The painting, which depicts the Madonna nursing the Child, is called Madonna "de ambro" from the inscription on the lower edge of the panel, the origin of which, however, is unknown. From the upper limit of the table emerges the circular halo of the Madonna who, indulging in a vein of popular naturalism, has her hair gathered in a twisted cord net with tassel terminations that descend on her shoulders according to an immediate adherence to the cultural heritage of the people for whom the image was created; a heavy crown completes the hairstyle. The features of the drawing are very accentuated, the flat and intense colors, a rigorous frontality and fixity of the gaze characterize the figure of the Virgin, giving the image a solemn majesty. The painting was published by Piccirilli in 1919 as a work of the thirteenth century, the Toesca approached it for the crown and the features of the face to the Madonna of the apse of S. Maria in Foro Claudio; Garrison thought it was done in an Umbrian-Abruzzese environment, dating it to 1270-80. Matthiae was the first to approach the table with Spoleto production, while Bologna, considering it "already in the thirteenth century", underlined its affinities with the production of A. Sotio and with the frescoes of Rongolise. BosKovits, looking for the cultural matrices of the Third Master of Anagni, attributed the work to Alberto Sotio himself, thus confirming the early dating to the first quarter of the 13th century.

The panel depicts the Virgin holding the blessing Child with her left hand and a mirror with her right; the throne on which she is seated is covered with a checkered fabric. Under the predella you can see the small figure of the client and the inscription: IN GREMIO MATIRS FULGET SAPIENTIA PATIRS. The icon can be considered one of the most significant in the region. The iconography of the Virgin, while connecting to the others present in Abruzzo for the linear layout of the image and a certain elongation of the figures, stands out due to the lack of any naturalistic and popular element. The search for a certain formal elegance is evident in the oval of Mary's face, on which the features are firmly outlined, and in the bundles of the folds of the dress, whose sober volume is underlined by gold highlights and a skilful combination of the colors, from the bright green of the veil, to the red-bordered brown of the robe, to the yellow of the Child's tunic. Attributed at first by Garrison to an Umbrian-Marche painter working between 1275 and 1285, close to the author of another Madonna kept in the Museum of Toledo, it was later recognized as the work of an Abruzzese artist, datable to around 1250. -1275. The panel can be compared to the manner of the Madonna di Mercatello signed by Bonaventura di Michele, from the second half of the 13th century. According to Federico Zeri (1988) this panel is "one of the rare Italian paintings painted not directly on wood, but on a sheet of parchment, then polished and glazed ..". The panel comes from a Benedictine refuge in Sivignano di Capitignano (AQ) on whose ruins the Church of S. Pietro was erected in 1702 (date documented by an inscription placed on the lintel of the door).

The sculpture depicts the Madonna enthroned with the blessing Child on her knees; presumably it must have been a Queen Madonna with a wooden crown, given the large hole on the head. On a quadrangular base with a double step, the Madonna, mutilated by her right hand, is depicted in a frontal position seated on a bench. She holds the Child in her lap, holding him with her left hand. Her hair is parted in the middle, gathered at the nape of her neck. She wears an ocher-colored dress, decorated with black bands with red and blue oval geometric patterns, alternating with red and ocher beads arranged in squares. Below you can see the lower edge of the white pleated tunic. The Child has his right arm raised and with his left hand he holds the globe, wearing an amaranth dress decorated with ocher stripes with red and ocher beads. A high band fastens the tunic at the waist, leaving the white tunic uncovered underneath, decorated with rows of amaranth and orange beads. The iconography certainly derives from the sculpture from beyond the Alps and, more precisely, from the Cathedral of Chartres, with clear references to Byzantine art. The sculpture was made in a single block of wood, with the exception of the right arm of the Madonna and the arms of the Child. From the laboratory analysis it was found to be hardwood, probably cherry, a valuable species used in ancient times for important works as is also supported by the use of very refined techniques such as the use of meccata tin leaf for gilding.

