There are many reasons recommending a visit to the Museo del Capitolo of Perugia. One is the opportunity to come into contact with some fascinating buildings and spaces. The museum rooms tell their own story; in fact, they have been home to the canons, the priests of the Cathedral community since the Middle Ages (when houses were “tower-houses”),  they were also Papal residences, and the rooms in which the very first students presented their theses at Perugia University, founded in 1308. This very old story may not be easy to grasp while moving in the current rooms, that have been modified more than once during the centuries; however, by paying a little attention, the different layers will surface and become obvious.
The second reason, the most evident one, is the discovery of a strong connection between places, time and artworks. Many of the objects preserved there symbolize the link with sacred rites, with liturgy, representing shared feelings, icons of salvation, reason for of amazement and emotion.

Precious artwork in the Museo del Capitolo, the Altarpiece of Saint Onuphrius was painted by Luca Signorelli in 1484. It is named after the Saint hermit painted at the foot of the throne of Virgin Mary and the Infant Jesus. In this painting, like elsewhere, details betray the artist's great skills. The glass with violets inside in the foreground, or the crystal Crucifix held by Saint John the Baptist, passed through by a sunbeam, reveal that Signorelli studied the light phenomena thoroughly. As soon as the eye runs the risk of getting lost in details, however, it is immediately caught back and led across the painting by the gaze of the saints around Virgin Mary.

Some objects in the museum are unusual, for example, the faldistorium, a folding chair, with no backrest and no armrests. This object comes from the chairs used by Roman generals in the encampments; while, in a Christian context, the faldistorium would be reserved to the “general,” the Pope.
Two elements might help to understand the importance of such an artifact: first, it dates back to the late 13^th century, early 14^th century; second, it was (and is) in Perugia. In about a century, in fact, between 1216 and 1305, Perugia hosted five Conclaves, so,  the Popes were not only elected in Rome (unlike nowadays), but also in other towns.

This Papal chair is made of ebony, a kind of wood that comes from extra-European countries and is a really hard, long-lasting material. Employing this precious wood was, therefore, both a sign of wealth and a “warranty of duration”, that promoted its use in a very prestigious context as the Papal Court was. Each square inch is decorated by either etching or carving and, in the drawings, some curled-up dogs and a little exotic monkey can be seen-