Explore Bevagna and its surroundings
Tenuta BellafonteVini di territorio
Our wines, as elegant and authentic as the Umbrian varieties from which they originate, are produced with the utmost respect for nature and tradition. Bellafonte lies just outside Bevagna, in the heart of the unspoilt Umbrian countryside. It is the realisation of a dream; the desire to reinterpret the ancient heritage of Montefalco and its grape varieties. The estate covers a total of 30 hectares, 8 of which are under vine. The remainder is comprised of woodland, a small orchard and 2,500 olive trees. The vineyards are set on rocky terrain, which alternates between marl, sandstone and the typical clay of the area. The vines are cultivated with great care, fertilized with manure from selected sources and mechanical equipment is used to avoid the use of herbicides. The most delicate processes are carried out by hand: from pruning and leaf stripping to canopy management and of course, harvest. Carved into the hillside is the winery. The temperature and humidity of the cellar are maintained by a network of underground pipes which draw in air from outside, ensuring a constant air flow. Production is geared towards small quantities of the highest possible quality, with a particular focus on low intervention techniques. […]
CANTINA DIONIGI Since 1896 Viticulture is a millenary tradition and vocation in the Montefalco area. Pliny the Elder recounts of a fine grape called “Itriola” grown in the surroundings of what is known as Bevagna today and some scholars think he could have been referring to the Sagrantino grape. Actually, there is no confirmed theory about the origin of Sagrantino. Some say it is indigenous, obtained through the selection of local clones, but most believe it was imported by one of Saint Francis of Assisi’s disciples. Its name could be traced back to the Sacraments, from the latin word “sacer” and “sacramentum”, because the grape was cultivated by the friars to make a straw wine that was used in religious rites. What is certain is that this part of Umbria was and still is devoted to the production of excellent wines. Since 1896, our winery has been loyal to the tradition, seasonality and typicality of these products, while welcoming leading edge techniques and tools. Our philosophy is based on two fundamental principles: preserving the territory and satisfying our clients with the highest quality. That is why we use organic techniques in the cultivation and alternative energy sources in the production. […]
At the end of the descent from Castelbuono you go up the ascent of Trieno to reach the very small Romanesque Church of Madonna della Pia. The church was remodelled in the late 60s and preserves inside a painting of the Madonna with the Child. The large sacristy is very characteristic. It worked until a few years ago also as the home of the sacristan. Mario Lolli
For The inhabitants of Bevagna but also of Gualdo Cattaneo and other neighbouring villages, the sanctuary of the Madonna della Valle is a significant place of worship and until the end of 1980 Mass and weddings were celebrated; In addition, on 1st May people met with the whole family to attend mass and eat outdoors, immersed in the green of an uncontaminated nature and in a forest of oaks and chestnuts. Many people walked from Torre del Colle, even from Bevagna and Gualdo and it was also an opportunity to take a long walk with friends. 1st May was a special day, cheered also by the marching band, while in front of the sanctuary kiosks of roast pork vendors alternated with stalls of toys for children, who used to play ball on the front porch of the church. After the last works around the 70s, the sanctuary of Madonna della Valle has been in a state of abandonment for a long time because of the neglect of time and especially after the earthquake of 1997 that made it unfit because of the numerous cracks that affected the whole structure. The current Municipal Administration has included the Sanctuary in a project […]
