Sculptures and epigraphies section
In this section there are some historically remarkable epigraphies mainly coming from the collection of Bissi, who was the canon of the Cathedral (deposit by the episcopal Curia). The most remarkable piece, also for the combination of written text to image, is a relief with inscription known as "Benvegnų". The relief, which comes from the castle of Montechiaro, bears in the upper part a long inscription in vernacular, clearly influenced by dialect: "Segnori vu sie tuti gi benvegnu e zascaun chi che vera sera ben vegnu e ben recevu" (My lords you are all welcome. Whoever comes will be welcome and put at ease). The lower part of the slab represents the lord and lady of the castle welcoming visitors on the right, while five other people are on the left. Both the inscription and the image aim at representing the hospitality of the castle owners. The inscription is also a very rare example for the time (first half of the 14th century) of a vernacular text used to explain a relief image. We may also mention the inscription reminding of the construction and donation of a chapel by the guild of carpenters and masons, which comes from the church of S. Maria del Carmine and dates back to the 15th century. In the upper part of the slab the working tools of the guild are represented: brick hammer, plumb bob, trowel, carpenter's axe. The inscription in big capital letters is in the lower part.
In the section about renaissance sculpture there are circular medallions representing the five apostles. They come from the "Terracotta cloister" of the church of S. Sepolcro and probably date back to the third quarter of the 15th century. The "terracotta cloister" imitates pre-reanaissance Tuscan and Lombardic models (l'Ospedale degli Innocenti - Hospital of Innocents - in Florence) (l'Ospedale maggiore in Milan).
As to wooden sculpture, the refectory door of S. Agostino Monastery, dating back to 1570, is a remarkable piece. It appeals to the spectator thanks to a severe architectural design made lighter by a rich decoration. The wooden statue of S. Augustine has been attributed to an unknown sculptor of the 18th century. It probabaly comes from the Church or Monastery of S. Agostino. The technical skill of the drapery,obtained through the superimposition of several layers and different types of drapery, is remarkable. The face of the saint confirms a certain skill; here the sculptor was good at using light, symbolising divine inspiration, to give a strong dramatic intensity to the expression of the saint.