Provincia di Rimini Assessorato alla Cultura I - 47900 Rimini, piazza Malatesta 28 [email protected] Assessorato al Turismo tél. +39 0541 716371 - fax +39 0541 783808 www.turismo.provincia.rimini.it

Provincia di Rimini History’s heritage Art treasures in sacred buildings Assessorato alla Cultura Assessorato al Turismo in and around Rimini of theterritorybesidetextasyou read. Keep the flapopen,andyou willhave adiagram is printedinsidethejacketflap. A mapoftheplacesincludedinthisGuide

Provincia di Rimini Assessorato al Turismo Rimini Santarcangelo di Romagna San Salvatore Church San Michele Parish Church San Giuliano Parish Church Santarcangelo Collegiate Church San Fortunato Parish Church Morciano di Romagna Sant’Agostino Church St Gregory’s Abbey Malatesta Temple Montescudo Our Lady of Graces Church Santa Maria del Soccorso Madonna della Colonella Church Parish Church (Valliano) Shrine of Our Lady of Mercy / Montefiore Conca Santa Chiara Church Our Lady of Montefiore Church Church of the Servites (known as I Servi) Our Lady of Mercy, Verucchio the Hospital Church San Martino Church Montegridolfo Church of the Holy Cross (Villa Verucchio) San Rocco Church Verucchio Collegiate Church Blessed Virgin of Graces San Giovanni in Marignano Church (Trebbio) Church of Santa Maria in Pietrafitta Saludecio St Peter’s Parish Church St Blaise Parish Church Provincia di Rimini Assessorato alla Cultura Assessorato al Turismo Agenzia per il marketing di distretto

Pier Giorgio Pasini

History’s heritage Art treasures in sacred buildings in and around Rimini

In collaboration with Colophon Coordination: Valerio Lessi

Graphic Design: Relè - Leonardo Sonnoli

Photographs taken from Rimini Province Photograph Archives

With thanks to the photographers: L. Bottaro P. Cuccurese P. Delucca S. Di Bartolo L. Fabbrini R. Gallini L. Liuzzi G. Mazzanti T. Mosconi Paritani V. Raggi E. Salvatori R. Sanchini F. Taccola R. Urbinati

Translation: Gillian Forlivesi Heywood, Link-Up Rimini

Printing: Pazzini Stampatore Editore Villa Verucchio (Rimini)

First Edition February 2003 Contents

Introduction > 4 The Extensive Affirmation of Devotional Art

Itinerary 1 > 7 Ancient Parish Churches

Itinerary 2 > 11 Monasteries

Itinerary 3 > 15 Convents

Itinerary 4 > 19 In the Steps of Saint Francis

Itinerary 5 > 25 Churches Dedicated to Our Lady

Itinerary 6 > 31 Little Cathedrals

Background > 37 Local Saints Art and Memory

Bibliography > 38 Further Reading

www > Before you leave home, visit our site www.turismo.provincia.rimini.it www.signoriadeimalatesta.it Introduction > The Extensive Affirmation of Devotional Art

The country around Rimini is very varied, owing to the numerous hills which surround it and to the two rivers, the Marecchia and the Conca, which form spacious and picturesque valleys. This is fertile land, and man has lived here since prehistoric times, especially where the terrain is sloping and changeable; consequently the area has a wealth of settlements great and small, and is criss-crossed by a dense network of roads linking it to the adjoining regions. The geographic position of Rimini, between the Apennine hills and the sea, looking out over the plain of Emilia, has made it a place of passage ever since ancient times, and thus a meeting place for different cultures, and a place of contention and confrontation. This unquiet history has left its mark very visibly on the landscape. The bellicose and scintillating Middle Ages, above all, have left behind mementoes of themselves on the hilltops of San Marino and in the ruins which still crown so many hills, the crumbling walls which still encircle villages, the fragments of towers which still mark strategic places of passage. Picturesque ruins, but ruins nevertheless, the fruit of events now over and done, and far away in time. Less evident and less ruinous, but still more numerous to the observant, are mementoes of a different kind: mementoes of a widespread religious faith often rooted far back in ancient times, as is shown by a certain layering of evidence in the “holy place”, and sometimes in religious buildings themselves. An ancient faith, but one still living and breathing today, the traces of which are intermingled with traces of ancient peaceful industry. On the hilltops, amidst well-tended fields or alongside country roads, the signs are there: little shrines kept fresh and alive by simple piety. On the outskirts of villages we can often find oratories which once stood next to pilgrim hospitals; while in villages and hamlets stand parish churches in a variety of sizes and styles, or shrines dedicated to Our Lady. The Second World War turned this area into a battle zone, on the edges of the Gothic Line, bringing death to many and serious damage to every populated place, including of course religious buildings, which often held important tokens of the past, and just as often were themselves precious tokens of history and tradition, of faith and art. The depopulation of the countryside, which reached a peak in the early 1960s, also had repercussions on religious buildings in the area. Despite all this, many bell- towers still stand, and are in many ways the most characteristic 4 feature of the landscape: they underline the presence of places of worship, more or less modest, more or less well-restored and well-kept. Anyone wishing to explore this part of the country will find interesting and often attractive tokens of religious art everywhere, tokens which at times are genuine masterpieces with a beauty and a significance made even greater for being still housed in the places for which they were originally created, and still fulfilling their original purpose.

