Itineraries - Comune di Perugia

PERUGIA CORCIANO DERUTA TORGIANO
Itineraries
Guide to the sites, museums and collections
in the Perugia district
sistema turistico locale del perugino

MAP OF CITY ITINERARIES
17
upa
4
Pellini
Via dei Priori
6
5
16
15
14
3
12
2
C o r s o V a n n u c c i 1
7
20
9
18
12
8
1
13
Merc
Cope

1
ato
rto
19
Via P i n t u r i c c h i o
P i n t u r i c c h i o
Briglie
21
S. Antonio
10
L.go di
Porta Pesa
20
C o r s o G . G a r i b a l d i
V i a B o r g o x x G i u g n o
19

General information
PERUGIA – ITINERARY I
Conca postern – free admission request –
contact IAT
Wall of the university at Piazza Ermini
closed Saturdays, holidays and during
lectures
PERUGIA – ITINERARY II
Pozzo Etrusco
Piazza Danti, 18 - tel. +39 075 573-3669
Admission charge
Chapter Museum of the Cathedral
of San Lorenzo
Piazza IV Novembre - tel. +39 075 572-4853
Admission charge
Archaeological area
Piazza Cavallotti - tel. +39 075 572-7141
www.archeopg.arti.beniculturali.it
free admission
Roman mosaic
Via Pascoli – courtyard of the University
of Perugia – free admission
Museum of Palazzo Della Penna
Via Podiani, 11 - tel. +39 075 571-6233
Admission charge
PLACES OF WORSHIP: churches-oratories
Oratory of San Bernardino
Piazza San Francesco al Prato
tel. +39 075 573-3957
8 am-noon/4pm-sunset
Church of Sant’Ercolano
Via Sant’Ercolano - tel. +39 075 572-2297
the church is currently closed for restoration
Church of San Pietro
Borgo XX Giugno, 74 - tel. +39 075 34770
Church of Sant’Angelo
Via Sant’Angelo (Corso Garibaldi)
tel. +39 075 572-2624
NATIONAL ARCHAEOLOGICAL MUSEUM
OF UMBRIA
Piazza Giordano Bruno, 10
tel. +39 075 572-7141
www.archeopg.arti.beniculturali.it
Admission charge
THE ETRUSCAN NECROPOLISES
AND THE TERRITORY – ITINERARY III
Sperandio Necropolis
private property
admission by reservation through IAT
Madonna Alta Necropolis – free admission
Hypogeum of San Manno
Ferro di Cavallo
for visits, contact Opera Agnus Dei
tel. +39 075 573-6776
Hypogeum of the Volumni and
the Palazzone Necropolis - Antiquarium
Via Assisana, 53 – Ponte San Giovanni
tel. +39 075 393-329
www.archeopg.arti.beniculturali.it
Admission charge
Corciano
Palaeontological Museum
and Archaeological Collection
Corso Cardinale L. Rotelli –
Town Hall
tel. +39 075 518-8254/5 – visits on request
Etruscan Necropolis
Strozzacapponi
for visits, contact the owner
of the shop on site
tel. +39 075 514-0148/9
Deruta
Regional Ceramics Museum –
archaeological collections.
Largo San Francesco – tel. +39 075 971-1000
www.museoceramicaderuta.it
Admission charge
Torgiano
Lungarotti Foundation
- Wine Museum – Palazzo Baglioni
Corso Vittorio Emanuele, 11
tel. +39 075 988-0200
- Olive and Oil Museum
Via Giuseppe Garibaldi, 10
tel. +39 075 988-0300
www.lungarotti.it
Admission charge
Hours can vary. Phone ahead or contact the Tourist Information Office.
Information compiled by Nicole Danner

Table of Contents
The territory in ancient times
I - Perugia. Circuit of the walls and gates
II - Perugia. Urban archaeology
The National Archaeological Museum of Umbria
III - The Etruscan necropolises and the territory:
Corciano - Deruta - Torgiano
p. 5
p. 8
p. 15
p. 19
p. 24

Project and text
Lorena Rosi Bonci
Scientific collaboration
Paolo Braconi
Printed by
Quattroemme, Perugia
Traslation by
Studio Fünf s.n.c.
Cover
Urn from the Tomb of the Cutu.
National Archaeological Museum
of Perugia, third century BC
(photo archives, Arch. Superintendence
of Umbria)
Page 3, top
Segment of the Etruscan walls
on Via della Canapina in Perugia
(photo by G. Aglietti – Quattroemme)
Page 3, bottom
Urn of Arunte Volumnio,
Hypogeum of the Volumni
(photo by G. Aglietti - Quattroemme)
This page
Urn with the Sacrifice of Iphigenia, from
the necropolis of Ponticello di Campo,
Ponte San Giovanni, Perugia
(photo by A. Scaleggi)
Page 5
“Arco Etrusco”, by U. Tarchi, L’arte
etrusco-romana nell’Umbria e nella
Sabina, Bergamo 1936
Photographic references
Archives of the Archaeological
Superintendence of Umbria, Perugia:
nos. 13, 16, 21.1-4,6,7,9-14, 23, 30.1-4
Photographic Library of the Museum and
Cultural Services of the Region of Umbria,
Perugia: nos. 33, 34
Wine Museum. Lungarotti Foundation,
Torgiano: nos. 31.1-3
Olive and Oil Museum. Lungarotti
Foundation, Torgiano: no. 32
Giovanni Aglietti – Quattroemme: nos. 1, 2,
5-8, 11, 13, 14, 17, 19.a, 20, 21.1, 22,
24-28, 30.1,3,4
Paolo Braconi: nos. 10, 12.1-4
Simona Cortona: no. 3
Adamo Scaleggi: nos. 21.5-8
Enrico Chianella: no. 7.a
We are especially grateful
to the Archaeological Superintendence
of Umbria and to Simonetta Stopponi
This guidebook is intended as a tool to help visitors learn about and enjoy
the immense archaeological heritage of the city of Perugia and its outlying
districts. It provides visitors interested in antiquity with a series of theme-based
itineraries, which can be conducted independently or with tour guides.
The itineraries can be completed on foot, or with public or private transportation,
and can take one day or more. Naturally, the itineraries can be connected with
each other and supplemented with other historic-artistic itineraries, for a more
complete understanding of the city and its environs. Before starting on these
itineraries, visitors are advised to check any practical information they may need
(parking, roads, hours, accessibility, reservation requirements, admission fees) at
the information and welcome points of the Territorial Tourism Service of Perugia.

