Entry price: € 3.00
Reduced € 2 for children aged 9 to 18 years and groups, university students in other categories, free over 65 years, for journalists and other categories. Guided tours by volunteers from the Museum of the Duomo.
From Tuesday to Sunday from 9.30 to 12.30 and from 15.30 to 18.30.
Telephone: +39 059 4396969
FAX: +39 059 4396969
INFOLINE: +39 059 2032660
The entrance hall, fitted out focusing on the theme of the crucified and resurrected Christ, anticipates and summarises the message of faith transmitted by the works of art exhibited in the other halls. The visitor can admire five canvases depicting the appearances of Christ painted by Bernardino Cervi in 1621 for the destroyed Chapel of Resurrection and a rich 17th century altar in silver composed of a cross and six candlesticks, used as the major altar equipment during the solemnities.
The second hall is dedicated to San Geminiano and contains effigies of the Patron made in different eras and of different materials, among which stands out the large 14th century image in repoussé copper created by Geminiano Paruoli, once located in the arcade of Porta Regia.
Of great devotional and artistic significance are the liturgical furnishings by tradition attributed to the Saint, such as the portable altar of the Roman Age and the 16th century pastoral.
The Saint's altar is richly endowed with candlesticks, palm vases and silver lamps, donated to the cathedral by the Modenese community and realised by the goldsmith Geminiano Vincenzi on design of Francesco Vandelli in 1833.
The third and fourth halls host the treasury of the cathedral, consisting of liturgical parameters, altar silverware and reliquaries. To be pointed out is the quarto wall of the Mantovani canon, adorned with very fine embroidery with biblical figures on a background of flowers and leaves and dateable to the second half of the 18th century.
The tapestry hall holds two of the tapestries with Stories of Genesis woven in Brussels around 1560-70.
The last hall hosts the permanent exhibition of the codes of the annexed Capitulatory Archive, exhibited in rotation in order not to compromise their proper preservation.
The Lapidary Museum of the cathedral preserves 150 works among which sculptures and architectural fragments, all originating from the cathedral and dateable between the 6th and 15th century.
The works were moved several times during the course of the first half of the 20th century until Roberto Salvini, the then curator, in 1956 promoted rearrangement and fitting out in a hall near the present one, subsequently revealed as too cramped.
The route of the visit starts from the section dedicated to reutilisation, which holds the marbles of Roman Age reused in various different ways during the construction of the Roman cathedral. It then continues on the wall in front of the entrance with a series of stone fragments adorned with the typical upper-medieval decorative repertoire of bands, originating from the buildings that came before the current Roman cathedral, also these often reutilised during the construction of the latter.
Next to the fragments is the Arch of San Geminiano, a magnificent marble embedding, placed - maybe already in the Roman Age - above the sarcophagus of the saint, transformed into an altar and removed in the second half of the 19th century.
In the second hall the findings of the Roman Age are exhibited with some reliefs produced by the great workshop of Wiligelmo, like for example, the column-bearing lion originating from the Porta dei Principi and others attributable to the Campionese Masters, a famous family of builders and sculptors from Como Lake, to whom the work of the cathedral was entrusted from the end of the 12th century to the beginning of the 14th century.
The hall is dominated by a series of eight "metopes", large sculptures bearing unusual images of monstrous and fantastic creatures - originally positioned outside the cathedral - on the tops of the diaphragm arches of the central nave, where they are now copies reproduced in 1948 by the sculptor Benito Boccolari.
The route ends with the section of works of the Modern Age, among which some reliefs originating from the destroyed side chapels of the cathedral, and with the inscriptions which constitute an epigraphic corpus of great importance for the history of the Modenese cathedral.
Fonte: redazione locale di Modena