The Sanctuary of Madonna delle Grazie is just over a kilometre from Bevagna. From the top of its hill you can see the town in all its borders. The Sanctuary was erected by the will of a citizen, Pancascio, who had a grace from the Virgin. He recompensed it with the construction of a temple in his name. The church was built in 1450. Ancient stories handed down from generation to generation tell that like so many Umbrians a citizen of Bevagna named Pancascio went looking for work in the Roman countryside, and stayed there for some years where he was hit by a very serious disease. The thought of death made Pancascio invoke the help of The Virgin, to whom he vowed that, if he were healthy, he would erect in his honour a Majesty near his village. Returning from the Roman countryside to his native town, Pancascio stopped on the top of a hill to rest just a mile from Bevagna, which was then called Colpulito. Tired of travel and illness, Pancascio woke up from sleep and noticed that he had recovered his health. So, full of faith and hope in Mary, he took some stones and made […]
Leaving from Porta Cannara, you arrive at Capro, where on a hill there are the church and the convent of Annunziata. According to Candido Piatti, thy were founded by Benedictine monks from Sassovivo in the 11th century (1078) on the ruins of one of the two fortresses of Bevagna or accprding to Camassei on the Ruins of an equipped sentinel Castel for town advanced defence at 231 m. The church, known as San Savino or Sant’Ansovino from Capro, and the convent were dependent on the Abbey of Santa Croce di Sassovivo and, in 1138 were placed under the protection of the Apostolic See by Pope Innocent II. In 1223 the monastery was destroyed by Frederick II, as the main monuments of the city of Bevagna. Alberti recalls a controversy between the bishop of Spoleto and the Abbey of Sassovivo concerning the relevance of the church, for which in 1255 an agreement was reached, confirmed by Alexander IV: the church and the parish get the dependence of the monastery of Sant’Apollinare of Sambro near Collemancio with the obligation to annually pay 100 coins to the cathedral of Spoleto. The place is then governed by a prior and the ancient monks of […]
From one of the numerous documents of the Diocesan Historical Archive of Spoleto, it is deduced that the “Villa Cantalupi” was equipped with a wheat dispenser and four churches: Beata Vergine dei Sette Dolori, Sant’ Angelo (San Michele Arcangelo), San Biagio and San Giovanni, with the addition of the church of Annunciazione in Montarone. The church of Beata Vergine dei Sette Dolori becomes in the course of time the church of Santa Maria Addolorata, while in the 20th century the remains of the church of San Biagio gradually disappeared. Segatori, GRANDE DIZIONARIO DI BEVAGNA, Vol 11 – pp : 8-9
The church of San Michele Arcangelo has three naves: the one in the left is divided into chapels having at the bottom a fresco depicting the martyrdom of San Sebastiano and on the vault the Evangelists. Near the door there is a Roman capital with the Holy Water Font, while the high altar stays on a fragment of a Roman column. On the external walls you can see the double lancet windows of the façade and the single lancet windows of the apses. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 – pp. 221-226
Inside the village there is the fourteenth-century church of Santa Maria, today completely renovated. On the wall, to the left of the central altar, a chapel with frescoes of three saints appears: San Nicola from Tolentino between San Francesco and Beato Giacomo with the inscription this chapel de sancto nicola sie factta per voto del castello. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 – pp. 281-282
Santa Maria is the only remaining church of the five existing. It has a curious polygonal bell tower with two pointed arches at the base. Inside, among others, on the left of the main altar you can see in a a Holy Temple a fresco by Ascensidonio Spacca, known as Il Fantino, representing the Madonna with the Child, San Giuseppe and San Giovanni the Evangelist; on the right the Madonna della Misericordia and the Mysteries of the Rosary by Anonymous of the 16th century, with San Domenico added by the same painter. Along the walls there are decorated little chapels. A fragment of a travertine double-sloping cinerary urn cover id Inserted in the corner of a house-wall, inside the village. Frontally you can notice a togated half-bust figure, the inscription is lengthened on a single line along the base bar of the lid: Cn(aeus) Salvenus. The gens Salvena is documented by two other inscriptions always engraved on lid of cinerary urns coming perhaps from Torre del Colle, not far from Castelbuono, and therefore perhaps of the same tomb complex. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 – pp. […]
