Museo Civico Archeologico De Nino [ENG]

Audioguide by eArs 11. Room 10 - The Late Imperial and Medieval AgesWe conclude the tour with a glimpse into the late antique and medieval phase of the city, when Corfinio—by then reduced to its eastern section—was renamed Pentima and underwent the process of encastellation under Abbot Transmondo in the 11th century.Showcases 41 and 42 display items recovered from late antique and early medieval tombs, dating between the 5th and 8th centuries CE. These include pottery, iron and bronze tools, belt buckles, hooks, and blades.In the 11th century, Corfinio became an episcopal seat, hosting the Cathedral of St. Pelinus, built in the 12th century on the remains of pre-existing Roman structures. From this cathedral comes the slab decorated with a griffin relief, displayed in the center of the room, along with other older artifacts and fragments housed in display case 43.Thank you for journeying with us through the unparalleled history of ancient Corfinium and the valiant Italic peoples. Through the artifacts brought to light by Antonio De Nino, we rediscover the values and noble ideals of Italic culture, which today, more than ever, underscore the meaning of human dignity and freedom.We hope to see you again soon!

Audioguide by eArs 10. Room 9 - The Necropolises of the Imperial AgeBeginning in the 2nd century CE, the necropolises of the Roman Empire adopted a new funerary practice: cremation. The ashes of the deceased were placed in terracotta ollae or stone urns, often intricately carved to mimic the details of elegant wooden caskets. Alongside the urns, personal items were placed—such as balsam jars, oil lamps, and small utensils, like those displayed in showcases 38 and 39—and occasionally even funerary portraits, such as the one exhibited in the center of the room.In display case 40, a curious artifact is on display: rectangular bone plaques engraved with names and numbers. These served as admission tickets for reserved seats for the wealthy in amphitheater performances.The room also features several funerary inscriptions. Some commemorate the tombs of a miller (molitor) and a teacher (paedagogus), shedding light on the trades and lives of the community. A particularly moving epigraph, translated on the wall, is a father’s heartfelt dedication to his daughter, who died prematurely.Two stone high-reliefs are dedicated to priestesses, whose tombs were adorned with depictions of sacrificial rituals.

Audioguide by eArs 9. Room 8 - The Sacred BuildingsOur tour continues with a selection of artifacts related to the sacred buildings and rituals of the Roman imperial period. As with the public buildings, some of these sites are still visible today. One example is the temple located along the road to Pratola Peligna, from which the bronze horse leg displayed on your right was recovered. This is a fragment of a large equestrian statue of an emperor—a common temple decoration that exalted the emperor's power and role as the protector of the community.On the walls are the names of deities worshipped in Corfinio, such as Isis, Minerva, Vetedina, and Attis, testifying to the richness of the Roman religious pantheon.Local deities are portrayed in display cases 35 and 36, along with sacred decorative elements and votive offerings uncovered during the 19th-century excavations conducted by Antonio De Nino. Particularly noteworthy is the cameo depicting Emperor Claudius, displayed in case 37, which was found near the previously mentioned temple.

Audioguide by eArs 8. Room 7 - The Public BuildingsThis room features objects and sculptures associated with the public buildings of ancient Corfinium, the remains of which are still partially visible and accessible in the city today.Display case 34 showcases furnishings from the bath complexes, offering direct evidence of the activities and practices related to physical well-being carried out there. Among the items on display are balsam jars, a paw likely belonging to a decorative statue—perhaps a goat—and a strigil: a bronze scraper used by athletes to remove excess sweat and oils applied to cleanse the body during physical activities or after massages.Also on display in the room is a stone epigraph mounted on a rotating stand, inscribed with details of restoration work on Corfinium’s ancient theater. The remains of this theater still lie beneath Corfinium’s main square. The same stone was later repurposed for the construction of the Valvense Cathedral of St. Pelino and, in the 18th century, for carving an episcopal coat of arms.It is speculated that the sculpted head of Emperor Claudius, dating to the 1st century CE, was originally intended for the theater as a decorative element placed above the stage. A wall image in the room depicts Corfinium’s main square, beneath which the ancient theater—with a seating capacity of approximately 4,200—is preserved.

Audioguide by eArs 7. Room 6 - The City in Roman TimesThis room takes us to the heart of the Roman city of Corfinium. Here, you will find many items related to daily life, trade, and both urban and domestic furnishings.In display case 27, for example, there is a large collection of coins, one of the most common items used in city life throughout various eras, from the age of Republican Rome to more recent times. Take a close look and try to spot one depicting a pair of figures in profile with the inscription “ITALIA” below. It dates back to the Social War, minted specifically in 89 BCE. Between 91 and 88 BCE, the Italic peoples, already allies of Rome, established the Italic Confederation to demand the Right of Citizenship that Rome had consistently denied despite repeated requests. The capital of this new coalition was none other than ancient Corfinium, renamed ITALIA for the occasion. This marked the first time in history that this name acquired political weight and significance, symbolizing a new nation.Among the objects from the domestic sphere, two are particularly noteworthy.The first is a stone oscillum in display case 31. This decorative item was meant to be suspended, allowing both of its differently adorned sides to be displayed.The second is a balsam jar in display case 32, a vessel that still contains ointment dating back two thousand years.At the center of the room are sculptures and decorative elements that provide insight into the furnishings of private homes as well as the design of urban spaces.

Audioguide by eArs 6. Room 5 - The SacellumThis room houses the elements discovered in the sacellum of the Sanctuary of St. Hippolytus, the part of the sacred complex where the statue of the deity was likely kept and where the main rites were performed.Inside, altars, votive cippi, and small but valuable artifacts were uncovered. Among these, the head of Dionysus in display case 26 is particularly noteworthy, depicting the god of wine in an elaborate half-bust with slightly caricatured features.The terracotta legs in the reconstructed sacellum likely belonged to one of the deity statues that would have been housed there.Of significant interest is the stone epigraph dedicated to the god Fons, a deity embodying the spring that provided the water used in the sanctuary's rituals.

