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Tuscany

Tuscan life harmonizes beautifully with the land, offering lyrical landscapes, exceptional art, and a superb cucina contadina (farmer’s kitchen).

1. Duomo

Consecrated in 1179 on the site of a former Roman temple and built through the 13th and 14th centuries, Siena’s majestic duomo (cathedral) is a showcase of medieval and Renaissance genius. The intricate white, green, and red marble façade was designed by Giovanni Pisano; Nicola Pisano carved the elaborate pulpit; Pinturicchio painted the extraordinary frescoes in the Libreria Piccolomini; and sculptures by Michelangelo, Donatello, and Bernini adorn the cathedral.

This masterpiece of Romanesque-Gothic architecture boasts a stunning interior. Striped walls and pillars echo the exterior’s theme, while blue vaults glitter with golden stars. The intricate marble floor, created over 200 years by about 40 artists, features 56 panels depicting historical and biblical scenes. Early panels, including the Wheel of Fortune (1372) and The She-Wolf of Siena (1373), are graffiti-style works by unknown artists. Later, Domenico di Niccoló, Domenico di Bartolo, Alberto Aringhieri, and Domenico Beccafumi expanded the floor scheme with vibrant multicolored marble framed in hexagons and rhombuses. Most panels are covered throughout the year, revealed only from mid-August to late October, when tickets cost more and Sunday opening hours extend. Pre-purchasing tickets online is recommended to avoid long queues.

Other highlights include Nicola Pisano’s exquisitely carved marble and porphyry pulpit, created with help from Giovanni Pisano and Arnolfo di Cambio, featuring vivid crowd scenes and hailed as a Gothic sculpture masterpiece. Nearby, in the Cappella del Voto, Gian Lorenzo Bernini’s marble statues of St Jerome and Mary Magdalene stand out.

Donatello’s bronze St John the Baptist graces the Cappella di San Giovanni Battista beside the Libreria Piccolomini. This intimate library, built to house the books of Enea Silvio Piccolomini (Pope Pius II), is adorned with vibrant frescoes by Pinturicchio depicting events from Piccolomini’s life. On the altar, four saintly sculptures by a young Michelangelo invite admiration—some art historians believe the sculpture of St Paul is a self-portrait, with a broken nose referencing an injury Michelangelo sustained from a jealous fellow sculptor.

Plans for an even grander cathedral, begun in 1339 to extend the nave and transform the existing church into a transept, were halted by the plague of 1348. Today, only the massive unfinished eastern façade of the “Duomo Nuovo” remains, accessible via the Museo dell’Opera.

Entry to the duomo and the Libreria Piccolomini is included in the OPA SI and Acropoli passes.

2. Museo Civico

Accessed through the Palazzo Pubblico’s Cortile del Podestà (Courtyard of the Chief Magistrate), this remarkable museum features rooms richly frescoed by masters of the Sienese school. Unlike many contemporary works, these frescoes were commissioned by Siena’s civic government rather than the Church, allowing for unusual secular themes.

The museum’s highlights include two monumental frescoes: Ambrogio Lorenzetti’s Allegories of Good and Bad Government (c. 1338–40) and Simone Martini’s iconic Maestà (Virgin Mary in Majesty; 1315).

Once you’ve purchased your ticket, head upstairs to the Sala del Risorgimento, where late-19th-century frescoes depict key moments from Italy’s reunification period. Next is the Sala di Balìa (Military Court), where Spinello and Parri Aretino illustrate episodes from the life of Pope Alexander III, including his conflicts with Holy Roman Emperor Frederick Barbarossa. Straight ahead, the Sala del Concistoro (Hall of the Council of Clergymen) features striking allegorical ceiling frescoes by Mannerist painter Domenico (di Pace) Beccafumi (1529–35).

To the left, through a vestibule, are the Anticappella (Chapel Entrance Hall) and the Cappella (Chapel). The Anticappella houses 1415 frescoes by Taddeo di Bartolo portraying virtues essential for just governance—Justice, Magnanimity, Strength, Prudence, Religion—and notable Republican figures from ancient Rome. The Cappella includes a finely carved wooden choir and a fresco of the Holy Family and St Leonard by Giovanni Antonio Bazzi (Il Sodoma). Nearby, the Vestibolo (Vestibule) holds a bronze wolf, the symbol of Siena.

The vestibule leads to the Sala del Mappamondo (Hall of the World Map), home to Simone Martini’s powerful Maestà, depicting the Madonna under a canopy surrounded by saints and angels—a masterpiece painted when Martini was just 21. Opposite is his famous fresco of Guidoriccio da Fogliano (1328–30), a commander in the Sienese army, alongside The Conquest of the Giuncarico Castle, attributed to Duccio di Boninsegna from the early 14th century.