5

Itinerary 1 > Ancient Parish Churches

Santarcangelo The spread of Christianity in and around Rimini is San Michele Church surrounded, as it is everywhere, by tales and legends in which it via Celletta dell’Olio is difficult to distinguish truth from fantasy. Christianity probably tel. 0541 626109 arrived fairly early, considering the role, by no means secondary, visit on request which the city and its harbour played in trade with Africa and the East in late Roman times; and it was the importance of the city and the harbour which led the Emperor Costanzo to choose Rimini as the seat for a Council of Western Bishops, in the year 359. Considering too the close links of the Roman city with its dependent territory, we may suppose that Christianity also spread fairly quickly inland. Documents dating from before the tenth century show quite a dense network of “Pieve”, or parish churches (at least sixteen) protecting the most important and most populous places. But all concrete traces of these vanished centuries ago; in some cases even the exact location is no longer known, while in others all that remains is a relatively recent reconstruction. The same thing occurred within the city itself: all the oldest religious buildings have disappeared altogether, including even the Cathedral dedicated to St Columba, which was deconsecrated and demolished during the Napoleonic period. The most ancient and attractive of the surviving buildings is the parish church of Santarcangelo di Romagna, dedicated to St Michael Archangel. It stands on a stretch of flat land a kilometre outside the village, and is a single-cell structure with a perfectly proportioned and most luminous interior, showing the features typical of the art of sixth-century Byzantine Ravenna. The polygonal exterior of the apse, the narrow-shaped bricks, and the harmonious series of cambered windows all call to mind the style of Ravenna. None of this is surprising, given that the entire territory of Rimini was part of the Byzantine Pentapolis and was long protected against barbarian invasions, and that for many centuries the Church of Ravenna held extensive possessions in Romagna and Le Marche. One of the few remaining traces of this chapter of history is the dedication of a number of churches to Byzantine and Lombard saints, of whom St Michael Archangel was one. The church is devoid of decoration now, but recent archaeological excavations have led to the recovery of numerous fragments of mosaic pavements and marble incrustations, evidence that it must once have been richly decorated. The Byzantine parish church There is also much evidence that the church continued to of St Michael Archangel, fulfil its function down the centuries: the bell-tower attached to Santarcangelo. the façade during the twelfth and thirteenth centuries; a detached 7 Rimini fresco of St Sebastian (fifteenth century); a splendid fourteenth- San Salvatore Church century Crucifix, now in the Collegiate Church; and the cippus via San Salvatore, 24 which serves as a base for the church’s one altar table: a piece of tel. 0541 730159 late-mediaeval sculpture with sprays of foliage and a bird of prey visit on request lifting in its claws a small quadruped, roughly carved in a summary fashion, in the barbarian style. Verucchio Such early mediaeval sculpture is rare in the Rimini area, but San Martino Church there are one or two other surviving pieces, notably a fine via Marconi, 1 recently-discovered fragment of a pluteus from the church of tel. 0541 670197 Santa Maria in Pietrafitta (in San Giovanni in Marignano), and visit on request some capitals from the church of San Salvatore on the outskirts of Rimini towards Coriano. The pluteus dates from the eighth or Saiano di Torriana ninth century, while the capitals are probably from a later period Our Lady of Saiano Church though modelled on Byzantine capitals, similar in form and with • opening times: summer the same decorative tracery. The City Museum in Rimini has a 7:30-19:00; winter 7:30-17:00 good collection of mediaeval and late-mediaeval sculpture, though often fragmentary and of uncertain provenance. The church of San Salvatore is interesting. Although it has been the subject of much reconstruction and restoration work, it has nevertheless kept the picturesque appearance of a solid “Romanesque” church: the simple design and uneven masonry characterised by rows of stone and brick, often intermingled, protruding blind arcades along the sides, narrow slit windows, and the use of reclaimed fragments of marble, some of them Roman. On the hills around Rimini are buildings which still keep small tokens of ancient memory, incorporated into recent construction work. But to find complete, if not intact, monumental architecture, traverse the Marecchia valley. Just beyond Villa Verucchio is the beautiful church of San Martino, a fine example of Romanesque-Gothic rustic architecture, standing low on a sloping hillside shaded by olive trees, at the foot of the rocky crag on the summit of which is Verucchio. A little further along the road, on the other side of the river, can be seen the “tricora” church (built to a very rare plan which has three chapels in the Above left: façade of the apse) of Our Lady of Saiano, which rises picturesquely on the Romanesque church of San summit of a steep and rocky cliff. Next to the church is a Salvatore; above right, apse cylindrical stone tower highly reminiscent of Byzantine church of the Romanesque parish towers. Still further along the road, in the territory of Montefeltro, church of Verucchio. Below: are the churches of San Leo (Pieve and Cathedral) and Ponte the cylindrical tower and the Messa, which together constitute a valuable architectural core little church of Our Lady of dating from the eleventh to the thirteenth centuries. Saiano. 8

