CITY ITINERARY IN THE FOOTSTEPS OF NORI DE’ NOBILI – Between Art, Memory, Landscape, and the Flavors of Trecastelli

Villino Romualdo and Nori De’ Nobili Museum

Villino Romualdo: A Cultural and Social Center in Trecastelli

Located in the picturesque town of Ripe, in the municipality of Trecastelli, Villino Romualdo is an elegant 19th-century building that combines history, culture, and community service. A private residence until 1946, it was donated to the community by Nazareno Sceral and intended for social and cultural purposes. Today, the Villino houses the Nori De’ Nobili Museum, one of the most significant spaces in the world dedicated to a female artist, and offers a variety of essential services for citizenship. It houses medical clinics, a Music School, the Municipal Library, and the Center for Studies on Women in Contemporary Visual Arts, a point of reference for women’s art and its representations.

The Nori De’ Nobili Museum and the Study Center

Inaugurated in 2012, the Nori De’ Nobili Museum is dedicated to the painter Eleonora De’ Nobili, known as Nori, and collects over sixty works that retrace her artistic evolution and her troubled life. The museum is also home to the Center for Studies on Women in Contemporary Visual Arts, created to promote research on women’s art. The centre organizes exhibitions and events of national and international significance, consolidating the link between artistic tradition and contemporary reflection on the representation of women in art.

Villino Romualdo is thus not only a container of history, but a hub of living culture, uniting past and present in a unique experience for the public and the community.

ROMUALDO VILLA
Located in the town of Ripe, in the municipality of Trecastelli, Villino Romualdo is an elegant building from the second half of the 19th century. Until 1946, it was the private residence of Nazareno Sceral, then mayor, who dedicated it to his son Romualdo before leaving it as a gift to the community for social and cultural purposes.
Formerly home to a vocational training school for agriculture, Villino is now an important cultural and social hub, managed by the Municipality of Trecastelli. On the upper floor it houses the Nori De’ Nobili Museum, born from the desire of the municipal administration to promote the work and figure of the artist Eleonora De’ Nobili, known as Nori. The museum, among the few in the world dedicated exclusively to a female artist, collects a significant selection of her works and represents a point of reference for research and the valorization of her production.
In addition to the museum rooms, the Villino welcomes important services for the community. On the ground floor are the medical clinics, the blood collection point and the headquarters of the Bettino Padovano Music School – Trecastelli Section. The first floor houses the Tourist Office, the Municipal Library, and the Center for Studies on Women in Contemporary Visual Arts, a space dedicated to exhibitions and events involving contemporary artists, with a particular focus on the representation of women in art.

THE NORI DE’ NOBILI MUSEUM
The Nori De’ Nobili Museum, inaugurated on October 7, 2012 based on a design by Professor Carlo Emanuele Bugatti, is dedicated to the artist of the same name, who has deep ties to the area. Nori spent part of his life in Brugnetto di Ripe (now Trecastelli), in the historic “Villa dalle cento finestre”, an eighteenth-century residence that belonged to his maternal family. Since 2019, the management of the Museum has been entrusted to Prof. Stefano Schiavoni.
THE PERMANENT COLLECTION
The exhibition includes sixty-one works, which retrace the artistic evolution and the troubled existence of the painter.
First room: it houses his early works, with references to family affections, such as the portrait of his brother Alberto with the “Villa with a hundred windows” in the background and the paintings dedicated to his sister Bice. These works are linked to his stay in Florence (1924-1935), a period in which Nori immersed himself in a similar artistic and intellectual environment, frequenting the workshop of Ludovico Tommasi, the art critic Aniceto del Massa and the famous Caffè delle Giubbe Rosse, a meeting point of the culture of the time.

Second room: it testifies to the transition to a more intimate and introspective research, with the first self-portraits and dream images.

Third room: marks the period following his admission to the Villa Igea psychiatric clinic in Modena (1938). Numerous self-portraits show the painter in various clothes and hairstyles, recounting her incessant artistic research.

Fourth and fifth rooms: they house portraits of symbolic characters, such as dolls, clowns and the companions of the clinic.

Sixth and seventh rooms: they exhibit large-format works, including those in which Nori portrays himself with masks and fans. The Soul of Nori Rising to Heaven, painted on an X-ray plate, and Nori and Trees, his last work, left unfinished shortly before his death in 1968, stand out.

The museum also houses an archive of over fourteen hundred works and stands out as one of the exhibition spaces in the world dedicated exclusively to a female artist. Because of its uniqueness, it is also home to the Center for Studies on Women in Contemporary Visual Arts, which promotes research on female art through exhibitions and cultural initiatives.

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Piazza Leopardi 32

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Church of San Pellegrino Ripe

The Church of San Pellegrino, located at the entrance to Ripe, was built between 1781 and 1785 to replace an earlier religious building. Its history dates back to the 11th century, with a parish church followed by subsequent reconstructions up to the current structure. Dedicated to Saint Pellegrino, bishop and martyr, the church also houses the relics of Saint John Paul II.

