Many reasons may recommend a visit to the Museo del Capitolo of Perugia , that is, the museum linked with the Capitolo, the “Chapter” (priestly community) of the Cathedral. First of all, an opportunity to admire some fascinating buildings and spaces. The museum rooms have a story of their own: already in the Middle Ages – when houses were “tower-houses” – they were, in fact, home to the “canons,” the priests of the Cathedral community. And, they also were 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. Yet, by paying a little attention, the different layers will surface and become obvious.
A second, and stronger reason to enter the space of these old rectories is to sense the inner connection between places, and time, and works of art. Many of the objects that “welcome” the visitors show, from the beginning, their relationship with sacred rites, with liturgy. For whole centuries, they have been the symbols of shared feelings, the icons of salvation, a cause of amazement and emotion.

A most precious work in the Museo del Capitolo is the Altarpiece (Pala) of Saint Onuphrius, a masterpiece painted by Luca Signorelli in 1484. It is named after the saintly hermit who can be seen 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 Museo del Capitolo are unusual, or perhaps will not easily catch the visitors' attention. For example, the faldistorium: a folding chair, with no backrest and no armrests, whose shape comes from the chairs used by Roman generals in the encampments. In a Christian context, the faldistorium would be reserved to the “Church General,” the Pope.
Two elements will help us understand the importance of such an artifact. Firstly, it dates back to the late 13^th century / early 14^th century; and second, it was (and is) in Perugia. In a time span of about a century, in fact, between 1216 and 1305, Perugia hosted five Conclaves. Unlike nowadays, the Popes were not only elected in Rome, but in other towns too. This Papal chair is made in 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; in the flourishing of those drawings some curled-up dogs and a little exotic monkey can be made out.