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The Museo Diocesano San Pietro, reorganized in 2007, is located in the ancient church of San Pietro, built in the thirteenth century, in the place where, probably in Roman times, there was a temple dedicated to the god Aesculapius. The museum structure, well structured in the visual and documentary itinerary, preserves sculptural and pictorial works that embrace different eras. The ancient, pre-Roman and Roman period is located in the pronaos; here we find the archaeological evidence found in the territory of Teggianese during excavations or fortuitous finds, such as the weight room, for weight control, some funerary inscriptions, such as the one in which the Roman word Tegianum appears, a headless statue a Telamone. Numerous and of good quality are the medieval testimonies present in the nave, which enclose a long arc of history of the town of Diano. Of great interest is undoubtedly the splendid late-fourteenth century fresco depicting a Madonna del Latte. It is attributed to the so-called "Maestro di Giovanni Barrìle", probably formed at the school of Giotto during the Neapolitan stay of the latter, between 1328 and 1333. On the opposite side of the fresco of the Madonna del Latte there are three small chapels. The one closest to the entrance is decorated with a fresco depicting Saint John, which can be dated between the fourteenth and fifteenth centuries. The next chapel, named after Our Lady of Sorrows, presents a rich fresco decoration. In the four sails of the vault and in the three sottarchi the episodes of the life of the Madonna are represented that the Christian tradition defines "the seven pains of Mary". On a side wall is instead depicted Saint Philip Benizi. Here is kept one of the most original finds of the Museum: the fifteenth century tomb of the Dianese soldier Bartolomeo Francone. An articulated and complex work, with important polychrome decorations in stucco. The sarcophagus, with a coffin supported by lions at the base and angels in the first register, presents a facade divided into five compartments, with images of the Virgin, saints and Christ. The latter, placed in the central segment, is depicted with closed eyes and visible sores, as if deposited in the sepulcher. The top of the sarcophagus, above which lies a simulacrum of the sleeping Francone, rests on a small strip of frescoed wall, where stands a Christ Pantocrator painted almost in the Byzantine style, surrounded by a theory of male and female characters. Further up, there is another sculptural group, always in stucco, with a Madonna enthroned among saints. The work, very rich in details, is completed with twisted columns of various sizes and figures of saints, some of which were reassembled in a different way from the original, whose configuration was a canopy with a protruding end. In the space between the second and third chapel on the right, there is a large altarpiece dating back to the seventeenth century, depicting the Madonna del Rosario. The Virgin is enthroned and supports the child with the left arm, while two small angels place the crown on her head. He wears a scarlet robe and a green cloak. At his feet, as often happens in this particular Marian depiction, there are St. Dominic and St. Catherine of Siena. The whole scene is surrounded by the representation of the Mysteries of the Rosary. In the presbytery we find a series of sculptures that occupy a chronological arch of five hundred years, from the fourteenth to the nineteenth century; like the Madonna with Child of the XIV century, a Madonna of the XV century, the Madonna delle Grazie of the XVI century and a XVII century altarpiece representing the Madonna of the Rosary with the mysteries. On the right side of the transept, for those positioned in front of the apse, there are two works in masonry and stucco: a probably fourteenth century Santa and a bust of Madonna and Child, also fourteenth century, of which a restoration brought to light the essential features. In this area of the museum there are also two frescoes from the crypt of Santa Venera in the church of San Michele Arcangelo. One, smaller in size, shows the image of the same Santa Venera or Veneranda; the other, larger, depicts instead a blessing Saint with Saint Anthony Abbot and three episodes of the life of Christ. In the same space of the transept, other wooden statues are arranged: in addition to an image not identifiable because worn by time, we find a splendid Madonna of the Sixteenth century and three crucifixes, in masonry and polychrome stucco, of the thirteenth, fifteenth and sixteenth centuries. While the oldest crucifix is a rarity for its age and realization, that of the fifteenth century presents a particularity in the thong that covers it: according to scholars, its shape would in fact recall a tallèd, the prayer shawl of the Hebrew tradition. To the right of the apse there are two not very large rooms. These rooms today house an important collection of liturgical objects. On the left of those entering, in the second room, walled up to the wall, is placed the stone sink once used by the celebrants for the ablution that precedes the celebration of mass. The center of the room is occupied by a rather large transparent case, inside which stands a nineteenth-century artifact of notable elegance: a missal with velvet cover and chiselled silver foil, bearing an inscription referring to this Arcangela Biancamano, in all probability a Benedictine nun. Finally, in the showcases lining the walls are exhibits of great interest, such as liturgical vestments, sacred furnishings, busts-reliquaries of saints and a silver liturgical set of the first bishops of Diano.