The building has a two-tiered facade and a side bell tower. The interior, with a central nave flanked by two false naves, houses important works of art, including a 15th-16th century canvas of the Madonna del Carmine and a 17th-century wooden crucifix. Several chapels enrich the sacred space, such as that of the Crucifix and those dedicated to the Virgin. With its historical and artistic heritage, the Church of San Pellegrino represents a cultural and religious point of reference for the community of Ripe.

History

The Church of San Pellegrino is located at the entrance to the town of Ripe and was built between 1781 and 1785, replacing a previous religious building. This is the fourth church built in the area: the first evidence dates back to the 11th century, when a parish church existed; subsequently, between 1400 and 1600, a second church dedicated to San Pellegrino was built. In 1643 this was demolished and replaced by a new building, which, due to population growth, was already insufficient by 1750. For this reason, work began in 1781 on the current parish church, completed in 1785.

Saint Pellegrino, bishop and martyr, is the patron saint of the church and patron saint of the parish. On May 1° his election as Ripe’s principal protector is celebrated. The church also houses the relics of St. John Paul II.

Architecture and Art

The church faces the main street and has a façade divided into two orders, with the bell tower located on the right. The interior is characterised by a wide central nave, flanked by two false naves, connected by large arches. The high altar houses a statue of Saint Pellegrino, set in a majestic golden frame.

Among the works of art housed inside, the canvas of the Madonna del Carmine with Saints Rocco and Sebastian, from the Marche school of the 15th-16th century, from the ancient church of San Rocco, stands out. Another important section is the chapel of the Crucifix, decorated with fine marble, which houses a 17th-century wooden crucifix and a statue of Our Lady of Sorrows preserved in a niche. The vault of the chapel is embellished with a fresco depicting the Eternal Father contemplating his Son.

In the left nave there are two chapels dedicated to the Virgin. The first houses the painting of the Madonna del Soccorso, venerated in Ripe since 1790, while the second houses the Madonna del Rosario, a work dating back to the early eighteenth century. At the centre of the apse is a depiction of Jesus with angels, while the high altar was once decorated with the altarpiece of the Madonna and Child, Saint Pilgrim and Saint Philip Neri, now located on the right wall of the presbytery.
A major conservative restoration project, carried out between September 2014 and August 2015, restored the Church of San Pellegrino to its former splendor. The work, conducted by a team of experts and largely carried out by local companies, particularly concerned the roof, underground spaces, and interior decorations.In particular, the pseudo-northern nave housing the baptistery, the confessional and the tabernacle has been embellished with modern artistic finishes.

Among the most significant interventions, the redevelopment of the ancient ossuary below stands out, transformed into a new crypt: an evocative underground chapel, later dedicated to Saint John Paul II. Inside the church is a precious relic of the Pope, who became the city’s patron saint following the 2014 merger. It is a lock of his hair, transferred to the church on the occasion of the first patronal feast celebrated on October 22nd. The city was the first in Italy to officially welcome Saint John Paul II as its patron saint.
The Church of San Pellegrino, with its history and artistic heritage, represents an important place of faith and culture for the community of Ripe.

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Piazza Leopardi 20

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Town Hall of Ripe

The Town Hall of Ripe was built on the ruins of the parish house demolished in 1937 and was inaugurated in 1938. Designed with medieval architectural features, including Guelph battlements and an adjacent civic tower, the building met the town’s administrative needs while blending harmoniously with the historic village. The construction was a key urban redevelopment project, enhancing the Castle area and integrating seamlessly into the local historical context.

The Town Hall of Ripe stands in the heart of the historic village, within the ancient castle walls. Its construction began in 1937 on the site of the pre-existing parish house, which was demolished to make way for a more modern and functional municipal headquarters. The building was designed by architect Dominici of Corinaldo, drawing inspiration from the previous rectory and preserving traditional architectural elements, such as the large arched portico open to public passage on three sides.

The official inauguration took place on October 30, 1938, in the presence of provincial authorities. The new structure provided more spacious and dignified offices for the municipal administration and archives, meeting the town’s growing administrative and social needs. Its construction was part of a significant urban redevelopment project, contributing to the restoration and improvement of the historic center.

The building is characterized by its medieval-inspired style, featuring a towered and Guelph-battlemented silhouette reminiscent of ancient fortifications. Next to the structure stands the civic tower, rebuilt over the ruins of a previous structure and modified in 1963 with the addition of the current battlemented tower. Among the historical artifacts, a rare iron weathervane stands out, once placed atop the dome of the old civic tower. This piece depicts Saint Pellegrino, the patron saint of Ripe, alongside the municipal coat of arms, which features three hills topped by a comet star and the date 1141.

The building’s construction, overseen by surveyor Ciceroni, employed 42 workers for a total of 4,800 workdays, at a total cost of 227,000 lire, including landscaping of the surrounding areas. Thanks to this project, the village of Ripe gained an imposing and elegant structure, which seamlessly integrates with the historic setting while fulfilling the town’s modern administrative needs.

