Museums in the Province of Rimini

cop_musei EN 3-01-2008 10:57 Pagina 2

Colori compositi

C M Y CM MY CY CMY K

Cattolica- Regina Museum

Gemmano- Onferno Guided Nature Reserve

Mondaino- Municipal Museum

Montegridolfo- Gothic Line Museum

Montescudo- Valliano Ethnography Museum

Riccione- Villa Franceschi Modern

and Contemporary Art Gallery- Local History Museum

Rimini- Municipal Museum- Fellini Museum- Museum of Looking,

Ethnography Collections- Museum of Offshore Fishing and Shells

Saludecio- Museum of Saludecio

and of the Blessed AmatoSantarcangelo di Romagna

- History and Archaeology Museum- Museum of Rural Life in Romagna

Verucchio- Municipal Archaeology Museum

Pier Giorgio Pasini

Museums in the Province of Rimini In search of art, history, and culture

Coordination:

Valerio Lessi, Sonia Vico, Marino Campana

Graphic design:

Relè - Tassinari/Vetta

Photography:

Photo Library,

Assessorato al Turismo

della Provincia di Rimini

(Provincial Department of Tourism)

L. Bottaro, S. Di Bartolo, T. Mosconi;

photo libraries of the Museums

presented in this guide

Translation:

Gillian Forlivesi Heywood

Link-Up, Rimini

Page Layout:

Litoincisa87, Rimini

Licia Romani

First Edition 2007

Reprinted 2008

Provincia di RiminiAssessorato alla CulturaAssessorato al TurismoAgenzia marketing turistico Riviera di Rimini

Index

5 Museums in the Province

9 1. The World of Nature - Mondaino, Musei di Mondaino (Municipal Museum),

Palaeontology Section- Gemmano, Museo Naturalistico della Riserva

Naturale Orientata di Onferno (Onferno Guided Nature Reserve)

15 2. The World of Archaeology- Riccione, Museo del Territorio

(Local History Museum)- Verucchio, Museo Civico Archeologico

(Municipal Archaeology Museum)- Rimini, Museo della Città (Municipal Museum),

Archaeology Section - Cattolica, Museo della Regina (Regina Museum),

Archaeology Section- Santarcangelo, Museo Storico Archeologico (History

and Archaeology Museum), Archaeology Section

33 3. Art and History- Rimini, Museo della Città (Municipal Museum),

Art and History Section - Saludecio, Museo di Saludecio e del Beato Amato

(Museum of Saludecio and of the Blessed Amato) - Santarcangelo, MUSAS, Museo Storico Archeologico

(History and Archaeology Museum) Art Section - Mondaino, Musei di Mondaino (Municipal

Museum), Majolica Section

45 4. Local Life- Santarcangelo, Museo degli Usi e Costumi della

Gente di Romagna (Museum of Rural Life in Romagna)

- Montescudo, Museo Etnografico di Valliano (Valliano Ethnography Museum)

- Cattolica, Museo della Regina (Regina Museum) Marine Section

- Viserbella di Rimini, Museo della Piccola Pesca e delle Conchiglie (Museum of Offshore Fishing and Shells)

>

>

>

>

>

55 5. The Modern World - Montegridolfo, Museo della Linea dei Goti

(Gothic Line Museum)- Riccione, Galleria d’Arte Moderna e Contemporanea

Villa Franceschi (Villa Franceschi Modern and Contemporary Art Gallery)

- Rimini, Museo Fellini (Fellini Museum) - Rimini, Museo degli Sguardi (Museum of Looking),

Ethnography Collections

64 Further information: a brief bibliography

Before leaving home visit us at www.riviera.rimini.itwww.cultura.provincia.rimini.it

>

>

www >

History has left many signs and traces in the territory ofRimini: in its buildings, streets, urban layout, and art; andequally in its customs, language, l iterary culture, andagriculture. The tokens of this history, now scattered anddivorced of context, have been collected with love and patience,and are now displayed in a number of museums, large andsmall, of ancient or recent foundation. These museums shouldnot be seen as mere anthologies of “beautiful” or “curious”objects, but as places where we can experience the culture, theway of life, and the human events of this land, the furthestcorner of the Romagna region, so gaining an insight into thenumerous different roles it has played over the centuries. Thesecollections bear witness to the high degree of civilisation,explain the relative originality, and account for the openhospitable nature of the people in this region.

The territory of Rimini owes its complex and eventfulhistory to its geographical location. As is immediately evident,the area acts as a “hinge” between northern Italy, characterisedby the great Po Valley Plain, and central Italy, delineated by theApennine mountains. At the same time, it is in a sense the“terminal” for connections between the north and the centre ofthe country and a transit centre for maritime links with thecountries along the Adriatic coast and with the easternMediterranean. Rimini is the focal point where numerous roadsbegin, leading to Lombardy and the Veneto region, to Apuliaand Tuscany, to Umbria and to Rome; and its harbour on themouth of the river Marecchia is the point of departure for searoutes to Dalmatia and to Greece. These sea routes were muchused by both merchants and pirates; while the overland routeswere traversed by merchants from the Baltic countries followingthe amber road and by the Etruscans in search of new contacts;by the Roman Legions who invaded the Po Valley Plain in orderto enlarge the dominions of Rome; by invading hordes ofbarbarians hoping to conquer Italy, pitted against the “Romans”of Byzantium; and subsequently by Longobards eager to findnew lands; by German emperors intent upon reasserting theirrights against those of the Papacy, and by bands of mercenariesin search of a secure position; and finally by the armies involvedin that latest, most terrible struggle which was World War Two;for it was here, on the furthest tip of the Gothic Line, that one ofthe last great battles of the “Italian campaign” was fought.

The territory of Rimini is on the edge of the Po Valley Plainand is bordered by the sea and by the foothills of the Apennine

Rimini, Museo della Città

(Municipal Museum):

majolica stove decorated with

a representation of

dexterarum iunctio, early

nineteenth century.

Museums in the Province

5

Mountains and by Mount Titano. These are by no meansimpassable barriers or borders; however, they do invitetravellers to halt and to change step, and so are to some extenta limitation and a filter, a place of passage and also a land ofexpectations and contentions. Here are found fragments ofcultures and civilisations which over the course of time havesettled into the territory and amalgamated.

These numerous erratic tokens, material and artistic, aremainly collected in fifteen local museums, linked into a networkby a provincial “system” which supports and promotes them,enabling them to integrate with one another to offeropportunities and incentives for discovering the territory and itsculture. In this brief guide the museums are grouped accordingto type: first those which illustrate the geological formation, theconformation and the nature of the territory; then those relativeto its early populations and ancient civilisations, notably theVillanovan and Roman; then the museums of objects and worksof art produced from the Middle Ages to the Modern Era. Thenthere are the museums which illustrate rural life and life at sea,and those dealing with the past century and the Second WorldWar, which in causing so many deaths and so much damage inthe area has left indelible marks on its history and appearance.

This grouping prompts itineraries through the evolvingages of history, rather than through space; but the spacecovered by the territory of Rimini is small, and both easy andpleasant to visit, especially inland, where you will find a greatvariety of landscape and a dense network of roads.

It may seem obvious, but it is worth noting that all themuseums in the Province of Rimini have strong links to theterritory, to its history, and to its people, and should thereforebe seen, understood, and enjoyed in connection with the placeswhich they illustrate; this increases their charm and makes themunique, original, and very much alive.


(Municipal Museum), room

with seventeenth-century

tapestry hangings.

6

There is no Natural History Museum in the Province ofRimini; there is, however, a Nature Reserve and a network ofnature centres where it is possible to observe and study marinelife and the wildlife of the hill country; these centres carry outmany environmental education activities. The nature centres arepartly in the public and partly in the private sector; they arenormally under mixed management and are promoted bymunicipalities, voluntary associations, and socially useful non-profit organisations. In the middle Marecchia valley are foundthe Osservatorio Naturalistico Valmarecchia (Marecchia ValleyNature Observatory), close to the wildlife protection oasis inTorriana Montebello, and the outstation of the Rimini WWFEnvironmental Education Centre, Oasi di Ca’ Brigida atVerucchio. In the Conca Valley is the Riserva Naturale Orientatadi Onferno (Onferno Guided Nature Reserve) in the municipalityof Gemmano. Marine life is covered by the Fondazione Cetacea(Cetacean Study Centre) in Riccione, by the OsservatorioAmbientale Comunale (Municipal Environment Observatory) inCattolica and by Parco Le Navi Aquarium, also in Cattolica.

The museums of Mondaino and Gemmano (Onferno) dealwith the formation and conformation of the territory, referencesto which are also found in museums devoted primarily toarchaeology. For a general overview, see especially the museumof Riccione , which is here included in the chapter onarchaeology.

Palaeontology specimens (including a fine collection offossils from the river Marecchia) awaiting classification in aseparate section are to be found at the Museo della Città(Municipal Museum) in Rimini. Further material is on display inthe fortress of Montefiore, but this is not easily accessible andis awaiting reorganisation. There is also a significant collectionof Mediterranean seashells in the Museum of Viserbella (see),and another in the Tower of Bellaria.

Gemmano, young people

visiting the Riserva Naturale

Orientata di Onferno (Onferno

Guided Nature Reserve).

1. The World of Nature

9

This museum is specifically devoted to fossils, speciallyichthyoids found in the municipality of Mondaino; but its mainaim is didactic, an introduction to the earth’s most ancienthistory, covering a long period which scholars place betweenthe Miocene and Pleistocene periods, in the Messinian period,about six million years ago. The Mondaino area (like nearbyMontefiore and Saludecio) was then covered by a great lake ofsalt water, between one hundred and two hundred metres deepat least, which evaporation gradually dried out. This is why thearea is so rich in fossils, which were already recorded in thenineteenth century, but have been a subject for study only since1983, when a landslide led to a programme of organisedexcavation.