Itinerary 2 > Monasteries

Rimini Late-mediaeval maps of Rimini and the surrounding area make San Giuliano Church numerous references to monasteries, but these are usually small via San Giuliano, 16 churches so called because they were entrusted to one lone priest tel. 0541 25761 or, if in the country, small hermitages. In the territory of Rimini the • opening times: 7:00- first monastic communities to live under a Rule were Benedictines. 12:00/16:00-19:00 Rimini could boast two major Benedictine monasteries, situated just outside the city but close to the main gateways. One Rimini was the monastery of St Peter, which stood in the centre of Borgo San Fortunato Church San Giuliano where the Via Emilia began, and the other was St via Covignano, 257 Gaudentius, which stood on the outskirts of Borgo San Giovanni tel. 0541 751661 where the Via Flaminia ended. Of this latter – built beside an • opening times: summer ancient pagan and Christian necropolis – no trace remains; it was 9:00-12:00/15:00-20:00; demolished after the Napoleonic suppression. Of the former, the winter 9:00-12:00/15:00- church remains and is now the parish church of San Giuliano. 18:00 Decidedly Venetian in taste, it has a spacious barrel-vaulted interior which lends considerable grandeur. It was radically altered in the sixteenth century by the monks of San Giorgio in Alga, who also commissioned from Paolo Veronese the altarpiece showing the martyrdom of St Julian, painted in 1587, which hangs in the apse of the church in the centre of an imposing moulded wooden cornice entirely covered in gilding. In the third chapel on the left is a magnificent polyptych by Bittino da Faenza (1409) which narrates the legend of St Julian and of the miraculous translation of his body inside a huge Roman sarcophagus (still kept in the church, behind the altar) from Istria to the coast of Rimini. The remaining chapels contain fine fifteenth-century paintings, including two outstanding altarpieces by Elisabetta Sirani (The Annunciation) and Pietro Ricchi (St Peter Receiving the Keys, 1649). There was also a third Benedictine abbey, much Above: altarpiece by Paolo less ancient, belonging to the Olivetan branch of the order (the Veronese showing the so-called “white friars”). This stood on the hill of Covignano, just Martyrdom of St Julian (1587) outside Rimini; only the church still stands, and is now the parish in the church of San Giuliano, church of San Fortunato. It was founded at the beginning of the Rimini. Below left: interior of fifteenth century by Carlo Malatesta and, aided by the protection San Fortunato Church on of the Malatesta family, swiftly extended its possessions and its Covignano hill, once an rights over much of the territory of Rimini, acquiring also the Olivetan Benedictine abbey; ancient monastery of San Gregorio in Conca with all its below right: altarpiece by appurtenances. The church has suffered major alterations over Giorgio Vasari showing the the centuries, but has kept its fifteenth-century façade and Adoration of the Magi (1547) layout, a fine Renaissance ceiling, and a chapel with frescos in the apse of San Fortunato dating from 1512, attributable to the painter Girolamo Marchesi Church. da Cotignola. In that same year 1512 the monastery adjoining the 11 church received the visit of Pope Julius II. Nor should we forget another very important guest: the painter Giorgio Vasari, who stayed here in 1547. While a “lettered” monk transcribed and corrected the manuscript of Vasari’s Lives of the Artists, subsequently printed in Florence in 1550, Vasari (aided by his numerous assistants) made paintings for the abbey church. One of these still hangs in the seventeenth-century apse of the church: a splendid Adoration of the Magi, possibly Vasari’s greatest masterpiece and one of the finest paintings of Italian mannerism. The church’s Benedictine origins are still much in evidence in the four imposing statues of Olivetan saints which enliven the luminous nave, modelled in stucco by Father Tommaso da Bologna in 1650, and in two fine altarpieces painted about the mid-seventeenth century by Father Cesare Pronti, depicting sainted monks in flowing white robes and St Benedict himself. In the territory of Rimini only the Conca valley still preserves traces of the many Benedictine abbeys founded in the Middle Ages and responsible for reclaiming and organising the valley. Of the most ancient, dedicated to St Gregory and founded by St Peter Damian about the year 1060, there remain noticeable - and noble - ruins, sad to say suffocated by modern buildings, on the outskirts of Morciano. The town of Morciano probably owes its origins to the protection of the abbey, and was the market town for the entire valley. Even today a great fair is held here in the week of St Gregory’s day, March 12. Of the churches in the Conca valley which originated as monastery churches, the parish church of San Giovanni in Marignano is notable. Dedicated to St Peter, it belonged to the Black, or Cassinese, Benedictines, and was a dependent of the monastery of San Vitale in Ravenna. It exists today in its eighteenth-century form, with fine works of art; but it has lost every monastic trait and every Benedictine memento, except for the altarpiece of the second altar on the left, showing Saints Benedict and Maurus, painted by Gian Andrea Lazzarini in 1753. The vicissitudes of the Napoleonic era led to the suppression Above: remains of the of all the religious communities in the Romagna region at the end Benedictine abbey of San of the eighteenth century. None of the numerous Benedictine Giorgio in Conca, Morciano. monasteries was reconstituted at the time of the restoration, Below: apse of the parish partly because the buildings had been quickly demolished or church in San Giovanni in radically altered, and their furnishings sold or destroyed. Many Marignano, once a other orders too, once flourishing and widespread, never Benedictine church. returned to the territory of Rimini. 12

Itinerary 3 > Convents

Rimini Up until the end of the eighteenth century, a number of Sant’Agostino Church major religious orders had houses in Rimini. Among these were via Cairoli, 14 the Augustinians, whose presence in the city dated back to the tel. 0541 781268 mid-thirteenth century. They had a huge church in the city centre, • opening times: winter 7:15- and were in the process of rebuilding an imposing convent next to 12:15/15:15-17:30; summer the church just at the time when Napoleon’s army invaded the 7:15-12:15/15:15-19:00 legations, and religious orders were suppressed by the Italic government. The church is dedicated to St John the Evangelist, Verucchio but is known by the name St Augustine’s. It is one of the largest Sant’Agostino Church churches in the town, and the apse and the chapel in the bell via Sant’Agostino tower contain the best and most extensive examples of the Rimini tel. 0541 626109 School of painting which was one of the most significant artistic movements in fourteenth-century northern Italy, and whose initiators were the miniaturist Neri da Rimini and the painters Giuliano and Giovanni da Rimini. These are frescos representing scenes from the Life of Our Lady and the Life of St John the Evangelist and, on the end wall of the apse, Christ and Our Lady in Majesty. The same painters also left us the Christ Crucified painted on wood which hangs on the right-hand wall in the nave of the church, and a splendid scene of the Last Judgement which once adorned the triumphal arch and is now in the City Museum. This was heavily retouched during the seventeenth and eighteenth centuries, and now has a somewhat Baroque appearance. The church has numerous eighteenth-century altarpieces, plaster statues by Carlo Sarti (circa 1750), a fine flat ceiling designed by Ferdinando Bibiena and painted by Vittorio Bigari (1722), and an outstandingly fine thirteenth-century wooden statue of Christ Taken Down from the Cross (which was probably originally part of a Calvary) from the ancient Cathedral of St Columba. Above: St John the Evangelist In the territory of Rimini, only in Verucchio have the church (known as monastery and church of the Augustinians survived. These stand Sant’Agostino), Rimini. Below at the extreme edge of the rocky crag on which the village is built, left: detail from a fourteenth- looking out over a splendid panorama. The convent, now the century fresco in the apse of property of the village, is notable for its clean, simple Sant’Agostino Church, Rimini; architecture; it has recently been restored and now houses an below right, detail from important archaeological museum dedicated to the iron-age another fourteenth-century “Villanova” civilisation in Verucchio. The church, still awaiting fresco showing the Last restoration work, has attractive Baroque stucco decoration and Judgement, originally in fanciful gilded altarpieces containing fine paintings of the Sant’Agostino, now in the City seventeenth and eighteenth centuries. Museum. The Dominicans too had an important convent in Rimini from 15 the thirteenth century onwards, together with a huge church dedicated to St Cataldus, now completely destroyed. The City Museum has a fine painting on wood by Ghirlandaio, dating from the Malatesta period, which originally hung in one of the chapels of this now-vanished church. It shows Saints Vincent Ferrer, Sebastian and Rock Venerated by Pandolfo IV Malatesta and his Family (1494). The Dominicans of Rimini also owned the little parish church of Valliano (Santa Maria del Soccorso), which stands, hidden and solitary, in the folds of a sunny little valley between Coriano and Montescudo. The apse is decorated with rare Renaissance frescos showing the Virgin and Child with Saints and Doctors of the Church, painted in the 1490s by a Tuscan artist whose style is made more attractive and engaging by its inclusion of folk touches. Next to the apse are two votive frescos, not by the same artist, showing St Anthony Abbot and the Mystical Marriage of St Catherine.