The seated Virgin, perfectly frontal, wears a red tunic and a golden cloak with black decorations on the edge. She has bipartite hair that can be seen below a white veil that falls over her shoulders. On his head he wears a crown. The Virgin supports with her left hand, standing on her knee, the blessing Child, who wears a green tunic and a golden mantle. The group is contained within a triangular tabernacle decorated in the upper part by an arching with a starry sky, in the middle part by a red and silver damask drape as a backbone and in the lower part by a Cosmatesque type seat on which the Virgin seems to sit on. On the lost doors that originally closed the tabernacle were depicted, on the right: the Crucifixion, the Flogging and the Kiss of Judas, on the left: the Annunciation, the Adoration of the Magi and the Presentation in the Temple, the only remaining panel and currently preserved in the Museum. The work is attributed to an unprecedented pictorial personality indicated by the conventional name of Maestro di Fossa, active in southern Umbria and Abruzzo in the first half of the fourteenth century. The stolen doors that closed the tabernacle were painted with stories from the life of Christ. Left: The Annunciation, The Adoration of the Magi, The Presentation in the Temple; right: The Crucifixion, The Flogging, The Kiss of Judas. Only the fragment with the scene of the Presentation in the Temple which is exhibited in the Museum has been recovered. Even the panels have been attributed to the Maestro di Fossa, who was later combined with various works present in Spoleto and in private collections.

In the central panel, cuspidate, the Virgin enthroned with the Child portrayed is depicted playing amiably with the transparent veil that descends from the head of the Mother. The painting reveals a subtle grace combined with a keen attention to realistic elements. On the left, starting from the top, are represented: The announcement to the shepherds, The Nativity and the bath of the Child with the kneeling figure of the client; right, starting from below: The Death of the Virgin with the Jewish high priest Ananias at the bottom right, who, having tried to overturn the Virgin's coffin, was left with crooked and paralyzed hands, The Ascension of Mary's soul into heaven and The Coronation. The painting commonly known as the Triptych of Beffi from the name of the nearby locality, was attributed to a follower of Taddeo di Bartolo (Siena 1362 / 63-1422), a distinguished exponent of Sienese painting in the late 14th century, who prefers a plasticity and a chromatism close to the taste of transalpine late Gothic painting and identifiable with the Master of the frescoes of the Church of S. Silvestro in L'Aquila. The same circle included Andrea Delitio, the Master of the Caldora Chapel and Giovanni da Sulmona.

In the foreground, St. Francis, dressed in a large habit, receives the stigmata from Christ who appears crucified at the top right, wrapped in fiery red feathers. Next to the saint, another friar sitting in front of a church, is intent on reading. A rocky landscape forms the background. The work was initially attributed by Chini (1912) to Sebastiano di Cola da Casentino mistakenly exchanging it with a panel of the same subject, documented by this painter, who also wrote an Annunciation in the church of S. Maria ad Cryptas in Fossa, dated and signed. This attribution was subsequently refuted by F. Bologna (1950) due to the incompatibilities found between this work and that of Fossa who referred it, together with a panel depicting The Stories of S. Giovanni da Capestrano, coming from the same convent, to a pictorial personality of Iberian-Flemish-Burgundian cultural training, to which are added elements of the Po Valley-Ferrara to whom he gave the name of Master of S. Giovanni da Capestrano. Cannatà (1981), on the basis of stylistic analogies, identified, in the Master of S. Giovanni da Capestrano that Paolo Aquilano author of the signed wooden sculpture, depicting S. Francesco, in the church of S. Maria della Pace in Fontecchio.