The territory in ancient times
The territory examined here is the central part of Umbria. Starting in the Archaic
Age, it was organized into Etruscan cities and fortified Umbro settlements
that were later transformed into municipia and coloniae by the Romanization
process.
The area marked the point of convergence of two milieus that were ethnically
and culturally distinct: the Umbro and the Etruscan populations, which
respectively settled to the left and right of the Tiber. Indeed, for many centuries
a long stretch of the river acted as the boundary between the two territories –
albeit somewhat changeably – and, ultimately, it marked the frontier between
regio VI (Umbria) and regio VII (Etruria) during the Augustan Age. Rather
than being a true boundary, however, the Tiber was actually a key means of
communication, trade and cultural exchange between the river populations
and with Rome. The river was navigable by various means from Tifernum
Tiberinum (modern-day Città di Castello) all the way to Ostia.
Starting in very ancient times, Perugia played a dominant role in the surrounding
area, due to its eminent geographical position (set at an altitude
of 493 metres above sea level) overlooking the Tiber at the point where it flows
into the Umbrian Valley, which was controlled by the ancient cities of Assisi,
Spello and Spoleto. Disregarding the debate on whether the city was founded
by the Umbro tribes or the Etruscans, starting in the Archaic Age (seventhsixth
century BC) and particularly as of the fifth-fourth century BC, a period
that is even more extensively documented, Perugia was one of the most important
cities of inland Etruria, together with nearby Chiusi to the west and
Orvieto to the south. With its outposts of Arna and Vettona to the left of the
Tiber, it rapidly gained control over both banks of the river as well as its fords.
To the west, through an extension of the Via Amerina from Perusia to Clusium
and its numerous branches, Perugia was well connected with Lake Trasimeno,
the Chiusi countryside and Cortona.
7

CORTONA
TRASUMENNUS
Ad Statuas LACUS
S. Albino - Montepulciano
sia
I A
CLUSIUM
Chiusi
Clanis
Via Cassia
Corciano
TIFERNUM TIBERINUM
Città di Castello
PERUSIA
Perugia
Tiberis
Via Amerina
Tiberis
HURVINUM
HORTENSE
Collemancio
TUDER
Todi
IGUVIUM
Gubbio
Arna
Civitella d’Arna
VETTONA
Bettona
ASISIUM
Assisi
HISPELLUM
Spello
MEVANIA
Bevagna
Via Flaminia
Ad Aesim
Scheggia
Forum Flaminii
S. Giovanni Profiamma
Vicus Martis
Massa Martana
Helvillum
Fossato di Vico
Via Flaminia
Via Flaminia
FULGINIA
Foligno
Judging by its socio-economic and cultural development, starting in the third
century BC Perugia took over the leadership in Etruria that had been held by
Orvieto before the Roman conquest (264 BC). The city walls, built in the second
half of the third century BC, were monumentalized with the construction
of two main gates. Moreover, through an extensive building programme the
Pozzo Sorbello (well) was completed, and urban and suburban temples were
erected. The number of necropolises around the city and in the area increased;
these necropolises were characterized by the ritual of cremation in travertine
urns, typically produced in the Perugia area. The bellum perusinum (War of
Perugia, 41-40 BC), in which the city – which supported Mark Antony’s faction
– was attacked and conquered by Octavian, the future Augustus, concluded
the Romanization phase. The local Etruscan aristocracies were either
completely eliminated or co-opted into the ranks of the Romans. Their lands
were then confiscated and distributed to the veterans of the victorious army,
and the territory of Perugia was reduced to just one mile outside the city walls.

The Etruscan-Roman layout of Perugia hinged on the crossroads of two thoroughfares.
The main one (cardo maximus) ran north-south from the Arco di
Augusto (Arch of Augustus) to the gate of Porta Marzia, through modern-day
Corso Vannucci and Piazza IV Novembre. This was the centre of the ancient
city, and the forum of the Roman era was located here. Another road (decumanus
maximus) crossed the city from east to west, from the Arco dei
Gigli to the Arco di Porta Trasimena through Via dei Priori (the remains of
the large Roman paving stones, or basolato, are still visible at No. 69 of this
street). Other routes have been identified through occasional findings, or
they have been deduced based on other topographic elements.
The three theme-based itineraries described below cover the walls and
the city gates (I), the archaeological remains in the city (II) and the
archaeological remains in the outlying area (III). Naturally they can
overlap or cross each other: visitors can thus choose an itinerary based
on their needs and the amount of time available.
Nonetheless, it should be noted that visiting the two main gates and at
least one of two best-preserved sections on Via Battisti or Via della Cupa
(pp. 9-10) is essential for a “minimum” understanding of the city walls.
With regard to the other monuments, particularly significant ones are the
Pozzo Sorbello for the Etruscan era, and the mosaic of Santa Elisabetta
and the temple of Sant’Angelo for the Roman era (see the Itinerary Map
and General Information at the beginning of the book).
9

I - Perugia
Circuit of the walls
and gates
Our itinerary starts in the historic
centre of Perugia, encircled
by Etruscan walls. The latter,
which represent the city’s main
archaeological monument, reflect
the wealth and power
achieved by the Etruscan metropolis,
and they are among the
oldest and most impressive examples
in Central Italy. The
walls extended for about 3 kilometres,
following more or less the
same level curve. The “cloverleaf”
layout is due to the irregular
shape of the two hills inside the
walls (Colle del Sole to the north
and Colle Landone to the south)
and to the deep depressions
carved into these hillsides.
The square blocks of local travertine
(probably from the Santa
Sabina quarries) were laid
without mortar in fairly even
rows. The façade was well finished,
whereas the blocks were
coarsely hewn on the side set
against the embankment. The
chronology of the walls and
gates is still being debated. According
to the most widely accepted
theory, the monumental
phase visible today dates back to
the third century BC and work
was done on the extant original
walls (built in the mid-fourth
century BC).
Extensive segments are visible
along the north and southeast
sides; there are also six gates, the
main one of which is the Arco
Etrusco or Arco di Augusto (1).
1
This gate is 11 metres tall and
has an opening of over 4 metres.
It represents the monumental
north entrance to the city, leading
into Piazza Braccio Fortebraccio
located at the northern
end of the cardo maximus (now
Corso Vannucci-Via Rocchi).
Two imposing towers that taper
towards the top delimit the round
arch, composed of two orders of
voussoirs topped by a cornice.
The inscription “AUGUSTA PE-
RUSIA” was added more than two
centuries after it was built, in order
to commemorate the restructuring
work ordered by Augustus
following the bellum perusinum
mentioned in the introduction.
Above this is a second inscription,
“COLONIA VIBIA”, commemorating
the status of ius
coloniae granted by the Roman
emperor C. Vibius Trebonianus
Gallus (251-253 AD), who was
originally from Perugia. The remains
of two sandstone sculptures
– in rather poor condition –
can be seen on the sides of the
arch. A frieze with shields alter-

