Museo Diocesano di Vallo della Lucania

The Diocesan Museum of Vallo della Lucania sacred in art was born from a desire of Vallo Curia and by a need to protect the ecclesiastical cultural heritage found in churches after the museum 1980.Questo earthquake presents a particular dynamism as the works forming the core of the collection are added dynamically, works in restoration and exhibition. "Presenting the collections" seems so daunting. The first and most important collection of the Museum is certainly one of the altarpieces, incomparably beautiful works including the Altarpiece of the Transfiguration of Torchiara (Marco Pino from Siena and aid, 1577), the Altarpiece Laurino (Cristofaro Faffeo, 1482), the altarpiece St. Nicholas of Stella Cilento (Master of Stella Cilento, 1520 c.), all on display in the main hall and the Diptych Master of Polyptychs perfectly restored Franciscan and enjoyable in their splendor. Among the still polyptychs being restored is that of S. Mauro Cilento, Our Lady of the Rosary and mysteries, by Giovan Angelo D'Amato (XVI sec.). In contrast, the wonderful Altarpiece U.K. Criscuolo, 1540, has returned after years of custody at the Museum, the Church of St. Mary of Velia Lombards came from. Another collection worthy of attention is that of the paintings: the S. Gennaro, attributed to Solimena, the St. Philip Blacks and the Penitent Magdalene clear Solimena derivation, the Pietà attributed to the Master of Stella Cilento, where there are many references to the Pietà Avellino Silvestro Buono. In the collection of paintings definitely deserves a place of honor "The Redeemer of S. Bernardino and S. Antonio Abate" by Decio Tramontano (1560). Author unknown, however, is the S. Antonio Abate (sixteenth century.). Of great pictorial depth is the St. Francis of Paola by an unknown artist of the eighteenth century. where there are quite a few references to Giuseppe Ribera. Di Girolamo Siciliano The Annunciation (1577). By Polidoresco flavor that also looks to the mannerism of Marco Pino from Siena. Among many other works in the collection it should cite "The Nativity with St. John the Baptist and St. Francis" of the sixteenth century. by an unknown follower of Silvestro Buono. The St. John is such a serene composition call to mind the light color, clean Cesare da Sesto and, in the drapery, even Andrea Sabatino. The sculpture collection is not very rich in works, but certainly of great historical-artistic interest is the San Philadelphus, wooden statue dated between the eleventh and twelfth centuries. which it presents the basic characteristics of Byzantine art and comes from the saint's chapel located in 'Abbey of St. Mary of Pattano. To S. Philadelphus backdrop "One Holy", polychrome wooden sculpture of unknown sculptor of the eighteenth century. that harks back to the Neapolitan tradition of wood carving and a "Madonna delle Grazie" (sec. XVI) of Southern unknown sculptor modeling putty and color, very rare technique at that time. No less interesting is the collection of objects that includes some works of primary importance such as "Bridal Casket" and "Goblet of St. Sylvester." The Casket Bridal is the work of Bottega Embriachi and is dated to the beginning of 1400. The most notable exponent of a laboratory of ivory sculptors working in Florence, Lombardy, Veneto and then in France was Baldassarre Embriachi lived between the end of XIV sec. and the beginning of the fifteenth century. The "Goblet of Eve" is the work of Guidino of Guido da Siena made of silver and enamel in the fourteenth century. and from the Church of San Silvestro di Sacco Pope. Although the cup and the stem below the node are not original, still remains a big piece of artistic interest for the six plates of the base depicting the Crucifixion, Our Lady of Sorrows, St. Paul, St. Sylvester, St. Peter and St. John and the other six plates of the "knot" not all legible. Di Dario Guide published this cup in Naples Noble (VI / 1967) going back from it to the reliquary of the Holy Corporal Orvieto Guidino attributing to the stories of the Passion and the enamels of the cusps. Among the museum's silvers occupy an important place: a monstrance Domenico Giordano of 1744 (Nap44 and DGC); Giungano the Goblet of Romanelli Gennaro (1832/39); the processional cross of embossed silver Ostigliano fifteenth century .; the processional cross of a southern silversmith of the XVI century .; the processional cross of Giungano. Fine workmanship arms twisted with tapered ends and ending in pine cone. Bears the date 1611 and a legible inscription "Pestum Adhuc Redolet" (still has the smell of Paestum) the meaning of which, to date, no explanation. Another Processional cross from Giungano parish. E 'consists of two parts, the True Cross and own a Neapolitan silversmith leading dating between 1824 and 1839, and bearing a sentence node and a given "FUIT AUCTOR ITIUS D. Domitius AMORESANUS A.D. 1518 "; the Cross for wooden altar, mother of pearl and ivory, dated with great accuracy between the end of the seventeenth century. and the beginning of the eighteenth. It was built by a Franciscan or a Franciscan community. The collection closes with the silverware a series of Neapolitan invoice candlesticks (punch incomplete "... Iezzo" + 800) and some silver bindings for missals chiseled and red velvet. Few but precious liturgical vestments ranging from 1600 to 1800.

Text by Prof. Vincenzo Cerino