The table depicts the Madonna, crowned by two little angels, with the Child in her arms; on the lower left the San Giovannino. All around the saints Agostino, Lucia, Francesco, Giovanni Evangelista and at the two ends Santa Caterina da Siena and Santa Caterina d'Alessandria. Attributed to Francesco da Montereale da Chini (1915), the attribution was confirmed by Gabrielli (1934) and then by Moretti (1968). It is a work of the artist's youthful period that can be placed between the end of the fifteenth century and the early years of the sixteenth century. Alongside the influences of Umbrian painting and in particular Pinturicchiesque one can see Crivellesque derivations as in the still life in the foreground.

The table, with a gold background, has a gilded frame in the shape of a polylobed arch resting on two small columns. Above a marble throne covered by a canopy with red festoons alternating with white coats of arms with a black eagle, is the Virgin wrapped in a large dark mantle with a golden border, over a brown robe. On either side of the throne, two praying Angels, one dressed in a large pink robe, the other green, are facing the naked Child in the arms of the Virgin, with three small flowers in his hand. On the suppedaneo of the throne in Latin capitals: AVE. QUEEN. CELORUM. AVE. DOMUS. The painting has been unanimously attributed by the critics to Saturnino Gatti for affinity with the Madonna del Rosario coming from the L'Aquila church of San Domenico, noting in the amplitude of the forms a Pierfranciscan ancestry mediated through Antoniazzo Romano. Serra also highlighted numerous references to Fiorenzo di Lorenzo in the brightness of the forms and in the modulation of the drapery.

The painting depicts the martyrdom of St. Bartholomew in the center. The executioners rage around the Saint and tear off pieces of his skin. In the background a cloudy sky. The painting was attributed to Preti dal Serra (1912). The work was performed by the artist in a mature phase of his activity, and some peculiar characteristics are well recognizable: the dense chiaroscuro of Neapolitan derivation, combined with a wise use of color, learned in a Venetian environment. The intense naturalism, also of Neapolitan influence, is recognizable not only in the macabre details, but also in the excessive characterization of the characters, who also possess an almost statuesque grandeur.

The figure of the Magdalene is represented with her head reclined on her joined hands resting on a skull. She has long hair down to her shoulders and wears a rich red robe, a symbol of fervent love for Christ. Below, the jar of ointments used to perfume the feet of crucified Jesus, as narrated in the Gospel of Luke.

Inside a prison, the half-figure Saint has her face turned towards the hand that presses the cloth on her bleeding breast, an allusion to the martyrdom inflicted on her. Below it is possible to read an initials, perhaps of the author of the painting, identified by Carli (1938) and by Commodo Izzo (1951) in Andrea Vaccaro.

The painting is mentioned by Bonafede (1888) in the Municipality of L'Aquila with reference to Ruther. It was considered a certain work of the painter by Month (1968, 1971). The work in question is typical of Ruther's production, close to the paintings executed before he settled in Italy. Frimmel (1886, 1918) noted tangencies with Castiglione's style, mainly due to the common reference to Flemish painting and the choice of the genre.

The relief found in Amiternum is certainly one of the most important testimonies relating to the carrying out of a funeral ceremony. The sculptural apparatus represents a funeral procession scene organized on two compositional registers which, in reality, have the purpose of giving depth and three-dimensionality to the representation. The characters present on the stone slab are numerous, but identifiable in their tasks: starting from the left, at the top, the praeficae are visible, women specially paid to artfully demonstrate the pain, singing songs in honor of the deceased; on the lower level there are eight men (lecticarii) who support the coffin, anticipated by the dissignator, who directs the ceremony; on the right the flute players (tibicines) are recognizable, while above the horn players (cornicines), preceded by a trumpeter (tubicen). In the central position the deceased is depicted, placed on a funeral bed: the position, unnatural for a dead person, of the elbow bent on the pillows suggests that it was an actor who played the role of the missing character. The exsequiae, that is funeral honors, originally took place at night, to safeguard the integrity of priests or magistrates as the mere sight of the deceased's body caused impurity. The relief can be considered a work of local folk art and it is possible to date it between the end of the 1st century BC. and the beginning of the following century.