The museum exhibits, scientifically classified, a greatquantity of fossils found during these excavations together withothers discovered at various times in other areas of theterritory: there are many species of fossil fish, some of themvery rare, and also molluscs, echinoderms and vegetablespecimens. One species of fossil found here seems to have noparallels in other areas: this is the lantern fish denominatedCeratoscopoles miocenicus. It was of course the particularnature of the sedi ments which filled the great lake, and whichwere formed when the sea evaporated, which allowed thefossilisation of the remains of the organisms living there.

Besides medium and small fish there were also some largespecies in the Messinian basin, such as Procacharodonmegalodo, a giant shark which could be as much as thirtymetres long and which was widespread during the Mioceneperiod: some teeth of this species have been found. A dioramain the Museum recalls its presence in a reconstruction of themarine environment during the Messinian period.

The Museum is situated on the ground floor of the fourteenthcentury Malatesta fortress which also houses the Town Hall. Nextto it is a splendid little circular piazza with a portico, built in thenineteenth century. This piazza is the point of departure for thelong straight main street of the village, along which are found theeighteenth-century parish church dedicated to Saint MichaelArchangel and the seventeenth-century former convent of SantaChiara (Saint Clare).

Mondaino

Musei di Mondaino

piazza Maggiore, 1

tel. 0541 981674

fax 0541 982060

[email protected]

• summer opening times

(1st June to 15th September):

Monday to Saturday 9:00-

12:00; Sunday 17:00-21:00;

Tuesday closed

• winter opening times

(16th September to 31st May):


12:00; Sunday 10:00-13:00/

15:00-18:00; Tuesday closed

• entrance free of charge

Fossil remains of a fish and

of leaves in tripoli stone from

Mondaino.

Mondaino: Municipal Museum,Palaeontology Section

11

This museum too is partly devoted to the history of theearth. It was opened in 1995 by the Municipality of Gemmano inthe Onferno Guided Nature Reserve (274 hectares) next to awell-known natural cavern over 700 metres long and over 70deep. It is located in an area of outstanding natural beauty inthe rebuilt and especially re-planned historic parish churchdedicated to Saint Columba (documents exist from 1136), whichsuffered severe damage during World War Two.

First the museum exhibits a collection of rock samples, withspecial attention to various types of chalk which often surfacesin this area, in layers or in blocks. Together with eloquentgraphic items, there is a large three-dimensional model of achalk molecule enlarged about 3500 times. That so muchattention is paid to this mineral and this rock is owing to the factthat the fortified village of Onferno, the small mediaevalnucleus where the museum is situated, is built on a large blockof chalk, in which the waters of a seasonal torrential streamhave hollowed out - over the course of thousands of years - acavern, explored and scientifically documented only in 1916.This cavern, underneath the village and the museum, isillustrated by means of a large model created in accordance withthe findings of explorations carried out in the 1960s.

In the Museum, ideally linked to the cavern, are found twosections: one is devoted to speleology and another tochiropters, better known as bats. The bat colony resident in thecavern is one of the largest in Italy, numbering about sixthousand specimens of seven different species.

The flora and fauna peculiar to the area also have theirplace in the museum, with display cases, explanatory placardsand multimedia points, and a diorama evidences the species ofamphibians, reptiles and mammals which still populate thearea. There is a section devoted to the birds which nest here,including especially perching birds and diurnal raptors.

A visit to the Museum should be the prelude to visiting thenature reserve, the garden of flora from the hills, and the cavernitself, a visit requiring the presence of the specialised guidesavailable. These guides are especially competent and expert inpresenting the environment to school parties and inenvironmental education.

Gemmano

Museo Naturalistico della

Riserva Naturale Orientata

di Onferno

via Provinciale Onferno

tel. 0541 854060

tel/fax 0541 984694

www.regione.emilia-

romagna/parchi/onferno

[email protected]


(15th June to 15th September):

9:30-12:30/15:00-18:00

• winter opening times:

Sunday 15:00-17:30

• groups and school parties:

by prior arrangement

• entrance fee payable

Above: left, panel illustrating

the Messinian period; right,

bat (Blyth’s Horseshoe bat,

Myotis blythii). Below, the

Onferno cave.

Gemmano: Onferno Guided Nature Reserve

13

The territory of Rimini has been inhabited by Man sincePalaeolithic times: that is, for over two hundred thousand years.His traces are everywhere; those of the earliest times areweaker, but there are frequent and even “monumental” remainsfrom Roman times. So it should come as no surprise that thereare so many archaeology museums, or museums withsignificant archaeology sections, in the Rimini area.

The oldest archaeology museum is in Rimini itself, acollection built by a local scholar and excellent historian: LuigiTonini. It was he who in 1871 formed the Rimini “ArchaeologyGallery”, the first real museum to cover the entire territory, sinceit brought together finds and manufactured objects from thearea between the Uso and Conca rivers. These exhibits concernpre-history and ancient history, and the museum became a“propeller” for research and archaeological study. World WarTwo brought about its destruction, and now it is beingpainstakingly rebuilt so as to favour the optimum display andenhancement of the numerous exhibits in its keeping, many ofwhich have been studied in greater depth during recentdecades, leading to a better understanding of their significance.

Only a century after Tonini’s Gallery did other museumsopen in the Rimini area, each with an archaeology sectionexhibiting manufactured objects originating from a smallgeographical area, making it possible to develop and explore indepth particular themes connected with the territory and withhuman habitation there. Thus we find the Villanovan civilisationin Verucchio, pottery production in Santarcangelo, and relationswith the major consular roads in Cattolica. This brief guide canoffer only a small sample of the riches to be found in thesemuseums: an abundance not only of manufactured goods butalso of information and suggestions, enhanced by optimuminstallation and assiduous attention to permanent education anddidactic activity.

Small collections of archaeological finds are also to befound outside the museums of the provincial network: forexample in the municipal libraries of San Giovanni in Marignanoand Morciano. Furthermore, in Rimini the remains of a domuswith a mosaic pavement have been incorporated into themuseum while remaining in loco, in via Sigismondo, at theCamera di Commercio (Chamber of Commerce), and in viaTempio Malatestiano, in the offices of the Prefettura.Riccione, Museo del Territorio

(Local History Museum), clay

statuette, 1st century B.C.

2. The World of Archaeology

15

This museum is the ideal starting place for visiting theprovincial archaeology museums, because at present it is theonly one to supply those elements essential to understandingthe evolution of the territory of Rimini and in particular theConca Valley, on the northern edge of which stands Riccione.

This museum was opened in the Municipal Library duringthe 1960s through the research and study of a group ofdedicated people, and was organised definitively in 1990 in the“Centro della Pesa” multi-function centre.

Since 1998 it has been named for the archaeologist LuigiGhirotti, Honorary Inspector of Antiquities, who was one of theprincipal founders of the museum. The Museum has a verymodern layout and is organised with exemplary didactic clarityin six sections which contain interesting paleoethnology andarchaeology exhibits. First there is a general introductionconcerning the origin and evolution of the earth, followed by asection illustrating the local geological situation by means ofgraphics and a model of the Conca Valley and neighbouringareas. Its complicated geological history explains the presentconformation of the territory, shaped tens of millions of yearsago by the superimposition of rocks which emerged from thesea bed and then slid along the clay, by fractures in these rocks,and by the changing flow of the rivers which eroded and shapedthe uneven surface of the land which emerged. Specimens ofrocks, minerals and fossils both animal and vegetable bearwitness to thousands of years of evolution, up to theappearance of large mammals such as the elephant (ormammoth), which is recorded in the large molars and afragment of a tusk; the prehistoric bison, of which have beenfound a piece of a skull, a jawbone, and several bones, makingpossible the reconstruction of a half-skeleton; a giant deer, andother minor animals (bear, rhinoceros, beaver, rat etc.). Adiorama reconstructs the environment of the Conca basin as itmust have been during a period lasting from 200,000 to 100,000years ago, with a great lake and many marshes, but already longfrequented by Man.

Surface archaeological research and casual finds havemade it possible to document the earliest traces of mankind inthe area from the inferior Palaeolithic period: pebbles firstrough-hewn in a very rudimentary fashion, then chipped intoshape with some skill, bear witness to the presence of mankindin an environment which must have been very different fromthat of the present day: stretches of water, marshland, and

Riccione

Museo del Territorio

Centro Culturale della Pesa

viale Lazio, 10

tel. 0541 600113

[email protected]


(21st June to 31st August):

Tuesday to Saturday 9:00-

12:00; open Tuesday evening,

Wednesday and Friday 21:00-

23:00; every Wednesday at

21:00 laboratory for young

people and free guided visit

(in Other languages by prior

arrangement minimum 10

people; Sunday and Monday

closed


Tuesday, Wednesday and

Friday 9:00-12:00/15:00-18:00;

Thursday and Saturday 9:00-

12:00; closed Monday and

Sunday


Above, reconstructed

skeleton of a bison (Bison

priscus from the Pleistocene

era, found in the river Conca.

Below: left, tomb from the

burial area along the Via

Flaminia (1st century A.D.);

right, fragment of an

amphora, small pots,

lachrymators, lamps from the

same necropolis.

Riccione: Local History Museum

17

dense wild vegetation. The museum has a good collection ofstone exhibits from the Palaeolithic and Neolithic ages found invarious places in the valley (municipalities of Riccione, Misano,Morciano and Montefiore). The fifth section of the museum isdevoted to the Neolithic and Aeneolithic ages, and to theCopper, Bronze, and Iron Ages. There are exhibits of stone,metal, and pottery (axes, daggers, mattocks, arrow tips,brooches, various kinds of vessels) from settlements in andaround Riccione. Tokens of the Villanovan civilisation are few inthis area, but there is an abundance in the nearby Marecchiavalley (these can be found in the Museo archeologico diVerucchio, Municipal Archaeology Museum: see).

