The huge canvas was commissioned from the artist in 1844 by the Municipality of Ancona, on the request of the Marquis Carlo Bourbon del Monte, Gonfaloniere of the city, friend and protector of the painter.

It is an episode inspired by the heroic resistance of the city in the siege of 1173 by Cristiano di Magonza, chancellor of Federico Barbarossa.

After a few weeks of siege, the imperials sent an embassy to the city asking for the surrender, the recognition of imperial power and the handover of the consul of the Byzantine Empire. The Anconitans refused the offer and on the contrary sent emissaries who, passing through the enemy ranks, went to ask for help in the friendly cities of Romagna and Emilia.

The artist immortalizes the moment in which the old senator Bonifacio Faziolo, blind and supported by two young men, urges the councilors, the soldiers and the people of Ancona to swear to resist the siege until death.

The work, theatrically constructed, exalts the civic virtues of courage and unity and updates the concepts of resistance and patriotic involvement in the period of Austrian occupation that the Ancona people were going through when in 1856 it arrived in the city.

Signed OPUS CAROLI CRIVELLI VENETI on the stone parapet in pink marble, the work was created by Carlo Crivelli, a Venetian painter among the most important artists of the 15th century.

A small jewel of art with extraordinary details, rendered with miniature skill of the various elements and full of a particular Marian and Christological symbolism of references linked to the Passion of Christ. The apples of the festoon allude to original sin, the cucumber to the resurrection of Jesus, the open shell with a mollusk in the right hand, is an allegory of the incarnation of Christ inside the womb of Mary, the goldfinch tied to the thread is a symbol of the Passion .

The Virgin's dress is sumptuous, made up of a golden damask mantle, made by Crivelli with real gold leaves and decorated with acanthus flowers, whose thorns recall the pain of the son's passion. Finally, the Book of Wisdom, placed on the parapet, open and abandoned to the blowing of the wind, connotes the Virgin as Mater Sapientiae.

The extreme design elegance of the scene is revealed in the face of the Virgin, characterized by an affectionate but at the same time melancholy expression; refined is the way in which he grasps his child's foot at the tip of his fingers; as intended is their exchange of glances.

The Altarpiece is Titian's first work dated 1520. From the cartouche placed at the base of the work: "ALOYXIUS GOTIUS RAGOSINUS / FECIT FIERI / MDXX / TITIANUS CADORINUS PINSIT" we learn that this was commissioned by the noble Dalmatian merchant Luigi Gozzi, active in Ancona , for the main altar of the Church of San Francesco ad Alto.

The representation sees the apparition of the Virgin and Child surrounded by angels, while in the lower part there are, in addition to the Gozzi portrayed on the right kneeling with hands joined, the Saints Francis, owner of the homonymous church and San Biagio, protector of Dubrovnik, who through the index finger of his right hand, he leads everyone's attention to the heavenly vision.

The event takes place in the warmest twilight light in an indefinite place but not far from Venice, the city recognizable in the background, also testifying to the intense relations between Ancona, Dalmatia and the Serenissima. The representation of the slender fig tree is the bearer of a strong symbolic value, of redemption and salvation.

The back of the table presents some preparatory charcoal sketches, including a sketch for the Child, by the hand of Titian himself. A masterful painting that represents a fundamental step in his stylistic evolution.

The work is by the Ancona painter Giovanni Andrea Lilli, an artist trained in the Roman environment around Sixtus V whose style is influenced both by the Barocci painting and by late Roman and Tuscan mannerism.

The View of Ancona is one of the four preserved fragments of the large altarpiece The Virgin crowning St. Nicholas of Tolentino, originally located in the apse of the church of Sant'Agostino (transformed into a barracks after 1860). Although the entire iconographic layout of the altarpiece is not known, this fragment was certainly located in the lower part, since the inscription with the artist's signature and the dating of the work appears at the bottom right, in which the last figure is abraded.

The view of Ancona is particularly suggestive as its condition as a fragment gives it an archaic fixity, from a fourteenth-century town. This impression, to which the unnatural pink and lilac coloring and the geometric simplification of the volumes of the houses, doors and towers of the city contributes. The work is a piece of great interest seen for the purpose of reconstructing the sixteenth-century forma urbis of the Doric city.

In the large altarpiece commissioned for the Church of S. Agostino in Ancona, the signature of the Venetian Lorenzo Lotto stands out on the first step. The monumental layout shows the Madonna and Child on a high throne, at the foot of which are the Saints Stephen, John the Evangelist, Simone Giuda and Lorenzo, all recognizable by the presence of their respective attributes.

The rarer Simone Giuda, eponym of the client Simone di Giovannino de 'Pizoni, carries an unusual halberd on which he rests strongly, turning with a resolute and eloquent air towards the observer. The painting was ordered from Lotto in August 1538, the year in which the tyranny exercised by the Cardinal legate Benedetto Accolti and the German lansquenets armed with halberds ended in the city. The weapon, turned upside down and broken, would symbolize the defeat of the usurper and the end of tyranny. As in other works by Lotto, the symmetry of the composition is broken by the variety of attitudes, looks and the agitated figure of the Child, towards whom the lines of force converge. The rarefied atmosphere and the light of a late afternoon are the result of the use of more muted colors and of the contrasts between the illuminated and shaded areas.

Painter, sculptor, set designer, costume designer, complete and eclectic artist of the second post-war period, the art of Corrado Cagli is known throughout Europe. An artistic personality, characterized by a versatility of styles and a mastery in the most diverse fields of artistic expression, have made Cagli the object of study and critical analysis by renowned historians, scholars, poets and essayists.

The work Buglione of 1971 recalls the concept of abstract figuration, to which the artist dedicated himself after the war, made up of modular and mathematical repetitions, of corpuscles that challenge the two-dimensionality of the painting. The geometric structures extend into space in a continuous play of concave and convex, giving the illusion of a three-dimensional figure. The circles that make up the figure recall the legendary armor of a chivalrous Middle Ages to the observer's mind and refer to the hauberk, the firm structure of a metal mesh, typical of medieval warriors.

The title of the work itself, in fact, evokes the legendary figure of Godfrey of Bouillon, a fundamental character of the first crusade, reducing it to a deformed mask.