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Via Castello 1

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Streets dedicated to Bugatti and De Minicis

The alleys dedicated to Carlo Emanuele Bugatti and Giuliano De Minicis, located in the historic center of Trecastelli, are an important testament to the culture and history of the village. Recently renovated, they host an open-air museum with reproductions of works by the artist Nori De’ Nobili, creating a route that blends art, memory, and urban landscape.

The alleys dedicated to Carlo Emanuele Bugatti and Giuliano De Minicis, located in the heart of the historic center of Trecastelli, represent an important testament to the history and culture of the village. Recently renovated, these charming corners host an open-air museum dedicated to the artist Nori De’ Nobili. The exhibition route, which integrates reproductions of her works into the urban context, offers a unique experience where the historical memory of the place blends with contemporary art. Walking along these alleys, visitors can admire details of De’ Nobili’s works, carefully selected and harmoniously incorporated into the village’s architecture, creating a path that celebrates the meeting of past and present, culture, and creativity.

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Vicolo Carlo Emanuele Bugatti - Vicolo Giuliano De Minicis

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War Memorial in Ripe

The Memorial to the Fallen of Ripe, located in the tower of the town hall, commemorates the soldiers and civilians of the two world wars. Protected by a wrought iron gate, it houses marble tombstones and a scroll dedicated to Giovanni Secchiaroli, Gold Medal winner. The site is a significant example of architectural restoration and an important point of historical memory for the community.

The Memorial to the Fallen of Ripe is a place of great historical and cultural significance, dedicated to the soldiers and civilian victims of the two world wars. Located inside the tower of the town hall, the memorial was incorporated into the new base of the structure during renovation work. A brick arch and an elegant wrought iron gate, decorated with symbols of war such as daggers, helmets, eagles and shields, mark the entrance. Inside, four marble plaques commemorate the fallen, while a scroll commemorates Giovanni Secchiaroli, Gold Medal. Although almost hidden by the imposing castle, the chapel is a valuable example of architectural restoration, as well as being an important place of remembrance for the community.

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60012, Via Castello, 1, 60010 Trecastelli AN 1

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Church of Crocifisso

The Church of Crocifisso, located near Ripe, has a history that has its roots in the Abbey of San Ginesio in Rocca Contrada (now Arcevia). In 1879, the Lavatori brothers acquired the land where a destroyed chapel stood and in 1881 rebuilt it from the foundations. The church, still owned by the Lavatori family, preserves a bell tower, a private burial ground and numerous sacred furnishings, including a Romanum Missal from 1872. Every year, during Easter, a festival is celebrated in honor of a painting of the Madonna kept inside.

The Church of Crocifisso, located in a strategic area near Ripe, has a long and fascinating history intertwined with local events. Reliable sources suggest that the ancient church was part of the Abbey of San Ginesio of Rocca Contrada (now Arcevia), and that a chaplain resided there, highlighting its significance as a place of worship. In 1879, the Lavatori brothers, including the priest Nicola Lavatori, acquired the land from the Benvenuti brothers of Belvedere, where a chapel had stood, destroyed by an apostolic indult in 1877. Two years later, in 1881, the Lavatori rebuilt the church from the foundations, as indicated by the Latin inscriptions on the walls inside. Today, the church is still owned by the Lavatori family, who have preserved and protected this place of worship for generations.

The church features a bell tower and houses a small altar behind which is an artistic private tomb belonging to the Lavatori and Fiorenza families, enriched with terracotta elements. Among the sacred furnishings is a 1872 Roman Missal with a leather cover, as well as a painting of the Madonna, which is annually venerated with a celebration that coincides with the Easter period.

An intriguing episode tied to the local history is the ambush of July 30, 1808, when the anti-French insurgents of Ripe attempted to surprise the Napoleonic troops near the chapel. The strategic location of the church, which overlooked the three main roads leading to the castle, made it an ideal spot for a surprise attack. According to local legends, the retreat of the French troops was caused by the miraculous apparition of Saint Pellegrino, the patron saint of the surrounding lands.

It is said that the apparition had a shocking effect on the French soldiers, causing them to flee, either in terror or convinced of the divine protection over the area. This episode is part of a series of popular resistance actions against the French occupation, which characterized the Marche region and the Papal States during the Napoleonic years.

The ambush, although not decisive, remains a symbol of the determination and religious fervor of the locals, ready to fight and resist even under the shadow of a seemingly divine miracle.

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Church of Madonna del Rosario

Built in 1977 based on a design by Prof. Gabriele Bonazza, the Church of Madonna del Rosario in Passo di Ripe was created to serve a growing local community. Inspired by the biblical tent of Abraham—a symbol of welcome—its modern architecture is enriched with deep symbolic and artistic elements. Key features include a Tabernacle evoking the pillar of fire from the desert, a Baptismal Font shaped like a rock from which the water of salvation flows, and a Via Crucis with additional scenes crafted by Bonazza. The church also houses works by Aleandro Memè and the Ortisei school, making it a significant spiritual and cultural landmark for the community.