There are exhibits from the successive period, includingsome fragments of rare Greek pottery dating from the fifthcentury found in Morciano and Misano, which suggests thatthere was contact and perhaps trade with Greece, and otherexhibits from a Gallic tomb of the third century B.C. found inMisano, which suggests, according to R. Bambini, that theremay have been some survival of Celtic culture in an age in whichthe territory was almost wholly Romanised.

The last section of the Museum covers the Roman conquestand colonisation of the territory; the display cases here containobjects dating from the third century B.C. to the third centuryA.D. It should also be noted that the archaeological materialfound in the area during the nineteenth century (partly recordedhere in photographs) is now in the archaeology section of theMuseo della Città (Municipal Museum) of Rimini.

The Romans appeared in this area after the battle ofSentinum (295 B.C.), but only after the founding of the Latincolony Ariminum (268 B.C.) and the consequent granting of landto settlers were they able to make serious headway against theGallic population. This was a frontier area, soon served by theVia Flaminia (220 B.C.) linking Rimini to Rome. In the area therewere certainly scattered farms and country houses, of whichtraces remain in about fifty sites and from which come theexhibits on display here: fragments of crockery, pieces ofpavement in terracotta and mosaic, fragments of paintedplaster, elements of suspensurae (proving the existence ofdomestic bath-houses), stamped tiles. A number of small andmedium-size kilns were built to support local building andagriculture; these produced bricks, tiles, crockery, wine jars andoil-lamps, of which many traces have been found.

It appears that the only inhabited area of any significant18

size was located on the Via Flaminia at San Lorenzo in Strada.Recent excavations (1995-2001) have revealed traces ofdwellings and of industries (the remains are preserved in situ), anecropolis, a kiln, and perhaps a religious building. From SanLorenzo in Strada come decorative architectural elements ofgreat beauty (from the second-first century B.C.), some of whichare now in the Museum in Rimini, and from the tombs in thenecropolis come funerary objects including objects in glass andbone, coins, and pottery. Close to the Roman settlement, whichit served, there stood in very ancient times - althoughdocuments exist only from 997 - the parish church of SanLorenzo in Strada (rebuilt after the Second World War).

The maps displayed near the exit illustrate the urbandevelopment of Riccione from the eighteenth century to thepresent day.

19

The Museum of Riccione gives an overview of the Concavalley and much of the territory of Rimini from its origins toRoman times, and thus refers to an area vast in bothgeographical and temporal terms, while the exhibits in theMuseum of Verucchio refer to a single culture, which flourishedin the Marecchia valley and especially in the Verucchio areaduring the Iron Age, over a period of time between the ninth andseventh centuries B.C. This was a mysterious and fascinatingculture, known from the late nineteenth century as “Villanovan”,because the exhibits which illustrate it were comparable withthose found in 1858 at Villanova near Bologna.

Finds of “very ancient” materials in the area aroundVerucchio are noted from the seventeenth century, when theyaroused considerable interest. In the eighteenth and nineteenthcenturies a number of collections had already been formed fromthese materials, but only at the end of the nineteenth century(1893) did the first real excavations take place, revealing tombsrich in funerary objects (acquired by the Museum of Rimini).Exploration of the territory, still in progress, began again in theearly 1960s; to date, four distinct burial zones have beenidentified on the slopes and at the foot of the hill whereVerucchio stands, and over five hundred tombs have beenexcavated, yielding splendid funerary objects including somevery rare pieces. A selection of these is on display in the presentMuseum, which was opened in 1985 and completely reorganisedin 1995 through the combined efforts of the SoprintendenzaArcheologica dell’Emilia (Regional Archaeology Department) andby the civic administration of Verucchio, in accordance with aconvention stipulated in 1993 between the Ministry and theMunicipality.

The Villanovan culture is the expression of a populationprobably of Etruscan origin, or strongly influenced by theEtruscans, who in the ninth century settled on this hill (altitude296mt) in the Marecchia valley, the closest to the sea. This was aplace easy to defend, situated on the rudimentary road which ledacross the Viamaggio pass into Tuscany, following the route ofthe amber traders who came south from the Baltic countries; andit was close to the sea, facilitating trade with the coastal towns ofthe Adriatic and Aegean seas. The exact location of thesettlement is still unknown: it may correspond to the spur of rockwhere the present town stands, dominating the lower course ofthe river Marecchia and the entire plain as far as the Adriatic. Thelocation of the burial grounds, however, is partly known, and the

Verucchio

Museo Civico Archeologico

via Sant’Agostino, 14

tel. 0541 670222

fax 0541 673266

www.comunediverucchio.it

[email protected]

• open April/September: daily

9:30-12:30/14:30-19:30

• open October/March:

Saturday 14:30-18:30; Sunday

10:00-13:00/14:30-18:00

• open at other times for

groups and school parties by

prior arrangement


Above: left, visitors in the

Ancestors’ room; right,

crested clay helmet. Centre:

left, “Throne” in carved wood,

from tomb Lippi 89; right,

gold buckles and ornaments

in gold and amber. Below:

left, carved wooden fan

handle; right, biconical

ossuary with open-work

handle.

Verucchio: Municipal Archaeology Museum

21

funerary objects found there give an idea of the way of life of thisancient population, whose economy was based on agriculture,handicrafts, and trade, and who dominated the territory betweenthe rivers Conca and Uso, as far as the sea.

The typical Villanovan funeral rite was cremation. Tombsare usually pits containing a biconical terracotta ossuary, oftenrichly decorated, sealed with an upturned bowl; or pits in whichbesides the ossuary there is a large dolium containing funeraryobjects; or sometimes rectangular graves in which is placed alarge chest containing an urn, wound in a mantle, holding theashes of the deceased, and household vessels, furniture,utensils, arms, and textiles.

The museum occupies three floors of a seventeenth-centuryformer Augustinian convent. The first room, called “theAncestors’ Room”, has eight display cases containing exhibitsfound in tombs dating from the ninth to the eighth century B.C.Many of these come from the so-called “Campo del Tesoro” (theTreasure Field), the oldest of the Verucchio necropolises, wherethere are very rich tombs of both men and women: outstandingexhibits include clasps in bronze and amber, jewellery (somemade of gold), spindles and bobbins, and ceramics. Proceedingto the lower ground floor, we find the “Room of the Men at Arms”with display cases exhibiting mainly tombs of warriors withequipment including horses’ bits, swords, spear-heads, axes,knives, ornaments, and bronze or ceramic vessels. Next is the“Mantle Room” where there is a display case showing precioustextile specimens from various tombs, and a large semi-circularwoollen mantle. The historian Patrizia von Eles has noted thatVerucchio is the only example in proto-historic Italy of garmentspreserved almost integrally, making it possible to decipher theshape, the raw materials used for weaving and dyeing, and theweaving techniques employed. Other display cases containinstruments for spinning and weaving; female tombs withossuaries entirely covered in fabric; jewellery; banquetingvessels; vegetable fibre containers; and other objects.

The most significant room on the first floor is the “ThroneRoom”, dominated by a large display case where can be seentomb 89 of the Lippi necropolis (under the fortress) excavated in1972. In the tomb was found a large wooden chest with a veryrich collection of objects: textiles; arms (of especial note are twohelmets, one with a tall bronze crest and the other with a bristlecrest); brooches of bronze, silver and gold; and woodenartefacts. On the cover of the chest stood a wooden throne, with

22

bronze bosses and with carvings illustrating scenes from dailylife, outstandingly well preserved. According to Patrizia von Eles,this must have been the tomb of one of the foremost members ofthe Verucchio aristocracy of the late eighth century B.C., a manwho played complex roles in his community, a warrior investedwith responsibilities which extended beyond the military sphereto include the social and religious spheres. There is also a femaletomb (tomb 47) also excavated in 1972 in the same area. Thisappears to have been the tomb of a woman of high rank, as canbe inferred from the quantity of amber clasps and from theirquality, and from the beautiful woven fabrics. The richness of theobjects found, and the fact that the funerary urn is of bronze andnot - as was common - of terracotta, confirm this hypothesis.

And finally, there is a room devoted to the sacred siteidentified on the plateau known as Pian del Monte, partlyexcavated in 1963 and 1971, where there is a pit from whichcome ceramic and bronze materials which can be dated betweenthe thirteenth and fifth centuries B.C. These include fragmentsof small bronze sculptures of excellent quality Etruscanmanufacture. Near this pit were found a number of bronzeshields which had been placed one on top of another; three ofthem have been reconstructed.

Regular excavation continues on the slopes of the hill whereVerucchio stands (in the burial-ground under the fortress, from2005); and study and classification of the abundant materialbrought to light also continues. The museum is thus in a continualstate of evolution, receiving these finds and enhancing them bymeans of study days, conferences and themed exhibitions ofoutstanding interest: in 1994 an exhibition entitled “Il dono delleEliadi. Ambra, e oreficerie dei principi etruschi di Verucchio” (Thegift of the Heliades: amber, and jewellery of the Etruscan princes ofVerucchio) and in 2006 “Il potere e la morte” (Power and Death).

23

The archaeology section of Rimini Municipal Museum isessential to an overview of ancient history and archaeologythroughout the territory of the Province of Rimini. (This sectionis still being re-arranged, and should be complete by the end of2008). Here are found thousands of exhibits covering periodsranging from pre-history to the late Roman empire, whichdocument and illustrate - making them “real” - the vicissitudesof population and civilisation of the territory from thePalaeolithic era to the Middle Ages. Needless to say, all ornearly all the Museum’s collection comes from local sources;however, its significance is not confined to a purely localcontext, as the visitor may discover from the exhibits already ondisplay. A rich variety of sculptures, mosaics and ceramicsillustrate life in the city during the second and third centuriesA.D., reconstructing many aspects of the civilisation which grewup in the Roman world of that time.

