The Marche region in 7 works of art… that are not in a museum

In Fano, there is a work of art that never fails to attract attention, even though it has been part of the landscape for over two thousand years. It is the Arco Augusteo, known to everyone as the Arch of Augustus, a solid and elegant structure that marks one of the city’s historic entrances. It was not created as a commemorative monument, but as a monumental gateway, a threshold designed to welcome those who arrived and to convey, at a glance, the importance of the place.

The Via Flaminia, one of the great roads of antiquity, passed through here, and the arch naturally fulfilled its purpose: to guide, to protect, to impress. Even today, it retains this silent power. It is neither isolated nor remote, but rather embedded in the city’s daily life, traversed by the gaze and by time.

Its simple shape, the rhythm of its arches and the material of its stone speak an instant language. It is easy to perceive it as an open-air work of art: there is no need to know every detail; simply pause for a moment and allow yourself to be struck by its presence.

Next to the arch, the Church of St Michael and the nearby Via Flaminia Museum add further layers to the story, reminding us that Fano preserves one of the Marche region’s most fascinating historical legacies. A fascinating detail? It was right here that Vitruvius claimed to have constructed a building – a basilica that remained shrouded in mystery for a long time and was recently rediscovered beneath Piazza Andrea Costa.

However, beyond any discoveries, the Arch of Augustus remains a gateway through time: not merely a monument to be observed, but a work of art to be experienced, which invites us to look at the city with more attentive eyes.

In Corinaldo, art is not confined to a single building: it surrounds you. The medieval walls encircle the village in a continuous ring, almost a kilometre long, perfectly preserved and still defining the town’s identity today. Perched on the crest of a hill, they overlook the surrounding countryside with an almost theatrical presence, as if they had stepped straight out of a mediaeval tale.

As you follow their outline, it is immediately clear that this is not just a defensive structure: it is a true open-air architectural masterpiece. Towers, ramparts, monumental gates and walkways follow one another in a measured rhythm, forming a powerful and harmonious line that blends seamlessly into the landscape. It is easy to forget their original military function and instead see them as a grand urban sculpture, where history and beauty converge.

Within the walls lies a compact historic centre, built in concentric circles, where narrow alleys and brick houses lead naturally to the heart of the village. Here, you will find one of Corinaldo’s most iconic sights: the Piaggia, a long staircase of one hundred steps that leads straight up to the top of the hill. This, too, is a striking architectural feature – almost theatrical in its effect – and an essential part of the town’s unique character.

Today, the walls no longer defend; they embrace. They no longer divide, but rather guide the eye, connecting the village to the surrounding hills and transforming Corinaldo into a single work of art to be appreciated as a whole. It is a perfect example of how, in the Marche region, historic architecture becomes a natural part of both the landscape and everyday life.

In Ripe San Ginesio, you won ’t find a statue to photograph or a stand-alone monument that you can recognise at a glance. What you will see is a collection of works, distributed across space and time, that transform the village into a genuine experience of ‘diffuse art’. Contemporary paintings, sculptures and installations intermingle with the settings of everyday life, appearing in the alleys, shops, workshops and meeting places.

This way of experiencing art originated with the Ripe San Ginesio Municipal Art Gallery, which houses a large and varied collection built up over time through donations from artists taking part in RipeArte, a contemporary art exhibition that has been running since 1982. However, the truly unique character of Ripe San Ginesio can be appreciated above all outside the art gallery, where the artworks leave the exhibition halls and become part of the fabric of the village.

Through the Diffusa project, art enters unconventional spaces: a sculpture may stand next to a workbench, a painting may appear in a tailor's shop or a restaurant, becoming part of the everyday landscape. Nothing is separate or distant: art coexists with the village’s activities, accompanying its daily routines and rhythms.

The story continues in the Sculpture Park and Viale degli Artisti, where iron and wood installations become part of the greenery and the surrounding landscape. It is this interweaving of artworks, places and everyday life that has earned Ripe San Ginesio the title of ‘City of Contemporary Art’: a place where art is not concentrated in a single location, but is discovered little by little, in step with the rhythm of the village.

Upon entering Piazza del Popolo in Fermo, the eye is almost immediately drawn to the large bronze statue of Sixtus V, located on the façade of the Palazzo dei Priori. It is not merely a commemorative monument, but a symbol of the deep bond between the town and one of its most important figures.

Born in nearby Grottammare and bishop of Fermo before becoming pope, Sixtus V left tangible traces of his work here, from the Seminary to his support for the University. For this reason, at the end of the 16th century, the municipality decided to dedicate a statue to him and commissioned the sculptor Accursio Baldi, known as Il Sansovino, to create it. The figure is depicted in a composed, almost meditative pose: his body is slightly tilted, and the gesture of his hand suggests dialogue rather than proclamation, a detail that conveys an image of the pontiff as someone close to the citizens and to Fermo's daily life.

There is also an interesting fact that illustrates how deeply the figure of Sixtus V was felt in this city. At the beginning of the 19th century, during the Napoleonic raids, the statue came close to being melted down. It was saved by the citizens themselves, who hid it inside the town hall. Even today, the sculpture is part of the daily rhythm of the square, requiring no explanation: it is simply there, an integral part of the urban setting.

While in Fermo, Sixtus V is remembered as a civic figure, closely linked to the city’s history and identity, in Loreto, his figure takes on a broader, more symbolic dimension. Here, the statue of the pontiff overlooks Piazza della Madonna, next to the forecourt of the Basilica of the Holy House. Created in 1587 according to a design by Antonio Calcagni, the statue was commissioned by a group of bishops associated with Sixtus V and commemorates the pope’s pivotal role in the town’s development: he elevated Loreto to the status of a city, strengthened its fortifications and sponsored major works on the sanctuary. In this context, the pose is more frontal and solemn, with the gesture of blessing emphasising the Pope's institutional authority and his direct link with the sacred.

Two statues, two different contexts, but the same concept of public art that becomes part of the setting and continues to tell the story of Le Marche to those who pass through the region every day.

As you stroll along the seafront in San Benedetto del Tronto, sooner or later you will look up at the sky. There, you will find the Jonathan Livingston Seagull Monument, a sculpture that seems tailor-made to accompany the movement of the sea and the wind. Even without being familiar with the famous book that inspired it, the message is clear: freedom, drive, and the desire to go beyond.

Its location, directly overlooking the Adriatic Sea, amplifies this feeling. It is a work to be experienced rather than explained. The relentlessly moving waves and the changing light throughout the day mean that the sculpture always looks different, never static, as if it were a natural part of the landscape.

It is no coincidence that it has become one of the most recognisable symbols of San Benedetto del Tronto: a work that manages to convey, with simplicity, the town’s character and its deep connection with the sea.

Continue along the promenade and discover the contemporary sculptures and installations of the MAM – Museum of Art by the Sea, an open-air museum that completes this interplay of art, sea and horizon, allowing the gaze to wander far into the distance.