The Church of Madonna del Rosario is a place of worship and spirituality located in the heart of the village of Passo di Ripe. Dedicated to the Patroness of the Parish, she is celebrated every year on the first Sunday of October, marking a central moment for the local community.

Built to meet the needs of a growing population, the church traces its origins back to 1968, when it was decided to replace the small private chapel dedicated to Saint Anthony of Padua. The design was entrusted to Professor Gabriele Bonazza in 1976 and completed the following year, resulting in a modern building rich in symbolic meaning.

The architecture is inspired by Abraham’s biblical tent, a symbol of welcome and faith. A scenic staircase leads to the entrance, set back from the road and preceded by a large forecourt—an ideal space for prayer and reflection, immersed in silence.

Inside, the environment is simple yet deeply evocative. The Tabernacle recalls the pillar of fire that guided the people of Israel through the desert, surrounded by sand, stones, and plants that enhance the atmosphere of sacredness. In front of the presbytery, the Baptismal Font is shaped like a rock from which the water of salvation flows, symbolizing the new life granted through baptism.

The church also preserves a valuable artistic heritage. The Stations of the Cross, created by Bonazza himself, include two particularly striking scenes: the Last Supper and the Resurrection of Christ. Other notable works include a sculpture of the Baptism of Jesus, a wooden statue of Saint Maria Goretti carved by Aleandro Memè, and an intense depiction of the Sacred Heart, created by the Ortisei school.

The Church of Our Lady of the Rosary represents a perfect balance between modernity and spirituality. Architecture, art, and symbolism come together to offer the faithful a place of contemplation and spiritual retreat—a true landmark for the entire community.

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Aldo Moro 8

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Antonelli Castracani Augusti Palace

The Palazzo Antonelli Castracani Augusti, known as the Palace of the Hundred Windows, is a historic noble residence located on the hills of the Misa Valley. Built by the Antonelli family, the palace was transformed in the 18th century by Cardinal Nicola Antonelli and designed by architect Andrea Vici. Inside, it features frescoes by Felice Giani and a church designed by Vanvitelli. Today, the palace hosts cultural events and the Antonelli Study Center, and is open to visits by appointment.

Palazzo Antonelli Castracani Augusti, known as the Palace of the Hundred Windows, is an imposing noble residence situated on the hills of the Misa Valley, in the locality of Brugnetto di Trecastelli. Its history dates back to the 13th century, when the Antonelli family began building a castle on a previous settlement. In 1750, Cardinal Niccolò Maria Antonelli transformed the building into a prestigious palace, entrusting architect Andrea Vici, a student of Luigi Vanvitelli, with the design of the magnificent main façade and the grand ceremonial staircase that still define its appearance today.

The building extends over five floors, with the ground floor featuring some of its most impressive rooms, such as the Sala delle Armi (Hall of Arms), the Salone delle Aquile (Hall of Eagles), and the elegant Sala degli Specchi (Hall of Mirrors). The noble floor, which is open to visits by appointment, is adorned with frescoes by Felice Giani, inspired by the ornamental motifs of the Domus Aurea in Rome. Over the centuries, the palace has hosted important historical figures, including Leonardo Antonelli, Secretary of State under Pope Pius VII, and Cardinal Giacomo Antonelli, known as the “Italian Richelieu” for his prominent role in the politics of the Papal States. The palace also became a meeting place for diplomatic delegations from European courts.

After Cardinal Giacomo’s death, the residence passed to his niece, Laurentina Castracani degli Antelminelli, a descendant of Castruccio Castracani, and her husband Augusto Augusti, who maintained ownership of the property to this day. The Augusti family transformed the palace into a center for art and culture, with the opening in 2024 of the Gino Augusti 900 Museum House, the Cavalleria Inn, and the Domus Augusti, where guests can stay in the historic residence by appointment.

In addition to its architectural treasures, the palace also houses a small church dedicated to San Francesco d’Assisi and Santa Timotea, designed by Luigi Vanvitelli in 1757, which contains a notable work by Domenico Corvi. Surrounded by a magnificent park with centuries-old oaks and cypress trees, the Palace of the Hundred Windows offers an exceptional experience of art, history, and culture. It is open to the public for guided tours by appointment.

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Via Gino Augusti - Brugnetto 1

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Church of San Michele Arcangelo

The Church of San Michele Arcangelo, located in Brugnetto, is an important monument that combines art and history. Originally built in the Middle Ages, the church has undergone several reconstructions over the centuries, including post-earthquake restorations. Inside, there are works of art of great value, such as the altarpiece of St. Michael, the Crucifix and Our Lady of the Rosary, all created by anonymous 18th-century artists. The church is also decorated with frescoes by Marcantonio Bedini. A place that represents the faith, devotion and history of the community of Brugnetto.

The Church of San Michele Arcangelo, located in Brugnetto, a small hamlet in the municipality of Trecastelli, represents an important point of reference for the local rural community, housing valuable artistic and spiritual testimonies. While the patron saint of the hamlet is Sant’Ubaldo, celebrated every third Sunday of May, the patron saint of the church is San Michele Arcangelo, whose feast day falls on September 29th.

