The Ancient Seminary Palace in Lecce houses on the first floor paintings, sculptures, precious furniture and liturgical paraments forming the collection of the Diocesan Museum of Sacred Art.
A gallery that tells the religious life of the town and its Diocese, main client of masterpiece and craftsmanship, mirror of the artistic trends that developed in Lecce, in particular between the seventeenth and the eighteenth century.
In the museum rooms, besides exponents of the Naples school, you can find local painters, together with  papier-mâché statues and wooden sculptures. A little loft keeps the Cathedral’s Treasure composed of Naples manufacture silvers and rich sacred paraments.
``The needlework Sacred Family`` by Paolo Finoglio

Work autographed by Paolo Finoglio, important exponent of the Naples School of the seventeenth century, the painting shows the influence of Caravaggio during his stay in Naples.
In an intimate and domestic surrounding, lit by a shaving beam of light coming from the left side, the Sacred Family is represented during the daily activities with a clear realism recalled by particulars like the Virgin concentrated on sewing, or the figure of Saint Joseph, caught in a relaxed moment, his work tools still in his hands.
On the bottom right of the painting, the client’s figure, probably a prelate, with a particular pince-nez on his nose.
``Sant’Oronzo receives from Christ the commission to protect the town from the plague” by Serafino Elmo
Serafino Elmo, important artist of Lecce during the eighteenth century, is the author of the painting summing up Sant’ Oronzo story, patron of the town.
It is a complex returning game of what comes over the work of Christ, Salvator Mundi who turns his gaze towards an angel offering to Sant’Oronzo a spear to accomplish his armament composed of a shield on which is shown his role: patronus. Angels surrounding the Saint hold a pastoral, symbol of his episcopade, the Cross, a sacrifice recall and the martydome palm. On the bottom right, an interesting view of Lecce with the walls of the sixteenth century and the gate dedicated to Charles V from which two figures, considered the representation of the plague victims, go away; on the left, banished in the shadow, the image of the devil now defeated.
Sant’Oronzo’s Bust
Sant’Oronzo’s Bust is part of the Cathedral Treasure, it is made of melted, embossed and carved silver, with set stones realized in 1761 by the silversmith Domenico Gigante from Naples.
Another famous silver statue of the Lecce patron Saint is still kept in the Cathedral sacristy, exhibited during the patron celebration and accompanied in procession during the afternoon of 24th August.
Giuditta and Oloferne Statue
The work realized in papier-mâché by the famous master Raffaele Caretta was awarded the silver medal at the International Exhibition in Turin in 1898. Lecce artists turned largely to the art of papier-mâché to decorate many churches of the town since the baroque period, mainly realizing figures of saints or crucifixions. Unusual and original the theme chosen by Raffaele Caretta representing Giuditta immediately after Oloferne’s decapitation.
The Ancient Seminary Palace in Lecce houses on the first floor paintings, sculptures, precious furniture and liturgical paraments forming the collection of the Diocesan Museum of Sacred Art.
A gallery that tells the religious life of the town and its Diocese, main client of masterpiece and craftsmanship, mirror of the artistic trends that developed in Lecce, in particular between the seventeenth and the eighteenth century.
In the museum rooms, besides exponents of the Naples school, you can find local painters, together with  papier-mâché statues and wooden sculptures. A little loft keeps the Cathedral’s Treasure composed of Naples manufacture silvers and rich sacred paraments.
``The needlework Sacred Family`` of Paolo Finoglio

Work autographed by Paolo Finoglio, important exponent of the Naples School of the seventeenth century, the painting shows the influence of Caravaggio during his stay in Naples.
In an intimate and domestic surrounding, lit by a shaving beam of light coming from the left side, the Sacred Family is represented during the daily activities with a clear realism recalled by particulars like the Virgin concentrated on sewing, or the figure of Saint Joseph, caught in a relaxed moment, his work tools still in his hands.
On the bottom right of the painting, the client’s figure, probably a prelate, with a particular pince-nez on his nose.
``Sant’Oronzo receives from Christ the commission to protect the town from the plague” by Serafino Elmo
Serafino Elmo, important artist of Lecce during the eighteenth century, is the author of the painting summing up Sant’ Oronzo story, patron of the town.
It is a complex returning game of what comes over the work of Christ, Salvator Mundi who turns his gaze towards an angel offering to Sant’Oronzo a spear to accomplish his armament composed of a shield on which is shown his role: patronus. Angels surrounding the Saint hold a pastoral, symbol of his episcopade, the Cross, a sacrifice recall and the martydome palm. On the bottom right, an interesting view of Lecce with the walls of the sixteenth century and the gate dedicated to Charles V from which two figures, considered the representation of the plague victims, go away; on the left, banished in the shadow, the image of the devil now defeated.
Sant’Oronzo’s Bust
Sant’Oronzo’s Bust is part of the Cathedral Treasure, it is made of melted, embossed and carved silver, with set stones realized in 1761 by the silversmith Domenico Gigante from Naples.
Another famous silver statue of the Lecce patron Saint is still kept in the Cathedral sacristy, exhibited during the patron celebration and accompanied in procession during the afternoon of 24th August.
Giuditta and Oloferne Statue
The work realized in papier-mâché by the famous master Raffaele Caretta was awarded the silver medal at the International Exhibition in Turin in 1898. Lecce artists turned largely to the art of papier-mâché to decorate many churches of the town since the baroque period, mainly realizing figures of saints or crucifixions. Unusual and original the theme chosen by Raffaele Caretta representing Giuditta immediately after Oloferne’s decapitation.