Established in 2001 with paintings , sacred furnitures and works from the territory and from the same monastery, was enriched , almost after 10 years , with the Collezione Pasquale Chiomenti e Donata Chiomenti Vassalli, collection donated to the municipality by Filippo and Carlo in memory of their parents. 

The works of the museum and the art gallery

Passed the principal door overlooked by the arms of coat of the Ferrini’s family, passed the ticket office , to welcome the guest in the first of the six rooms, there are the portraits of two important exponents of this family: 

• Demofonte Gioacchino Ferrini, lived in the second half of the seventeenth century;
• and Francesco Demofonte Ferrini, dating  1683, the last male heir of the dynasty, on whose death in 1715 this building became the property of the Community of Calvi who founded the monastery as a will of his predecessor Demofonte.

The hall of the popes

In the first room are hosts the wood works of the museum, the series of the popes and that of the draws and incisions of the Collection Chiomenti-Vassalli. 

Between the portraits of the different popes stands out that one of Pope Clemente IX, work of  Giovan Battista Gaulli called il Baciccio, a pupil and collaborator of Bernini. 

The sculpture of the roman manierism is represented by two busts of popes of Bastiano Torrigiani and Lorenzo Ottoni.

One wall is occupied by the large and detailed View of Rome from the Gianicolo hill by Giuseppe Vasi, engraving of 1765. From the Flemish school of the sixteenth century is a Memento Mori (remember that you must die), on the theme of death and the maiden of the Circle of Jan Sanders goes Hemessen.

The hall of the works of the territory of Calvi

The second hall is dedicated to the works from the territory of Calvi dell’Umbria: belongs to the local  collection a big canvas representing the Pentecost, from the Church of San Francesco and belonging to Camillo Angelucci , active between the 1540 and 1584. 

Outstanding are the Immaculate Conception of Agostino Masucci, from the Chapel of the Cemetery and the Martyrdom of Sant’Andrea attributed to the circle of Gerolamo Troppa, once located in the homonymous chapel of the Church of Santa Maria Assunta.

The third hall

In this hall stands a collection of ancient silver from the Churches of Calvi and, especially, the  Portrait of Queen Christina of Sweden, work by Jacob Ferdinand Voet, painted around 1670 and where the painter portrays the queen as a Minerva. From the same Vouet is the delicate Portrait of Isabella Strozzi Costaguti. 

Of Pietro Nelli, a portrait of a girl in a rich dressing room, looks at us with questioning air.

The fourth hall

The fourth hall hosts the series of landscape and that one of the genre subjects of the Collection Chiomenti-Vassalli: a series of views of ruins and landscapes among which interesting the two canvas of the XVII century of Pietro Montanini, called Petruccio Perugino represented a Mountain landscape with strong wind and peasants and a landscape with strong wind and stubborn mule conceived in parallel.

The most important work of the hall is Monks in a boat pulled ashore by Alessandro Magnasco called Il LIssandrino, painted after 1730.

The fifth hall: treasure of the museum

The most important hall has five memorable works of the Collection Chiomenti Vassalli:

• the first is La fuga di Enea da Troia by Pompeo Bartoni, a classical work signed 1755;
• the real treasure of the collection à The parable of the blind by Pieter Brueghel the Young datatable first quarter of the seventeenth century. The classical iconological interpretation is that of the blinding of the Old Testament reinterpreted in a contemporary key in the context of the religious struggles between Catholics and Protestants. Pieter Brueghel the young man shows four blind people in a rough landscape, inspired by the surroundings of Brussels;
• loggia dell’Aracoeli signed by Gaspar Van Wittel (or Gaspare Vanvitelli) and painted between 1634 and 1635;
• La Maddalena penitent by Guido Reni, painted between 1634 and 1635, is of great charm;
• The last canvas is the Andromeda by Francesco Furini, an unpublished painting made at the end of the master’s career in the 30s and 40s of the seventeenth century.

The sixth hall

The last hall of the museum hosts the series of the sacred subjects , in addition two Still life with carpets by Francesco Noletti, known as Il Maletese.

The most significant work of the hall is the Condemnation of Giansenism in Rome in 1641 , work by Andrea Sacchi and Jan Miel , where is represent the reunion made in August 1, 1641, in the convent of Dominican of Santa Maria above Minerva for the sentence from the Inquisition of the Treatise of Augustinus, on the divine grace, written by the theologian Cornelius Jansenius and printed in Lovanio in 1640.