The origins of the church probably date back to the Early Middle Ages, when the center of Brugnetto owned a small church located near the Misa River. However, due to frequent flooding, a new building was built around 1500, away from the risk area. In 1594, Bishop Ridolfi, finding the church in a state of decay, decided to proceed with its reconstruction. This new building remained in use for about two centuries, until, in 1789, Count Angelo Antonelli, appointed Bursar for the construction of the church, contributed, together with other benefactors and the local community, to the construction of the current parish structure.

Damaged by the 1930 earthquake, the church was restored thanks to the contribution of papal generosity, which also allowed the restoration of the adjoining rectory.

Inside, the altarpiece dedicated to St. Michael the Archangel captures attention. Created in the 18th century by an unknown artist, the canvas depicts the Archangel with refined beauty and harmonious proportions. This work is an exact copy of the canvas commissioned from the famous Guido Reni by Cardinal Antonio Barberini. In the chapel on the left, however, there is an altarpiece depicting the Crucifix, with the battered face of the Redeemer and a background thick with darkness, illuminated by a reddish sun, typical of the late eighteenth-century style.

Another element of artistic importance is the canvas of Our Lady of the Rosary, located in the right side chapel. In the upper part is represented the Blessed Virgin of the Rosary, while in the lower part, on the left, is Saint Ubaldo Bishop, who implores blessing for the village of Gubbio, and on the right, Saint Nicholas of Tolentino on his knees. Around the canvas are arranged fifteen medallions representing the Mysteries of the Rosary, biblical scenes that tell the story of salvation with delicate and harmonious colors. The style recalls the influence of the painter Domenico Corvi or one of his more experienced students.

Another important eighteenth-century painting, located beneath Our Lady of the Rosary, depicts the Blessed Virgin of Mercy, an image of Mary of great humility and tenderness, much venerated by the community.

The fourteen Stations of the Cross, painted in oil on canvas by an unknown 18th-century artist, are of considerable artistic value. Furthermore, the vault, apse and walls of the church are frescoed by Marcantonio Bedini, a painter originally from Ostra, who belonged to a family of artists, decorators and restorers.

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Via Antonelli 9

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Malatesta Tower of Castel Colonna

The Malatesta Tower of Castel Colonna, built in 1457 by Vittoria Colonna, is a notable example of Malatesta military architecture. Originally a fortified gate to the castle, it has undergone several restorations while preserving key features like the entrance arch, murder holes, and a commemorative plaque. The tower reflects the defensive strategies of its time and stands as a symbol of the village’s historical identity.

The Malatesta Tower is the oldest and most prestigious monument in Castel Colonna. It was inaugurated on November 3, 1457, by Vittoria Colonna, widow of Carlo Malatesta, who commissioned its construction as a fortified entrance to the castle of Tomba, the ancient name of Castel Colonna.

On a smaller scale, the tower reproduces the typical Malatesta architectural model, inspired by the “Porta Maggiore” in Fano and the “Porta di Sopra” in Corinaldo. Over the centuries, it underwent numerous transformations, to the point that, by the end of World War II, it resembled a tall and narrow house. On the facade facing the square, a public clock had been installed, topped by a small “sail-shaped” bell tower that marked the hours. Only the entrance arch from the original structure remained intact.

In 1958, a major restoration was undertaken. On that occasion, support arches were built for the road leading into the village, and below them a public washhouse was constructed, following the demolition of the dilapidated house above. A cubic turret for a four-faced clock was added to the top of the tower, crowned by a simple iron frame for the bell. Above the arch, a fresco was placed depicting Saint Roch, the Holy House of Loreto, the municipal coat of arms, and that of the Colonna family.

A further restoration in 1975 returned the tower to its original 15th-century architectural form. The Guelph battlements with swallowtail merlons were restored, supported by protruding corbels, above which are the “machicolations” or openings through which boiling oil could be poured on enemies below. It’s worth noting that the side of the tower facing the square lacks battlements—an intentional feature common to many fortified gates (as seen in Fano, Corinaldo, Gradara). This strategic choice left enemies exposed once they reached the top, without the cover of the merlons, making them easy targets for defenders.

The entrance arch is flanked by two vertical grooves that allowed for the sliding beams of the drawbridge, which would be raised at dusk or in times of danger. On the right side of the arch is a marble plaque bearing a dedicatory Latin inscription by Vittoria Colonna:

HOC OPUS FECIT FIERI / MAGNIFICA DOMINA / VICTORIA COLUMNENSIUM / DE MALATESTIS / MCCCCLVII DIE TERTIA NOVEMBRIS

The plaque is framed by two sculpted friezes, each featuring the characteristic four-petaled “Malatesta rose” at the center. Originally, it was topped with the coats of arms of the Colonna and Malatesta families, which were unfortunately chiseled off in 1945, mistakenly believed to be fascist symbols.

Inside the tower, observing the vaulted ceiling, one can see several walled-up ogival openings. These were likely once connected by wooden walkways, allowing sentries to patrol along the defensive walls. This suggests that the tower was once part of a larger architectural complex, connected to adjacent buildings.