2
nated with triglyphs (decoration
in groups of three vertical
grooves) separates the gate from a
round arch, now closed, set between
two Ionic pillars. According
to a recent hypothesis, this
opening was used for weapons
that were hurled to defend
against assaults. According to
another hypothesis, the upper
arch is what remains of a previous
gate: the sandstone sculptures
– subsequently transferred
to the new gate – were the deities
placed there to protect it. The upper
part of the arch was restructured
during the Renaissance, as
demonstrated by the loggia
crowning the east tower.
To the right of the gate is one of the
most striking segments of the city
walls, located along Via Cesare
Battisti (2), a road constructed at
the beginning of the twentieth century.
Along this well-preserved
segment, there is a clearly evident
stringcourse marking the walkways
used for patrols. The cornice
rises counterslope with respect to
the road level and it is sustained
by compact limestone ashlars
that are clearly different from the
others. Evident on the upper and
oblique band of the wall is the
seam between the older wall and
the addition of the towered gate,
which is more recent.
Our itinerary continues to the
mediaeval arch on Via Appia,
near which the second gate of the
Etruscan walls must have been
located. The stairs lead to the
mediaeval passageway of the
aqueduct: from the time this
passageway was built, it was
connected with the postern
3
(small gate), known as the Conca
(3), marking the pedestrian
access to a steeply sloped route.
The walls re-emerge to the west in
the gardens under Via del
Verzaro and in Piazza Ermini,
inside the rooms of the university’s
Department of Educational
Sciences, where the only internal
portion of the walls is visible. The
surface of the blocks is uneven, as
they were originally part of the
foundation and were set against
the embankment. The walls then
continue on Via del Poggio, ending
and then reappearing at the
point where Via del Piscinello enters
Porta Trasimena – also
known as Porta San Luca (4) –
11

at the end of Via dei Priori. The
piers, which now serve as the imposts
for the mediaeval arch, are
all that remain of the original
Etruscan structure.
The walls continue on Via Tornetta
and Via della Canapina (near
Porta Santa Susanna, with a
route going from Via della Sposa
to Piazza del Drago). They then
curve to the southwest on Via della
Cupa, where one of the best-preserved
portions can be admired.
The stringcourse, which indicates
the probable internal level of the
city, is noteworthy.
As we descend to the base of the
wall, we can see the Cupa postern
(5), another pedestrian passageway
entering the city. This small
opening is equidistant between
Porta Trasimena and Porta della
Mandorla, at the point where the
walls were wedged deeply into the
“slash” created by the Cupa trench,
forming a steep route connected
directly with the centre of town.
5
The remains of an Etruscan gate
can be seen in the Arco della Mandorla
(6), between Via Bruschi
and Via San Giacomo. The original
voussoirs are still visible on
7
6
the right side of the arch, rising as
far as the imposts of the top of the
arch, which was replaced by an
ogive.
A lovely segment of the walls – albeit
extensively restructured –
continues to the left, along the
stairs of Via del Paradiso. Several
fragmentary inscriptions regarding
the Roman colony are visible.
Well-preserved portions can also
be seen under Torre Donati.
The walls continued between Via
Bonazzi and Via del Pozzo, but
they are no longer visible.
Proceeding along Viale Indipendenza,
we come to the second
monumental gate, Porta Marzia,
which Antonio Sangallo incorporated
into a bastion of the Rocca
Paolina fortress in 1540 (7).

The upper portion of the gate,
which would have been destroyed
by the work to construct
the fortress, was dismantled and
reassembled on the façade of the
bastion. The original position of
the gate, set back by four metres,
is documented by the remains of
the jambs inside the fortress.
Made of travertine like the rest
of the walls, it now has a round
arch composed of an order of
voussoirs, and it is accentuated
by a projecting cornice. Above it
is a balustrade with four small
pilasters in an Italo-Corinthian
style, with five statues jutting
from it: they have been interpreted
as Jupiter between the
Dioscuri (7a), i.e. Castor and
Pollux, and their respective
horses at the ends.
7a
The decoration is set between two
tall Italo-Corinthian pilasters
that start from the base of the arch
and support the upper cornice,
which bears the inscription
“COLONIA VIBIA”. This inscription,
like the one indicating “AU-
GUSTA PERUSIA” at the base of
the balustrade, repeats the epithets
used to refer to the city, which also
8
appear on the Arco Etrusco.
The Church of Sant’Ercolano is
easy to reach from here. Inside,
there is a lovely Roman marble
sarcophagus decorated with lions
(see Itinerary 2, p. 17). Another
portion of the walls can be
seen along Via di Sant’Ercolano,
next to the church, but it is in
rather poor condition, with
buildings from various eras constructed
against it. Next to it is
the Arco di Sant’Ercolano (8):
only the jambs remain from the
original Etruscan structure, over
which a Gothic arch was built.
At this point, we will go down
Via Oberdan, where the remains
of the walls have been preserved
inside the Church of Santa
Maria della Misericordia (annexed
to the former hospital,
which was built directly against
the city walls) and in the rooms
under it at No. 52.
Inside No. 28 of Via Oberdan,
there is a well-preserved portion
with perfectly straight rows.
The walls originally followed the
13

9
western edge of Piazza Matteotti,
along the side where the Post Office
is now located. The square
was originally known as Piazza
del Sopramuro (9) – sopramuro
means “above the walls” – to indicate
its position against the mediaeval
walls that enclosed it. The
old walls continued along Via
Cartolari and Via della Viola,
and certain portions are visible
at No. 26 and No. 30 of Via Alessi,
and on Via della Pazienza.
Along Via Sdrucciola, a corner of
the walls opens diagonally into
the gate of Via Bontempi, known
as the Arco dei Gigli (10).
10
The arch, which is well preserved
up to a certain height,
was modified during the Middle
Ages by the Gothic arch, to which
lilies – gigli in Italian, hence the
name – were added in honour of
11
the coat of arms of the Farnese
pope, Paul III.
From here, we can return to the Arco
di Augusto, going up towards
Porta Sole and then down the lovely
stairs of Via delle Prome (11).
The stairs lead to the slope of Via
Bartolo, at the end of which we can
admire the last portion of the walls,
adjacent to the gate. As an alternative,
we can take Via del Roscetto to
Via Pinturicchio and return to Piazza
Fortebraccio from there.

