The project of a Museum of the duomo dates back to 1935 by Mons. Arturo Capone, a member of the Primatial Chapter. After the earthquake of 1980 was initiated the refurbishment of premises and in 1993 the show was extended with a section of paintings on Panel painted between three hundred and five hundred and a room dedicated to the 16th-century painter Andrea Sabatini. Is currently undergoing renovation exhibition areas: the Museum can offer the visitor a few artworks, from the middle ages to the 20th century, placed in three large rooms. The collection consists of works of art coming mostly from the Salerno Cathedral. In the first room is the precious cycle of ivories, 67 pieces of local production in the first half of the 12th century with mostly scenes of the old and New Testaments, whose most accredited destination is as retable of the altar. Important is the series of manuscripts of the 13th-14th centuries, among which the Exultet, a long roll of parchment of the 13th century, embellished with fine thumbnails, which was rolled out by the deacon during the liturgical ceremonies of Holy Saturday. Also the Pontifical Book, bolognese, invoice for the Salerno Cathedral in 1180, is fully illuminated. There is also a wooden crucifix from the Byzantine era and the so-called cross of Robert Guiscard, a reliquary from the end of the 1000 with teeth of Saints Matthew and James minor, a piece of the Holy Cross. The paintings on Panel, coming both from that of the diocese from different churches, offer a picture of the Bell culture between the 14th and 16th centuries: the crucifixion of Robert of Oderisio, only work signed by the Neapolitan painter of giottesque influence; the coronation of Ver ¬ icture attributed to the so-called master of the coronation of Eboli and the St. Michael the Archangel of the veronese painter Cristoforo Scacco, if ¬ second half of the fifteenth century; the first triptych with Mannerist Madonna e Santi Vincenzo De Rogata of Salerno; the sixteenth-century paintings of the so-called complex master of the Franciscans polyptychs, di Bartolomeo da Pistoia and, above all, by Andrea Sabatini, whose paintings, all depicting the mother of Christ, is dedicated the third room. The devout controriformata painting is represented by canvas with Mystic marriage of Saint Catherine of Siena and the beautiful Madonna del Rosario by Francesco Curia, while the 17th century are the San Gemiamo penitent and the San Pietro di Jusepe De Ribeira. The painting depicting St. Philip that baptizes the eunuch, the last acquisition of the Diocesan Museum, referring to the suggestions derived from pit landscape ¬ tura Domenichino, while paintings by Nicholas V and Nicola Malionconico will pose as a crossroads of giordaneschi influences and new artistic trends-eighteenth-century compositional. In bright rooms access corridors has been provisionally placed part of the numismatic collection that goes from the Magna Greece until the Mint of Salerno.
Enrich the collection works of jewellery, a lapidary and some archaeological findings of Roman and early medieval age.