The Museum of Rimini is a very old foundation and has awealth of exhibits. It was founded in 1871-72 by the historianand archaeologist Luigi Tonini, who gave it the name of “GalleriaArcheologica” - an Archaeology Gallery. Here were broughttogether exhibits from all over the territory between the Rubiconand Conca rivers. It was located in the left portico of thecourtyard of the Gambalunga Library and was almost an“afterthought” to the municipal library; it was then rearrangedin 1931, with special attention to Roman exhibits, on the groundfloor of the former Franciscan convent next to the MalatestaTemple, subsequently destroyed altogether by bombing in 1943-44. Fortunately almost all the exhibits had been removed to aplace of safety and so survived, and are at present to be foundin the former Jesuit college now home to the Museo della Città(Municipal Museum), which brings together the entire historicand artistic patrimony belonging to the Municipality and theState. The archaeology section of the museum has more thandoubled over the last fifty years, partly owing to continuingresearch and partly because so much material has come to lightduring excavations for widespread building work throughout thecity centre, almost completely destroyed by bombing duringWorld War Two.

Since the end of the war, and most especially during the1980s, besides organising a number of temporary exhibitions,the Museum has carried out much-appreciated training sessionsfor teachers and educational activities for schools, popularisingactivities for a wider public, and has participated in nationwide

Rimini

Museo della Città

via Luigi Tonini, 1

tel. 0541 21482

fax 0541 704410

for teaching activities

tel. 0541 704421/26

www.comune.rimini.it

[email protected]




12:30/16:30-19:30; July-

August also Tuesday 21:00-

23:00; Sundays and public

holidays 16:30-19:30; Monday

closed (except public

holidays)


(16th September to 15th June):


12:30/17:00-19:00; Sundays

and public holidays 16:00-

19:00; Monday closed (except

public holidays)

• entrance fee payable;

Sunday entrance free of

charge

Above: left, part of the Roman

epigraphy collection; right,

display relating to imperial

cults. Below, detail of the

“ships” mosaic.

Rimini: Municipal Museum, Archaeology Section

25

exhibitions and events which have all served to draw attentionto the archaeological heritage of Rimini.

Since 1981 a Roman epigraphy collection has been open tothe public in the inner courtyard of the museum. Here are to befound about seventy inscriptions dating from the first centuryB.C. to the fifth century A.D., providing documentary evidence offorms of epigraphic communication in Roman Rimini andsupplying much information on many aspects of public andprivate life from the first century B.C. to the fourth century A.D.

From the time of the Roman republic onwards the city ofRimini, founded in 268 B.C. as a colonia latina and promoted tomunicipality in about 90 B.C., played a very important role bothin trade and in the military and political spheres. This was fullyrecognised at the time of Augustus, as can clearly be seen fromthe existence of two major monuments famous both for theirsize and their beauty: the Augustus Arch (27 B.C.) and theTiberius Bridge (14-21 A.D.), which the inhabitants of Riminihave always considered emblematic of their city: so much so,that from the Middle Ages onwards these have figured in thecity’s coat of arms. The richness of Roman Rimini’s civicbuildings is amply illustrated by the many exceptionally finemosaic pavements, mostly from Imperial times, now in themuseum; however, many of these are still in store awaitingexhibition space.

At present, in addition to the epigraphy collection, the onlysection on display is that relating to the second and thirdcenturies A.D., the height of the Imperial Age; this section wasopened in 2003. Exhibits include bronze and ceramic domesticvessels, coins, painted plaster, mosaics, marble statues andbronze statuettes, and fragments of architectural elements andsculpture. Together they give interesting insights into city lifeand its trading activities. Aspects illustrated here include theamphitheatre, built during the second century A.D. on the beachnext to the harbour; the cults of Imperial Rome; and relationsbetween the city and the sea. Above all, there is informationabout a number of splendid exemplars of domus: for example,that under Palazzo Diotallevi, which had a huge mosaicpavement with the figure of Hercules at its centre and to oneside an original scene showing three ships entering harbour(dating from the mid-second century A.D.), and the domusknown as the Surgeon’s House (second-third century A.D.),where excavations have recently brought to light, among otherthings, an exceptional collection of surgical and pharmaceutical

26

material comprising over 150 pieces, defined by Ortalli as themost extensive and complete set of ancient Roman medicalequipment still in existence. These finds have been restored andare all on display. The cubicle and the surgery of the medicalman who lived and practised in this house have beenreconstructed in the museum for teaching purposes. The housewas probably destroyed by fire during one of the first barbarianraids, about the middle of the third century A.D. The remains ofthis domus, including its mosaic pavements, are in PiazzaFerrari, close to the Museum; work is in progress to provide asuitable protective structure, after which visitors will be able toview the domus in loco.

Many small exhibits are on display to give an idea of theway of life in Roman households, from elements of furniture toamulets; from lamps to bronze and terracotta vessels for tableand kitchen; from amphorae to glass artefacts to objects forpersonal adornment and images of the guardian deities of thehousehold. Concerning religious beliefs, especially “private”worship, it appears that in Rimini the Dionysian cults were fairlypopular, as images have been found of Dionysus, Eros, Priapusand Silenus.

On the first and second floors of the same building are themediaeval and modern sections of the Museo della Città(Municipal Museum) (see).

27

In Roman times there was a settlement in Cattolica ofwhich only recently (1966) have traces begun to be identified.This settlement was located on the Via Flaminia, exactly half-way between Rimini and Pesaro, and is though to have been asmall urban centre which grew up around a mansio or stoppingplace for travellers - a sort of “post house” equipped for offeringhospitality to travellers and for changing and stabling horses.The theory is an attractive one, especially if one considers therecent history of Cattolica, already described by Leandro Albertiin the sixteenth century as a place full of inns for travellers.

The materials found during the excavations of 1966 andsuccessively in 1969, 1975, and 1997-98 have been collected in anew museum built in the year 2000, very well equipped and withgood explanatory panels which make it very eloquent.

The museum opens with the necessary considerationsconcerning the Roman Via Flaminia and on the organisation andtypology of the mansio, and illustrates the excavations inCattolica and the materials found, identified chronologically andby typology . There is a very interesting display, organised so asto respect the various archaeological strata, of material from aRoman well explored in 1997-98 in the area of the market place,offering some coins and a rich sample collection of householdceramic vessels dating from the first century B.C. to the ninthcentury A.D.

One room is devoted to the domus, illustrating its layoutand the building systems and materials employed, decorationand furnishings; another room deals with daily life and personalcare and hygiene; and another with trade. Exhibits of noteinclude a collection of lamps and one of amphorae, some ofwhich were found in the sea. Also found in the sea, in 1967, is acollection of majolica drinking vessels all similar in type, datingfrom the sixteenth and seventeenth centuries, part of the cargoof a ship which foundered between Gabicce and Cattolica. Thelast room houses more recently-acquired collections.

The explanatory panels give information also about themore recent history of Cattolica, from the legend of the “sunkencity” to the foundation of the modern town (1271), from theorigins of the present name of the town to the network oftunnels underneath the streets. The upper floor of the building,once a Pilgrim Hospice founded in 1584 and rebuilt in the 1930sas a barracks for the Carabinieri, houses the Adriatic marinesection (see).

Cattolica

Museo della Regina

via Pascoli, 23

tel. 0541 966577

fax 0541 967803

www.cattolica.net

[email protected]

• summer opening times:

Tuesday 9:30-12:30;

Wednesday to Sunday 16:30-

19:00/20:30-23:00; Monday

closed


Tuesday to Thursday 9:30-

12:30;

Friday and Saturday 9:30-

12:30/15:30-19:00; Sunday

15:30-19:00; Monday closed


Above, display case with

materials found in the well of

the former market place.

Below: left, clay lamps; Right,

fragments of amphorae and

amphorae found in the sea off

Cattolica and towards the

promontory of Focara.

Cattolica: Regina Museum, Archaeology Section

29

This museum, devoted to the art and archaeology of theterritory of Santarcangelo, was opened in 2005, and is one ofthe most recent museums in the Province of Rimini. It occupiesfive different levels of a historic building (Palazzo Cenci)especially restored in the 1980s and 90s, located in thecharacteristic and picturesque upper part of the beautifulhistoric core of this little town.

The archaeology section of the Museum is largely devoted toan activity which, favoured by the abundance of clay and wood,has undoubtedly had great influence in this area: kilns and thearticles produced therein; partly bricks, but chiefly containers fordomestic use and above all for use in farming. Roman kilns withsettling tanks and firing chambers have been found (and otherscontinue to be noted and brought to light) in the southern part ofthe territory of Santarcangelo, suggesting highly-developedartisan activity, almost an “industrial estate” or specialised “craftcentre”. Given the importance of this activity, the Museum openswith a large model of a kiln which illustrates a constructiontypology recurring almost unchanged over the centuries, and thedisplay cases exhibit the most significant sample objects of localproduction, including urns, amphorae, jars and lamps. As MariaLuisa Stoppioni has pointed out, during the fifth and sixthcenturies A.D. lamps began to be adorned with attractive originaldecorations, and for this reason a separate space is accorded tothem.

The pottery industry in Santarcangelo seems to have beenespecially well organised in relation to local production ofcereals and above all wine, which was certainly abundant in thelower Marecchia valley, intensively cultivated and dotted withscattered farmhouses. From these farmhouses come many ofthe exhibits displayed in the glass cases on the second floor,objects illustrating daily life, the home, religious beliefs, and thecult of the dead.

Certainly the territory was inhabited and cultivated longbefore the Romans colonised it: and there are many exhibitswhich tell us of these long-ago ancestors. These items, arrangedaccording to origin and chronology, are displayed in a smallroom devoted to Pre-history and Proto-history.

The visit to the Museum continues on the upper floor in thesection dealing with the Middle Ages and the history of theModern Era (see).