Above: the Augustinian church in Verucchio. Below: late fifteenth-century frescos showing the Doctors of the Church, in Valliano parish church. 16

Itinerary 4 > In the Steps of Saint Francis

Villa Verucchio Franciscanism, more deeply rooted in local society and closer Franciscan convent and to the hearts and minds of popular piety, has succeeded in church of the Holy Cross retaining or regaining many of the convents it possessed prior to via del Convento, 150 the Napoleonic suppression. But then the Franciscan message tel. 0541 678417 has very deep roots in this area, roots dating back to the • opening times: 6:30- presence of St Francis himself: tradition holds that the Saint 13:00/15:00-19:00 travelled here in May 1213, following the Marecchia valley down from San Leo, where he had received Mount Alvernia as a gift from Messer Orlando de’ Cattanei da Chiusi. During his journey to Rimini he stopped in a wood at the foot of the hill of Verucchio, where there was a little hermitage dedicated to the Holy Cross, and here he performed miracles: he ordered the sparrows not to disturb his meditations with their singing; he called forth a spring of healing water; and he planted his dry cypress-wood staff and caused it to grow green once more. Soon the little hermitage became a convent, and next to it rose a church dedicated to the Holy Cross, which still stands in Villa Verucchio. (This is the most ancient foundation in the Franciscan Province of Bologna). The spot where it stands, distant from the town and encircled by olives and cypresses, is full of charm and profound religious peace even today; close by are springs of healing water which call to mind the miracle of the Saint; and in the cloister of the convent visitors can still admire the cypress planted by St Francis, a colossal and very rare living monument which botanists believe to be at least seven centuries old, supporting the Seraphic legend. As well as the cypress (present height after the collapse of the top part on December 6th 1980, about 25 metres; circumference of the trunk at its widest point, 7.37 metres), within the confines of the convent visitors can still see the spot where, according to tradition, St Francis’s hut stood. Do not forget to look at the church, which has a beautiful fourteenth-century doorway and a vast neo-classic interior with fine inlaid Renaissance choir stalls. On the left-hand wall, in Above: cloister of the between the nineteenth-century arches, is a fresco, painted in Franciscan convent in Villa delicate pale colours and peopled with many figures. It shows the Verucchio, showing the Crucifixion and was painted in the early fourteenth century by an cypress tree planted by St excellent artist of the Rimini School. Francis of Assisi. Below: Continuing on his journey to Rimini, the Saint traditionally fourteenth-century Rimini stopped for the night a few miles further on, and this spot too is School fresco in the very clearly identifiable, in Vergiano; it is easily recognisable by Franciscan church of the Holy two rows of cypress trees lining a short path which leads from the Cross in Villa Verucchio. road to a farmhouse; the façade has pseudo-mediaeval elements 19 Santarcangelo which recall an ancient setting. This modest Franciscan scene, Collegiate Church attractive and picturesque, dates from 1925. piazza Balacchi, 7 In the Rimini area, in Verucchio, Rimini, Santarcangelo, tel. 0541 626109 Montefiore and Cattolica, there are Franciscans belonging to all • opening times: 7:50- three Orders (Conventual, Friars Minor, and Capuchin), and 12:30/15:00-19:00 needless to say, all the convents are close to churches interesting for both their architecture and furnishings. Among Franciscan Rimini churches which were destroyed, we should remember the Malatesta Temple Conventual church in Santarcangelo, which was huge and via IV Novembre, 35 contained many great works of art. The sumptuous and tel. 0541 51130 (Sacristy) deservedly famous polyptych painted by the Venetian Jacobello 0541 24024 (Diocesan di Bonomo in 1385, which now hangs in the Collegiate Church, Secretary’s Office) came from here. Its beautifully inlaid Gothic framework surrounds www.diocesi.rimini.it sixteen panels on which the Crucifixion, the Virgin and Child, and [email protected] numerous Saints are shown against a splendid gilded This is the Cathedral of background. Rimini. Many of the Franciscan remembrances in Rimini concern St • opening times: weekdays Antony of Padua, who is supposed to have performed here the 8:00-12:30/15:30-18:30; miracle of the fishes and the miracle of the mule in order to Sundays/holidays 9:00- confound and convert the Patarines. The miracle of the mule was 13:00/15:30-19:30 commemorated in the sixteenth century by building a little temple to St Antony in the main square of the town, the present-day Piazza Tre Martiri. But there can be no doubt that the most famous Franciscan building of all is the Malatesta Temple, which was dedicated exclusively to St Francis before becoming the city Cathedral in relatively recent times, by order of Napoleon (1809). Built during the thirteenth century, this church soon became the favoured resting-place for the tombs of the Malatesta family’s most illustrious members The Malatestas were devotees of St Francis and looked very favourably on the peace-making activities of the Franciscans. According to Vasari, at the end of the thirteenth or the beginning of the fourteenth century, Giotto was commissioned by the Malatesta family to paint frescos in the Above: polyptych by Jacobello apse. Nothing now remains of the great Tuscan master’s work di Bonomo, dated 1385, except for a huge Crucifix painted on wood, now without its originally in the vanished apices. In 1447 work was begun on the construction of two church of St Francis in aristocratic funeral chapels commissioned by Sigismondo Santarcangelo, now in the Malatesta for himself and for his mistress Isotta degli Atti, later Collegiate Church. Below: his wife. In 1448 Sigismondo took a vow to renew the church façade (1450) of the throughout, and in 1450 or soon afterwards the work was begun. Malatesta Temple, the work External alterations followed plans drawn up by Leon Battista of Leon Battista Alberti. Alberti, while in the interior the traditional Gothic style already 20