The city of suspended doors
Paolo Braconi
When an ancient city is perpetuated over the centuries, the signs of various
eras normally become stratified and the ground level rises. Thus, by excavating
one can find the vestiges of the “cities” that once existed. Instead, in Perugia’s
case, a closer look reveals that the mediaeval levels are often beneath the
older ones.
It is important to note that the original layout of the rise on which Perugia was
built was divided into two hills, Colle del Sole (to the north) and Colle Landone
(to the south), which were separated by a valley. Consequently, in addition to
the extensive fortification and terracing work represented by the city walls,
there must have been other preparatory work that regulated the distribution
of urban space into stepped terraces and access ramps. However, the important
works undertaken by the free commune to restructure the urban layout significantly
altered both the original lay of the land and its ancient modelling. One
of the most evident examples is in the heart
of the city, where the mediaeval Platea
Magna overlaid part of the ancient forum.
Here, under the “Logge di Braccio”, the foundation
of the bell tower of the older cathedral
(12.1) reused ancient materials (and perhaps
even the foundations), and it clearly
shows that before the thirteenth century, the
level of the square essentially coincided with
the current flooring of the cathedral. Proof
that the ancient level was higher is also provided
by the doors, now blocked off, that are
“suspended” at a height of about two metres
12.1
over No. 1 and No. 3 on Via della Gabbia
(12.2). On the same street, attentive observers
will also note that the foot of the tower
of Madonna Dialdana, incorporated into
Palazzo dei Priori, now shows bared foundations
and openings that have clearly been
lowered: an evident sign that they were designed
in relation to an external level that
was higher than the one from the late thirteenth
century still used today.
In short, it can be assumed that the ancient
forum occupied an enormous terrace, part
of which coincided with the foundation of
the cathedral and originally extended far
beyond towards the south. At the northwest
corner of the forum terrace – and this was 12.2
15

discovered through the excavation
work done by the ArchaeologicalSuperintendence
– there must have
been equally imposing substructions
to the south, overlooking
the valley between
Colle del Sole and Colle Landone,
and now buried under
Corso Vannucci. Along the
north-south road towards 12.3
the Arco di Augusto, there is
another example of the “excavation”
of the ancient city on Via Ulisse Rocchi. Here, other openings that are
now “suspended” and the re-cladding of the foundations of several mediaeval
buildings indicate that the ancient ground levels were lowered dramatically.
Final proof of this constant and intense “lowering” activity can be found in the
city’s most important monument: the Arco Etrusco. Here, close examination
clearly reveals that the level of the ancient “threshold” was more than 2 meters
higher than the current one (12.3-4).
The widespread “erosion” of the ancient levels inside the city corresponded to
the creation of new levels, for which the material yielded by this “erosion
process” must have been used. In addition to being used to fill the valley between
the two hills, as noted above, the dismantled foundation of the ancient
forum was indubitably used to fill the square of Sopramuro, the plaza that the
powerful mediaeval commune decided to juxtapose with the Etruscan walls.
Indeed, it would be difficult to separate these two events that, under the guidance
of Fra Bevignate, radically changed the city’s appearance. Moreover, this
preparatory work also made it possible to lower the installation level of the new
fountain in the square to a notable extent, thereby favouring (or permitting?)
the “exhibition” of the long-awaited aqueduct.
12.4

II - Perugia
Urban archaeology
In addition to the walls, various
other parts of Perugia likewise
show the remains of the Etrus -
can and Roman city. To view
them we will essentially move
from north to south.
The Pozzo Etrusco or Pozzo Sorbello
(13), a well located inside
Palazzo Ranieri di Sorbello in
Piazza Dante, is coeval with the
city walls, and it too was built
using travertine. It is about 4
metres below the current street
level and was dug in what is referred
to as tassello mandorlato,
a conglomerate soil typical of
the city. The well is supplied by
spring water. This structure is
unique, not only in its monumentality
but also its inventive
dual function as a well and cistern.
It is about 35 metres deep,
with a diameter of 5.6 metres
across the top of the well hole.
The well hole is lined with 17
rows of travertine blocks up to a
depth of about 5.3 metres, and it
narrows to a diameter of about 3
metres towards the bottom.
The roofing system is notable: it
13
13
is composed of two imposing
trusses, each of which composed
of five large travertine blocks
(two horizontal ones, two transversal
ones and keystone),
which served as a support base
for the flooring slabs on which
the square well-curb was set. The
well-curb enclosed the opening
from which water was drawn.
The well has a capacity of up to
424,000 litres and can be considered
the main water tank of the
ancient city. There were other
wells and cisterns inside the ancient
city (like the one that closely
resembles the Sorbello well, located
on Via Caporali and incorporated
into a Roman house
after the Etruscan era), and
they were used until the first
public aqueduct was built in the
thirteenth century.
From Piazza Piccinino, our itinerary
continues to Piazza IV Novembre,
where we can visit the
Chapter Museum of the Cathedral
of San Lorenzo (there is an
admission charge). In the underground
area of the museum,
recent excavations have uncovered
Etruscan walls (14), including
part of what was probably
a sacred building.
17

14
Nearby, a massive portion of the
forum substruction walls was
discovered inside the buildings
at No. 12 of Via delle Cantine. It
is set at a right angle to the one
that has long been visible on Via
Maestà delle Volte (Nos. 6 and
10). The itinerary then continues
to the archaeological area
of Piazza Cavallotti (15), which
marks a fascinating fragment
in the history of Perugia’s urban
layout. This area is visible under
the square. Following
repaving work in 1984, structures
pertaining to various construction
phases were discovered
here. The intersection of
two road segments, paved with
large blocks of white limestone
and bearing traces of the ruts
created by carriages, dates back
to the Roman era or perhaps
even earlier. The remains of a
monumental fountain with a
semicircular plan can be seen
next to the road. Originally clad
in marble, it was later refinished
with a mosaic decoration
in pink tesserae. The pipelines
connected to it have also been
preserved.
From Piazza Cavallotti, our itinerary
will turn down Via Baldeschi
and Via Appia to skirt the
pedestrian route of the old aque-
16
duct to Via Pascoli, where the Department
of Biological Science is
located. Inside this building is
the Roman mosaic of Santa Elisa -
betta (16), named after the
church – later demolished – that
was erected over the remains of
public baths dating back to the
Imperial Age. The mosaic, created
using black and white tesserae,
portrays a scene with Orpheus:
the mythical Greek singer,
seated on a boulder, is playing
the cithara, while forty animals
divided into two groups ar rang ed
in parallel lines come forward,
attracted by the music. The mosaic,
which was part of a vast
complex of public baths, seems to
date back to the second century
AD. It was probably reused during
the Christian era, as demonstrated
by the remains of an apse