Santarcangelo di Romagna

MUSAS - Museo Storico

Archeologico

via della Costa, 26

tel/fax 0541 625212

www.metweb.org/musas

[email protected]


(June-August): Tuesday to

Sunday 10:30-12:30/16:30-

19:00; Monday closed



12:30; Tuesday, Thursday,

Saturday and Sunday 15:30-



Above, the farmhouse room.

Below: left, clay lamps; right,

bronze statuette of Harpocras,

second century A.D.

Santarcangelo: Museum of History and Archaeology, Archaeology Section

31

The greatest period of the Middle Ages in Rimini coincidedwith the coming to power of the Malatesta family. The art worldat this time saw the fourteenth-century Rimini School flourish,and Humanism has left us, in the shape of the MalatestaTemple, one of its earliest, most complex and most splendidmonuments, commissioned by the Malatestas. In the twohundred years of their rule (fourteenth and fifteenth centuries)they built or re-built almost all of the fortresses which stilldominate the hills around Rimini and in places the hills of LeMarche too. They also established a literary court able to holdits own with those of northern Italy and of Tuscany. Rimini wasthe capital of the Malatesta state and the Museum of Rimini hasin its possession various rare artefacts from this period,together with masterpieces by great artists of the followingperiod, by famous local artists such as Cagnacci and Il Centino,and great Bolognese painters including Guercino and Cantarini.In this area, it was Bolognese culture which was the protagonistof the art world from the seventeenth to the nineteenthcenturies; but the vitality of the territory in these centuries isevident most of all in the new urban layouts of the period and inthe many building erected, especially churches and theatres,which are plentiful throughout the territory.

The Middle Ages and the eighteenth century have providedthe museum with many works of art, through which we are ableto gain a sense of the cultural climate and reconstruct the historyof the territory down to the present day. The richest and mostcomplete Museum is of course that of Rimini, which has majorworks of art from every century. The museum of Santarcangelotoo has mediaeval and Renaissance masterpieces, while that ofSaludecio has important seventeenth-century paintings andprecious church furnishings from the eighteenth century. A visitto these three museums will be a rewarding experience forseveral reasons - quality of the exhibits, up-to-date layout, andefficient management - and will suggest a number of ways inwhich to appreciate more fully the territory.

Also of notable interest is the permanent collection ofMajolica exhibits on display in Mondaino (fourteenth-seventeenthcenturies), a collection inaugurated in 2004 when fragments andreject pieces of locally-produced ceramics were found inMondaino. There is also a collection of mediaeval andRenaissance ceramics on view in the offices of the Province ofRimini, located on the site of the historic Misericordia hospital.The ceramics come from a “dump” belonging to the hospital itself.


(Municipal Museum),

Malatesta altar-piece showing

St Vincent Ferrer, by

Domenico Ghirlandaio and

workshop (1493-96).

3. Art and History

33

Thirty-six rooms occupying two floors of the eighteenth-century “palazzo” which was the college of the Jesuits in Rimini(and subsequently the city hospital): the “post-classic” sectionof Rimini Museum constitutes the largest and most significantart and history collection in the Province and one of theforemost in the Region. Here are gathered paintings andsculptures, ceramics and medals, engravings and architecturalfragments from the city and surrounding territory. As long agoas the early nineteenth century the Palazzo Comunale (TownHall) boasted a number of reception rooms adorned withpaintings and tapestries, but the first real museum set-uparrived only in 1924 on the first floor of the former SanFrancesco convent. This building was destroyed by bombing in1943-44, and after a number of temporary seats in which muchof the collection could not be shown, the museum was moved toits present location, purchased expressly for this purpose andrestored from 1990. Work is now in progress to complete thearchaeology section (see) and the rooms pertaining to theMiddle Ages, and restoration work is being undertaken on anadjoining building which will be devoted to contemporary art.Meanwhile, the mediaeval and Renaissance sections areawaiting a definitive arrangement; but already much of thecollection is on display in a rational layout which seeks to bringtogether in one harmonious whole the different requirements ofchronology and typology.

The first exhibits are a collection of mediaeval architecturalfragments (including pieces of a huge Romanesque portal),ceramics and coins from the period of the “comune” (mediaevalcity-state), and a huge fourteenth-century fresco showing TheLast Judgement. This fresco, exhibited in a large room equippedfor conferences and known as the “Judgement Room”, comesfrom the Augustinian church of San Giovanni Evangelista, whereit was located at the front of the nave. Dating from about 1310, itis one of the oldest and most important works of the fourteenth-century Rimini School of painting, which operated in the firsthalf of that century throughout the Emilia Romagna region, in LeMarche and in the Veneto region. It was influenced and in asense shaped by the example of Giotto, who in the latethirteenth century worked in Rimini for the Franciscans: there isstill a splendid Giotto Crucifix in the Malatesta Temple. TheRimini School produced excellent works of art now scatteredthrough all the major museums worldwide. The Museum ofRimini has works by Giovanni, Giuliano and Pietro da Rimini,

Rimini

Museo della Città

via Luigi Tonini, 1

tel. 0541 21482

fax 0541 704410

for teaching activities

tel. 0541 704421/26


[email protected]




12:30/16:30-19:30; July-

August also Tuesday 21:00-

23:00; Sundays and public

holidays 16:30-19:30; Monday

closed (except public

holidays)


(16th September to 15th June):


12:30/17:00-19:00; Sundays

and public holidays 16:00-

19:00; Monday closed (except

public holidays)



charge

Above, Giuliano da Rimini,

polyptych showing the

Coronation of the Virgin, circa

1315. Below, Giovanni Bellini,

Pietà, circa 1470.

Rimini: Municipal Museum, Art and History Section

35

the three greatest painters of this school.The development of the Rimini School coincided with the

coming to power of the Malatestas, a family which from thebeginning of the fourteenth to the end of the fifteenth centuryruled the city and extended its dominions into Le Marche andmuch of Romagna. Coats of arms and stone engravingsconcerning this family abound, especially relating toSigismondo Pandolfo Malatesta (1417-1468), to whom we oweCastel Sismondo fortress and the renowned Malatesta Temple.In the Museum is the almost complete series of Malatestamedals struck for Sigismondo by Pisanello and by Matteo de’Pasti, and these are among the greatest masterpieces of this artform, which can be considered an invention of the Renaissance.There is also a Young Coat-of-Arms Bearer by Agostino diDuccio from the Malatesta Temple, and from the MalatestaTemple too comes the the Museum’s greatest jewel, the Pietàpainted by Giovanni Bellini in about 1470. Pandolfo IVMalatesta, a nephew of Sigismondo and the last Lord of Rimini,commissioned Domenico Ghirlandaio to paint the greataltarpiece depicting saints Vincent, Rock and Sebastian beingvenerated by members of the Malatesta family (1493-96). Thiswas the last major masterpiece to be painted in the city. TheMuseum has a few works by that small number of Rimini artistsworking elsewhere in this century, such as Giovan Francescoand Lattanzio da Rimini, and some paintings by other Romagnaartists.

In the sixteenth century Rimini lost much of its prestige andwas ruled by Duke Valentino and by the Venetians beforecoming once more under the direct rule of the Papal State(1509). Nevertheless, the sixteenth century saw the realisationof a number of significant works in the fields of architecture andtown planning and the arrival of various masterpieces byGiorgio Vasari (at the Abbey of Scolca and in San Francescochurch, 1547 and 1548) and by Paolo Veronese (in San Giulianochurch, 1587-88), and also by minor artists such as MarcoMarchetti and Nicolò Frangipane (the Museum has someworks).

In terms of art, the seventeenth century is more interesting,not only because many works of art now in the Museum wereimported from the Veneto region (such as two outstanding smallpaintings by Francesco Maffei) and from Bologna (includingmasterpieces by Simone Cantarini and Guercino), but alsobecause of the presence in Rimini of two great local artists:

36

Guido Cagnacci (1601- 1663) and Giovan Francesco Nagli, knownas Il Centino (c. 1605- 1675). The Museum has a number of earlyworks by Cagnacci, of great charm (such as St Antony Abbot andVocation of St Matthew) and some works from the period of hismaturity (Cleopatra and a fine Portrait of a Monk and Doctor,both recent purchases); Il Centino is represented by a number ofmedium-size paintings and some altarpieces, which wellillustrate his ascetic, devout style. Also dating from the mid-seventeenth century is an exceptional series of tapestries fromPalazzo Comunale illustrating Stories of Semiramis, woven in theworkshop of Michiel Wouters at Antwerp. Also displayed in theTapestry Room is a collection of fifty-four ceramic exhibitsdeposited by the Fondazione Cassa di Risparmio di Rimini (alocal bank), most of which were produced locally between thefourteenth and nineteenth centuries.

One room is entirely devoted to still-life paintings, includingsome outstanding works by the Rimini friar-painter Nicola Levoli(1729-1801) and by Giovanni Rivalta of Faenza (1756-1832). Theeighteenth century has bequeathed many works by artists fromBologna and Rimini: especially of note are four frescos showingAngel musicians by Vittorio M. Bigari (1722), detached in 1917from the vault of the presbytery of San Giovanni Evangelistachurch, known as Sant’Agostino.

Nineteenth-century works in the Museum include works bythe painter Guglielmo Bilancioni, the sculptor Romeo Pazziniand other local artists; and the twentieth is represented by atemporary display of numerous self-portraits by modest localpainters. Finally, there is a small room exhibiting prints of thecity from the seventeenth to the nineteenth century, and twospacious galleries, one known as the “Portrait Gallery”, and theother as the “Coats of Arms Gallery”. On the ground floor of theMuseum are found lecture rooms and a section for temporaryexhibitions, and two rooms with graphic works and posters bythe famous René Gruau, pseudonym of the Rimini artist RenatoZavagli Ricciardelli (1909-2004).

37

This is a small museum, but very interesting for the qualityand typology of the works exhibited, all from the Saludecio areaand almost all the property of the adjacent parish church,dedicated to St Blaise.