In the locality Ponte di Torre del Colle, hidden by vegetation, the new church of Torre del Colle stands. The building is a typical structure of the architecture of the 70s, designed and built by the architect Piero Sartogo, the engineer Valenti and the firm Lanfranco Brizi from Faustana (Trevi). It is a church that contains within itself a symbolic universe of the Christian faith. The altar, made by a sculptor, Baverly Pepper, who lives between Todi and New York, is provisionally made of iron. The project is particularly appreciated in the 70s by the Cardinal of Boston, who asks for a copy. The fresco depicting the martyrdom of Saint Lawrence is the work of Clemens Klopfenstein, a Swiss artist who has lived in Bevagna for many years. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 –; pp. 229-236
The church of San Lorenzo rises behind the perimeter walls of Torre del Colle, which was in the 14th century feud of the Counts of Antinano, precisely on the highest point of the small village. Its modest façade overlooks a pretty square from which you can see an idyllic panorama. The original construction of the 10th century has undergone significant external modifications which do not change the early medieval style. The Church of San Lorenzo gives its name to the entire village that rises around the small building of Christian worship. Inside the Church of San Lorenzo there is a sixteenth-century canvas representing Madonna in Gloria and San Pietro, Paolo and Francesco. The work is attributed to Ascensidonio Spacca. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 – pp. 229-236
Leaving Porta Guelfa and passing the bridge over Timia, you arrive, going up, to the village of Torre del Colle, already known in medieval times as Torre San Lorenzo, ancient feud of the Counts of Antinano. Entering through a sandstone pointed arch, you pass under a vault and you get to a characteristic crossroads with thirteenth-century left houses whose walls are decorated with sandstone cannonballs. Continuing to the right there is an old house, which was a place of devotion of the Madonna della Valle in the 30s of the past century. In fact, between the village and the sanctuary there are endless and involving intertwinings. The facade appears very ruined and over the door you can hardly read: viva Maria via Gesu’ si pror […] le donne scandalose anno 1934 stortini pierino. Inside, after a run-down room with fireplace, you enter an environment with two frescoes on the back wall, both by the painter Turiddo Balicchia from Ancona, who realized them in 1935. The former represents the Holy Family and we read in one side: w Mary– w the King– w the Holy Palms and in the other w Jesus– w the Duce; the second one illustrates the Adoration […]
Going up the road that leads to Collemancio and turning left into via Costa del Sole, you arrive in Fonte della Tina, under the castle of Limigiano, where the Rapace stream flows, which descends from San Sisto (Castelbuono) towards Cannara. It is a wild place, where nature is regaining space in the deepest silence, because in the middle of summer you can’t even hear water flowing. The pond of sulphurous water, no longer pure for various infiltrations, is the subject of stories, not always founded and far in time, still told by the inhabitants of the place. You plunge into a magical and fantastic atmosphere, fantastic and referred to before and after the Roman period: we talk about the finding in the territory between Limigiano and Collemancio of giant Megacero deer horns too, that could have had an up-to-three-meters opening in the middle Pleistocene. The boys used to climb down this ditch, which was a bit of a hangout to swim, drink water and find some mosaic stones, having fun in games then imagined. A little underground, in fact, the remains of a villa of the Roman period were found. Giulio Baldaccini and then Giovanni Canelli Bizzozzero first talked about […]
Returning to Cantalupo, on the right, turning along the Attone stream and you can climb to Castelbuono. Probably the first settlement dates to the end of the 10th century and the castrum had defensive purposes. Today you can see the remains of a very suggestive castle that in the Middle Ages constituted, together with Limigiano, the defence of Bevagna from Todi, on the north-western side. What remains of the ring of walls testifies the history of this free Municipality, which had its own statute in 1345, published in 2004 by the Comprehensive Institute of Bevagna, within the Montagna Project, and with the contribution of Pro Loco Cantalupo-Castelbuono. Castelbuono appears in the first documentary sources with the name Castrum Abbonis or Abboni (Castellum Aboni), perhaps of anthrophonic derivation. It is remarkable that today in Italy there is only one Municipality with the same name: Castelbuono, in the province of Palermo. Santa Maria is the only remaining church of the five existing. It has a curious polygonal bell tower with two pointed arches at the base. Inside, among others, on the left of the main altar you can see in a a Holy Temple a fresco by Ascensidonio Spacca, known as Il […]