17
and the signs of two crosses in the
floor.
From Via Pascoli, we will turn
left to go up to Piazza di San
Fran cesco al Prato (which can also
be reached from Via dei Priori)
and the Oratory of San Bernardino
(fifteenth century). Inside is
the so-called Roman sarcophagus
of “Blessed Giles” (17), reused as
an altar. The sarcophagus was
found a short distance away, outside
the city walls A striking example
of early Christian art, it
was probably crafted in Rome in
360 AD. Scenes from the Old Testament
(Jonah and Noah’s Ark)
are sculpted on the lid between
two profiled heads. There are seven
niches along the front, each of
which holds a figure: the central
one is Christ enthroned; to the left
is a female figure, probably symbolising
the Church; the figures
on the sides are dressed with a tunic
and mantle (pallium), and
may portray the community of
saints.
Our itinerary then returns up
Via dei Priori to Corso Vannucci,
Via Oberdan and then Via Sant’Ercolano.
Another important Roman sarcophagus
is preserved inside the
Church of Sant’Ercolano (currently
closed for renovation),
where it has been used as the base
for the main altar. The sarcophagus
holds the relics of St. Herculanus,
the patron saint of Perugia.
The oval marble sarcophagus
presents strigil ornamentation
(slightly curved fluting in the
shape of a strigil, the curved implement
that ancient athletes
used for scraping their skin when
bathing). On the sides, there are
hunting scenes (two lions savaging
a fawn and a horse) and
two human figures. This type of
sarcophagus, from the area of the
Church of Sant’Orfeto, is quite
rare in the Perugia environs.
This specimen dates back to the
third century AD.
Our itinerary continues down
towards Corso Cavour and Via
Podiani, for a brief stop at the
19

Museum of Palazzo Della Penna,
where the only extant ruins of
the Roman amphitheatre (18)
are visible on the first floor below
ground level.
From here, our itinerary continues
down Corso Cavour towards
San Pietro, going past the Archaeological
Museum (see p. 19). The
Basilica of San Pietro (19), which
is of extraordinary historic and
artistic interest, has important
evidence of the preceding Roman
and early Christian phases. The
remains of a circular monument
made of travertine blocks can be
seen near the entrance. It is the
nucleus of a Roman mausoleum
that was subsequently used as the
base for the bell tower. The interior
is divided into a nave and two
aisles by 18 columns made of
marble and granite, and dating
back to the Roman era; all the capitals
except the last pair are Ionic.
The early mediaeval crypt (19.a)
under the apse is accessible from
the interior. Discovered in 1979,
the circular crypt has an intriguing
ambulacrum and plastered
walls painted with geometric and
figurative motifs.
19.a
20
The early Christian church of Sant’Angelo
(20), built towards the
end of the fifth century AD, is located
on the other side of the city, to
the north, at the end of Corso
Garibaldi. This uncommon edifice
with a circular plan was originally
located along the important
“royal road” that extended from
the Arco Etrusco. The drum that
sustains the camp or tent ceiling of
the church is set on 16 marble
columns with Corinthian capitals
that were recovered from Roman
monuments. A Roman cippus dedicated
to Emperor Marcus Aurelius
is also preserved in the church.

The National Archaeological
Museum of Umbria
The museum’s current setup
is temporary. Since
1948, the museum has been
based in the former convent
of San Domenico (21.1).
21.1
Stone materials from the
Etruscan-Roman section,
which is on the upper floor, are exhibited in the entry courtyard under the portico.
The room on the ground floor boasts exquisite Roman marble works, such
as the one with the myth of Meleager and the well-curb depicting the battle between
the Greeks and the Amazons – both of which are from Farfa Sabina –
as well as the recently restored sarcophagus with a Dionysian scene sculpted
in high relief and framed between two lion protomes.
The portico also leads to the basement exhibition halls. Visitors can also see
the tomb of the Cai Cutu (21.2), discovered by chance at the Monteluce necropolis
in 1983 and exhibited at the museum since 2000. The tomb has been reconstructed
here and includes the tomb’s funerary accoutrements. Set
against the back wall of the central cell is a sandstone sarcophagus containing
the remains of the head of the family. Along the sides, there are 50 travertine
urns with inscriptions about the Cai Cutu, a family of slave origins from
Orvieto. The Etruscan gens name Cai Cutu was subsequently simplified to
Cutu and, as can be seen on the later urns, it was finally Latinized to Cutius.
The tomb was used uninterruptedly from the third to the first century BC.
disegno di C. Ponzi
21.2
21

Travertine urns from Perugia’s necropolises are grouped in the upper loggia
around the cloister. These urns are characteristic of the mass production
by Etruscan craftsmen in Perugia during the Hellenistic Age (21.3).
21.3
On the north side is the entrance to the exhibition of repoussé bronze plates
(21.4) and cast bronze figurines from Castel San Mariano (Municipality of
Corciano). These items were part of the finishing and ornamentation of
three parade chariots, datable between 570 and 520 BC, and they are considered
among the most significant Archaic Etruscan bronze works. The
chariots come from a princely tomb with a rich array of other precious
items that are now in various European museums.
21.4

21.5
From the loggia, the gallery illuminated
by the smaller courtyard
has showcases with accoutrements
from Etruscan tombs,
exhibited based on the theme of
cosmetics and ornamentation
in the ancient world (such as the
silver ointment jars from Civi -
tella d’Arna) (21.5).
At the end of the gallery, the seventeenth-century
wing houses the
oldest materials, such as the sandstone
funerary stele from Mount
Gualandro (late seventh-early
21.7
sixth century BC) (21.6) portraying
two warriors facing each other,
as well as the Sperandio sarcophagus
(21.7). This is a notable
item made of soft stone and it was
produced in the Chiusi area. It
dates back to around 510-500 BC,
and the front portrays a long procession
that has been given various
interpretations, whereas the
short er sides depict banquet scenes.
21.5
23

The room also houses other important
bases and cippi from the
Archaic Etruscan period. The funerary
accoutrements and small
urns from the Etruscan necropolises
of Frontone, Monteluce and
the area around the Perugia
cemetery are fascinating, notably
the ones from the hypogeum of the
Satna family at Ponticello di
Campo that, following recent
restoration work, present wellpreserved
polychrome decorations
(21.8).
The Perugia cippus (21.9) is extremely
important for epigraphic
documentation: its lengthy
engraved text regulates the legal
property relations between two
Etruscan families, the Afuna of
Chiusi and the Velthina of Perugia.
21.9
21.8
An educational itinerary introduces
the Prehistoric Section,
composed of materials from the
vast Bellucci Collection (21.10,
11), arranged both by type and
topography. These Palaeolithic
and Neolithic artefacts from
Umbria, Tuscany, the Marches
and Abruzzo were collected by
Perugia chemist, palaeoethnologist
and ethnographer Giuseppe
Bellucci (1844-1921).
21.10
21.11