The vestibule with archaeological finds gives access to aroom where are exhibited paintings, statues, reli quaries,liturgical furnishings, lamps and processional maces from theparish church and from historic lay confraternities. These wellexpress the religious climate of the area and at the same timehighlight the great importance of the village in the Conca valleyin the seventeenth and eighteenth centuries.

There are numerous beautiful silver chalices and finepaintings, some of them masterpieces, such as St Sixtus Popeand The procession of the Most Holy Sacrament by GuidoCagnacci (1628), Saints Antony Abbot and Antony of Padua byGiovan Francesco Nagli known as Il Centino (c. 1650), and TheBeheading of St John the Baptist by Claudio Ridolfi (c. 1630).

The second room is wholly devoted to the cult of theprotector of the village, the Blessed Amato (thirteenth century),whose body, the object of veneration, lies in the large right-hand chapel of the parish church. Pieces of seventeenth- andeighteenth-century silver, most of it produced in Rome, fill themain display case in this room, which also houses a largecollection of “historic” ex voto offerings.

The third room is the crypt of the parish church, anattractive setting for a collection of antique liturgical hangings,devotional statues produced in Faenza, and paintings. The“drapery” supported by angels, positioned on the High Altar ofthe crypt is the work of the Rimini sculptor Antonio Trentanove,who between 1798 and 1800 produced all the stucco work in thechurch. This last is the work of the architect Giuseppe Achillifrom Cesena, and was built between 1794 and 1803.

There are major works of art in the church too: TheMartyrdom of St Blaise on the High Altar, a documented work bythe friar minor Atanasio da Coriano (1800), and Our Lady ofMercy by Claudio Ridolfi (c. 1620) in the large chapel on theleft, part of an imposing Baroque ancona in gilded wood fromthe suppressed Oratorio of the Rosary.

Saludecio

Museo di Saludecio

e del Beato Amato

piazza Beato Amato, 2

tel. 0541 982100

• annual opening:

Sunday 15:00-19:00


Top: left, the room of the

Blessed Amato; right, Guido

Cagnacci, The procession of

the Most Holy Sacrament

(1628). Below: left, coat of

arms of Saludecio

embroidered on an

eighteenth-century liturgical

vestment; right, Antonio

Trentanove, Drapery with

Cherubs, stucco work in the

crypt (1798-1800).

Saludecio: Museum of Saludecio and of the Blessed Amato

39

While the archaeology section of the Museum (see) docu -ments life in Roman Santarcangelo, this section is mostlyconcerned with mediaeval and modern Santarcangelo, a smalltown standing on a hill next to a fortress of which there isdocumentary evidence from the twelfth century and which wasenlarged and strengthened by the Malatestas, who for so longruled the town as papal vicars. At the entrance is a model of thetown, showing present-day Santarcangelo, while a number ofpanels illustrate its development and surrounding territory, andothers offer a brief introduction to its chief monuments, from thesixth-century parish church still standing on the flat land near theriver to the Malatesta fortress and the mysterious, attractivetufaceous limestone caves which honeycomb the hill.

The five rooms which follow exhibit many works of art andfurnishings of local origin, some of them very fine, such as thosesaved from the now-destroyed San Francesco church, a hugeGothic edifice which stood just outside the town From thischurch come the Museum’s two foremost paintings: thepolyptych by the Venetian artist Jacobello di Bonomo dated1385, in perfect condition and complete with all its beautifulcarpentry details, and the panel painting of the Madonna andChild with St Francis and St George by the Ravenna painter LucaLonghi dated 1531 and commissioned by Antonello Zampeschi(who for some years held Santarcangelo in fief), shown in anattitude of devotion at the feet of Our Lady.

The seventeenth-century room presents paintings fromvarious places of origin and an early work by Guido Cagnacci(who was born in Santarcangelo in 1601 and died in Vienna in1663) showing the Madonna and Child, recently deposited by aprivate collector (L. Koelliker, 2006). The following room isdevoted to Pope Clement XIV, born in Santarcangelo in 1705:here are depicted, with three portraits, some of the gifts hepresented to the Convent of Santarcangelo, including a finesilver-gilt chalice. Next to these are the original model (on loanfrom the Museum of Imola) of the arch built in Santarcangelo inhis honour, and a modern model of the projected square - neverrealised - designed, like the arch, by the architect CosimoMorelli in 1777. The last room, which still has the originalnineteenth-century wall paintings, contains craft articles andnineteenth-century portraits of Santarcangelo personages.


MUSAS - Museo Storico

Archeologico

via della Costa, 26

tel/fax 0541 625212

www.metweb.org/musas

[email protected]



Sunday 10:30-12:30/16:30-








Above, Jacobello di Bonomo,

Polyptych (1385). Below: left,

Clement XIV room; right,

elements of fourteenth-

century architecture.

Santarcangelo: History and Archaeology Museum, Art Section

41

Following the discovery of the remains of a mediaevaltower, excavations were carried out in 1995 and numerousceramic fragments were found; according to Maria Grazia Maiolithese proved to be mainly scrap from the working and firing ofmajolica, confirming what had previously been merely a theory:that ceramic wares were produced here. Research wasdeveloped and extended, with the aid of volunteers under theguidance of the regional department responsible, and furthersimilar material was found, all of good quality: a representativesample is on display in this small new Museum opened in 2004.

There are many very fine examples of majolica ware, bothwhole pieces and fragments, all found in Mondaino and allproduced locally between the fourteenth and seventeenthcenturies. Scrap pieces and remains of first and second firingsare placed next to finished pieces, and there are explanatorypanels; all these elements together illustrate the main stages inthe production of majolica. The display of accessories forstacking pieces in the firing stove (spacers) and of ceramists’tools help to illustrate a meticulous and most evocativereconstruction of a sixteenth-century ceramist’s workshop.

Majolica production in Mondaino flourished during thefifteenth century and reached its height during the sixteenth,both in typology and in style, and seems to have contributed tothe style of ceramics produced in Le Marche and to a lesserextent in Romagna. The plates, bowls and dishes produced inMondaino are decorated in strong, warm colours. As S. Nepotihas pointed out, these finds demonstrate that majolica wasproduced here on a large scale until about the mid-seventeenthcentury, making it possible to identify as Mondaino warenumerous pieces in both public and private collectionspreviously attributed to Pesaro, Casteldurante, or even Venice.

Mondaino

Musei di Mondaino

piazza Maggiore, 1

tel. 0541 981674

fax 0541 982060

[email protected]


(1st June to 15th September):


12:00; Sunday 17:00-21:00;

Tuesday closed


(16th September to 31st May):


12:00; Sunday 10:00-13:00/

15:00-18:00; Tuesday closed


Above, reconstruction of a

sixteenth-century ceramist’s

workshop. Below: left,

sixteenth-century majolica

and glass wares from

Mondaino.

Mondaino: Municipal Museum, Majolica Section

43

There are four museums in the territory of Rimini devotedto the local way of life, two illustrating the rural world and twothe world of seafaring: almost a symbolic comparison betweenthe life and work of farmers and the life and work of fisher folk,and their customs and traditions.

These museums enable us to catch a glimpse of a worldwhich has now almost completely disappeared, discovering atleast in part the significance of actions and labours, beliefs andcustoms, which until very recently were our way of life, butwhich are now wholly extraneous to the modern world. A worldwhich in this area has been profoundly changed in a very shorttime not only by the progress of technology, but also by thehuge changes made to the economy, to local customs, and tothe prevailing mentality by the rapid development of theseaside holiday industry, which has had great influence also onagriculture, since so much farmland was abandoned in favour ofmigration towards the coast.

The foremost of these museums, the oldest and mostcomplete, is in Santarcangelo. It deals with all the agriculturalland in the Rimini area and much of the Romagna region.However, the other museums detailed here are also of greatinterest, all different in character and in some cases still beingput in order.

There is also another ethnology museum, similar to thesebut devoted to worlds far from our own and very different(Africa, Oceania, the East and the Americas). This is Museo degliSguardi (Museum of Looking), in Rimini, and it is described inthe chapter on the modern world.

Santarcangelo, Museo degli

Usi e Costumi della Gente di

Romagna (Museum of Rural

Life in Romagna), St Antony

Abbot, detail of a blanket for

oxen.

4. Local Life

45

In this ethnography museum is collected and preservedmaterial illustrating the way of life of the people of Romagna,especially in the Rimini and Cesena area. It was opened in 1981,the fruit of almost ten years’ research and preparation, in abuilding erected in 1924 for use as the municipalslaughterhouse. The layout was updated in 2005, and thecollection was enriched by the addition of further exhibits andnew ideas. Exhibited here are objects and instruments whichwere a part of rural life and work, especially faming and crafts,arranged and connected so as to reawaken the memory and thehistory of activities and actions (both material and symbolic)and of traditional skills and knowledge which are in danger ofdisappearing for ever.

The museum has ten sections, covering work on the land,the grain cycle, milling, weaving and decorating cloth, wine-making, the country house, and a number of craft industries,such as the production of griddles for cooking “piada” bread,and the work of the shoemaker, the blacksmith, and the farrier.One of the most captivating displays is the hundred or so“caveja” produced at various times from the sixteenth to thetwentieth century. The “caveja” is a wrought-iron pin whichserved to lock the oxen’s yoke to the shaft of the cart; inRomagna one or two rings were attached to the upper part,which jingled at every movement. These are decorated withopen-work designs often of great beauty and craftsmanship.

There are objects and instruments ranging in size fromsmall to medium: from spades to ploughs, from looms topuppets; and as well as these the museum has large carts ofvarious types and large agricultural machinery.

Explanatory cards and photographs, models and graphics,accompany visitors and help to capture and explain the functionand the significance of the exhibits. A good specialised libraryand a considerable photo library complete the collection. TheMuseum has ample outdoor spaces for various entertainmentactivities and for workshops for cultivation, aimed mainly atteaching, which receives special attention, with many originalinitiatives.