chosen for the first two chapels continued in use, entrusted to Matteo de’ Pasti and Agostino di Duccio. The building was intended to have a huge circular dome, but remained unfinished after the excommunication of Sigismondo in 1461, swiftly followed by his defeat (1463) and death (1468). The present apse is the result of eighteenth-century completion work and of repairs carried out after the Second World War, when the Temple was bombed and suffered heavy damage, losing the apse, the roof and the vestries; the external marble facings were also displaced. Despite being unfinished, the Temple is one of the most significant and best-known monuments of the early Renaissance, both for its exterior architecture, inspired by the monuments of antiquity, and for its interior, adorned with the beautiful delicate sculpture and carvings of Agostino di Duccio. Like the monuments of ancient Rome, the Temple is faced with gleaming pale marble. The solemn façade made from three arches flanked by low columns was clearly influenced by the Roman Arch of Augustus in Rimini. The side walls, unusually austere and harmonious in their simplicity, consist of a series of pillars and arches, and under these arches were to be placed the tombs of Sigismondo’s most illustrious courtiers. This project was carried out only in part, and only on the right-hand wall. Between the pillars and the wall of the Temple a hollow space remains, clearly visible; and the apertures of the arches do not correspond exactly to the windows in the Temple wall. Matteo de’ Pasti probably complained about this lack of concern, calling forth the following reply in a letter from Alberti in 1454: “As for the pillars in my plan, remember I told you that it would be better to make the outer facing a separate work, because the height and the width of these Details of the interior of the chapels worry me … We want to add support to what is already Malatesta Temple. From top there, not spoil what we have still to do. You can see where the to bottom and from left to measurements and proportions of the pillars come from; change right: Tomb of the them and the music loses all its harmony”. These words prove Forefathers; pillar supported how clearly Alberti saw architectural problems, and confirm his by elephants; bas-relief by concept of architecture as logical harmony. Other passages from Agostino di Duccio; portrait of the same letter contain explicit declarations of his faith in reason Sigismondo by Piero della and in the exemplariness of classical architecture. Francesca, St. Francis The entire construction stands on a podium crowned with a receiving the Stigmata, frieze adorned with a number of Malatesta heraldic symbols, of painted by Giorgio Vasari in which there are very many in the interior too: the family coat of 1548; Crucifix by Giotto arms with chequered bends, and Sigismondo’s personal symbol, (c. 1300) in the apse. the letters S and I intertwined, alternate with shields bearing the 23 four-petalled rose and the elephant. In the interior of the Temple the elephant is also found supporting pillars and huge stone coffins, crowning the traditional coats of arms, and serving as a throne for the statue of St Sigismundus. A symbolic beast with many meanings, the elephant was one of the favourite symbols of Sigismondo and his brother Malatesta Novello, who also attached to it the motto “The Indian elephant does not fear mosquitoes”. In all probability, Leon Battista Alberti also gave authoritative advice about the interior decoration of the Temple, which excluded altogether the use of fresco cycles, since the ornamentation corresponds in part to Alberti’s concept of decoration, set out in the treatise on architecture which he was writing during those years. The decoration, however, is markedly Gothic in taste. The Malatesta chapels are railed with tall balusters and distinguished by marble columns: in the first chapel on the left is the tomb “of the Forefathers and Descendants”; in the second on the right, the tomb of Isotta; Sigismondo’s burial place is the tomb next to the door, on the right as one enters the Temple. The chapels most admired are that of the Planets (or of the Zodiac) and that of the Liberal Arts (or of the Muses), which were originally dedicated to Saints Jerome and Augustine. The famous fresco depicting Sigismondo Kneeling Before St Sigismundus, signed by Piero della Francesca and dated 1451, used to hang in the Cell of the Relics situated between the first and second chapels on the right, but has now been moved to the chapel on the right of the High Altar. Among the works dating from after the Malatesta period, notice especially a vast canvas painted by Giorgio Vasari in 1548, showing St Francis Receiving the Stigmata, which now hangs in the last chapel on the left but which was formerly above the High Altar, where Giotto’s Crucifix now hangs.

24 Itinerary 5 > Churches Dedicated to Our Lady

Rimini Many Franciscan churches were dedicated to Our Lady, Church of Our Lady of Graces including the most ancient Marian shrine in the Diocese and in the via delle Grazie, 10 territory of Rimini, the church of Our Lady of Graces on Covignano tel. 0541 751061 hill just outside the city. The origins of the church are - as is so • opening times: 6:00- often the case - surrounded by legendary and miraculous tales. In 12:15/15:00-18:30 1286 a shepherd boy tending his flock on the hillside carved an image of Our Lady on a tree trunk, but being untutored and Montefiore Conca unpractised was unable to finish carving the face, and so angels Church of Our Lady of Bonora came from heaven to finish the work. This image, completed in via San Paolo, 115/116 such a miraculous fashion, was then carried by the sea as far as tel. 0541 980053 Venice, where it is still venerated today in the church of San • opening times: 8:00- Marziale as the “Rimini Madonna”. On the hill of Covignano a 12:15/15:00-18:00 chapel was built on the site of the miracle; the chapel became a church in 1391 and took the name Madonna delle Grazie, and was then enlarged (or rather, “doubled”) in the sixteenth century. Above the High Altar is a beautiful Annunciation, painted by the Umbrian artist Ottaviano Nelli at the beginning of the fifteenth century and until recently attributed to Giotto. Both the church and the convent suffered severe damage during the Second World War; but the little cloister, although it has been rebuilt, still keeps the candour and the warmth typical of all simple Franciscan buildings, and the left-hand nave of the church - covered with a fine Venetian-style wooden beam ceiling - has a quiet beauty, notable works of art, and an interesting collection of votive tablets. Of the original building the façade remains, under the seventeenth-century portico, and has a Gothic portal surrounded by fragments of frescos showing the Annunciation, probably the work of Ottaviano Nelli. For over two hundred years, the Franciscans have also been the custodians of the church of Our Lady of Montefiore, the most famous church in the Conca valley. Its origins date back to the early fifteenth century, when one Bonora Ondidei built himself a hermit’s cell deep in the woods and had a fresco painted on the wall showing the Madonna suckling the Child Jesus. In 1409 the hermit left his little hut to the Franciscans, and the wall with the sacred image still stands, and is known as Madonna di Bonora. The church grew up slowly around this image, solemnly crowned in 1926; however it was restored and radically altered during the early twentieth century. The Conca valley was crossed by a pilgrim route leading to Loreto, and many churches here are dedicated to Our Lady. Often they are very simple buildings, but they nevertheless show how 25