21.12
This exhibit is followed by the
Umberto Calzoni Collection in
the Salone dei Bronzi (21.12),
which houses materials of various
provenances spanning the
Palaeolithic to the Iron Age. The
materials from Cetona, the
bronze items from Perugia and
Central Italy, and the gold discs
from Gualdo Tadino are particularly
interesting.
Since 2000, another section of the
Bellucci Collection has also been
open to visitors. This section displays
part of the rich collection of
amulets and magic-religious instruments
(21.13), comprising
over 1700 objects, from the Central-Southern
Italy, classified by
type from the prehistoric era
through the twentieth century.
21.13 21.14
Specimens from the Guardabassi
Collection (21.14) are also displayed,
chiefly Roman artefacts
that were collected over the years
by Perugia painter and scholar
Mariano Guardabassi (1823-80),
who wrote the famous Indice-
Guida dei monumenti perugini
[“Index and Guide to the Monuments
of Perugia”]. Noteworthy
artefacts include several Roman
signet rings, Roman acorn-missiles,
and an exquisite mirrored
casket in gilded bronze from the
Hellenistic Age.
25

III - The Etruscan necropolises
and the territory
The necropolises represent important
archaeological evidence
in the Perugia area, and they
are an extraordinary source of
knowledge about the city’s artistic
culture and social order.
They were located outside the
city walls, on the sides of the
main roads exiting the city
gates, and thus they pertained to
both the city and its suburbs.
There are numerous necropolises,
composed of underground
chamber or trench burials –
some of which date as far back
as the sixth century BC – but the
ones open to visitors are mainly
the later tombs.
To reach the Sperandio necropolis
(22), we can set out from the
Arco Etrusco and cross Corso
Garibaldi and Via dello Sperandio.
This necropolis is composed
mainly of chamber tombs,
though there are also chest and
trench tombs, and it was used
uninterruptedly from the sixth
to the second century BC.
Though the practice of interment
predominated, there is also
evidence of cremation, as
demonstrated by the numerous
small travertine urns. Funerary
cippi and pottery, bronze and
iron materials have also been
found at the necropolis and are
now at museums in Perugia
and Florence, and at the British
Museum in London. One of the
more recent chamber tombs
(late fourth-third century BC)
can also be visited (see the Gen-
22
eral Information page). Recently
restored, it still has the large
stone slab that sealed the entrance.
Inside is a simple sandstone
sarcophagus pertaining to
the wealthy owner of gold jewellery
(now at the Florence museum),
including a priceless diadem,
hence the name “Tomb of
the Princess”.
To get from the northern necropolises
to the western ones at
Madonna Alta and Ferro di Ca -
vallo, head west out of the city.
The necropolises can be reached
by car or bus.
The Madonna Alta necropolis
was discovered accidentally
near Centova during work to
build the E45 state road, and it
can be reached from Via Cortonese
or from the link to the
E45. After crossing a viaduct, we
come to a small square, above
which – at the top of a hill –
there are six chamber tombs,
carved from the terrain. Their
walls and ceilings are clad with
blocks of travertine. Only one of

these tombs was found intact. It
has a double-pitched roof and
contained 16 travertine ciner -
ary urns with inscriptions indicating
that they pertained to the
Alfa family. The necropolis dates
back to the second-first century
BC.
Hypogeum of San Manno
The tomb was located along the
important road that led to Lake
Trasimeno and Chiusi, signal -
led by the presence of various
necropolises, about 5 kilometres
from Perugia in the town of Ferro
di Cavallo.
It can currently be seen as the
crypt of the Chapel of San Manno
(23), inside the architectural
complex owned by the Sovereign
Military Order of Malta.
23
The church is decorated with
fourteenth- and sixteenth-century
frescoes. A staircase that was
subsequently opened through
the back wall leads to a tomb
that is covered entirely with
large travertine blocks arranged
in even rows. The vast rectangular
chamber (7.70 x 4.05 x 3.65
m), with two small niches, is
covered by a striking barrel
vault. The inscription arranged
in three lines on the wall to the
left of the current entrance is
particularly significant. It is
one of the longest extant Etrus -
can funerary texts (5 m), and it
makes it possible to attribute the
tomb to the Etruscan Precu family;
the text names the father, the
mother and two siblings, Aule
and Larth. The hypogeum is the
most important architectural
example of the types constructed
with barrel vaults, which were
widespread in the area. It has
been dated to the third-second
century BC and is comparable
to the tomb at Colle di Bettona.
Restoration work is currently
underway on it (see the General
Information page).
As we leave Perugia and head
southwest along the current
Pievaiola state road, near the
town of Castel del Piano we
come to the necropolis of Strozzacapponi
(Municipality of Corciano)
(24). The tombs, which
were uncovered in stages starting
in the nineteenth century
24
27

during agricultural and construction
work, are part of an
extensive necropolis that was
used between the second and
first century BC. This was the
historic phase of the transition
from the Etruscan civilization
to the Roman one, as confirmed
by the linguistic changes that
can be noted on the urn inscriptions:
the older ones are in E -
trus can and the later ones in
Latin. Their location near the
quarries of Santa Sabina suggests
the proximity of a settlement
of travertine workers. This
theory is also backed by the
medium-low social status of the
deceased. The central part is
composed of chamber tombs,
carved into the travertine bed,
with platforms along the side to
hold the funerary accoutrements.
A vestibule led to a
door closed off with a travertine
slab. The ceilings, mainly double-pitched,
have given way in
many cases. The part that is currently
open to visitors is located
under a shop building (see the
General Information page).
At this point, we can continue to
Corciano, a delightful little mediaeval
town. In the town hall,
visitors can see the palaeontological
collection (skeletons of
animals from the Middle Lower
Pleistocene and fossil fragments),
and the archaeological
collection, with findings from
the area that include two large
Villanovan vases, cinerary urns
from the Etruscan-Roman era,
funerary cippi and bases (25).
Among these, the travertine one
with an Etruscan votive inscription
honouring an infernal deity,
from Taverne di Corciano, is
particularly important (26).
26
25
The two travertine lions at the
foot of the stairs leading to Piazza
dei Caduti are also noteworthy.
They can probably be attributed
to a Roman funerary monument
datable between the first
century BC and the first century
AD (27).
27

