An unpublished Sanzio

Among the novelties, the scientific color reconstruction of the first documented work of Raphael, the Coronation of Saint Nicholas of Tolentino, edited by Francesco Paolo Di Teodoro and Filippo Camerota, visible in the exhibition through a digital installation produced by the Museo Galileo in Florence, and the scientific account of the important restoration work, by the Central Restoration Institute (ICR), the banner of the Brotherhood of SS. Trinità, the only mobile work of the artist left in Umbria, now located at the Municipal Art Gallery of Città di Castello in the same room of the “Martirio di San Sebastiano’, by Luca Signorelli, one of the most studied artists by Raffaello in his youth. The restoration has allowed to fill some of the gaps present in the work and left ‘exposed’ in the previous intervention of 2006, always edited by the ICR.

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My Saint Francis of Assisi

In a recent edition of Valley Life (n. 163, spring 2021) we had already told the passionate historical-documentary research of Umberto Pippolini on Francesco di Bernardone, better known as “Saint Francis of Assisi”. The exciting research of Umberto – esteemed professional and inexhaustible creative – ended with the release of the text, already available in the bookstore: “Il Mio San Francesco di Assisi – Alla ricerca della sua unica e vera immagine”.

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The 41st National White Truffle Exhibition

An exceptional showcase to celebrate all types of truffles, because in this area, the microclimate offers a truffle for every season. And in autumn the trifola is the king of the forest. “The four seasons of truffles” is not by chance the slogan, chosen already by some editions, for the event that will also propose markets, salons, tastings, workshops of taste, cooking shows.

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Umberto Pippolini’s ‘rediscovered’ Saint Francis

Saint Francis, alter Christus. Hearing about Umberto Pippolini’s research was really exciting, if only for the depth of his voice that ignites and becomes prophetic in tone. But why is the (re) discovery of Francis’ true face in his painting so important in a symbolic sense? Certainly the nature of the question, eminently metaphysical, which interprets the human need for transcendence –  is in this image an epiphany and a revelation of Christ himself, the mystery of life in his divinity. A view that satisfies an immediate desire: the existential need to embrace the Sacred, to have a direct perception of it, albeit mediated by art: “This image of Saint Francis is faithful to the Saint, for a more intrinsic reason than a simple hypothetical sum of somatic motifs; it is because it is both an image that you see and a reflection. Francis is reflected in the face of Christ, and from this derives his own face

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