Montegridolfo widespread was the cult of the Virgin Mary in this area. In San Rocco Church Montefiore itself, for instance, even the little church attached to via Borgo the hospital founded in the fifteenth century on the outskirts of tel. 0541 855031 the village, is dedicated to the Madonna, here given the title “Our • opening times: 8:00- Lady of Mercy”. The church still has extensive fragments of the 12:00/14:00-18:00 frescos which once decorated all the walls of the nave and the apse; they depicted the Last Judgement; the Resurrection of the Dead; Hell; Heaven; and the Four Evangelists. They were painted about 1475-80, and are the work of a good painter of the Urbino style. From its position in the apse, an altarpiece showing Our Lady of Mercy with the patron saints of the village once dominated the church. Painted in 1485, probably by the same artist who was responsible for the frescos, the work was attributed at one time to Giovanni Santi, and more recently to Bartolomeo di Gentile and then to Bernardino Dolci. After the Second World War the picture was moved to the parish church where it now adorns the High Altar. This church has a splendid stone portal, part of the original Gothic structure, and of the historic church furnishings a great Crucifix remains, painted on shaped wood, the work of an unknown fourteenth-century painter of the Rimini School. The hills on the southern borders of the territory of Rimini, on the other side of the Conca valley, in sight of the river Foglia and the regional boundary with Le Marche, form the backdrop to the village of Montegridolfo, which contains interesting mementoes of the Marian cult. Here too there is a little church on the outskirts of the village which, in view of its position and the saint to whom it is dedicated (St Rock), must have stood close to a pilgrim hospice. In the second half of the fifteenth century an artist from Le Marche painted a fresco in the apse, depicting the Above: detail of the Virgin and Child with Saints Rock and Sebastian. A century later, Annunciation by Ottaviano local devotees decided it was time to renew the image, which was Nelli, in the apse of Our Lady repainted by an artist from the Umbria-Marche school. This of Graces church on second painting was superimposed on the original, again as Covignano hill, Rimini. Below fresco and with the same subject, but larger and in a style more left: detail of a fifteenth- up-to-date, in keeping with the tastes of sixteenth-century century fresco in the classicism. This same operation was repeated yet again a Ospedale church, Montefiore; hundred years later, when the image was updated once more to below right: altarpiece by conform to the pathetic piety of the seventeenth century; this Guido Cagnacci (c. 1620) in time the artist was Guido Cagnacci, and he painted his Madonna San Rocco church, on canvas, adding another saint to the composition, St Hyacinth, Montegridolfo. and considerably altering the relationship between the figures. 27 Trebbio di Montegridolfo The frescos were recently recovered by means of a delicate Blessed Virgin of Graces operation to detach the canvas, and were then restored and given Church pride of place. Now all three works of art can be seen in the via B.V. delle Grazie, 8 church, and as well as pleasing the eye with their beauty and tel. 0541 855037 harmony, they offer interesting points for reflecting on the • opening times: summer tenaciousness of the Marian cult, on the use of imagery, on the 8:00-22:00; winter 8:00- subtle variations in iconography in relationship to devotion, and 12:00/14:00-20:00 on changes in taste and style. Close to Montegridolfo, in the hamlet of Trebbio, is a Marian Rimini church dedicated to the Blessed Virgin of Graces. The origins of Madonna della Colonella this church are linked to the apparition of the Madonna to Church Lucantonio di Filippo on June 25 1548 and to Antonia Ondidei on via Flaminia July 7 of that same year; just a few months later a Papal Bull tel. 0541 384545 signed by Pope Paul III authorised the building of a chapel, which • opening times: 8:00- was later rebuilt and enlarged thanks to the contributions of the 12:00/16:00-18:00 faithful. Very few traces remain of the original construction, but there is still a painting at the High Altar, by the painter Pompeo Morganti from Fano; dated 1549 and based on the testimony of the two who saw the vision, it shows the Apparition of the Madonna to Antonia, aged sixty at the time. The beautiful background to this painting reproduces faithfully Montegridolfo and the surrounding countryside, and also includes the miraculous meeting of Lucantonio with “the most beautiful lady that ever I saw, and she was tall in stature”. The church of Trebbio di Montegridolfo is not the only Marian church in the Rimini area to have been built in the sixteenth century in the wake of a miraculous event. Others were built in Fiumicino, in the territory of Savignano (1524, rebuilt and enlarged in 1729 and again after the Second World War); in Casale di San Vito, in the territory of Santarcangelo (1593, enlarged in 1603, completely destroyed during the war and rebuilt in modern style); and in the district known as “la Colonella” (the little column, or in other words a Roman milestone), along the Via Flaminia just a mile from Rimini. Above. Detail from the The church of Madonna della Colonella was the first, in order altarpiece by Pompeo of time, of the great sixteenth-century Marian churches. It was Morganti (1549) in Blessed built by the town authorities about the year 1510 in honour of an Virgin of Graces church in image of the Virgin and Child, painted in 1483 in a little wayside Montegridolfo. Below: interior shrine. This image had become miraculous in 1506, saving a and detail of the sixteenth- pilgrim unjustly accused of murder and condemned to death by century church of Madonna hanging . The church was severely damaged during the war, but it della Colonnella, Rimini. has been very well restored. It is a true Renaissance masterpiece, 28

Rimini with its harmonious architectural design and the restrained Santa Chiara Church richness of its decorations, terracotta pilasters and moulding via Santa Chiara, 28 splendidly ornamented with grotesque motifs. These are the work tel. 0541 785560 of Bernardino Gueritti from Ravenna, who was also responsible • opening times: 7:00- for building the church, and they are strikingly similar to several 12:00/16:00-19:00 important examples of architecture in the Forlì area designed or directly inspired by Marco Palmezzano, to whose ornate and harmonious art forms the overall architectural design of the church can be linked. There is yet another important Marian church in the historic centre of Rimini, dedicated to Our Lady of Mercy. This is one of the most recent, having been built after an image of the Madonna miraculously moved its eyes for the first time on May 11 1850. The church, usually known by the name Santa Chiara, was designed by the Rimini architect Giovanni Benedettini and is eclectic in style. The miraculous image hangs in the centre of the apse; it is a copy painted by Giuseppe Soleri Brancaleone of an equally portentous image, responsible for an identical miracle half a century previously, which is still treasured by the Confraternity of St Jerome in the oratory of San Giovannino.

