The Museo Diocesano offers an unique occasion: that of admiring works of art which are normally not accessible to the public. Indeed they took advantage of the temporary closing of the Palazzo Patriarcale due to restoration works to exhibit its paintings. The core of the exhibition is the “series of Santa Caterina”, luckily transferred to the Patriarcato before the presbyterium of the homonymous church where it was originally set went on fire. They are six episodes dedicated to the Saint, painted in the mid seventeenth century by Tintoretto, who leaves, most of all in the episode of the martyrdom with the wheel, his mark and a lot of his workshop. In the same hall there is also an excellent work of 1618- 23, by Jacopo Palma il Giovane, “Santa Caterina’mother consults the sages for her daughter’s wedding”, which comes from the same church and belongs too to the Patriarcato, but it is exhibited in the entrance of this palace given the huge dimensions (cm 415 x 300). This represents the only exception made to the gauges followed preparing this exhibition, where paintings are put together following the different rooms’order. Obviously the greater part of the paintings have a religious subject, with the only exception of country landscapes of the nineteenth century, made by an anonimous (red room). Many of these paintings have not found an author yet, like in the case of the prophets’series (corridor), dated around the mid seventeenth century, which are not of lesser value. One of the exhibition’s aims is to allow scholars, thanks to the visual confrontation, to deepen and innovate their allotment theories. Between the “famous” paintings there are “L’incoronazione della Vergine” by Aliense (1620 ca); the “Madonna del Rosario” by Francesco Lorenzi (1750 ca). Between the distinguished names, again a Jacopo Palma il Giovane with a “Ultima cena” dated 1620 and a moving and peculiar, by an iconographic point of view, “Deposizione” by Gregorio Lazzarini (begin XVIII century), from the Patriarcato chapel, where there is also the absolute masterpiece of this collection, that is to say the “Natività” by Giambattista Tiepolo of 1732 An apart chapter is that of the portraits of the Patriarchs, to begin with the first one, that of San Lorenzo Giustiniani (mid XVI century.) dby Pordenone. The others are about patriarchs of last century, as Luigi Sarto (pope Pio X); Angelo Roncalli (Pope Giovanni XXXIII) and Albino Luciani (Pope Giovanni Paolo I) It is also an occasion to visit the halls where the precious sacred forniture and the medieval wooden sculptures are exhibited.