Audioguide by eArs 5. Room 4 - The Ex-Votos of the Italic Sanctuary of Fonte Sant'IppolitoUpon entering the room, the statuettes depicting Hercules, the most frequently represented figure in the sacred site, immediately catch the eye.Among the many reproductions of Hercules, a unique ex-voto in Display Case 21 stands out: it depicts a young man dressed in the Greek style, a one-of-a-kind piece that significantly differs from other depictions of the deity. The hero-turned-god is shown in Display Case 23 with his traditional attributes: the raised club and the Nemean lion's skin draped over his left arm as a shield.Beneath the display cases, stone cippi feature dedicatory inscriptions mentioning Hercules and bear traces of metal, likely remnants of figurines that once stood atop them.

Audioguide by eArs 4. Room 3 - Italic Sanctuary of Fonte Sant'IppolitoThis room opens the section dedicated to the Italic Sanctuary of Fonte Sant'Ippolito, a sacred site active between the 4th century BCE and the 1st century CE, dedicated to Hercules and a female deity, possibly Ceres. The sanctuary consisted of a small temple, an altar, and votive cippi—small stone columns with dedications to the gods. Connected pools collected and channeled water from a natural spring used for sacred rituals.A votive stipe—a pit where offerings brought by worshippers were deposited—was also discovered. Showcase 17 displays some objects related to the rituals: reproductions of human and animal body parts to ensure good health, and a pomegranate symbolizing good luck and prosperity. Showcase 18 features figures of cattle, depictions of female faces, and a married couple kissing.Showcase 19 contains terracotta lids, originally topped with figurines, used for ritual fumigations with incense. Particularly noteworthy is an antefix—a decorative element for temple roofs—depicting a goddess between two beasts, a motif widely spread in the Eastern world. Showcase 20 displays several bronze votive offerings representing Hercules.

Audioguide by eArs 3. Room 2 - The Rock-Cut Chamber Tomb of the Three Noblewomen and the Pit TombsShowcase 11 features the reconstruction of a large rock-cut chamber tomb, where the grave goods of three high-ranking women were discovered, providing a glimpse into the lives of elite women in Pelignian society. These grave goods include personal items—jewelry boxes, oil cruets, balsam jars, and more—highlighted by a magnificent bronze candelabrum designed for burning oils and perfumes. The candelabrum is intricately decorated with three dogs chasing a small panther.The subsequent showcases display grave goods from a necropolis of pit tombs discovered near Corfinio. Showcase 12 contains a pan with traces of organic material—fish remains—left as food for the deceased’s journey to the afterlife. In showcase 14, we find a collection of transport amphorae, placed in the tombs of merchants to signify their trade. This profession appears to have been particularly prosperous in ancient Corfinium, given the numerous finds of similar amphorae. Alongside the amphorae are displayed stoppers and some handles stamped with the maker's mark.

Audioguide by eArs 2. Room 1 - The Oldest EvidenceUpon entering the second-floor rooms, after passing the first two display cases on your right—containing artifacts dating back to the 4th millennium BCE and the 10th century BCE—you reach Room 1, which houses items uncovered by De Nino during excavations in the necropolises. All the grave goods on display come from tombs carved into gravel deposits or pit graves, dating between the 4th and 1st centuries BCE, and are organized by their function: weapons in display case 3, jewelry and toiletry accessories in display cases 4 and 5.Among the artifacts, three are particularly noteworthy: a bronze jar with a female head motif, of Etruscan origin, displayed in showcase 6; a bronze casket with a peacock-shaped knob, used either as an inkwell or a cosmetic container, in showcase 7; and an askòs—a flask-shaped vessel displayed in showcase 9—retrieved from an infant’s tomb and regarded as a precursor to the modern baby bottle.Finally, display case 10 features a reconstructed female tomb, based on De Nino's descriptions. This is a typical Pelignian burial; the stone epitaph bears the name of the deceased, Saluta Scaifia, along with her social status: Anaceta Cerri, or priestess of Ceres, the goddess of the harvest.

Audioguide by eArs 1. Atrium - The Studio of Antonio De NinoWe are delighted to guide you on an archaeological journey to uncover a remarkable story, still largely unknown to the general public. Through the artifacts on display in the Museum, you will delve into the heart of the ancient metropolis of Corfinium, a city that hosted the valiant Italic warriors. These warriors, after founding a new nation named ITALY, fought against Rome to secure social, political, and economic rights—what we today call “Human Rights.”Our visit begins not with display cases brimming with archaeological artifacts but in a room: a reconstruction of the 19th-century studiolo of Antonio De Nino, to whom the museum is dedicated. A self-taught scholar and schoolteacher, De Nino was born in Pratola Peligna in 1833. He devoted his life to archaeological research and the documentation of Abruzzo's folk customs and traditions.Between 1877 and 1907, De Nino concentrated on the Corfinio area and its surroundings, where he identified and studied several pre-Roman and Roman necropolises, conducted surveys and excavations, and uncovered both sacred and civil buildings. His systematic and passionate work is extensively documented in the prestigious journal Notizie degli Scavi di Antichità of the Accademia dei Lincei, where he published the findings of his research.De Nino’s contributions, however, extended beyond excavations. He personally sought out and purchased ancient objects unearthed by farmers during agricultural work. These artifacts became part of the museum’s extensive archaeological collection, which was later enriched through more recent excavation campaigns.