Finally, it should be noted that the tower was once much taller than it appears today; more than half of its height is now buried beneath the embankment over which the village access road runs.

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Piazza Leopardi 3

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War Memorial of Castel Colonna

Located in the central Piazza Roma, the Monument to the Fallen of Castel Colonna is one of the town’s main historical landmarks, dedicated to the soldiers who died during World War I (1915-1918). Created by sculptor Nicola Lucci in the early 1930s, the monument combines sculptural and architectural elements that emphasize its symbolic and historical significance.

The monument consists of several distinctive elements. At the base, a truncated pyramid pedestal, raised by four steps, features commemorative marble plaques.
Above this, a fluted column rises, crowned by the figure of Winged Victory, symbolizing glory, which honors the fallen with a laurel wreath. On the rear of the pedestal, an additional plaque commemorates the local residents who died or went missing in wars from 1935 to 1944.
The authorship of the work is documented by a postcard preserved in the Museo Civico del Risorgimento in Bologna and in the Monumenti della Grande Guerra portal of the Museo Storico Italiano della Guerra in Rovereto. Nicola Lucci, a sculptor from Pennadomo (Chieti), also created other similar monuments, such as the one in Roncitelli di Senigallia.
The monument’s design is also inspired by the historical figure of Vittoria Colonna de Malatestis, after whom the town is named. The Winged Victory, placed atop the fluted column, is surrounded by daggers and palms, symbols of honor and glory.
Behind the monument, in 1930, the Palazzo ex ECA (Ente Comunale Assistenza) was built. It later became the town hall and now houses private residences. The monument remains an important point of reference in the history of Castel Colonna, honoring the sacrifice and historical legacy of the community.

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Piazza Roma

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Church of San Mauro Abate

The church of San Mauro Abate, located in Castel Colonna, dates back to between the 16th and 17th centuries and was built under the rule of the Della Rovere family. The building underwent expansions in 1920 and a conservative restoration in 2016. Of particular value are the wooden Crucifix from the 16th-17th century and works of art such as the painting of the Madonna della Misericordia by Gaetano Lapis. The church, with its internal structure of three naves, represents a place of faith and culture for the community of Trecastelli, testifying to a long Benedictine and Marian tradition.

The church of San Mauro Abate dates back to the 16th century or the first decade of the 17th century and was built during the rule of the Della Rovere family, when the ancient village of Tomba (now Castel Colonna) was under the control of the Dukes of Urbino. The bell tower, of fine and unusual workmanship, may be the only surviving element of the original structure.

Historical information about the church is rather limited, but the most reliable sources are found in the volumes by Monsignor Mencucci, Senigallia and its Diocese – History – Faith – Art, where the history of the current parish is cited in the chapter dedicated to Castel Colonna.

In 1920, Don Ottaviani personally financed the expansion of the church, incorporating the sacristy and preparing the construction of the two side naves. However, following his death, the work remained incomplete until after the Second World War.

The church’s patron saint, San Mauro Abate (celebrated on January 15), belongs to the great Benedictine tradition. The origins of the parish of Castel Colonna may date back to the 13th century. Initially the church was dedicated to the Blessed Sacrament and probably founded by Benedictine monks. In the 15th century it was recognized as a Priory, but only from the 17th century onwards is there documented information on the succession of parish priests. The current church became a parish church in the mid-nineteenth century, following the abandonment of the previous construction located outside the walls.

The building stands in the center of the town, near the main square. Its internal structure, with three naves, is rather rare for a building of such a small size. Among the works of art housed inside, a wooden crucifix stands out, probably dating back to the 16th and 17th centuries, a witness to the community’s deep devotion.

The conservative restoration, carried out less than ten years ago, was supervised by a team of experts and involved both the façade and the interior of the church. The intervention gave the building a brighter appearance, helping to enhance its artistic heritage. The work, carried out mainly by local businesses, represented a significant intervention for the community. The official reopening of the Church of San Mauro Abate in April 2016 marked the culmination of a major restoration project aimed at restoring splendor to a place of faith and community, deeply rooted in Trecastelli’s history and cultural identity. On that occasion, the altar was enriched by the presence of the relics of Saint Marina —patron saint of the town— of Blessed Pius IX and Saint Maria Goretti, transferred to the church during the work, sealing the renewed bond between the community and one of its most significant spiritual symbols.

The church’s evocative atmosphere is enriched by the presence of several valuable paintings, including the painting of the Madonna della Misericordia by Gaetano Lapis from Cagli and a canvas depicting the Madonna and Child, both depicted with luminous and serene expressions. This last work is preserved in a side chapel along the left nave, with marble walls and a gilded radial frame.

Further evidence of the parish’s solid Marian devotion is the statue of the Madonna, probably dating back to the 18th century, located in the right nave before the Chapel of the Santissimo.

The presbytery is characterised by a sober simplicity, with the only decoration in the apse consisting of the symbol of the Lamb. On the opposite side of the church, above the main entrance, is the choir.