After the capital, Cantalupo is the largest village in the Municipality of Bevagna. Located at an altitude of 204 metres above sea level, half way between Cannara and Bevagna, at the intersection between the torrent Attone (originally Lactone) and one of the paths of the Via Perugina, Cantalupo came to count 1,034 inhabitants in 1951, then dropping to 332 in 2001 and go up to around 500 in 2018. The origin of his name, like the one of the other nine Italian villages named Cantalupo, is rather mysterious, and at least three hypotheses circulate on this name: the most fantastic wants that, in that area, when there was wind, they were heard howling wolves, and was therefore indicated as a place where the wolf sang (canta = sings; lupo = wolf). Another one refers to a predictive name, for which it could be called Castrum Lupi, from the name of Lupo (Wolf), descendant of the Antignano family. A third hypothesis, the most suggestive, considers the place as liminal of a vast territory dedicated to Janus (Torgiano, Limigiano, Giano dell’Umbria), whose name would be derived from Cantatus lucus, that is a sacred wood (to the same god) destined to transform from […]
After the Sanctuary of the Madonna delle Grazie, crossing first the Anasso torrent and then the Attone, you arrive at the castle that, as a business card, preserves in the medieval ring a beautiful semi-cylindrical tower, full of charm. The view of the tower reminds us of the siege that people from Todi put in 1273 to Gaglioli, considered the access door to Bevagna. According to Piergili, downstream there was the cult of Latona from which the torrent Attone, or Lattone, would take its name, whereas at the summit of the hill there would be the cult of Apollo. The current Via Castello di Radione and Via Panoramica di Santa Potenza recall the past. Inside the village there is the fourteenth-century church of Santa Maria, today completely renovated. On the wall, to the left of the central altar, a chapel with frescoes of three saints appears: San Nicola from Tolentino between San Francesco and Beato Giacomo with the inscription this chapel de sancto nicola sie factta per voto del castello. Nearby you can visit Gaglioletto. At the entrance of this village, now almost abandoned, a majesty representing Our Lady with the Child nicely shows itself. Annarita Falsacappa, Giovanni Mariotti, Paolo […]
Bevagna is surrounded by rivers: The Clitunno, which pours into the Teverone taking the name of Timia. The Clitunno, just before pouring in Teverone creates the Accolta, the old wash house, and a nice waterfall which is admired by many tourists.
Built by Rainaldo I count of Antignano, the little church, now deconsecrated, is the oldest among those preserved: there are news of it since 1198.
The epigraph to the right of the portal allows us to date the construction of this building to 1195, due to the master Binello. The unfinished façade consists of travertine blocks in the lower part and Subasio stone blocks in the upper part. A frame with zoomorphic protons also crowns it. In the center, there is the beautiful portal, richly decorated with friezes and it is surmounted by a wide three-light window with paired columns. At the sides two mullioned windows supported by twisted columns. The interior, of suggestive simplicity, is divided into three naves by robust columns with Corinthian capitals. On the right, a pillar served as a support for the bell tower. A barrel vault covers the central nave, while the lateral vaults are rampant. Above the crypt, accessed from the left aisle, stands the presbytery supported by two columns, one of which is a recovery column.
It was founded together with the original Augustinian convent, in 1316 near the oldest church of San Pietro. In the tribune and along the walls there are fragments of votive frescoes from the 14th century on several layers. A recent restoration, made possible by Don Aldo Giovannelli, brought to light a series of apses, decorated during the 16th century for the altars and with subjects dedicated to the Virgin.
