The space devoted to the museum is divided into fifteen rooms arranged on two levels of the Court of Honour and integrates fully into the guided tour of the monumental complex, which is marked with appropriate signs.
Is accessed from the north, or in Malborghetto; in the Courtyard of Honour are the accesses to the reception, library, wardrobe and salt I - VII of the Museum.
Rooms I - II - III - IV
The early Christian community and monasticism
Dining Room and the offices of the Rock
The configuration of the territory in the fourth century inherits the structure of the imperial age with the municipalities, the smaller settlements and rural villas in the center of landholdings; the Via Flaminia maintains its importance as the main road network.
Christianity is now common in all strata of the population, but in the production of artwork and crafts follow the habits and patterns late ancient pagan Romans, which are superimposed the characteristic symbols of the new religion.
Funerary inscriptions and fragments belonging to the liturgical witness the first Christian religious buildings of Spoleto.
Between the fourth century eV has documented the presence of hermits in the caves of the Nera Valley and Monteluco at Spoleto; next to these places will arise monasteries and churches.
Rooms V - VI
The Lombards
Hall of the Hall of Justice and Tax
The Lombards arrived in central Italy are the Duchy in 574; of their civilization remains a significant witness in the kits of the burials found near Nocera Umbra and Castel Trosino.
The necropolis of Nocera, used until about 630, returned graves of people belonging to the ruling class, and illustrates, among other things, the progressive adoption of Roman costumes and the Christianization of the Lombards.
In the dining VI are relics of architectural sculpture documenting the figurative culture of the Lombard era in Spoleto.
Room VII
The Carolingian period Ottonian
Borromeo Hall, Mill della Rocca, Tower of the Oven
The most significant phenomena that between the eighth and ninth century mark the territory are the fortification, namely the creation of new towns on the heights sometimes already inhabited in pre-Roman times, and the construction of churches, churches with baptismal font, usually located along the streets to meet the needs of worship of the dispersed population in rural areas.
On display are architectural fragments from buildings that no longer exist or radically transformed , examples of sculptural production related to architecture and the custom of re-use for different structures and functions from the original ones.
This concludes the tour of the ground floor:
by the Court of Honour from the external staircase and loggia of the first floor leads to the next rooms.
Rooms VIII - IX - X
The new territorial organization of politics and religion. Romanesque art and the onset of the Gothic
Apartment of the Castellano, Chapel Borgia
Even between the eleventh and twelfth century Duke of appointing an imperial ruling the Duchy; gradually develops the free Commune, which will submit the countryside and the nearby castles.
On the death of Henry VI (1197), the Pope began a policy of claiming a territory that will end after the death of Frederick II (1250), with the inclusion of the territory of the Duchy in the domains of the Church.
The territory of the Diocese and the expansion of the city come to coincide.
The Romanesque era is characterized by an intensive renovation and building development, which connects an equally important tasks of artistic production: the sculptors retrieve and reproduce the naturalistic forms of late antiquity and continue to reuse fragments Romans already processed.
The buildings of worship, as well as of the decorative sculptural exteriors and interiors are enriched with pictorial cycles of frescoes and panel paintings, particularly crucifixes.
The history of the Duchy is now over, other dynamics acting on the territory and society; in the next rooms are works that illustrate the transformation and the gradual overcoming of models habitually used for two centuries.

Rooms XI - XII - XIII
Painting and sculpture Gothic
Apartment Piccolomini
In the fourteenth century in the diocese of Spoleto are assets other artists, still largely anonymous, which on one hand are influenced by the works of Giotto and other Roman and Tuscan painters in the Basilica of St. Francis in Assisi, on the other hand suffer the charm of the Gothic culture brought by the Angevins in the south of Italy, without entirely abandoning the expressive component and pathetic that for a long time characterized the local artistic culture.
The sculptors are now mainly engaged in the production of wooden statues painted.
Rooms XIV - XV
Renaissance painting and sculpture
Apartment Piccolomini
The painters in Spoleto repeated long Giotto models, with the exception of the frescoes Stories of chivalry at the beginning of the fifteenth century in the chamber pint of the Rock.
The arrival in 1450 of the Florentine Benozzo Gozzoli in Montefalco causes a radical renewal of pictorial ways hitherto habitually used ; Filippo Lippi in 1466, also a Florentine frescoes in the apse of the Cathedral of Spoleto: the work will be very successful and will inspire long as the local painters Piermatteo of Amelia and James Vincioli. The city's artistic landscape is enriched by the presence of Foligno Niccolò di Liberatore, one of the masters of the second half of the fifteenth century, and the Sicilian Antonello da Saliba, nephew and follower of Antonello da Messina.