MET - Museo degli Usi

e Costumi della Gente

di Romagna

via Montevecchi, 41

tel. 0541 624703

fax 0541 622074

www.metweb.org/met

[email protected]



Sunday 10:30-12:30/16:30-








Above, Spinning and Weaving

section: loom. Below: left,

antique ploughs; right, the

“caveja” wall.

Santarcangelo: Museum of Rural Life in Romagna

47

This small museum, opened in 2003, is devoted to the ruralway of life and to work on the land. It is located in the formerrectory adjacent to the ancient church, once the parish church,dedicated to Our Lady of Succour. The museum owes its originsto the work begun in the 1970s by a group of teachers ofMontescudo secondary school, coordinated by Mr. GinoValeriani, and to the collaboration of the local inhabitantswhose interest was caught by the teachers’ initiative. All theexhibits collected here come from the area of Montescudo andMontecolombo, and have been arranged to highlight especiallythe theme of the farmhouse and the various activities whichcentred on it.

The museum is arranged in themed sections and there areexplanatory panels to accompany the exhibits. It is run byvolunteers who illustrate the wide variety of objects andphotographs on display. The main themes revolve around life inthe farmhouse: the family; food and drink; spinning andweaving, pig-killing; the cellar; children’s toys; and also craftssuch as pottery and carpentry. A shelter has been specially builtfor large agricultural machinery, partly below ground level toavoid disfiguring the beautiful rustic environment of the place.

The church to which the museum is attached gives anexcellent idea of popular rural religious devotion, especiallydevotion to the Virgin. It has good fifteenth-century frescos,some of them votive, a much-venerated image of Our Lady ofthe Rosary, sixteenth- and seventeenth-century paintings, andex voto offerings.

Montescudo

Museo Etnografico

di Valliano

via Valliano, 23

tel. 0541 864010

fax 0541 984455

[email protected]

• open all year: Wednesday

and Friday 9:00-12:00;

Sundays and public holidays

15:00-18:30


Above: left, a corner of the

museum showing a bread

chest; right, children’s toys.

Below: left, ex voto offerings

to Our Lady of the Rosary, in

the church adjacent to the

museum; right, fifteenth-

century frescos in the

presbytery of the church.

Montescudo: Valliano Ethnography Museum

49

While the museums of Santarcangelo and Valliano illustratecountry life, this museum deals with life on the sea and in thesea, with special reference to Cattolica. Its origins date from1985, when the Cattolica Multi-function Culture Centre togetherwith IBC organised an exhibition of Boats and Peoples of theAdriatic: 1400-1900.

The early nucleus in the Culture Centre has been extendedover the years by the addition of many new exhibits,iconographic and material: photographs, drawings, modelslarge and small, instruments, parts of boats and equipment; andin the year 2000 these were collected together in an ideal space,on the second floor of the Museo della Regina (ReginaMuseum), near to the section devoted to Cattolica in Romantimes (on the floor below: see)

The first of the five rooms in this section illustrates theproblem of Cattolica harbour, which - despite a long-standinglocal tradition of fishing - was built only in 1853, because itsexistence was for so long opposed by the city of Rimini (inwhose territory Cattolica was), hostile to the idea of a rivalharbour so close to home.

The other rooms are devoted to the characteristic boats ofthe Adriatic: to their design and construction; to the equipmentused in boat-building and on board the boats themselves; tovarious methods of fishing and to the instruments in use beforethe advent of motor-boats; to the problems inherent in fishingand in trade; and to the life of fishermen and their womenfolk,and to their religious and social beliefs, with special reference tolocal history and situations.

Cattolica

Museo della Regina

via Pascoli, 23

tel. 0541 966577

fax 0541 967803

www.cattolica.net

[email protected]


Tuesday 9:30-12:30;

Wednesday to Sunday 16:30-

19:00/20:30-23:00; Monday

closed


Tuesday and Thursday 9:30-

12:30; Friday and Saturday

9:30-12:30/15:30-19:00;

Sunday 15:30-19:00; Monday

closed


Above, models of Adriatic

boats. Below, entrance to the

marine section.

Cattolica: Regina Museum, Marine Section

51

The local cultural association E scaion (a dialect word for aninstrument used in clam fishing), set up in 1995, was the primemover for this museum, which grew out of the passion andcommitment of its members. Here are gathered together boatsand parts of boats; instruments for fishing and ship-buildingtools; sundry elements for the crew of the boats; objects of dailyuse; models, photographs and films: in short everything whichcan help to keep alive the memory of a historic local communitywhose existence, until the Second World War and the advent oftourism, depended for the most part on offshore fishing close tothe coast.

The space available in the former school which houses themuseum is not sufficient for the large quantity of exhibits to bedisplayed in differentiated sections. The exhibits are usuallyillustrated “live” by one or other of the volunteers who staff andcare for the museum, and who wondrously succeed in bringingto life the exhibits which they describe in thrilling andfascinating stories: their aim is to teach young visitors, aboveall, that “the seaside is not just having fun on the beach”, or atany rate it was not for previous generations.

The present museum, opened in 1999, is still, so to speak,“in the making”; but it already has its own well-defined andoriginal character, and is continually enriched with new exhibitsand documents, and does its best to bring order to the vastcollection in its possession.

A significant section of the museum is its collection ofshells (the property of Mr. Andrea Capici of Ancona): over eightthousand specimens, some very rare, including many species ofshells from all the Mediterranean basin. The classification of theshells has been made by the Zoology Department of BolognaUniversity, making this collection a major point of reference forscholars and enthusiasts.

Outside the museum cam be seen a number of boats typicalof this area: the “battana”, “battanino”, and “beccaccino”; and acouple of “moscone”.

Viserbella di Rimini

Museo della Piccola Pesca

e delle Conchiglie

via Minguzzi, 7

tel/fax 0541 721060

www.escaion.it


(1/06-31/08): Tuesday, Friday

and Saturday 21:00-23:00

• winter opening times: by

prior arrangement


Above, equipment for

offshore fishing on the

Riviera. Below: left, part of

the sea-shell collection; right,

fishing nets and cordage.

Viserbella di Rimini: Museum of Offshore Fishing and Shells

53

This chapter opens with the Montegridolfo Gothic LineMuseum because the Second World War left an indelible mark onthe territory of Rimini and all but destroyed the city, bombarded inthe course of 396 raids from air and sea which togetherdemolished 82% of its buildings. Understandably, rebuilding wascarried out hastily and haphazardly, for after spending the waryears on the front, people urgently needed shelter and work. Andso the ruins were quickly tidied away, although Rimini still bears avery prominent scar: the remains of the nineteenth-centuryMunicipal Theatre, which should perhaps not be rebuilt “as itwas, where it was”, but left in its present state in order to leave atleast one eloquent witness to such great tragedy.

As regards modern art, at present the only museum tohouse works of contemporary art is the very new VillaFranceschi in Riccione, opened in 2005. The Museo della Città(Municipal Museum) in Rimini has many contemporary works inits possession, but there is as yet no section devoted to them,and it will probably be some years before this becomes a reality.There are two rooms wholly devoted to graphic works andposters by René Gruau (the pseudonym of the Rimini artistRenato Zavagli Ricciardelli, 1909-2004), and there is anexhibition hall at the Museo Fellini (Fellini Museum) at theFoundation which bears his name, devoted to the great directorand, of course, to the cinema. Small collections of some interestcan be found in a number of municipalities throughout theterritory (for example, there is a notable collection in Verucchio)but there are no suitable spaces available and the works arefound in various offices or are kept in store-rooms.

Included in this chapter, rather than in the chapter onethnography museums, is a very particular ethnographycollection, the only one not concerned with the territory andwith local history. This is Museo degli Sguardi (Museum ofLooking) in Rimini. Opened in 2005, this museum has anextensive collection of exhibits from extra-European cultures,and derives its name because it is concerned especially with theway in which these cultures were “looked at” or seen by theWestern world.

Sad to say, none of the museums in the territory - not eventhose most concerned with the sea (Cattolica and Viserbella) -have taken into consideration the event which during the lasttwo centuries has had the greatest impact on the history,customs, and economy not only of the coastal areas but of theentire territory: the advent of seaside tourism.

Riccione, Galleria d’Arte

Moderna e Contemporanea

Villa Franceschi (Villa

Franceschi Modern and

Contemporary Art Gallery,

detail of a sketch for a

tapestry by Alberto Burri

(1986).

5. The Modern World

55

Planned by the Municipality of Montegridolfo in 1985, thismuseum was opened only in 2002, almost twenty years later. Itis housed in a reinforced concrete building, much of itunderground, specially built in 1990 outside the village walls tosimulate a wartime bunker. From the path leading to themuseum much of the Foglia valley can be seen: in the year 1944this was the setting for bitter fighting, after which British troopscaptured Montegridolfo (31st August 1944) after overcomingfierce resistance from the German troops stationed on thestrongly fortified “Gothic Line”.

The museum has a section reserved for wartimememorabilia and for arms used during the conflict, and a vastcollection of wartime propaganda and specimens of the press ofthe period 1943- 1945. There is also a notable photo librarydocumenting wartime events in the territory of Montegridolfo,and a film and video collection.

The entire population of the area contributed to thecollection of memorabilia, while the model arms come from theMalizia collection and printed materials are from the TerzoMaffei collection.

The objective of the museum is to keep alive the memory ofthe vicissitudes of World War Two and the crossing of the frontin the territory of Montegridolfo, which together with nearbyGemmano was one of the last strongholds to the east in theGothic Line, and to reconstruct the terrible wartime livingconditions for military and civilians alike. The museum offerslectures, laboratories and guided visits for teaching purposes.