Built by Binello and Rodolfo between the 12th and 13th centuries, it has undergone numerous renovations over the course of time; the restoration of 1951-1957 removed the eighteenth-century decorations. The church has a travertine façade with a horizontal crowning, divided at the top by pilasters and a frame with protomes. The beautiful portal is adorned with a frieze that develops in three orders along the arch and uses, in the jambs, Roman frames reworked. On the right of the façade, the bell tower rises and after modified in the fifteenth century. The interior, with three naves, has a raised presbytery and a high crypt, divided into four aisles by columns, some of which are salvaged. In the right aisle, there is the seventeenth-century baptismal font, followed by the chapel of the S.S. Sacramento, renewed in the nineteenth century by Vitali and decorated by Traversari. Next to it, there is the chapel of the Madonna Del Carmine with frescoes by Andrea Camassei, dating back to about 1625. The processional statue of Saint Vincent is at the right of the entrance, which was made at public expense in 1638. In the left aisle there was a beautiful fifteenth-century crucifix with wooden silhouettes […]
It was built on an ancient oratory dedicated to St. George, donated by the Municipality to Blessed Giacomo Bianconi in 1291. As a sign of recognition for the fundamental role he played in the reconstruction of the town, after the siege of the imperial troops of Frederick II, he obtained to place the convent in a central position: in the square next to the Palazzo dei Consoli. In the façade, there is a fine polystyle portal from the end of the 14th century, adorned in the lunette by a fresco in a poor state of preservation. The interior subjected to various renovations and restored in the 20th century, has a single and luminous nave. There are some remains of the eighteenth-century altars that adorned the walls of the church on the beautiful fronts and significant altarpieces, some of which are attributed to Ascensidonio Spacca from Bevagna (16th century). In the choir, there are the remains of an important cycle of frescoes assigned to a master of Assisi culture, linked to the first Giottesks. In the side chapels, two wooden sculptures from the end of the 13th century are preserved: on the left the Madonna with the Child, on the right […]
Heart of the city and fulcrum of its development in the Middle Ages, the square, whose structure dates back to the XII – XIII centuries, constitutes one of the most evocative and outstanding architectural bodies among the Umbrian cities, concentrating in itself valuable religious and civil monuments. The ancient octagonal cistern, almost in the center of the square, was replaced in 1896 by the current fountain; characteristic is the Roman column, called San Rocco, planted at the beginning of the square, which was first named after Umberto I and today is dedicated to the world-famous entomologist Filippo Silvestri.
The most significant buildings and palaces of Bevagna are along Corso Matteotti, formerly Via Flaminia, among which we point out the Palazzo Lepri, Municipality until 1997, designed by the architect Andrea Vici at the end of the 18th century. The most significant buildings and palaces of Bevagna are along Corso Matteotti, formerly Via Flaminia, among which we point the Palazzo Lepri, Municipality until 1997, designed by the architect Andrea Vici at the end of the 18th century. Inside there are the Archive, the Municipal Library, the Picture Gallery, the Archaeological Museum as well as an interesting Council room, decorated by Piervittori, who in the years of the Unification of Italy, made the medallions with portraits of important citizens, amongst them people can point out Agostino Mattoli, the first Mayor of the Municipality. In the Picture Gallery it is possible to admire the wooden case of the Blessed Giacomo Bianconi painted by Fantino in 1589, the Madonna with the Child by Dono Doni, other paintings by Andrea Camassei and Carlo Lamparelli, as well as the Adoration of the Three Wise Men by Corrado Giaquinto. In one room, the diplomas and the honors of the illustrious entomologist Filippo Silvestri are exposed. A […]
In the church, restored in 17th, people can still admire a beautiful altarpiece painted by Andrea Camassei, which depicts the martyrdom of Santa Margherita. Behind the high altar is a fresco painted by Fantino in 1592. The monastery, founded in 1271, preserves inside a suggestive Scala Santa executed by Providoni.
The parish was founded by a group of 34 refugee families in Bevagna following the destruction, ordered by the pontiff, of the castles of Antignano, who were faithful to Frederick II of Swabia. The church, now deconsecrated and used as an Auditorium, preserves a beautiful portal with a relief depicting the Madonna Nursing the Child.