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Via Vittoria - Castel Colonna 4

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Biodiversity Wood – Educational Park

The Biodiversity Forest and Educational Park, located in Castel Colonna within Trecastelli, is a natural space designed to enhance local biodiversity and promote environmental education among residents, schools, and visitors. The park features a diverse collection of native plant species arranged to encourage learning and respect for the natural heritage through an ecological and educational layout. Initiated by the City of Trecastelli and funded in part by the ASA Waste Grant, the project exemplifies collaboration between institutions, schools, and the community. The park includes the European Bench, symbolizing inclusion, participation, and unity within the European Union. Inaugurated on May 10, 2025, with participation from Professor Francesco Broccolo and local students, the park welcomes people of all ages for educational activities, outdoor walks, and environmental awareness.

The Biodiversity Forest and Educational Park is located in the heart of Trecastelli, in the Castel Colonna area, along Via Fonte. It is a natural space designed to enhance the territory’s biodiversity and promote environmental education among residents, schools, and visitors.
The park hosts a rich variety of native plant species arranged along a trail meant to foster knowledge of the local natural heritage. The placement of the plants follows ecological and educational criteria, aiming to stimulate discovery, curiosity, and respect for the environment.
Initiated by the City of Trecastelli, the project was also made possible thanks to funding obtained through the ASA Waste Grant, and represents a concrete example of collaboration between institutions, schools, and the community.
The park also features the European Bench, a symbol of inclusion, participation, and unity among the peoples of the European Union.
The Biodiversity Forest was inaugurated on May 10, 2025, with the participation of Professor Francesco Broccolo, who led a guided tour to discover the plant species, along with some students from the Nori De’ Nobili Comprehensive Institute.
The park is open to residents, schools, and visitors of all ages, and is an ideal place for educational activities, outdoor walks, and moments of environmental awareness.

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Via Fonte

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Sculptures by Guglielmo Vecchietti Massacci

Casa degli Ulivi is an artistic and cultural center located in the countryside of Castel Colonna, in the Marche region. Founded by artists Guglielmo Vecchietti Massacci and Isabel Permanyer, it features a sculpture garden integrated into the natural landscape and a house-museum that celebrates the connection between art, land, and tradition. The project reflects Massacci’s desire to give back to his homeland, offering a space open to the community where sculpture becomes a free and profound form of expression. Casa degli Ulivi hosts events, workshops, and moments of creative exchange, becoming a point of reference for those seeking an authentic and immersive artistic experience.

Casa degli Ulivi is an artistic retreat that welcomes visitors with a striking sculpture garden, set among the rolling hills of the Marche countryside, near Castel Colonna. Founded in 2013 by artists Guglielmo Vecchietti Massacci, sculptor and professor at the Academy of Fine Arts in Bologna, and Isabel Permanyer, painter and restorer.
The restored farmhouse hosts sculptures in marble, wood, and bronze, harmoniously integrated into the surrounding natural environment. Inside, objects from local rural traditions create a genuine connection between art and agricultural heritage. Casa degli Ulivi is also a vibrant cultural center, hosting art workshops, concerts, poetry readings, and moments of shared creativity and dialogue.

The project was born from Guglielmo Vecchietti Massacci’s deep desire to return to his native land after a long academic and artistic career in Bologna and abroad. With the creation of this house-museum, open to the public, the artist offers a gesture of gratitude to his community, presenting an art rooted in the sincere dialogue between matter and spirit. Each of his sculptures is a unique work, entirely conceived and crafted by him, free from critical, commercial, or political constraints.

Since the 1980s, Vecchietti Massacci has promoted sculpture exhibitions in urban spaces, especially in Northern Europe, convinced that art should be a shared experience. His artistic language has evolved from solid figuration to light, essential forms that challenge the heaviness of matter, transforming into sails and wings of marble—symbols of freedom, movement, and return to one’s roots. Works such as Matrice and Grembo express this circular journey between sky and earth, between creative impulse and memory.

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San Pietro 7

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Castle of Monterado

The Castle of Monterado, nestled on a hill in the Marche region, boasts a rich history dating back to 1267. Originally a medieval fortress, it later became a noble residence under the Della Rovere family and, in the 19th century, was transformed by Prince Maximilian de Beauharnais. The castle preserves remarkable 19th-century frescoes, an elegant chapel, and its original architectural design, attributed to Luigi Vanvitelli. Surrounded by a vast seven-hectare park, planted in 1846 by Count Cerasi, it offers scenic walks among centuries-old oaks, pines, and laurels. Today, the castle stands as a symbol of history, art, and natural beauty, providing a unique setting for cultural visits and special events.

The Castle of Monterado, located on a hill in the Marche region, dates back to 1267, with foundations that trace back to the medieval past. Important during the Renaissance, the village became part of the Duchy of Urbino and was later under the Della Rovere family. In 1742, the German-Hungarian College of the Jesuits transformed the village, constructing a palace on the ancient defensive walls.

In the 19th century, the castle was acquired by Prince Massimiliano of Beauharnais, who adorned it with 19th-century frescoes by Corrado Corradi. The current architecture, created by Luigi Vanvitelli, preserves the integrity of the original structure and the internal chapel, where weddings are celebrated.

