122 Perugiatel. +39 075 5772686 - fax +39 075 5720988iat@comune.perugia.it, info@iat.perugia.itwww.comune.perugia.it

Tourist Guide ServiceAGTU - Tourist Guide Association of UmbriaVia D. Doni, 18/b - 06081 Assisi tel. +39 075 815228 - fax +39 075 815229info@assoguide.itwww.assoguide.it

Tourist Guide AssociationLargo Cacciatori delle Alpi, 3/B - 06121 Perugiatel. +39 075 5732933 - fax +39 075 5727235info@guideinumbria.comwww.guideinumbria.com

Card Perugia Città MuseoCard for visiting the artistic sities of PerugiaInfo: Museum System Services Sistema Museo Toll-free number: +39 800 961 993www.sistemamuseo.it

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Tourist information

PhotographsGiovanni Aglietti - Quattroemme

Printed in June 2007