30 Itinerary 6 > Little Cathedrals

Rimini The Baroque age left its mark on much of the religious art of Church of the Servites Rimini and its environs. During the seventeenth century, sincere (known as I Servi) devotional sentiment and a desire to follow closely the canons of corso d’Augusto, 200 the Counter-Reformation led to the replacement of almost all tel. 0541 27930 altarpieces; while in the eighteenth century many places of • opening times: 8:00- worship were completely transformed or rebuilt, often to majestic 12:00/16:00-18:00 plans and always with great attention to elegance and to interior decoration. Religious painting between the seventeenth and the eighteenth centuries moved from the strong naturalistic notes of Cagnacci and Il Centino (who were active both in the city and the surrounding territory during the first half of the seventeenth century), to the classically-inspired, pious compositions of Guercino and the Bolognese painters, to the archaising academic Baroque of Giovan Battista Costa (a local painter most industrious everywhere up to the year 1767); but it is rich too in masterpieces imported from Rome, Venice and Urbino. As for architecture, it tends to avoid the excesses of the most fanciful and ostentatious Baroque, and follows a Roman-Bolognese line, with certain rationalistic traits during the second half of the eighteenth century; however, its history is almost all eighteenth-century. It was during the eighteenth century that the major churches in the city and its environs underwent a process of renewal. In Rimini the church of the Jesuits was built, and the churches of the Augustinians, the Carmelites, and the Servites especially, were rebuilt or greatly altered, and furnished with new altarpieces and stucco decorations. The church of the Servites, rebuilt between 1777 and 1779 to the design of the Bolognese architect Gaetano Stegani, was enhanced with glorious rococo stucco decorations, the work of the sculptor Antonio Trentanove, which were gilded in 1887. The church has paintings by Francesco Albani (1621); Lucio Massari (1620); Ubaldo Gandolfi (1779); and Giovan Battista Costa. Exploring the environs of Rimini, one finds everywhere oratories which though modest in size are invariably elegant; country parish churches extremely poor externally, but with interiors rich in stucco and paintings. The oratory known as “Oratorio della Scuola” in San Giovanni Marignano, the parish churches of Mondaino and San Vito, the “Chiesa delle Monache” (church of the nuns) in Santarcangelo, and the Suffragio church in Verucchio, are good examples. They are delightful buildings and of great artistic interest both for their architecture and for the works of art they contain. 31

Santarcangelo An attempt was made during the eighteenth century to Collegiate Church rationalise religious practices and the life of the clergy, through piazza Balacchi, 7 the creation of collegiate churches. Collegiate churches were tel. 0541 626109 established in Savignano in 1732; in Santarcangelo in 1744; and • opening times: 7:50- in Verucchio in 1796; though this last, owing to a long sequence of 12:30/15:00-19:00 delays and wavering, was not actually built until between 1865 and 1874. These churches were conceived almost as cathedrals, Verucchio imposing in size and majestic in form. Collegiate Church The Collegiate Church of Santarcangelo is one of the most via San Martino important eighteenth-century buildings in the entire territory of tel. 0541 670197 Rimini. It was built between the years 1744 and 1758 by Giovan • opening times: 6:30- Francesco Buonamici, and has a majestic, elegant interior. The 12:00/15:00-18:00 spacious apse has a fine altarpiece by Giovan Gioseffo Dal Sole, depicting the patron saints of the town; while in the discreet shadows of the side chapels are found the altars of a number of confraternities, altars with eighteenth-century frontals in polychrome plaster-work, adorned with altarpieces of outstanding beauty. The second altar on the left, for instance, has an altarpiece painted by Guido Cagnacci in 1635 for the confraternity of carpenters and smiths; it shows St Joseph, Jesus and St Eligius. The large chapel on the right houses a Crucifix painted on wood by an unknown Rimini artist in the second quarter of the fourteenth century, which originally hung in the parish church. The exterior of the Collegiate Church is notable for its clean, precise lines. More refined and affected, but nonetheless majestic and impressive, is the Collegiate Church of Verucchio, built at a much later date owing to a sequence of adverse circumstances which included the Napoleonic occupation and the vicissitudes of the Risorgimento, with all the attendant suppressions. The church was designed by the Verucchio artist Antonio Tondini, a man of eclectic tastes, learned and attractive, a semi-amateur architect; but the plans were actually signed in 1863 by the Rimini architect Giovanni Morolli, since Tondini did not possess the necessary legal “patent”. The interior of the church features Baroque and Above: interior of the Renaissance motifs, and was originally all blue and white, with eighteenth-century Servite gilded decorations; it thus had a much more Neoclassic, almost church in Rimini, the work of “Empire style” appearance than it has now. Indeed, modern Gaetano Stegani. Below: repainting has even altered the spatial effect, which was detail of the so-called Scuola originally much enhanced by the cool reflection of light on the church in San Giovanni in coloured plaster work and the sharp-edged moulding. The church Marignano. contains a number of altarpieces and furnishings from various 33

Saludecio Verucchio churches; most notable is the painting on the High St Blaise Church Altar which shows St Martin Giving His Cloak to a Beggar, the piazza Beato Amato work of Giovan Francesco Nagli, known as “Il Centino”, painted tel. 0541 982100 about the year 1650. • opening times: 8:00- The true masterpieces in this church, however, are two 12:00/14:00-18:00 Crucifixes painted on shaped wood. One hangs in the presbytery and is the work of an unknown Rimini artist of the early fourteenth century, known as “Maestro di Verucchio”, while the other is Venetian, the work of Catarino (who carved the wood) and Nicolò di Pietro, who then painted it. The date, 1404, appears at the foot of the Cross. The Collegiate Church of Verucchio seems to have been conceived almost as a “Cathedral” for the middle Marecchia valley. The Conca valley too has a church which may be considered the “Cathedral” of the valley: the parish church of Saludecio, dedicated to St Blaise. It was built between 1794 and 1802, difficult years of serious economic and political crisis, largely thanks to the courage and perseverance of a most distinguished local parish priest, Father Antonio Fronzoni, and to popular enthusiasm for the official beatification in 1776 of Amato Ronconi, who had been venerated as the patron saint of the village ever since the fourteenth century. This church, officially proclaimed a “sanctuary” in 1930, is most harmonious and elegant in design, the result of an intelligent reworking and rationalisation of centralised Baroque patterns. The architect was Giuseppe Achilli from Cesena, and this church is his masterpiece. The stucco decorations in the church, arranged with much sobriety so as to enrich the architectural structure, are the work of the sculptor Antonio Trentanove, and the paintings are by various artists from the regions of Romagna and Le Marche, and date from the Above: St Joseph, Jesus and seventeenth and eighteenth centuries. They include two splendid St Eligius by Guido Cagnacci altarpieces by Guido Cagnacci representing Saint Sixtus Pope and (1635) in the Collegiate The Procession of the Most Holy Sacrament (1628). Church, Santarcangelo. Below A collection of vestments, church furnishings, and paintings, left: interior of the Collegiate mostly dating from the seventeenth and eighteenth centuries, is Church, Verucchio; below displayed in the vestry; they come from various churches and right, St Martin Giving His oratories in the surrounding area which were suppressed at the Cloak to a Beggar (1650), by end of the eighteenth century. The collection also includes a Giovan Francesco Nagli, “Il number of mementoes connected with the cult of the Blessed Centino”, painting on the Amato. High Altar in the Collegiate Church, Verucchio. 35

