Things to see.

The plan shows the museum structure, the visitors’ tour, the position of the works, and some of the most relevant pieces. In the church, now room I of the museum, you are immediately struck by the lovely Madonna with child, a polychrome wood carving (Umbria, 13th century). Opposite to it, you can find a female bust in gilt silver (Sicily, late Middle Ages); objects in ivory, ancient jewellery, enamel objects from Limoges, crosses and crucifixes. The miniatures occupy room II.Then you go upstairs to the second floor, entirely dedicated to paintings. Room III, an access room, is dedicated to the archaeological remains. There is a superb yellow limestone head probably from the temple of Idalion, a Cypriot work from the 5th century B. C. In room IV, the 12th-, 13th- and 14th-century paintings, mainly: Lippo di Benivieni, Bernardo Daddi, Pietro Lorenzetti, Bartolo di Fredi, Lippo Memmi, Paolo di Giovanni Fei, Sassetta, Sano di Pietro, Bicci di Lorenzo, Vincenzo Foppa, Benedetto Bembo, Alvise Vivarini, Colantonio. For the 16th century there is the small portraits exhibition. It is worth mentioning the famous self-portrait by Pontormo, the Gentleman’s Portrait by Titian and the painting by Gentile Bellini, in room VII. The Caravaggio school occupies a relevant portion of room IX, dedicated to the 17th century, just as Venice and its great painters stand out among the 18th-century paintings of room X: Michele Marieschi’s theatrical brightness, Canaletto’s formal equilibrium, Bellotto’s vast skies and Francesco Guardi’s shivering and darkened views. On the second floor, in room XI, there are the bronze objects: Severo Calzetta from Ravenna, the Riccio, the Antico, the Moderno, Roccatagliata, Ferdinando Tacca and the circles or workshops of Baccio Bandinelli, Ammannati, Giambologna. Among the glasses it is worth mentioning the archaeological section in 
room XII: there is the rare gilt-striped small bottle of imperial production, and the 18th-century objects, the rock-crystals, the faiences, the corals, the ‘pastiglia’ boxes, the ‘terracotta’ objects. In the end, there is room XIII with its still lives, mainly from the 17th-century: Fede Calizia, Cristoforo Munari, Cagnacci, the silky and sumptuous cloth that acts as a background for Baschenis’ or his circle’s lute.