In the same area, though in the Municipality ofMontescudo, is another notable and deeply evocative token ofthe crossing of the front in 1944: the ancient parish church ofTrarivi , destroyed by shelling. The ruins have beenstrengthened and partly restored, and there are a number ofrooms containing photographs and memorabilia. It has beennamed “The Church of Peace”.

Montegridolfo

Museo della Linea dei Goti

via Roma, 2

tel. 0541 855054/855320

fax 0541 855042

[email protected]

ni.it


Monday to Saturday by prior

arrangement 9:00-12:00;

Sunday 16:00-19:00

• winter opening times: by

prior arrangement; Sunday

10:00-12:00/15:00-18:00


school groups free of charge

• mornings, by prior

arrangement: guided visits to

air-raid shelters

Above, item of German

artillery; in the background

the Foglia valley. Below: left,

German, English and Italian

arms in use during World War

Two; right, metal boxes and

tins for cigarettes and

condensed milk.

Montegridolfo: Gothic Line Museum

57

This Gallery, opened at the end of 2005, has two distinctcore collections of contemporary works of art; the first is theproperty of the Municipality of Riccione and consists ofpaintings collected mainly through painting prizes sponsored bythe Azienda di Soggiorno (Local Tourist Office) between 1947and 1955 together with a donation from the Forlì painter MaceoCasadei (1975); the second is the property of the EmiliaRomagna Region, and has been in the care of the Municipality ofRiccione since 1998. It consists of fifty-nine works purchased in1973, following an exhibition held in Bologna two years earlierin support of the foundation named for the writer GaetanoArcangeli.

The collection includes paintings, sculpture, and drawings,all of notable interest, by artists who for the most part comefrom the Emilia Romagna region, such as Carlo Corsi (1948),Andrea Raccagni (1950), Ennio Morlotti (1962), Bruno Saetti(1970), Virgilio Guidi (1970), Mattia Moreni (1970), Enrico Baj(c. 1995), Alberto Burri (c. 1986), Alberto Sughi (1969-1985),Maceo Casadei (1965-1968), Osvaldo Piraccini (c. 2000),Renato Birolli (1947), Vittorio Tavernari (1970).

The exhibits are displayed in an early twentieth-centuryvilla once the property of the Franceschi family from Bologna, avilla which became the property of the Municipality of Riccionein 1953 when Clementina Franceschi née Zugno willed it toRiccione at her death.

During the years 1997 to 2005 the villa was carefullyrestored for use as an Art Gallery, while maintaining the originallayout and decoration; it is a good example of the type ofholiday home characteristic of Riccione during the first half ofthe twentieth century, in a very middle-class and academicallycorrect “art deco” style, complete with the customary eclecticconcrete decorations. Some paintings and prints and a fewpieces of furniture from the original furnishings of the villa stillremain.

Riccione

Galleria d’Arte Moderna

e Contemporanea

Villa Franceschi

via Gorizia, 2

tel. 0541 693534

www.villafranceschi.it

[email protected]


(21st June to 31st August):

Monday to Sunday 20:00-

23:00; Tuesday and Thursday

9:00-12:00


Tuesday and Thursday 9:00-

12:00/16:00-19:00;

Wednesday and Friday 9:00-

12:00; Saturday and Sunday

16:00-19:00; closed Monday


Above, a room in the Gallery.

Below: left, Enrico Baj,

Untitled; right, detail of Villa

Franceschi (1910-1920).

Riccione: Villa Franceschi Modern and Contemporary Art Gallery

59

This Museum exhibits temporarily and periodically part ofthe documents belonging to the attached Fondazione Fellini(Fellini Foundation) and/or others: writings and drawings by thedirector himself; f i lm stil ls, photographic and graphicdocuments, sketches for film sets, costumes etc.

In recent years a number of very attractive and successfulexhibitions have been held, including the following: “Eight and aHalf, Fellini’s Journey” (2003), with photographs by GideonBachmann, “Giulietta, portrait of an actress” (2004), “Cinemaon Paper. Fellini’s Legacy on Display” (2004), “Fellini and hisFilms in the Drawings of the Renzi Collection” (2004),“Amarcord. Fantastic Rimini” (2005), “The Art of Fellini in theGèleng Collection and in the Costumes by D. Donati” (2005),“Tazio Secchiaroli. G. Mastorna, Unfinished Work” (2006).

The archive of the Fellini Foundation is being continuallyenlarged with the addition of graphic and photographicdocuments, films and books, and memorabilia. Recently (2006)the Foundation acquired a famous autograph document byFellini, “Libro dei sogni”, the Book of Dreams, containing twentyyears’ dream production by the famous director, illustrated byhim with text and drawings. Material belonging to theFoundation has featured in a number of exhibitions in Italy andelsewhere: Seattle, New York, Stockholm, Oslo, Barcelona,Copenhagen, Warsaw, etc.

The Fellini Museum is situated on the ground floor of whatwas Fellini’s family home.

Rimini

Museo Fellini

via Oberdan, 1

tel. 0541 50085

fax 0541 57378

www.federicofellini.it

[email protected]

• annual opening: Tuesday to

Friday 16:30-19:30; Saturday

and Sunday 10:00-12:00/

16:30-19:30; closed Monday


Various exhibits at the Museo

Fellini (Fellini Museum).

Rimini: Fellini Museum

61

This Museum has inherited the ethnography collection ofthe Dinz Rialto Museum of Extra-European Cultures founded bythe Padua explorer Delfino Dinz Rialto in 1972, a museum whichwas then purchased by the Municipality of Rimini between 1975and 1979. To this collection have been added a number of othercollections: those of Ugo Canepa of Biella, Bruno Fusconi ofCesena, and of the Friars Minor Conventual of Rimini. TheMuseum was completely reorganised in December 2005 andgiven a completely new layout, which takes into account theinevitable gaps in the abundant materials available (over 3,000exhibits).

The theme of the Museum is no longer Extra-EuropeanCultures in themselves, but an investigation into the way theWestern world has viewed these cultures: sometimes shockedand scandalised, sometimes surprised and curious, sometimesfascinated by perceived or pretended beauty. The Museum thusinvites the visitor to make a modern-style “historic” evaluation,which may be an aid to greater understanding of the world of“others”, of “different civilisations”, once far distant from ourworld but now very much a part of it. For this reason it wasconsidered more suitable to include this museum in the chapteron the Modern World rather than in the chapter devoted toEthnography collections.

The Museum is housed in an eighteenth-century buildingrestored especially for this purpose, once the seat of theMissionary Museum of the Convent of Le Grazie, on CovignanoHill, opposite the church of Madonna delle Grazie. It has tenrooms with exhibits from China, Oceania, Africa, and America.Outstanding exhibits include a most elegant seventeenth-century Chinese painting, African masks and fetishes, Mayasculptures, and fabrics from pre-Columbian America.

On the ground floor is a space equipped for temporaryexhibitions.

Rimini

Museo degli Sguardi

Covignano di Rimini - Villa

Alvarado, via delle Grazie, 12

tel. 0541 751224

fax 0541 704410

For teaching activities

tel. 0541 704421-26


[email protected]

• annual opening: Tuesday to

Friday 9:00-12:00; Saturday,

Sunday and public holidays

10:00-13:00/16:00-19:00;

Closed Mondays except

public holidays



charge

Above, one of the two rooms

devoted to Africa. Below: left,

exhibits from New Guinea;

right, the elegant staircase of

Villa Alvarado, seat of the

Museum.

Rimini: Museum of Looking, Ethnography Collections

63

1. The World of NatureV. Morosini, A. Sistri, Le vie verdi della Valconca, Rimini 1984W. Landini, Museo Paleontologico, Mondaino, Rimini 1995D. Scaravelli, Museo naturalistico della Riserva naturaleorientata di Onferno, Gemmano, Rimini 2001L. Bagli, Natura e paesaggio nella Valle del Conca, Bologna2002 L. Bagli, Fossili, siti paleontologici e musei di geologia traRomagna e Marche, Villa Verucchio 2004L. Casini, Educazione Ambientale in Provincia di Rimini, Guidaalla Rete dei Centri di Educazione Ambientale INFEA, Rimini 2006

2. The World of ArchaeologyRimini, Museo Archeologico, Rimini imperiale II-III secolo, Rimini2003C. Giovagnetti (editor), Museo del Territorio, Riccione, Rimini 1995P. Von Eles (editor), Verucchio, Museo Civico Archeologico,Rimini 2005Comune di Riccione, Tracce di storia, Riccione 1997M.L. Stoppioni (editor), Museo della Regina, Cattolica, Rimini 2001J. Ortalli, C. Ravara Montebelli, Rimini, lo scavo archeologico dipalazzo Massani, Rimini 2004

3. Art and HistoryP.G. Pasini, Museo della Città, Rimini, Rimini 1995P.G. Pasini, Museo di Saludecio e del Beato Amato, Rimini 2003S. Nepoti (editor), Maioliche di Mondaino, Cesena 2004M. Cartoceti, S. De Carolis (editors), Rimini, Misericordia eSoccorso, Rimini 2003

4. Local LifeM. Turci, M. Ricci, Museo degli usi e costumi della gente diRomagna, Rimini 1995M.L. Stoppioni (editor), Museo della Regina, Cattolica, Rimini 2001S. Migani (editor), Guida ai Musei Etnografici dell’Emilia-Romagna, Reggio Emilia 2006

5. The Modern WorldT. Maffei, Museo della Linea dei Goti 1943-44, Rimini 2005M. Biordi (editor), Museo degli Sguardi, Raccolte Etnografiche diRimini, Rimini 2005D. Grossi, O. Piraccini, C. Spadoni (editors), Villafranceschi, Lecollezioni permanenti della Galleria d’Arte Moderna eContemporanea di Riccione, Cinisello Balsamo, Milano 2005

Further information: a brief bibliography

64

Museums in the Province of Rimini

Documents

Transcript of Museums in the Province of Rimini