The Palazzone necropolis (named
after the villa of Count Baglioni,
who owned the estate on which the
necropolis was found) is located
outside Perugia to the southeast,
on the road to Assisi along the Piscille-Ponte
San Giovanni portion.
It is about 7 kilometres from the
centre of Perugia.
It has nearly 200 chamber tombs
cut into the hillside over the
Tiber. With the exception of five
attributable to the sixth-fifth
century BC, the tombs date back
to the Hellenistic Age. Most have
simple chambers or cells with
an entrance corridor, and they
are closed off by a travertine
slab. They are attributable to
family groups belonging to the
late Etruscan aristocracy, as
can be deduced from the accoutrements
and the inscriptions
on the cinerary urns (28), which
are preserved in the building at
the entrance to the most famous
28
tomb at this necropolis, the Hypogeum
of the Volumni.
From Ponte San Giovanni, we
can proceed to Torgiano, where
the museums of the Lungarotti
foundation also house important
archaeological collections.
At the village of Vecchio di Miralduolo
near Torgiano, there is an
important Roman chamber tomb
that was discovered by chance in
1973. Extensively damaged, it has
now been restored and protected.
The tomb has a rectangular plan
and was constructed in cement.
Inside there is a barrel vault that
was plastered and painted, and a
platform along the back wall held
the remains of the deceased. The
jambs and architraves of the entrance,
sealed by a travertine
slab, are likewise made of travertine,
like the tombs with barrel
29
vaults from the Hellenistic Age.
The tomb was violated when it
was discovered, and as a result
there is no information about the
burial depositions or the number
of accoutrements, of which there
remain only a few objects belonging
to a woman (gemstones and
toilet articles) (29). The tomb,
which is not open to the general
public, has been dated to the first
century AD.
From Torgiano, we can go to
Deruta, where archaeological
collections are displayed at the
Regional Ceramics Museum.
29

Hypogeum of the Volumni (30.1)
A steep dromos (entrance corridor)
leads to the door, whose
jambs, architrave and closing
slab are made of travertine.
There is an Etruscan inscription
on the right jamb, commemorating
the foundation of
the tomb by Arunte and Lars
Volumnio. This complex underground
architectural space reproduced
the layout of a Roman-
Italic house, with a central atrium,
tablinum (corresponding to
the chamber at the far end), and
two small cells on each of the two
sides (30.2). A perpendicular
room in front of the tablinum
leads to two small rooms with
platforms.
The ceilings are decorated to
imitate wooden beams and coffered
ornamentation. The central
panel of the ceiling of the
chamber at the far end is deco-
30.2
30.1
rated with a Medusa’s head. The
relief work on the fronton of the
entrance to the atrium reproduces
a shield with a Gorgon’s
head between two dolphins.
Across from this, on the sides of
the entrance to the tablinum,
are the remains of what appear
to be protomes of snakes with an
apotropaic meaning. On the
fronton over this is a shield with

30.3
a Gorgon’s head between
swords, surmounted by doves
and two male protomes. The
platforms of the chamber at the
far end hold seven cinerary
urns, the most notable of which
is the one in the middle of the
back wall; according to the inscription,
it can be attributed to
the head of the family, Arunte
Volumnio, son of Aule (30.3). It
is composed of a base with the
gate of Hades painted in the
middle, flanked by two Lasas, or
infernal deities, in relief. Set on
this is an urn in the shape of a
kline (banqueting couch) with
the deceased in a semi-recumbent
position. One of the urns
portraying a seated female figure
pertains to Velia Volumnia
(30.4), Arunte’s daughter. The
only marble urn, in the shape of
a small temple, pertains to
Aulo’s son Publius Volumnius,
and it has a Latin epigraph that
can be dated to the early Imperial
Age. The hypogeum is datable
between the second half of
the third century BC and the
first century AD.
30.4
Visitors are urged to follow the
path through the necropolis,
marked by educational signs, to
the Palazzone Antiquarium,
which hosts temporary themebased
exhibits of archaeological
findings.
31

Torgiano. Wine Museum (31.1)
31.1
The Wine Museum (in Palazzo Graziani Baglioni) is devoted to the production
and spread of viticulture and wine around the Mediterranean, from antiquity
through modern times.
Room I displays Cycladic (31.2), Anatolian, Greek, Italiote,
Etruscan and Roman wine receptacles. There are
noteworthy Proto-Corinthian and Attic cups (31.1),
bronzes, Bucchero ware, glassware and an interesting
type of Greek and Roman amphorae, used to transport
wine on ships (31.3).
31.2
Room IX has material
from the Torgiano area,
with the remains of cisterns,
villae rusticae and
Etruscan-Roman necropolises.
31.3
Foto Museo del Vino - Fondazione Lungarotti, Torgiano

Foto Museo dell'Olivo e dell'Olio - Fondazione Lungarotti, Torgiano
Torgiano. Olive and
Oil Museum
The Olive and Oil Museum is
dedicated to the botanical characteristics
of the olive tree, various
cultivation techniques from
antiquity through today, and the
spread of olive-growing around
the Mediterranean.
32
In particular, Room V focuses on
the sacred nature of the olive
tree, the gift of the goddess
Athena. Artefacts include an extraordinary
Daedalic oil lamp
(620-610 BC) made of Parian
marble (32), an Attic red-figure
alàbastron (ointment vase) by
the Foundry Painter (490-480
BC), and an Apulian red-figure
skyphos (deep cup). Showcase 1
of Room VII holds an extraordinary
collection of oil lamps from
the pre-Roman era to the early
Middle Ages.
Deruta.
Regional Ceramics Museum
Milziade Magnini Collection
It comprises approximately
1000 pieces from various regions,
particularly Apulia and
Lucania, including a noteworthy
series of Apulian pottery
from the fourth century BC.
33.1
33.2
Some of the most noteworthy
items are a trozzella, a unique
form of Messapian pottery
(33.1), and a figured bellshaped
krater (33.2).
33
© Fototeca del Servizio Musei e Beni Culturali della Regione dell’Umbria