Surrounding the castle is a vast park of seven hectares, planted in 1846 by Count Cerasi with pines, oaks, and an Italian garden rich in roses and Lebanon cedars, creating a perfect environment for walks immersed in nature and history.

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Piazza Roma 18

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San Giacomo Maggiore Church

Of medieval origin, Don Giovanni Battista Zacchilla began the reconstruction of the Church of San Giacomo Maggiore in its current form in the years 1786 – 1806 and completed by Don Stramigioli in the following decades.

The first attestations of Monterado as a town date back to the mid-13th century, when the monks of Fonte Avellana reclaimed the territory and built the parish church. In 1569, Cardinal Giulio Della Rovere removed the ancient monks of Avellana because they had fallen morally from their primitive customs, and introduced the Camaldolese monks. After a few years, Pope Gregory XIII, with a Bull of 1578, assigned in perpetuity to the German College of Rome, governed by the fathers of the Society of Jesus, all the assets of the Avellanite monastery. With the advent of the Jesuits, the center of Monterado was chosen as the capital of all their properties, and the entire community benefited from this. San Giacomo is a unique hexagonal church completed in 1870. In a side chapel there is the image of the Blessed Virgin of Mercy, who portrays Mary as the sweetest Mother: she supports the standing Child on her knees, blessing the faithful. The cross vault features a decoration executed in 1947 by Prof. Pauri of Fano. It represents the coronation of the Virgin, surrounded by music-making angels. Noteworthy is the sculpture The Resurrection, donated by contemporary artist Leandro Memè for the celebrations of the Jubilee Year of 2000. The work, made of woods of different essences, sends the message of life’s victory over death and the value of hope, stronger than the pains that afflict every person. Above the sculpture of the Resurrection is the statue of Saint Paternian.An artistic canopy-ciborium with a wooden tabernacle from 1900 is placed to the left of the altar. The wooden Baptistery, painted in the shape of a shrine, is located to the left of the entrance hall, opposite another niche with the statue of Saint Anthony the Abbot. The Altar, with elegant columns, is made of sandstone. The apse is decorated with the symbol of Jesus – the fish –
ICHTHUS = I, Iesus; CH, Christos; TH, Theou; U, Uios; S, Salvator, that is, Jesus Christ is the Son of God the Savior.

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Piazza Roma - Monterado 9

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Taste – Trecastelli

During the journey between Ripe, Castel Colonna, and Monterado, while discovering the municipality of Trecastelli, a food and wine stop is a must in order to savor traditional local cuisine in authentic and charming settings. Among the many recommended restaurants are Locanda del Castel, set in a rustic yet refined environment where guests can enjoy typical Marche dishes prepared with locally sourced ingredients, and Tenuta Il Giogo, a farmhouse surrounded by rolling hills and olive groves. Here, visitors can taste the genuine flavors of home-style cooking, with recipes passed down from generation to generation, paired with wines from local vineyards. In these places, dining is not just about eating, but about immersing oneself in a sensory experience that brings together history, nature, and the authentic flavors of the Marche region.

“NUOVA ALBA” CIRCOLO PROLOCO
Via Roma 27, Trecastelli, Ancona , 60012 - Tel: 0717959019
Caffè Centrale by Jessy Jey
Piazza Leopardi, 30 30, Trecastelli, Ancona, 60012 - Tel: 348 914 9384
La Tavernetta Sull’Aia
Piazza Gramsci 5, Trecastelli, Ancona, 60012 - Tel: 071 7955007
OSTERIA SUL LAGO “LA TRANQUERA”
via Montignano - la Bruciata 7, Trecastelli, Ancona , 60012 - Tel: ----
PIZZERIA GUSTÒ
Piazza Leopardi 24, Trecastelli, Ancona , 60012 - Tel: 071 795 8024
Pizzeria Le Meraviglie of Silvia Angeloni
Viale Martin luther king 4, Trecastelli, AN, 60012 - Tel: ----
Tenuta il Giogo
via Fonti 5, Trecastelli, Ancona , 60012 - Tel: 0719300194
LA NICCHIA
via Montignano 2, Trecastelli, Ancona , 60012 - Tel: 0717950112
MACCARONI TAVERN
Via Amerigo Vespucci 11, Trecastelli, Ancona , 60012 - Tel: 071 795 8466

Villino Romualdo and Nori De’ Nobili Museum

Church of San Pellegrino Ripe

Town Hall of Ripe

Streets dedicated to Bugatti and De Minicis

War Memorial in Ripe

Church of Crocifisso

Church of Madonna del Rosario

Antonelli Castracani Augusti Palace

Church of San Michele Arcangelo

Malatesta Tower of Castel Colonna

War Memorial of Castel Colonna

Church of San Mauro Abate

Biodiversity Wood – Educational Park

Sculptures by Guglielmo Vecchietti Massacci

Castle of Monterado

San Giacomo Maggiore Church

Taste – Trecastelli

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