In the Sala dei Pace, where the ruling Council of Nine once convened, Lorenzetti’s Allegories of Good and Bad Government dominate. This fresco cycle, considered one of the most important secular Renaissance paintings, portrays personifications of Justice, Wisdom, Virtue, and Peace—unusually depicted as women—alongside scenes of law enforcement and reward. The contrasting frescoes illustrate a prosperous, sunlit Siena under good government versus a city riddled with vice, crime, and decay under bad governance.

Before leaving, don’t miss the recently restored Loggia dei Nove at the rear, offering panoramic views over the Orto de’ Pecci gardens and southern Siena.

3. Collegiata

Parts of San Gimignano’s Romanesque cathedral date back to the late 11th century, but its remarkably vivid frescoes—depicting scenes from both the Old and New Testaments—were painted in the 14th century. Near the main altar, don’t miss the Cappella di Santa Fina, a Renaissance chapel adorned with touching, naïve frescoes by Domenico Ghirlandaio that illustrate the life of one of the town’s patron saints. These frescoes also featured in Franco Zeffirelli’s 1999 film Tea with Mussolini.

Entry is via side stairs leading through a loggia that once served as a covered baptistry. Facing the altar, look to your left (south) to find Old Testament scenes by Bartolo di Fredi, dating from around 1367. These frescoes unfold across three levels: the top row begins with the creation of the world and the forbidden fruit, followed by the expulsion of Adam and Eve from Eden (partly damaged during WWII). Further scenes include Cain and Abel, Noah’s Ark, Joseph’s coat, Moses leading the Jews out of Egypt, and the story of Job.

On the right (north) wall, frescoes from the New Testament—likely painted by the workshop of Simone Martini under Lippo Memmi—date from 1336. Also arranged in three tiers, they start with six lunettes depicting the Annunciation, then move through key episodes like the Epiphany, Christ’s presentation in the temple, and the Massacre of the Innocents ordered by King Herod. Lower panels continue the story with the life, death, and Resurrection of Christ. Though some areas show wear, most frescoes remain well preserved.

Above the entrance on the inside wall of the front façade and adjoining walls is Taddeo di Bartolo’s striking Last Judgement. On its upper left, the fresco of Paradiso (Heaven) contrasts with Inferno (Hell) on the upper right. Below them, a fresco of Saint Sebastian by Benozzo Gozzoli completes the ensemble.

Known locally as the Collegiata—a nod to the college of priests that once managed the church—the cathedral offers an audio guide included with admission. Joint tickets for the Collegiata and the nearby Museo d’Arte Sacra cost €6 for adults and €3 for reduced entry, saving you €1.50 on each.

4. Leaning Tower

One of Italy’s most iconic sights, the Torre Pendente truly lives up to its name, leaning a dramatic 3.9 degrees off vertical. This 58-meter-high tower, officially the Duomo’s campanile (bell tower), took nearly 200 years to complete—and was already tilting when unveiled in 1372. The cause? A weak subsoil layer beneath its foundations. Over the centuries, the lean worsened until a major stabilization project in the 1990s finally halted its steady tilt.

Construction began in 1173 under architect Bonanno Pisano, but progress was quickly halted after only three of seven tiers were built, due to the tower’s lean. Building resumed in 1272 with efforts to strengthen the foundations—though these attempts largely failed. To compensate, masons built the upper storeys at a slight angle to stay vertical despite the lean below. Work paused again during wartime and was only completed in the latter half of the 14th century.

For the next 600 years, the tower continued leaning at about 1mm per year. By 1993, it was leaning 4.47 meters out of plumb—over 5 degrees off vertical. To save it, engineers secured the tower with steel braces and cables anchored to neighboring buildings. They then carefully removed some 70 tonnes of soil from beneath the northern foundations, causing the tower to settle back to its 18th-century position and reducing the lean by 43.8cm. Experts estimate this intervention will preserve the tower for at least the next 300 years.

Visitor access is limited to 45 people at a time—children under eight are not permitted to climb. To avoid missing out, book your ticket online in advance or secure a spot at a Pisa ticket office upon arrival. Tours last 35 minutes and involve climbing 251 sometimes slippery, steep steps. All bags—including handbags—must be left at the free left-luggage desk near the central ticket office, though cameras are allowed on the climb.

5. Duomo , Pisa

Pisa’s magnificent Duomo was begun in 1064 and consecrated in 1118. Its stunning tiered exterior is clad in green-and-cream marble, opening onto a columned interior crowned by a gold wooden ceiling. The elliptical dome, added in 1380, was the first of its kind in Europe.

Admission is free but requires a ticket from another sight in the Piazza dei Miracoli, or a fixed-time free pass available at the ticket office behind the Leaning Tower or inside the Museo delle Sinopie.

Funded by spoils from Pisa’s 1063 naval victory over an Arab fleet near Palermo, the cathedral was Europe’s largest when completed, symbolizing Pisa’s Mediterranean dominance. Its main facade, finished in the 13th century, features four exquisite tiers of columns that taper skywards. Inside, the 96-meter-long and 28-meter-high nave is supported by 68 massive granite columns in classical style. The wooden ceiling, adorned with 24-carat gold, dates from the Medici era.