The Faggeto Tomb
Exiting the north
part of the city and
going through Elce,
San Marco and
Cenerente, we come
to Colle Umberto,
which is about 30
minutes from the
centre of Perugia by
car or bus.
From here, after taking
the provincial
road for Umbertide
and then an unmarked
route up the
slopes of Mount
Tezio, it is a 30- or
40-minute walk to
the summit of Cresta
34
della Fornace (607
metres above sea level).
Just past a small clearing, there is a narrow trail. From here, it is an
easy five-minute walk to the Faggeto tomb (591 metres above sea level),
which is visible inside a small enclosure circled by young cypress trees. It
was discovered by chance in 1920 on an estate that is private even today, in
an enchanting natural setting. There is a sweeping view from south to west,
from Mount Peglia to Montarale, Mount Cetona, Castel Rigone and Preggio.
A corridor flanked by two walls leads to the door (34), composed of a heavy
rectangular slab of sandstone (144 x 75 x 11 cm) still set on hinges in the architrave
and threshold. It is a small burial chamber with a rectangular
plan, with a barrel vault and ashlars arranged in a radial pattern. The
tomb was built using blocks of local stone, set in rather even rows. On the
sides there are traces of a platform, where a travertine cinerary urn was discovered
– based on the inscription, it can be attributed to Arnth Cairnina –
and a few other accoutrements. The tomb is datable to the second half of the
second century BC.
Other trails, including one from the town of San Giovanni del Pantano, also
lead to the site.
Interested hikers are urged to obtain Kompass Tourist Map n. 663 “Perugia-
Deruta” (scale 1:5000) or visit the site www.montideltezio.it, which provides
telephone numbers for additional visiting information available from “Associazione
Socioculturale Monti del Tezio”.

Tourist information
SERVIZIO TURISTICO TERRITORIALE ASSOCIATO
(Tourist services - Communes of Perugia, Corciano,
Deruta, Torgiano)
Via Mazzini, 6 - 06121 Perugia
Tel. +39 075 5728937 - Fax +39 075 5739386
IAT di Perugia
Sala San Severo - Palazzo dei Priori
Piazza IV Novembre, 3 - 06123 Perugia
Tel. +39 075 5736458 - Fax +39 075 5720988
Opening hours: weekdays 8:30-13:30 a.m./3:30-6:30 p.m.
Holidays 9:00 a.m.-1:00 p.m.
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Out-of-town infopoints
Motorway junction (Madonna Alta exit):
area in front of the Centro Congressi Aldo Capitini
Ponte San Giovanni:
Esso service station Route E45, 69 km + 670 m
Tourist guide service
Guides in Umbria - Perugia Cooperative
Tel. +39 075 5732933 - Fax +39 075 5727235
www.guideinumbria.com
info@guideinumbria.com
Tourist Guide Association of Umbria - Assisi
Tel. +39 075 815228
Fax +39 075 815229
www.assoguide.it
info@assoguide.it
Sistema Museo
Museum info-line
Guided and educational visits
(information and booking)
199 101 330
www.sistemamuseo.it

European Union
Republic of Italy
Perugia Municipality Corciano Municipality Deruta Municipality Torgiano Municipality
Produced with the contribution of the European Union
INFORMATION AND TOURIST WELCOME OFFICES
IAT di Perugia (Communes of Perugia, Corciano,
Deruta, Torgiano)
Sala San Severo - Palazzo dei Priori
Piazza IV Novembre, 3 - 06123 Perugia
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Fax +39 075 5739386
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IAT di Terni (Communes of Terni, Acquasparta,
Arrone, Calvi dell'Umbria, Ferentillo,
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info@iat.assisi.pg.it
IAT di Cascia (Communes of Cascia, Cerreto
di Spoleto, Monteleone di Spoleto, Norcia,
Poggiodomo, Preci, Sant'Anatolia di Narco,
Scheggino, Vallo di Nera)
Piazza Garibaldi, 1 - 06043 CASCIA
Tel. +39 0743 71147 - Fax +39 0743 76630
info@iat.cascia.pg.it
IAT di Castiglione del Lago (Communes
of Castiglione del Lago, Città della Pieve,
Magione, Paciano, Panicale, Passignano
sul Trasimeno, Piegaro, Tuoro sul Trasimeno)
Piazza Mazzini, 10 - 06061 CASTIGLIONE DEL LAGO
Tel. +39 075 9652484 - 9652738
Fax +39 075 9652763
info@iat.castiglione-del-lago.pg.it
DEL PERUGINO
Region of Umbria
Tourist Promotion
Regional Agency
IAT di Città di Castello (Communes of Città
di Castello, Citerna, Lisciano Niccone, Monte
Santa Maria Tiberina, Montone, Pietralunga,
San Giustino, Umbertide)
Piazza Matteotti - Logge Bufalini
06012 CITTÀ DI CASTELLO
Tel. +39 075 8554922 - Fax +39 075 8552100
info@iat.citta-di-castello.pg.it
IAT di Foligno (Communes of Foligno, Bevagna,
Gualdo Cattaneo, Montefalco, Nocera Umbra,
Sellano, Spello, Trevi, Valtopina)
Corso Cavour, 126 - 06034 FOLIGNO
Tel. +39 0742 354459 - 354165
Fax +39 0742 340545
info@iat.foligno.pg.it
IAT di Gubbio (Communes of Gubbio,
Costacciaro, Fossato di Vico, Gualdo Tadino,
Scheggia, Sigillo, Valfabbrica)
Piazza Oderisi, 6 - 06024 GUBBIO
Tel. +39 075 9220693 - Fax +39 075 9273409
info@iat.gubbio.pg.it
IAT di Orvieto (Communes of Orvieto, Allerona,
Baschi, Castelgiorgio, Castel Viscardo, Fabro,
Ficulle, Montecchio, Montegabbione,
Monteleone di Orvieto, Parrano, Porano,
San Venanzo)
Piazza Duomo, 24 - 05018 ORVIETO
Tel. +39 0763 341772 - Fax +39 0763 344433
info@iat.orvieto.tr.it
IAT di Spoleto (Communes of Spoleto, Campello
sul Clitunno, Castel Ritaldi, Giano dell'Umbria)
Piazza della Libertà, 7 - 06049 SPOLETO
Tel. +39 0743 238920 - Fax +39 0743 238941
info@iat.spoleto.pg.it
IAT di Todi (Communes of Todi, Collazzone,
Fratta Todina, Marsciano, Massa Martana,
Monte Castello di Vibio)
Piazza del Popolo 28/29 - 06059 TODI
Tel. +39 075 8945416 - 8942526
Fax +39 075 8942406
info@iat.todi.pg.it
ORGANIZZAZIONE TURISTICA REGIONALE
Agenzia di Promozione Turistica dell’Umbria (Tourist promotion agency of Umbria)
via Mazzini, 21 - 06121 PERUGIA - Tel. +39 075 575951 - Fax +39 075 5736828
info@apt.umbria.it - www.umbria2000.it