Background > Local Saints

The canonisation of the Blessed Amato is going forward; but he is not the only local personage to have attained the title of “Blessed”. Almost every little town in the territory has one, more or less venerated, of a more or less ancient date, and more or less officially recognised by the Church. Verucchio can number three: the Blessed Giovanni Gueruli, Gregorio Celli, and Bionda da Verucchio; Riccione has the Blessed Alessio Monaldi; Santarcangelo the Blessed Simone Balacchi; Saludecio the Blessed Cipriano Mosconi, and Passano di Coriano the Blessed Enrico the Hungarian. Chapels great or small, or simple altars in the parish churches of the respective towns, preserve their relics and commemorate their lives and their wonders. Often the cult of these figures, which is usually limited to a very small area, relies on naïve legends, popular tales rich in miraculous events, mingling faith, poetry, and fantasy. The same can be said for the earlier saints of Rimini itself, such as Arduino and Chiara da Rimini, or the even more ancient patron saints of the city, Saints Innocenza, Gaudentius and Julian. Modern times too have given us men and women of exemplary lives, whose saintly deeds are well known and documented. Among the Blessed of recent years we may remember Brother Pio Campidelli and Sister Elisabetta Renzi; while the beatification of the lay figures the Venerable Alberto Marvelli and Carla Ronci and of Sisters Angela Molari, Faustina Zavagli and Bruna Pellesi, is in progress.

Above: interior of the parish church of St Blaise, Saludecio, the work of Giuseppe Achilli. Below: detail from The Procession of the Most Holy Sacrament (1628) by Guido Cagnacci, in Saludecio museum. 37 Background > Art and Memory

This brief overview is intended simply as an invitation to discover Rimini and its territory by following the traces of a religious sentiment which has left everywhere, in places of worship, notable and valuable tokens. The guiding thread of the chosen route is not a casual or superficial pretext, but a key which will open the book of history, art and local culture. Certainly, within the confines of these guidelines there is room for distinctions and preferences, especially as regards artistic themes. In any case, to bring together in a coherent historic framework so many intrinsically fragmentary elements, it is essential to integrate into the framework many of the exhibits preserved in the City Museum in Rimini, where the collections consist of works of art coming mainly from the territory of Rimini, almost all based on religious themes. It is possible to suggest here just two key themes of artistic interest which it would be worth exploring. The first is without a doubt the painting of the fourteenth-century Rimini School, which played an extremely important part in the artistic culture of Italy in the Middle Ages. Significant works of this School can be found in Villa Verucchio and Verucchio, in Santarcangelo and Montefiore, in Misano and Rimini. The second theme is eighteenth-century painting in Rimini, which had an originality all its own and was important to the development of Italian naturalism, thanks to the work of Guido Cagnacci and of Giovan Francesco Nagli, known as Il Centino. Works of these two painters are to be found in Saludecio and Montegridolfo, in Montefiore and Santarcangelo, in San Vito and Verucchio, and in Rimini itself. It would also be interesting, for example, to seek out local reflections of the Renaissance movement as it took place in some of the major Italian cities, Venice or Florence or Rome; or trace the influences imported from the capitals of Baroque art, such as Rome or Bologna. Whichever theme the visitor may choose, it is well to remember that both in the city of Rimini and throughout its territory, towards the sea or towards the foothills of the Apennines or towards the beginnings of the great Plain of Lombardy, churches are “huge agglomerations of work and the history of work, aggregations of individual and collective piety, marks of devotion but also of an extremely elevated aesthetic sense”, as Andrea Emiliani has written, underlining “the very great cultural and artistic dignity” which distinguishes places of 38 worship, so frequent and so filled with remembrances; and so “incorporated and incarnate in that space so full of life which technicians call the territory, but which we would rather call town and countryside, that diarchy so exquisitely Italian, the opposition of powers and functions …”. And it is in the light of this “density” of tokens and remembrances, and of their value in preserving and enhancing specific cultural identities, that the Province of Rimini, in addition to and in support of the provisions effected by the Ministry for Arts and the Diocese, has financed the restoration of numerous works of art preserved in the churches of the territory, especially in smaller towns and villages.

39 Bibliography > Further Reading

A. Emiliani P. G. Pasini Chiesa città campagna La pittura del Seicento Rapporto della Soprintendenza nella Romagna meridionale per i Beni Artistici e Storici, e nel Montefeltro, n. 27, Alfa ed., Bologna 1981 in La pittura in Emilia e in Romagna. Il Seicento Autori vari Nuova alfa ed., Bologna 1992 Figura Culto e Cultura, i dipinti votivi della diocesi di Rimini P. G. Pasini Coop. Supergruppo ed., Arte in Valconca, I-II Ravenna 1981 Silvana ed., Milano 1996-1997

Autori vari Autori vari Natura e cultura Medioevo fantastico nella Valle del Conca e cortese. Arte a Rimini Biblioteca Comunale fra Comune e Signoria di Cattolica e Cassa a cura di P. G. Pasini, di Risparmio di Rimini, Musei Comunali, Rimini 1998 Rimini 1982 P. G. Pasini C. Curradi Testimonianze d’arte Pievi del territorio riminese fra XIV e XIX secolo, fino al Mille in Il Montefeltro, 2, Luisè ed., Rimini 1984 Ambiente, storia, arte nell’alta Valmarecchia Autori vari Pesaro 1999 Arte e santuari in Emilia Romagna P. G. Pasini Silvana ed., Milano 1987 Arte e storia della Chiesa riminese P. G. Pasini Skira ed., Milano 1999 Guida per Rimini Maggioli ed., Rimini 1989 E. Brigliadori, A. Pasquini Religiosità in Valconca Autori vari Silvana ed., Milano 2000 Storia illustrata di Rimini, I-IV Nuova Editoriale Aiep, Milano 1990

40 Provincia di Rimini Assessorato alla Cultura I - 47900 Rimini, piazza Malatesta 28 [email protected] Assessorato al Turismo tel. 0541 716371 - fax 0541 783808 www.turismo.provincia.rimini.it

Provincia di Rimini Assessorato alla Cultura Assessorato al Turismo