The museum overlooks the beautiful Piazza Flaminio and is located at the beginning of the ancient Via Roma that leads to the Castrum di Serravalle.
The museum is housed in the Palazzo della Comunità (1462) and is characterized by a beautiful facade and a Romanesque tower, adorned with noble coats of arms that recall the mayors who ruled it in the period 1337-1798. The Bell Tower bears one of the oldest clock faces in Italy.
It collects prehistoric, paleo-Venetian and Roman finds, you can admire works by painters such as Francesco da Milano, Pietro Pajietta, Cesare Vecellio, Giovanni de Min and sculptures by Marco Casagrande, tables of the fifteenth and sixteenth centuries, canvases by authors from the Renaissance to the contemporary era and furnishings (15th-19th century).
The Museum finds its earliest genesis at the end of the nineteenth century when the new city of Vittorio intends to find and re-evaluate the historical and cultural contents of its new status as a small metropolitan center.
However, it was only in 1924 that the Municipality granted the old municipal building of Serravalle to the engineer Francesco Troyer (1863-1936) so that he could build the new museum there.
The Museum was inaugurated on the occasion of the celebrations of the twentieth anniversary of the Italian victory in the battle of Vittorio Veneto, on November 2, 1938. The final stages of the exhibition were curated by Msgr. Camillo Carpené, director of the “Dante Alighieri” College and by prof. Oliviero Ronchi, a native of Serravallese by adoption, director of the library of the Civic Museum of Padua. They were helped by Andrea Comuzzi (1876-1939) who had already been Troyer’s most faithful, enthusiastic and tireless collaborator.
The artistic, epigraphic, archaeological and archival collections integrated into the museum beautifully for those times to compose a powerful documentary source for local history. In fact, the archives of Ceneda and other artistic and epigraphic materials preserved up to then in the Municipal Loggia of Ceneda also converged, such as the sketches of De Min, Guido Giusti and some tombstones of the old Cathedral.
On May 4, 1985, the new archaeological section was inaugurated with materials from the old Graziani Troyer museum collections, finds collected by the Archaeological Group of Cenedese and others donated by the passionate Msgr. Antonio Moret.
Currently the Museum is divided into 4 rooms:
THE LOGGIA
This large space is dominated by the two frescoes Lion of San Marco between Justice and Temperance and Madonna and Child enthroned between Sant’Andrea, Sant’Augusta and the client, the mayor Girolamo Zane who between 1518-1520 commissioned these works to Francesco da Milano painter of Lombard origin but active between 1502 and 1548 in Serravalle and in the territory, which he will gradually combine with his Milanese training, the attention for the tonal innovations of his contemporary Venetian masters.
The other walls contain numerous coats of arms documenting the succession of the Venetian nobility in governing the city, as well as the architectural fragments that suggest the image of the Serravalle between the fourteenth and sixteenth centuries. A neo-Gothic staircase built in the early twentieth century allows access to the upper floors.
COUNCIL ROOM
So named because the Minor and the Major council of the city community met there, the room retains the appearance it assumed after the restoration in the 1930s. The wooden coffered ceiling is embellished with fifteenth-century rosettes from the Sala dei Battuti. Along the walls there are the coats of arms of about eighty mayors of the Venetian period and a reminder of the same domination is the imposing Lion of San Marco between the saints Sebastian and Andrea, Francesco d’Assisi and Rocco di Montpellier, the work of Francesco da Milano . On the opposite wall is the inscription of 1637 which recalls the independence of Serravalle from Treviso. At the corners there are two bronzed plaster casts by Guido Giusti (Ceneda 1853-Vittorio Veneto 1935), La Beneficenza and Amplexus in aere; the recent bronze construction of the latter is visible in the public gardens of Vittorio Veneto. In the center of the room, five portions of a wooden polyptych depict the Madonna della Misericordia with the Beaten, and the Saints Lorenzo and Marco. Precious for the pictorial quality and the refinement of the carving of the golden wooden frame that encloses it, is the fragment of a polyptych dated 1394-1404 depicting the Birth of the Virgin and Marriage, by Nicolò di Pietro. The Madonna crowned with the child and musicians is a detached fresco stylistically referable to the personality of Antonio Zago. The exhibition is completed by the 15th century Marian icon by Andrea Ritzos da Candia and the plaster copy of the bell of the civic tower dated 1487.
COMMUZZI ROOM
Numerous materials have been collected in this room that document the lasting presence of the Battuti brotherhood in Serravalle: the large walnut wardrobe carved with dense Gothic motifs which, despite having undergone additions, retains the harmony of the early fifteenth century artefact. ; the wooden altar with a Vecellian triptych depicting San Marco (mosaic) between the saints Giovanni Battista and Stefano, work of 1569 assigned to Francesco and Valerio Zuccati: the seventeenth-century Madonna and Child between San Rocco and San Marco, the Madonna della Misericordia and Battuti dated 1650 which bears the portraits of the prosecutors Lorenzo Giustiniani and Valerio Scarpis.
Coming from the sanctuary of Sant’Augusta, but probably arrived here in the retinue of Archbishop Minuccio Minucci, is the delicate Madonna and Child, a papier-mâché work by Sansovino (Florence 1486-Venice 1570). Di Francesco da Milano and referable to 1512 is the altarpiece with San Girolamo between the saints Lucia and Agata.
ROOM PAJETTA AND GIPSOTECA RIGHT
The room features works by Victorian and other authors who have characterized the artistic environment of the nineteenth century city.
Giovanni De Min (Belluno 1786-Tarzo 1859) is certainly important in the neoclassical panorama of the early nineteenth century to whom the city owes the decoration of the Council room in the current Museo della Battaglia: the four monochrome sketches with scenes from history refer to this intervention. medieval Cenedese. The great canvas of The Spartan struggle and the panel of Sant’Osvaldo di Northumbria from Pian Cansiglio belong to the same painter. can observe a lively Self-portrait and the compute Portrait of the lawyer. Innocente Da Re. Anonymous, from the New Yorker Nathaniel Rogers, is the vigorous Portrait of Lorenzo Da Ponte (Ceneda 1749-New York 1838), librettist famous for his association with W.A. Mozart.
A special room was reserved for the casts and some marble works by Guido Giusti (Ceneda 1853-Vittorio Veneto 1935), an author of good technical ability that expresses a classical calm, aimed at satisfying the aristocratic patrons of the late 1800s.
TIMETABLES AND PRICES
Opening days: Saturday and Sunday
Hours: summer time: 10.00 – 12.00 and 15.00 – 18.00
On other days / times: it is possible to visit the museum also during the other days of the week by reservation.
PRICES
Full: € 5.00
Reduced: € 3.00 euros
From 6 to 18 years, over 65 years, families of at least 4 people, groups of at least 10 people, affiliated
Free:
From 0 to 5 years, school groups and their companions (max 2 per class), authorized tour guides, disabled carers, affiliated
Single ticket
Valid for: Cenedese Museum, Battuti Oratory, “Vittorio Emanuele II” Civic Gallery, Silkworm Museum and Battle Museum:
Full: € 10.00
Reduced: € 7.00
From 6 to 18 years, over 65 years, families of at least 4 people, groups of at least 10 people, affiliated
Free:
From 0 to 5 years, school groups and their companions (max 2 per class), authorized tour guides, disabled carers, affiliated
Piazza M. Flaminio, 1 – 31029 Vittorio Veneto TV