The frigidarium remains of the thermal complex, formed by mosaic-decorated niches with black and white tesserae. Recent restorations have revealed traces of the calidarium. The beautiful mosaic, from the 2nd century A.C., of exquisite and refined workmanship, is inspired by the marine world.
Built at the end of the 13th century on the ancient church dedicated to Saint John the Baptist, it stands on the highest place in the city, where it was certainly a Roman temple. The gabled façade is adorned with an elegant rounded polystyle portal, with foliated capitals in marble. The interior, with a single nave, was completely renovated in the 18th century; you can admire paintings by Dono Doni and Ascensidonio Spacca. A small door on the right leads to an inner chapel with frescoes dating back to the 16th century. Next to the altar, in a chapel, there is a stone on which San Francesco placed his feet when he preached to the birds in Pian d’Arca. The second chapel on the right, perhaps a work by Galeazzo Alessi, preserves a beautiful 15th century tabernacle; the small dome is adorned with glazed earthenware attributed to Santi Buglioni.
The houses, built above the Roman remains, follow the curvatures of a large theater that leaned on the slope of the hill and overlooked the Via Flaminia. Inside the private houses, the conspicuous and significant remains of two ambulatories that served as a support for the cavea are still visible. In a section of the ambulatory, there is now the original restaurant “Redibis”.
The church has the name of the ancient Benedictine monastery located on the mountain above Bevagna and here transferred in 1555. Inside there is a remarkable frontal in gilded bronze. In front of it, there is a frieze from a tomb of the Republican age. Annarita Falsacappa, Giovanni Mariotti, Paolo Porzi – BEVAGNA GEMMA DEL PIANO. Immagini insolite e storie inedite – Dimensione Grafica Editrice – 2013 – pp. 259-260
Today desecrated, the church was dedicated to the patron saint of Bevagna. The unfinished facade has a travertine cladding with fluted pilasters from a Roman building. The church, after various vicissitudes, was used as a cinema until the 1970s. Today only the side walls and the façade remain. Inside there is the mosaic by Aldo Ajò created in 1941 for the inauguration of the city cinema, which represents the three cities, Bevagna, Spello, Assisi, which compete for the birth of the Latin poet Sesto Aurelio Properzio.
It is an octagonal church, with arcades on the walls of unequal width, located on Via Flaminia towards Foligno. The name derives from the image of the Madonna with the Infant Jesus in her arms holding a rose in his hand, an image that was considered miraculous. The church was built in 1691. Damaged by the earthquake of 1997, it was recently renovated. It gives its name to the street that starts from the church itself
The temple was originally oriented towards the Forum, the side and the rear façade, still preserved, have a covering in opus mixtum and decorations with half-columns and pilasters. It dates back to the 2nd century A.D. In medieval times it was transformed into the church of the Madonna della Neve. Today it is part of the Residenza d’Epoca Orto degli Angeli.
Built in the 18th, it preserves inside a beautiful statue of the Risen Christ created at the end of the XVI century; on the high altar the Holy Family painted by Etienne Parrocel in 1738.
Built in 1725 next to the existing church of the Madonna Della Provvidenza, the church has a single nave, enriched by an elegant stucco decoration. The frescoes of 1757 are attributable to Domenico Valeri. In digging the foundations, a large Roman statue was found representing a male deity, perhaps Dionysus, who was later transferred to Rome in the Capitoline Museums, where it is still preserved.
Seat of the homonymous judiciary of the city, of which we have news since 1187, the palace looks to the square with an elegant façade in travertine and sandstone, alternated by a double order of Gothic mullioned windows, and with a wide loggia covered by robust cross vaults resting on travertine pillars. There is a wide access stairway to the first floor. From 1886, the interior houses Francesco Torti Theater, expertly decorated by Domenico Bruschi and Mariano Piervittori.