Before entering, take time to admire the three pairs of 16th-century bronze doors at the main entrance. Created by the school of Giambologna to replace the originals destroyed by a 1596 fire, these doors are rich with biblical scenes depicting the immaculate conception, Christ’s birth, the road to Calvary, and his ministry. Kids will enjoy spotting the rhino among the detailed reliefs.

Inside, don’t miss the extraordinary early-14th-century octagonal pulpit in the north aisle. Sculpted from Carrara marble by Giovanni Pisano, it features nude and heroic figures and exemplifies a vivid, expressive Gothic style. This masterpiece contrasts sharply with the modern pulpit and altar designed by Giuliano Vangi in 2001.

6. Cattedrale di San Martino

Lucca’s cathedral, primarily Romanesque and dating from the 11th century, features a striking facade built in the distinctive Lucca-Pisan style, carefully designed to incorporate the existing campanile (bell tower). The reliefs above the left doorway of the portico are attributed to Nicola Pisano. Inside, the cathedral holds several treasures, including the revered Volto Santo (“Holy Countenance”) crucifix sculpture and a stunning 15th-century tomb in the sacristy. The interior was rebuilt with Gothic flair during the 14th and 15th centuries.

According to legend, the Volto Santo—a life-sized, dark-skinned wooden crucifix—was carved by Nicodemus, a witness to Christ’s crucifixion. While this tradition endures, experts date the sculpture to the 13th century. The Volto Santo remains a major pilgrimage focus and is carried through Lucca’s streets every September 13th at dusk during the Luminaria di Santa Croce, a solemn torch-lit procession commemorating its miraculous arrival in the city.

Other artistic highlights include Tintoretto’s magnificent Last Supper, displayed above the third altar of the south aisle, and Domenico Ghirlandaio’s Madonna Enthroned with Saints (1479), currently housed in the sacristy. Opposite it stands the exquisite, gleaming marble tomb of Ilaria del Carretto, carved in 1407 by Jacopo della Quercia. Ilaria, the young second wife of Lucca’s 15th-century lord Paolo Guinigi, tragically died in childbirth at age 24. At her feet rests her faithful dog, a touching symbol of loyalty.

7. Cappella Bacci

Located in the apse of the 14th-century Basilica di San Francesco, this chapel safeguards one of Italian art’s masterpieces: Piero della Francesca’s fresco cycle The Legend of the True Cross. Painted between 1452 and 1466, the frescoes narrate the story of the cross on which Christ was crucified. Entry is strictly limited to 30 people every half hour, so advance booking by phone or email is essential during the high season. The ticket office is down the stairs near the basilica’s entrance.

The medieval legend depicted is as captivating as it is fantastical. The cycle follows the tale of the tree that Seth plants on Adam’s grave—the very wood from which the True Cross is later fashioned. Among the scenes is Helena, mother of Emperor Constantine, rediscovering the lost cross; behind her, Jerusalem is painted as a medieval version of Arezzo. Other notable moments include the victory of Heraclius over the Persian king Khosrau, Constantine sleeping on the eve of his battle with Maxentius (with Piero’s masterful rendering of dawn light), and Constantine carrying the cross into battle.

Two of the most beloved scenes portray the meeting between the Queen of Sheba and King Solomon. In the first, the queen kneels on a bridge over the Siloam River, dressed in a rich Renaissance gown alongside her attendants. The second depicts Solomon’s palace, seemingly inspired by the architectural designs of Leon Battista Alberti.

8. Cappella Brancacci

The 13th-century Basilica di Santa Maria del Carmine was nearly destroyed by fire in the 18th century, but its magnificent chapel frescoes survived—a priceless treasure painted by Masolino da Panicale, Masaccio, and Filippino Lippi. These works were commissioned by the wealthy merchant Felice Brancacci upon his return from Egypt in 1423. The chapel entrance lies to the right of the church’s main entrance. Visitor access is limited to 30 people at a time, with visits capped at 30 minutes during high season. Weekend tickets at a higher price also include entry to the Fondazione Salvatore Romano.

Masaccio’s fresco cycle, depicting the life of St Peter, is regarded as one of his greatest achievements, marking a decisive break from Gothic traditions and a pioneering step into early Renaissance expression. His most famous pieces, The Expulsion of Adam and Eve from Paradise and The Tribute Money, adorn the chapel’s left wall. Masaccio painted these works in his early 20s after taking over from Masolino, before pausing the project to travel to Rome, where he died aged only 27. The cycle was completed some 60 years later by Filippino Lippi.

Masaccio even included himself in the fresco St Peter Enthroned, where he stands beside the Apostle gazing out at viewers. The surrounding figures are believed to represent renowned contemporaries Brunelleschi, Masolino, and Alberti. Filippino Lippi likewise painted himself and his teacher Botticelli into the dramatic scene of St Peter’s Crucifixion.

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