The Municipal Art Gallery of Treia is in “Sala del Consiglio”, “Sala degli Stemmi” and in the other places that form the Piano Nobile of Palazzo di Città. There are a series of portraits of XVIII and XIX century related to the most famous exponents of Treia nobility and painting of celebrated painters of Roman and Venetian school, such as Pietro Tedeschi (XVIII century), Antonio Balestra and Agostino Bonisoli (XVII century). The big painting of Bonisoli of 1673, that measures 6×5 meters, represents the Franciscan protomartyrs martydom from the king of Marocco. Recently it has been brought back to his early splendor by a skilful restoration.

The furniture is formed by simple benches with seatback of XIX century, two walnut tallboys, an Empire Viennese fortepiano and a small sofa of XIX century with two seats.

The paintings exposed in the representation rooms of the municipal building of Treia reflect partially the local orientation; as the major part of the public collection of the Marche, also that of Treia is formed by sacred paintings of various religious institutions of the city, becoming public as a consequence of postunitarian suppressions.

All the portraits that reproduce the faces of the most celebrated exponents of cultural, literal and political life of the city of the Marche belonged to, on the contrary, the artistic collections of the ancient and prestigious Accademia Georgica. As all the most important cultural associations, also the Accademia had a series of portraits of her own members and of her beneficiaries.

Among these portraits stand out that of the cardinal Grimaldi, benevolent beneficiary of local community and the various versions of Pio VI portrait, the pope that gave to Treia the title of City, to which is dedicated also the near lofty small temple on the balcony of city square.

In the portraits’ sequence of XVIII-XIX century about Roman prelates and enlightened exponents of local noble-status, there are also the effigies of various popes that have reigned between the XVIII and XIX century, when some cardinals of the Marche were elevated to papal throne. In this way it is possible to explain the portrait presence of Leone XII, Clemente XIV, pope from Romagna eternized by Canova in the funeral memorial of the Roman church Santi Apostoli, and those of Pio VIII, Francesco Saverio Castiglioni from Cingoli, which family had relatives near Treia. But, obviously, in the small georgic phanteon there are the portraits of Pio VI, whom had elevated Treia to city, and that of Pio VII, of which one of the effigies has reveled, during the restoration, to be transform adapting the early crimson cardinal dress with the papal pure white. This means that the new about the election arrived rapidly and it was decided to revise the aspect of cardinal Chiaramonti.

The series of celebrated men in Treia is the result of an operation focused giving importance to the great men of the past and, all this, is confirmed by the portrait of the captain Balduccio Angelini, of profile with an armor into an oval with his name. The recent restoration, made by Simone Settembri, has unmasked an historical imitation. In fact, removing the re-paintings, it was possible to recognize under the armed condottiero the well-known captain Bartolomeo Colleoni, eternized by Verrocchio in the magnificent equestrian memorial, dedicated to him by the Serenissima.

The virile and determined condottiero is inserted in a complex heraldic and military decoration, formed by standards with emblems of various descents on behalf of which Colleoni exercised his activity of mercenary. The Visconti big snake, Angevin lilies warble on the banners remind the various military feat with Colleoni as protagonist.

The portrait can be dated at the beginning of XVII century and it is based on an ancient effigy, realized when the condottiero was still alive; the painting conduct has a dense and pasty coat of color, showing serious attention for light’s effects that make vibrating the metallic foil of the shoulder bracket. The characterization of the face with intense wrinkles and an incipient down that darkens the cheeks, reminds some Venetian painting expressions of XVII century and , in particularly, the style of Pietro Muttoni (named “della Vecchia”), capable creator of painting pastiches that sometimes imitate the works of very famous masters of Venetian Renaissance. Also this inclination to copy can justify his name as supposed author of portrait of the Art Gallery of Treia that represents a dead already man from over a century, reestablishing also throughout an authentic reproduction of ancient style, the sense of passing time.

Among the paintings which come from suppressed religion institutions and from the others city churches, there are two altarpieces of late mannerist époque, concerning the first years of XVII century, that reflect the style of Catholic-Reformation. The first is characterized by a photographical attention about details and it represents the Virgin on a luxuriant garden of Italian style, on which there are plants and architectonical structures connected with the “litanie lauretane”.

The other one represents the Virgin on the throne, worshipped by Saints Giuseppe and Biagio and by the client, whom is portrayed with rigor. In both it is possible to see the eclectic culture which characterizes the works of Gaspare Gasparini and of his disciple Giuseppe Bastiani.

The great painting of Agostino Bonisoli is a rarity for the local artistic view that arrived in Treia in 1793, when father Cipollari bought it for suppression of Saint Francesco church in Cremona (1777). It is the first work signed by Bonisoli, whom paints an important theatric composition, thanks to the knowledge of Giulio Campo and Genovesino works and also using a simple emphasis on colors, where the dark colors prevail on the light ones.

From north Italy, and in particolar from the Venetian pictorical context of XVII century, comes from also the painting of “Santa Margherita da Cortona in estasi”, realized by Antonio Balestra (another work of him is conserved in “Galleria dell’Eneide di Palazzo Buonaccorsi” in Macerata). The porcelain faces of angels and of the suffering saint are a feature of the Bonisoli style whom in XVIII century had an international successful maybe major of his real merits.

The painting collection of XVIII century of the Art Gallery finishes with two works of Pietro Tedeschi that represent “L’elemosina di San Tommaso da Villanova” and “Il martirio di Santa Lucia”, which come from Augustinian church, religious order with which the painter of Pesaro had a privileged relation of commission.

The balanced paintings, the enameled emphasis on colors, the attention to silk clothes and to gold vestments represent the balanced academicism thanks to which Tedeschi interprets Lazzarini models, showing the inclination to Pompeo Batoni style, known during his roman stay. In the various areas of council building the paintings are been arranged as the ancient way; the portraits are situated on different lines creating a real gallery of celebrities, mostly of half-bust according to the famous “gioviana” series. Some furniture of XVIII and XIX century are been situated in the different rooms; an huge tallboy of the first years of XVIII century and some empire furniture testify the activity of local unknown cabinetmakers, whom recovered famous models in order to elaborated them according to their technique. This is the case of the neoclassical “consolles” whit supports similar to column which show the influence of the empire furniture in the Marche, come here after the transfer of the Napoleon followers in this region.